The mobster's wife says "They’re treating him like a dog." A dog. Not a ferret.
A neighbor said that if Gentile had buried a half-billion-dollar’s worth of art in his backyard, “there would have been scuttlebutt... Things get around, no matter how tight lipped you are.”
Here's some background on that art heist (which happened in 1990):
Investigators believe the first nabbed was Rembrandt's iconic "Storm on the Sea of Galilee," measuring about 5-by-4 feet and dating to 1633. The frame was laid on the floor where one of the thieves neatly sliced it from its frame.
Next was "Landscape with an Obelisk" by Govaert Flinck. Other stolen masterpieces included a second Rembrandt also cut from its frame, "A Lady and Gentleman in Black" from 1633.
The most valuable piece was Vermeer's "The Concert," an oil painting measuring about 2 1/2-by-2 feet from 1660 - one of only 36 known works by the Dutch master and valued at more than $250 million...
A Rembrandt self-portrait from 1629 - one of the museum's most valuable paintings - was removed from the wall, but then left untouched while one of the crooks patiently unscrewed and removed from its frame a tiny Rembrandt etching slightly larger than a postage stamp....
After the heavier works of art were removed from the walls, the thief in charge - possibly the older of the two - might have let the other thief take what he wanted.
Amore believes the second thief found his way to a nearby gallery, lifting smaller Degas drawings of horses while passing up more valuable works of art including one by the Italian painter Botticelli.
The thieves also tried to remove a flag of Napoleon's First Regiment from its frame before giving up and making off with a bronze finial in the shape of an eagle from atop the flag - ignoring more valuable letters with Napoleon's signature.
Then came a final puzzle.
The thieves found their way to a gallery on the first floor, again passing more valuable works of arts, to seize a "Chez Tortoni," a Manet painting of a man in a top hat and a departure from the Dutch paintings - all without triggering a motion detector.
"If we ever speak to the thieves, which is secondary, I would like to say, 'Why did you take that? Why did you pass by the Raphael?'" Amore said.