"Before I start, can I ask that you grant someone else immunity?" Neal asked.

"Mozzie, I'm assuming?" Peter shook his head as he asked.

"I didn't say that."

"I'll say for now that it depends on the crime or crimes committed."

"I suppose that's fair."

"From the beginning then? I'm assuming this story goes back farther than today."

"It goes back to the day you shot Adler. Someone put all of the art in a storage room and directed me there."

"So someone stole it for you? And you didn't report it to the authorities?"

"I'm reporting it to the FBI right now."

"Neal, you have had stolen art in your possession for two months now; this isn't something that can be overlooked by the bureau." Even though he wasn't particularly surprised, Peter looked completely dismayed.

"It has never been in my possession. And until today, it was in the storage facility I told you to meet me at this morning, which was never in my name."

"Fine. I'm not letting this go, but I need to hear the rest of the story. So, you and Mozzie were planning on running with the art, but you got cold feet?"
Neal nodded as he decided that if he was going to to tell the truth, he might as well tell all of it.

"Okay. So where does Agent Matthews come in?" Peter asked, looking conflicted.

"She took all of the art from the storage facility, and then she took me to that apartment building after showing me that she had kidnapped Mozzie and handcuffed me to a chair with the instructions to look over the manifest before choosing a piece to fence for her."

"So she's using her position in D.C art crimes to commit art crimes..."

"So simple, it's brilliant."

"I suppose you could look at it that way. But you still haven't gotten to why, when I found you, you had her at gunpoint."

"Well, Mozzie and I were attempting to escape the apartment building, and I had picked the locks on all but one set of handcuffs when she walked back in the room. Then she walked back into the room and pulled her gun on us."

"But no one was shot; there would have been blood."

"Well, she tried to shoot me. I don't think she'd ever shot a gun before though because she missed completely. You will find a bullet in one of the floorboards if you look carefully, though." Neal leaned back into the couch, looking very much like he was going to fall back asleep.

"So she wasn't exactly a crackshot, but you still had to get the gun away from her somehow," Peter prompted.

"That's where Mozzie comes in; while she was focusing on firing at me again, he used the opportunity to use the handcuffs to knock her off balance long enough for her to drop the gun."

"And you took it? And pulled it on her?"

"Yes. I had to stall her somehow. If she wasn't there when you got there, none of my story would have any credibility."

"True. Well, what happened to Mozzie?"

"He didn't want to be in the building when the FBI showed up; you know how much he likes the feds."

"He didn't know we were coming anymore than you did."

"I have complete faith in your code cracking abilities, and Mozzie took my phone just in case."

"And immediately called to tell me exactly where you were."

"What?"

"It was a fairly large apartment complex; we didn't find the right room by sheer luck. Mozzie didn't tell me any of the details; he said you would though," Peter smiled at the stunned look on Neal's face.

"I think I'm going to regret telling you the whole story now."

"I think Mozzie expected you to if it's any consolation. But the question now, is what am I going to do with you two."

"Peter, I'm sorry. I should have told you from the beginning."

"You're right; you should have," Peter looked more disappointed than angry.

"We can give all of the art to the bureau."

Peter thought about this for a moment.

"Actually, Neal, you don't have the art, and you have never been in possession of the art."

"Are you saying what I think you're saying?" Neal's eyes lit up.

"Agent Matthews needs to stop using her job for criminal leverage; it gives the rest of us good guys a bad name."

"Peter, are you sure you don't want me to turn myself in?"

"Neal, I've suspected that you took the art the whole time. And you know that. Part of me feels guilty about that and part of me feels vindicated. But, I know that you had your doubts about running off with the art even before yesterday." Peter rubbed at his forehead as he thought to himself, "You were reaching out to me when you we're telling me about the rush of the con, and I just didn't know what to do with that information."

"Does this mean you trust me?" Neal asked drowsily.

"Neal, I don't think I'm going to trust you for a long time. I may not want you to go back to jail, but you have been keeping secrets from me that could jeopardize your entire life as well as my job."

"I know. I know. If it helps, I think I've hit bottom now." He pulled the blanket back up towards his chin and closed his eyes.

"That does help." Peter said. Then, he looked at Neal, "Well, it doesn't look much like you're up to going after Matthews tonight; get some sleep."