SEARCH "NUMBERED FOR DEATH" Participating writers Lou Shaw and S. S. Schweitzer PROPERTY OF: FINAL DRAFT November 30, 1972 Warner Bros. Television 4000 Warner Boulevard Burbank, California 91505 NUMBERED FOR DEATH ACT ONE FADE IN: 1 EXT. CLERMONT - FERRAND TRACK - ANGLE ON RACE CAR - DAY Car zooms around curve in tight angle, steadies, roars down straightaway towards chicane then... 2 WIDE ANGLE To SET SCENE -- French Grand Prix with many spectators. Action on track... 3 EXT. PIT AREA - ANGLE ON GROVER Moving purposefully through area, pushing past people. A PIT MARSHAL stops C. R. GROVER. He points O.S. 4 EXT. ROGER'S PITS - ANGLE ON OLIVIA OLIVIA ALLAN, late 20's, blonde, in chic white jumpsuit, with sunglasses, clipboard with many stop watches, takes lap times. Two mechanics in coveralls crouch, watching cars flash by O.C. Olivia tense, turns... 5 POV GROVER Still barred by Pit Marshal, joined now by Gendarme. 6 ANGLE ON OLIVIA 6 ANGLE ON OLIVIA She turns to mechanic, holds out clipboard. OLIVIA OLIVIA Jack! She drops clipboard, turns, runs toward... 7 ANGLE FAVORING GROVER Facing Pit Marshal, Gendarme. GROVER Lady Allan was supposed to leave a pass for me -- Olivia rushes INTO SHOT. Tense, keyed up. (CONTINUED) 2. 7 CONTINUED: OLIVIA It's all right. Tout va bien. Now let him through! Before Marshal, Gendarme can acknowledge she grabs Grover, moves with him towards Roger's pits. Grover stops, turns her. PUSH IN. GROVER Okay, Libby. You can come apart any time you want. Desperately she flings herself into his arms... OLIVIA Thank God you came! GROVER We're family. Your trouble is my trouble. It always was ever since we were kids. She moves out of his arms. They continue to pits. Grover looks out onto track. GROVER Roger's racing today? 8 ANGLE ON RACING CAR Marked Number Fourteen. OLIVIA'S VOICE (O.S.) I didn't want him to. I begged him not to -- C.R., his nerves are shot! 9 ANGLE ON OLIVIA, GROVER Watching cars... GROVER Did you speak to him? Did Roger tell you where all the money's gone? OLIVIA He won't tell me anything. 10 ANGLE ON TRACK With number fourteen coming towards a turn... (CONTINUED) 3. 10 CONTINUED: GROVER'S VOICE Hey! He missed his brake point! 11 ANGLE ON GROVER, OLIVIA He grips her. GROVER (tensely) Why doesn't he turn? 12 ANGLE ON CAR As it plows into wall, flies up into air, starts to disinte- grate. 13 ANGLE ON OLIVIA She screams, Grover holds her, turns her towards him. She screams again. 14 WIDE ANGLE - TRACK Car spinning, upside down on track. SOUND of emergency equip- ment. 15 ANGLE ON ROGER ALLAN Lying on track face down... 16 EXT. HOSPITAL TENT - ANGLE ON GROVER - DAY Heading purposefully, his face grim, towards hospital tent... ROGER'S VOICE (O.S.) Darling, it was one of those things... 17 INT. HOSPITAL TENT - ANGLE ON ROGER ROGER ALLAN, tall, slender, handsome young Englishman, thirties, stripped to waist, ribs taped; contusions, burns, bandaged arm in cast, tries to dress with Olivia's help. ROGER Steering mechanism just froze up, somehow or other accelerator spring gave way and -- GROVER'S VOICE And I don't buy it! 4. 18 ANGLE TO INCLUDE GROVER Striding from entrance. GROVER I just had your mechanics check what was left of your car. The steering was in perfect shape before it hit that wall. You were trying to kill yourself out there! Olivia backs away from Roger, who turns to Grover. OLIVIA Kill yourself? Roger -- ROGER (to C.R.) If I wanted to die, I would pick a less messy way. GROVER But you wouldn't be sure collecting your insurance... is that it, Roger... You wanted the insurance? ROGER (a beat; then sags; to Olivia) It seemed like the only way out... I didn't want to leave you penniless. GROVER (sarcastic) A widow would be better, huh? You're a fool, Roger. ROGER (flares) Maybe I am, but I'm trapped! Roger turns away. Olivia, shocked, stops him. Incredulously: OLIVIA Blackmail... ROGER Darling -- Really -- OLIVIA No! No more darlings! No more really's! (CONTINUED) 5. 18 CONTINUED: Roger tries to force a laugh. ROGER Your cousin has a very healthy imagination -- GROVER Come on! I didn't fly five thousand miles to play twenty questions! He crosses to Roger. GROVER (continuing) How bad is it? Roger, Grover hold a look then: ROGER All right! I thought I had a foolproof scheme. All the money I made from racing, whatever other assets I could sneak out of England without paying taxes went into one of those Swiss bank accounts. Where they give you a number and nobody ever knows where the money comes from. OLIVIA (cutting in) You'd kill yourself because somebody found out about this? ROGER Darling, you've been a subject of the Queen long enough now to know that her Majesty's government doesn't treat tax violators lightly. There would have been a very stiff jail penalty -- fines -- which I could never have paid -- Grover moves away. MOVE with him... OLIVIA And me. What about me and your son? What were we supposed to do? Grover clicks on scanner, turns back. 6. 19 INT. PROBE CONTROL - ANGLE ON CAMERON ET AL - DAY CAMERON, HARRIS, MISS JAMES monitor something else, then faintly over P.A. system: ROGER'S VOICE (up) I was tired, Olivia. Pushed to the wall. I couldn't think. MISS JAMES (overlapping above) Mr. Cameron - alert on Standby Frequency Seven! CAMERON (overlapping below:) That's Grover. Punch him up on Monitor Three... OLIVIA'S VOICE (bitterly) Couldn't and didn't! -- Cameron leans forward... 20 INT. HOSPITAL TENT - SCANNER SHOT Olivia facing Roger, both keyed up. GROVER'S VOICE Let me get something straight. They turn. 21 INT. HOSPITAL TENT - WIDER ANGLE to INCLUDE Grover. GROVER You had a numbered account in a Swiss bank and someone found out about all your transactions? 22 INT. PROBE CONTROL - ANGLE ON CAMERON He is alerted. CAMERON Grover, what is this? (CONTINUED) 7. 22 CONTINUED: GROVER'S VOICE What bank? ROGER'S VOICE Bank Vollmer and Company, Limited, of Zurich. Cameron reacts. CAMERON Miss James -- alert Dr. Barnett. Utmost security. Harris -- start programming... (into mike) Grover - I want details! This is now a World Securities problem. 23 INT. HOSPITAL TENT - ANGLE FAVORING GROVER GROVER What happened, Roger, how did the blackmailer know about it? ROGER All I know is I received a copy of one of those things that come out of a computer -- 24 TNT. PROBE CONTROL - ANGLE FAVORING CAMERON - DAY He reacts again and overlaps Roger's line: ROGER'S VOICE With my name and number, deposits, withdrawals... CAMERON A printout. Miss James, make sure Dr. Barnett's getting this... 25 INT. HOSPITAL TENT - ANGLE FAVORING GROVER, ROGER GROVER Maybe we can find out who's behind this. We do that, we can stop him. ROGER I can't pay you. That blackmailer took everything I owned! (CONTINUED) 8. 25 CONTINUED: GROVER Figure you're on the house... Even if you are in the clan on a pass. Exit Grover... 26 INT. CONTROL - ANGLE FAVORING CAMERON - DAY CAMERON You know what this means, Grover? Bank Vollmer is one of the Big Four of Switzerland. If that bank has been compromised -- if it's vulnerable... GROVER'S VOICE I'm on my way to Zurich. CAMERON World Securities has deposits there. Our entire European operation is financed with that account. GROVER'S VOICE I'll check in later. GROVER The Swiss franc could be threatened. The one thing people can believe in. 27 EXT. RACEWAY INFIELD - ANGLE ON GROVER Moving rapidly... GROVER Save me the lecture. I wanted you to know where I'm headed -- CAMERON'S VOICE If word of this gets out -- we'll have a world-wide depression on our hands! GROVER I'm flying to Zurich. First plane I can get. 9. 28 INT. PROBE CONTROL - ANGLE ON CAMERON CAMERON Negative, Grover. GROVER'S VOICE I knew you'd say that -- CAMERON We've chartered a plane to take you there. 29 EXT. ZURICH AIRPORT - WIDE ANGLE - DAY CAMERON'S VOICE You'll have a car waiting at the airport. 30 EXT. DOWNTOWN ZURICH - WIDE ANGLE - DAY With traffic moving through the area... CAMERON'S VOICE Whatever else you need -- let me know. I want this blackmailer stopped. 31 EXT. VOLLMER BANK - ANGLE ON NAMEPLATE It reads: BANK VOLLMER AND CO. LTD. TRUDI'S VOICE Herr Grover? 32 WIDER ANGLE Grover intercepted by TRUDI HAUSER, mid-twenties, redhead, pretty, but no nonsense. She has large shoulder bag. TRUDI I am Hauser -- GROVER Probe's man in Zurich? TRUDI I have the money you asked for -- She reaches into shoulder bag... (CONTINUED) 10. 32 CONTINUED: GROVER You don't carry a million in cash in that. She takes out envelope. TRUDI This is a letter of credit. He balances it in his hand... looks at her questioningly. 33 INT. STUCKE'S OFFICE - ANGLE ON LETTER OF CREDIT - DAY Stucke holds letter of credit in his hand... STUCKE'S VOICE Yes, Herr Grover, I think this is in order. PULL BACK to REVEAL STUCKE, late thirties, nondescript, sitting behind small highbacked chair. Grover sits across from him. GROVER I was told that's as good as cash... He hands passport to Stucke... STUCKE Of course. Now we have many different types of accounts here -- GROVER I want a numbered account. 34 ANGLE ON GROVER'S PASSPORT As Stucke holds it over glass plate on desk, presses button. Light flashes under glass plate. 35 ANGLE FAVORING GROVER He notices slight flash of light from desk top... GROVER I want absolute secrecy. 11. 36 INT. PROBE CONTROL - ANGLE FAVORING CAMERON - DAY CAMERON They've just videographed your passport, Grover. They'll have a read-out on you in forty-five seconds. 37 INT. BANK OFFICE - WIDE ANGLE STUCKE If you so wish. GROVER But first I want to be sure nobody will ever know my number. STUCKE Of course. The purpose of these accounts is to protect the identity of the depositor -- GROVER Convince me. How many people will know? STUCKE Myself, Mr. St. Clair, Vice Chairman of the bank -- Herr Vollmer -- our Chairman -- GROVER Nobody else? No other records? STUCKE All records are kept on a special computer -- GROVER Anybody can get into a computer. All you do is punch buttons. STUCKE The computer is kept in a locked room. Opened only by two keys, one of which Mr. St. Clair keeps, the other is in Herr Vollmer's possession. Even I am not allowed in the computer room. Also, the computer is coded, with the code locked in Herr Vollmer's safe. (CONTINUED) 12. 37 CONTINUED: GROVER Then how come there have been leaks of your numbered accounts? Stucke reacts. PUSH IN. He stiffens, TILT DOWN. 38 ANGLE ON FLOOR He presses small buzzer with heel of foot. 39 BACK TO SCENE STUCKE (tautly) That is not possible. GROVER That's the word I get. Now before I bet my million dollars on your security -- Door opens. ST. CLAIR, American type, thirties, enters with two uniformed Security Guards... ST. CLAIR Mr. Grover? You'll come this way please. GROVER (dryly) Is this what a million dollars buys me? Stucke rises, gives letter of credit to St. Clair, who turns to Grover as Security Guards flank him. STUCKE This is Mr. St. Clair, Vice Chairman of the Bank. ST. CLAIR We shall go along to Herr Vollmer's office. Grover looks from one security guard to another. GROVER Sure. Why not? 40 INT. VOLLMER'S ANTEROOM - WIDE ANGLE - DAY MISS LUND, good looking, redheaded, sits outside door marked HERR-VOLLMER in well appointed anteroom. (CONTINUED) 13. 40 CONTINUED: She looks up as door opens and St. Clair enters with Grover, two security men. St. Clair carries folder which contains Grover's passport, letter of credit, etc. LOUD VOICES from inside. LUND He has someone with him, Mr. St. Clair. Door bursts open... 41 ANGLE ON DOOR SAM BOYCE, youngish, modishly dressed, but tough, imposing, stands with MONA DAVOS, good looking, thirtyish, in trim slack suit. Boyce jabs finger at Vollmer O. S. BOYCE You read me and read me good, Vollmer. You don't pay one dollar to that blackmailer. I got muscle of my own. You can mark him dead! He turns, bulls out, almost colliding with Grover who holds Scanner up. Grover watches Boyce, Mona cross OUT. St. Clair taps his arm. ST. CLAIR In here, Mr. Grover. Grover turns to enter. 42 INT. VOLLMER'S OFFICE -ANGLE FAVORING VOLLMER - DAY While other offices are modernistic, Vollmer's huge room has beautiful antiques, artifacts. Vollmer behind desk. St. Clair drops folder on Vollmer's desk. Vollmer opens folder, without looking up as Grover moves to chair. VOLLMER Don't bother to sit, Mr. Grover. Vollmer holds passport, letter of credit out to Grover. VOLLMER In certain cases we reserve the right not to accept individual depositors. Mr. St. Clair will show you out. (CONTINUED) 14. 42 CONTINUED: GROVER Okay. You don't like the color of my letter of credit. But I also represent one of your listed depositors -- a depositor with a very healthy balance -- VOLLMER World Securities' deposits have been transferred to an escrow account in the National Bank of Switzerland. Your Dr. Barnett can inform the bank's governors where he wishes these monies deposited. He presses buzzer. Door opens. Security Guards there. VOLLMER You have exactly two minutes to get out of my bank! 43 INT. PROBE CONTROL - ANGLE FAVORING CAMERON - DAY CAMERON (taut, keyed up) Now, we know the worst, Grover: Roger Allan is not the only blackmail victim! 44 EXT. STREET - ANGLE ON GROVER MOVING SHOT as he crosses toward parked car. GROVER Did you get a make on that guy who blew out of Vollmer's office? 45 INT. PROBE CONTROL - ANGLE ON SCREEN - DAY Picture of Boyce punches up. Print Out starts across picture... CAMERON'S VOICE (O.S.) Sam Boyce -- international financier -- chief money launderer for the mob. 46 EXT. STREET - ANGLE ON GROVER MOVING to driver's side of car. (CONTINUED) 15. 46 CONTINUED: CAMERON'S VOICE (0.S.) Moved to Europe. Set up EuroGroup Finances -- bankrolls every shady deal on the continent. GROVER And the lady. 47 ANGLE ON CAR Down the street, car starts up, gathers speed. CAMERON'S VOICE (O.S.) Mona Davos, Boyce's right hand. Born South Africa. Graduated with honors, London School of Economics. 48 ANGLE TO INCLUDE GROVER opening door of car. Other car bears down on him. SOUND drowns out Cameron. Grover turns, sees car coming. He dives onto car trunk as other car hits open door, sends it flying into air. Grover rolls over trunk onto ground. He looks up at... 49 POV - CAR racing into corner, out of sight. 50 ANGLE ON DRIVER We SEE SACHS, tough gangster type. 51 EXT. BANK - ANGLE ON WINDOW From his office, Vollmer looks down at... 52 ANGLE ON GROVER lying on ground. People rush towards him. FADE OUT. END ACT ONE 16. ACT TWO FADE IN: 53 OMITTED 53A EXT. POLICE HEADQUARTERS - DAY Establishing 54 OMITTED 55 INT. POLICE STATION - DAY INSPECTOR BAERTSCHI faces Grover. BAERTSCHI Are you saying, Herr Grover, that you cannot identify the driver of the other vehicle? GROVER (wearily) Look, Inspector, I'm the guy who went flying over the trunk of the car. I'd just as soon let it rest there. It was an accident. BAERTSCHI Regrettably it did not appear that way to our witnesses. GROVER I wouldn't know. Now if you'll excuse me, I have an appointment. BAERTSCHI I'll facilitate matters for you, we shall drive you to the airport. GROVER I'm not going to the airport. I'm checked into the Alpenhaus. Have to pick up my car in front of the Bank Vollmer -- BAERTSCHI You are checked out of your hotel. The car has been towed to the rental agency. Grover stares at him. Beat, then... GROVER Welcome to our city. (CONTINUED) 17. 55 CONTINUED: BAERTSCHI We try to treat foreign visitors with courtesy. If you will follow me -- Grover hangs back... GROVER When I'm ready. Baertschi's nod impels two plainclothes types to grab Grover. He starts to struggle, they have stiff arm locks on him. BAERTSCHI I knew you would cooperate. Your luggage is waiting for you at the air terminal. Baertschi steps back to let others march Grover to door. He pulls arms free, walks off under own steam. 56 EXT. ROAD - ANGLE ON CAR - DAY Big, unmarked police car moving through countryside... GROVER'S VOICE (O.S.) I see they've moved the airport. 57 INT. BACK SEAT OF CAR Baertschi reclines, eyes shut. Grover, next to him, lunges for door. There are no handles on door. He turns, looks at Baertschi who opens eyes, regards Grover, turns to look out at... 58 POV - MOVING SHOT Road is deserted. Up ahead, Mercedes 300SL is parked on side of road ... BAERTSCHI'S VOICE (O.S.) Stop the car. 59 INT. BACK SEAT Grover is puzzled. Car stops. Door opens. Baertschi indicates open door. BAERTSCHI You can get out here. GROVER Funny place to catch a plane. Baertschi motions. Grover gets out. 18. 60 EXT. ROAD - ANGLE FAVORING CAR It is parked near the 300SL, another car parked in front of that. Grover gets out of police car. Door slams, car pulls away. Grover turns warily, watching cars parked ahead of him. Door to 300SL opens and Vollmer appears. Beat as he and Grover hold look, then: VOLLMER I am sorry if this has caused you inconvenience. He moves towards Grover. PUSH IN on them. VOLLMER We could not talk at the bank. I am not sure whom I can trust, whom I cannot. GROVER I'll say one thing for you, Herr Vollmer, you pack a lot of clout. VOLLMER Desperate situations call for desperate measures. GROVER And what could be more desperate for a Swiss Banker than to find out that the transactions of his secret depositors have been compromised. VOLLMER Precisely. He turns to move. Grover moves with him.. PULL BACK, keep them in FRAME. VOLLMER The fact that World Securities has already discovered this -- GROVER We learned yesterday. From a Roger Allan. How, many people with numbered accounts has the blackmailer hit? VOLLMER Too many. Fourteen that I know of. GROVER Fourteen -- how could you sit on this? (CONTINUED) 19. 60 CONTINUED: VOLLMER What am I to do? Announce to the world that Bank Vollmer and Co. Limited has betrayed its depositors? That I am not to be trusted? I did what I could. When it was reported to me -- I made the payments demanded by the blackmailer. GROVER That's what Boyce was talking about when he stormed out of your office. How much have you laid out? VOLLMER For those who came to me: Twenty-two million dollars of my own money. Grover stares at him. VOLLMER It has been difficult to convert my assets into cash without causing some alarm in the financial community. GROVER (incredulously) You took it all on yourself?! VOLLMER I had no choice. My personal honor is involved. My great great grandfather founded this bank over 150 years ago. There are certain traditions that I have tried to live up to. I have tried to be worthy of the position my father held, and his father before him. There is trust in me. I revere that trust. GROVER Trust? A blackmailer?! ... Look, it isn't too late. The police have special ways of handling -- VOLLMER No! I don't dare follow official procedure. I did call in a private investigator -- an old friend, from my school days, Paul Haltiner. (CONTINUED) 20. 60 CONTINUED: (2) GROVER Whom you also trusted. What has Haltiner turned up? Beat, then: VOLLMER I last heard from Paul three days ago. This morning his body was fished from the Zurichsee. Grover stares at him. VOLLMER That too, is on my head. Now I must turn to World Securities -- perhaps if I had not waited. GROVER Okay. I want you to call Miss Hauser at our Zurich office. Give her the names of anyone who has access to the computer or the numbered accounts -- VOLLMER Only Mr. St. Clair and I have keys to the computer room. GROVER Yeah, I know. But when customers come in -- VOLLMER Some are sent to me, some to Mr. St. Clair; once in a while -- as in your case -- Herr Stucke. 61 INT. PROBE CONTROL - ANGLE FAVORING CAMERON - DAY Cameron leans to the microphone. CAMERON We copy, Grover. He turns to Miss James. CAMERON Miss James, run a check on those names. 21. 62 EXT. ROADWAY - ANGLE FAVORING CARS Vollmer leads Grover to front car, hands him keys. VOLLMER I have provided you with better transport. Be careful how you contact me. GROVER I'm going to be careful all around, Herr Vollmer. Somebody tried to spread me all over Schickerstrasse this afternoon. VOLLMER I saw the accident. GROVER If it turns out you had anything to do with that we'll have a lot more to discuss. He opens car door to get in. CAMERA MOVES WITH VOLLMER to his 300SL. 63 INT. CAR - ANGLE ON GROVER - DAY He starts car, drives off. CAMERON'S VOICE At least Probe now has a bona fide client. GROVER We always did, Cameron. Name: Roger Allan. 64 EXT. CHALET - WIDE ANGLE - DAY A big imposing estate, set in Swiss countryside. 65 EXT. GATE - ANGLE ON GROVER FRIES, tall, bodyguard type, other guards look him over. FRIES I'm sorry, friend, but Miss Davos says Mr. Boyce doesn't remember meeting You or anybody else from World Securities. GROVER Tell him we only bumped into each other today at the Bank. 22. 66 IM CHATEAU - ANGLE ON MONA DAVIS - DAY Mona sits at a Louis XIVth desk with elaborate phone set-up. She listens to: GROVER'S VOICE (filtered) We have things in common like the Bank Vollmer and Co., Ltd. Mona presses button on desk. Picks up phone... MONA This is Miss Davos. Bring Mr. Grover to the gymnasium. 67 OMITTED 67A INT. GYM - DAY A hard-looking KARATE EXPERT slashes with hand and kicks. BOYCE'S VOICE (O.S.) Come on. Show me something! PULL BACK as Fries leads Grover to stand with Mona as Boyce duels Karate-style with expert. Fries goes. BOYCE You're supposed to be good. Boyce decks Karate Expert. Laughs in triumph. BOYCE (to expert) Okay, Willy. Expert rises, goes off. Boyce turns, sees Grover. BOYCE Want to go a couple of rounds? GROVER (nods at expert leaving) With him or you? Boyce laughs, moves to join Grover, Mona. BOYCE Play the odds. 23. 68 TIGHTER ANGLE GROVER I'm safer with him. I know about you. Company you keep. Boyce gives Grover good hard look. As Karate expert leaves: BOYCE Let's get things straight. I'm a financial counsellor. I have lots of clients. I work for them on a fee plus percentage basis. Nobody owns me. GROVER That help your conscience? BOYCE Money has no conscience. He starts off. Grover at his side, Mona trailing. He stops at table set up with drinks. Boyce indicates, Grover shakes his head. Mona makes drink for Boyce who pulls off gauntlets. Grover looks towards Mona. Boyce catches the look. BOYCE She stays. Mona knows everything I do about my business. MONA Now exactly what things do you and Mr. Boyce have in common? GROVER Blackmail and numbered accounts. Boyce turns away. GROVER That's right, Miss Davos. If you're handicapping all entries, we're odds on choice. MONA You want Mr. Boyce to help you. How? GROVER When the blackmailer contacts you -- agree to pay. BOYCE Forget it! (CONTINUED) 24. 68 CONTINUED: MONA Sam. BOYCE (to Mona) The devil with him. GROVER Fine, Mr. Boyce. Maybe the blackmailer will let you off cheap -- five or ten million dollars! BOYCE Goodbye, Grover. Boyce turns, moves off. Mona makes helpless gesture to Grover. GROVER If you change your mind, I'm at the Alpenhaus. 69 OMITTED thru 71 72 EXT. ALPENHAUS HOTEL - FULL ANGLE FEATURING CAB - DAY It drives up. Roger, Olivia get out. They have been arguing. Roger still bandaged, arm in sling... ROGER I still think you shouldn't have come along. OLIVIA Why couldn't you just stay in the hotel -- obey doctor's orders. ROGER I told you -- C.R. should know about that redheaded girl. Her part in the blackmail. Cabbie finishes unloading luggage. OLIVIA They have a new invention, Roger. It's called the telephone. (CONTINUED) 25. 72 CONTINUED: ROGER All right, Olivia. This mess is of my making. How long do you think I can sit back and let somebody else try to clean it up for me. Bellboy comes for luggage. OLIVIA Darling -- ROGER Even with one arm, I might still be able to pull some weight. See if they'll give us a room. Olivia cuts off her protest, turns to enter hotel. Roger turns to pay Cabbie. 73 POV SHOT - ROGER Over the sight of high-powered rifle. ZOOM IN. Beat, then Roger stiffens, SHOT heard. Roger spins against the cab, falls on pavement. 74 WIDER ANGLE to include Olivia. She turns, sees Roger, rushes for him as other pedestrians scatter. Doorman grabs her to hold her back. She SCREAMS. FREEZE FRAME FADE OUT. END OF ACT TWO 26. ACT THREE FADE IN: 75 INT. HOTEL ROOM - TIGHT ON OLIVIA - NIGHT Still in shock, lying on bed, face tear-stained. GROVER'S VOICE (O.S.) Libby, the doctor's here. PULL BACK. REVEAL Grover sitting on bed holding her hand. Doctor in doorway to sitting room. GROVER He'll give you something to make you rest. Olivia? Grover rises. She won't let him go. OLIVIA C.R. Please! Don't leave me. GROVER Sorry, Libby, I can't square things for Roger here. He turns, goes out. Doctor moves to Olivia. 76 INT. SITTING ROOM - WIDE ANGLE Trudi turns from window as Grover shuts door to bedroom, moves to pick up phone. GROVER (into phone) Get me 74-87-36. TRUDI Mr. Cameron still doesn't have anything unusual to report on Vollmer, St. Clair or Stucke. GROVER Stay here with Lady Allan. Put somebody onto that private detective, Paul Haltinger. Find out every place he went -- up to the time he was found dead. (then into phone) Herr Vollmer? Can you get me into the bank tonight? I want to see the computer room. Right. I'll make it at nine o'clock. And I'll want a list of all of your blackmail victims. (CONTINUED) 27. 76 CONTINUED: He hangs up, moves to door. It opens. Inspector Baertschi enters. Grover and Baertschi hold look, then... GROVER I don't think you can talk to Lady Allan for a while. She's just been given a sedative. BAERTSCHI I hope you haven't taken any medication recently, Herr Grover. GROVER (with import) I'm on my way to meet Mr. Vollmer. BAERTSCHI (beat) Herr Vollmer is a very important man in Zurich. But his influence stops when it comes to murder. I'll give you twenty-four hours. Be ready to tell me everything this time tomorrow. He steps back, allows Grover to pass. HOLD ON Baertschi. 77 EXT. HOTEL - ANGLE FAVORING GROVER - NIGHT Grover comes out of hotel. At Doorman's questioning look: GROVER GROVER My car, please. Fries, Boyce's bodyguard, appears. FRIES Mr. Boyce wants to see you. GROVER He stalled me, now he can wait. I'll meet him at ten o'clock. Grover starts to move, Fries pushes a gun against Grover's side. Grover looks at gun, shrugs, steps back, seemingly acquiescent. FRIES Around the corner. Grover nods, starts to move off, then wheels, chops at Fries' hand, takes gun away, tosses gun into gutter, shoves Fries against wall. (CONTINUED) 28. 77 CONTINUED: GROVER I said ten o'clock. FRIES Mr. Boyce said to tell you he had a call from the blackmailer. Grover steps back. GROVER You just said the magic word. Fries turns to lead Grover off. 78 ANGLE ON STUCKE in shadow of doorway, he has been watching. He moves off. 79 EXT. SIDE STREET - ANGLE FAVORING BOYCE - NIGHT He paces next to his car. Mona stands watching, Boyce turns then: BOYCE I apologize, Grover. I don't like to use telephones. To me they're all dirty and with your suite crawling with cops -- I figured we'd talk here. 80 WIDER ANGLE to include Grover as Fries moves to get into car. GROVER Tell me what the blackmailer said. BOYCE He wants me to get a million dollars ready. And I admit it. I'm sick of paying! If World Securities can nail him, I'd rather pay you. GROVER Did he say where to bring the money? BOYCE Not yet. He also made a point of telling me what happened to Roger Allan. GROVER Fast work. (CONTINUED) 29. 80 CONTINUED BOYCE Yeah. He said he was calling his entire clientele to tell them to stay away from you. I don't like anybody giving me orders. He moves to car, gets in. Mona crosses to Grover. MONA This makes it official, Mr. Grover. We'll play ball. GROVER When the time comes to make the pay-off -- I'll set it up. I don't want to risk your Boss' life. He moves with Mona to open car door. MONA We'll let you know next time the blackmailer calls. GROVER I'm not going to wait for him to call. Grover SLAMS door. PUSH IN on door. 81 EXT. ALLEY - ANGLE ON SIDE DOOR - NIGHT Overcoated Vollmer unlocks several locks, turns: VOLLMER The alarm system will be inactive for another ten seconds, Herr Grover. He pushes open door. Grover moves into frame and follows Vollmer in. Door SLAMS behind them. 82 INT. DARK MAIN ROOM - WIDE ANGLE - NIGHT Vollmer leads Grover across dark main bank room towards doors at far end. GROVER You brought the list of blackmail victims? (CONTINUED) 30. 82 CONTINUED: VOLLMER You are asking me to go against everything I hold sacred. GROVER My cousin held the life of her husband sacred, Mr. Vollmer. 83 ANGLE ON DOOR At rear of the room Vollmer hesitates, then: from inside pocket he takes handwritten list, hands it to Grover. Grover reads it: VOLLMER I did that from memory. Grover nods. GROVER I don't see Roger Allan on this list. VOLLMER The account was opened in the name of his wife. Grover looking up. GROVER Olivia Grover! She used her maiden name! Your blackmailer knew of the connection between me and Roger Allan right from the start. No wonder he tried to hit me! VOLLMER But how did he know you are with Probe? GROVER He knew. You had that information within sixty seconds of the time I gave Stucke my passport. VOLLMER You're telling me somebody in this bank is a thief and a murderer. GROVER I'd say we're proving that fact! Grover looks at list again. 31. 84 INT. PROBE CONTROL - ANGLE ON CANON - NIGHT He peers forward. CAMERON Hold it, Grover! 85 SCANNER ANGLE - HANDWRITTEN LIST Fourteen names with account numbers, amounts, etc. CAMERON'S VOICE Notice something? 86 BACK TO SCENE Grover looks at list, puzzled... CAMERON'S VOICE Compare the amounts on deposit against the money paid the blackmailer. Grover looks up at Vollmer... GROVER Funny -- the blackmailer hit most of his victims for ten to twenty percent of what they had on deposit in their numbered accounts. Roger Allan's case -- he cleaned him out. VOLLMER I have no explanation. Vollmer takes list back. GROVER Let's see the computer room. 87 INT. SMALL HALL - ANGLE TO STAIRS Vollmer leads Grover down stairs. Before they reach bottom -- SOUND from below. Grover pulls Vollmer back, flattens himself against the wall. GROVER (whispering) Wait. Vollmer remains frozen, Graver moves warily down stairs, then: ST. CLAIR'S VOICE Herr Vollmer? Grover ducks back into shadows, indicates for Vollmer to precede him. 32. 88 DIFFERENT ANGLE Vollmer emerges from stairs, crosses to St. Clair in front of heavy steel door, two locks imbedded therein. St. Clair clicks on lights. ST. CLAIR You asked me to meet you here, Sir. Vollmer crosses to one of the locks, inserts key in one lock. VOLLMER You brought your key? ST. CLAIR Yes, sir. 89 ANGLE FAVORING GROVER Pressed against wall, hears other key turn. VOLLMER'S VOICE (0.S.) Thank you, St. Clair. ST. CLAIR'S VOICE (O.S.) I should stay until you're finished. VOLLMER'S VOICE (0.S.) I won't need you anymore. I'll return your key in the morning. ST. CLAIR'S VOICE (O.S.) But this is highly irregular, Sir. 90 ANGLE ON VOLLMER, ST. CLAIR Vollmer fights for control. VOLLMER Just do as you're told! St. Clair hesitates, then wheels, moves down hall. Vollmer watches, then turns, waves to Grover. Grover enters. GROVER How long have you known St. Clair? 91 INT. COMPUTER ROOM - WIDE ANGLE - NIGHT Small, antiseptic room, with a large computer, other machinery, stool. No windows. Extension phone hangs on the wall. Grover prowls the room. (CONTINUED) 33. 91 CONTINUED: VOLLMER He's my right hand! I'd trust him with my life GROVER You trusted somebody, Herr Vollmer, and you haven't got a secret left in that computer! VOLLMER There is no way St. Clair could work the computer without my knowing it. I am always here when he is in this room. After we're through, the porter sweeps out with Mr. St. Clair and myself watching. Grover paces, thinking. Vollmer, impatient. VOLLMER Have you seen enough? Grover clicks his beeper. 92 INT. PROBE CONTROL - SCANNER SHOT - COMPUTER ROOM Vollmer across room from Grover. CAMERON'S VOICE I have, Grover. 93 ANGLE FAVORING CAMERON With Miss James, Harris. CAMERON ... And I don't know any more than I knew before. 94 INT. COMPUTER ROOM - WIDE ANGLE They start to leave, when: GROVER Hold it! He crosses, looks at phone. Beat, then: GROVER I'll bet you a pound of Swiss chocolate you've had a phone repairman in here sometime in the last six weeks -- (CONTINUED) 34. 94 CONTINUED: Grover bends to study baseboard. GROVER Just before the blackmail started. VOLLMER Yes. We did! But, as always, Security had his credentials thoroughly checked. PUSH IN. Grover traces phone wires along molding. VOLLMER'S VOICE (0.S.) But how could you possibly know about this? Grover rips heavy insulation from wall. 95 INT. PROBE CONTROL - ANGLE ON CAMERON Cameron, Miss James, Harris lean forward. HARRIS Steady on, Grover. 96 SCANNER SHOT Thick insulation package in Grover's hand. HARRIS' VOICE That's pretty thick wire for one extension phone. CAMERON'S VOICE Cut into it, Grover, but be careful. 97 INT. COMPUTER ROOM - TIGHT ON GROVER He nods, uses pen knife to slit open insulation. 98 INT. PROBE CONTROL - SCANNER SHOT - WIRES Insulation peels back. 99 ANGLE FAVORING CAMERON ET AL They peer at wires. CAMERON What about it, Harris? Harris shakes head. (CONTINUED) 35. 99 CONTINUED: CAMERON Miss James - magnification. 100 SCANNER SHOT - WIRES We suddenly magnify: HARRIS' VOICE There's an extra lead! That red wire! Grover can you see black spiralling at three millimeter intervals? 101 INT. COMPUTER ROOM - ANGLE FAVORING GROVER Grover nods, bleeps for "yes." HARRIS' VOICE Open it up! 102 INT. PROBE CONTROL - ANGLE FAVORING HARRIS with Cameron behind him. Beat, then: 103 SCANNER SHOT - TIGHT ON WIRES Inside junction box. There is printed circuitry, relays, etc. HARRIS' VOICE (triumphantly) A miniaturized transceiver! That's how he activated the computer and transmitted the information! GROVER'S VOICE Thanks. 104 INT. COMPUTER ROOM - WIDE ANGLE Vollmer watches. Grover rises, points. GROVER That set up let your blackmailer tap into your computer. He could dial in from a remote station -- activate a frequency that turned your machine on - pull the information over this phone line to his own terminal. He wouldn't even need a computer -- just a print out machine. Vollmer stares at the wire, shaken. 36. 105 INT. PROBE CONTROL - ANGLE FAVORING CAMERON He peers at Scanner Screen O.S. CAMERON Grover! I have an urgent message from Trudi Hauser. 106 ANGLE ON SCREEN - SCANNER SHOT - SMALL BUILDING PUSH IN on Scanner to frame building. CAMERON You're to go to 19 Wilhelm Tell Platz. 107 EXT. STREET- WIDE ANGLE - NIGHT Grover drives up, parks car, gets out. Looks around. Trudi moves from shadows to join him. 108 TIGHTER ANGLE Grover surprised to see Trudi there. TRUDI I've traced the movements of Vollmer's detective. GROVER I thought you were staying with Lady Allan. TRUDI I assigned another Probe to protect her. The detective, Paul Haltiner, was seen in that cafe. The night before he disappeared. She points towards building. 109 POV - DOORWAY to small building ... Number 19 over door. TRUDI'S VOICE (O.S.) He was interested in the people who had rented the second floor in Number 19. 110 INT. LARGE ROOM - SHOT - NIGHT From doorway: dusty room with small computer terminal at far end. (CONTINUED) 37. 110 CONTINUED: TRUDI'S VOICE (O.S.) The custodian gave me the key. It was very expensive. 111 NEW ANGLE Grover and Trudi move into room. Trudi finds light switch, lights on. GROVER We're going to take home first prize in the Treasure Hunt. He points at computer terminal. GROVER Have Probe Control get a make on that thing. Trudi nods, moves towards machine. Grover hunts for phone lines. 112 INT. PROBE CONTROL - SCANNER SHOT - COMPUTER TERMINAL Trudi moves in on computer terminal. MISS JAMES' VOICE That's the model 514-B of Deutschmachines Combine. 113 ANGLE FAVORING MISS JAMES Cameron comes to stand behind her. MISS JAMES The compact print out terminal, marketed throughout Europe, the Near East and North Africa. Available on a rental basis depending on location. 114 INT. LARGE ROOM - TIGHT ON TRUDI She examines computer terminal. GROVER'S VOICE (O.S.) Is this machine compatible with the transceiver set-up we found in the bank? PUSH IN as her hand touches terminal. 38. 115 INSERT CLOSEUP - INSIDE OF TERMINAL Small, explosive device mounted inside. We SEE contact being made, hear TICKING of time device. HARRIS' VOICE I think so, Grover... 116 INT. PROBE CONTROL - ANGLE FAVORING CAMERON Behind Harris, Miss James. HARRIS I'd have to check the circuitry but a ball park quess -- Cameron holds up his hand. CAMERON Hold it! He listens. GROVER'S VOICE What's up, Cam? CAMERON Shut up? Harris! Turn up your audio again. 117 ANGLE TO INCLUDE HARRIS He turns up volume control. Cameron moves to him. They listen. There is a faint SOUND OF TICKING. CAMERON Grover! We hear something ticking! 118 INT. EMPTY ROOM - WIDE ANGLE CAMERON'S VOICE You must have activated an explosive device. Grover reacts. He lunges towards Trudi. GROVER (overlapping) Trudi! He grabs her, shoves her towards door as... 119 ANGLE ON COMPUTER TERMINAL It EXPLODES! 39. 120 ANGLE FAVORING GROVER, TRUDI He drags her towards door through smoke-filled room. They reach door, exit. PUSH IN on flames. 121 EXT. STREET - ANGLE ON NUMBER 19 - NIGHT Grover supporting Trudi, staggers from building, smoke behind them. He looks behind him. Trudi coughing. GROVER Let's get out of here before the fire brigade shows up. I don't want something else I can't explain to Inspector Baertschi. PUSH IN on smoke-filled hall behind them. 122 INT. HOTEL SITTING ROOM - ANGLE FAVORING OLIVIA - NIGHT In dressing gown, dry-eyed, white-faced, she stands in doorway looking out from bedroom to sitting room. OLIVIA Can I do anything? 123 WIDER ANGLE Grover bends near Trudi, seated on couch, he holds glass of brandy for her. They look up. LAFARGE, another Probe, watches. GROVER Libby, you better go back to bed. OLIVIA No, C.R. We came here because Roger wanted to help. TRUDI Thank you, Lady Allan, but Mr. Grover and I are professionals. Grover indicates LaFarge. GROVER This is LaFarge of our Zurich office. He'll fly you back to England so you can take care of your son. OLIVIA C.R., Roger had something to tell you. When the blackmailer first contacted him they told Roger where to leave (MORE) (CONTINUED) 40. 123 CONTINUED: OLIVIA (CONT'D) the money. Roger came back and waited. He saw the person who picked up the money. Grover grabs her. GROVER Did he recognize him? Did he describe the man? OLIVIA It wasn't a man. It was a woman. 124 ANGLE ON TRUDI She listens intently. OLIVIA'S VOICE (O.S.) A redheaded woman. Involuntarily Trudi's hand goes to her hair. 125 BACK TO SCENE GROVER That's all? That's all he could tell you? OLIVIA She saw him. He had to run. Grover drops hands, moves away. OLIVIA He thought it might be important... Grover turns. GROVER It is. It explains why they cleaned Roger out. Why the other victims had to pay only a fraction of their holdings. OLIVIA The blackmailer was punishing him. Phone RINGS. Trudi crosses, picks it up... TRUDI Hello? Just a second. (CONTINUED) 41. 125 CONTINUED: She holds phone out to Grover. TRUDI Mr. Boyce. 126 INT. CHATEAU - TIGHT ON BOYCE - NIGHT He holds phone. BOYCE Grover? Our friend wants me to make delivery at dawn. 127 EXT. ROAD - ANGLE ON GROVER'S CAR - DAY Just barely daylight as car races along road. BOYCE (V.O.) I'm to meet him on the Aaral Pass Road. 128 INT. GROVER'S CAR - ANGLE ON FRONT SEAT Grover driving, Trudi in seat next to him. BOYCE (V.O.) He'll have instructions for me at the twenty-two kilometer mark. Trudi looks ahead, points at... 129 POV - ROLLS ROYCE Ahead of them... BOYCE (V.O.) I'll take my two-tone blue Rolls License SB-1. 130 INT. GROVER'S CAR - ANGLE ON FRONT SEAT He nods to Trudi, starts to ease back, to keep Rolls in sight. 131 HIGH ANGLE SHOT - ROAD Mountain road, with sharp, dangerous curves, warning signs on shoulder. Boyce's car comes into curve. 132 INT. BOYCE'S CAR - TIGHT ON BOYCE He starts to brake, reacts as... 42. 133 ANGLE ON FOOT His foot goes to the floor. No brake pedal tension. 134 POV SHOT - BOYCE'S CAR It swerves dangerously. Boyce blows horn repeatedly. 135 INT. GROVER'S CAR - ANGLE ON FRONT SEAT Trudi, Grover react. Grover tenses, pushes car to close gap. Trudi grips door handle. CAMERON'S VOICE What's wrong? 136 INT. PROBE CONTROL - ANGLE FAVORING CAMERON He, Miss James, Harris, tensed. GROVER'S VOICE I think his brakes are out! Reactions. 137 EXT. ROAD - WIDE ANGLE Boyce's car careens down road. Grover's car tries to catch up. 138 ANGLE ON BOYCE'S CAR Boyce fights wheel, Mona barely visible next to him. 139 ANGLE ON GROVER'S CAR He tries to pull up on Boyce's car. GROVER'S VOICE I'm going to try to pass him. 140 WIDE ANGLE The two cars dice, with Grover trying to get past, Boyce unable to control his car. At last Grover gets room on shoulder, zooms past. 141 INT. PROBE CONTROL - ANGLE ON CAMERON - DAY He grips the edge of console. CAMERON Careful, Grover. GROVER'S VOICE I'm going to try to line up. 43. 142 EXT. ROAD - ANGLE ON GROVER'S CAR Lining up in front of Boyce's car. GROVER'S VOICE ... In front of him. Let him bump into me. Slow him down. 143 INT. GROVER'S CAR - ANGLE ON FRONT SEAT CAMERON'S VOICE That car's too light! He'll bounce you over the side! GROVER Come up with a better idea! He looks at Trudi. She nods assent. He looks at rear-view mirror, brakes. 144 EXT. ROAD - TIGHT ON BOTH CARS Boyce's car rams into Grover's car. 145 ANGLE ON GROVER'S CAR Grover, Trudi react to impact. Grover struggles for control of wheel. 146 WIDE ANGLE Sharp turn looms ahead. 147 ANGLE ON GROVER'S CAR Grover tries to brake again. 148 ANGLE ON BUMPERS Impact again, sending Grover's car forward. 149 WIDE ANGLE - TURN Grover brakes around turn. Boyce loses control, goes off side of road. Door flies open, Boyce hurtles out. 150 ANGLE ON RAVINE Car plummets into ravine, crashes. 151 ANGLE ON GROVER'S CAR Backing up, then stops. Grover gets out, races off. Trudi follows. 44. 152 ANGLE ON BOYCE lying on side of road. Grover reaches him. Boyce looks up. Then, painfully: BOYCE Mona... Grover races for top of ravine. Boyce drags himself to his feet. Grover looks down. 153 POV SHOT - CAR At bottom of ravine. Car suddenly EXPLODES, bursts into flames. 154 ANGLE ON GROVER He reacts as Boyce reaches him, looks down. FADE OUT. END ACT THREE 45. ACT FOUR FADE IN: 155 INT. POLICE HEADQUARTERS - ANGLE ON POLICEMAN - DAY Tight on Mona's personal effects which he carries to put on desk in b.g. BOYCE'S VOICE (O.S.) I'm okay! I'm okay! PULL BACK, REVEAL Boyce, bandaged, in chair; Grover, Baertschi, Trudi on scene. BOYCE Now back off, Grover! BAERTSCHI Herr Boyce -- the brake cables on your car were cut through! BOYCE No comment! GROVER Stop playing cheap hood, Boyce. It's not your image! Boyce is on his feet. Policeman crosses out. BOYCE Let up, Grover. Maybe she didn't look like much to you -- but Mona was straight... In this whole world she was the only person I ever trusted! He turns to move off. GROVER Before you leave: Who knew where you were going and why? BOYCE Anybody! I broke my own rule. I cracked a phone and now Mona's dead! He continues out. PUSH IN to lose Boyce. Trudi stands at Baertschi's desk, looks down at Mona's personal effects which include gold chain and locket. Baertschi faces Grover. (CONTINUED) 46. 155 CONTINUED: BAERTSCHI Our usual homicide rate in Zurich is less than one a week. 156 ANGLE ON TRUDI She picks up locket, sneaks look to make sure Baertschi doesn't see, opens locket. BAERTSCHI'S VOICE (O.S.) You arrive, and we have three times that number in the span of one day! 157 INSERT CLOSEUP - LOCKET Picture of middle-aged man on right, on left, engraving: AUF ULRIKE MIT LIEBE ZUM PAPPA. GROVER'S VOICE (O.S.) You can't put it all on my head. 158 WIDE ANGLE Grover notices what Trudi is doing, moves to keep Baertschi's back to her. GROVER I hadn't even hit town when Haltiner was killed. 159 INT. PROBE CONTROL - SCANNER SHOT - LOCKET CAMERON'S VOICE 'Auf Ulrike Mit Liebe Zum Pappa...' We have it Hauser. 160 ANGLE FAVORING CAMERON CAMERON We'll check the picture and get back to you when we have a read out. 161 INT. POLICE HEADQUARTERS - ANGLE FAVORING GROVER He sees Trudi has finished. BAERTSCHI (tight up) No answers yet, Mr. Grover?! (CONTINUED) 47. 161 CONTINUED: As Trudi crosses out ahead of Grover: GROVER Believe me, Inspector, I want them as much as you do. Exeunt Grover, Trudi. Baertschi moves back to desk, looks down at personal effects, thinks, looks off at door. 162 EXT. STREET - GROVER'S CAR - DAY Moving through traffic. TRUDI'S VOICE (0.S.) You ought to go back to the hotel. You need rest. GROVER'S VOICE (O.S.) First the Bank. 163 INT. CAR - ANGLE ON FRONT SEAT Grover concentrating on traffic, Trudi next to him. GROVER I want to check on something. Olivia said a redheaded woman picked up Roger's blackmail payment. He turns to look at her. She tries not to put her hand to her own hair. GROVER Let's see how many redheads they have in that bank. 164 INT. PROBE CONTROL - ANGLE FAVORING CAMERON - DAY Cameron studies scanner screen O.S. CAMERON Grover, we have final analysis on Vollmer, St. Clair and Stucke. GROVER'S VOICE About time. CAMERON I'll spare you the trivia. One important fact: Ronald St. Clair was originally hired by Vollmer when he wanted to modernize his procedures. St. Clair's background was in computer technology. 48. 165 INT. VOLLMER'S OFFICE - ANGLE FAVORING VOLLMER - DAY Agitated, Vollmer paces. VOLLMER I refuse to believe these allegations against St. Clair. He turns, PULL BACK, REVEAL Grover, Trudi. GROVER Herr Vollmer, St. Clair had access to the safe where the computer codes are kept. VOLLMER So did others. TRUDI Who else besides yourself? VOLLMER Herr Stucke, Fraulein Lund... The name means nothing to Grover. Vollmer explains. VOLLMER My personal assistant. KNOCK on door. Vollmer turns, calls: VOLLMER Come! 166 ANGLE ON DOOR Miss Lund opens door. VOLLMER Yes, Fraulein Lund? We can see she is redhead. Grover and Trudi exchange a look. MISS LUND Herr Vollmer, Mr. St. Clair is here. She steps aside to let St. Clair enter. 167 ANGLE ON GROVER He points the scanner on Miss Lund. 49. 168 INT. PROBE CONTROL - MISS LUND - SCANNER SHOT CAMERON'S VOICE We copy, Grover. We see she's a redhead. 169 INT. VOLLMER'S OFFICE - WIDE ANGLE - DAY Miss Lund is out. St. Clair moves towards Vollmer's desk. VOLLMER St. Clair, Mr. Grover has some questions for you. ST. CLAIR Yes, sir. But first I was wondering if you've heard from Stucke. GROVER What about Stucke? St. Clair turns to face Grover. ST. CLAIR He has not come in today. We have been calling his home. Trudi and Grover exchange look. TRUDI I have the address. Grover already moving. GROVER Come on! 170 OMITTED 170A EXT. ZURICH STREET - GROVER'S CAR - DAY It ROARS through the streets. CAMERON'S VOICE Grover... 171 INT. PROBE CONTROL - ANGLE FAVORING CAMERON - DAY Miss James hands him a printout. Cameron scans it. CAMERON We've checked Deutschemachines Combine's main office in Frankfurt. (MORE) (CONTINUED) 50. 171 CONTINUED: CAMERON (CONT'D) The terminal that blew up on you and Miss Hauser was rented by a redheaded woman who paid cash. GROVER'S VOICE (dryly) Maybe she's Stucke's maid. 172 OMITTED 173 INT. STUCKE'S STUDY - ANGLE ON DOOR It opens revealing Grover and Trudi. Grover reacting. GROVER Stay back! 174 ANGLE INTO ROOM We SEE Stucke lying face down on floor... a revolver clutched in his hand. GROVER'S VOICE Better call Baertschi. 175 INT. VOLLMER'S OFFICE - ANGLE FAVORING VOLLMER - DAY He holds printout sheets; reads. VOLLMER You found these in Stucke's house. 176 WIDER ANGLE St. Clair, Grover are there. GROVER With the typewritten suicide note confessing that he had set up the whole blackmail scheme himself. ST. CLAIR The police verified that only Stucke's fingerprints were on the typewriter keys. Grover paces slowly. (CONTINUED) 51. 176 CONTINUED: VOLLMER You should be pleased, Herr Grover. This is what we hired you to find. Now you can watch me destroy the blackmailer's evidence. He drops printout sheets into ashtray, lights them with cigaret lighter. GROVER You'll excuse me if I don't join the celebration. VOLLMER You have to accept it! GROVER I just don't see Stucke master- minding this whole operation. TRUDI He was identified as the man who rented the loft at Wilhelm Tell Platz. GROVER The blackmailer got almost twenty-five million dollars. Where did the money go? He turns to Vollmer. GROVER Baertschi found the number of an account Stucke had with a Bank in Locarno. There was only five thousand dollars on deposit. The police tore his house apart. No money was hidden there. Isn't anybody interested in $25,000,000 in blackmail payments? VOLLMER Of course, I'm interested. I'm more concerned with the fact we have restored the security of this bank. ST. CLAIR The money will turn up. (CONTINUED) 52. 176 CONTINUED: (2) VOLLMER Stucke committed suicide. GROVER Suicides can be faked. VOLLMER The case is closed. ST. CLAIR And Bank Vollmer and Company Limited is Probe's client. GROVER I had another client before I ever hit Zurich. He turns to storm out. Hauser follows. 177 EXT. STREET - ANGLE FAVORING GROVER - DAY Moving from Bank, Trudi runs to follow Grover. TRUDI Grover, wait -- GROVER This is personal, Hauser. Mr. Cameron would never let you put in the time. 178 INT. PROBE CONTROL - ANGLE FAVORING CAMERON - DAY CAMERON Hang on, Grover! We're suspending operations. GROVER'S VOICE Figured... Bells, flashing lights. MISS JAMES Mr. Cameron! Monitor One... 179 EXT. BANK - ANGLE FAVORING GROVER, TRUDI They can hear: MISS JAMES' VOICE Printout on the picture Miss Hauser found in the locket... 53. 180 INT. PROBE CONTROL - SCANNER SHOT - PICTURE of man in locket photo, this time in Luftwaffe uniform, lettering starts across bottom. CAMERON'S VOICE Subject identified as Dr. Theo Rader, wartime electronic expert for Luftwaffe, credited with setting up electronic relay systems. 181 EXT. BANK - ANGLE FAVORING TRUDI, GROVER They react. CAMERON'S VOICE Disappeared in 1945, rumored to have been smuggled out of Europe by ODESSA Group, with wife, Mai, daughter Ulrike, then age five. GROVER Did ODESSA have a route to South Africa? 182 INT. PROBE CONTROL - ANGLE FAVORING CAMERON He sits back, thinking. Beat. GROVER'S VOICE Can you find out if Ulrike Rader was redheaded? (beat) Mr. Cameron? CAMERON You win, Grover. You've reopened the case. 183 EXT. CHALET - DAY Grover and Trudi drive up swiftly. PUSH IN. GROVER (taut, quietly) Click off your scanner. She looks at him strangely. GROVER I said click it off! As she obeys, he removes a gun from glove compartment. (CONTINUED) 54. 183 CONTINUED: GROVER You know, I really don't like these things. He puts it into his belt before he turns, she stops him with: TRUDI Grover, I better tell you: Mr. Cameron is most insistent you wait until we have more evidence. GROVER Let him figure I'm being self indulgent again. TRUDI I can still call Inspector Baertschi. Grover moves away. GROVER I'll let you know where we'll meet for dinner. HOLD ON TRUDI in car. She puts car into gear. 184 INT. STUDY - ANGLE FAVORING BOYCE - DAY He sits at a small desk as Fries leads Grover to Boyce, still saddened by Mona's death. Fries moves off. BOYCE Vollmer called me. Told me about Stucke. GROVER There are a couple of loose ends, Boyce. Boyce rises, moves off. Grover follows. BOYCE So? GROVER Was Mona dead before she got in the car -- or just knocked out? Boyce turns, he and Grover hold long look. (CONTINUED) 55. 184 CONTINUED: GROVER Drugged? BOYCE Five million dollars, Grover, you name the currency. GROVER Who're we kidding? I'd never live to collect. You took care of all your partners -- Stucke -- Mona -- or do we call her Ulrike as long as it's just you and me? BOYCE You got a lot of class, Grover, walking in like this. GROVER Whose idea was it? Yours -- Mona's? Stucke you bought, he got you the code. Mona knew the telemetry. Did you burn her red wigs? BOYCE Like you said, who wants loose ends. GROVER Why didn't you let them live. You didn't need twenty-five million. BOYCE I had to protect myself. You know my associates -- you know how Syndicate people feel if someone pulls a practical joke on them. GROVER You didn't play any favorites. You warmed up on poor Roger Allan, moved onto your own people... then the others. BOYCE I made my score. I've shut down that operation. GROVER Along with Roger Allan... Paul Haltiner... (CONTINUED) 56. 184 CONTINUED: (2) Boyce crosses back to deck. BOYCE The percentages were against them. GROVER C.R. Grover? BOYCE You've been a dead man since you walked in this place. Boyce hits button on intercom. GROVER One last point. Where'd you put the twenty-five million? BOYCE In a safe deposit box in Vollmer's Bank. GROVER Nice touch. 185 ANGLE TO INCLUDE DOOR Door opens silently. Fries in doorway, pulls gun. Grover suddenly dives across desk as Boyce jumps out of way. Fries FIRES. Grover rolls over, moving for cover. He snaps off shot, hits Fries, who goes down. Boyce dives for gun. Grover reaches him a split second after he gets it. 186 ANGLE ON FIGHT Grover chops gun away. Now a wild Manoa Mano Karate Fight, hard, swift, skillful. 187 OMITTED & 188 189 NEW ANGLE as Grover chops Boyce to the floor unconscious. A long, long BEAT as he stares down at Boyce. Then: 190 PUSH IN ON GROVER Grover takes scanner from pocket, clicks it on, and: (CONTINUED) 57. 190 CONTINUED: GROVER Okay, Cameron. You can tell accounting they can bill Herr Vollmer now. HOLD ON GROVER for beat, then PULL BACK as he moves toward phone to summon police; FREEZE FRAME and... FADE OUT. THE END