01x19 - Special Delivery

[bunniefuu]

[theme music]

We're in trouble.

If you could bust a hundred..

We're in trouble.

Hang on.

Evening!

My name's Donaldson. I called about half hour ago.

Alright, we're checkin' your car out now, Mr. Donaldson.

Say I, uh..

What if you could do me a favor?

I cashed my pay check this afternoon

and I spent all my small bills.

I need three bucks for the cab.

Wonder if you could take my deposit out

of this and give me some singles?

Oh, sure.

Hey, is this real?

[chuckles] It better be.

[dramatic music]

[g*nsh*t]

[music continues]

[tires screeching]

[g*nshots]

Operator, give me the police, the FBI, somebody!

I-I think I just shot a bank robber.

Bobby!

[engine revving]

[music continues]

[theme music]

[male narrator] "The FBI."

A Quinn Martin, Warner Brothers' production.

Starring, Efrem Zimbalist Jr.

Also starring, Philip Abbott.

Stephen Brooks.

With guest star, BarBara Luna.

And special guest star, Earl Holliman.

Tonight's episode, "Special Delivery"

[instrumental music]

Alright, have the SAC, San Francisco

call me the minute he gets in.

'They found the car Porter stole.'

They found it in San Jose.

Then you were right. He's still heading north.

[intercom buzzing]

Yes.

[woman on phone] 'Senior resident agent'

'San Jose, Mr. Erskine.'

Yes, Burke.

Inspector, I'm on the scene

'where we've recovered the car Porter stole.'

By the way, just got another stolen car report.

A U-Drive lot, here in San Jose

was hit sometime late last night.

There was blood on the pavement.

You put the description out?

Yes, sir.

Tell him to be on the look out

for two or more passengers in the car.

Porter's been hurt, he's not likely

to be doing this running alone.

Yes, sir.

And alert all doctors in hospitals in the Bay Area

and all the drug stores he can reach.

Ask them to report any g*n shot wounds

any queries about g*n shot wounds.

And, Burke, let's approach this man with extreme caution.

He's got a g*n, and he's not afraid to use it.

[intense music]

[speaking in foreign language]

- Now what's buggin' her? - Same thing.

She's not happy that I brought you here.

She wants us to get out.

Give her another 100.

Tell her to keep her mouth shut or I'll shut it for her.

[speaking in foreign language]

Did you make the call?

Yeah, um, the man said that

uh, he'll have somebody pick us up

as soon as things were arranged.

Maybe, this afternoon.

[grunts]

Bobby! Bobby, let me look for a doctor.

No.

We could pay somebody to help.

Buy some sulfur or something.

Honey, what are we saving all that money for

the biggest casket in town?

We're gonna spend that money. Don't you worry about that.

[breathing heavily]

I'm gonna buy you half of Brazil.

I don't want half of Brazil.

I want you.

[sobbing]

Hey, hey, hey!

Hey, Lin.

Come on, stop it.

Hey.

Hey, tell me what we're gonna do when we get to Rio.

Huh?

Come on.

Come on, we're gonna dance all night

at the, at the carnival, right?

Yeah?

And..

And then we're, we're gonna swim all day

at, at Ipanema.

[chuckles] We're gonna laugh and carry on like, like a couple of kids.

It's our turn now.

Now it's our turn.

[Arthur] 'Where is Robert Charles Porter'

'and why haven't we got him?'

Well?

Tsk, he was last reported in San Jose

he's probably in San Francisco by now.

What do you mean probably?

Well, that's the way he's been headed ever since he broke out

of the San Bernardino Jail.

Bakersfield, for us known as San Jose.

And we still haven't got him.

Art, do you recall an embezzler named Evans?

Yeah, I certainly do.

He's still in Brazil.

And a male order pornographer called Gartard?

Yeah, I remember him.

Sir, we just heard from the Uruguayan police.

Gartard's in Montevideo.

Both men disappeared from San Francisco.

Now they both turn up in South America.

- Just a coincidence? - I don't think so.

Two weeks ago the SAC, San Francisco called me.

Said the word was out there that a small time hood

named Ray Scott, was running a package service

from the West Coast of the United States

to the East Coast of South America.

Delivery guaranteed on anything

from a stolen car to a warm body.

- White sl*ve racket, you think? - Bigger.

I think the route's open now for any fugitive

with the price of a ticket.

And Porter made that price in Bakersfield.

He hit that bank for over a $100,000.

[intercom buzzing]

Yeah.

[woman on phone] 'SAC San Francisco for Mr. Erskine.'

Yes, Fred, any word on Porter?

Not yet. He had a girlfriend in San Bernardino, Linda Rodriguez.

She's missing.

We're checking now to see if she has any relatives up here.

Good. Anything happening with Ray Scott?

No. He's moving around, inspector.

My contacts say something's up, but they don't know what.

[Lewis] 'Put a 24-hour surveillance on him.'

Yes, sir. Will you be coming out?

Okay.

Yes, next flight.

[Fred] 'We'll have someone to meet you.'

If Porter is on an underground railroad

somebody's gonna have to follow him.

You got any ideas on how to do that?

The same ones you have, criminal intelligence operation.

Put an agent through.

Which agent?

I haven't made up my mind yet.

Yeah, well, be careful.

[Arthur] 'Lewis.'

You could get your throat cut on an excursion like this.

[dramatic music]

[airplane droning]

[knock on door]

- All fine? - Yes, sir.

Neighborhood gossip says she had a couple of visitors

just before we got here.

Doesn't seem to be anyone with her now.

Inspector Erskine, Special Agent Leads

Special Agent Harman.

Hello, Harman.

We found a car incidentally, in the bay, no bodies.

Any latent prints?

Yes, sir, the Rodriguez girl was with him.

We have a warrant if you wanna move in.

No, I'd like to hang tight for a while, Fred.

If Porter started in the Rear Road

we don't wanna tip our hand too soon.

Right, sir.

Meanwhile, fill me in on Scott.

Oh, for one thing, he takes a very good picture.

[instrumental music]

Raymond Adwell Scott, alias Raymond Adwell

Scott Adwell, Jon Scott.

[Fred] 'Age, 40. Height, six one. Weight, 195. Unmarried.'

'He served terms for armed robbery, ADW'

'transporting women for immoral purposes.'

He owns this and four other model studios.

Fred, is Scott the head of the Rear Road

as far as you know?

Oh, I'm pretty sure he isn't

as a matter of fact.

Close down Scott, it'll be like pruning a branch

instead of chopping out the root.

Headquarters seem to be in the south.

There's been some talk of a man named Casey running it.

Casey. Is that a nickname?

Could be.

Have Washington check the nickname file.

C-A-S-E-Y, initials Casey.

Anything to do with baseball, Casey with the bat.

- That sort of thing. - Yes, sir.

[intercom buzzes]

Yes?

Rhodes.

- I've seen enough. - Have him come in.

- Fred. - Hi, Jim.

- Jim, how was Portland? - Wet.

Did you find Porter yet?

So he shipped out.

Been one step behind him all the way.

What do we do now?

Now, we hunt for the depot, if you've got my cover.

Yeah. Richard Hugh Jenkins.

Uh, rent receipts, bills

uh, personal letters with the Portland address.

I planted mug shots in a record with city and state police.

So, here's a-here's a run down of local names, records, etc.

Money?

[Jim] '$50,000.'

'Safe tracking job, downtown farrier.'

Story was k*lled, because the insurance company

suspects that there was collusive fraud by the owner.

So, they're trying to find the thief and make a deal.

Fred, will you have someone leak word that Jenkins is in town?

And what's my hotel?

Grace on Powell Street, but we got a problem.

Now, Scott's bound to check you out

pretty thoroughly before he commits himself

and that's gonna take time.

If it takes too much time

Porter will be out of the country before you get started.

Now, how can we speed Scott up?

- Maybe we can slow Porter down. - Hmm.

He's a Californian.

He hasn't got any record outside of the state.

You can transport him in an open convertible.

But suppose they knew that every law enforcement officer

between here and Miami was looking for him?

They'd take care. They'd crawl.

There's a vacancy in the ten most-wanted list.

Call Arthur and tell him we got a candidate.

[intercom buzzes]

Brown.

I won't contact you again till we end the line.

And don't blow the whistle

until I reach the number one man.

If we miss him, we missed everything.

Good luck.

You'll need it.

The mechanic Porter shot in Fresno just died.

He's facing the gas chamber now.

He'll be going for broke.

[instrumental music]

[ship horn blaring]

[gasps]

Hey.

Hey, hey, hey.

Now, it's alright.

Look, it's me.

It's me.

[sighs]

You okay?

What time is it?

It's about noon.

I thought they'd move this out before sunrise.

What? I know, but something happened. I don't know what.

The guy that owns this place, uh, Dominique.

He said that Scott called.

How you feelin'?

How do I look?

That bad you couldn't feel. Just don't die out on me.

- Then get us out of here. - We're workin' on it.

It's kind of, uh, complicated.

What's complicated?

Fix him a place in a station wagon

where he can lie down and keep us off the main roads.

John Doe could go on the station wagon.

Mr. Big Shot here though, he's gotta go

special delivery.

That is, if he goes at all.

What do you mean, if I go at all?

[male #1] 'Casey wanted to dump ya.'

Pal, you try to back out of this deal

and I'll take you apart like a $2 watch.

Alright, alright.

Don't get excited.

Scott talked Casey out of it.

But maybe you don't wanna pay.

I never knew anybody write his name--

You've been paid.

Down payment.

Twenty thousand more.

Forget it.

I think you're smart.

I'll call Scott.

[Porter] Wait a minute.

Give him the money.

- But-- - Give him the money.

[instrumental music]

Wait here.

$10, we'll do the processing.

Group sessions just started.

Straight through the drapes.

Grace Carter around?

Who?

Look, Charlie, I've come a long way, and I'm tired.

Okay.

Uh, friend?

What's your name?

Smith.

[instrumental music]

[door knob rattling]

[Lewis] 'Don't be shy, Mac, come on in.'

The desk clerk said you were out.

Can't trust anybody these days.

'My name's Scott. You Jenkins?'

Smith.

I meant Smith. Slip of the tongue.

Who told you about my studio?

Dave Liselle.

When?

When I met him in Seattle around Thanksgiving.

Dave was a good friend of you, I got it.

You wouldn't mind if I contacted Dave, would you?

I wouldn't mind if you contacted

George Washington.

They're both dead.

Dave got his in a bank job

in Vancouver, December 3rd.

Convenient for your story.

Mac, if you hadn't checked my story six ways to Christmas

you wouldn't be here.

What did you wanna see me about?

Maybe I want a job.

Maybe I wanna meet some girls.

You're the one who came bustin' in.

What do you wanna see me about?

Credit. You're runnin' and I can help ya.

How about a nice vacation in South America

all expenses paid?

$5,000.

When do you wanna leave?

Suppose I said no?

Can't do it.

Takes too long to get things--

Time is what I'd be buyin', Mac.

Either you ship me out tonight

or let's call the whole deal off.

Let's call the whole deal off.

Alright, let's stop bargaining.

You'd come to my studio tomorrow, I'd say no

and then I'd come to see you the next day

and back and forth and back and forth.

Like you say, you're buying time.

$10,000, you'll leave by boxcar tonight.

Boxcar?

So it isn't need. Take it or leave it.

I'll take it.

[dramatic music]

Are you kidding? He can't ride in a thing like this.

I'm tired of arguing with you, lady.

If you don't like the accommodations, it's fine.

Get the stream line.

Come on.

Bobby. Bobby, why don't we call it off?

We could go back to my aunt's place.

You saw the paper, every two-bit patrolman and his brother's

gonna be looking for me.

We're boxed in.

Hey! Come on and help us.

[music continues]

[music continues]

Well, Mr. Smith.

Hello, Mac.

You got another customer, Eddie.

Not much room in there.

Told you I'll squeeze in.

[music continues]

Mr. Smith, Mr. and Mrs. Jones.

- Hi. - Hi.

You two had a friend in common, did you know that?

Dave Liselle.

You knew Dave?

Yeah, I knew him.

Where you from?

Portland.

You're kidding.

That's a great town.

- Bob. - I love that town.

Bobby, what was that, that drive we used to take?

Remember, to see the lights on the river?

Uh.. Oh, you know, on the west side in the hills.

- Oh. - Yeah.

We'd end up in, in Beaverton.

Yeah, uh, what was the name of that street?

- On the west side? - 'Yeah.'

It's almost 1 o'clock, Ray.

Right.

We're gonna leave you now.

Go hook into the main freight at 4:30.

Mr. Jones checked his g*n with us, Mr. Smith.

We'd like you to do the same.

You'll get it back when you dock at Rio.

I hope you all have a pleasant trip.

Goodnight, and good luck.

[dramatic music]

[instrumental music]

Yes, sir, it's, uh, it's 1:30 now.

Our man can report to you in an hour.

Yes, he has experiences of brakeman and an engineer.

His name is Gonzalez.

Yes, sir. And thank you for your cooperation.

Dispatcher says, he'll pick up the Sea Princess cart at 4:30.

Destination Sea Princess warehouse, El Paso.

Gonzalez, you'll stay with the car all the way.

Yes, sir.

Fred, we'd better have a man at every stop

just incase we decide to break him out earlier.

Right.

I'll, uh, see you in El Paso.

[instrumental music]

- Bobby. - It's okay.

- It's okay? - Yeah.

[music continues]

Hey, Smith?

You thought of the name of that street yet?

No, I haven't.

I have.

Well, good for you. You get the gold star.

You'd probably known if you heard it, wouldn't you, Smith?

Was it...Tarkington?

Never heard of Tarkington.

Taulaga?

Yeah, that's it.

Yeah, that's it.

Now, could you stand it if I got some sleep?

[instrumental music]

Your arm asleep?

Is it still there?

Yeah, how about some water?

Could you pour some on this?

[Lewis] 'Shoulder looks pretty bad.'

I'm scared to death it's infected.

How'd it happen?

I forget.

Why don't you, uh, get up and move around a little?

He won't run away.

I wonder where we are.

Did they tell you where our first stop would be?

[chuckles]

They didn't tell us anything.

Except to ante up more money when we..

Oh, well, it's over and done with.

What, your payments? They haven't even begun yet.

I know the pattern.

Be lucky if the three of us get to Brazil

with ten cents between us.

They wouldn't do that to Bobby.

They know we pay 'em back.

Without a g*n?

[Porter] 'Lin?'

Don't let me catch you near her again.

- Bobby, he wasn't doing-- - They got the g*n.

But they missed this, now you come near again

I'll cut your heart out.

[train horn blaring]

[bells dinging]

It sounds like we're coming into a city.

Lin..

...stay away from him.

Bobby, what's wrong with you?

What was he asking you back there when you two were talking?

Nothing important, why?

How come all the time I spent in Portland

I never run across this character?

Because it's a big town.

Yeah.

Oh, baby, you're worn out.

'Now go to sleep and stop worrying.'

Look, the guy wants to get out of the country like we do.

Now, why else would he put himself through all of this?

That's what I mean to find out.

[dramatic music]

[music continues]

[music continues]

It's kinda close in here.

Smith, my name is Woods.

- Where are we? - El Paso.

Yeah? What's next, Mexico?

Well, the flight plan they gave me said, uh, Beaumont.

Flight?

A specially chartered.

Just for you.

Oh, by the way, your tickets are $25,000.

Twenty..

A piece.

You filthy leech.

Do you know what I went through to get that money?

Keep it. I'm offering you a service.

You don't have to buy.

You leech.

Leech!

- Mr. Smith? - Leech.

It's our chance.

Listen to me..

...please.

$25,000..

...a piece.

[dramatic music]

Thank you.

The, uh, car is outside.

Come on, Bobby.

[music continues]

[music continues]

Surveillance to 17.

They've just come out and they're driving way.

[man on radio] 'Seventeen. We see them. Clear.'

[dramatic music]

[whirring]

Lin.

Yes, Bobby.

Is that..

Is that Rio?

Yes.

Yes, go to sleep.

I'm sorry about before.

Bobby isn't usually like this.

He knows I'd never play around.

But he woke up alone and it scared him.

[sighs]

He's awfully sick.

He mustn't die.

He..

[mellow music]

You two have been together for a long time?

All our lives.

Bobby lived next door.

My..

My mother had this baseball bat..

[sighs] ...and she used to get drunk.

Bobby used to hide me.

And we'd, we'd sit in the cellar in the dirt

and listen to her yelling around outside.

We'd tell each other about all the clean, pretty places

we were gonna see when we grew up.

What about your father?

Which father?

My mother had a new husband each year.

In fact, all the women in the neighborhood did.

Men around there were like geese on a pond.

Come winter and off they'd fly.

'Bobby's different.'

'The only time he's ever been away from me'

'was when he was in jail.'

He's reliable.

I think that's why I love him.

You call him reliable?

Hm.

He could have set out for Brazil alone, like you.

But he didn't.

He wanted me with him.

I hope he makes it.

He'll make it.

They said they'd get him a doctor

when we got to New Orleans.

New Orleans?

Hm, I heard Bobby and Woods talking before.

About what?

Well...Bobby told Woods that

that you didn't know enough about Portland.

'That he should call and check out your story.'

Woods said they'd know by the time we got to New Orleans.

[sighs]

I wonder how much further it will be.

I'll ask him.

Hey.

How far to Beaumont?

About 4,000 feet down

and five miles back.

[dramatic music]

- You mean that was Beaumont? - That's right.

- But I thought-- - Don't think, Mr. Smith, huh?

Just leave that to your tour directors.

[instrumental music]

The plane landed here in Beaumont ten minutes ago.

Nobody on board but the pilot.

Have the airport calculate the amount of extra fuel he used.

- Tailwinds or headwinds.. - Uh, yes, I've done that, sir.

They tell me he apparently passed Beaumont

so we're looking for a landing field now

big enough to accommodate that particular plane.

Any words yet on the Casey nickname?

Yeah, too much.

We got a 100 leads to check out

between New Orleans and Miami.

But it sounds as though you're on the right track

so proceed ahead just as fast as you can.

- 'Yes, sir.' - We'll find him.

Yes, sir.

[instrumental music]

- Here you go. - Thank you.

Don't look any too chipper, does he?

He'll make it.

Uh, your friend's dyin'.

I know.

Is there a doctor around here?

None to trust.

Truck's gonna be by to pick you up before long.

They might know of a doctor in New Orleans.

[knocking on window]

'Hey, get down from there!'

Hey, you, boy! Get down from there!

Go on!

Break a leg, they'll sue me for every nickel I've got.

Go on home!

Didn't you ever lose a kite when you were a boy, Burton?

I'll get it for him.

Oh, Smith?

Well, he's seen you now anyway

uh, tell him you're a cotton buyer if he asks.

He probably won't. I know him, he's a dumb one.

Hi. Hey, wait a minute. Don't be afraid of me.

Here, I'll get your kite for you.

There you go.

Listen to me, son.

You got a phone at your house?

Call the FBI, tell him that Porter is here.

Understand?

Manners. I'll bet he didn't even thank you.

I told you he was a dumb one.

[horn blaring]

Oh, here's Casey.

Last lap comin' up.

Casey will drive you on down New Orleans

and ship you out on his boat.

Burton, this our tourist?

[Burton] 'One of 'em. The other two are inside.'

Get 'em. Let's go.

[engine revving]

Mrs. Patterson?

FBI.

- Well, you got here quick. - Uh, yes, ma'am.

Well, I-I don't know if the boy's lyin' or what

but I thought I better call.

You say this Porter's a bank robber?

Yes, ma'am. He is. A-are they still at the Burton place?

No.

No, boy says he's seen him leave in a truck

heading south, down towards the New Orleans highway.

Uh, what kind of truck, ma'am?

Well, it's the regular kind of truck

comes by here all the time.

Picks up the bale cotton and tows it on down to New Orleans.

I think it's the Case and Cruz company.

- Case? - Yeah.

You know that Central American export-import outfit?

I think it's really Case Y Cruz.

Case Y Cruz.

[engine revving]

[dramatic music]

Lin.

Yes, Bob?

Want some water?

I love you.

And I love you.

Tell me..

Tell me what we're gonna do when we...get to Rio.

Oh, Bobby. Don't, please.

Come on.

We're gonna dance all night at the carnival.

Then..

...we're gonna swim all day at...at Ipanema.

And then we're gonna laugh and carry on like

like a couple of...kid..

I guess it's our turn now.

[mellow music]

Our turn now.

[sobbing]

Any water left?

Yeah.

How is he?

Oh, he's fine.

He's gonna be a..

Lin..

Lin, he's got to have a doctor.

He can't wait till New Orleans.

They may not have one there anyway.

Yes, they will. They promised. They promised.

What good were their promises about the price of this trip?

Listen.

I think I know a way to stop the truck.

Why would you want to stop the truck?

For Bobby...or for you?

- Who are you? - What difference does it make?

The police?

Listen to me. Brazil is out.

It maybe weeks before the boat sails.

He'll never live long enough to get there.

Look at him.

Alright, I do need help. So do you, so does he.

We've gotta stop this truck before it gets to New Orleans.

No. No, he'd go to jail.

Well, at least he might go to jail alive.

What do you want me to do?

Ask him to look at your friend

get his back to me.

[Linda] 'Hey.'

My friend is awfully sick.

Could we stop and get a doctor?

Well, could you come and look at him?

Please.

[dramatic music]

[music continues]

[engine rumbling]

[music continues]

[siren wailing]

[grunts]

[music continues]

[siren wailing]

[grunting]

[tires screeching]

[siren wailing]

[music continues]

Hold it right there!

[mellow music]

He's dead.

[sobbing]

[instrumental music]

Good.

Alright, Jane, thanks a lot.

Well, that wraps it up.

They've got the lot of them from Scott to Casey.

Lou, what about the girl, what's gonna happen to her?

She was guilty of aiding and harboring a fugitive.

Strange woman.

Intelligent, good looking.

I think she could have done a lot better

than a guy like Porter.

She didn't want anyone better than Porter.

She was in love with him.

Hm.

Oh, I have the teletype here from SAC Richmond.

[instrumental music]

[theme music]

[music continues]