ハイライトは"There is a scientific basis for instinct."

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.

man 受け持つ

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.

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. 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.

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.

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...

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.

After you.

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.

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.

We will make New York White Collar the pride of the bureau once again.

I don't like her.

Shh.

Thank you.

That should be you, Peter.

You should be leading White Collar.

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.

jaunt 小旅行

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.

demotion 降格

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. 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 for 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.

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.

Monsieur Caffrey.

Henri. Bonjour. 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.

So, you think it's real?

Scuff marks here.

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.

plaster しっくい plinth 四角の台座

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.

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.

We are the exclusive dealers of Olivier Dubois' work. 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.

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.

identical 同一の

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.

articulate ハッキリ話す instinct 本能

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.

apprentice 実習生

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.

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 critical chicken sexer theory?

He...may have mentioned that. 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.

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.

bog 沼

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

I'm ready for my freedom. Any updates?

Yeah, we're getting close.

How close? Weeks? Days?

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.

Do it soon.

I want you to move off the Bellmiere case.

move off 立ち去る

What? Why?

There's just not enough hard evidence.

Yet.

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.

conclusive 疑う余地のない

I get it. We want a quick, high-profile win to impress the bureau.

There you go.

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.

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.

fault 責める

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.

Original. Conceptual. I'm gonna say the wires represent industry -- an endless loop spiraling downward.

You get me.

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.