All language subtitles for Mannix s1e24_The Girl in the Frame

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If you're, uh, studying
the stars, Markos,

you've got that thing
at the wrong angle.

No, the sculptor across the way
hired a model.

I get to use her free.

Oh, don't make me wet
with your tears.

You know, if you need any money,
I'll give it to you.

Oh, charity, huh?

If you really want to help,
why don't you buy a painting?

Here. This one.

I'll even let you
name your own price.

No.

Would you give me $500?

You know I would.

Then why don't you
buy the painting?

Because I don't like
the painting.

I'll give you $500
because I do like you.

And, if you ever paint
a painting I do like,

fine, I'll buy it
from you.

Markos, do you know that girl?

Who is she?

Hey, just a girl, Cal.

How-how do I get there?

Well, that's an alley
you're looking across.

The main entrance
is on Fourth Street.

Okay.
You have to go
around Melton...

(door rattling)

(door banging)

All right, where is she?

Who?

The girl that was just here.

You her husband?

Look, mister,
she was just posing.

You know this nut?

Yeah. What is it, Cal?

Several months ago, I bought
a portrait of that girl,

the one that was modeling here.

So?

It was painted by Renoir.

A hundred years ago.

(theme music playing)

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NORRIS:
Ah.

It is not a coincidental
resemblance, Mr. Mannix.

The hair, the face
are identical.

Even the positioning
of the mole

conforms within one millimeter,
I swear it.

When I saw that girl tonight...

A forged painting sounds
more like it's something

for the police or your lawyer.

Oh, I don't care
about the money.

Perhaps the insurance company
will take care of it.

I don't know.

You see, Mr. Mannix,

Calvin fell in love with
that beautiful young lady,

and he's been mourning
over the fact

that she's probably
been dead for over 50 years.

Now that he's found out
she's not yet extinct...

Sims, why don't
you just shut up?

Mr. Mannix, I hope that you
and your company

can keep this matter
confidential.

Chances are, this girl
is mixed up in it.

If she is, there's nothing we
can do to protect her for you.

Well, if those forgers
are good enough to fool me

and my experts,

we're obviously involved

with a multimillion-
dollar operation here.

The girl may be a witness.

My having spotted her may have
placed her in danger already.

All right, Norris,
we'll do what we can

to find her
as quickly as possible.

Now, it would help if I had
a few pictures of her.

I told you,
I've never met the girl.

How could I possibly
have a picture of her?

Oh, um,

of course.

The danger to the girl aside,
which I really don't believe,

I suppose you're wondering
why I'm enjoying all this.

Is that what
I'm doing?

You see,
I wanted that painting badly.

Fortunately,
as it turned out,

Calvin outbid me,

and he got stuck
with a phony.

Tell me, that sculptor
she was posing for,

couldn't he tell you
where to find her?

Mr. Lang was most uncooperative.

He said he'd never
seen the girl before.

She was brought there

by some other model,

and he couldn't even remember
who that was.

When you're finished there,
I'd like to borrow the original.

The, uh, the fake painting?

It couldn't be worth more than a
hundred dollars at the outside.

Whoever sold that to you is the
only person who stood to gain.

Brachfield Galleries?

Why, they're the soul
of integrity.

They even tried to prevent
my completing the purchase

because they could not guarantee

the authenticity
of the painting.

Well, that could be a soft
sell, reverse psychology.

Anyway, I'll
check them out.

Huh.

(computer whirring loudly)

(phone ringing)

(machine clicking)

(door closing)

Blowups of the girl's head.

Michaels did a nice job
on the retouch.

Can't be told
from portrait photography.

MANNIX:
Yeah, and the painting
can't be told from the real one.

The gallery refused
to take it back.

Said sold as is,
with no guarantee.

So you've jumped
to a conclusion.

Joe, may I remind you
that Brachfield

has the reputation
of being as honest

as the Bank of England
and the US Treasury,

only slightly less
responsible financially.

Here you are, Mannix.

Every artist capable of
duplicating a Renoir.

Everybody paints.

Now, I'd better start working
on a sensible lead.

Oh, you have
a better idea?

Yeah, I'd like to get
an even start

on whoever is out
to kill that girl.

Well, that's the advantage
of the computer is time.

Now, in just a
few seconds...
Oh, come on, Parker.

By the time I went through
ten of those cards,

I'd get a call from the morgue
to identify the body.

Joe...

whom are you going
to punch in the mouth

to get the information?

Does it make
any difference?

A big difference.

Because we're rapidly
approaching a point

where no insurance company will
handle our liability policy.

Well, I'll just try
not to hit anyone

who can afford a lawyer.

Yeah, do that.

(sighs)

(car door opens, then closes)

Hi, Petey.

Hey, Mannix.

Stick around.

Five bucks-- I'll
do your portrait.

Pay you ten.

Make it $25,
I'll do it in oil.

Oh, I don't want a portrait,
I want information, Petey.

A client of mine got stuck
with a phony Renoir.

Come on, Mannix,

it's been a long time since
I did that kind of thing.

I'm not accusing you.

I want to know who did it.

Why make waves?

If anyone can add to the
limited supply of old masters,

I say good luck to him.

The trouble is,
it seems the police

have it down
in the books
as a crime.

What crime?

Look, I, Petey O'Grady,

personally painted
three Corots,

a Manet, two Seurats.

For this I should
get awards, medals.

Did I get a medal?

No. I got five to
ten on the Rock.

You know there's no sense
of values in the world anymore.

Look at that junk.

For this, I should
get 20 years.

But this looks just like me.

This looks just
like Lincoln.

I'm not complaining.

Well, how about
it, Petey?

Look, Mannix, I told you,
I've been out of touch.

Well, get in touch.

At one time, you were
the best in the business.

Anyone running an art factory
would hire you in a minute.

Find out who wants you.

I did time.
I'm staying legit.

I'm not asking you to take
the job, just apply for it.

Uh, here's a down payment.

Turn up anything,
I've got a client

who will commission
a portrait.

In oil?

In mayonnaise,
if you'd like.

� �

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You don't have to steal
my stuff.

I sell cheap.

I'm looking for a girl

who modeled for you
earlier this evening.

You could have knocked
on the front door and asked.

A client of mine, uh,
tried that.

The word he used for you
was, uh, "uncooperative."

True.

What makes you think
I've changed?

I've seen it happen.

Change me.

(engine starting)

A new medium for me.

I've never worked
in living flesh.

(grating)

(metallic squeaking)

(clattering)

(yells)

All right, now I'm going
to ask you again nicely.

Where do I find the girl?

Like I told you,
friend, I don't know.

How did you hire her?

One of my other models
recommended her.

I don't know
which one.

You got a book
on those models?

Names, addresses, pictures?

I don't got no book.

With a lousy memory
like yours, you must have.

You're breaking
my arm!
You're lucky.

My boss wanted me to feed you
through the computer.

All right, I got a book,
but she's not in it.

Yeah, maybe not,
but her girlfriend would be.

The one
you couldn't remember.

Now, try them all.
(gasping)

All right,
all right.

Behind you,
underneath
the workbench.

(gasping)

Get it!

(loud panting)

Mind if I
borrow this?

Do I have a choice?

(paintbrushes sliding
across canvas)

You really want to
become a great painter?

Well, I've already
been to art school.

It didn't seem to help.

Hmm. What do
you want?

Well, I'm looking for a face
with a special quality.

Uh, one that
looks like that.

MAN:
No, I don't know her,

but I'm only around
two nights a week.

Oh, uh, you mind
if I talk to your, uh, model?

No. It's coffee
time anyway.

Pat, take five.

(door closes)

I heard.

PAT:
Linda?

Hmm. Friend?

Why her?

Well, you see, I'm painting
a picture of a girl

in a field of flowers,

and I need a certain
feeling to finish it.

I saw her at a party--

that's where
I took this picture--

but none of the model
agencies seem to know her.

No, but she's not a model.

She's a painter, and she
just picks up some bread

posing now and then
for other artists

when things
get tight.

Know where I can find her?

I have no idea.

She moves around.

Trouble?

No. It's the cheapest way.

One month's rent,
and two months' concession.

And when that runs out,
she finds another place.

Mm-hmm.

Well, do you ever hear from her?

Yes. She checks in
quite often.

I steer her onto jobs.

Well, good.

Listen, uh,
if she calls you today,

would you send her over
to my place?

I'll be at home
all night painting.

Thanks.

Mm.

Mr. Mannix,

if she doesn't happen
to call me...?

Well, when she calls.

I'm at home most every evening
painting.

It's Linda or nothing?

Yeah. Well, for this one.

Okay.

(doorbell chiming)

(doorbell chiming)

Uh, come in.

Mr. Mannix?

Ah, you must be Linda.

I see Pat gave
you my message.

We're working here?

Mm-hmm.

She said something
about a...

a girl in a field
of flowers.

Yeah, well, you see,

I've already finished
the field of flowers.

All I got to do
is work you in.
Oh.

Been painting long?

Oh, it's just a recent hobby.

My doctor recommended it.

Oh.

How recent?

A couple of weeks.

Well, where do I undress?

Oh, the second door
on the right.

Mm-hmm.

That's where I thought.

Now wait a minute.

Did I say something wrong?

No, it's just the way
you hold your brush

and use those short
little insecure strokes.

You've never painted
before today.

Anyway, it was nice
knowing you.

All right, Linda,
let's drop the game.

I'll stop pretending
I'm an artist

if you'll stop pretending
you're an innocent model.

What are you really, Mr.
Mannix, some kind of a nut?

No, some kind
of a cop.
What kind?

There are only four--
federal, state, city or county.

The fifth-- private.

Well, what do you
want with me?

I've gone through a lot
of trouble to find you,

and whether you know it
or not, you're in danger.

Huh! Only if
I stay here.

You posed for a phony Renoir
that sold for a fortune.

If you talk,
someone goes to jail.

Now, look, you're
going to jail

if you don't let
me out of here.

Now, some guys
think just because
a girl's a model...

The thought never
entered my mind.

Then what do you want?

(sighs)
Well, now, I don't want you
to take me wrong, but, uh,

if you'll just lift the corner
of your blouse on the left side.

I am taking
you wrong.

Now, are you going
to let me out of here?

No, but like the other
four kinds of cops,

I respect the rights
of the suspect.

You can make
a phone call.

You mean it?

There it is.

Oh, if you're calling
the police,

the nearest precinct
number is 555-1963.

Hello?

This is Linda Marley.

I'm at the home of Joe Mannix,

2742 Canyon.

He says he's
a private detective,

and he refuses to let me leave.

Would you please
send a man over?

Thank you.

(match striking matchbox)

(crickets chirping)

(quiet rustling in brush)

You really don't think I
called the police, did you?

No, I don't. I think
you called your friends.

Of course, that's
all right with me,

'cause without your help,

I'd have a tough time
finding them.

(crickets chirping)

(car tires squealing)

(car door opens, then closes)

(knock at door)

Come in.

This is Lieutenant
Collins, Mannix.

Don't try anything stupid.
We're coming in.

Are you the young lady
who called?

Yes, sir.

What's the problem?

Well, this gentleman, uh,
said he was an artist,

and asked me over
to model for him.

And when I found out
he wasn't interested
in painting,

I tried to leave,
and he would wouldn't let me.

You've pulled
some beauties, Mannix,

but this one
tops them all.

Why?

Protective custody,
Lieutenant.

You know, they got places
for guys like you, Mannix.

You want to look
at pretty girls,

you go down there
with a camera.

They don't even care
if you've got film.

Let's go, miss.

Uh, wait a minute,
Lieutenant.

Now, this girl's
in danger.

Really?
Yeah.

She's mixed up
in some kind of art forgery.
(sighs)

Oh.

Attempted murder? Art forgery?

No arson?

I'm on the level, Lieutenant.

Okay, Mannix. You want
to tell me about the case?

You know I can't do that.

Now, at least give this girl
some protection.

You want protection, miss?

Only from him.

You heard the lady.

Yeah, but I didn't hear

what charges
she's preferring against me.

After all, I did hold her
here against her will.

You're asking for charges?

What's that going to buy you?

Her address. She'll have
to give it if she...

Oh, if you don't mind,

I'd just as soon forget
about the whole thing.

After all, there
was no harm done,

and it happens every day.

(door closing)

(car door opens, then closes)

(car engine starting)

(engine revving)

(gun cocking)

(cries out in pain)

(footsteps thudding)

� �

(tires screeching)

You're a bungler, Mannix.

You let her slip away.

MANNIX:
It was like finding a needle
in a haystack and I found her.

Now, I should get
points for that.

You're supposed to find her;
that's why you were hired.

Is that why?

I was beginning
to wonder.

And what is that
supposed to mean?

Last night my
home was burgled.

The only thing they stole
was your phony Renoir.

That's incredible.

Yeah, it sure is.

Now, why would anybody
want a worthless fake?

Unless, of course,
you set me up for it.

Unless I did what?!

Well, you mentioned
insurance.

No one's insured
against buying a fake,

but I'll just bet you're
heavy with insurance

on your real
paintings.

Well, of course,
but the Renoir is worthless.

Is that what you're going to
tell your insurance company?

WICKERSHAM (over speaker):
Mannix.

Yeah, Lou, I know.

MANNIX:
Lieutenant
Collins called.

Also Burton Lang, a sculptor
you ran into last night.

He's considering charges
of breaking and entering

and assault and battery.

Yeah, well he
had a bad memory,

so I just
jogged it a bit.

His memory is fine; it's his arm
that's bothering him.

Yeah, well, why didn't he
turn me into the police?

And why didn't Linda
prefer charges?

You tell me.

'Cause they're all in this
thing up to their eyeballs.

Meet me in the computer room.

From here on in,
we handle this case by the book,

while we still have
a license to operate.

Well, it's recess
time, Norris.

I must go play with
the company toys.

There you are; work
out your hostilities.

(door opens)

(computer whirring)

PARKER:
One thing
we did turn up, Mannix--

Linda Marley was injured
last night,

checked into a hospital,
and was released this morning.

Your computers
turned that up?

Well, no, it was
in the morning paper.

(phone rings)

Mannix.

Yeah, Petey.

Thanks, I'll see that
you get that commission.

Of course in oil.

Now we start using
the computers.

Someday you'll realize
that ten minutes in here

will save you
two days in the field.

I just saved
the ten minutes.

A little man
called me.

Let me tell you something, Lou.

One of these days I'm going
to open up an agency of my own,

and I'm going to make
cardboard mock-ups

of all of
these monsters.

Then I'm gonna get me a bright
little man and stick him inside,

and I'll just bet you that
I'll get better answers from him

than you'll ever get
from all of these.

Joe, would you
like a practical demonstration

of what your little man
in the box couldn't do?

Parker, run a printout on tape
reel 16 of the Mannix dossier.

(machinery whirring
and clicking)

Since you're a field man,

I know you can't
read the code,

so if you'll permit...

We opened a closet,
found a skeleton.

Three things, Lou.

Number one, what I did
was for a good reason;

somebody's life was at stake.

Number two, in case
you hadn't noticed,

the statute of limitations
has run out.

I can never be called up
to account for this.

You, uh, said three things.

Number three, I programmed that
into the computer myself.

The whole thing never happened.

Was he kidding,
Mr. Wickersham?

I think he was, Mr. Parker...
but as he pointed out,

the statute of
limitations has expired.

Whatever you're selling,
I'm not buying.

Mmm, good, good,
yeah, yeah.

Well, you haven't
asked me what I want.

A frame you don't want.

Or you'd be carrying a picture
for me to put in it, right?

Right.

I'd like to buy a Renoir.

A Renoir?

Now, where would I be getting
such a treasure?

Oh, I didn't say you have one.

I'd like one painted.

(laughs loudly)

Renoir is dead, huh?

Yeah, well, that doesn't seem
to stop him from painting.

A friend of mine
just bought a Renoir.

I don't think the paint
was quite dry on it.

Why do you come to me?

Petey O'Grady
recommended you.

O'Grady,
O'Grady.

I-I don't seem
to recall the name...

Yeah, well,
it's been a long, long time.

You offered him a job today.

He says you specialize
in dead painters.

Hmm.

Your friend O'Grady
must be playing a joke on you.

I don't deal in anything
but, but frames.

Painting a Renoir, that's...

(sniffs)

...that's a
criminal fraud.

A man has a right to protect
himself against a criminal.

A masterpiece, and
you've destroyed it.

Who painted
that Renoir?

(stammering):
How should I know?

Now, look,
I'll make a deal with you.

We'll just forget
who painted that Renoir.

You get me the name of the
girl who modeled for it.

But how can I-I...?

Find a way.

Now, you've heard of Intertect.

We've programmed you
through the computers.

Day by day,
we'll add to that,

and before you know it,

you'll be looking at your future
through barred windows.

But how can I tell you
what I don't know myself?

Dig me up the name of that girl,

and I'll wipe your records
off those tapes.

I'll try.

Believe me, I'll try.

You do that.

Oh, and one more favor.

What, what else,
what else?

I'd like
to use your phone.

Y-Yes, of course,
right, right here.

(dials phone)

Mannix here.

Yeah, get me
Wickersham.

Lou?

Any news from
the tails?

Pender lost Lang.

Weaver followed Norris's friend
Markos to the Philharmonic Bowl.

He's still there, painting.

Anything else?

Yeah, something important.

That girl Linda is
a pretty close friend of Markos.

Well... my hats off
to your computers, Lou.

No, no, we, uh,
used the Mannix method, too--

questions and answers.

Connors in our art department
knows Markos.

Yeah, well, listen,
I'm heading over to the Bowl.

Tell Weaver
to pull out of there.

I don't want it to look
like an Intertect convention.

Right.

LINDA:
Markos?

Markos...
I'm frightened.

What did we do?

Hey, we did nothing,
I told you.

I never posed
for Lang before.

He never wanted me to.

It was a gag.

Mannix asked me
about the birthmark.

He was just fishing.

What for?

Honey, you just stay cool.

You haven't done
anything wrong.

(sighs)

Hey, what is this?

Huh?

I don't know.

It's just that I feel something
terrible is about to happen,

and we can't do
anything to stop it.

Markos, I think
somebody's trying to kill me.

What?

When I was coming home
last night,

just as I walked under
a scaffold, something fell down.

Darling, that sounds
like an accident.

(sighs)

Hey, you're all right.

I promise
you're all right.

I'll tell you what we'll do;
we'll take a trip.

We'll put some canvas
and some brushes

and some paints in a bag.

We'll go find
where Gaugin stayed.

(chuckles)

Wait a minute.

MARKOS:
After that, the Orient,
study Japanese art.

LINDA:
Where would you
get the money?

Money?
(chuckles)

We've got it.

Somebody owes me a bill,
and I'm collecting tonight.

You did do something wrong.

(inhales deeply)

Yeah, yeah, I guess I did.

I, uh, I sold a painting
in a manner of speaking.

LINDA:
Oh!

MARKOS: I decided
it was cold in my pad.
(gun cocks)

Love for my work
just doesn't keep me as warm

as a two-dollar sweater.

(gunshot)

(Linda screaming)

Oh, Markos!

Markos, oh!

(gunshot)

(gunshot)

(gunshot)

(gunshot)

(gunshot)

(Linda screaming)

(gunshot)

Oh, Markos!

(gunshot)

LINDA:
Markos!

Oh, Markos!

(Linda creaming)

Get out of there.

(Linda screams)

Come on.
Let me go!

Come on.

Let go of me!

Let go!

Will you let go
of me!

(groaning)

Markos.

Let go of me!
Let go!

Get out.

(groaning)

Will you
let go of me!

Now, will you
listen to me?!

I'm trying
to help you.

You killed Markos.

Whoever wants you
dead is out there.

I'm going to
go after him.

I want you to go back to
my car and stay there.

Stay out of sight!
Do you hear me?

(gunshot)

(chamber clicks empty)

MANNIX:
I'm sure
it was Lang.

Now, would he know
you recognized him?

I don't think so.

He did his best
to stay undercover.

You know, that birthmark
really bothers me.

Why is that?

Well, when Norris
saw her, she had it.

When I saw her,
she didn't.

Well, maybe she painted
it on herself.

But why bother?

Why does anyone
steal a fake?

Well, maybe
they didn't know.

You know we've done our best
to keep this quiet.

Maybe they thought
they stole an authentic Renoir.

Well, what would
they do with it?

I mean, who would want
to buy a famous,
stolen painting?

Oh, there are some people
who get a kick

out of the mere idea
of owning one.

If the Mona Lisa were available
right now,

and the buyer could
never admit ownership,

there'd still be a few
art lovers fighting

to buy it from the thieves.

Yeah, well,
I'd like that list.

Thanks, Doc.
Yeah.

What list?

The one you were
just talking about.

Private collectors
who are rich enough

to afford the Mona Lisa.

And, uh, crazy
enough to buy it.

Now where would I get
a list like that?

I thought your computers
could do anything.

Oh, come on.

There are limitations, Joe.
You know that.

You've got one little machine
that can get me that list.

MANNIX:
That one.

You gotta admit,

the computers haven't
been a big help.

I'll admit it.

I'll sign a notarized
statement to that affect

if you want me to.

However, I'd like
to remind you

that we are a nationwide
organization.

We handle thousands
of cases a year.

And in each one
of those cases,

including a couple
of yours,

the computers have
been invaluable.

Rosskovsky?
Mannix.

Payoff time for
that favor.

Now listen, if you've
got your hands
on a Mona Lisa,

who'd be your most
likely customers?

No, no besides
the Louvre.

Yeah, just a minute.

Yeah.

Yeah.

With a C?

Okay, thanks.

Yeah, I'll get the computers
off your back.

What do you know.

Four names.

Guess who tops the list?

Sims, Norris's friend.

But he's one of the few people
who knows the Renoir's a fake.

Cal, welcome
to the party.

Quite a
turnout, Sims.

I didn't realize we had
that many art lovers

in our circle.

Any, uh, news?

They found the girl,
but she slipped away.

Lord, I hope
she'll be all right.

(panting)

Lang, Lang, somebody
just shot Markos.

What?

Somebody tried to
kill me last night,

but I wasn't sure.

And I, I went to
tell him about it.

And then, then
somebody shot him.

You see who did it?

No, but,

but that detective,
Mannix, was there.

Lang, what did we do?

I'll get rid
of Mannix.

You wait by the garage.

What happened?
Is anything wrong?

That girl you're
looking for, she's here.

You talk to Sims?
No, not yet.

But the girl is here.
So is Lang.

All right, you know
what she looks like.

Find her!

WICKERSHAM:
Mannix!

(groans)

What happened?

Lang.

What are you doing?

SIMS:
Get out of here!

Well.

Beauty is something that
should be shared, Sims.

I don't suppose there's any
use in trying to explain.

Quite a private
collection.

A Segonzac.

Stolen at St. Tropez
in 1961.

Worth, oh, $50,000.

Correggio's
The Virgin

with St. Magdelan
and St. Lucy.

The museum it was
stolen from valued it

at $200,000.00.

Yeah, Rouault.

That was on the list
Interpol sent us.

Disappeared in 1955.

How about these
others, Mr. Sims?

All stolen?

Well, never mind.

It won't take long
to check.

Look, I happen to like art,

and I'm willing to pay for it.

Is there anything wrong in that?

I don't hurt anybody.

Most of those paintings
were stolen by the Nazis.

No one can really
prove ownership.

And one fake
in a special vault.

Why?
Riddle, Sims,

which came first?

The girl or the
painting?

You see, Norris kept
his paintings

in a room built
like a vault,

MANNIX:
24-hour armed guard.

You wanted that Renoir,
didn't you, Sims?

The only way you could steal
it was to make Norris
think it was a fake

so he'd take it
out of the vault.

Look, uh, each of us has fun
in his own way.

All right, I told a painter
friend of Calvin's

to find a girl who looked
like the Renoir,

fix up her hair
and the beauty mark

and arrange for Calvin
to see her.

It's just a practical joke
between friends, that's all.

Quite sure, uh, Calvin
won't press charges.

Marvelous.

We were looking
for a real model

who posed
for a fake painting,

but the painting was real
and the model was fake.

WICKERSHAM:
No wonder the computers threw up
their hands in disgust.

How much do you like
beautiful things, Sims?

I haven't hurt anybody.

More than life?

What are you talking about?

It's a joke, that's all.

Markos isn't laughing;
he's dead.

That girl you used
to fool Norris,

she was
almost killed.

Wait a minute,

I wouldn't
kill anybody.

LANG:
I would.

The gang's all here.

What's this about Markos?

He said to give me his share.

You did kill him.

For this kind
of money,

I'd have to carve marble
for a million years.

You a better shot than
you are a sculptor, Lang?

Not really,

(cocks gun)
but at this range...

If you miss me,

you're gonna ruin an awful
lot of priceless art work.

Even if you hit me...

No! Lang!

Hold it!

Where's the girl?

Waiting in the gardener's shed
like a good little bird.

You can stop running
now, Linda.

It was Lang
who shot Markos.

The trouble is over.

Did you find...

We found your painting, Norris.

You'll be happy to know
it isn't a fake.

Linda Marley,
meet Calvin Norris.

Calvin Norris,
Linda Marley.

Joe Mannix meet Joe Mannix.

The pleasure is all mine.

(theme music playing)