All language subtitles for Mannix s7e17 A Night Full Of Darkness

♪ (THEME MUSIC PLAYING) ♪

(LIVELY PARTY CHATTER)

(CORK POPS)

(CHEERING)

Mannix s7e17
A Night Full Of Darkness

GUEST: All right!

(LAUGHTER)

All right.
Okay.

Oh, yeah.

(INDISTINCT CHATTER)

How about the bride and groom?

Yes!

Get them a couple of glasses.

Thank you.

There we go.

When do we cut the cake?

Joe's speech first.

Speech.

A toast to the lieutenant
and the beautiful Mrs. Malcolm.

GUESTS: Hear! Hear!

Come on, Joe.
What?

Yeah, Joe, listen,
you're best man.

It goes with your job.
Fine, okay, okay.

Toast.
All right.

To Art and Norma,

a life sentence
of health and happiness.

GUESTS: Hear! Hear!

And with no paroles.

(LAUGHTER)

How about a few words
from the groom?

Oh.
GUESTS: Yeah!

You know how rotten
I am at speeches.

Yeah, I've heard you tell
a suspect his rights, Art.

You're, you're sensational.

(LAUGHTER)

That's for sure.

That's right.
Come on.

Well, all right, okay.

Joe, Norma and I want
to thank you for this shindig.

My pleasure, Norma.

It was great, really great.

And Peggy, where are you?
Here I am.

We want to thank you because
we know you did all the work.

(LAUGHTER)

And the rest of you...
well, thanks for coming.

We, we never could have eaten
this whole cake by ourselves.

(LAUGHTER)

Well, let's cut it.

Let me take some pictures.

Oh, here we go.

Okay, wait.

Hey, look pretty, come on.

Hey.
Hey!

One more.
Oh!

(LAUGHTER)

Hey, come on,
this is a lady's job.

I'll help Norma.

I'll buy you a drink, Art.

Come in, get in there, girls.

Pretty picture.

PEGGY (LAUGHS):
I'll cut, Norma.

DAN: Okay. Enough of the
pictures; let's have the cake.

PEGGY: I'm going
to take this out.

NORMA: Whoa, there we go.

You think they like her, Joe?

They like her.

What happened to Bob Naylor?

Oh, he had to go up to Ventura
to question a suspect.

He said he was going
to try and get back.

Good. -Cake, darling?
Oh, yeah.

Art, you have to tell me how you
managed to keep Norma a secret.

Oh. -What, with
all you vultures around?

What else?
(LAUGHTER)

Norma, you're going to spend the
rest of your life with this guy.

Adam and I want
to steal you away

and tell you
the truth about him.

Come on.
No.

Bye.
Good-bye, Art.

Bye-bye, baby.

Hey, how's the new house
coming, Art?

We closed escrow yesterday.
Mm.

As soon as we can,
we're going to move in.

You mean after the honeymoon?

Well, the honeymoon may have
to wait a while.

Oh, does Norma know?

Not yet.

Well, I guess
she'll get used to it.

Johnny Sato finally made
a mistake.

He talked to the wrong people

about a shipment of dope
that was coming up from Mexico.

I'm close to having him tied up
with a pink ribbon.

Well, that's great,
except I don't think

that's quite the wedding present
Norma had expected.

A piece of cake, Joe?

Oh, thank you, Armi.

Now, just make sure
that he gets to bed early.

NORMA: I'm gonna get him to bed
as early as I possibly can.

Okay.

What are you gonna
name the first one?

Oh don't talk about that.
I guess we'd better be running along.

Are you about ready, hon?

Ready.

It was marvelous, Joe.

Thank you, Peggy.

All good things, Norma.

Thank you.

Good night, Dan.

DAN: Good night.

Have fun.

Okay.
Be happy. Good night.

Good night.
Night, Dan.

Excuse me.

NORMA: Oh.

Joe, thanks again.

Any time you get married.

Which is gonna be
just this once.

Yeah, well, that's what
he keeps telling me.

Good night.
Good night.

Good night, Joe.

Well, that's it.
Uh, you should get so lucky.

Oh, I keep trying,
Peggy, I do keep trying.

(CHUCKLES)

♪ ♪

(TIRES SCREECHING,
ENGINE REVVING)

Norma.

Norma.

Help me, Joe.

Chuck, get an ambulance.

Keep the girls inside.
Right.

Easy, Art.

Come here, let me have
a look at you.

Oh, forget about me.

Do something to help Norma.

Art.

Art, I'm sorry.

Oh, no.

(CRYING): Oh, God, no!

DAN: Art.

Art, did you see who did it?

Yeah, I saw the license plate.

777 EHY.

Find him, Dan, find him.

(PHONE RINGING)

Bob Naylor.

Oh, yes, Commissioner.

Yes, sir,
we're using every available man.

Yes, sir, good night.

How's Art?

Don't know...
he's still in surgery.

I just came from the morgue.

It's a hell of a way
to meet his bride.

Yeah.
Anything on those plates yet?

No. DMV's moving
as fast as they can.

Well, I'd better get started
on my report.

Call me?

See you.

Mind if I stick around, Bob?

No, Joe, I know how you feel.

Want a cup of coffee?

No, thanks.

(SIGHS)

You know...

Art and I were patrol car
buddies for five years.

When they moved me next door,
it was...

it was like old times.

Yeah.

Well, we'll get them, Joe.

It's just a question of time.

(PHONE RINGING)

Naylor.

Yeah?

Right, thanks.

They just made the plates.

Car checks out to Acme Rental,
which is owned by Johnny Sato.

Sato?

That shouldn't really
come as a surprise.

Art's been breathing
down his neck for a year,

trying to line up a case on him.

If anybody wanted Art
out of the way...

Yeah, I know, but...

What?

Sato's a big man
in the syndicate.

Picked by the don himself.

Yeah, so?

If he was going to hit Art,

he would have put
a contract out on him

and he certainly wouldn't have
used one of his own cars.

Maybe he didn't figure
anybody would still be alive

to see the plates.

Are you going to talk to him?

Yeah. You want to come along?

Try and lose me.
Okay.

Somebody shot Art Malcolm
and killed his bride.

Unfortunate, but what does that
have to do with me?

One of your cars was identified
leaving the scene.

My cars?

Acme Rental.

We got the license number.

Mr. Grant here handles
my business affairs.

Uh, Acme ours, Vic?

Yes, it is.

Those cars at Acme are parked
in an open lot, Lieutenant.

We've had several cases of theft
lately, which we reported.

Check your files.

Just who was it saw the car?

Lieutenant Malcolm.

Malcolm?!

Everybody knows
he's been on my back.

He'd try to hang
anything he could on me.

Bernie.

(OVER INTERCOM):
Yes, Mr. Sato.

SATO: Cigar.

Now, listen to me, Lieutenant,

you tell Malcolm
this time he struck out.

Mr. Sato can account
for the entire evening.

Okay, let's start with 9:30.

I account to him, Mannix.

You don't even have
any right being here.

He's working
with us on this case.

MANNIX: Hello, Bernie.

You two know each other?

Mr. Moss and I have met before...

dark alley one night.

Uh-huh.

Well, Bernie's through
with the rough stuff

now that he's working for me.

Right, Bernie?
That's right, Mr. Sato.

Where were you tonight?

Right here, waiting
for Mr. Sato to come home.

You can check.

Oh, I will.

It's all right, Bernie.

He said you were coming home.

From where?

Vic and I were at a dinner party
at the Beverly Bedford.

A hundred people will tell you
we didn't leave before midnight.

And you have no idea
who could have been

driving the car
from Acme Rental?

How could he?

I told you,
the car was probably stolen.

Look, Lieutenant,
there are a lot of clowns around

who'd like to see
Malcolm burned.

And every one of them's
got a match.

Talk to them.

He's lying, Joe.

He killed Norma.

A hundred people saw him
at that dinner.

He's alibied.

He may not have pulled
the trigger, but he ordered it.

Art, will you take it easy?

The car came off his own lot.

We checked.

It was reported stolen.

MALCOLM: Huh! Sure, stolen.

I just can't believe
Sato would be that stupid.

Okay.

As soon as I get out of here,
I'll take care of him myself.

Art, will you use your head?

I know it's rough
lying here like this.

But everybody is working on it.

We all want to find
the man who killed Norma.

Not as much as I do, Joe.

Not nearly as much.

Art...

I'm sorry, it's time for
the lieutenant's medication.

I was just leaving.

I'll see you, Art.

Yeah.

Gonna make you feel
much better, Lieutenant.

There we are.

Now, just relax.

(SIGHS)

That's right.

Relax.

Go to sleep.

(ECHOEY): Relax.

(DISTORTED): Relax.

Morning, Peggy.

Good morning.

Care for some coffee?

Please.

Are you early or am I late?

A little bit of both.

There you are.

Thanks, Joe.

Oh, I heard Art's home.

Yeah, yesterday.

Mm, how's he doing?

Physically, fine, but...

Oh, Joe, anybody would
be half crazy

with what he's been through.

Yeah, he's talking about going
after Johnny Sato himself.

What?

Yeah, and he's not keeping
it a secret, either.

I thought Sato's alibi
checked out.

Try selling that to Art.

Oh, Joe, he wouldn't
do anything foolish?

He saw Norma killed
right before his eyes.

He thinks
Johnny Sato's responsible.

How objective
do you think he can be?

Art, can I come in?

Oh, it's you, Joe.

Oh, you still making
the worst coffee

this side of the Rockies?

Yeah, help yourself.

You've been a tough guy
to get ahold of

the past couple of days.

I've been busy.

I can understand throwing
yourself into your work,

but 24 hours a day?

Where I go and what I do
with my time is my business!

Sure, Art.

I'm sorry, Joe.

I didn't mean
to blow up that way.

Forget it.

(DOOR OPENS)
NAYLOR: Art?

Oh, hi, Joe.

Bob.

There's, uh...
somebody here to see you.

Who is it?

Victor Grant,
Johnny Sato's lawyer.

He's burning.

Tell him the fire department's
in the next block.

Look, you can't
keep ducking him.

All right, bring him in.

But leave the door open
for fresh air.

Would you like me to leave, Art?

What for?

This won't take long.

MALCOLM: Okay, Mr. Grant,
what can I do for you?

(SIGHS) You can stop harassing
Johnny Sato, Lieutenant.

Get off his back.

Is that an order?

No, it's an ultimatum,
Lieutenant.

He had nothing to do with
the shooting the other night.

Now stay away from Johnny Sato

or I'll get a court order
to keep you away.

You know what, Counselor?

I don't give a damn what you do.

(DOOR SLAMS)

Art, you're just asking
for trouble.

Now don't you get on me, too;
I know what I'm doing.

Where you going?

To work.

(DOOR SLAMS)
What's he been up to?

He's been trailing Sato
wherever he goes

and making sure
that Johnny knows he's there.

I tried talking to him.

A brick wall.

Yeah, I know.

I just ran into it a minute ago.

Thanks, Betty.

It's very important.

So, if you hear from him,
please give us a call.

Right.

No word from Art.

And there's no answer
at his apartment.

Great.

We'll find him, Joe.

PEGGY: Can I help you?
GRANT: Yes, please.

My name is Victor Grant.

I'd like to speak to Mr. Mannix.

Oh, come right in, Mr. Grant.

Thank you.

Have a seat.

What can I do for you?

It's not for me.

It's for Mr. Sato.

What could I possibly do
for him?

Well...

he wants to hire you.

A down payment.

On what?

He wants you to find out

who killed
Lieutenant Malcolm's wife.

Is that supposed
to make me believe

that Johnny doesn't know
who did it?

He doesn't.

Why hire a private detective?

The police are working
on it around the clock.

You were there earlier.

You know Mr. Sato
wasn't exactly pleased

by the Lieutenant's attitude.

He figures it's worth putting
an extra man on the job,

just to get it over with.

Mm.

So, just find out who pulled
the trigger the other night,

and the money's yours.

Tell Johnny I intend
to find out.

No charge.

Well, the size
of your bank account

is up to you, Mr. Mannix.

Right.

What was that all about?

Johnny Sato wants to hire me
to find Norma's killer.

That's pretty far out.

I'm not so sure, Peggy.

You think someone else
was responsible for the killing?

It's possible.

Fact one: Art was closing
in on Johnny Sato.

If he had actually
busted Johnny,

the fallout would've splattered
all over the don.

So maybe the don ordered
the shooting to stop Art.

And used Johnny as the patsy
by taking one of his cars.

Nah, I don't buy that.

Johnny was the don's favorite.

He wouldn't have set Johnny up.

He would have just
had Art killed.

What's wrong with that theory?

Fact two:

Whoever he was,

he wasn't hired to hit
an innocent bystander.

He was a pro.

A very convenient miss.

Joe, are you saying that Norma
was the target all along?

That's the way
it's beginning to add up.

But why?

Why would anyone want
to kill her?

I don't know, Peggy.

But... what do we really
know about her?

I mean, Art met her
a couple of weeks ago.

A whirlwind courtship
and suddenly wedding bells.

Who is she?

(DIALING)

Lieutenant Naylor, please.

Bob? Joe.

You got a minute to talk?

Yeah, sure, Joe.

Could you possibly run
a check for me on Norma?

Without Art knowing?

Norma?

What are you looking for?

I'm not sure.

Just a hunch.

That was some hunch you had.

What'd you come up with?
Plenty.

When she married Art, her name
was Norma Hayden, right?

She was booked
a year ago in Vegas

under the name of Norma Manning.

Booked for what?

She was Tony Sato's girl.

She was with him when he was
picked up on possession.

Tony Sato?

Johnny's kid brother?

Norma worked
in one of the casinos.

After she got out of the pokey
a couple of months ago,

she took off.

Split to L.A.

Wonder if Art knew?

I knew all about it, Joe.

Norma told me the whole story
right after we met.

Sorry, Art.

I had to ask.

Norma was clean, Joe.

She didn't know what Tony Sato
was up to until he got busted.

Why did she change her name?

She was afraid somebody would
tie her to Tony later on.

She wanted to make
a fresh start.

Was that such a bad idea?

Art, did it ever occur
to you that Norma

might have been the target
that night, not you?

It did.

That's why I'm sure
Johnny Sato did it.

He probably figured
she knew something.

Well...

marrying a cop...

It was safer
to put her out of the way

than to let her talk
in her sleep.

From an old friend...

let the department
handle it, huh?

I don't want to rush you, Joe,

but I've got things to do.

Sure.

Art...

if you need somebody
to talk to,

you know where I am.

Sure, Joe.

(PHONE RINGING)

Hello.

Yes.

Yes, I understand.

(ENGINE STARTS)

(ENGINE STARTS)

♪ ♪

Excuse me.

Can I help you, sir?

Yes, that, uh, fellow
that just registered...

dark hair, mustache?
Yes?

Looks like an old friend
of mine.

We haven't seen each other
in years.

His name was Art Malcolm.

Art Malcolm.

The gentleman's name was Arthur.

A Mr. George Arthur.

Oh.

Thanks a lot.

Sure looked like him.

♪ ♪

I'll take it.

You could spend over a $1,000,

and you wouldn't have
a better weapon.

Get anything you're after
with that baby.

I hope so.

Uh-huh. Now, if you'll just
fill out this registration form.

It's the law, Mister, um...?

Arthur. George Arthur.

(PHONE RINGING)

Naylor.

MANNIX: Hi, Bob. Joe.

Oh, yeah, Joe.
Hi. How are you?

Bob, have you talked
to Art in the past hour?

NAYLOR: No. Why?

Well, I want to talk to him.
It's important.

Oh, did you try his apartment?

I checked that. He isn't there.

Would you put out a call?

He must be in his car somewhere.

Oh, what is it?

MANNIX: Well, it may be nothing,
but I'd just like to make sure.

Look, we all feel for Art.

(PHONE RINGING)
Now, if you got something...

Yeah, hold on, will you, Joe?
I got another call.

Naylor.

What?

When?

Where did it happen?

Okay, I'm on my way.

Joe, Johnny Sato's dead.
He was killed in his office.

How?
NAYLOR: High-powered rifle

from a hotel room
across the street.

I'll meet you there.

(SIREN BLARING)

(SIREN STOPS)

Which room, Charlie?

939, sir.
Thanks.

CHARLIE: That's right where
we found it, Lieutenant.

It's fitted
with a four-power scope.

One expended cartridge shell
beside it,

and one still in the magazine.

That clean?
Yes, sir.

Who checked into this room?

It was registered
to a George Arthur.

Where's Ives?

He's taking statements
across the way.

Ah.

Vic Grant and Bernie Moss.

They were there
when it happened?

CHARLIE: Apparently.

How did you make this room?

A hotel guest reported
hearing the shot, sir.

He see the sniper?

No, sir.

Anybody see him?
No, sir.

MANNIX: Bob?

NAYLOR: He's all right.

Somebody knew his job.

One shot.

Anyway, it gets Art
off the hook.

Room is registered
to a George Arthur.

Probably phony.
It was.

Do you know something
about this, Joe?

I know George Arthur.

I saw him register
a couple of hours ago.

Well, who is he?

(SIGHS)

Art Malcolm.

Joe, you don't really think
Art Malcolm did it, do you?

No, but it's becoming
a popular theory.

Joe, he's inside,
and he looks terrible.

Anybody see him come in?

He doesn't think so.

A real mess, huh, Joe?

I've seen them cleaner.

I didn't kill Johnny Sato.

I may have wanted to,
but I didn't do it.

Art, you left a trail
a mile wide.

There's enough evidence there
to send you up for life.

I just came from Headquarters.
They've got it all!

You registered at the hotel
under the name of George Arthur.

You bought the murder weapon
using the same name.

The lab has a make
on the fingerprints

on the rifle, and they're yours.
It all fits.

This is going to
sound crazy, Joe.

I've heard all the evidence
against me,

but it's like they were talking
about somebody else.

I don't remember
buying that rifle

or checking
into that hotel room.

I saw you register.

I said it was going
to sound crazy.

I didn't kill Johnny Sato.

Oh, you practically
announced to the whole world

you were out to get him.

I meant put him behind bars
on that drug case.

Okay, okay. I'm only trying
to put it all together, Art,

so give me something to go on.

Johnny Sato was killed between
3:00 and 3:15. Where were you?

Wish I could tell you.

I suddenly found myself sitting
in my car out in the boondocks

listening to the radio,

hearing I was wanted for murder.

Come on, Art. Nobody in
the world is going to buy that.

It's the truth.

(INTERCOM BUZZING)

Yeah, Peggy?

I'll, uh, be right out.

Now, uh, you stay put.

I don't want
to involve you, Joe.

I'm going to cut out the back...

Will you do what I'm telling you
for a change?!

Joe.

(SIGHS) How did you know?

Phone call.

Some citizen spotted him
slipping in here.

His picture's been on TV.

Hmm.

Bob...

Art swears
he didn't kill Johnny Sato.

I believe him.

I hope it's true.

But it's my job.

I got to bring him in.

Yeah, I know.

Art... I'm sorry.

Goes with the territory.

Ah, come on, Art.
That's not necessary.

You're a cop, aren't you?

So are you.

Oh, Joe?

We found a brand-new box of
rifle shells with two missing.

Where?

Art's apartment.

Under some shirts
in the dresser.

I don't know anything
about it, Joe, I swear.

Art, don't say any more, okay?

(DOOR CLOSES)

I guess those shells
put the lid on it.

Yeah, there's something phony
about this whole setup, Peggy.

Art's a trained police officer,

but he leaves a trail
even an amateur could follow,

including those shells.

But Joe, what does it all mean?

Oh, I don't know.
(TWO GUNSHOTS)

(TIRES SQUEALING)

What happened?

He jumped me just
as I was getting in the car.

I tried for the tires,
but he was gone.

Are you all right?

Yeah. I, uh...

I think maybe
I pulled something.

Yeah, we'd better
get that looked at.

Yeah. Guess I should have
cuffed him, huh, Joe?

Yeah. Peggy, I'll get him
to the hospital.

I'll check with you.
Yeah.

PEGGY: Okay.

MANNIX: How is he?

The lieutenant is just fine.

He'll be right with you.

Thanks, Angie.

I heard about Johnny Sato.

You know, I just can't believe

Lieutenant Malcolm
would have any...

I know.

Take this, for example.

Do you know what he did?

He sent a box of chocolates

to each one of the nurses
who took care of him.

And with all he had on his mind.

Would you like a piece, Joe?
No, thanks.

Now, a man that thoughtful

just couldn't do the things
they said he did.

I'll never believe it.
Join the club.

I sent the extra box
up to children's ward.

I'm sure he won't mind.

I'm sure.

NAYLOR: Hey, Joe.

Everything all right?

Yeah, nothing broken.

I'm going to have to wear this
for a day or so. -Uh-huh.

I'm going to have
to make out a report, Joe.

I'll drop you off.
Okay.

Thanks.
Bye.

What is it?

I'm not sure.

Angie, you said

Lieutenant Malcolm sent
an extra box of chocolates?

That's right.
Any particular reason?

Well, he seemed to think a Nurse
Carson had taken care of him.

But she hadn't?

No, we have no Nurse Carson
on this station.

Or in the hospital,
for that matter.

Do you have a nurse
with brown hair, five-six,

25, 30 years of age,
wears horn-rimmed glasses?

With glasses?

No. No one like that.

Except I saw her
in Art Malcolm's room.

How is that, Joe?

MANNIX: That's it, Chuck.

That's the nurse that gave Art
his shot the other day.

Any of you seen her before?

No, never.

She looks familiar, but...

I don't know.

Maybe it's the glasses.

Lose them.
Sure thing.

All right, now put some
long hair... long and light,

turned up like this.
Okay.

No, no, no, that's too fancy.

Straight.

How's that?

All right, Joe,
imagine her blonde,

and I think we're in business.

Give me Narcotics.

Has Tony Rivera come in yet?

Let me talk to him.

Tony, Dan Ives.

Can you come up to Bob's office
for a minute?

Good.

Yeah, I know her all right.

Busted her a couple of times.

She had someone with clout
behind her.

Kept landing
back on the streets.

Who is she?

Kay Carson.

Worked in one of
Johnny Sato's clubs.

Worked?

She lose her job?

Worse than that.

Her life.

When?

Couple of days ago.

O.D.'d

Someone sold her
a packet of pure H.

Probably someone who didn't
want her talking about

her one-day career as a nurse.

What did she do at the club?

Wore spangles, looked pretty.

Helped a guy named Wally Wayne.

Was a pretty flashy act.

What kind?

Hypnosis.

(APPLAUSE)
Thank you.

Now, I want you to stay
deeply asleep,

because I'm going to give you
a posthypnotic suggestion.

When I count three,
you're going to wake up.

You're going to feel
absolutely fine,

but you will not think
you've been hypnotized.

You will think you are too
strong-minded to be hypnotized.

But when I say
the word "teapot,"

you will turn into a teapot.

A teapot has a spout.

And a teapot has a handle.

And a teapot pours tea.

(LIGHT LAUGHTER)

When I say, "Thank you,"

you will stop being a teapot.

Now, I count three, you wake up,
you feel absolutely fine,

but you do not think
you've been hypnotized.

One, two, three.

Wake up.

How do you feel?

Oh, I feel fine.

WAYNE:
But why aren't you asleep?

All the other people
were asleep.

WOMAN:
Well, I wasn't hypnotized.

You weren't hypnotized?
No.

Why not?
Why, I'm too strong-minded.

I couldn't be hypnotized.

Ah, she's too strong-minded.

You see, that's the trouble,
ladies and gentlemen.

All these youngsters,
they come on the stage,

and they make a fool out of me
every performance

because I can't hypnotize them.

Teapot.

(LAUGHTER)

Thank you.

(LAUGHING)

Just go back to sleep.
(SNAPS FINGERS)

Because, when I count three,
you will wake up,

and you will not remember
being hypnotized.

One, two, three.

Wake up.

Lovely.

Thank you very much,
ladies and gentlemen.

I'm glad you enjoyed the show.

Okay, so that's how they did it.

Posthypnotic suggestion.

But they couldn't
make a man kill.

No, certainly not.

You see, hypnotism is only
a person's own imagination.

So you can never get them
to do things

against their own moral code.

Could, uh, Kay Carson
hypnotize people?

Kay?

As a matter of fact, she could.

I'd been teaching her.

She was getting
very, very good at it.

Poor kid.

Mr. Wayne, it's possible

that Kay Carson's death
was not accidental.

The news said it
was an overdose.

Someone made sure
it was an overdose.

You mean they...
they killed her?

That's right.
Who was her connection?

Well, I don't know anything
about that sort of thing.

I... I do an act. That's all.

Kay Carson worked for you
for two years.

You're bound to know

who she went looking for
when she ran dry.

You'll keep me out of this?

As far out as possible.

Well, one of Johnny Sato's boys
used to hang around a lot.

I think they called him
Bernie Moss.

Posthypnotic suggestion, Peggy.

They programmed Art
to do it all.

Rent the hotel room
under a phony name,

buy the gun, everything.

They knew they couldn't get Art
to pull the trigger,

so they had one of their own men
kill Johnny Sato.

And Art was a perfect patsy.

But, Joe, who'd want to do
a thing like that?

How about Vic Grant?

Johnny Sato dead, he's top dog.

And in the clear,

both with the syndicate
and the police.

But why did they kill Norma?

That's the one part
of the puzzle

I can't get a handle on.

(KNOCK AT DOOR)

That's the back door.

Yeah. Would you get it, Peggy?

(DOOR OPENS, THEN CLOSES)

MANNIX: Nick, did you find
Bernie Moss for me?

That's some job
you put me on, Joe.

Whole town's
like a hornet's nest.

Wherever you put your face in,
you might come out without it.

Okay, Nick.

You get a bonus.

It's a pleasure
doing business with you.

Now, where is Bernie?

When the cops came looking,
he dropped out of sight.

But you know me, Joe.
(SMACKS LIPS)

Thin air's my specialty.

He's holed up in a one-room dump
at 120 Peacock Alley.

What do you think
you're doing, Mannix?

Putting the pieces together,
Bernie.

I think you got Kay Carson

to give Lieutenant Malcolm
a shot,

then you set him up
for Johnny Sato's murder.

You're crazy.
Why would I do that?

What did Vic Grant promise you?

A pension when he took over?

I think you shot Johnny Sato,

then you hustled over
to his office

to be there
when the cops arrived.

You try and prove that.

I won't have to prove it,
Bernie.

I'm going to let the don
prove it for me.

What?
Yeah.

If Vic Grant was trying
to move up,

and you were going along
for the ride,

it'll take the don
about 20 minutes to find out.

Now, where are you going to hide
from the don, Bernie?

I suggest you find yourself
a whale's stomach.

Mannix.

Why was the girl killed, Bernie?

Who did it?

I don't know.

I swear, I don't know.

Okay, Bernie.

Where's Art Malcolm?

(RINGING)

Naylor.

Bob, listen... they're holding
Art Malcolm prisoner.

The old Thomas Refinery
near the harbor.

Get some men over there
right away.

Prisoner? What for, Joe?

Till they could arrange
an accident.

Tell Dan Ives, and get going.

On my way.

(WATER RUNNING)

♪ ♪

♪ ♪

♪ ♪

Freeze!

Anybody else here?

Untie him.

Joe, I don't even know
how I got here.

One of those shots you got
in the hospital

really put you under...
you were hypnotized.

You didn't come alone, did you?

Now, relax, Art, will you?

I brought backup muscle.

Right here, Joe.

Don't move.

Get his gun.

Bob, what's going on?

I think it's his way
of telling us

he's the missing piece
to the puzzle.

That he killed Norma.

You didn't even know her.

Yeah, but she knew me.

She saw me once in Vegas
when I went up to see Tony Sato.

She walked in by accident.

Art...

you know the organization.

I've been their man for years.

Art, you got to try
to understand.

If she'd recognized me,
said anything,

I'd have been dead.

You made a trade
with Vic Grant, right, Bob?

He gave you one
of Johnny Sato's cars

the night you killed Norma.

That set Art up
for Johnny Sato's murder.

It was no trade.

Grant had me forced to the wall.

I had to do what he said.

Art...

I was in so deep,

all I could do was try
to keep on breathing.

Well, it's all over now, Bob.

I had a hunch Art got away
from you a little too easily,

so after I called you,
I called Dan Ives.

I told him to bring the troops
if you didn't.

They should be right behind me.

Easy.

(GUN FIRES, BULLET RICOCHETS)

Get him up there
and stay out of sight.

♪ ♪

♪ ♪

(RAPID FOOTSTEPS)

(GUN FIRES, BULLET RICOCHETS)

Crane?

♪ ♪

There's nobody coming,
is there, Joe?

You didn't suspect him
for a minute.

He was a friend.