All language subtitles for White Collar - S04E15 - The Original.en

MAN: Previously on
White Collar…

ELLEN: Your dad told me
that our department

is filled with dirty cops
and they set him up.

And he's right
about one thing.

There are dirty cops.

PETER:
Senator Terrence Pratt.

You said
Pratt could hurt you.

My brakes,
I don't have my brakes.

You need
to leave New York.

Mozzie has a safe house
outside the city.

It turns out
that employer I.D. number

is for a security company
named Griffin-Moore,

which is linked
to the 50th floor

of the Empire State
Building.

Let's get that box
and bring my father home.

MAN: 13 bucks
for an ice cream?

Gluten and dairy free,
you won't find that in Kansas.

Yes, I will.

Forget it.

Nothing like
a happy customer.

Ooh.
I have to change my prices.

The tourists
are still bothering me.

Makes it tough
to do recon.

So, where were we?

On the 50th floor.

By we, of course,
I meant me,

because you can't get
off-leash.

It's casing an office.
I think you can handle it, Moz.

Okay,
then you man the cart.

No, I can't stick around
that long.

Peter's checking
my tracking data.

We can't give him
any reason to believe

that we know where Ellen
hid the evidence.

I got
a good thing going here.

Oh.
I had a good thing going here.

NEAL:
Mozzie has a permit.

I'm sure.

I'll take a pistachio,
please.

13… 15 bucks.

I should arrest you
for your prices.

For an officer of the law,
it's on the house.

That's bribery.

Then pay.

So, this is where you set up
your recon, huh?

Oh, that's good. Mmm.

You believe Ellen
hid the evidence

on the 50th floor, right?

Peter, there's no need for you
to get involved in this.

-Neal.
-I wish I could tell you more,

-but I can't.
-You can't

because Elizabeth
told you not to.

Elizabeth told you?

Come on.

Scram.
Just 17 bucks a scoop!

You have to understand
the position I was in,

you were in the hospital,

Elizabeth was worried
about you…

Until she realized

that forcing you
to keep a secret from me

wasn't gonna make the situation
any safer.

How long have you known?

-Since the accident.
-(CHUCKLES)

I actually thought
I was ahead of you this time.

Getting that evidence isn't only
about vindicating your father.

It's about bringing Pratt
to justice.

He forced Hughes out of the FBI
to keep that box hidden.

I want to see
what's inside it.

And we're gonna find it.

CALLAWAY: For those of you
that I have not had

the good fortune of meeting,

my name is Amanda Callaway.

-Did we miss something?
-And I am very excited to…

(SIGHS) Amanda Callaway,

ran the Atlanta
White Collar division.

She's replacing Hughes?

There were a lot of people
ahead of her on the list.

And New York's a big step up
from Atlanta.

-(SIGHS) After you.
-CALLAWAY: I loved Atlanta.

I really did,
but Atlanta is no New York.

And I know that there are
a lot of case loads…

-She was asking for you.
-In a good way?

Hard to tell.

CALLAWAY: I can never replace
Agent Hughes.

I don't want to.

I will run this division
differently.

I plan on taking
a more involved approach.

-Uh-oh.
-CALLAWAY: We will make

New York White Collar the pride
of the bureau once again.

-I don't like her.
-Shh.

Thank you.

(APPLAUSE)

That should be you,
Peter.

You should be leading
White Collar.

(SCOFFS)
I couldn't agree more.

They're right.

Well, the bureau chiefs know

I love the field
more than a desk.

And besides,
they can't let my little jaunt

-to Cape Verde go.
-Where, by the way,

you captured one
of their most wanted.

Well,
after my demotion to evidence,

I'm just happy to be
in the division.

CALLAWAY: Agent Burke.

Agent Callaway,
congratulations.

Oh, my gosh.
I was so happy to hear

that you were still here
at New York White Collar.

-13 years.
-That's amazing.

Neal Caffrey.
A pleasure.

Oh, the pleasure is all mine,
Agent Callaway.

Thank you. And when I heard
about the opening here,

I researched your division

and found out you guys
really get it done.

In no small part
due to Reese Hughes.

-Mm.
-He was a very supportive boss.

Yeah, I noticed.
I like results.

Speaking of which,
I like to get them above board,

so let's keep that in mind
with your next case.

Which case is that?

Well, you two have a knack
for closing art-forgery cases,

and there have been
some suspicions

about the new Bernini discovery.

That's a multi-million dollar
sculpture.

And if it's fake…

We can bust the seller,
have a quick,

high-profile win
right out of the gate.

It's a wonderful way
to show the bureau

that this division
is back on track.

Didn't think
we were off track.

Well, somebody did,
or else I wouldn't be here.

(SIGHS)

Did you mention
the Empire State Building

in your file on Pratt?

No. I left it
out of the report.

You're worried Callaway might be
connected to the Senator?

Well, she was nice to me.
When people are nice,

they're usually working
an angle.

What?

I'll look into Callaway.

In the meantime,
let's just try

and get her that quick win
she asked for.

(FRENCH ACCENT)
Monsieur Caffrey.

-(LAUGHING) Henri.
-Bonjour.

(BOTH SPEAKING FRENCH)

Ah, there's a hillside village
in the French Riviera

known for sculpture, and…

You're old friends,
I get it.

Peter Burke, his handler.

LESLIE: So,
you think it's real?

Scuff marks here.

PETER:
They look like rope burns.

Yeah, cotton-braided rope
was the preferred method

to pulley and move sculpture
during the Napoleonic War.

There's added plaster
in the plinth.

NEAL:
Bernini did that himself

when his patron,
Marcantonio Borghese,

moved the piece
to a larger entryway…

In his home.

Excellent.

Neal,
you can browse when we're done.

(SPEAKING FRENCH)

What sold me was the seal
on the 1842 shipping orders

from the port of Bordeaux,

that red pigment
is impossible to find today.

Trust me.

As far as the aesthetic,
Bernini was the first

and only artist of his time

to explore the idea
of metamorphosis in marble.

This is
the real Aphrodite.

Excellent. Then…

As for the one over here…

Ah, the Dubois.

Hand Over Hand,

one of the four remaining pieces
in his catalog.

Yeah, it just sold at auction
last week for $6.5 million.

-It was.
-Yeah.

They're gonna want
their money back.

It's a fake.

(THEME MUSIC PLAYING)

We are the exclusive dealers
of Olivier Dubois' work.

-Mm.
-This piece has already

been authenticated and sold.

That doesn't make it
any less of a forgery.

Why don't you explain exactly
why you think it's a fake?

Well, technically, all
the style elements are there.

I mean,
it's a brilliant forgery,

it's too good.

It's subtle, but these lines
where the hands meet

feel ever so slightly
forced to dimension,

where a Dubois would flow
more easily, less exact.

Dubois may have changed
techniques

just as he shifted motifs
in his final years.

Every Dubois contains
his unique signature,

a hand-written note inserted
into the center of the marble.

-What's on it?
-Well, supposedly,

he exposes the heart
of the piece,

but no one knows exactly.

That's part of the mystique
of his work.

We verified
with X-ray diffraction.

-Ah.
-LESLIE: A scroll is inside.

Are you familiar
with chicken sexers?

No,
I don't believe I am.

Baby chickens need to be sorted
into males and females.

The sorters
are called sexers.

The only problem is
baby chicks look identical.

This will loop
back to the Dubois?

The Japanese developed
a fool-proof technique,

but the only way to teach it
is to pick up a chick

and place it in either the male

-or the female bin.
-Neal.

Now, at first
they're just guessing.

A teacher will stand behind
a student and say yes

each time
they guess correctly.

But after a few months,

a student is able to sort
the chicks correctly

100% of the time,

and to this day, no one
is able to articulate why.

There is a scientific basis
for instinct.

And as Dubois-esque
as this seems,

it's not a Dubois.

Who sold you the piece?

Dubois' protege,
J.B. Bellmiere.

Until Dubois' death
last year,

a man named J.B. Bellmiere
worked as his apprentice.

He's the man who authenticates
Dubois' work.

He's considered
the ultimate authority.

-Agent Callaway.
-Agent Burke.

Please,
don't let me interrupt you.

DIANA: Peter was just explaining
that if the Dubois is a forgery,

then Bellmiere would be
our prime suspect.

I see.
And this is based

on Caffrey's highly credible
chicken sexer theory?

He may have mentioned that.

(SNIFFS)

At the time
of Dubois' death,

there were four sculptures
in his catalog

that had never gone
to market.

Hand Over Hand
is the first one to surface.

Are you suggesting that
Bellmiere, as his apprentice,

-could have forged it?
-I am.

Interesting theory.

Peter,
when you're finished here,

will you see me
in my office?

Of course.

(CELLPHONE RINGING)

Hey.
How you holding up?

Mozzie's safehouse is a 10-by-10

underground bomb shelter

in the middle of the woods

surrounded by a pig farm
and a bog.

I take it you're ready
for a change of venue?

JAMES: I'm ready for my freedom.
Any updates?

Yeah,
we're getting close.

How close?
Weeks? Days?

NEAL:
I can't say yet.

Listen,
Peter's involved now.

That doesn't sound good.

Well, it is.

Listen, I should be there.
Let me help.

No, we can't risk it.

We got a new boss
at the bureau,

she's keeping a close eye
on us.

I'll let you know
the minute we locate the box.

JAMES:
Do it soon.

I want you to move off
the Bellmiere case.

What? Why?

There's just not enough
hard evidence.

-Yet.
-CALLAWAY: Look,

if you want to dig
into this in your own time,

feel free. Just don't do it
on the bureau's.

If Neal's right,
and I trust his hunch,

we're dealing
with a world-class forger.

But we have
a growing stack of cases

with conclusive data
we can work.

You and Neal
are an impressive team,

but you're too impulsive.

Focus your energy
on cases we can close.

Efficiency is our most
important tool.

I get it.
We want a quick,

high-profile win
to impress the bureau.

There you go.

ELIZABETH:
You're gonna drop the case?

No, I can't let
a multi-million dollar forger go

just because it might not be
an easy win.

That's why they
should have given you the job.

They're
gonna realize that.

I don't want it.

It would have been nice
to be asked.

Yeah.

(KNOCK ON DOOR)

(SILVERWARE CLATTERS)

-Hey, Neal.
-Hey.

Come on in.

What was so urgent?

Well, how would you
like to meet the man

behind that magnificent forgery
you spotted?

You found more information
on Bellmiere?

Yeah.
His real name's Jeff Blatnik.

Well, you can't fault him
for changing his name.

A lot of artists
change their name.

So do con artists.

I'd buy a Bellmiere
over a Blatnik,

that's all I'm saying.

But he didn't sell a Bellmiere.

He sold a Dubois.

Mm, true.

The second Dubois
in his catalog…

Or is it?

That's so close.

Bellmiere has
an incredible eye.

It's just…

It's not a Dubois.

-Hey.
-Hmm?

While you look for J.B.,

why don't I find out
what his students have to say?

Go.

(SNAPS FINGERS)

Original.

Conceptual.

I'm gonna say the wires
represent industry,

an endless loop
spiraling downward.

-You get me.
-(CHUCKLES)

I've been following
the Bellmiere School

for a while.

-Neal.
-Natasha.

I run the Haversham Gallery
in Portland.

Oh,
I'll get Mr. Bellmiere.

Oh, in a little bit.

I want to see
if any of the other pieces

speak to me
like yours does.

BELLMIERE:
Knock it over.

Come on! Break it!

It either works,
or it doesn't.

Last chance.

Now you can start fresh.

(CRIES)

(CLEARS THROAT)

-Dubois taught me that.
-Mm.

Destruction is
part of creation.

-Who are you?
-I'm Peter Burke,

FBI.
We need your help.

Let's cut through the facade,
Agent Burke.

You're here
because you want to know

if the Dubois that I sold
to the Tibedaux is a forgery.

Any information you have
on the piece would help.

Who suggested
it was a fake?

One of their experts.

Experts.

I am the expert on Dubois.

Of course.

The complaint was that

somehow the lines lacked
a certain subtlety

found in other Dubois pieces.

Hand Over Hand
may not be as inspired

as some of his earlier works,

but perhaps that's why
he gave it to me.

He gave you
a $6.5 million statue?

I gave him 10 years.

Where can I see
some of Mr. Bellmiere's work?

Oh, he doesn't have any
on display.

Really? Nothing?

Well, he's been spending
a lot of time

in his private workspace,
off the hallway.

You seen
what he's been working on?

Oh, no one has.
He works alone.

-It's his process.
-Oh.

Maybe I can convince him
to give me a sneak peak.

-Good luck.
-Thanks.

Out of curiosity,
what does your work sell for?

I'm taking my time to define

what makes a Bellmiere.

So, you don't have anything
on the market, huh?

Mm.
Thank you.

-Hey.
-Hey.

Did you see
any of Bellmiere's work?

Yeah, two partially completed
sculptures.

Oh. He really is taking his time
to find his own vision.

Is that what he told you?

Oh, "Some ideas
come fully formed.

"Others take years."

Well, his fully formed ones

come from Dubois.

So, he's forging
the last two catalog pieces.

The same rare marble,
technique, style.

Well, we can't make a bust until
he tries to sell one of them.

Bellmiere's
already made millions

off Hand Over Hand.

He could sit on the other three
for years

while their value
skyrockets.

(SIGHS) Is there any way
he'd want to sell them earlier?

I could encourage him.

But I'm gonna need
about 500 pounds of marble.

All right.

(KNOCK ON DOOR)

Entrez, Moz.

Hey.

Good to see you, too, kid.

(SIGHS)

Look, it's too risky
for you to be here.

I can't take Mozzie's safehouse
anymore.

Why?

He's a very weird dude.

Yeah.

So, what am I looking at?

Dubois' Devolution.

I'm sorry,
but you got to go back.

Listen, you've been looking
for that evidence box

for, what, three months now?

I've been after it
for 30 years.

Now you say you're close.

When WITSEC moved Ellen
to New York 12 years ago,

they gave her a job
at a securities firm.

She had access to the 50th floor
of the Empire State Building

while it was under renovation.

You think she planted it there?

Moz has been casing the place
all day.

We'll know soon.

So, we wait.

Yeah.

We wait.

I've heard of Dubois.

Yeah, well, one of his pieces
just sold for $6.5 million,

it was a forgery.

So, you're doing this for work?

Yeah, I have to pass this off
as a real Dubois.

-Wow.
-(CELLPHONE RINGING)

NEAL:
Hey, Moz.

As fond as I am
of the Japanese culture,

I could go the rest of my life
without hearing chiizu again.

Japanese for "say cheese"?

Among other things.

Hello, Mozzie.

Is that James?

NEAL:
You're on speaker.

James, what happened?

He was going stir-crazy.

At my cabin?
But it's so picturesque.

There are no windows.

Insufficient motivation.

However, your premature arrival
is actually well-timed.

Me and my photos will be there
momentarily.

Neal and I visited his studio
off hours,

as you suggested.

I did not suggest for you

to spend 15 grand
of this division's money

on rare Italian marble.

That was well within
my discretionary budget

for developing
investigations.

I will look into
the discretionary budget later.

Right now,
explain the marble.

We believe Bellmiere is forging

-the remaining two Dubois.
-Okay.

But he could sit on them
for years,

so Neal is sculpting
one of the two.

Once it's authenticated…

It'll drive Bellmiere crazy

because it'll be millions
of dollars

-out of his pocket.
-Right.

Neal reaches out to Bellmiere,
offers his skills,

and we draw a confession
from collusion.

It's risky.

It's efficient and high-profile.

Did Hughes authorize you to go
after these types of operations?

He trusted me.

It cost him his job.

I like this job.

I don't want to lose it.

Reese didn't lose his job
over a $15,000 expense.

No, he lost it
because he approved you

to go after someone
you couldn't beat.

You read our file
on Senator Pratt.

I did.

Is that investigation
still open?

She asked you to close the case
against Pratt?

No, she closed the case
against Pratt.

She's got to be
in his pocket.

I haven't found a link.

But if you were
sexing chickens…

Callaway is ambitious
and pragmatic.

She knows that our investigation
into Pratt forced Hughes out,

so she may just be
protecting her job.

She's reading your logs
pretty carefully.

Yeah,
it's gonna be a challenge

to keep the Empire State
off her radar.

Especially with my father
back in town.

(SIGHS)

Send him back,
immediately.

I tried.

If we force him,
he'll just go rogue,

which will be
even more problematic.

(SIGHS) I guess that answers
the age-old question

of nature versus nurture.

PETER: Our authenticators
are in deep discussion.

NEAL:
They better go for it.

MAN: Have you seen
the provenance?

What is Bellmiere
doing here?

He wasn't supposed
to show up

until after the piece
was authenticated.

If he claims
it's a fraud…

His word may supersede
the experts'.

He can't see you.
He's gonna smell a setup.

Leslie.

J.B., I didn't want to trouble
you with this

until we had it
authenticated.

If a Dubois is coming to market,
I know about it.

Someone's claiming
it's the second

of the four remaining pieces.

The exploration
of figurative techniques

wasn't until
he met his fifth wife.

It's hard to tell
from the catalog photos,

but it certainly tracks
with the timeline.

Did you check the palm?

Unfinished.

Dubois left the palms untouched
in his abstractions.

LESLIE: 2004,
he made nothing else that year.

And inside?

That's what convinced us.
We ran the x-ray.

No.

This is not a Dubois.

It is the Dubois.

It is the height of his mastery
and his seminal work.

-Who are you?
-Neal Caffrey.

I own this piece.

BELLMIERE: I'm very curious,
Mr. Caffrey.

How did you come
to own "Devolution"?

I imagine
much the same way

as you came to own
the Dubois you sold last week.

Yours is a fraud.

Are you questioning
the experts?

I wouldn't.

That would make it
much more difficult

for you to sell
the remaining three…

Excuse me, now two Duboises.

What do you want?

There is an arrangement
where we each sell one.

"Sisters" is already
on display in my loft.

Everyone knows that.

But no one's seen "Courtship"
yet, have they?

Come to my studio tomorrow
2:00.

Good instincts.

Yep.
Trust the chicken sexers.

Afternoon.

Yep. That it is.

Any ideas on the box?

Well, I'm developing a theory.

When Ellen and I
were partners,

we busted our fair share
of hideouts.

When it came to finding stashes,
we had a saying,

"Walls move,
ceilings and floors don't."

Well, the floors are marble.

You think she hid it
in the ceiling?

Well,
if I was a betting man…

All you got to do is scan 1,000
square feet of ceiling tile.

We've narrowed our search
from all of Manhattan

to a ceiling
in the corner of a building.

We're gonna find it.

-Optimist.
-Ah, good mood.

They must have bought
your sculpture.

They did.

What did they say?

They said
it wasn't a Dubois,

it was the Dubois.

You're kidding.

They called it
his seminal work.

(LAUGHING)
I knew it! Attaboy!

(SIGHS)

Full disclosure.

That helps explain what I found
while you were out.

Such as?

Oh…

Such as a van Dyck…

And this Degas.

They're forgeries.

They're flawless.

Flawless.

You have a tremendous gift,
Neal.

Your original work
must be extraordinary.

I don't have
many original pieces.

Why not?

-I don't know.
-Well, that's a shame.

Because if you can
do this…

You're capable of anything.

All right,
here's my proposal,

we finish "Courtship,"
split the profits 50/50.

Well, let's be clear,
forgery is a federal offense.

This is a Dubois replica.

Understood.

The contours and planes
complement each other well.

I'm impressed.

A shame
I have to destroy it.

What's the point
of making a replica

of a piece
you've already sold?

Dubois used to say, "Don't get
attached to your work."

(STONE CLATTERING)

Neal's figured out a way
to nail Bellmiere on forgery.

You promised me
a confession.

Now I'm promising you
hard evidence.

Keep talking.

Dubois put an original,
hand-written note

into the heart
of each piece.

Yes, I know. The Tibedaux
x-rayed it and found it.

The x-ray only verified its
existence, not what was on it.

Yeah,
if the scroll contains

Bellmiere's handwriting
and fingerprints

and not Dubois',
then it's a forgery.

What are you suggesting?
That we smash it open?

Well, there's probably a…

Fortunately,
we have another option.

CALLAWAY: A high-resolution
imaging scanner.

The new magnetic
tomography scanners

are portable
and powerful enough

to pick up fingerprints on a gun
through a brick wall.

It's still Neal's word
against Bellmiere's.

I don't think a judge is gonna
approve a warrant.

We don't need one.

You have
a confidential informant

who has access
to the sculpture.

All right.

But I'm gonna go with you,
I'm gonna oversee this.

And it's not because
I don't trust you, Peter.

It's because
I don't trust him.

You said this was a high-profile
case, and you're right.

I want a clean conviction,
no detours.

Have you got it, Neal?

-He's got it.
-I didn't ask you, Peter.

-Got it.
-Okay, great.

Then we shouldn't have
any problem.

I know that look.
I don't like that look.

What are you thinking?

I know how we can find the box
in the Empire State Building.

-The scanner.
-Yeah.

No.

That little device
is worth a small Dubois.

I can't just check it out
like a library book.

I'll use it while I'm supposed
to be in Bellmiere's loft.

Did you miss the part
about no detours?

Callaway's gonna be
in the van.

-Okay, there you go.
-Thanks.

PETER: I'm not gonna jeopardize
our first operation.

She won't know a thing.

This is not
a wink and a nod.

No.

I hear you.

-I don't think you do.
-What?

I need you to say,
"I will not use the scanner

"to search
the Empire State Building."

I will not use the scanner

to search
the Empire State Building.

"Or Mozzie or James."

Neither I,
nor Mozzie, nor James

will use the scanner
for such a search.

Little pinky-swear action?

Moz, meet me at my place.

I got a way
to find the evidence.

Here is your surveillance watch
du jour.

This is one an artisan
might wear while sculpting.

Keep those upgrades
coming.

Audio's good.
I've calibrated the scanner.

Careful.

I'll keep it safe.

DIANA: Anklet.

-(CLEARS THROAT)
-No. Let's leave it on.

This is an undercover operation.

Bellmiere's an art forger.
He's not airport security.

He won't be patting
Caffrey down.

Standard procedure
is to remove the anklet.

We're less than
500 yards away,

and we've got ears on him
with the watch.

Would you stand up?

(CLEARS THROAT)

There. You're
a very talented con artist.

You'll figure out
how to keep that covered.

No problem.

MOZZIE: Well, the views
are impressive.

This high up
in the Empire State Building,

location is everything.

That's exactly
what I tell my customers.

I-I run an ice-cream
franchise.

Security was a bear
getting up here.

Yeah. Metal detectors
in the lobby,

cameras at the entries
and exits,

visitor registration
and access-control systems.

Check-in desk every floor,
it's very safe.

Oh, yeah.
I can imagine.

It would be next to impossible
to sneak up, like,

a, I don't know,

a metal scanner
or something.

(BOTH LAUGH)

Now, that office
is directly below.

Does that pose
any noise problems?

No. They've got
20-foot ceilings,

and we've got three inches
of marble…

I think you have something
on your shoe.

Oh, my.

(SCOFFS)
Oh, my. I am so sorry.

W-What is this?

No. Stop.

I'll take care of it.

(CELLPHONE SPEED-DIALING)

Yeah, hi.

I'm gonna need the marble buffed

on the rental floor.

No.

This afternoon,
before the next showing.

Thanks.

Oy.

All right.

Listen, if you don't mind.
I like to work alone.

Just part of my process.

I'm the same way.

I'm gonna go grab
some coffee.

(SUSPENSEFUL MUSIC PLAYING)

(CHISEL CLINKING)

I always wondered
when we'd go out for ice cream.

Mozzie calls it
"mint chocolate tracking chip."

All right,
I re-set the scanner

so that the tracking signal
won't reach the van.

Perfect.

Ah, here comes
our custodial accomplice.

NEAL: Harv's the man
they call.

Is he O.C.D.?

Yeah, that's what makes him
so thorough.

Loves dogs.

-Has a niece named Daisy, right?
-You got it.

-Excuse me! Excuse me.
-Yeah?

(PANTING) Uh, sorry
to bother you, but you…

You seen a Collie
run by here,

about yea big,
got a magnificent brown coat?

Goes by the name of Daisy?

-Oh, no. Daisy?
-Yeah.

That's my niece's name.

-No kidding?
-Yeah.

Well, I was walking her
down Fifth Avenue.

She just up and ran away.
Just bolted, just ran away.

-HARV: Does she have tags?
-JAMES: 'Course she's got tags!

You sure you haven't seen her?

HARV: No, I haven't seen her.

JAMES: No? Oh, man!

What a day to forget
my glasses!

(CLINKING CONTINUES)

This could take a while.

I know how busy you are.
You don't need to stay.

Oh, I started in the field.
I like being out here.

-Me, too.
-Mm.

JAMES: It's been 45 minutes.

How do you know when we've
scanned the box?

NEAL: We won't until we take it
back and match the results

to the floor plans
and the dimensions of the box.

You guys ever run
a con like this before?

Can't say
I've ever used a buffer

to run an x-ray scanner
across a floor.

That doesn't look good.

Uh-oh. We're having
a technical difficulty.

JAMES: The image is breaking up.

NEAL: We lost it.

MOZZIE: He finished 90%
of the floor.

Let's hope the box
is in there somewhere.

That scanner
has to be completely intact

when I return it to the FBI.

(CLINKING CONTINUES)

What are you doing?

I'm checking on Caffrey.
Something's not right.

You're pulling up
his tracking data?

-We can hear him.
-We can hear chiseling.

We can't hear him.
I can't tell you why,

but I get the feeling
Caffrey's up to something.

Denied.

I.T. must not have activated
your I.D. yet.

Type in yours.

Okay.

(SUSPENSEFUL MUSIC PLAYING)

Hmm.
Must have made a typo.

I'm pulling it up right now.

Right where
he's supposed to be.

(CLANKING CONTINUES)

All right, Bellmiere's gone.
I'm scanning now.

(FOOTSTEPS APPROACHING)

What are you doing?

Oh, I was just looking
at your handiwork again.

Dubois' handiwork.

Stick to the ones in back.

All right.

Here it is.

The calibration's off.
It's completely unreadable.

Yeah,
I'm pulling him out of here.

(CELLPHONE BUZZES)

(CLEARS THROAT)

I'm gonna get
some fresh air.

(BAG CLANGS)

You know what?

The initial carving
isn't working for me.

That's exactly how I did it
for Dubois.

Didn't you tell him
to abort?

-He was happy with that?
-Yeah.

But he never let you
finish one.

He obsessed
over every detail.

Yeah, and he made
you start over…

Several times,
if I recall.

You have no idea.

Oh, I do.
I went through his notes.

He didn't want to destroy
his work.

You left him no choice.

He had to start over
because you weren't good enough.

Oh, please.
He never knew what he wanted.

He'd start over…
20 times.

He'd blow everything up
at the last minute

and leave me to fix it!
I made him what he is!

Whenever you look at a Dubois,
you're lookin' at me.

Then why isn't your name
on it?

CALLAWAY: Get him out of there!

He's going
for a confession.

You hide behind his work,
you live off his name,

but without Dubois,
you're nothing.

You don't exist.

(BOTH GRUNTING)

-Let's move.
-I'll monitor from here.

(GRUNTING CONTINUES)

DIANA: FBI!

Drop it!
Drop that weapon!

Okay! Okay!
Thank god you're here.

This con artist,
Neal Caffrey,

just broke
a $10 million sculpture.

(PANTING) It's a fake.
I can prove it.

Right there.

I stand corrected.
You do exist.

PETER: You once told me
every forger

finds a way
to sign his own name.

Mr. Blatnik, why don't you come
with us to the Bureau?

The sad thing is, you're
more talented than Dubois.

I wonder how this scanner
got so scratched up.

Must have fallen out of my
pocket when he attacked me.

Mm.

(UPBEAT MUSIC PLAYING)

-Hey.
-Hey.

How'd it go?

Oh, forensics confirmed
it was a forgery,

as well as the one he sold
at the Tibedaux.

That's great, but I was talking
about the Empire State Building.

We found it.

You found it?

Mozzie found
a rectangular object

the exact dimensions
of Ellen's evidence box

on the southwest side
of the ceiling.

Well, let's go get it!

No, there's nothing
we can do tonight.

It's not easy access.

-Well, does Peter know?
-No, not yet.

I'll tell him tomorrow.

Well, now that we know
where it is,

let me go get it,
keep you two guys clean.

No, I can't do that to Peter.

Well, you just ran a con on him.

I'm not doing this
without him.

Listen, you promised me
that you weren't gonna do this.

He's been more of a father to me
than you ever were.

We're doing this
with Peter.

Okay. You're right.

I'll see you tomorrow.

You asked me why I don't have
original art?

I've had three different names

and a dozen different aliases
because of you.

And to be an artist,

you have to know who you are.

You're my son.

And I'm very proud of that.

You know, Neal was chiseling
away for a long time,

but I never actually saw
any carving in evidence.

I'm sure there's a reason.

You both agreed,
no detours.

(SIGHS)
We did.

-I get it now.
-What's that?

Why Hughes approved so many
of your unorthodox operations.

-Really?
-You gave me a big win,

but I don't need anyone
looking into whatever it was

-Caffrey was doing.
-I'm sure it's not that bad.

Peter.

Is any of this gonna blow
back on me?

No.

Let's keep it that way.

You continue to give me
more wins,

and I will give your team
everything it needs.

Win-win.

Agent Watson,
did you find anything?

Scanner's damaged
pretty badly.

I see that.

And scrubbed data
off the hard drive.

Were you able to recover
any of it?

About 20%.

Whoever used the scanner
was searching a building.

Take a look at this.

Is that a serial number?

Yep.
It's a cable junction box.

This particular model
was used in only one place,

floors 33 to 61
of the Empire State Building.

-Thanks, Agent Watson.
-Thank you.

Oh, will you shut the door
on your way out?

(DIALING)

(RINGING)

Senator Pratt, please.

Amanda Callaway.

I think
I may have your answer.

(UPBEAT MUSIC PLAYING)