kate Ieaves you a bottIe with a maP on it and this is where it Ieads us?
Grand CentraI Station?
It's something I'd recognize, Mozz. Something significant.
Significant? Grand CentraI Station.
Something familiar. She could have sent us anywhere...
...so she sends us to a PIace that leads everywhere?
Mozz.
You know, there's a great oyster bar in there--
NEAL: I think there's something in here.
X marks the sPot? Again?
kate Iikes the cIassics.
"Dear NeaI. Heard you're Iooking for me.
Wish I couId expIain more, but time is not on our side.
But you need to stoP looking.
No one can deny what we have, but it's over.
PIease move on.
kate."
AIl this for "move on."
OddIy bipoIar.
I'd rather have some oysters.
AIl the wrongs and the rights
There when you open your eyes
And if you open your eyes
You'Il find the sea
[kNOCkING]
PETER: Hey. Hey.
Have a good weekend?
Ah. Nothing too exciting. I went to the park.
PETER: Oh, great. Glad you're getting out.
Coffee?
Love to, no time. Got a stoIen painting.
It's June's Italian roast.
It's...
...Haustenberg.
Haustenberg? Wow.
Was it a museum heist?
No, residentiaI robbery.
I'd Iike to meet the Person who keeps a Haustenberg over their mantle.
NEAL: Love Haustenberg.
Which one of his paintings was stolen?
This one is caIled Young GirI with Locket.
No photograph?
No, but I bet you it's a painting of a young girl wearing a Iocket.
You don't get enough credit for your deductive skilIs.
It's worth 2 miIIion and change.
That's nice. Haustenbergs are rare.
Not many works made it out of Hungary after the War.
Yeah, rare can make it vaIuabIe. Very valuabIe.
What are you Iooking at me for? Why do you think?
I didn't steal it.
I know you didn't steaI it.
But you like Paintings. I'm worried that if we find it...
...it may be too much temPtation for you. I can handIe temPtation.
[BEEPlNG]
NEAL: Wanna keep your eyes on the road? PETER: This is a Taurus.
The car can take care of itseIf. I'm keeping my eyes on you.
The road is imPortant too. Sorry. I see the road.
No-- No, don't aPoIogize. That was-- He stoPped.
You know I didn't steaI it. You checked my anklet?
I aIways check your anklet.
I puII a maP uP on you every day so l can see exactIy where you've been.
What was so interesting about Grand CentraI Station?
Oyster bar, it's the best in town.
I stayed within my two-miIe radius.
I wonder if we've been a IittIe too generous on that.
Oh, yeah.
What, are you gonna suIk now?
You don't trust me.
What did Reagan say? "Trust but verify"?
That was also the motto of the Soviet secret poIice.
Get used to it, comrade.
Eyes. Road.
Let's just recover the Painting.
Yeah, and drive.
JULIANNA: Oh, so the FBI. You're reaIly taking this seriousIy, huh?
PETER: We are. Are you the homeowner?
Yes.
My Parents are dead. I'm over 21 , and I was robbed.
Any other questions?
PETER: Was the Painting insured?
No. Worth 2.6 milIion.
That's where it was.
Tuesdays l have classes.
The instructor let us out early.
I came in here, and there was this monster here...
...and he shoved me uP against the waII.
He hurt you?
Yeah.
I hit him in the face.
And he said if I did it again, he would kiII me.
What did you do?
I hit him again.
Do you have a Photo of the painting?
Your rePort only had a description.
Yeah. Yeah.
GARY: Can I heIp you? Oh, it's okay, Gary. lt's the FBI.
They're here about the painting.
Oh, of course.
Thank you for coming so quickIy. PETER: Sure, sure.
Were you there when it hapPened? No, I was at work at the time.
Wish I couId be more heIP. PETER: AII right. Great.
We Iooking at an inside job? Thief knew her scheduIe.
Nothing else taken. I'd go with that too.
HeIP Julianna with that Photo.
Gary, I have a few questions.
Gary is your...? UncIe.
WiIl that do?
Oh, my goodness.
JULIANNA: That's my grandmother, and that's the Painting behind her.
Could be your twin.
I'II take that as a compIiment.
I was named after her. She raised me.
When she died, she Ieft me the house...
...and the Painting.
What did Uncle Gary think of that?
You don't Iook Iike an FBI agent.
I'II take that as a compIiment. What does an FbI agent look like?
Um.... Him.
You got the Photo?
Let's go.
PETER: I've never seen a guy Iawyer uP that fast.
I've got that he's a stock trader on WaII Street...
...and that his attorney wiII answer any further questions I might have.
So UncIe Gary tiPs off the thieves, sPIits the take.
More IikeIy, UncIe Gary owes money to somebody...
...and he got tired of staring at 2 miIIion bucks hanging on the waII.
Now, he shuts uP, we do this the hard way.
AIl we need is the name of the guy he's working with, right?
Right. So why don't I taIk to him?
You? Yeah. Okay, Iet me rephrase that...
...since l am a consultant and not technicaIly an emPloyee of the FBl--
A consuItant on a tenuous Probation.
As I'm constantIy reminded. Is there anything iIIegal about me taIking to him?
Can't threaten him. Don't Plan to.
Or Iie to him.
AIl right. AlI right, no Iying. I'm just gonna ask him for the name.
TeII me, Gary.
Does JuIianna know you heIped steaI the Painting?
You can't be here. My Iawyer was very cIear--
First of aII, hiring a Iawyer makes you look guiIty.
He toId me sPecificaIIy not to talk to the FBI.
Do I look Iike an FBI agent?
Who are you? Think hard, Gary.
Did he send you?
What do you think?
God, I knew this would hapPen.
What, that whoIe thing at the house was a setup?
How did it go wrong? Julianna wasn't suPposed to be there.
Now she's a witness. It wasn't my fauIt.
Her cIass got out earIy.
PIease don't hurt her.
It's not me you need to convince.
TeII him--
TeII him l'Il make sure she doesn't cause any trouble.
She's ready to sit with a sketch artist.
This is the kind of thing that makes it much harder for him to seIl the painting.
How about--? Here.
How about a good-faith Payment? Here. Here's $300. That's aII I got.
Three hundred?
Gary.
AIl right. You're right, you're right.
Um.... I couId write him a check?
That couId work.
PETER: He wrote you a Personal check...
...to the guy he helPed steaI his mother's painting?
He was very insistent.
No threats, no lies. I let him do aII the taIking.
I'm caIIing this a gray area.
[CHUCkLlNG]
Gerard Dorsett.
You know him? Yeah.
Yeah, he's a bad guy.
So l figured.
Hey, what about JuIianna? He figures out she's taIking to us, then--
Let's catch the bastard before that haPpens.
JONES: Yeah, we got him. We've been sitting on him for two days.
They were going to every high-end gaIlery in Manhattan offering the Haustenberg.
Who's that? JONES: The big guy? Joshua.
Ex-miIitary, the muscIe who stoIe the Painting.
Julianna wasn't kidding about the Punch. The girI has an arm.
And the other guy, that's Dorsett, French exPat.
What's he into? Besides shaking down stockbrokers?
PETER: High-end Ioan sharking.
AIthough caIling him a Ioan shark is Iike caIIing OediPus a mama's boy.
He makes questionabIe Ioans with big corporate money.
Get behind on your Payment, he'lI firebomb your office.
Ouch.
The good news is, you get to meet him. Tomorrow.
How did you arrange that? VANDERSANT: l set it up.
Neal, this is Taryn Vandersant. She's a buyer at the Lambert gaIIery...
...and is nice enough to heIp us out on this one.
I convinced Dorsett l have a weaIthy client who's very interested in the Painting.
How much is he asking?
Hundred-thousand.
We've arranged to have the exchange haPpen at the gaIIery, NeaI.
Jones, Iet's get her prePped.
This shouId be fun.
What? Have you ever met a woman who didn't...?
Brittney. Brittney Nicole.
In second grade.
I had a gaP in my teeth.
AIl right.
kate Ioves the cIassics.
PETER: That's a big load of Iaundry.
It just soId for a hundred and twenty thousand.
What? Come on, man.
PETER: What?
You can't Put a price on art. No, you can't.
Which is why I think 2.6 is a IittIe steeP for the Haustenberg.
You're not a fan of Haustenberg?
I don't know, l--
It's a Iittle cartoony for my taste.
Okay, you're a philistine.
Yeah, yeah. I'm the crazy one.
You alI set? MAN: AlI set.
WeIl, Iet's get wired.
VANDERSANT: A hundred grand in cash, that's a Iot of money.
Tempted?
Why wouId you think that?
Peter warned me about you.
Warned you?
Sounds ominous.
Does it? Yeah.
Is it true you just got out of Prison?
Do I look Iike I just got out of Prison?
He said you'd do that.
What? Redirect.
Yes, l just got out of prison.
Yes, Peter is the guy who put me there.
And yes, I'm temPted.
Is it true you escaPed for a girI?
Some PeoPle think I'm a romantic.
Did she?
I'II Iet you know.
MAN [OVER RADlO]: 5e got Dorsett crossing 20th.
Let's get a camera on that. Okay.
They're aPproaching the gaIIery. Team One has the eye.
Good to see you again. VANDERSANT: Good to see you.
As I said on the phone, this is Mr. Devore.
CaII me George.
It's smaIIer than I exPected.
Have you seen the Mona Lisa? It's tiny.
Could l see the money, pIease?
I'd Iike to authenticate it.
DORSETT: You two have known each other for a Iong time?
We've been friends for-- How Iong has it been?
Years.
Beautiful People are never just friends.
George has a girIfriend.
Again, monogamy is the great casuaIty of beauty.
Not aIways. PIease.
We use the exPression "butterfIy" for a man who flits from fIower to fIower.
A man such as yourseIf couId be quite a successful butterfly.
We consider butterfIies weak, deIicate creatures.
But fIaP their wings and they can set off hurricanes.
That's beautifuI. You shouId write a book. Could we...?
CIose the doors, Please.
I have a girIfriend myseIf.
NEAL: Is she faithfuI?
She's French. I try not to think about it.
Brigitte arrived Iast night.
And I shouIdn't Ieave her aIone in a new town for Iong.
PerhaPs we couId hurry.
VANDERSANT: Of course. Lights, please.
I've got fIuorescing cadmium green and azurite blue.
That puts the paint comPosition pre-1 960.
PerhaPs you can exPlain...
...why there are peopIe signaIing each other outside?
Want us to go? Not yet. We can't risk it.
Who are they?
If you brought the FBI into this-- It was not me!
I toId you to keeP a Iow profile. You were careless.
You've been fIashing this Painting aII over town. They foIIowed you here.
Something is not right here.
You're damn right it's not. For my time and inconvenience.
That's it. Move. Move.
Team One, Team Two, AIpha Bravo is exiting the rear of the buiIding. Move in.
PETER: Go. Go. Go.
FoIIow Jones.
You okay? We're fine.
Arrest them. Arrest them. We have to keep their cover.
Handcuff them, read them their rights.
You two are on the north end, oPPosite side of Jones. Go.
Where are they? MAN: They disappeared...
...between the buildings.
Anyone have eyes? Negative.
AIl we got is this. What?
They switched cIothes. Damn it.
Things always this interesting when you're around?
Come on.
You're under arrest.
So how upset were they that you Iost the hundred grand?
"Upset" is a bit of an understatement.
They've started an administrative inquiry.
Everything wiII be fine if I recover it--
When I recover it.
WeIl, the good news is Neal didn't take it.
Yeah.
This is progress. Do you think he had anything to do with it?
No. But the thing about NeaI...
...nothing is ever what it seems.
The guy is a contradiction. He's obsessed about Kate...
...but you shouId have seen him flirting with this girI.
Honey, that's who NeaI is. That's never gonna change.
That's what I Iove about you so much. What?
That I lost aIl abiIity to fIirt when we got married?
Honey, it was even questionable then.
It was. Who's the new girl?
Taryn Vandersant. Mm. Don't know her.
She's a buyer at the Lambert gaIIery. She's beautifuI. Seems nice.
WeIl, if NeaI is interested, you shouId encourage it.
Encourage it? I need that Iike a hoIe in the head.
Honey, if he faIls for the new girl, he might actualIy stoP chasing kate.
PETER: Uhh....
Love you. Love you.
PETER: You and Taryn were getting aIong good yesterday.
She's not my tyPe. What? Not your--?
Why isn't she your tyPe? She Ioves art, she Iooks Iike Lara Croft in khakis.
RealIy? Does she bake cookies for orPhans too?
She does.
I get it. Meet a nice girl, maybe settle down.
SimpIify my life, probabIy save yours.
You're lying about the cookies.
Prove it.
Who's that? Curator, from the Channing Museum.
Wait. Why is he here? PETER: The Haustenberg.
He says it beIongs to them.
Lose the hat.
How come the Channing didn't rePort it missing?
We did report it when it was stoIen in 1 967.
I have a question.
The painting was stolen in '67, but it's not Iisted on the Art Loss Registry.
The Registry was established in 1 990.
'91 , actuaIIy. You could have re-fiIed the claim.
I'm sorry, you are who?
Neal Caffrey.
He's one of our art consuItants.
Caffrey.
Not famiIiar with that name.
It's Probably for the best. You're an expert on Haustenberg?
AIl the Iate EuroPean PostimPressionists.
I authenticated Young GirI with Locket myself...
...when it first entered our colIection.
I'II agree it's an excelIent work. A bit sentimental for my taste...
...but the Matisse influence is apParent.
Considering Matisse was a fauvist, I wouIdn't agree at aIl.
UnIess you're talking about his early work. If you are, you're just wrong.
We have reason to beIieve this was taken in a residential robbery.
What hapPened to the painting when it was taken from my museum is not my concern.
Now, if someone eIected to buy stoIen proPerty...
...l believe that is a crime.
Do you know how the Haustenberg came into your grandmother's possession?
She brought it with her from Hungary when she came to this country after the War.
Why? Agent Burke, got a question for you.
Yeah. Excuse me.
PIay nice, kids.
What's going on?
You're not a very good liar. Your grandmother stole the painting.
Why wouId you say that?
She never had it insured. That was my first cIue.
Is this Iike a good-cop, bad-cop thing?
He takes a calI, you wink at me.
We get the Painting, it's going back to the Channing...
...unless you give us a good reason to keep it away from them.
TeII me a story.
How did she take it? Just hyPotheticaIIy.
HypotheticaIly?
A Iittle bIack dress, a Iaced bottle of whiskey...
...and a horny Irish security guard.
Why did she do it?
That's the locket.
Your grandmother is the IittIe girl in the painting.
How's it going in there?
It's fine. Any luck on Dorsett?
No. Assuming you just waIked...
...with a hundred grand in cash and the painting, what do you do?
Go to ground tiIl things cool off. Where do you go?
Dorsett said something about having a girlfriend.
Brigitte. How many Brigittes came in...
...from France Iast night?
Accounting middle names and speIIing variations...
...a Iot more than I thought. Discount connecting fIights.
And women over 50.
TeII me I'm wrong.
WeIl, that Ieaves seven.
AIl right. So Iet's PuIl in some teams and everybody take a Brigitte.
We'II take the girI staying at the Gansevoort.
That's where I'd stay.
ANNOUNCER [ON RADlO]: Off the gIass and it's in for two.
He goes down....
You'd think they'd have a sateIIite for things like this.
OnIy thing a sateIIite is gonna telI us is that he's not on the roof.
This is oId schooI.
Old schooI.
WiIl you reIax?
Do you meditate? No.
RealIy? You look Iike a guy who meditates.
Sandwich?
Up to the free-throw line. lt's good.
What is that smeIl?
It's deviIed ham. No.
Come on. No.
The second one faIls in too. Time now calIed on the court...
...and we'Il be back shortIy after this commercial break.
[MUSlC PLAYING ON RADIO]
No, wait. Go back to the game. No, I caIIed it.
You're just touching buttons, that's not caIIing it.
What are we, 1 2?
I guess we are. When we're in your car, we can Iisten to your station.
I don't have a car.
Poor Iife choice.
And we got the game.
lt's exactIy 97-98.
Point guard takes the baIl, up the left side of the court. Passes it quickIy....
What do you think you can afford in that Place?
SPot me a 20. Why don't you use the new GoId Card?
--fakes the shot, hit his man in the air.
You know about that?
BeautifuI pass! keeP it.
Makes it easier for me to know what you're buying.
Puts it up off the gIass, and it's in for two!
Inbound pass to the other point guard. Quickly surrounded by half-court pressure.
On the corner, he dribbles around.... AIl right, go.
But no shenanigans. You've got 1 0 minutes.
And keep your phone on.
That's for you. Defending bIocking fouI, foIks.
[WHISPERING] Shenanigans.
That's number 1 0, the third foul of the night and the seventh team fouI.
[SPEAKING IN FRENCH]
Can l buy you a drink?
--find the rim and it's good.
Hey.
What?
What do you think?
Hookers? No. No, that's Brigitte and her friend.
I convinced them to invite us up to their suite. Brigitte likes me, you can have CIaire.
Are you comPleteIy out of your mind?
The room is rented in her name.
We're not breaking any laws if she invites us in.
The hundred grand and the painting couId be inside.
WouIdn't you Iike to know if we're sitting in the right PIace?
Peter.
Which one's Claire?
[BRlGITTE LAUGHING]
[SPEAKS IN FRENCH]
CIaire is cute. Yeah.
She's exactly what l need in my Iife right now.
AIl right. There are no men's socks Iying around.
Brigitte does not Iook Iike a girI who's worried about her boyfriend coming home.
Peter, you have to relax. lf we have the wrong Brigitte, we'Il know soon enough.
Beats sitting in the car eating deviIed ham.
AIl right, fine.
The second we find out if Dorsett is staying here...
...we leave and we caII in reinforcements. Done.
They're coming.
[SPEAKING IN FRENCH]
She doesn't want us in there. Yeah, l saw her Iock the door.
If there's a door that connects to the master suite, l can oPen it.
No. I won't teII anyone.
No, no. You understand the ruIes here.
Yes, l've heard the speech.
What's that? They wanna pIay striP poker.
I'm kidding. But couId you imagine?
They want music, alI right? Come on, reIax. AIl right.
It's over there. Come on.
Just un moment.
Neal, I know what you're doing. Just un moment.
Cut the French crap. Get out here. keeP them occupied.
I can't keep them occuPied.
I don't sPeak French.
Okay. l know--
Oh, that's--
Oh, I'lI just--
Oh, now--
You know what? I should get uP now.
I-- I can't-- I can't go--
That's a good grape.
[PHONE RlNGING]
Oh, it's just-- It's just my phone.
Just my phone. No, l'm just getting my Phone. That's aII I'm doing.
Just getting my-- See? Oh, no.
No, pIease don't.
Let's-- Let me have the phone, s'il vous pIait.
Thank you. Oh, God, that's EI.
HeIIo? Hey, I didn't think I was gonna get you.
I was actualIy gonna leave a message. Oh, hi. Yeah, weII....
I saw that it was you. What's uP?
I just got back from a cIient dinner.
Wanted to see how stakeout was going. Having a bIast.
[ROCk MUSlC PLAYING OVER SPEAKERS]
5here are you? I'm at a-- I'm at a--
Are you at a nightcIub?
Yes, that's where I am. We were at a nightcIub.
We folIowed him into a nightcIub.
At the Gansevoort?
Honey, I'm impressed.
l can't believe you got in there.
It's a Iong story. I'lI--
Oh, God. EI, l've gotta go. I've got a situation here, okay?
I love you, honey. I Iove you. It's crowded. lt's crowded.
Hey, Neal. Caffrey!
PETER: EI caIled me with these two crazy women in the background. Not good.
No. No. No. Just one moment.
PIease. Please.
If Elizabeth hoIds this over me, I'm revoking your badge.
I'II do it.
What are you--? What are you Iaughing about?
What are they Iaughing about, NeaI?
Look, l'm not-- I'm not gonna dance with you.
We can be friends.
I'II have another grape.
What asPect of the warrant law are you stiIl struggIing with?
"To my dearest JuIianna. keeP this forever."
Let me taIk to EIizabeth. It's the Ieast I can do.
No, the least you can do is nothing, which is exactIy what you wilI do.
It's my fauIt. No.
I don't need you to Iie to my wife. You gonna do it yourseIf?
No.
The truth, Peter. BoId choice. HypotheticaIly--
I wouIdn't stoP compIaining, so you Iet me go into the nightcIub...
...and you witnessed the susPect enter after me and had no choice but to folIow.
It's aImost the truth. It's better than aIimony.
[PHONE RlNGS]
Yeah? JONES: We lost Dorsett.
What about the painting and the cash?
AIl gone.
Dorsett escaPed.
This is bad. Yeah, this is bad.
You know, this one may be a real probIem, EI.
So if you don't find Dorsett, what hapPens to NeaI?
He's done. He's back inside.
Do you actuaIly think he stole it?
Yeah.
You gonna be okay?
Yeah, l'Il be--
I'II be fine.
Honey, Iisten. About last night at the hoteI.
You mean, the nightcIub.
Yeah, welI....
Neal was comPlaining about my sandwich, he started fidgeting with the radio, so I....
There was no nightcIub.
I know.
You don't think after 1 0 years, I know when you're--
Stretching the truth?
WeIl, that's a nice way of putting it.
Next time, just telI me.
That's what I toId NeaI.
Then stick to it.
I wilI.
I know you're a good man.
Was she cute?
No-- Now, that depends on your definition, because I--
I gotta Plead the Fifth on this one. Yeah, okay.
[PHONE RlNGING]
Who is this? DORSETT: I couId ask you the same thing.
You seem to have many names, George.
Dorsett. How did you get this number?
You bought my girlfriend a drink with your credit card.
I'm impressed with your resourcefuIness.
Now you wilI see mine. I want the painting.
If it is not returned, Joshua wilI pay a visit to your beautifuI friend at the galIery.
You Ieave her out of this.
Brigitte was out of bounds, yet you involved her.
You set the ruIes, now you must pIay by them.
I need two days.
That's aIl you have.
You stoIe the painting? I was going to give it back to JuIianna.
You're like a chiId. No sense of consequence.
Okay. WiII you Iook at the inscriPtion?
Channing Curator said he authenticated the painting before it was stoIen.
He saw that it beIonged to JuIianna and chose to ignore it.
And you're Robin Hood.
And did I forget to mention the part where you stoIe the Painting?
I didn't think Dorsett would get away.
This is because you don't Iike the guy from the Channing. You did this for spite.
I've done things for Iess.
I can't let him go after Taryn.
So, what are you gonna do?
This better be good.
I took the painting.
Damn it, Neal. I wasn't gonna--
I did it for--
We can use it to catch Dorsett. He doesn't know I work for you.
We'II set it uP tomorrow.
Now get the helI out of my house. Okay.
Good night, Elizabeth. Night, NeaI.
WeIl, he told you the truth about the Painting.
Because they threatened Taryn.
It's a start.
Yeah.
It's a start.
You know you have absoIutely no impuIse controI.
Hand me the NapIes yeIIow.
Haustenberg's brushwork is much more fIuid.
You're being chopPy. No, my brushwork is fine.
MOZZIE: This couId trick the occasionaI tourist...
...but this guy at the Channing wiII not be fooIed.
I'm sure he won't.
This pigment needs to be aged.
I'II go Preheat the oven. It's 125--
Yeah, yeah, yeah. I know how to age a painting.
How tenuous is my Probation?
It's Pretty thin. We need this one.
It's simPIe, right? Yeah, so don't make it comPIicated.
Take Dorsett down quickIy. I get him, you trust me again?
Yeah, comrade.
You stilI gonna verify? Oh, yeah.
Here we go.
NEAL: I'm surprised you had the guts to come yourseIf.
It's not bravery.
I simpIy don't trust Joshua with a miIIion-dolIar Painting.
Is it hard to Iive Iike that?
Not trusting People closest to you? I suPPose.
But l'Il take the money. You won.
Yes, but it was a good game.
[SIRENS CHIRP]
JONES: FBI! Hands where l can see them!
Give me the painting. MAN 1 : Hands uP.
MAN 2: Hands where l can see them.
Haustenberg was her father?
Yes.
She was his iIlegitimate daughter. But he had a famiIy then, in Hungary.
It was before the War.
How did the painting end uP at the Channing?
He wiIIed the painting to my grandmother.
When he died, the museum chose to ignore his wilI.
Who cares about the iIlegitimate daughter of a famous artist?
It's not theft when rich men do it.
How do you know that the Channing won't try to take it back again?
If they do, the curator wiII have to expIain why the museum...
...went against Haustenberg's wishes.
I don't think he wants that.
Neal, what have you done?
ProbIem?
No, no. I'm just...
...overcome with the....
I'm thrilIed to have the original Haustenberg back where it beIongs.
Forbidden romantic meetings are kind of a personaI thing, Mozz.
Like l was gonna let you come aIone. What if the guy with the ring pIanted that note?
He didn't. You'II be haPpy l came...
...when a red laser dot suddenly aPPears on your forehead.
Enough with the hero talk, Haversham.
Okay. Maybe she wrote it three days ago or maybe three months ago?
She'II be here.
WeIl, it is Friday...
...and it was noon. So where is she?
[PAY PHONE RINGING]
Sorry.
kate? WOMAN: Neal?
kate, where are you?
I don't have a lot of time.
[CAR HORN HONkING]
You're here.
Neal, are you stiIl there?
NeaI?
Hi.
Stay there, I'm coming--
No. Neal-- Neal, he's close.
The man with the ring? Yes.
I don't care. Listen.
I need you to teIl me where you hid everything.
What? The money, the bonds, the art, aII of it.
Why?
He wants something.
Something you took, something you hid.
I hid a lot of things. WeIl, then give him everything.
If he gets what he wants, he'lI let me come back.
Who is he? l can't teIl you.
It's too dangerous for you. Why? kate, just telI me. I can Protect you.
This is the only way you can heIp me. You always toId me I had to trust you.
WeIl, now you have to trust me. I wanna come home.
PIease just teIl me where you hid everything.
No.
I wanna come home.
It's the only Ieverage I got.
Just stay there, okay? I'm coming up.
Neal!
kate?
Mozzie, teII NeaI l Iove him.
TeII him it's the onIy way.
NEAL: kate!
[PLACED SDH - PSDH]