A/N - In case anyone is interested all the art I have written about, with the exception of the Jakuchū exhibit, is at the location described. Jakuchū's art was recently displayed at the National Gallery in DC in commemoration of the Cherry Blossom festival, but it fits perfectly with this story so I took some 'artistic' liberties.

Oh, and I like J.K. Rowling's writing style and am leaving clues about future heists and my characters pasts that will become relevant in later chapters. See what you can find... Cheers.

A Single Conversation With a Wise Man Is Better Than Ten Years Study

"Soooo," Peter said sitting next to Neal. "What information is so important that you barge into my house at 11 at night to interrupt me 'getting lucky'"?

"Oh that could still happen." Elizabeth had a glint in her eyes as she took a seat at the table across from Neall.

Neal had the grace to show mock horror, before continuing. "The origami figures, that's the clue we've been missing. This guy's practically drawn a map to where he'll strike next."

"Neal the figures are clean," Peter wanted to believe there was some clue they had been missing, but no matter what the lab boys tried there were no fingerprints, no DNA, and no invisible ink saying 'to catch me go here.'

Neal wanted to roll his eyes, but was pleased at his self-restraint. Sometimes Peter didn't appreciate showmanship, something that Neal understood in spades.

"Peter, each figure represents something the suspect took in the next heist. Look..." Neal grabbed Peter's files and shuffled through till he found the pictures of the origami figures. He also laid out the photos of the stolen items.

He pointed at the the dragon. "Some people say dragon myths are merely sensationalized stories about dinosaurs. In the next robbery those spikes from the stegosaurus's tail were taken." To punctuate his point Neal slapped the picture of the stegosaurus down below the other photo.

"That's a bit of a stretch Neal," Peter began, but Neal plowed on.

"At the Natural History Museum we found that little monkey. Seurat's "Seated Monkey" was stolen from the Guggenheim the following week. And at the Guggenheim he left not one, but three origami birds. None of those figures are well known origami designs, and I'm wiling to bet they were all specifically chosen. Look!"

Reaching into his inner suit pocket Neal produced a brochure. "This past week the Frick introduced a special exhibition on Japanese art painted by Itō Jakuchū."

Peter made a gesture for Neal to continue and the man's whole face lit up. "He's simply amazing Peter. This guy lived during Japan's Edo period, when the country had mostly closed itself off to the rest of the world, so the fact that he borrowed techniques from countries outside of Japan is a true testament to his artistic talents."

Neal was becoming more excited by the moment. "During his life he created the most fascinating paintings by layering different pigments on lengths of silk. His collection of thirty-scroll has only recently been reunited. It's considered a Japanese cultural treasure symbolizing the harmony of nature with…"

"Neal!" Peter quickly interrupting Neal's excited, and rapidly flowing diatribe. He appreciated Neal's passion for art but at the moment he couldn't care less about anyone's artistic aspirations.

Neal seemed to jump a bit at Peter's sharp retort, which surprised the agent. Neal was ever the picture of calm, even in the middle of the most stressful situations. After a second though the mask of calm slid perfectly into place. "Sorry, it's just the Frick is outside my radius. I've been wanted to see this collection every since I heard about it, but it hasn't ever been shown together outside of Japan and my situation has you know… made travel there difficult."

While Peter didn't think Neal barged into his house simply to pull a con job, Neal was the king of killing two birds with one stone. "If you just want to see the exhibit you're better off asking."

"Peter, I'm surprised you think so little of me," Neal exclaimed with a look of mock hurt before opening the brochure to the centerfold, which showed several photographs of the scrolls. "Not that I wouldn't be eternally grateful if you escorted me," he quickly added. Past experience had taught him, if he pushed enough Peter usually gave in, just for some peace and quite.

"Why this exhibit?" The agent asked, now genuinely curious.

"Jakuchū studied with Ooka Shunboka, an Osaka based artist known for his bird and flower paintings," Neal continued and at another warning glare concluded. "Jakuchū followed in Shunboka's style and was particularly fond of painting chickens and roosters. A couple of his paintings even include phoenixes."

Peter pulled the brochure away from Neal and studied them with a furrowed brow, going over Neal's evidence in his mind.

"This actually makes sense." He looked up and Neal beamed.

"My expertise is second to none Peter".

"Yeah, yeah… you're the Albert Einstein of the art world."

"I'm definitely more of a Leonardo da Vinci, you know a renaissance man," Neal pointed out but decided he had worn out his welcome when he saw Peter's pinched face.

"So tomorrow, seven o-clock we plan our attack, damn the torpedoes full speed ahead." With that Neal all but dashed out the door before Peter could make any of his orange jumpsuit threats.

The following morning came way to early for Peter's liking, but with a promising new lead and five days before the next heist, Peter arrived at FBI headquarters in a relatively good mood.

He was even in a good enough mood to let Neal bore the other agents with a history lengthy of Jakuchū's art and how the origami figures, pointed to the Frick's new exhibit. Neal was in his element, as he once described Jakuchū's style, how the art was created, and the symbolism the pieces held for the Japanese people. If it weren't for the stress of the case, Peter would have found the information far more fascinating.

Peter also knew Neal liked people to appreciate his knowledge and skills even if it was only from an alleged point of view. That desire to be recognized and appreciated was probably why Peter finally caught Neal after their three-year cat and mouse chase. Neal may have walked into a trap over Kate, but he left enough clues for Peter because he wanted the agent to know how good he really was.

Like a child, Neal desperately wanted attention. Peter still didn't know everything about Neal's past, but he often wondered if Neal had anyone who offered him the affection he needed during those early years. Neal didn't seem to be so traumatised by his past that he couldn't cope, but there was a story there Peter wished Neal would tell.

Working with Neal also taught Peter the value of giving the younger man proper accolades for law-abiding activities. As he told Neal, 'It was far better when Neal worked with them than against them. Neal's knowledge of all things criminal made it dangerous when placed in a room of shiny things, but it also made him the best partner Peter could ever ask for. Peter had a feeling Neal's vast knowledge was tied into that past he remained tight lipped about.

And if Peter was honest with himself he let Neal talk because he really did not want to have to put up with him pouting the rest of the day, which often occurred when he wasn't allowed to force his art expertise on the less knowledgeable white-collar agents.

"The Frick hasn't been targeted yet, and Caffrey's line of reasoning about the origami does make sense," Agent Clinton Jones concluded after Neal finished his presentation with a flourish, including his own little versions of the origami shapes left at each scene. Peter wasn't sure if Neal's own creations were because he loved the craft, or because he couldn't bear to let the agents think another artist's skills surpassed his own. Peter suspected a bit of both.

"But all we know from this is that the suspect will most likely hit the Frick," Agent Berrigan cut in. "Even if Caffrey's theory is correct the thief takes art from other exhibits in the museum, that has nothing to do with those figures. I mean, how do we know what other items he's after? The Frick's a big place. Too much extra security, he might get suspicious and change targets."

"He'll stick with the plan, even if he knows we're watching the place," Neal announced.

"That what you would do?" Peter raised an eyebrow.

"Maaaybe… Allegedly…"

"Look," Neal finished, considering how best to make his next statement.

"This person left something to represent the location of his next heist. Either he's very arrogant and correctly assumed you guys weren't smart enough to figure out his clues, or he did it because he wants you to know his plans.

Arrogance or statement, that sort of person won't let a little thing like law enforcement ruin his score. This guy is good, not a single piece of evidence to show how he got in and out, not even a glimpse of him on the security cameras. If he didn't want you to know anything about him he would have taken the art and left nothing. He's practically begging for your attention."

"Is this the voice of experience talking, or the voice of regret?" Diana quipped, poking at Neal's need to sign his own forged bonds which led to all sorts of problems down the line.

Exaggeratedly rolling his eyes Neal answered, "I may or may not have reconsidered a couple of career choices I've made, mainly the one to share my extraordinary knowledge of art with unappreciative philistines also known as the FBI. But even if my expertise comes from some of my alleged work, that doesn't change its value."

Stopping the exchange before Diana and Neal's verbal sparring reached full force Peter cut in.

"I think we can all agree Neal's expertise in this area is sound," (Thank you Peter) "However since it has been pointed out, and rightfully so by Diana, that we don't know exactly what the thief is going to steal we still need a plan that considers not only the Jakuchū exhibit, but other potential art as well."

"We're being watched on this," Peter continued, needing the agents to understand how much was at stake.

"Three museums in three weeks, this isn't a single random act, it's a spree. We need to catch this person before they decide they've had enough and retire to some exotic island with their score."

"A second-rate island, those painting aren't worth that much," Neal muttered loud enough for everyone to hear. At the Peter's glare Neal quickly added, "I just think you need to consider inflation Peter, the value of the dollar is a bit shaky right now."

Knowing Neal was intentionally trying to work him up Peter promptly ignored him, and addressed the actual agents, leaving Neal to sulk with only his origami friends to sympathize.

"We need ideas. We have to keep surveillance inside and outside the Frick, but still not spook our guy… even if he is a megalomaniac who will try to rob a museum watched by the Feds," Peter quickly added when Neal looked like he might stop pouting long enough re-point out the thief's egotistical tendencies.

"Maybe the Frick would let us pose as security guards," Diana suggested. "Museums are adding extra security because of the heists, and dressed as guards we won't look like we're onto him. We can still have teams watching the exits and a team in the van to coordinate everything.

"I call dibs on not being in the van," Neal jumped in. "My skills are put to far better use impersonating members of law enforcement."

Peter pulled a face. Between letting Neal play a rent-a-cop, with his insufferable cockiness when masquerading as the law, and listening to him gripe for hours about how suffocating the van is, the agent had yet to decide which was the lesser of two evils.