03x10 - Blueprint for Betrayal

[bunniefuu]

[instrumental music]

[Julie] 'I said it was a terrific dress'

but at those prices I couldn't even afford an option on it.

So I...I settled for this one.

Beautiful.

I wonder, Julie.

How badly do you think it would shock official Washington

if a middle aged German journalist

were to kiss a young American government girl

right out in public?

I don't know. Should we test it?

Shall we?

[music continues]

Mr. Reiman, telephone.

Oh.

Excuse me, Julie.

Yes.

[Anna] 'Hello, Karl.'

- Who is this? - 'Well, who do you think?'

Karl, I..

I want to talk to you.

I-I-I called the office

and they said you might be there.

I-I only have a few hours

'I flew down this afternoon--'

Anna, for heaven sake.

We have talked!

It's no use.

I'm sure you're never in any restaurant alone.

I can see the girl now..

'Pudding face, skinny as a rail'

'batting her long eyelashes.'

Does she know you still have a wife?

Does she.. Does she enjoy scenes, Karl?

I'm not too far from there, you know.

Don't be ridiculous, please.

I'll try to get up in New York in a week or two.

I want to talk to you tonight!

I'm at the Lennox.

- Room 410. - Anna.

'Well, it's all the same to media.'

I'll call a cab, and I'll..

Alright, alright.

Stay there.

I'll, uh.. I'll arrange something.

Yeah.

[telephone ringing]

Maas.

Yes, Karl.

Frederic, I want you to help me.

Anna is in town.

'Well, yes, I know, but..'

You know?

She stopped by the embassy to ask for your address.

And, no, no, I didn't speak to her myself

but she was quite insistent.

And we wouldn't give it to her, of course.

Well, she tracked me down anyway. She just called.

Uh..

I'm here with the girl now.

It's coming along very well.

If, uh, Anna comes barging in

she could wreck everything.

Uh, where is Anna?

The Lennox. Room 410.

I thought you could, um

talk to her, Frederic.

- Persuade her to-- - Certainly.

Don't you worry about it.

Go back to your guest.

- Yes, sir. - Oh, come in, Bohler.

Close the door.

Is the ambassador still in his office?

No, he's gone to bed.

Well, major, we have a little problem.

We have a rather pleasant middle aged woman

sitting in a hotel room

trying to get back her husband.

She's been hurt.

She wants to hurt somebody in return.

And, uh, she could hurt us.

Yes, she could.

I don't think there's any use in trying to reason with her.

I'll get the car.

[dramatic music]

[knocking on door]

Good evening, madam.

I have a message from Mr. Reiman.

But he was supposed to come himself.

[groaning]

No! No!

[grunting]

[music continues]

[male narrator] "The FBI."

A Quinn Martin production.

Starring, Efrem Zimbalist Jr.

Also staring, Philip Abbott.

William Reynolds.

With guest stars Antoinette Bower..

...Donald Davis..

...and special guest star, Alf Kjellin.

Tonight's episode

"Blueprint For Betrayal."

[theme music]

To Washington police who discovered her body

on the morning of October 17th

Anna Zolti seemed no more than the unfortunate victim

of a thief who had robbed and strangled her.

Following routine producers

they forwarded her fingerprints

to the Federal Bureau of Investigation.

There the tangled background

of the woman known as Anna Zolti

finally started to emerge.

And one of the FBI's most dramatic spy hunts had begun.

These prints were taken originally by

German intelligence officers during the w*r.

Forwarded by American Intelligence

after the surrender.

"Anna Walburg, born Mainz, Germany, 1922.

"Communist agent.

"Imprisoned 1944

"believed to have been k*lled in Ally bombing raid

June '44."

She was a courier for the Die Rote Kapelle.

- In 1944? The Red Orchestra? - 'Mm-hmm.'

Thought the Nazis had wiped out the entire network by then.

Apparently not.

She turned up first as Anna Zolti

in 1966 in New York City.

She got a job at the dry goods store in Brooklyn.

[knocking]

'Come in.'

Excuse me.

Lou, I found the cab driver

who dropped the Zolti woman at the Lennox.

- Was she alone? - She was alone.

But she made a very interesting stop

between the airport and the hotel.

Code Yellow Embassy.

You know, Lewis, Die Rote Kapelle

could be tuning up again

in this country.

- The red what? - Orchestra.

It was a w*r time communist espionage agency in Germany.

The leaders use code names like Conductor, Concertmaster.

[Arthur] 'Why don't you make a few discrete inquires, Lewis?'

Nothing to alarm anyone.

And we'll stay away from the Embassy.

Maybe it's time to alarm someone, Art.

I was just thinking, they used g*ns

when they hunt in India to rattle a tiger.

Maybe we ought to try that here.

See what comes running out of that jungle.

[instrumental music]

I'll be right back.

It shouldn't take more than a couple of minutes.

Karl, what is it?

Nothing. What do you mean?

I don't know, you seem so..

Listen, engaged or not

I have no right to monopolize every second of your time

so why don't we skip lunch?

- Julie. - No, listen.

I really have a pile of reports to type

I ought to grab a sandwich and go right back.

These are the security evaluations you mentioned.

They finally come in.

Page after page after page.

'And I don't understand a word of it.'

- Coded? - Mm-hmm.

Well, I suppose

'they must be very important to someone.'

I suppose they must be.

So that's why you need to relax at noon time.

'So you won't keel over your typewriter'

'in the middle of the day.'

'Type the wrong symbol and start the next w*r.'

Julie's holocaust, they call it.

You'll go down in history books.

If there were any books left.

Or any eyes to read them.

Okay, I'll be through with this interview in five minutes.

Less.

Now we'll go relax at the Valhalla..

...and the world would be safe for one more day.

[instrumental music]

This is how you talk to her, eh, Frederic?

This is how you persuaded her.

You filthy pig!

[groans]

[Frederic] 'Alright..'

Now, is your little fit over with?

Such a charming story to read in the papers.

It says..

It says you even ransacked her purse.

How do you know some thug didn't follow her home?

Why accuse me?

Oh, no reason, Frederic.

It's just my crazy, melodramatic turn of mind.

That's all!

Alright, let him go.

Did you even try to talk to her?

I was afraid there wasn't time.

Time?

They are telephoning everyday.

The foreign secretaries have already met twice.

You told me you'd have the girls' information

four days ago.

It's just come in. It's coded.

[Frederic] But you see, I don't care about your excuses.

Because the chairman doesn't care.

Our one-track minds just want to know

exactly what the United States would do

if w*r broke out tomorrow between the Soviet Union

and China.

Than, all of a sudden

I'm confronted with a jealous woman

threatening to delay my agent..

...when he is already behind schedule.

She was your friend too, Frederic.

All of us.

We'd been through so much.

All those years.

I don't think I'm fit for this job anymore.

All I want is...get out.

Settle down.

You haven't fallen in love with this little secretary

have you, Karl?

I don't know.

I feel sorry for her.

Is that love, do you think?

[telephone buzzing]

Maas.

Well, what do you mean, is he here now?

Alright, thank you.

Now, what?

An FBI inspector's just called

the ambassador's secretary.

He wants to talk with someone about Anna Zolti.

Wonderful.

Now you've got the FBI into it.

How long will it take you to get those evaluations?

Let me ask you something.

Suppose the girl..

...is too patriotic for this foolishness..

Since when do I have to give you lessons.

You've had the assignment for six months.

You've made love to her, you promised to marry her.

She'd probably rather betray her country than you.

Wouldn't she?

Given the choice?

Ask him to come in.

Mr. Maas.

This is Inspector Erskine, Mr. Frederic Maas.

- Mr. Maas. - Inspector.

So kind of you to see me.

- Won't you sit down? - Thank you.

Now..

Well, actually I am

uh, here in response to a request of yours.

You called about a Miss Anna Zolti.

Oh, yes.

I must tell you, inspector, I'm a bit puzzled.

As to why you should call us, I mean..

After all, Ms. Zolti was an American.

Or at least she was not one of our nationals.

Was she?

Well, you know more about that than I would.

I can promise you that she was not.

Then I wonder why she'd stop by your embassy

on her way to her hotel?

Oh, yes, she asked about visa requirements.

Oh..

[Frederic] 'Or that is what our receptionist'

'told me at any rate.'

But after I got your call

I made enquiries about Ms. Zolti, naturally.

Yes?

Well, apparently she was planning a trip.

She asked about visa, hotel accommodations, railway fares.

- Then, then she left. - I see.

Did she, um..

Did she speak to anyone else besides the receptionist?

- Not that I could determine. - Hmm.

Well..

There doesn't seem to be anything very sinister

in that, does it?

Well, not to me.

But then I am not a member of this bureau.

Thanks for coming in, Mr. Maas.

You know, inspector

my superiors will be wondering why the FBI should ask us

about the robbery and death

of a woman in a Washington hotel.

It's just routine.

Inspector, nothing this bureau does is routine.

Good day.

[instrumental music]

Twenty four hours surveillance on the receptionist.

- Yes, sir. - And, um..

Ask them to be a little clumsy.

How little?

Hmm..

One slip.

Just enough to make him think we're on the wrong track.

In the meantime I want a complete summary

of everything we know about him.

Let's find out why this man's handling the Anna Zolti affair.

[Tom] 'Well, if he's dangerous, they made a good choice.'

Seems very pleasant, very open.

Never trust a purring tiger, Tom.

[theme music]

[man on TV] 'The photographers from almost'

'every civilized country in the world'

'were on hand to interview the famous and responsible men'

'who will once more take up the awesome question of peace'

'in the 20th century.'

'As premiers and heads of state continue to arrive..'

Do you ever wonder how much time they spend

getting in and out of cars?

As long as there are meetings for them to drive to

we are safe.

And that's the important part.

[man on TV] 'Meanwhile in local news'

'police today continued their search'

'for the m*rder*r of Anna Zolti'

'found strangled in a downtown hotel.'

'Detective--'

Karl, are you feeling alright?

Certainly.

Don't worry, um, I'm just a newspaperman

who has covered too many battles.

I don't want to think that I must

report World w*r III.

That's all.

There won't be a World w*r III.

The original one has never stopped.

All we've had since Cain k*lled Abel are truces, Julie.

I'll better leave.

No, Karl. Why?

I'll see you tomorrow.

Karl, what's wrong? Can't I help?

I'd do anything to help you.

Would you? Anything?

Do you doubt it?

Your department is working

on a national intelligence estimate.

I want to know what the American response would be

to a Chinese-Soviet w*r.

[chuckling] You what?

Well?

Well, you're not making any sense.

- You are typing it now. - I'm typing a lot of gibberish.

I don't even know what the symbols mean.

Julie, what happens to the typewriter ribbon

'when you finish a day's work?'

It's put in a classified safe.

Do you know why?

Well, I suppose it's because

there are still symbols on it and someone could read them.

Julie, I want the typewriter ribbon.

- 'I've got to have it.' - Why?

- A news story. - Oh, that's just ridiculous.

- Julie-- - 'No, Karl.'

'What're you talking about?'

That estimate is top secret.

The-the communists would give anything to..

Karl.

Help me, please.

Are you a communist? An agent?

[instrumental music]

[intense music]

We didn't meet accidentally.

No.

What a marvelous actor you are.

I really thought..

But the fact is, I do love you.

I didn't, to begin with, but I do now.

I swear to God! That's a fact.

Julie..

Try to understand me.

Germany had lost a w*r when I was born.

I grew up hungry.

When I was 26 years of age

Germany lost another w*r.

The hunger was worse.

I decided I..

I wanted to be on the winner's side next time.

The philosophy isn't profound, Julie, it's just practical.

Please, get out.

Get out.

Yes.

Of course.

Julie..

I believe I knew I'd fail with you.

I believe I wanted to.

Goodbye, darling.

[instrumental music]

We checked everything pretty thoroughly.

Found this in one of the plumbing traps.

I don't know if it has anything to with Anna Zolti

but there's some writing at the bottom.

Well, have someone run it over to the lab.

See if they can restore the writing.

Mm-hmm.

- 'Oh, Mr. Lefferts.' - Yes, sir?

My name is Erskine.

Thanks for coming up, by the way.

Sure, anything I can do, I..

Mr. Lefferts, I was going over your report to the police.

Yes, sir.

And I noticed they asked you whether Anna Zolti

had said anything after you showed her to the room.

You told them, I believe, that she looked out the window

and asked what had happened to the bus station.

What bus station?

Well, there used to be a Fleetways terminal

across the street, but they tore it down.

When was that?

Oh, that was about, um, 1957.

Then she might have stayed in the hotel before?

Maybe.

She didn't say anything to you about that, did she?

No.

Did she speak to anyone else that you know of?

Uh, perhaps in connection with one of the hotel services?

No, sir. No, now, wait a minute.

She did ask if the c*ck lounge was opened.

And what did you say?

I told her we didn't have one.

- Was there ever a bar here? - Yes, sir.

But they, um, they closed it in 1958.

Mmm.

Mr. Lefferts, are the hotel records

kept permanently?

Yes, sir. They'd all be in the storeroom.

- Thank you. - You're welcome.

Tom, put some men on it.

We're looking for city of origin, forwarding address

records of phone calls, wires, anything you have in 'em.

[instrumental music]

[telephone rings]

- Hello. - 'I just got your message.'

'Where are you?'

At the Valhalla.

Well, what happened last night with the girl?

She said no.

Girls say no.

Are you drunk?

That's my problem, doctor.

I've been drinking and drinking and drinking

but I'm not drunk.

Unfortunately.

I just thought of calling up

and apologize for a bad job badly done.

And ask what my next assignment is.

You're worse than drunk.

You're maudlin.

And you've also underestimated your vast charm, Karl.

My what?

The girl's half out of her mind.

I thought you'd planned it that way.

She even called here trying to reach you.

She remembered you'd dropped by yesterday.

Uh, um..

What do you mean, uh.. She, um..

I mean she probably thinks you're in some great danger

for having failed.

Well, suppose she has called the FBI too?

Has the FBI picked you up?

No, but still, uh--

[Frederic] 'Now, the FBI are interested in someone else right now.'

My poor little receptionist saw two men following her.

Um, where is Julie now? At home?

At her office. You better call her.

And let her understand that you're just one step away

from a b*llet in the brain.

The girl adores you.

Let her save you from us.

Alright?

Alright.

[Lou] 'That immer, which means, uh..'

"always" or "ever" in German

was obviously the end of the inscription

on the photograph.

Perhaps all of it.

The ink and the paper are quite old

so the woman may have been carrying it around for years.

Mm-hmm, and why do you suppose she'd tear it into pieces

in a Washington hotel room on the day of her death?

Could Karl have been her husband?

He could've been.

According to our liaison representative in Bonn

the, uh, Nazis were convinced she had a husband

but they could never get a name out of her.

He was said to have been an officer in the German army.

[telephone rings]

Erskine.

[Tom] 'Lou, we've gone back as far as '49'

in the hotel registration records.

There's no prior card for an Anna Zolti.

And no handwriting similarity on a name

that even sounded close.

How many cards were there?

Oh, about four hundred million.

- Alright. Go through 'em again. - Again?

[Lou] 'Only this time you're looking for the name Karl.'

And the city of origin would most likely be German.

Possibly Swiss or Austrian.

Karl. Mr. and Mrs.?

Probably.

- Good luck. - Thanks.

Alright, gentlemen.

Back to the beginning.

[theme music]

- How are we coming? - Almost through.

I'll be in Perry's office if anybody wants me.

[telephone rings]



Where were you?

I've been frantic.

Listen, I shouldn't be calling.

I don't have too much time.

But I had to say goodbye.

Where are you?

Never mind, I'm alright.

When will I see you?

'Karl?'

- 'I love you.' - No.

I do. I-I'd die if anything happened to you.

Good-bye, darling.

[Julie] 'Please, please let me help you.'

- 'If isn't too late?' - Julie.

I can do what you ask me to, if it'll save your life.

Well, yes.

It might still make a difference.

I go to lunch at 1 o'clock.

Meet me at the park at our bench.

[instrumental music]

[music continues]

Full name, Frederic Damian Maas.

Former colonel, career diplomat since 1960.

First post, Budapest, 1960-1965.

Assigned Washington embassy, May, 1965.

'Appointed First Undersecretary, June, 1965.'

That's a pretty rapid rise

considering the lack of background.

Family?

Wife and three children in the homeland.

They've never travelled with him.

- Not even to Budapest? - 'No, sir.'

Well, that's suppose that's one way to assure

loyalty in a public servant.

Hmm.

Has he made any unusual contacts here?

No, sir. He generally works till eight or nine o'clock.

Then drives directly home.

He leaves for the embassy again at 8:30 in the morning.

[beeps]

- Double the surveillance. - Yes, sir.

- Yes. - 'Mr. Colby is on line one.'

Yes, Tom.

Mr. and Mrs. Karl Reiman. R-E-I-M-A-N, Bern, Switzerland.

They checked in on August 8th, 1956.

Uh, stayed one night, total bill including

room and beauty shop service, $12.

Paid by a voucher issued on a New York bank

by the Munchner Press in Munich.

The, uh, beauty shop bill was signed by Anna Reiman.

Good, thank you.

Uh, this is Inspector Erskine.

Contact the Foreign Press Association

here and in New York.

I want all background material on a former correspondent

for the Munchner Press.

The name is Karl Reiman.

R-E-I-M-A-N.

[dramatic music]

[music continues]

I guess [indistinct]

Come and sit down.

[instrumental music]

Listen, um, I know what you're going through.

You don't know.

You're not from Danbury, Connecticut.

You didn't read about Washington and Jefferson

when you were a child, and you haven't got

a brother named Douglas in Vietnam.

Trust me!

There has to be balance of power.

Your country's too strong, Julie.

We have to know what its plans are.

Keep talking that nonsense and I'll take the ribbon back.

Maybe your life isn't worth saving.

Now what happens?

I have to fly north.

- North? - Toronto.

When?

Four o'clock jet, this afternoon.

Let me come along.

Not yet, it's too dangerous.

You mean I just go back to the office.

People you work with must not start to suspect things.

If you go back no one will know the difference.

I will.

When will you be able to, uh, apply for a leave of some sort?

- I can't think. - Christmas?

Yes, I suppose so.

Come to Europe.

I'll be waiting.

- We'll live in Germany. - East Germany?

Don't believe what the American papers tell you.

It's more beautiful than you can imagine.

'Will you come?'

Will I be allowed to?

Allowed to? What do you mean?

Nothing.

Tell me, what are you talking about?

Alright.

They were going to k*ll you if you didn't get the ribbon.

Now you have the ribbon, who needs me?

I need you.

You'll be gone.

Well..

I'm not a communist. Suppose I went to the FBI?

You wouldn't.

How do your people know that?

[Karl] 'Darling, this isn't wartime.'

You're not a character in the paperback novel.

Nobody is going to go around k*lling a woman, just..

It's never happened before?

Don't talk foolishness.

Take me with you.

I can't.

I can't.

It's late.

They'll be wondering what's happened to you.

Come.

[instrumental music]

Auf wiedersehen.

I'll write to you from Canada.

I'll make all the arrangements..

...for Christmas.

Yes, sir. One?

Uh, thank you, I'm not having lunch.

- Are you the captain? - Yes.

FBI, Mr. Frank.

You know my name? What did I do?

Nothing as far as I'm concerned.

Then why do I feel so guilty?

We are trying to locate a man called Karl Reiman.

The desk clerk at his hotel said that he eats here quite often.

Yes, he does, uh.. He's not here now, but..

[Lou] 'Does he generally come in alone?'

Either alone or with this one particular young lady.

And her name?

Her name, was it, uh, Georgia?

[speaking in foreign language]

Don't worry, if he's married we'll be discreet.

Oh, you understand German?

[Lou] 'Then you think her name is Julie?'

Uh, yes, sir.

Can you remember anything else about her?

Uh, yes, she works in one of the government bureaus.

I don't know in which one for sure.

'She used to laugh and say she couldn't take'

'too long a lunch hour.'

Her boss would fire her.

Uh, she called him, uh, Hackett.

Yes, Hackett.

Hackett, huh?

Thank you.

[instrumental music]

There's something I have to do.

I'll only be a moment. Take over for me.

[dramatic music]

WF-17, subject Frank has left the restaurant

and proceeded to phone booth.

[intense music]

[theme music]

[intercom buzzing]

Yes?

[female #1] 'Mr. Reiman is calling'

'on line one, and there is'

'a Mr. Otto Frank on two.'

Alright, I'll talk to Mr. Reiman first.

Ask Mr. Frank to wait.

[female #1] 'Yes, sir.'

Yes, Karl.

Frederic, the more I think

of it, the less I like it.

Think about what? Where are you?

[Karl] 'The airport.'

- You've got the.. - Yes. Yes.

I don't like to leave the girl here alone.

Oh, don't be ridiculous.

- She's very frightened. - 'Of what?'

To tell you the truth, of you.

Oh, for heavens' sake.

Listen, um, almost two hours.

I'd like to go to town and get her.

Karl, nothing's going to happen to the girl.

'What could happen to her?'

I didn't think anything was

going to happen to Anna either.

Now, look, Karl.

I can't go on feeling guilty about that

for the rest of my life.

It was something I thought had to be done.

'If it was a mistake'

it can't be helped now, it's over with.

The only thing that is important is that tape.

- Or don't you agree with that? - Yes, I agree, but--

[Frederic] 'Alright then, stop behaving like a teenager'

'and pay some attention to your duty.'

The girl's safe enough.

Oh, in a few months, when everything's calmed down

you can send for her.

Meantime, just be sure you're on that plane

when it leaves.

Alright?

'Karl?'

Alright.

Alright.

But heaven help you if anything happens to the girl, Frederic.

Goodbye, Karl.

And good luck.

[dramatic music]

[intercom buzzing]

Yes?

[female #1] 'Mr. Frank is still waiting, sir.'

Oh, thank you.

Yes, Otto.

Maas, we may be in terrible trouble.

Oh, what? Why?

An FBI member was here.

He was trying to locate Reiman.

'I didn't tell him anything but before I knew what was'

'going to happen the bartender gave him the girl's name.'

He said she worked for a man named Hackett.

And you just stood there and allowed--

Maas, I was so stunned.

I don't know what I could have said anyway.

You could have..

Oh, it's done. It's done.

Alright.

Reiman is at the airport now.

But his plane doesn't leave until four o'clock.

He has some material that mustn't be found on him

if he's searched.

- Do you have a car? - 'Yes.'

Alright, I want you..

Maas, are you there?

Tell me something, Otto.

How many agents came in to talk to you?

Only one.

- Where are you calling from? - 'A booth in the street.'

Is there anyone watching you now?

I don't think so.

No. No, I can't take the chance.

- But I-- - 'No-no-no, forget it.'

And get back to your job.

Bohler, come in here.

[intense music]

The FBI has Reiman's name. The girl's too.

His name?

Then what about the tape?

It'll be couple of hours before his plane takes off.

Plenty of time for them to track him down.

No, they haven't tracked him down yet.

- I just spoke with him. - At the airport?

Yes, he's fretting about the girl.

- Fretting? Why? - He's in love with her.

He wanted to come back and get her.

And I talked him out of that at least.

How long would it take you to drive out there?

Twenty minutes. Half an hour.

Bohler, have you felt the last couple of days

that you've been under surveillance?

N-no.

Have I been?

Maybe not. Probably not.

They can't watch every gardener, chauffeur, secretary.

It's just that I don't trust that inspector I met.

He's good. Really very good.

Alright, if there is surveillance

apparently it's discreet.

You should have enough time to contact Reiman

get the tape, bring it back here.

We'll send it North with someone else.

They want to arrest Reiman, they can.

At least, the tape will be safe.

Uh, yes.

But I don't have diplomatic immunity.

If they are following--

You are a foreign national, a-a embassy employee.

They aren't going to move unless they are quite positive

of their ground.

Provided they are little slow in finding the girl.

And she is a little slow in betraying us.

Yes.

Provided that, of course.

[dramatic music]

[Hackett] 'I don't know what more I can say, inspector.'

Except that I'm just as sure of Julie's loyalty

as I am of my own.

When will she be back, Mr. Hackett?

Well, anytime. She had a headache.

She went out to get an aspirin.

What has she been working on?

We're readying the national intelligence estimate.

Miss Kipp's section was concerned

with the American response to any possibility of conflict

between the Soviets and China.

Where is that estimate now?

It's in the Pentagon security vault.

Under armed guard.

It was coded when she typed it?

Oh, yes, of course.

Oh, here she is.

[door closing]

[dramatic music]

Excuse me.

Julie.

This is Inspector Erskine of the FBI.

He'd like to ask you some questions.

- Miss Kipp. - Yes.

Are you acquainted with a man named Reiman?

- What name? - Reiman.

Yes, Karl Reiman. Yes, I know him.

Where is he now?

He stays at the Grovner Hotel.

Did you happen to know his wife?

She was m*rder*d Monday night.

No.

No, I didn't know her.

Did Reiman ask you to give him

any classified government information?

No.

Does he have your section

of the national intelligence estimate now?

The notes and all my typing are in the vaults.

And your ribbon?

May I have it, Mr. Hackett?

He wasn't married.

He was going to marry me.

Where is he, Miss Kipp?

- At the airport. - Dallas?

[Julie] 'Yes, he's taking a four o'clock flight to Toronto.'

- He has the ribbon. - Julie.

Julie.

Contact airport security. Get some agents out there fast.

[intense music]

[music continues]

[music continues]

What are you doing here?

- What's happened? - The FBI is looking for you.

Why?

We don't know, but that means a change in plans.

Give me the ribbon.

- Do they have the girl? - They had her name.

- Where are you going? - To telephone her.

Now, what sense is there--

What do you mean they had her name?

What?

Did you persuade her to keep her mouth shut too?

Did you talk to her the same way you talked to Anna?

- Don't be such a fool-- - Then why can't I phone her?

Because there isn't time.

[instrumental music]

[Bohler] Reiman, are you out of your mind?

If she's dead, Bohler

I swear I'll go to the FBI myself.

They won't have to look for me.

- Give me that. - Stay back!

[g*n shot]

[screams]

Drop it.

[g*nf*re]

[dramatic music]

[theme music]

Yes, this is it.

Well, what do you think's

going to happen up North now, Mr. Hackett?

Oh, it's hard to tell.

A lot of speeches, perhaps a little progress.

Nobody's going to know too much about

what the other fellow has in mind.

Nobody's going to gamble big and risk a holocaust.

Can we bring your car around?

Well, thanks, inspector, but I have

two uniformed security officers with shotguns out there

to see that I get safely across town with this ribbon.

Thanks again.

[Lou] Miss Kipp.

[instrumental music]

Well.

[Lou] Please, sit down.

This is a statement explaining your rights, Miss Kipp.

Remain silent if you wish, you're entitled to a lawyer.

No, I quite understand all that.

I want to answer your questions.

- Do I sign here? - Yes.

Now, how could I help you?

Would you tell us, uh, where and when you met Mr. Reiman?

Last year at a Bach concert.

I suppose that they found out that I like Bach.

[male narrator] Julie Kipp was convicted of espionage

as was the waiter, Otto Frank.

Both are serving sentences in a federal penitentiary.

Karl Reiman recovered from his wounds

and was sentenced to twenty years in prison

for the m*rder of Major Paul Bohler.

Colonel Frederic Maas was declared persona non grata

in the United States

and has been returned to his homeland.

[music continues]

[theme music]

[music continues]