05x17 - Fatal Impostor

[bunniefuu]

[dramatic music]

Take it easy, he's just cruising.

[male #1] 'Lights changed.'

Vic, he smells something.

Give him a chance to check his hot sheet

he sees we're not on it, he'll drop off.

Control, this is 33.

[Marge on radio] 'Go ahead 33.'

Marge, I wanna check on a '69 dark green Continental

Iowa license.

'Eight space fifteen, seven, eight, nine.'

Get it off to the FBI right away.



[dramatic music]

He's still with us.

We'll give him a little more rope.

- 33. - 'This is 33. Go ahead, Marge.'

You've got a hit.

The NCIC said that the car was stolen outside of Sue City

by two men believed to be responsible

for an armed robbery early yesterday.

'A security man was k*lled, a bystander wounded.'

Okay, I'm moving in.

You'd better dispatch a couple of units.

I'm heading east on Midview, approaching Lamport.

'10-4.'

[intense music]

Turn off up here. See if he follows.

[tires screeching]

[tires screeching]



[Marge] 'Control, go ahead 33.'

Marge, they just turned off on the Lamport Road heading west.

You better advise the other units

to try to cut them off when they reach 301.

I'll stay on their tail.

'10-4.'

[intense music]

[siren blaring]

[male #1] 'Cut across.'

[siren blaring]

[music continues]

[music continues]

[music continues]

[g*nsh*t]

[music continues]

[theme music]

[male narrator] "The FBI."

A Quinn Martin Production.

Starring Efrem Zimbalist Jr..

Also starring Philip Abbott..

William Reynolds..

With guest stars, Gerald S. O'Loughlin..

Norma Crane..

David Cassidy..

And special guest star, Mary Fickett.

Tonight's Episode, "Fatal Imposter."

On the morning of October 10th

one of two fugitives wanted in Iowa

had been wounded in a shootout with sheriff's deputies

and rushed to a nearby hospital in Bismarck, North Dakota.

The FBI entered the case under the provisions

of the unlawful flight statute.

Resident Agent, John Dennison

in cooperation with local authorities

immediately launched an intensive search

for the wounded man's accomplice.

We've got roadblocks out

a description out on every available man in the field

but so far we've drawn a complete blank.

We don't even know who the second man is.

What about this Davis?

Were you able to talk to him before they took him to surgery?

No, he was almost unconscious, incoherent.

The doctor said he'd let us know though.

Hmm.

What about the car? Any latents?

Uh, yes, inspector.

The Identification Division has them by now

but we don't know what we have yet.

Alright, see what you can find out about his known associates.

And, John, let's move quickly on this

before someone else gets k*lled.

Right.

[instrumental music]

Larry dear, will you please hurry?

We've still got lot of driving to do.

Well, it's been a ball.

I bet Clarion is gonna be even more fun.

Boy it sure is ugly.

Give it a chance, Larry. We're not even there yet.

I know. I'm sorry, mom.

What's it like in Clarion?

Well, I always thought

that it was the prettiest spot in the world.

'Where everyone has the time to say, "Good Morning"'

and, "How are you?" and really mean it.

And at night, it is so quiet, you can even see the Milky Way.

The happiest years in my life I think

were growing up in Clarion.

Looking at the Milky Way. Zowie!

No, silly.

You'll have plenty to do.

There's a movie, a couple of restaurants.

Just about everything except the noise

and the pressure of the city.

Well, if you'll be happy there, mom, we'll give it a try.

Hmm.

Mom, you must be beat. Can I drive now?

Oh, honey, you've never driven on a highway before.

I've driven in a city. What so different?

Well, you have the rest of your life to drive a car.

Why are you forever in such a hurry to grow up?

Mom, I'm not a baby anymore.

Can't you understand that?

Well, of course I can, honey.

It's just that.. Well, I..

I just feel better driving myself, you know.

Don't move.

Alright, don't scream, you won't get hurt.

Okay, get the car started.

'Get movin'.'

[intense music]

Yes, Arthur.

Now, Lewis, the latent prints give us

a positive identification on Davis' partner.

His name is Victor Kiley.

Two prior conviction for armed robbery and as*ault.

Has an arrest record dating back to when he was 16.

Where was he last arrested?

In Las Vegas, two months ago.

Drunk driving charge.

He had a girl with him known as Lorraine Wyatt.

'Agents are trying to locate her now.'

Good. Let me know.

I will put out a wanted flyer on him

and see what that turns up.

[dramatic music]

Alright, outside.

I'm just gonna make a phone call

I'll feel better if he's along with me.

Come on, move.

Hey, look, let my mom go, please.

I'll stay with you, if that's what you want.

How old are you? 18?

No, 16.

You know something, you've got guts

and that's a good thing for a man to have.

[telephone ringing]

[dramatic music]

Go!

[grunts]

Don't move or he's dead.

Don't hurt him. Please, don't hurt him.

Hey, buddy. What are you doing?

Get over there. Get over there.

Alright, get in the back.

Get in there!

Get movin'.

[intense music]

It's hard to believe he could have slipped out of the area.

And we've had every bus station, the airport

the railroad terminal covered long before

Kiley could have reached them.

Guess he could have slipped through

before he got the roadblocks.

We just got some word on Lorraine Wyatt, Lou.

We located a sister in Las Vegas.

She said that Lorraine had moved to Minneapolis

about three months ago.

Minneapolis. Did you get an address?

No, the only thing the sister knew is that, uh

Lorraine had taken a job as a dancer

at a downtown bar someplace. We're canvassing the area now.

Uh, you better get right up there, Tom

in case he turns for her for help.

Alright, Lou. I'll keep in touch.

[dramatic music]

[groans]

Look, what do you want from us?

You could have the car.

You..

I'm not gonna hurt you.

As soon as we get out of this area, away from the cops

I'm gonna turn you loose.

Slow down.

Take it easy.

[intense music]

Now, just relax, you understand?

I'm your brother, we're driving to the West Coast.

You do a good job you'll be okay.

You try anything, he'll be the first one to get it.

Just what do they want you for?

m*rder.

Well, come on, try and look a little happier, both of you.

Just a routine check, ma'am.

May I see your identification, sir?

Trouble, officer?

I hope, uh, social security and, uh, credit cards are okay?

No driver's license?

I do all the driving, officer.

My brother isn't well.

Okay, folks. Sorry to inconvenience you.

Oh, um, by the way, if you see a hitchhiker passing by

notify the police. We'll appreciate it.

[intense music]

[instrumental music]

Hey, hey.

Pull over.

How long you've been driving?

I don't know, maybe ten hours or something.

Can you drive, Larry? Do you have a license?

He's never driven on a highway like this.

Well, there's a first time for everything.

Please, I can drive.

Get in the front seat, Larry.

Don't worry about it, he'll be alright.

Crawl in the back, get some sleep.

[intense music]

Late model gray Fairlane. Didn't get the license.

The description of the man he gave us

it's Kiley for sure.

Hmm. And what about the bloodstains in the booth?

Definitely not his. They were there when he called the police.

Must have to be Kiley's then, wouldn't they?

Looks like maybe one of the deputies hit him after all.

John, you better alert the medical authorities

in the area and give them a rundown in the situation.

It's gonna be rough.

If he intends to use the woman and the boy as hostages.

Tell all units to use extreme caution.

We don't want either one of them hurt.

[instrumental music]

I was alright, wasn't I?

You were just fine.

See, mom, at least he's got faith in me.

[music continues]

You said that you were going to let us go.

I know what I said.

Alright.

But there's something that you should know.

I'm expected in Clarion in two hours.

And if I don't show up..

And you just reminded yourself, huh?

Alright, where's your appointment?

At a real estate broker's office.

I wired ahead last night to say I'd be there by 3:00.

I'm not trying to trick you.

My grandfather died a couple of months ago and left me his farm.

I was raised there, and I'm going back.

You decided to leave your husband at home, eh?

My husband died, nearly two years ago.

Such a waste.

Yes.

I meant you.

You're a good-looking woman.

How come you're not married again?

Oh, he's the, uh, reason, eh?

Well, he's not gonna be around much longer.

I peeled out on my old man.

Before I was his age, of course in my case

I didn't have any choice

cops were after me, but I'd have done it anyway.

Hmm.

Well, Larry wants to stay with me.

You like keepin' him, don't you?

Well, sooner or later he's gonna bust out on you.

You can't keep him buried on that farm with you forever.

Buried?

- Slow down. - What are you going to do?

Pull into the gas station over there.

[intense music]

[bell ringing]

[bell ringing]

I want you to go in that drugstore

get bandages and painkillers

anything you can get without a prescription.

'Don't be too long, you hear?'

[intense music]

Fill it up, ma'am?

Yeah, we passed them through about 20 minutes ago.

A gray Fairlane with a Massachusetts license.

The woman said the guy with her was her brother.

According to his identification, he was Wallace James.

Alright, sergeant, you can take the roadblock down.

James is a truck driver

Kiley robbed outside of River Falls.

Inspector!

Don't be too quick to blame yourself, sergeant.

There's no way you could have known.

A pharmacist in Sheraton reported

he sold a woman some bandages, antiseptic, some painkillers.

He saw her drive off in a gray Fairlane.

It's only about 20 minutes from here.

Notify all units in the vicinity.

[instrumental music]

Ouch!

- I'm sorry. - Just finish it.

How did you get that?

Was it the man you m*rder*d?

No.

Everything went sour right from the start.

'My partner and I were--'

How long do you think that you can keep running with this?

Why don't you just give yourself up?

You're a great one for giving up, aren't you?

Larry's coming with me.

Back on a few minutes.

[intense music]

[telephone ringing]

Hello.

Well, Vic.

Where did you disappear to?

I got no time, just listen.

Cop trouble there?

You said this one was gonna be such a breeze.

I said I got no time. I need your help, Lorraine.

What happened?

Never mind, I want you to get hold of Eddie Ortega.

See if he'll fly both of us to Canada in his plane.

If he's willing, I can meet you at the airfield by dark.

Oh, I, I don't know, Vic.

I'm hurt, Lorraine, you understand?

I'm counting on you.

Okay.

Okay, but, uh, give me some time to contact Ortega.

I'll give you there hours.

Call me back at exactly 4:15.

My number is 7-0-1-K-L-5-4-1-1-0.

It's long distance, but dial direct.

Write it down, will ya?

I've got it.

Thanks, baby. You come through, you won't regret it.

[intense music]

Get in!

How far is that farm of yours?

About a 20 minute drive from here.

Okay, we're gonna hold up there for the next two hours.

Come on, get goin'.

[engine starts]

He said they stopped for gas here.

Excuse me.

We're with the FBI.

I wonder if you could help us.

I believe, uh, a woman in a gray four-door

stopped here for gas?

She had a man and a boy with her?

What about 'em?

Well, did they ask directions or give you any idea

where they were going?

Just filled up and went.

Who paid for the gas?

The woman.

Cash or charge?

Credit card.

I wonder if I could see the slip, please.

Thank you.

Notify the highway patrol

and ask the Boston office to check on an Ann Wentworth.

Massachusetts license plate 6-0-9-6-3-4.

Maybe her friend knows where they were going.

Right, inspector.

[instrumental music]

Oh, Ann. Mrs. Wentworth, I'm sorry, I forgot to tell you

the phone isn't connected yet.

I'll take care of it, Mr. Joseph. Thank you.

How'd you explain me?

I told him that you were my husband.

Don't worry. Nobody around here knows that he's dead.

You'll be perfectly safe.

You promise that you'll leave..

...when it's time for you to go and get your call.

Yup.

Then you'll be all alone with your problems.

[engine starts]

[intense music]

[engine revving]

[music continues]

Hey, Jerry!

You'll never guess who just got back into town.

Your old girlfriend, Ann Foster.

Is that right?

Well, I might go by her place later on.

Say hello for old time's sake.

[instrumental music]

[knocking on door]

Yeah.

- Mm-hmm? - Lorraine Wyatt?

Mm-Hmm.

FBI.

My name is Tom Colby. This is Special Agent Stanley.

May we come in?

Well, I'll tell you anything but my age.

I promise not to ask.

[Lorraine chuckles]

I want to talk to you about Victor Kiley.

Uh-huh.

Has he been in contact with you lately?

Unh-unh.

Ms. Wyatt, he's, uh, he's in pretty serious trouble.

He tried to avoid capture and he took two hostages.

A 16-year-old boy and his mother.

Oh. Well, I'm sorry, I can't help you.

Can't or won't?

Kiley has already k*lled one man.

I'm sorry, I don't know anything about it.

What do you owe Kiley?

Now, why don't you please go, huh?

If something happens to them..

You could help us or don't..

...you'll have a lot of people to answer to.

Including yourself.

He won't harm them.

You're sure?

What if he were your boy?

[instrumental music]

Oh!

I'm sorry.

I know how disappointed you must have been.

It'll be okay once we get a coat of paint on it.

It's all so different.

It isn't the way that I remembered at all.

It never is.

Larry, here put this on.

Oh, I don't need it, mom, honest.

- Larry, please. - Mom, honest. I don't need it.

You don't give him much room, do you?

You just stay out of our lives! Do you hear?

Here.

Start tearin' that up.

I'm gonna tie you both up and go get my phone call.

If you get lucky, you won't ever see me again.

[groans]

[car approaching]

Get over there.

[intense music]

That's the sheriff's car.

If he comes in, get rid of him.

Get in there.

[music continues]

[knock on door]

Hello, Ann. Welcome home.

Hey, I haven't changed that much, have I?

Jerry, Jerry Stevens.

Uh, oh, I'm sorry, Jerry.

No, it's.. I guess I just wasn't expecting anybody.

I brought you some groceries.

I figured you might not have stopped.

Thank you.

- I'll take them. - Oh, it's no trouble at all.

It isn't every day that Ann Foster comes back to town.

Jerry, uh, my, my husband and son are asleep.

Uh, we drove all night, and--

Yeah, well, I won't make a sound. I'll be right back.

[dramatic music]

Fifteen years, Ann, on you it doesn't show.

Are you happy?

Look, Jerry, I know that you'd love to talk

but to tell you the truth, I'm--

Sure, sure, you're tired.

Look, uh, what about tomorrow night?

Could I buy you and your husband some dinner or something?

'I sure like to meet him.'

[Ann] 'Jerry, please, I'll call you.'

I'm sorry, I'm, I'm just exhausted.

It's alright. No need to...apologize.

You know, I...I sure never thought that you'd come back.

There isn't much here when you get right down to it.

Why did you come home?

I guess I just thought it would be more peaceful here.

[dramatic music]

What's he doing?

[music continues]

How am I gonna get to that phone booth on time?

Well, you could, you could drive right past him.

He doesn't know what my husband looks like.

He might know me if they have my picture.

[instrumental music]

[telephone ringing]

[ringing continues]

You sure this is the number he gave you?

Yeah.

[telephone ringing]

- Vic. - No, this is Inspector Erskine.

Would you put Mr. Colby on, please?

- Yeah, Lou? - Tom, he hasn't shown up.

Have you set up surveillance at the airport

where Ortega keeps his plane?

Yes, sir, it's covered.

Good.

Tell her if Kiley calls again to say

Ortega's agreed to fly him out

and wants him to get to the airfield as soon as possible.

Yes, sir.

[instrumental music]

[music continues]

[telephone ringing]

Alright.

- Hello. - I got held up.

I couldn't get to the phone booth.

Are you alright, honey?

What about Ortega?

You are in luck. I mean, he says you can have whatever you want.

'Plane's ready and waiting.'

'And what else?'

What do you mean what else, baby?

How much you're gonna cost me?

'How much money did he ask you for, Lorraine?'

Well, Vic, he, uh, he didn't say anything about money.

'He didn't?'

No, no. I swear.

You're a liar.

You're setting me up, aren't you?

Ortega wouldn't talk to you without naming a price.

Vic, I swear it.

You sold me out, you little..

[dramatic music]

Inspector.

Alright, Tom, get back here as soon as possible.

'Let the agents there take over.'

Teletype just came in from the Boston office on Ann Wentworth.

According to neighbors

she left town five days ago, headed for Clarion.

Where's that?

We can drive there in less than half an hour.

Well, let's go.

[dramatic music]

[instrumental music]

[grunts]

Oh.

It's no use. I can't break 'em.

It's alright.

Somebody is bound to come by.

Mom..

...when this is all over..

...we're not gonna stay here, are we?

I don't know.

Maybe it was a mistake to come back.

'I don't know what I expected, but..'

'...I guess people really can't go backwards.'

It's just that when your father died

I couldn't face the future.

I was afraid I suppose.

So I tried to stop everything.

'Including you.'

If I get out of line

you just remind me that you're a young man now

'and not my little boy anymore.'

[sighs] That's what I've been trying to tell you, mom.

[footsteps approaching]

Why did you come back?

You promised.

[grunts]

[instrumental music]

You're driving me to Canada.

'We're leaving right now.'

Get on your feet.

[instrumental music]

You'll bleed to death before you're halfway there.

Uh, I'll make it.

I've put the bandages in the kitchen. Go on, get 'em.

You're not gonna do this to us again.

Won't I?

He could've gotten her k*lled, you know that?

I'll bet you anything Kiley had a g*n on us

the whole time I was talking to her.

That's why she was so nervous.

Where is the house?

If you're thinking of going in there, inspector

I'd forget about it. That farm's pretty isolated.

'Kiley would see us coming for a good 100 yards.'

Well, we'll have to find another way then.

[instrumental music]

Out the door.

Hold it.

[car approaching]

[music continues]

Come here.

Who's that?

I don't know.

I've never seen him before.

[dramatic music]

Uh, good afternoon, Ms. Wentworth.

I'm Lewis Erskine of Hodges and Erskine Real Estate.

- May I come in? - I'm afraid that this is--

You know, we've been interested in this property

for quite sometime.

I thought you might reconsider selling it.

Oh.

Quite a place you have here.

Uh, I'll just need a few minutes of your time.

I'm sure you won't regret it.

[dramatic music]

No!

You'll have to understand I'm just not interested.

Yes, well, uh, people usually aren't.

That's why we like to find out all the advantages.

Looks like you just walked in to something, Charlie.

I'm with the FBI, Kiley.

Get rid of the g*n or I'll k*ll him, you understand?

The house is surrounded. There are dozen men out there.

Unless you call them off

and get me a clear path out, he's dead.

I got nothing left to lose.

[Erskine] 'Unit 1 to unit 3.'

[Erskine] 'Unit 1 to unit 3. Come in.'

Unit 3, go ahead.

Kiley has got the boy, John.

He's going to be driving out with him.

Let him through.

Alright, inspector, I'll give the order.

You're clear.

[dramatic music]

Get in.

No. No more.

Look, Larry, don't make me do some--

I'm not going!

[groaning]

[dramatic music]

[screams]

[groans]

Oh, Larry.

[music continues]

[instrumental music]

I wouldn't have hurt him

but I had to try to, uh, get out, you understand?

[instrumental music]

I'll see you, son.

I want to thank you, inspector.

It's quite a boy you have there, Mrs. Wentworth.

I know. I've just begun to realize that.

Will you be, uh, staying on here?

I'm not sure.

I think that that's something that Larry and I

are going to have to talk about.

We're just going to have to feel our way.

[male narrator] Rick Davis recovered from his wound

and with Victor Kiley was convicted in state court

of armed robbery and m*rder.

Kiley was later tried separately

on kidnapping charges and sentenced to life imprisonment.

[instrumental music]

[theme music]