"Now, this is beautiful, no?" "Camille Pissarro, Dean of the Impressionists." "Notice how he's abandoned precision in favor of expression, how alive it all is." "What about this?" "Well, that, I'm afraid, is not for sale." "It's entirely too valuable." "Go, go!" "Back!" "Up against the desk!" "What are you doing?" "!" "I said move!" "60 seconds!" "Pick it up!" "Let's go!" "Let's go!" "Come on!" "Clock is running!" "Come on!" "Move!" "Go, go, go!" "Take it!" "Go!" "Come on!" "Pick up your feet!" "No, no, no, don't you touch that!" "Don't be stupid." "Clock is running!" "I'm telling you, that's worth nothing to you." "Take it." "John, no." "John, don't!" "We're good!" "Let's go!" "Let's go!" "Let's go!" "Somebody help me!" "Go, go, go!" "♪ The Mentalist 6x16 ♪ Violets Original Air Date on March 30, 2014" "== sync, corrected by elderman == @elder_man" "W-what's all this?" "Oh, well, that's the art squad." "They deal with stolen art and stuff like that." "Yeah, their offices on the sixth floor are being remodeled, so I told them to set up in the conference room for the time being." "Huh." "Mrs. Hennigan, why was your husband trying to save this painting in particular?" "That's me." "John painted it years ago, when we first met." "We fell in love as he was painting it." "It's not worth any money, but it was worth a lot to us." "To me." "We'll do our best to get it back for you." "This gang that did this, uh -- we've been chasing them for quite a while now." "They're really good at what they do." "I can't believe he's gone." "Well, he's not gone." "He's alive as long as you're alive to remember him." "He lives in you." "It's a cliché." "I know." "But it's true." "I'm special agent Marcus Pike." "This is agent Searls." "You're Patrick Jane, right?" "Abbott's guy." "Well, he's my guy." "Thanks for, uh, sharing your floor with us." "You people need some help, huh?" "What makes you say that?" "His shoulders." "Hey, now, uh " "Hey, now, I'm just saying, if you need some help, I could help you." "I mean, murder is my business." "Sure." "I've heard good things about you." "We'd be happy to have your input." "These guys, they're " "They're really good, and our cases don't usually lead to homicide." "But you are going to catch them, aren't you?" "I hate to sound immodest, ma'am, but, uh, I rarely fail." "Patrick." "Sylvia." "Welcome to the fishbowl." "You volunteered us to handle the case?" "I decide what cases we take next." "Well, I was just being neighborly, and the art squad seemed all for it." "Well, of course they were." "They've been chasing this group for years, with no luck." "And what do you know about catching art thieves?" "Uh, nothing at all." "That's why it'll be fun." "Okay." "We'll take it." "Get a hold of agent Pike in the art squad." "Get up to speed on this thing." "Let's show 'em how it's done." "This is special agent Marcus Pike from the art-theft squad." "He's being attached to our team while we work the case." "Uh, I've asked him to get you guys up to speed." "Art thieves used to be about sneaking -- nighttime break-ins." "Not anymore -- the new generation prefers guns." "This guy is the leader." "He does the talking, runs the show." "But until yesterday morning, he's never killed anybody." "They've done about six jobs between Dallas and Phoenix in the last two years, taken down about $100 million worth in art and artifacts." "We're in the wrong business." "Stolen art can take a long time to sell, so our guess is that they're sitting on a lot of the art, including the paintings from yesterday's heist." "If we have those paintings, we can nail them for John Hennigan's murder, so it's imperative that we find this art stash." "They've done six jobs." "They must have left us something to work with." "Well, they've only slipped up once." "We found a glove a few blocks from a gallery they robbed in Phoenix." "We managed to get a partial print, and we got a hit." "Aaron Pulaski -- time for armed robbery and battery." "He's also the former middleweight boxing champ at Folsom prison." "And you can't charge a man for owning a glove." "Yeah, we brought him in for questioning, but he lawyered up quick and told us zip." "These guys are pros." "If he's a known felon, we should have his known associates, hangouts, stuff like that." "We do, but nothing's popped." "He doesn't seem to have a lot of friends." "He hangs out a lot at a bar on Sixth Street." "We could set a tail on him." "Eh, could be waiting for weeks." "Uh, my plan is a little more elaborate, but it's much more entertaining." "Of course it is." "You already have a plan?" "Well, as you know, agent Lisbon, the key to a good con is always making the mark feel that he is in control." "I mean, you can lead a man anywhere as long as he thinks that he is driving." "So, how do we do that?" "Well, first, we rope him in with some flash, then we steer them towards a couple of good inside men, a Face." "We're gonna need some art for the gaff, and then a good false blow-off." "I don't know what any of that means." "You'll get used to it." "But if you want art, I got art." "Good." "I always feel a little bit like Aladdin right here." "Wow." "Okay." "Now we're having fun." "Where does all this stuff come from?" "It's stolen." "What do you mean?" "Sometimes we get just part of a haul, and we sit on the art so the crooks don't know have a lead, and we keep it here while we investigate the rest of it." "And nobody knows about it?" "Well, we keep a pretty tight lid, our own secret museum." "Impressive." "You bring dates here?" "No." "Just..." "Once or twice." "Fantastic." "Gorgeous." "I love you, agent Pike." "Everything we need." "I'm gonna make you a list." "We should be ready to roll in about a week." "Well, I " " I don't want to second-guess you, Mr. Jane, but if you want to use these paintings as bait, the guy running this crew knows a lot about art." "He'll know this stuff is stolen." "Yes." "That's the point." "Good morning." "Good morning." "So, what's the plan to catch these art thieves?" "Well, I am just as curious as you are." "Jane has been playing this real close to his chest until he figures it out." "He said he'll be here to brief us any moment." "You sure about that?" "Morning." "Where's Jane?" "Still at the party house." "The party house?" "Wait till you see it." "Uh, w-- this is his idea." "How are we supposed to know what to do if he's not here to tell us?" "He gave me notes." "Ah." "Okay, very well." "Please brief the team, agent Wylie." "Okay." "Um, uh..." "Here we go." "We want the leader of the gang, the one who shot John Hennigan." "To find him, we need to gain the trust of Pulaski." "So, we know he likes to spend time at the his favorite bar." "That's where we rope him." "We need to plant some bugs and cameras in the bar." "Why?" "So I can monitor it from here." "You're our roper." "Jane said you'd know about boxing." "Oh." "Well, I never told him, but, yes, I do." "So does Pulaski." "That's a good place to start." "Uh, I've got some tips for you, if you, uh..." "But you -- you probably know what you're doing." "You're the muscle." "Jane said that you could handle your own wardrobe." "Yeah, I can do that." "Uh, oh, Jane said that the two of you could work out the choreography." "Oh, yeah." "That's easy." "Lisbon is playing the inside man -- uh, uh, woman -- inside woman, with Jane." "He wants you to wear this." "Yowza." "It's a bit much, isn't it?" "This is for you." "Oh..." "You're the Face." "Once Pulaski is at the party, you lure him into the bedroom." "Uh, Jane's got some ideas." "Uh, yeah." "Thanks." "I think I've got it under control." "Then Jane and Lisbon take over." "And then what happens?" "Uh..." ""And then the fun really starts."" "That's a direct quote." "Hey." "Lone star." "We ready?" "Yeah." "It just started." "Mm!" "God, uh -- my man." "Mm?" "Hey, let me get some of those." "That's a nice opening gambit." "Well, how's that?" "You see what he did there?" "He asked him for some napkins." "So?" "Jane told me about this." "You want someone to trust you, you don't give them something." "You get them to give you something, even something small." "It'll make them think they've invested in you." "It's all subconscious." "Hey, my man, y'all showing the, uh, Reynoso fight tomorrow?" "Oh, that's what's up." "Okay." "Whoo, baby." "My bookie is gonna be weeping about that." "Reynoso is going down." "You know, that kid is a little bit too fast for him." "Don't waste your money, bro." "Kid's got speed, but he's got no power and no chin." "You think so, huh?" "Yeah." "Look at these two." "There's absolutely no commitment." "We're getting close." "Now he just needs to move that arm, and we're all good." "I-it's guarding behavior." "Jane told me to watch for it." "He moves that arm, it means he's comfortable with Abbott." "Maybe he's not gonna do it." "No, he's gonna do it." "Watch." "There you go." "Cool." "I'll let Jane know the mark has been roped." "Okay." "All right." "Mm." "All right, let me finish." "Yeah, all right." "Okay, so -- so, I've got him." "I got him up against the ropes, and I -- bam!" " pop him in the liver." "The sucker folds in half like a deck chair." "It was perfect." "There's nothing like a liver shot to make a grown man call for his mama." "Ain't that the truth?" "Right?" "You want another shot?" "Hey, line 'em up, man." "Two." "That was perfect." "Absolutely." "Perfect." "Oh, man." "That is perfect." "Oh, man." "Look at these guys!" "You have an annoying laugh." "What's that?" "A loud, annoying laugh." "You made me miss my shot." "Hey, man, you miss, you lose." "Live with it." "Don't touch the money!" "Hey, brother, take my advice." "Get out of my face and go back to your game." "I'm not your brother." "And what are you looking at?" "Whoa!" "Hey, hey!" "What's wrong with you, man?" "Aw, hell, no!" "Oh." "Yeah, you better run." "That dude is crazy!" "Yeah, you got that right." "My laugh is not annoying." "Well, I guess we have to find another place to drink." "This yours?" "Yeah." "Why?" "You need a lift?" "Yeah." "All right." "Come on." "Thanks." "Whew!" "We're here." "This is our new drinking place?" "Yeah." "It's my boss's house." "Swag." "If you don't mind me asking, what line of business you in?" "Whatever needs doing." "Hey!" "Dennis, you wicked man." "Where have you been?" "And who is this handsome brute?" "Uh, Teresa, this is my friend Aaron." "Fabulous to meet you, Aaron." "Any friend of Dennis." "Come on in." "Dennis, you old rascal." "I am so glad you came." "And who do we have here?" "Uh, this is my friend Aaron." "Aaron, pleasure to meet you." "Pisces?" "Uh, no." "Sagittarius." "Ah." "Close, but no cigar." "I like you anyway." "And you can relax, make yourself at home, grab a drink." "Oh, isn't he fabulous?" "Such a mean face." "Mm, yeah." "There it is." "Down, girl." "You're doing very well." "Just a little, uh -- a little big." "Big?" "Really?" "Yeah, try a little less Joan Crawford and a little more Barbara Stanwyck." "I don't even know what that means." "Look, I can't walk, and you're giving me acting tips?" "Just stay upright." "Keep smiling." "I can't breathe in this dress." "Can you pass the rice, please?" "Where did the house come from?" "Mm, it's a drug forfeiture, on loan from the D.E.A." "So, what's the story with Jane and Lisbon?" "She was working for the California Bureau of Investigation in Sacramento, and then his wife and child were " "No, I mean, are they in a relationship?" "A couple?" "No, no." "I used to think so, but they're not." "I don't think." "How's it going?" "Going good." "You got a nice right cross." "Thanks." "We just ate." "There's some vindaloo left, I think, if you want." "No, I'm good." "So, Abbott roped the mark, got him to the party." "He's met the inside man -- Jane, that is." "Now we're just waiting on the Face to lure the mark to the bedroom." "Has he been talking like this all night?" "Yeah." "Ah, here we go." "Hey, now." ""Hey, now," yourself." "What's your name, sweetheart?" "Kim." "Aaron." "You are smoking hot." "You're like a damn fire hazard walking around here." "Oh, hush." "No, for real." "The eagle has landed." "We only just met." "Oh, I feel like we've known each other so long." "Perhaps we hooked up in a previous life." "Oh..." "You mean like you were Napoleon and I was Josephine?" "I was thinking more like Mickey Rourke and Kim Basinger, you know what I'm saying?" "You are a very naughty boy." "Whoa, whoa." "Slow down there, cowboy." "What's the matter, baby?" "Come here." "Uh, when I said, "make yourselves at home,"" "uh, that's not exactly what I meant." "That's -- that's my bed." "I'm sorry, man." "You see a chance like this you take it." "Kim, really?" "You have no self-control." "Out." "Sorry, boss." "Anything that moves." "What the hell?" "Is that a Van Gogh?" "I'd never have pegged you as an art lover." "It's a fake." "All of it?" "Yeah, afraid so." "I couldn't afford them if they were real." "What is it that you do?" "I mean for money?" "Software." "Software?" "Mm-hmm." "Haven't seen a computer in your whole house." "Never take your work home with you." "Key to a happy life." "Let's go downstairs, have some fun." "Hey." "It's Pulaski." "I think I've found something." "Nope." "You're gonna want to see this yourself." "Thanks for the party." "I had a great time." "You get her home safe." "I can take her home." "Uh..." "Maybe in the next life." "Right." "Looks like your ride ditched you." "Can I call you a car?" "No, I'm good." "Thanks for the party." "My pleasure." "Patrick?" "Are you up there?" "Everybody's gone." "I'm sorry." "The party's over." "Where did you get this painting?" "Uh, my boyfriend will know." "He's on his way up." "All right, fellas, what's the situation?" "Well, Pulaski left a sliding door open before he left, and this guy came through it." "We got a name?" "I'm working on it." "Oh, I keep finding strangers in my bedroom." "Guess it was a good party." "You all right, Teresa?" "I am now that you're here." "He wants to know about the painting." "It's a fake." "Uh, no, it isn't." "It's the real McCoy." "It was stolen two years ago." "Really?" "Yeah." "So..." "What's the deal?" "Uh..." "I don't know that we've met." "I'm " " I'm Patrick." "And this is Teresa." "Hi." "MacKaye." "Huh." "I'll cross-reference the name "MacKaye" with the picture." "Edwin MacKaye, a Dallas resident, business owner." "He owns some local restaurants, fast-food joints, that kind of thing." "Cash business -- that's good for money laundering." "Criminal record?" "No." "He's clean." "Ex-military." "Oh, and look -- a minor in art history." "Ooh, that's our boy." "If Jane's theory is right, then he should be the leader of the gang, which means he's the one that killed Hennigan." "Okay, cut the cute stuff." "You stole these." "It's what you do." "I mean, these are all stolen." "How do you know so much about it?" "Are you a cop?" "Oh, don't you get it?" "This gentleman's one of us." "He doesn't look like one of us." "No." "He's a heavy, a shooter." "I'm direct." "And you're one of those grifter types, huh?" "You, uh, prefer tricks?" "You could say that." "Eh." "Never saw a trick that could beat a bullet." "Well, it's always nice to get tips from the competition." "Oh, I-I don't have competition." "See, Texas is my territory." "You've got to go someplace else." "I hear Miami's hot." "Are you saying this town ain't big enough for the two of us?" "Yeah." "I'm not playing with you." "Oh, I get it." "But I think you're a businessman." "Now, you can try to run us out of town, or maybe you can stop and think about what brought us to town." "You got a job planned?" "A big one." "Mm." "The Vermeer at the DMA?" "Lousy escape routes." "Hmm." "The Hirst sculpture?" "Too heavy." "Violets." "Give the man a cigar." "He's a sharp one." "Well, I guess you've got three options." "You can cut me in on the job, you can get out of town tonight, or I just hurt the two of you badly." "What do you think?" "You know, you should have been a salesman." "What do you say, darling?" "Are we gonna cut this thug in on our plan?" "It's better than him hurting us badly." "Welcome to the team." "This is Pike." "Hey." "It's Lisbon." "I'm just checking in before I go to bed." "Okay, well, we, uh -- we shut down the inside cameras, so you don't have to worry about any more prying eyes." "And, just so you know, there is someone outside the house." "We're guessing it's another one of MacKaye's crew." "Huh." "Well, that's gonna make me sleep better." "No, we've got eyes on him." "Don't worry." "You're safe." "I wouldn't lie to you." "That's a nice change of pace." "I feel like everything I've done today is a lie." "Well, you were, uh -- you were real good." "I learned from the best." "I'm starving, and there's nothing to eat in this house." "Well, that's a shame." "There's a pretty good diner just down the street from you -- biscuits and gravy, if that's your thing." "Not really." "All right, well, what about pancakes?" "I could go for some pancakes." "They have about six kinds -- chocolate chip, banana, all that good stuff." "Now you're just trying to torture me." "Maybe." "Just a little bit." "I could have some sent over to you." "You said there's a guy watching the house, remember?" "Yeah, you're right." "I won't tease you anymore." "I won't even mention the waffles." "I'm gonna go downstairs and see if there's some canapés left from the party." "All right, well, I don't know what a canapé is." "But bon appétit." "Good night, Lisbon." "Good night." "Fischer." "Good job on getting Pulaski to the bedroom." "Candy from a baby." "How did we do?" "This guy paid Jane and Lisbon a visit after the party was over -- Edwin MacKaye." "Looks like he's the one who killed Hennigan." "So what's our next move?" "Jane's plan's working so far, so we stick with it." "Yeah." "I want you to handle the takedown." "It's gonna be dangerous." "You got it." "All right." "Fischer, I want you to handle the streets." "Jane gave us a list of things that he needs." "A marching band?" "Yeah." "A marching band." "Yes, sir." "Well, you just love popping up places, don't you?" "Let's go." "And good morning to you, too." "Shotgun." "Manet painted it as a gift for his brother's wife, his forbidden love." "He couldn't express his love to her in words, so he did it a different way -- with a painting." "It's worth maybe $100 million if it ever went to auction." "Mm." "You have someone who wants it?" "We've got a customer lined up." "How much?" "$5 million." "50/50 split." "Fair enough." "Now, you've probably got some, uh, cute, little plan to get us in and out, no fuss, no muss, huh?" "Well, I do like to keep my muss to a minimum." "I don't do cute." "Tricks, cleverness -- it's a waste of time." "You'd be surprised." "Ah, fast and simple." "That's the way to do things." "And you're the one behind the wheel." "This is the part I don't understand." "We're not gonna rob the museum." "No." "Why not?" "I mean, he robs the painting from the museum, we catch him red-handed, case closed, we all go home." "But then we wouldn't be able to prove that he murdered John Hennigan." "Besides, Jane said that MacKaye doesn't want to rob the museum." "Then why is he at the museum with Jane?" "'Cause he wants to get Jane and Lisbon out of the house." "That's okay, 'cause we know what they're gonna do next." "Well, damn." "So, they hid all the paintings." "Yep." "Thinks he's smart." "Thinks he's pulling one over on me." "So, what do we do?" "We hit them -- the old-fashioned way, hard and fast." "I figure four minutes." "We get in, we open the safe, we get out." "And what if this Patrick guy stalls in giving us the combinations?" "Well, he acts like he doesn't care about anything, but I see the way he looks at his girlfriend." "See, that -- that's the soft spot." "He gives us any trouble," "I shoot the brunette in the head." "We need to keep at least one of them alive until we get the safe open." "After that, if one of them gets in the way, it's open season." "Up, now!" "Whoa, sorry." "Didn't hear the doorbell." "No talking." "To the bedroom -- now." "Stay with her." "If I give the word, kill her." "Let's go!" "I'll be back in two shakes, babe." "Move." "Oh, so demanding." "Would you like a drink?" "We have some champagne right here." "Don't say a word." "Drop the gun now." "Open the safe." "Oh, you know about the safe." "That's a depressing development." "Faster!" "Yeah, slow and steady opens the safe." "Voilà." "Here." "Hold on." "What?" "I don't like the look on his face." "Tracking device, yeah?" "You think I'm stupid?" "Ask me that question again when you don't have a gun." "Okay." "You stay up here for a full minute after we're gone." "You understand?" "Yep." "One, Mississippi..." "Shouldn't have came back, fellas." "Now, why don't you put the guns down so we can discuss it?" "Bastard." "He's in the back!" "Tires squeal ]" "Hey!" "Okay." "2235 Fritz Street, off Singleton." "Yes, sir." "Keep the change." "Thanks." "Have a nice day." "FBI!" "Put your hands on your head!" "Do it now!" "All right." "Let's be very clear about something." "We don't need you to say anything." "We already have the rest of your crew in custody." "We have FBI witnesses for armed robbery, assault, kidnapping." "We have enough stolen art to start a museum." "And, best of all, we have the paintings that prove you killed John Hennigan." "Lawyer." "Lawyer." "Well, um, that is your right." "Oh, what song was the marching band playing, by the way?" "Hmm?" "The marching band that, uh, blocked off the alleyway." "What song were they playing?" "What are you talking about?" "Well, I requested "The Yellow Rose of Texas."" "Were they playing "The Yellow Rose of Texas"?" "The garbage truck, the marching band -- you did all that?" "You steered me to the cab, huh?" "The illusion of control." "It made you feel safe enough to go where you kept the paintings." "Now, unless you have any further questions about how I played you like a big, old bassoon," "I have someplace..." "fabulous to go." "Au revoir." "Yum." "What's this?" "It's case-closed pizza." "It's an old tradition." "Thought I'd bring it back." "Huh." "Next time, it's on me." "Deal." "How is it?" "It's all right." "You probably like that Chicago-style stuff, right?" "Pizza's pizza." "Mm." "I'm not really in the mood for pizza." "You know what sounds good?" "Those pancakes we were talking about before." "Those did sound good." "Do you want to go?" "Right now?" "Yeah." "Dinner is the best time for breakfast." "What do you say?" "That's really sweet, but..." "Look, if you don't want to go, just say so." "We're cool." "It's good." "But I like you, and I think you're a hell of a good-looking woman, and I'd love to get to know you better." "Let's do it." "Let's go." "All right." "Excuse me." "I was told to come here." "Oh, yes." "Please, come in." "Is it true you got the man who killed John?" "Yes, I did, and I also got this." "Don't -- don't they need it for the trial?" "Oh, no." "Don't worry about that." "It's true what you said." "He's, um..." "He's still here." "Okay, so, where are we going?" "Ah." "Um..." "Well -- uh, y" "Oh, no, no." "You -- you kids go ahead and have fun." "Good night, Jane." "Good night." "Okay." "Have fun." "== sync, corrected by elderman == @elder_man"