04x19 - The Patriot

[bunniefuu]

[instrumental music]

Mr. Smith, brandy?

Oh, no, no more. Thank you, Your Excellency.

Ah, you don't care for it, eh?

Well, I don't blame you.

In my poor country, we don't grow grapes as the French do

or even your own Californians.

There's something in this soil.

You see how dry our peaches are.

Oh. I found them rather sweet.

Uh, Mr. President, I know you're a busy man..

And so is La Cosa Nostra, eh?

Alright. Let us talk business.

Now, to begin with..

Is La Cosa Nostra..

...willing to do as I want?

Well, I wouldn't have flown all the way down here

to discuss money, Mr. President, if we weren't.

Money. Ah, yes, that is the problem.

You see, I do not have very much.

And yet you're asking for a great deal, aren't you?

To bring a traitor back here for trial?

That does not seem

such an extraordinary request to me.

Well, why haven't you brought him back before?

Now, as I understand it, he's been in Chicago, what?

Fifteen years?

How much, Mr. Smith?

Five hundred thousand dollars.

Paid by your consulate in American currency

the day I land back in the United States.

That is out of the question.

The answer is no.

That's the down payment, Your Excellency.

Five hundred more thousand when I deliver Cruz to you

here in Ciudad Cantera.

[chuckling]

Goodbye, Mr. Smith.

Have a pleasant trip home.

Goodbye, Your Excellency. Thank you for everything.

Mr. Smith?

I won't bargain.

Five hundred thousand dollars altogether.

I won't bargain either.

- Goodbye. - 'Mr. Smith!'

[intense music]

Ortiz?

Yes, sir?

Mr. Smith is leaving.

You will drive him to the airport.

Yes, sir.

And on the way, you will pick up

Emilio Cruz's address in Chicago for him.

He will be needing it.

Thank you, Your Excellency.

[music continues]

[instrumental music]

[ship horn blaring]

Captain Ortiz, I, uh, I don't wanna sound impatient

but I do have a plane to catch.

Yes. It'll only be a moment, Mr. Smith.

I understand you wanted Cruz's business address?

Yes, I do, but..

Well, you see, he publishes a paper in Chicago.

It was banned here, of course

but he manages to get a copy in now and then.

This is his latest news stand.

We discovered it only three days ago.

[engine revving]

[music continues]

[blowing whistle]

[g*nf*re]

[music continues]

Compliments of the government, Mr. Smith.

You'll find his address on the editorial page

'along with the names of his staff.'

Oh, and bring him back to us very soon, huh? We miss him.

[dramatic music]

[theme music]

[male narrator] "The FBI."

A Quinn Martin production.

Starring Efrem Zimbalist Jr.

Also starring Philip Abbott

William Reynolds

with guest stars Gilbert Roland..

...James Callahan..

...Marianna Hill..

...Thomas Gomez.

Tonight's episode, "The Patriot."

[theme music]

[male narrator] On October 15th, Richard Schaefer

using the alias Marvin Smith returned to Chicago

with one of the largest international contracts

ever awarded La Cosa Nostra.

His assignment, a kidnapping.

His victim, journalist Emilio Juan Cruz.

Within a week, the basic plan had been worked out.

Cruz, armed and smart, would have to be approached

through a friend.

[intense music]

Five hundred thousand?

Yeah, the check was made out to J&R Public Relations

and deposited in their account at Wilson Savings in Chicago.

J&R is syndicate run?

Yeah, although they usually carry

a few legitimate clients, too.

Nothing on this scale, of course

which was what drew our informant's attention to it.

- Is he sure of the source? - Mm-hmm.

The check was countersigned by the consul himself.

Why? What can they be after?

What would a dictatorship like that want with the mafia?

They must have had some preliminary meetings.

Tom's lookin' into that now.

I asked the informant if there'd been any calls

from J&R to Latin America, any cables or letters..

He said not, but that they had set up

an overseas expense account

for a new employee named Marvin Smith two weeks ago.

Eight days later, this Smith put in a requisition

for a first class plane ticket to New York

and a thousand dollars in expense money.

Of course, he could have gone anywhere from New York.

Has he come back?

He arrived in Chicago on the fifteenth.

The check was deposited in J&R's account the next day.

Hmm. Come on in.

Find Mr. Colby, ask him to come to my office.

Yes, sir.

- Well, what kept you? - Yes, sir.

New York just called.

First class passenger, Marvin Smith

arrived at Kennedy Field on KBL Flight 301

on the day in question.

Left the same afternoon on Flight 500

from Miami in Pointe South.

Do they have his destination?

- Ciudad Cantera. - Well, that's it.

Did you get Smith's passport number?

- Yes, sir. - Call Ben McIntire at State.

- See what they have on him. - Yes, sir.

Smith has got to be one of the keys to this puzzle.

We can't see the mafia sending a boy on a man's job.

Five hundred thousand, hmm.

Whatever they bought, they're payin' a handsome price for it.

[instrumental music]

[Antonia] 'The caption will read, "Now, general'

'"you let the president have a turn.'

After all, it's his g*n."

What do you think?

Can we push the knife a little deeper?

How?

Let's say, uh..

"Now, general, you let the president

"have a turn.

"It may be your g*n..

...but they are his peasants."

Good. "His peasants."

Felipe.

[speaking in foreign language]

Well, I think we're going to have

a pretty good issue this week, don't you, Emilio?

It's beginning to feel like winter.

Soon there will be snow again.

Another year away from home.

I love the snow.

You remember the first time you saw it?

Your father and I would, uh, drive everybody

up to the top of the hill.

We made a-a big snowman.

You were just a little bit of a girl.

Oh, that must have been, uh, eighteen, nineteen..

...twenty years ago.

Before the president.

Yeah.

I don't remember any of that.

You know, I just barely remember my father.

I think I remember the night they shot him.

You kept saying that we would all have to be very, very quiet.

And, we were in a boat. Weren't we?

Yes.

Small boat.

A very leaky boat.

Your wife tried to keep my feet dry.

Emilio?

Why did you never marry again?

Oh, I don't know.

[instrumental music]

I was too busy writing editorials.

No time to fall in love.

So? What are you saying?

That I don't work as hard as you do?

- What? - How did I find the time?

To fall in love?

Are you in love?

- Yes. - With whom?

Alright. Forget it.

[music continues]

Antonia?

I'm-I'm not in love.

I was just talking. It's all a big joke.

Look at me.

'Look at me.'

I was 21 years old when you were born.

I don't care about that.

That doesn't matter.

Do you love me?

That's not the point.

I beg your pardon, Emilio, but that's the only point.

All this work, it's-it's important to me.

Let me tell you what I really think, Emilio.

I think it's a crutch.

No, it isn't.

Oh, yes.

I think the things you're doing here

are so brave that you can't see what a coward you've become.

You hide in your newspaper like a clever idea..

But you're hiding all the same from life.

If I thought it would do any good to go back

to Ciudad Cantera with a g*n, I would do it.

I'm not talking about that, Emilio.

I'm talking about thinking with your heart

instead of your mind.

What terrible thing is going to happen to you

if you let me love you?

Are you going to fall to pieces? Forget about the cause?

Turn the world over to some maniacs?

If your commitment is so weak that there's

no room in it for love too..

Then maybe you'd better re-examine your commitment.

[intense music]

[instrumental music]

Well, it's small, but it's

awfully well-designed for its purpose.

- This is published in Chicago. - Mm-hmm.

- Excuse me, Lewis. - Oh, come in, Art.

- You know Ben McIntire. - Arthur.

How are you, Ben?

Well, I've spent quieter days, I think.

Ben was just trying to get in touch with us

when Tom called.

- In reference to Marvin Smith? - Well, more or less.

We didn't have a name, but it did concern

mafia activity in Ciudad Cantera.

Smith's passport is forged, by the way.

The State Department has no record of him.

Arthur, does the name Emilio Cruz

mean anything to you?

[Arthur] 'No.'

Well, he publishes this Spanish language

newspaper in Chicago.

Cruz got out of Ciudad Cantera about 15 years ago

just ten minutes ahead of the secret police.

He's been a considerable torment to 'em ever since.

A rallying point for the opposition.

The rumor is that the president has finally found a way

to shut him up, through the mafia.

We've notified the Chicago police

but Cruz has refused protection.

Cruz doesn't think they want to k*ll him.

Our ambassador down there agrees with him.

Now, I spoke to him late this afternoon.

His feeling is that the government wants

to force Cruz to recant.

Become the star of a public spectacle.

Well.

Then the mafia may have sold a service this time

instead of a product.

A kidnapping.

Exactly.

Lewis, I'd like you to get out there

sometime tomorrow.

[Ben] 'You won't have an easy time with him, Lewis.'

Cruz is a stubborn man, but he's a very important guest

in this country, he's a symbol.

But more important, I think he's proof

to people living under repression everywhere

that the United States cares about their problems

and approves of their leaders.

I simply cannot overemphasize the importance of this case.

Ben, you understand, don't you, that there is no case yet?

No federal crime has been committed.

We have no jurisdiction here.

All we can do is keep our eyes open and wait.

Well, it does make it a little more difficult, doesn't it?

[sighing] A little.

[instrumental music]

[theme music]

[indistinct shouting]

- One, two.. Let's go. Hey! - No cheating, no cheating..

- Here! Here you go! - 'Catch, catch.'

Hey, man, that was a swinging catch.

Thank you.

Go on ahead, I'll throw you one.

Catch!

[indistinct chatter]

What were you? Pro? All-American?

All-Chicago.

But that was a long time ago.

[upbeat music]

[indistinct chatter]

Popcorn.

- Morning. - Good morning.

- Nice day. - Yeah.

I don't think we're gonna have too many more of it though.

- Gettin' colder. - Well, the kids like that too.

Yeah.

Do you ever bring your own two little boys down here?

Yeah. Once in a while.

You know, that little dark-haired boy

reminds me a lot of Juanito.

Gave me quite a start at first.

But I guess he must be home with his mama, huh?

E-excuse me, but, uh, do we know each other?

Well, you don't know me, Mr. Orledo

but I sure know you.

I know where you live, I know where your wife shops.

'I know where little Juanito goes to school.'

I know all your friends.

And I know you drive Emilio Cruz to work every morning

and pick him up every afternoon.

[sighing] Okay, mister, what's your pitch? Who are you?

You're, uh, you're picking him up again today

aren't you, Mr. Orledo?

Come on, what's this all about?

But instead of driving him home..

...I want you to turn right on Prairie

and stop at that parking lot. You know the one I mean?

Roy!

Mr. Orledo, two of my friends are at your house right now

with your wife and two little boys.

Now, if you cause me any trouble..

...they'll k*ll all three of them.

That's the truth, Mr. Orledo. Honest.

[music continues]

Now..

Don't you think you ought to at least call home and check?

[clamoring]

Never mind, Roy. False alarm.

Morning.

[telephone ringing]

[Jose on phone] 'Hello. Felice?'

'Felice? Feliciana?.'

- Hello. - Feliciana.

Is there someone there now?

Yes, two men.

Who are they, Jose? What do they want?

Nothing. Don't worry about it. It-it's business.

'They'll be leaving in a minute.'

[indistinct chatter]

Tell them to leave her alone.

Do you know which parking lot I mean?

I know.

Wait outside.

No, no. Down in the street.

'Everything's gonna be alright.'

Half a million?

You would have to know the president personally

to realize how funny that is.

He is the stingiest man in the world.

I suppose I should be flattered.

That may only be the down payment, Mr. Cruz.

I am flattered.

But not frightened?

Inspector, I wanna thank you very much

for your kindness and your concern, and, uh..

I really do.

If I were a citizen of this country

I probably would ask for police protection.

'But I'm only a guest here.'

And, uh, I have an old fashioned contempt

for any guest that cannot take care of himself.

I will manage.

I always have.

The situation maybe a little different today, sir.

Uh, the police.

Did they tell you that I have a permit to carry a g*n?

Mr. Cruz, if La Cosa Nostra's decided to pick you up

one g*n isn't gonna worry them much.

But a detail of armed bodyguards would?

For how long? A day?

Three months?

Fifteen years?

Uh, Mr. Cruz, if..

Let's be realistic.

'Who is going to run out of patience first?'

Their syndicate? Or the taxpayers?

Well, on the final analysis, the decision has to be yours.

All we can do is ask you to be careful.

At least until we've located the specialist

who made the deal.

[Emilio] 'Oh, Inspector. Just a moment please.'

I know how exasperating this must seem to you.

How arbitrary.

But it isn't arbitrary.

It is not bravado.

It's practical politics.

Have you ever been in my country?

No, I haven't.

Well.

One of the greatest sites there is a presidential palace..

...from the outside.

No tourist has ever gotten in.

It is guarded day and night, with troops.

'And when His Excellency drives into town'

'the streets are lined shoulder to shoulder'

with more troops.'

For many years, I have criticized this.

Ridiculed it. Made fun of it.

So you see, uh, my point might be a little dull

if I had to start making it under guard.

Do you, um.. Do you always work alone here, Mr. Cruz?

No, my, uh, printers and copy board in the back.

My, uh, political cartoonist

is usually at the drawing table there.

She, uh, she has taken the day off.

She, uh, she is not involved in the cause as much as I am.

'And sometimes, we, uh..'

Well. Doesn't matter.

Mmm. What time do you usually go home?

Four o'clock.

My closest colleague drives me home.

His name is Jose Orledo.

Well. Good luck, Mr. Cruz.

I don't need luck, Inspector.

I have friends.

[Feliciana] Jose?

- Jo. - Yes, what?

It's almost four.

Alright. Alright. I'm going.

Where is Juanito?

I told you not to let him go outside.

He's not outside. He's in his room.

Jose, what is the matter?

Nothing.

Ever since those two men came up here, you--

Will you stop driving me crazy about that, please!

It was a mistake.

They were looking for another Jo Orledo.

[knock on door]

Yes? Who is it?

[Antonia] 'Antonia.'

- Felice. - Antonia, how are you?

So good to see you.

- What are you doing here? - Antonia, what's wrong?

Wha-what's wrong here?

You're not supposed to be home.

He's just going.

The point is, where are you going?

And what's the suitcase for?

Well, I didn't think you'd be here.

I didn't want you to see it.

'I know you're going to tell.'

Tell, who, what?

Jose, please, will you stop yelling at everybody?

Come on. Antonia, sit down.

It just isn't gonna work, Felice.

Why do I care about cartoons and revolutions and all that?

'I care about him.'

'And he doesn't know whether I'm dead or alive.'

So, I'm going to leave Chicago.

- No, no, no. Listen, Antonia-- - Yes, I am.

But you can't desert him. Not now.

Quit it, Felice.

She knows what she's doing. It's all over anyway.

What's over?

The fight.

It's gone on too long.

They've bought up too many big g*ns. We can't win.

Let her get out while there's still time.

[baby crying]

Oh, excuse me, Antonia. My baby.

Well, vaya con dios, Toni.

You write to Felice when you get settled, huh?

Yeah.

Where will you go?

New York.

The flights I wanted were all full until tomorrow morning.

I'd given up my apartment.

So, I've taken a room down at the Lennox.

I'll be there if anything..

Nothing's going to change, is it?

No.

Adios, corazon.

Adios, Jose.

Toni, buena suerte.

[intense music]

[theme music]

Hello, Jose. Hey, you're a little late.

Yeah? Well, if I am, it's the first time in ten years.

Oh, I didn't mean to complain, Jose.

Maybe it sounded that way. I'm sorry.

Amigo, listen--

I told you, I'm sorry. It's my fault.

Forget it. Say you have.

How's the family?

The wife, the kids. How are the kids, huh?

They're fine, amigo. Couldn't be better.

Good.

[dramatic music]

You know, Jose. I really envy you.

That family of yours.

Tsk. Wonderful.

Well, sometimes I envy you your independence.

My cowardice, she would call it.

Who?

Antonia.

I love that girl.

She doesn't believe it, but I really do.

How much?

What do you mean?

Just an academic question.

I was wondering, amigo.

In a show down, which one you'd sacrifice.

The woman or the cause.

[instrumental music]

This isn't the way to his apartment.

No.

Where're we going?

I have to get some gas. We're nearly out.

- Jose? - Just keep quiet, amigo.

Don't talk to me.

What's the matter with you?

What's going on around here?

[intense music]

FBI, drop the g*n.

[g*nsh*t]

Jose, why?

He was at the park this morning.

I saw him playing football with, with a kid they call Junior.

'He came over to the carousel.'

He said..

He said he'd k*ll my sons..

...and my wife, if..

Where does he live?



Notify Chicago police.

He was my friend. My best friend.

[instrumental music]

[music continues]

[upbeat music]

You the guy who wanna talk to me?

Yes, is your name Junior?

No.

No? But your little friend said that, uh--

Yeah, they call me Junior.

My name is Gilbert Donahue.

Well, Mr. Donahue, uh

I'm with the FBI.

I'd, uh, like to talk to you for a moment.

Yeah.

I understand that an older fellow

joined your football practice for a moment this morning.

You remember that?

Sure.

You wouldn't happen to know what his name is, would you?

No, why?

- Had you ever seen him before? - No.

Would you describe him for me?

Well, he was in pretty good shape for his age.

Older fellow, was he?

Well, he was over 30.

"Over 30."

And he was about, uh, 5'11'.

Hundred and eighty pounds.

Little grey right in here.

Do you remember anything else about him?

Uh, did he have an accent? Uh, scar? Something like that?

No. He had a great arm, though. Tremendous arm.

This guy knew his way around a football field, believe me.

Could he have been a professional?

I asked him that. And he said he wasn't though.

Told me he was all-Chicago.

High school?

I guess so.

Mr. Donahue, would you come down to the office with me?

I'd like you to look at some pictures.

Maybe we can find our football player.

Sure. Uh, you mean now?

Yes.

Uh, let me tell that chick over there

I'm helping the FBI out.

It'll capsize her, okay?

Sure.

[music continues]

[instrumental music]

Get a chance to talk to him again?

No, the doctor said he'd probably be

unconscious until morning.

I told Cruz he could go home, but he wanted to stay.

Mmm.

I'm glad to see he's finally asked

for some police protection.

Yeah, he wanted them to keep an eye

on the girl who works in his office too.

A Miss, uh, Antonia Marin.

Apparently though, she's already packed up

and left her apartment.

Orledo's wife said she's on her way to New York.

I think that shook up Cruz as much as the sh**ting.

I suppose they told you that, uh

Feliciana has confirmed the whole nightmare.

Yes, sir.

She's at the police station now.

Looking at photographs.

Mr. Cruz, have you ever seen this man before?

No, I don't think so.

Is he the one that threatened Jose?

Uh, the boy in the park has identified him

as the man who was playing football with him this morning.

His name is Richard Schaefer.

He was an all-city quarterback at Lanier High School, 1951.

He's also been the member

of the Chicago mafia family since 1960.

'And interviewed on several occasions for gangland m*rder.'

Huh.

Where is he now?

We're working on that, Mr. Cruz.

Well, thank God Antonia, at least, is out of Chicago.

[dramatic music]

[telephone ringing]

Some faithful boyfriend you've got.

Doesn't he ever go home?

What time does he usually open the office?

Eight o'clock, usually.



[female #1] 'Operator.'

Uh, hello, um, could I please have, uh



'Was that 9-8?'

Yes, thank you.

[sighs]

[telephone ringing]

That's my phone.

'Hello.'

- Hello. - 'Hello?'

Hello, Mr. Cruz?

Yes, this is Emilio Cruz.

Uh, hold on for a second, will you, please?

[dramatic music]

Uh, there's somebody here I'd like you to talk to.

And then I'd like you to meet the two of us

and another fellow down at 90th and Division.

Can you do that?

What? Why?

So I wont have to sh**t this pretty thing.

- Here she is. - 'Who is this?'

Don't come, Emilio. He'll just k*ll us both.

I'm alright.

- All clear, Mr. Cruz. - Good.

We'll have men watching both doors.

- Front and side. - Fine, thank you.

Thank you very much.

[music continues]

Antonia? I thought you were in New York.

No, no, no. She's right here, Mr. Cruz.

Now, do you think you can meet us?

Because, if you can, I'll let her go.

Alright.

Say, uh, say in about ten minutes.

Yeah. I'll be there.

Fine.

Just fine.

[intense music]

[music continues]

[theme music]

You've been charged with assaulting federal officers.

Now, Jose, you don't have to tell me anything.

You may even want a lawyer.

But you'd be helping Mr. Cruz a great deal

by cooperating with us.

Do you understand?

Yes.

Ask me whatever you want.

You know most of it, anyway.

I don't care as long as my wife and sons are safe.

Is this the man who talked to you in the park?

That's him.

- Lew? - Excuse me.

Cruz has disappeared.

What happened?

Police dropped him at the paper.

He got a telephone call.

And couple of minutes later they look back in, he'd gone.

Apparently, he climbed up the roof

crossed over to another building.

Where's the Orledo family now?

They're downtown under guard. They're safe.

Jose, is there anyone else in Chicago

that Mr. Cruz is particularly close to?

No one except Antonia.

Miss Marin. Yes, we're trying to locate her now.

Well, she's probably still at the airport.

Or the hotel.

Your wife told us she left last night.

Oh, no.

'No, all the flights she wanted were filled until today.'

So she checked into the Lennox.

Thank you.

Call the manager, tell him we're on our way.

Then notify airport security.

[instrumental music]

You shouldn't have come.

I told you not to come.

Thank you for coming.

Alright, give me your g*n, Mr. Cruz.

- You said you would let her go. - I will.

In a few minutes.

Now, watch your speed.

Let's not get picked up now.

[instrumental music]

[man#1 on radio] 'CG 20.'

CG 20, go ahead.

'Lennox manager reports subject left the hotel'

'approximately 15 minutes ago in the company of two men.'

'Neither of them answering the description of Cruz.'

Headed for the airport?

'No, sir. Subject's car proceeded south on Division.'

'Toward the Indiana expressway.'

Do we have a description?

'Maroon four-door with Indiana license plates.'

Uh, contact Chicago traffic control.

I'd like to get in touch with a helicopter

if there's one in the vicinity.

'Yes, sir.'

Take it over the expressway.

[instrumental music]

[music continues]

[man#1 on radio] 'CG 20.'

Go ahead.

'Chicago chopper H4 is over the expressway now.'

- 'Stand by.' - Thank you.

[dramatic music]

H4 to CG 20.

H4, we're looking for a '68, maroon, four-door sedan

Indiana plates, three or more passengers.

Uh, if it's on the expressway it's probably

beyond the 90th street ramp, travelling east.

Will you check for us?

Roger.

[intense music]

[helicopter rotors whirring]

[music continues]

H4 to CG 20. We've got 'em.

Near which ramp?

[man#1 on radio] 'Lake Road.'

'Just over the Indiana line.'

Will you overfly, please?

We don't want subject to know he's been spotted.

Roger.

CG 20 to dispatcher.

[man#2 on radio] 'Go ahead, 20.'

We're on the expressway near the 204 street ramp.

Please inform Whiting, East Chicago and Hammond units

that subject is now in Indiana.

Place lookouts on all off-ramps past Lake Road.

Twenty clear.

[dramatic music]

It's the next off-ramp.

There.

[music continues]

Can't make it.

[man#3 on radio] 'Whiting 5 to CG 20.'

Go ahead, five.

I have subject in view on county road 563.

Any instructions?

Just a minute.

Stay well back.

We'll cut into you on county road 500.

And thank you.

Roger.

[music continues]

[music continues]

- Whiting 5 to CG 20. - 'Go ahead. Twenty.'

They've entered private property.

It looks like an airstrip. Unable to follow.

Proceeding towards you.

Great. Notify all units of our location and follow us in.

[man#3 on radio] 'Roger.'

[rotors whirring]

Goodbye, Antonia.

No, no, no. Both of you.

'Both of you!'

Both?

Why?

I can't leave her behind, man. Think it through, Cruz.

Now, move!

No.

[Richard] 'No?'

I'll k*ll her right here, Cruz. It doesn't matter to me.

You'll have to sh**t through me.

Go on.

k*ll me.

What about your contract?

FBI, Schaefer. Drop the g*n.

[g*nsh*t]

I'll call an ambulance.

Don't cry. It doesn't hurt.

It hurts me.

When I asked you to think with your heart

instead of your mind..

...I didn't mean all the time.

Why would you do such a crazy thing?

I'm tired of hiding.

Hey.

Will you marry me?

Yes.

You heard her.

I have a witness.

You got a witness.

[instrumental music]

[theme music]

Take care of her, though.

[indistinct chatter]

[speaking foreign language]

Well, it's quite a party.

Yes.

There're only two people I miss.

Jose and his wife.

I didn't see her at the church either.

She's in New York.

I got a card from her yesterday.

I had told her that, uh, all was forgotten

as far as I was concerned.

'That we could go on working together the same as always.'

But she said, uh, "No.

"It wasn't the same.

It can never be."

Well, maybe she's right.

To the end of oppression.

And to life.

- Salud. - Salud.

[male narrator] Richard Schaefer was convicted of kidnapping

and is serving a life sentence in a federal penitentiary.

Jose Orledo was tried and convicted

of assaulting federal officers.

[theme music]

[music continues]