All language subtitles for Mannix S04E04 Figures in a Landscape.DVDRip.NonHI.en.CBS

Mannix.

Mr. Mannix, I told
you I'd call back at 8.

So you're punctual.

I hope you've cleared up
all the little details in your life.

I gave you three days.

Time's running out.

Live every minute as if it
were your last, Mr. Mannix.

It can happen any time now.

♪♪

- Mr. Mannix?
- Yes.

Karl Hastings. Come in.

I'm sorry I'm late.

I got trapped on the phone
as I was leaving my office.

Yeah, I know how that is. Some
people are hard to get rid of.

Yeah, well, this one was a
little more stubborn than most.

Uh, won't you sit down?

Uh, would you like a drink?

No, thanks.

What can I do for
you, Mr. Hastings?

My wife's missing. She's
been gone for five days.

She just left without
an explanation.

Well, uh, Mr. Mannix,

this is, uh, very hard
to put into words.

Although I know you need to
know everything about Illena

if you're going to have
a prayer of finding her.

This isn't the first
time it's happened.

I mean, she's disappeared
before... Two, three days at a time.

But she's always come back
to me. That's all that matters.

This time it's been five days.

Any idea where she goes?

I, uh...

I followed her once

when it began to dawn
on me that she was...

It made me sick,
physically sick.

Another man?

Other men.

And the places.

But I've... I've learned
to live with that.

She's my wife. I don't
care what else she is.

But, Mr. Mannix, all I
ask is that you find her.

I'll take her to Europe,

to the best doctors, a
hospital if necessary.

I should have done
that a long time ago.

I need your help.

Well, uh, I'll need some
descriptive information, Mr. Hastings.

Anything... anything
I can tell you.

A picture would help.

This is Illena.

Of course that's ten years old.

It probably won't
be very helpful.

Well, if you have
something more recent.

Well, I could let you
have her scrapbook.

It's newspaper pictures,
society stuff, mostly.

Probably wouldn't be
more help than that.

It's better than nothing.

Wait a minute. Wait a minute.

A couple of weeks ago, we went
up to the high desert for a few days.

I've got some mining
property up there.

I took a camera along...
I got some pictures.

Yeah.

There's still a few
shots left on the roll.

Fine.

I'll get them
developed tomorrow.

There's a photo lab right
across from my office.

Ohhh, this is a real monster.

Sensational.

You ought to own one, Joe.

Yeah, I ought to own
a fifty-foot yacht, too.

I hope this film isn't important evidence
in some case you're working on, Joe.

Why? What've you got?

A roll of nothing.

Whoever shot it forgot the first rule
of photography... remove the lens cap.

Swell.

What do I owe you?

For nothing? Nothing.

Oh, by the way, Barry, what
do one of these rigs go for?

For a friend, I could
knock a few bucks off list.

Say, somewhere
around eight hundred.

Thanks, friend.

The business you're in,
Joe, you could write it off.

Duck, Barry!

That's how it was, Art.

I couldn't reach Nolan
to knock him down.

I yelled when I saw the gunman,

but I guess he just
didn't have time to react.

You might say I killed
him by coming here.

I wouldn't say that, Joe.

Yeah, well, that bullet
was meant for me.

I had all the warning in the
world that it was on the way.

Garland, I told
you no one in here.

Sorry, Lieutenant... But
she said it was important.

What's happened?

There's been an accident.
What is it you want, ma'am?

My name is Jill Packard. I'm
a professional photographer.

Barry Nolan is processing
some film for me.

It's important that
I pick it up today.

J. Packard... yeah, here we are.

If you'll come down to
Headquarters this afternoon

and sign the proper
releases, you can pick it up.

There won't be any problem.

Has something happened to Barry?

Yes, ma'am.

He's been shot.

It was an accident.

The bullet was meant for me.

He got in the way of it.

Lucky you.

She was just upset, Joe.

Look, Art, I'll be
across in my office.

When you've finished
here, would you stop in?

There's something
I want to show you.

I'll just be a
couple of minutes.

Hello, Peggy. Bad
year for termites, huh?

Not if you're a termite.

Art, that's what I
wanted to see you about.

It happened last night.

Any reason why you couldn't
tell me about it last night?

What were you going to do for
me last night... hold my hand?

Mr. Mannix's office.

Keep him talking.

I'm sorry... We seem to
have a bad connection.

Who's calling, please?

Tell him I'm sorry I
missed him. He'll talk to me.

One moment, sir.

This is Lieutenant Malcolm... Trace
the call coming in on KL 5-2271.

Hello. This is Mannix.

Just what are you after?

You know what I'm
after, Mr. Mannix.

If you're going to kill
me, I'd like to know why.

You would? That's very funny.

And I suppose you
would also like to hold me

on this line long
enough to trace this call.

That's very stupid of you.

Goodbye, Mr. Mannix.

Sorry, Art.

At least you don't have to
listen to any of his old tapes.

You caught the act live.

That voice is
something else, isn't it?

Yeah, he's obviously afraid that
you'd recognize his normal voice.

That narrows the field
down to someone you know.

All my friends would like
to kill me sooner or later.

How about your enemies?

We've made a list of
those, too, didn't we, Peggy?

The Who's Who of Losers.

Two- and three-time losers.

No one you feel might
want to take a shot at you?

Only one... but he's in prison.
I nailed him on a narcotics rap.

His name?

Ben Taylor.

I don't remember Taylor threatening
your life at the time of the trial, Joe.

Well, he didn't advertise
it over a P.A. system,

but he did get word to me through
his attorney he wanted to kill we.

What's the difference?
He's in Folsom.

He got out a week ago.

I read it in the Intelligence
Report this morning.

He's right here in L.A.

Parole?

Good behavior.

Taylor!

Open up, Taylor! This is the
police. We've got a warrant!

You suppose he
spotted us and took off?

Possible.

He must've crawled out onto the
ledge when I hollered for him to open up.

Anyway, Joe, he won't be
making any more phone calls.

Hello.

May I come in?

Sure.

Is that look surprise or anger?

Neither.

I was just thinking.

The first time I saw you,
you were about two inches tall

in a photograph accompanying
one of your travel layouts.

Incidentally, you
enlarge very well.

Thank you.

How about a drink?

No, thank you.

Care to sit down?

No... I'm going to do this standing
on my own two little flat feet,

without support of any kind.

Do what?

What's been bugging
me all afternoon.

What's that?

I was a witch when I
first met you this morning.

I'm sure you didn't need
my nasty little remark.

I came to apologize.

That wasn't necessary, but
now that you've got the job done,

how about that drink?

You're letting
me off too easily.

Well, then, how about
dinner? Punishment enough?

I am hungry.

I like hungry girls.

Joe Mannix speaking.
This is a recording.

I've gone out.

When you hear the tone,
leave your name and number,

and I'll call you back.

I saw the young
lady, Mr. Mannix.

Very lovely.

Unfortunately, you won't get
to spend much time with her

because you'll be dead.

But why should I tell
this to a tape machine?

You won't be around
to hear the playback.

♪♪

♪♪

- I don't know how you do it.
- What?

Two pieces of strawberry
cheesecake, and you can still dance...

Oh, it's easy.

You know, I must have
been out of my mind.

When?

When I said I liked
girls who were hungry.

- Question, okay?
- Uh-hmm.

What's a beautiful girl like
you doing behind the camera?

Oh, Joe, not you.

That's always the
opening question.

I got a strong finish.

I mean, you've taken your camera
to Vietnam, Biafra, the Middle East,

climbed three quarters of
the way up Mount Everest.

You've been a
prisoner in Red China.

You're not going to tell
me it's all fun and games.

But it is,

if you're a hungry girl.

You play the
game of private eye,

and people shoot at
you with live ammo, right?

- Hmm.
- Question, okay?

Why aren't you an accountant
or a shoe salesman?

Shoe salesmen get to
tickle a lot of pretty toes.

Well, I guess I'm
just a hungry boy.

Are you sure you don't
want me to take you home?

It's pretty late. I could get your
car to you tomorrow morning.

I'll be all right, but it was
sweet of you to think of it.

In fact, I find you a very
satisfactory person on balance.

That was for balance.

Thanks for feeding
a hungry girl.

Any time.

You won't get to spend much
time with her because you'll be dead,

but why should I tell
this to a tape machine?

You won't be around
to hear the playback.

I don't understand, Joe.

Join the club.

But I thought you said the man
who was trying to kill you died.

Yeah, well, just call it a
case of mistaken identity.

Art, did you come
up with anything?

This. Dug it out of
the wall of your carport.

Weighs in like a 30.06.

A hunting rifle.

Well, for a hunter,
he's a bum shot.

Third time he's missed me.

With all the practice he's
getting, he's a cinch to improve.

You know, there's something
else that bugs me, Art.

Why did Ben Taylor climb
out on that window ledge?

He wasn't the guy
shooting at me.

No, he was on dope.

The autopsy report showed that
he was stoned at the time of death.

Probably thought he was
being busted by the narcs.

He just couldn't face
the trip back to Folsom.

If that's our boy,
hold him on the line.

All your incoming calls
are being monitored.

Joe Mannix.

Yeah. He's right
here. Just a minute.

It's for you.

Malcolm. Yeah.

All right, I'll be in
in a few minutes.

Oh... call Mr. Hastings and have
him come down to the morgue.

I'll meet you there.

Art... this Mr. Hastings, is that
by any chance Karl Hastings?

Yeah... why?

Well, uh, what about him?

A floater just surfaced off
the pier in Santa Monica.

Tentatively identified
as Mrs. Hastings.

What's that to you, Joe?

Well, that's the job I was
working on. I was trying to find her.

Maybe you'd better
come along, Joe.

Yeah.

Yes.

It's Illena.

I just can't believe it.

I'm sorry to have to
put you through this,

but we had to have a
positive identification.

How did it happen, Lieutenant?

We won't know until we
get the autopsy report.

It's possible she simply
walked into the water.

No, that's not possible.
She'd never be a suicide.

It could have been an accident.
We'll have to wait for the report.

Mannix, I want you to
find the man who killed her.

We're not sure that it
was murder, Mr. Hastings.

I know how you
feel, Mr. Hastings.

Look, I know what
I'm doing, Lieutenant.

If there was a homicide,
we'll handle the investigation.

Are you telling me that I can't have
my own investigator on the case?

Of course not.

I'm just telling you
to try and stay calm.

At least until we find
out what happened.

See you, Joe.

Well, Mannix?

I'll let you know as soon
as the autopsy report's in.

Shooting at me?

Joe, you've got to be kidding!

I wish I were.

But why?

That's one of the things
that's been gnawing at me...

That and how a man with a high-powered
rifle could be such a rotten shot.

Now one or two misses I could
buy, but three times, no way.

Anyone can own a rifle. That
doesn't make him a marksman.

If he wasn't sure he could
hit his target from a distance,

he could have moved in closer.

Come on, Joe. I don't
have enemies like that.

- Wrong.
- How can you be so sure?

Well, if you step over
here, I'll just try and explain.

Now let's just assume that
this space is the carport.

Your car is here.

And the lighter is my car.

We drive up and I pull
into here alongside your car.

The car where the shot
came from is right here.

I get out of my car, and I come
around to open the door for you.

All the time I'm coming
around here, I'm a perfect target.

But does our man shoot? No.

He waits until you get out of the
car and are standing beside me,

right in the line of fire.

As a matter of fact,
it was the same thing

when I was crossing the Paseo
from my office to Barry Nolan's shop.

I was a perfect
target then, too.

But the killer passed on that and waited
for a difficult shot through the window.

He even had me in
his sights, standing still,

but he hit a man behind
me that was moving.

Then you think he was trying
to kill Barry Nolan all along.

Yeah, I do.

Still, there's no connection.

There's got to be.

All Barry Nolan ever did for
me was to process some film.

Maybe that's the connection.

Did you ever pick
up those pictures?

Sure.

Could I see them?

Of course. But why?

They're just a photo essay for a
magazine that I'm doing on ecology.

There's nothing here
that rings a bell for me.

I must say they're good shots.

Thank you.

Let's take a look
at the negatives.

What is it?

These notches along
the side of the film.

Do they mean anything?

They tell you the speed of
the film you're working with.

Then when you get in the
darkroom and can't see,

your fingertips can
feel the notches.

Two notches means double-X,

three notches means
triple X and so on.

Did you use two different kinds
of film when you took these shots?

- Oh no.
- You're sure?

Positive. When I work
outside, I only use double-X.

- With two notches.
- With two notches.

This has two, and
this has three notches.

Triple-X... that
doesn't make sense.

It does if you didn't expose
that particular negative.

But I did.

It's the shot I
took in the alley.

This one.

The only possible explanation

is that Barry Nolan made a duplicate
negative from my original shot,

enlarged the duplicate,
and kept the original.

- Why would he do that?
- I can't imagine.

Could this be the reason?

The sunlight reflecting
off that window.

From the looks of the shadows,

I'd say the sun was on the
other side of the building.

I think you're right, Joe.

It looks as though it's been
air-brushed and re-photographed.

That's why Barry Nolan
made a duplicate...

To hide whatever was
happening in that window.

What could it have been?

It could be worth your
life for us to find out.

No, Joe... nothing.

And I don't know where
else he could have hidden it.

He wouldn't put it in the trash.

Why not? Mrs. James said Nolan
never let her throw out anything.

Perfect place to
hide a negative.

But he'd have to
be able to find it.

Yeah, right. He probably put it
in something he could identify,

like a mailing tube
or a cigarette carton.

It's not there.

Wait a minute. We're
forgetting something.

- What?
- Well the trash bin itself.

Where better to hide something
of value than in a trash can?

Well...

Wrong.

What do you know?

- Double-X.
- It's the alley.

Ecology finds
another killer, maybe.

Can you give me just the woman?

Why? Do you think
you'll recognize her?

I'm beginning to think I might.

It's Illena Hastings.

Can you give me a
blow-up of the man?

Hastings.

He must have caught
his wife once too often.

All right, but why
did he shoot at me?

I would say that Nolan told
him about you taking a picture.

Probably thought that fact
would keep Hastings in line.

But I didn't know
what was in the picture.

But you did know
what day you took it.

If the original
negative turned up...

And you can bet Nolan assured Hastings
it would if anything happened to him...

You could have put
Hastings on Death Row.

I'll get a hold of
Lieutenant Malcolm.

We won't need the
Lieutenant, Mr. Mannix.

Could I have the negative,
please... And the pictures?

Thank you.

Thank you for saving me
the trouble of finding them.

Nolan had a nice place here.

The trouble was he
priced himself to death.

Fifty thousand dollars for
a picture of me... imagine.

Those phone calls to me,

that was just to make Nolan's
death look like an accident.

Almost worked, too.

The police know your
wife was murdered.

They're not going
to stop looking.

They also know that I
insisted you stay on the case.

They won't look in my direction.

Shall we go, folks?

Mr. Mannix, would you pull up
by that shack over there, please?

Now, if you will get out
please, Miss Packard.

And don't forget the camera.

And now you, Mr. Mannix.

That's just fine.

Are you always this well
prepared, Mr. Hastings?

This time I am.

Although it was
originally planned

only Miss Packard and myself
were going to be on this excursion.

The thought of that
warms me all over.

I thought it would

But then, when you
went to see Mr. Mannix,

I decided it would be easier

to let you stop a bullet the
police thought was for him,

the way Barry Nolan did.

Just didn't work out that way.

And now, Miss Packard, I think it might be
a good time for you to take some pictures.

Of what?

It doesn't matter.

Whatever you get on film

is going to be published in
more magazines and newspapers

than anything you've ever done.

Caption... "Last Photographs
Taken By Jill Packard."

On the nose.

And if I don't?

Well, in that case, I think
Mr. Mannix will try to persuade you.

I want you to get a
screwdriver out of the tool case.

Don't point that camera at me,

or the shot you hear will
mean Mr. Mannix's death.

I want you to loosen the
hose fitting on the radiator

just enough to let
the water trickle out.

Move!

All right, that'll be enough.

Now throw the screwdriver away.

The car won't make it a mile
before we crack the block.

Terrific.

Let's go, Miss Packard.

Throw the screwdriver
away, Mr. Mannix.

Well, that does it. Now what?

We walk.

Oh, so that's how
it's going to end, huh?

The tragic photographic
mission of Jill Packard.

Car breaks down... lost in the
desert... Desperate attempt to hike out.

Good reading.

Shall we all get out?

All right, keep moving.

How much more of
this do we have to take?

All there is.

We'll make it through tonight.

Tomorrow will be
a short day for you.

I take it you've been
through this desert before.

Every foot of it with
a Geiger Counter.

It was a newspaper
photograph of my doing just that

that Barry Nolan remembered.

All right, folks, let's go.

All right, Mr. Mannix, get back.

I just wanted to see how
much juice you still had left.

That's pretty stupid, Hastings.

What?

You're out of water.

Oh.

Now you're in the
same spot we are.

All right, let's go.

Come on.

Would you believe behind this rock
there's a jeep and two canteens of water?

I believe it.

You're beautiful, you know that?

All right, let's go, Mannix.

You're really something else.

Let's go.

That's good.

All right. Easy.

All right, on your feet, Mannix.

I said on your feet!

Or she's gonna die.

Jill... here... drink
this... not too much.

Easy. Easy.

That's good.

All right?

Easy. Easy.

All right, Hastings,
on your feet.

Get in the passenger side.

Can you drive one
of these things?

Yes.

I've driven them
across battlefields.

Good.

Then you can drive
us across this one.