THE SWISS CONSPIRACY
Trancsript

This is a transcript of The Swiss Conspiracy that I made myself. I am unsure about some words or phrases and indicate them with three consecutive question marks. And I allow the possibility that I mis-transcribed a few parts and/or misspelled a few words, especially the names of Swiss places. Any additions or correction, just e-mail me at theswissconspiracy@yahoo.com! I want the transcript to be perfect! Mega-thanks (danke) to Margrit Larres for her help with the translation, especially with the German quotes and their Enlgish equivalents!

S.J. Ineternational Pictures logo on screen

(Black screen with gray text appears on screen and narrator reads it verbatim)

NARRARATOR: Switzerland--a country internationally famous for its fine watches, its great skiing and its luxurious resorts…

but Switzerland’s biggest industry is banking. Because Swiss banks are unique in all the world. They have secret numbered accounts and the owner’s name is always held in strictest confidence. This secrecy is protected by the Swiss government. No individual, no corporation, not even the power of a government can discover the name of a depositor.

For this reason, anyone with a great deal of money to hide knows that Switzerland is the safest sanctuary. Criminals, tax evaders and political agents all find Swiss banks the perfect place to conceal their dirty money and their dirty secrets. The system is considered foolproof. Or at least it was…

(Close up of a waiter at a fancy restaurant lift an item (possibly an egg) from a pan to a plate, walk over to serve it to a customer at a table. The camera follows the waiter to the table, where the focus turns to another waiter, who wheels a cart into another room, where Georg Rasher is seated alone at a round table. There is a window behind Rasher through which the room in which the scene began is visible. The waiter parks the cart stands with his back toward Rasher’s front. The waiter unbuttons his shirt, pulls a gun out of his pants, cocks it, turns around and points it at Rasher, who is sipping on a cup and, upon seeing the gun stands up and looks scared. The camera quickly switches to the waiter, who is smiling, then switches back to Rasher, who is in the same position. The waiter fires, Rasher drops the cup and he and his chair fall backwards. Rasher’s body breaks the glass behind him. People scream.)

(Main theme starts playing amid a black that alternates between Swiss postcards and the opening credits. Once the fast section of the theme song starts, an aerial shot begins of mountains when leads into an aerial shot of Zürich. The opening credits continue to roll until late in the aerial shot of Zürich. The aerial shot ends with the camera focused on a tall building with “Hurtil Bank” inscribed immediately above the columns. As the camera focuses on the name of the building, the main theme stops and the screen fades to the inside of the building.)

(Inside the bank, a woman taps a security guard on his right shoulder with her right hand.)

SECURITY GUARD: Bitte?
WOMAN: Sehen Sie mal da! (Look over there!)
SECURITY GUARD: Oh, uh, danke. (He lightly waves at the woman with his right hand as she walks off. He walks over to the envelope and picks it up. It contains a handwritten message that reads:

PRESIDENT JOHANN HURTIL

ZÜRICH HURTIL BANK

URGENT

He looks concerned and knocks on the door of a secretarial office, then enters the room a few seconds later. He hands in to Florelle, who instantly begins staring at it.)

SECURITY GUARD: Das, uh, habe ich draußen auf dem Fußboden gefunden! (I, uh, found this outside on the floor!)
FLORELLE: Ist gut! (It's ok!)
SECURITY GUARD: (While walking away) Bitte. (Florelle stares at the envelope for several seconds and picks up a letter opener with her right hand but notices another secretary is watching her. Florelle puts the letter opener down without opening the envelope. She walks over to a door, knocks and enters a few seconds later.) (

Shot of baggage rolling up a conveyor at a baggage claim area at the Zürich airport. The second bag shown is followed by the camera for several seconds until it is picked up by Robert Hayes. He walks over to the customs desk and sets his briefcase on the customs desk.)

CUSTOMS OFFICER 1: Your passport, please. (Hayes grabs passport out of a pocket inside his suit jacket and hands it to the customs officer)
CUSTOMS OFFICER 1: Thank you. (Looks inside the passport, then glances at Hayes.) Mr. Hayes?
ROBERT HAYES: Yeah.
CUSTOMS OFFICER 1: The purpose of your visit?
HAYES: Business.
CUSTOMS OFFICER 2: (Walking over to Hayes) Do you have anything to declare?
HAYES: No, nothing. (Customers Officer 2 opens Hayes’ briefcase, which is filled with cash. Both customs officers briefly stare at it. Customers Officer 2 closes it. Customs Officer 1 gives Hayes his passport back.)
CUSTOMS OFFICER 2: (Lightly smiling) Have a nice trip Mr. Hayes.
HAYES: Thank you very much. (Grabs his briefcase and walks toward an exit.)

(Customs Officer 1 nods to Captain Hans Frey, who is holding a newspaper and watching from just outside the exit, and nods back. Hayes gets the attention of a taxi driver who is parked just outside the exit. The driver gets out of the car, unlocks it, takes Hayes’ bag, puts it inside, closes the trunk. Hayes gets in the backseat only slightly before the driver gets back in the taxi. Frey walks by the taxi when it about to drive away. Sergeant Schwand picks up Frey in a car and Frey points. Schwand begins driving in that direction. Presumably, they are following Hayes.)

(Back at the bank, Franz Benninger and Florelle exit a room and Benninger, while holding the envelope, walks toward Johann Hurtil’s office. He knocks on the door and enters a few seconds later.)
FRANZ BENNINGER: Herr Hurtil. (Hands the envelope to Hurtil, who takes it. Hurtil looks at it for a few seconds, then opens a portfolio and grabs an opened letter. The opened letter reads:

YOU WILL PAY 10 MILLION FRANCS OR THE COUNTRIES YOU HAVE CHEATED WILL GET A COPY OF THIS ACCOUNT

He holds the envelope and the letter next to each other)
JOHANN HURTIL: The writing is the same. (He opens the envelope and reads the letter out loud.) “If you want your clients’ secret bank accounts to remain secret, you will pay us ten million francs. Wait for instructions.”
BENNINGER: I don’t understand. Why should be pay ten million francs to, to these people, whoever they are? What are we to do? Go to the police?
HURTIL: (Adamantly) Never! (His phone buzzes and he answers) Yes?
FLORELLE: Mr. Dwight McGowan from America just phoned. He insisted on coming to see you immediately.
HURTIL: Very well. When he gets here, I’ll see him.
BENNINGER: Another one?
HURTIL: An American. McGowan. Earlier I got a call from a Kosta from Amsterdam. He said it was a matter of extreme urgency. I think I need a drink.

(Walks over to pour himself a drink and asks on the way) What about you?
BENNINGER: Definitely.
HURTIL: You hear the name David Christopher?
BENNINGER: You mean that American in Geneva?
HURTIL: (While pouring drinks) An American who used to be with the United States Department of Justice. He knows a great many names and can pull a great many strings, as we well know, both of us.

(Shot outside of a bridge over a river near the bank on a bright day with lots of traffic. David Christopher is about to back into a parking space on the side of a street near Hurtil Bank. Denise Abbott drives quickly into the space.)
DAVID CHRISTOPHER: (Apparently notices Abbott in rear view mirror, raises up turns back and says shouts at Abbott) Lady! (Abbott gets out of the car holding some papers in her left hand) Lady! What in the hell are ya doin'?
DENISE ABBOTT: (As someone gets into the car immediately behind hers) You were planning to park in my spot? I'm sorry. Should I move?
CHRISTOPHER: No, forget it. (Sits down and turn around, as if ready to drive away to look for another spot)
ABBOTT: Oh look, uh, he's moving out (as a car drives away from the space immediately behind Abbott's car). I will hold the place for you, but this time be quick! (She walks over to the space. Another car is about to drive into the space but she says to the driver:) No, I'm sorry, it's, it's for this gentleman over here. (Walks backward onto the sidewalk and waves Christopher over) Hurry! (As his car pulls into the space) You must hurry, you see! (Walks from the sidewalk around the front of Christopher's car to the drivers' side of his car) You forgive me?
CHRISTOPHER: I forgive you.
ABBOTT: (Smiling) Good. We Ferrari owners must stick together! Auf Wiedersehen! (Walks off) (Christopher sits and stares for a few seconds for getting out of the car and walking off.)

(Christopher and Abbott walk very close to each other on the sidewalk in front of Hurtil Bank. They briefly glance at each other. Christopher walks ahead of her and grabs the knob of the front door to open it. He turns around and sees Abbott standing behind him, waiting to get in.)
CHRISTOPHER: Not again!
ABBOTT: Looks like it! (Christopher opens the door and holds it open as Abbott walks inside. He follows her. The two arrive at the door to the office area at almost exactly the same time.)
CHRISTOPHER: Uh lady, we’ve gotta stop meeting like this!
ABBOTT: Yeah, ???
CHRISTOPHER AND ABBOTT: (simultaneously, while Abbott points toward the office) I have an important… (The two pause and each talks at the same time. I haven’t deciphered the words of either. Abbott chuckles.)
CHRISTOPHER: I’ll tell you what we’ll do. We’ll toss a coin; I think I’ve got a two headed one here. (While reaching for a coin in one of his pants pockets) I’m gonna toss it to see who goes first. (With his right hand, he flips it, catches it and places it on his left hand.)
ABBOTT: Very well! I call heads! (She opens the door and walks through. With his right hand, Christopher tosses the coin, catches it on the way down and follows Abbott.)

(The taxi carrying Hayes arrives at Hurtil Bank. Hayes gets out the right backseat door and enters the bank. Frey and Schwand arrives a few seconds later and park. Then Frey is shown outside of the car, staring, presumably at the door through which Hayes just entered the bank.)

(Inside the bank, Hurtil walks out of his office toward Abbott and Christopher, lightly smiling.)
HURTIL: Ah, Miss Abbott. (Extends his right hand toward her. The two shake hands and he kisses her right hand.) Mr. Christopher. (Extends his right hand toward Christopher and the two shake hands) It’s awfully generous of you to interrupt your vacation in such short notice. However, I completely forgot that Miss Abbott is always on time for her appointments!
ABBOTT: (Lightly chuckling) Thanks sir!
HURTIL: Uh, won’t you come in please? Both of you. (Abbott and Christopher walk in Hurtil’s office and Hurtil follows them into the office and closes the door.) (Florelle is sitting at her desk and the phone rings. She answers it and a male voice speaks before she says anything.)
MAN ON PHONE: Mr. Hayes from Chicago is here to see Mr. Benninger.
FLORELLE: ??? (Possibly something in German). Send him in. (She presses the intercom button for Benninger’s office.) Herr Benninger, Mr. Robert Hayes of Chicago to see you.

(Inside Hurtil’s office, Hurtil and Abbott are seated on couches and Christopher on a desk.)
HURTIL: Much as I’d like to take advantage of your very delightful company, I think it best that we get to the point of this meeting.
ABBOTT: Of course.
HURTIL: Now Miss Abbott, the bank has retained Mr. Christopher in this special emergency to protect the interest of its clients and I wanted him to meet you.
CHRISTOPHER: Why does Miss Abbott need protection?
ABBOTT: I asked the bank for a statement. (Hands Christopher a statement) This is it.
CHRISTOPHER: (Looks at it) Routine statement, identified by a number ???.
ABBOTT: (Hands him another piece of paper) Compare the two. And you will know why I had trouble sleeping the last two nights.
CHRISTOPHER: (Reading the paper that she just handed him) ??? Denise Abbott, unless you pay us one million Swiss francs to be silent why you have a numbered account will be revealed in London.

ABBOTT: One million francs. That’s too big. Where am I going to get a million francs? And they can see what I’ve got. Two hundred thousand or something. Less now.
HURTIL: Miss Abbott, the first step’s already been taken. I’m sure Mr. Christopher will have some questions to ask you. And I propose that you make yourself available to him later.
ABBOTT: (In little more than a whisper.) Of course. (She gets up and walks toward the door, followed by Hurtil. Christopher stands up.)
HURTIL: If you need any help, don’t hesitate to call us at the bank or Mr. Christopher’s at the Vaun Haus Toll Garden.
ABBOTT: I’m at the Bellevue. (Offers Hurtil a handshake, which he accepts.) Auf Wiedersehen.
HURTIL: (During handshake) Auf Wiedersehen.

(Abbott walks out of Hurtil’s office while Hayes walks into Benninger’s office, which is also connected to the secretarial office. Florelle opens and closes the door for Hayes.)
BENNINGER: (Gets up from his desk and walks toward Hayes.) It’s nice to have you visit again, Mr. Hayes. Did you have a nice trip? (Offering Hayes a handshake.)
HAYES: (Angrily rejects the handshake and speaks abrasively throughout the scene.) Cut the crap, Benninger. (Sets his briefcase down on Benninger’s desk and takes his hat off.) You’ve got some explainin’ to do. (Opens his briefcase, exposing the money.) There’s a million there. (Pulls papers out of his suit jacket.) For account number seven six three four two one. (Hands Benninger one piece of paper and holds another one, waving it at him.) This - this is what I got to show for my account. I trusted you. And your damn bank. Now somebody squealed my God damn number to somebody. And I’m dead (Flicks the paper as he says the word “dead.”) unless I come up with a million francs like today.
BENNINGER: (Reading the paper) Robert Hayes, unless you pay us one million Swiss francs to be silent, your secret bank statement will be revealed to your business associates.
HAYES: (Slightly before Benninger finishes his last statement.) Yeah!
BENNINGER: (Gasps) I’m terribly sorry.

HAYES: Sorry (Speaking the word “Sorry” almost completely in sync with Benninger), bull shit. I wanna know what know what you’re gonna do (Points his left index finger for emphasis as he speaks the word “do.”) about it.

(Inside Hurtil’s office)
CHRISTOPHER: (During this statement, he pours a drink, walks over to Hurtil’s desk and stands in front of it.) So Denise Abbott is the fourth victim in the last 24 hours, the others being Andre Kosta from Amsterdam, Dwight McGowan from Los Angeles and a Georg Rasher from Vienna.
HURTIL: That’s right.
CHRISTOPHER: Georg Rasher. ??? didn’t I read about him in the newspaper? Wasn’t he killed in a restaurant last night?
HURTIL: Yes, I’m afraid so. And what’s more, this came this morning (Hands paper to Christopher.)
CHRISTOPHER: (Reading the paper) If you want your clients’ secret bank account to remain secret, you will pay us ten million francs. Wait for instructions.
HURTIL: I can’t impress upon you too strongly, Mr. Christopher, that there must be no publicity; we can not afford a scandal. (Knock on door) Yes!

(Benninger opens the door and walks in. Hayes follows and looks even more disgusted upon seeing Christopher.)
BENNINGER: Sorry, Herr Hurtil, but, uh, Mr. Hayes is another of the victims.
CHRISTOPHER: (While holding a drink in his right hand, he raises the glass, extends his index finger and smiles.) Hello, Bobby.
HAYES: (Points at Christopher.) What’s he doin’ here? HURTIL: Do you know each other?
CHRISTOPHER: (Speaks softly to Hurtil) Yeah, well, not socially.
HAYES: Answer me!
HURTIL: The bank has retained Mr. Christopher to protect its clients, Mr. Hayes.
HAYES: Protect us?! (During the next few words, he walks toward Hurtil’s desk and stands on Christopher’s right.) What are you, crazy?! He’s U.S. justice department!
CHRISTOPHER: (Slightly before Hayes finishes his last statement.) Not anymore, Bobby, not for a couple a years.
HAYES: Get him out of here! You here me?! Swiss banks don’t give out their clients’ numbers! Not to nobody! (Now speaks to Christopher.) You got some friends back home been looking for you; you know that, don’t you. They’d like to pay you back for all you’ve done for ‘em. They got a long memory. All right. I’m leavin’ this bank right now and I’m makin’ a long distance phone call. Person to person. My guess is if you’re not out of this town by this time tomorrow, they’re gonna find you in the nearest meat house - along with the other dead pigs. (Walks toward the door. Benninger opens it for him. Before walking out, Hayes turns around and speaks.) Justice. (Turns around and while walking out speaks.) All I need. (Benninger closes the door.)
HURTIL: I must apologize for our client, Mr. Christopher. Won't you sit down? (Christopher sits down) This is my vice president, Mr. Benninger.
CHRISTOPHER: Hello, Mr. Benninger.
BENNINGER: Hello.
HURTIL: You know this man, Mr. Hayes?
CHRISTOPHER: Yes, I know him; he's a crook. His partner is worse.
HURTIL: That threat. Do you think he was serious?
CHRISTOPHER: Yes, he was serious. Well, what are Mr. Hayes' problems, besides the obvious ones? (He points his right thumb at the door near the end of the sentence.)
BENNINGER: (Hands 2 pieces of papers to Christopher) Here.
CHRISTOPHER: (While looking at the papers) So Mr. Hayes is victim number five.
BENNINGER: Yes.
CHRISTOPHER (Showing one piece of paper to Benninger) Is this his own numbered account?
BENNINGER: That is correct.
CHRISTOPHER: (Referring to the other piece of paper) What does this represent?
BENNINGER: Uh, give your attention to the deposits and withdrawals on both accounts.
CHRISTOPHER: Well, it looks like he's taking money from this (pointing to one piece of paper with the other) account and putting it in this (reversing the process) account.
BENNINGER: Mmmhmm. Again correct. I, uh, found out about this just very recently. He invests the funds he bought out and keeps the profits for himself. Unfortunately at present, he's heavily in debt. New account number seven six three four two one, as you can see.
CHRISTOPHER: Bad investments?
BENNINGER: I'm afraid we don't have that information.
CHRISTOPHER: (During the next several sentences, he walks across the room, pours himself another drink and returns to the chair in front of Hurtil's desk) I see, well if account seven six, uh, one three four two one belongs to who I think it belongs to, Bobby Hayes, it's ridiculous. He's not a beginner; he knows what his associates will do to him if they find out about it. But that's his problem; this one's ours, isn't it? Blackmailers want, uh, ten million francs from the bank and one million francs from each of the victims, five so far. Fifteen million francs, right?
HURTIL: If we exclude the unfortunate Rasher.
CHRISTOPHER: No, the price will stay the same; that was only a warning. For fifteen million francs, that's what, approximately six million American dollars? They must think you'll all pay, why? (Long pause) 'Cause you can't go to the police; the scandal'd be public in 24 hours. Not very good advertising for a proper Swiss bank. And because the blackmailers have five names that go with five numbered accounts and information about those accounts that the five don't want exposed. Who could have put the names and numbers together?
HURTIL: Well, that's quite obvious, isn't it?
CHRISTOPHER: Is it?
BENNINGER: Well of course. These, uh, five people must have been incredibly careless.
CHRISTOPHER: Nobody's careless with a secret numbered account. Especially in the case of Bobby Hayes. And gentlemen, if I wanted to put the names and numbers together, I'd come to Zürich right here to Hurtil Bank. I'd find somebody in your organization who had access to the names and the numbers. Now who do you suppose that somebody could be?
HURTIL: Well, I suppose I could put the names and numbers together.
CHRISTOPHER: Well, you're suspect number one.
BENNINGER: The second and most likely suspect would be me. Our master list is kept in the vault, a special safe. Only I have the combination.
CHRISTOPHER: Then you're suspect number two. That it?
HURTIL: We Swiss are a cautious people.
CHRISTOPHER: Obviously not cautious enough. Herr Hurtil, have your secretary make appointments with Mr. Kosta and Mr. McGowan. And Denise Abbott's expecting my call and Bobby Hayes doesn't want to talk to me. And Mr. Rasher is dead. I guess that's it; I'll send you a letter stating the terms of my employment. If you agree, I'll be working for Hurtil Bank.
HURTIL: (While speaking these sentences, he gets up from his chair behind the desk, walks to the door, followed by Christopher, and opens the door for Christopher.) Very kind of you to come. I know we're in trouble, but I'm confident you can help us. (Christopher says something, off screen, perhaps to Benninger, while Hurtil is speaking these lines.)
CHRISTOPHER: (While walking out) I'll do my best. (Hurtil closes door)
BENNINGER: I hope his best is good enough.

(Korsak and Sando walk through the Zürich airport up to a car rental agency.)
KORSAK: (To car rental agency attendant) Car for Korsak.
CAR RENTAL AGENCY ATTENDANT: When was the booking made?
KORSAK: Today, uh, yesterday. Uh, what the hell, it was last night Chicago time.
CAR RENTAL AGNECY ATTENDANT: (Searches a rack of keys then grabs one.) Oh yes, I have it. (Grabs package) A package was left here for you.
SANDO: I’ll take it. (He takes it.)
CAR RENTAL AGNECY ATTENDANT: (Places paper on counter directly in front of Korsak and hands him a pen) Alright, Mr. Korsak. Would you please sign at the bottom, sir? (Korsak begins signing) I already have your rental terms. How long do you need the car?
SANDO: (Right after Korsak finishes signing) Not long. (Korsak slides the paper and pen back to the car renal agency attendant. He and Sando briefly glance at each other.)
CAR RENTAL AGNECY ATTENDANT: (Hands keys to Korsak) And here are the keys for the silver-gray BMW. And you find it at the end of the hall, through the door, in our parking lot. (Hands a paper to Korsak.)
KORSAK: Thank you, honey. (Korsak and Sando walk away.)
CAR RENTAL AGNECY ATTENDANT: Goodbye.

(Inside the rental car, Sando opens the package that the car rental agency attendant gave him. He pulls out a gun and a silencer and hands them to Korsak in that order. Korsak puts both inside the inner left pocket of his suit jacket. Sando then pulls out another gun and puts it in the inner left pocket of his suit jacket. He then pulls out three more objects and puts them in the outer left pocket of his suite jacket. The first two of the latter three objects look like they might be packs of bullets. The car drives away from the airport.)

(Inside Christopher’s office, Corinne is sitting at her desk and the phone rings. She walks over to the phone, which is on a table, sits down on a nearby couch and answers the phone after three rings.)
CORINNE: David Christopher and Associates, consultants on international affairs. May I help you?
CHRISTOPHER: (Standing near a window in his hotel room) When in the hell did I acquire associates?
CORINNE: I’m just practicing, darling, for when you make me your partner! Besides, it sounds more legitimate!
CHRISTOPHER: Only thing illegitimate in that office is you, Corinne. Hey, grab a pencil, will ya?
CORINNE: You are so old fashioned, David! It’s the electronic age now, you know?!
CHRISTOPHER: Yeah, alright, turn on the damn machine.
CORINNE: It’s on, sir.
CHRISTOPHER: Get a hold of Jack Foley at the Justice Department in Washington, D.C. Tell him I want some information on a Dwight McGowan. He’s a Texan but he runs his business out of L.A. And ask him if Luigi Vasilli has got any of his people coming in and out of Zürich and if so, why? Next, get a hold of Freddie Cohen in Paris. Honey, if you can’t remember the number, look it up. I want some information on the following: (Early in this series of lines, Corinne puts down the phone and listens to Christopher on a reel-to-reel tape recorder that is recording the conversation.)

(Rita Jensen walks quickly inside a house up to Benninger, who is holding a drink in each hand.)
RITA JENSEN: It is bad news, isn’t it?
BENNINGER: No. Not necessary so. Just an unexpected complication, that’s all. (Gives the drink in his right hand to Jensen.)
JENSEN: Then you mean all of our planning's just out of the window?
BENNINGER: Please, relax, will you?
JENSEN: (Waves her left hand dismissively and makes a sarcastic sound.)
BENNINGER: You make me very nervous. Come on. Sit down, have a drink and listen.
JENSEN: (Walking to a couch and speaking with a shaky voice) Yes. Sit down, have a drink and listen. And relax. (Sits down) Franz, everything depended on today. We have very little time for us, don’t you see? I know what it is. The bank doesn’t want to pay. That’s it, isn’t it? We won’t get the money.
BENNINGER: Now Rita, for God’s sake. This is getting ridiculous. Please, try to control yourself, hmmm. (During the last sentence walks over to Jensen and sits down next to her.)
JENSEN: I’m sorry. (Holds her right hand to her face.)
BENNINGER: (Grabs her right hand with his right hand. She faces him and he places his left hand on the back of her neck.) I love you, remember.
JENSEN: (Takes a deep breath.) I love you, too. (He kisses her right hand.) But I have this terrible feeling. What was it, Franz?
BENNINGER: What was what?
JENSEN: The unexpected complication.
BENNINGER: (Walks across the room and pauses.) The consultant called David Christopher has been hired by the bank. He’s a very clever man. We must find a way to deal with him.

(As the sun is setting, Christopher is standing on the balcony of his hotel room. The phone rings and he answers it on the third ring.)
CHRISTOPHER: Hello.
ABBOTT: Mr. Christopher?
CHRISTOPHER: Yeah, who’s this?
ABBOTT: Denise Abbott. I’m sorry to disturb you, but something rather urgent has come up.
CHRISTOPHER: What happened?
ABBOTT: I tell you when you get here.
CHRISTOPHER: Alright, I’ll be at the Bellevue in about twenty minutes, is that alright?
ABBOTT: Yes, that will be okay. (Lightly chuckles) There is plenty of parking! (Hangs up.)

(Christopher walks through a parking garage. A few others are walking and driving through it as well. Hayes has a gun and quietly follows Christopher around waiting for a good chance to shoot him. Upon turning a corner, Christopher looks over and sees Hayes standing behind a car. Christopher quickly ducks and Hayes fires. Christopher ducks and uses a car as a shield. Hayes walks around with his guns pointed outward. Several seconds later, he sees Christopher, who again ducks. Hayes fires and his shot breaks a car window. Christopher walks while ducking and is again spotted by Hayes, who fires again. This time his shot hits a pipe and waters begins spraying out of it. Christopher goes around a corner, grabs a fire extinguisher and waits for Hayes. A few seconds later, Hayes walks around the corner and Christopher sprays him. When the spray clears, the two are fighting. Hayes drops his gun at some point in the fight.) (Frey and Schwand inside of their car)
CAPTAIN HANS FREY: ??? schüsse in der Parkgarage, verstanden, Ende. (...shooting in the parking lot, I got it, roger.) Frey quickly drives off at the end of the sentence. (Back in the parking garage, Hayes sees his gun, runs over and grabs it. He hears voices and runs off. Christopher chases him but is grabbed by two people in plain clothes. Christopher struggles with them trying to get away. A few seconds later, Frey and Schwand arrive at the scene. They and the two men holding Christopher say a few things to each other in German.) FREY: Was ist los, Police, was ist los? (What's going on, Police, what's going on?)
THE RIGHT ONE OF THE TWO MEN HOLDING CHRISTOPHER: Der schießt die ganze.???) (He is shooting the whole ...)
Frey: Ja, Ruhe, Ruhe (Be quiet)
(Hayes is shown running out of an exit to the parking garage. He wipes his mouth with a cloth and gets into a parked taxi.)
HAYES: Hotel ???. (The taxi drives off.) (Back at the parking garage, Frey and Schwand and the two men who grabbed Christopher are still talking in German. The two men who grabbed Christopher walk away a few seconds later.
FREY: (Displaying what is presumably a badge with his right hand) Captain Hans Frey, Swiss Federal Police. (Puts the badge in the left pocket inside his suit jacket.) What’s going on here?
CHRISTOPHER: (Walking away slowly and holding a cloth near his face while Frey slowly follows.) Some guy took a shot at me, ran out that door.
FREY: What’s your name, please?
CHRISTOPHER: Oh, Christopher.
FREY: Do you have a passport or something?
CHRISTOPHER: Yeah. (Reaches into the right inner pocket of his suit jacket.)
FREY: (Holding out right hand) Please.
CHRISTOPHER: (Hands his passport to Frey, who looks at it.) He was about medium height, he had on a blue raincoat and a dark hat.
FREY: American, hmmm. Swiss resident. Businessman, what is your business, Mr. Christopher?
CHRISTOPHER: (Reaching to take his passport back.) I’m a consult… (Frey jerks away the passport.) He took a shot at me down there (points), we had a fight and he lost his gun somewhere over there (points).
FREY: (Turns to Schwand.) Schwand.
SERGEANT SCHWAND: Yeah.
FREY: Come over here. (Schwand walks over to Frey.) See if you can find a gun.
SCHWAND: Okay.
CHRISTOPHER: Look, Captain, I had an appointment about a half an hour ago with a client at the Bellevue, ???.

FREY: Who in Zurich is concern to you?
CHRISTOPHER: (Pauses.) Hurtil Bank.
FREY: On what?
CHRISTOPHER: (While adjusting his tie.) Business.
FREY: Business.
CHRISTOPHER: Mmmhmm.
FREY: Are you registered at the hotel?
CHRISTOPHER: Seven O nine.
FREY: Mmmhmm. Who was he?
CHRISTOPHER: (Makes facial expression as if to say “Who?”) The man with the, uh…
FREY: Yeah, the man.
CHRISTOPHER: I don’t know; I didn’t get that good a look at him. Uh, I was pretty busy.
FREY: Hmmm. (Briefly smiles sarcastically.) You’ve just given me a fairly detailed description, Mr. Christopher, so you weren’t that busy.
SCHWAND: Captain.
FREY: Yeah.
SCHWAND: There is no gun. Got the hat. (Hands Frey Hayes’ hat.)
FREY: Mmmhmm. (To Christopher). So…
CHRISTOPHER: He did take a shot at me, now they (pointing in the direction of the area in which the two men grabbed him) must have heard the shot; look (opening both sides of his suit jacket), I don’t have a gun.
FREY: (Handing Christopher his passport) For the moment, Mr. Christopher, you may go. (Pauses.) But I think we shall meet again. I’m in charge of the federal bank detail in Zürich. (Christopher stands frozen for a few seconds and walks away.)

(Outside of Hayes’ hotel, it’s night and many vehicles are driving by. Hayes arrives in a taxi and gets out, wiping his mouth with a cloth. His face shows bruises sustained in the fight with Christopher. He walks toward the entrance to this hotel. Korsak gets out of a his rental car, which is parked in front of the hotel entrance, and walks toward Hayes. As Hayes gets closer to the entrance, he suddenly stops and looks very concerned upon seeing Korsak. Korsak slowly reaches into the left side of his suit jacket with his right hand. Hayes suddenly takes off running. Sando starts driving the card toward Korsak, who gets into the car. It follows Hayes and drives recklessly in pursuit of him. It follows him into a tunnel. Hayes then runs into an alley. The car stops suddenly and its breaks screech. Korsak gets out of the car.
KORSAK: (Shouting) ???. (He stars running after Hayes. Sando drives away. Hayes runs up a flight of stairs. Korsak fires a shot at him, which. Hayes fires a shot back and runs. Korsak runs up the stairs.)

(Sando is driving recklessly and at an interaction, the front right of his car crashes into the back right of another, but Sando’s car drives down the street and turns a corner.)

(Hayes is running and looking scared. Korsak is running after him. Hayes runs past some people who are partying on the street and is slowed by them but makes it through. Korsak continues running and reaches for his gun but is slowed by the people who are partying on the street. Sando’s car arrives at the end of the street and stops with its right side facing Hayes. Sando gets out of the car and fires at Hayes, who fires back. Sando ducks. Hayes turns around and runs down an alley. Korsak stops near the a corner of the alley that Hayes has just run into, walks inside the corner and fires at Hayes, who ducks behind a garbage can and fires back. Korsak steps back behind the corner. Hayes stars running again and suddenly stops and looks even more terrified. Sando’s car is driving at him. Sando runs to the side of the alley on the right side of Sando’s car, which drives by and misses him. When it passes. Hayes runs the opposite direction of the car. Korsak follows him. Hayes runs out of an alley and passes a fountain, stops there and looks at it for several seconds, then runs away. Korsak passes the fountain, briefly stops and looks around and runs in the same direction in which Hayes ran a few seconds earlier. Hayes reaches the entrance to another alley. He stops, turns around and starts running to his right. Sando’s car enters and is driving toward him. He turns around and runs. Korsak sees him as he runs by the entrance to the alley and fires. Hayes ducks under a dumpster, peeks over it and fires back. He then pushes the dumpster, which is on wheels, toward Sando’s car and runs away from it. The dumpster hit the front of Sando’s car, causing the hood of Sando’s car to raise from the back. Sando stops the car, gets out and starts running after Hayes. Korsak also follow Hayes. Hayes stars climbing up a fence at the end of the alley. Korsak fires a shot and Hayes, hitting him in the right hand. Hayes falls to the ground and grimaces.
SANDO: (Screams and charges at Hayes. Hayes picks up a shovel, hits Sando with it and stars running up a nearby flight of stairs. Korsak smiles and fires at Hayes, hitting him. Hayes falls to the left, breaking the wooden railing and falling onto a pile of dirt. He struggles up but Sando walks over and kicks him. Sando and Hayes get on top of Hayes and hold his face down in the dirt. Korsak and Sando smile. Eventually, the camera focuses on Hayes’ right hand, the movement of which gets progressively weaker until it is barely moving.

(The camera focuses on a waiter pouring wine or champagne into a glass. The camera then shows a wide view of the front of the Bellevue. It is night time and people are luxuriously dining. Christopher drives up to the entrance and stops. He gets out and walks inside while a valet gets in the car and drives away.)

(Inside the hotel, Christopher groggily walks to Abbott’s room. He rings the door bell. A few seconds later, he rings it again. A few seconds later, he knocks on the door. He turns around and starts to walk away but Abbott then speaks almost instantly.)
ABBOTT: Who is it?
CHRISTOPHER: Denise Abbott?
ABBOTT: (Pauses) Who are you?
CHRISTOPHER: I’m David Christopher, you phoned me. (Abbott opens the door and is dressed in a robe and has a towel wrapped around her head.)
ABBOTT: You’re late. I, I didn’t think (pause) you were coming. I was (lightly chuckles) taking a bath. Come in, please. (Christopher walks in and Abbott closes the door.) Please, sit down. I change into something (short pause) less comfortable! (Begins walking out of the room.) Make yourself a drink. I’ll drink what you drink. (As she leaves the room, she turns on a stereo, which plays a German language version of The Beach Boys' song "Sloop John B." Christopher pours drinks for himself and Abbott. He takes a sip and walks across the room. Abbott re-enters and changes the music on the stereo to a slow, romantic, instrumental song.) Do you speak German?
CHRISTOPHER: Uh, no.
ABBOTT: It doesn’t matter. Personally, I never listen to the words. What are we drinking?
CHRISTOPHER: Is scotch okay? (Hands Abbott her drink.)
ABBOTT: (Takes the drink.) Scotch is fine. (Sits down on a couch.) Do you?
CHRISTOPHER: Do I what?
ABBOTT: Listen to the words?
CHRISTOPHER: Uh, no. No.
ABBOTT: I suppose it’s too gauche or something to admit that. In these days of ??? telling his own about life. But frankly, I don’t give a damn. (Raises her glass as if offering a toast. Here’s to your quest.
CHRISTOPHER: (Raises his glass likewise.) (Speaks the next sentence very softly.) Here’s to it. (They both take a sip.) (Several seconds of silence.) You said it was urgent.
ABBOTT: You said twenty minutes.
CHRISTOPHER: Yeah, I want to apologize about that; I ran into a curious policeman.
ABBOTT: I must admit, I am curious, too.
CHRISTOPHER: About what?
ABBOTT: Mr. Hurtil called to assure me that this very clever man, Mr. Christopher, was now handling my situation.
CHRISTOPHER: Yeah, Hurtil’s been a banker too long. He uses words like “situation” when he means “blackmail.”
ABBOTT: Are you very clever, Mr. Christopher?
CHRISTOPHER: Well, that depends on who you talk to.
ABBOTT: I was also told I, I’m not the only one involved in this, uh, situation.
CHRISTOPHER: No, there are others.
ABBOTT: And you will investigate them all, look in their closets and find skeletons?
CHRISTOPHER: Wanna show me your closet?
ABBOTT: (Gets up and slowly walks toward the front of the bar over the next several sentences.) Why would Mr. Hurtil hire you to protect me?
CHRISTOPHER: Why not?
ABBOTT: Well for one thing, to say you’ve been with United States justice department (pauses), then left rather abruptly, if that’s the word, to make a home in Switzerland.
CHRISTOPHER: So?
ABBOTT: So one wonder’s what you’ve got to hide.
CHRISTOPHER: (Gets up and walks over by Abbott during these sentences.) I thought we were, uh (pauses), going to talk about your problem. If you have something you want to ask me or talk to me about, you just go right ahead. (Starts pouring himself another drink near the end of the last sentence.)
ABBOTT: (Walks slightly closer to Christopher.) Sorry. Just testy. Yeah, there is something that’s really bothering me; something I (pauses), I want to talk to you about. How many accounts, secret, that is, would there be at Hurtil Bank?
CHRISTOPHER: I don’t know. A thousand, I guess.
ABBOTT: That’s it. That’s just it. If there are (pause)s, why would they pick the ones like me? Only someone inside the bank…
CHRISTOPHER: Ones like you?
ABBOTT: Ones with skeletons.
CHRISTOPHER: Does skeleton have a name?
ABBOTT: James Ashwood. Lord James Ashwood.
CHRISTOPHER: And Lord James doesn’t want his name in the paper.
ABBOTT: Wouldn’t be helpful to his career or (pauses) ??? to his wife.
CHRISTOPHER: (While extend his left hand and tilting it back and forth.) You and Lord James were, uh, …
ABBOTT: (Starting to speak near the end of Christopher’s last sentence.) No, it’s been over now for some time.
CHRISTOPHER: But the blackmailers think it’d still make good reading.
ABBOTT: Suppose so. (Phone rings) (The next word is spoken during the first ring.) Oh. Yeah. (Walks over to the phone.) Excuse me. (Answers phone.) Yeah. What is it? (Pauses.) Oh, Mr. Christopher. Yes. (Points at Christopher.) It’s for you. (While Christopher is walking to the phone.) It’s a Captain Frey, I think he said.
CHRISTOPHER: (Takes phone from Abbott.) Hello, how’d you find me? (Pauses.) Yes, I know, the Swiss police are very efficient, what do you want? (Pauses.) The hell would I want with a rented car?!

(Christopher drives into a parking garage where Frey, Schwand and a Hertz employee are waiting for him. He parks his car, gets out and walks toward the three men.
CHRISTOPHER: Now what in the hell is all this about a Hertz car? I don’t need a Hertz car, (Extends his right hand in the direction of his car.) I got a car, you see it?
FREY: (Extending a set of car keys to Christopher which Christopher takes early in the next sentence.) The man wore a Hertz uniform. He stated the car was ordered by you. He mentioned your room number.
HERTZ EMPLOYEE: The package, Herr Captain.
FREY: And he said that the package you wanted delivered is in the trunk. Shall we examine this package?
CHRISTOPHER: I suppose if I said I didn’t want to, you’d insist (Sarcastically smiles toward the end of the last sentence.)!
FREY: Yes, I insist. Shall we go? (The four walk across to the trunk of the rental car.) Alright. (Points to the trunk.) Here, please. (Christopher opens the trunk and Hayes is inside, dead. Camera show Frey and the Hertz employee, both of whom look disturbed. Camera then shows Christopher, who also looks disturbed.) (Close shot on Hayes' face, bloody and scratched.)

(In Christopher’s office, daylight is visible through the windows. Corinne tears paper from a printer, walks with the paper over to a couch and dials.)

(In Christopher’s hotel room, a close up of a ringing phone in shown. Christopher’s right hand groggily reaches out and grabs it after just one ring.
CHRISTOPHER: Hello.
CORINNE: It’s eleven o’clock, you’ve overslept.
CHRISTOPHER: I was up half the night with the Zürich police, who insist I’m responsible for a Bobby Hayes that was stuffed into a trunk of a rented car, which they say I rented, which I didn’t rent, now don’t further complicate my life; what is it?
CORINNE: Did you escape?
CHRISTOPHER: No, no, I, I (pause) I didn’t sign for the car; they let me go.
CORINNE: I don’t understand.
CHRISTOPHER: Never mind, get to the point.
CORINNE: (Looking at the paper.) Jack Foley said there was trouble.
CHRISTOPHER: What kind of trouble?
CORINNE: Two men, a Korsak and Sando, employees of Luigi Vasilli, left Chicago in a hurry night before last. Destination Zürich. (Christopher reaches into the drawer of the night stand next to his bed and pulls out a hand gun during this sentence.)
CHRISTOPHER: Yeah, well, they did their thing; they’re probably half way home by now. Unless they stayed on.
CORINNE: Unless what?
CHRISTOPHER: Oh, nothing, never mind, go on.
CORINNE: Well (Grabs a piece of paper and looks at it), let’s start with Rasher. Now Freddie says he’s a Czech or Bulgarian. One of those. An arms dealer specialized in selling in selling old weapons to new countries. And really ripping them off. And they swore to get him. Freddie says it’s only a matter of time.
CHRISTOPHER: Yeah, well, Freddie’s right, only his time ran out yesterday. What else you got?
CORINNE: Well, so far Hurtil and Benninger have a clean bill of health. Uh, Jack Foley said he’s mailing you a file on Hayes. I’ve sent a messenger with a dossier on Denise Abbott to your hotel. Let’s see, uh, that just leaves (pauses) Mr. Texas.

(During Corinne’s last segment, the video shows Christopher’s car driving into a restaurant at a marina. Christopher gets out of his car and walks into the restaurant, looking around carefully. He points his left index finger and pinky and speaks.)
CHRISTOPHER: Dwight McGowan? (The camera moves over to show Dwight McGowan seated.
DWIGHT MCGOWAN: David Christopher.
CHRISTOPHER: (Sits down across from McGowan.) That's right.
MCGOWAN: How about sharin’ some of this back home whiskey with me.
CHRISTOPHER: A beer is fine.
MCGOWAN: Waiter? Waiter? Bring my friend here a nice, cold beer. Well, Davey, I’ve been wonderin’ when you’re gonna get around to old Dwight. Herr Hurtil tells me you’re gonna be my knight in shining armor and keep those bastards off my back.
CHRISTOPHER: Same message to the Internal Revenue Service?
MCGOWAN: You been talking to someone about me, boy?
CHRISTOPHER: They volunteered the information.
MCGOWAN: You sure are a quiet one, Davey boy. Now don’t you worry. I got me a deal simmerin’ back in L.A. that’ll set me flyin’. Those tax claims, peanuts (strongly accenting both syllables of the word, especially the second). Old Dwight and (brief pause) his Uncle Sammy just a little disagreement over some back taxes; nothin’ serious.
CHRISTOPHER: Well, Old Dwight, I’d be a liar if I said they weren’t concered.
MCGOWAN: My old daddy used to say “Son, don’t you lose your head ‘cause your ass is sure to follow.”
CHRISTOPHER: Want to translate that for me?
MCGOWAN: Well, let me say it this way. You take care of this blackmail bull shit and I’ll take care of my Uncle Sammy, you hear?
CHRISTOPHER: How well did you know Hayes? And Rasher?
MCGOWAN: (Shakes head)
CHRISTOPHER How about Kosta, Denise Abbott?
MCGOWAN: (Lightly shakes head) No, I didn’t know ‘em. Herr Hurtil mentioned ‘em to me, but I never knew ‘em, boy.
CHRISTOPHER: Who handled your account?
MCGOWAN: Me.
CHRISTOPHER: How ‘bout your wife, she know about it?
MCGOWAN: No, little lday and I have been divorced for nine years.
CHRISTOPHER: Secretary, business manager?
MCGOWAN: Nobody. I guard those papers with my life, boy. Hey, I’m scared Davey. I don’t have much more time; I’m gettin’ on and I can’t afford any (short pause) big setbacks.
CHRISTOPHER: Well, Mac, uh, money ain’t everything.
MCGOWAN: You tryin’ to tell me somethin’, Davey?
CHRISTOPHER: Five little secret accounts came to Zürich. Hayes was killed and then there were four. Rasher was killed and then there were three. You show up and your daddy might turn out to be right.

(Jensen picks up phone in a house.)
JENSEN: Hello, Rita Jensen. (Benninger on the phone in an office.)
BENNINGER: Rita, it’s Franz.
JENSEN: Everything alright?
BENNINGER: So far, so good. I’ve set it up. I trust the ??? are following through.
JENSEN: What’s the plan.
BENNINGER: (Assuringly) Just as we discussed. Now you know what to do. Meet me tomorrow morning, just before noon at the entrance of the park. Alright? (Makes a kissing sound) Auf Wiedersehen.
JENSEN: Auf Wiedersehen. (Benninger hangs up and looks concerned.)

(Christopher enters Hurtil Bank.)
SECURITY GUARD: (To Christopher as he walks by) Guten Morgen. (Christopher sees an envelope on the floor, picks it up and looks at it.
SECURITY GUARD: (To another man who walks by) Guten Morgen.) (Christopher walks into the office area with the envelope.)

(Inside his office, Hurtil opens the envelope and looks at the paper inside. He walks away from his desk, toward the center of the office, where Andre Kosta and Christopher are shown.)
HURTIL: Herr Kosta, this is Mr. Christopher. As I told you on the telephone, we’ve retained him to protect us and you. (Reading the paper in the envelope) Now these seem to be the final instructions. “The day after tomorrow, your Mr. Christopher…” (Glances up at Christopher) They know you. (Goes back to reading the paper) “…with fifteen million francs in uncut diamonds, accompanied by the account holders, will proceed to Villasville, to the first intersection past Interlaken. There you will find a car parked next to a wooden barn with further instructions. No surveillance or all lives are forfeited.”
CHRISTOPHER: Well, it’s gonna be a hell of a crowd. Can you get the diamonds?
HURTIL: (Starts walking back to his desk and stops several times while talking until he sits down) We have a supply in the vault.
CHRISTOPHER: What about you, Mr. Kosta. Are you gonna come up with the money?
ANDRE KOSTA: Why should I pay a million francs? I did not break security. The bank did.
CHRISTOPHER: You have evidence?
KOSTA: Evidence?
CHRISTOPHER: Evidence, facts, proof.
KOSTA: How else could it have happened?
CHRISTOPHER: No evidence.
HURTIL: Actually, Mr. Christopher, Herr Benninger and I have discussed this matter. And we reached the conclusion that the bank, without admitting any irresponsibility, will pay the ransom in order to save the lives of our clients. Especially after the dreadful death of Mr. Hayes last night. I can not risk another life. (Sits down behind his desk)
CHRISTOPHER: That’s, uh, very noble of you, Herr Hurtil.
HURTIL: We realize this is a temporary solution. But the reputation of the bank is worth more than fifteen million francs.
CHRISTOPHER: And the bank will make up its losses with additional charges to its customers.
HURTIL: The percentage of loss will have very little affect on the charges of the customers.
CHRISTOPHER: No wonder they thought you might pay.
HURTIL: We’ll pay. Just this once; that’s why we hired you. We do not like the possibility of further loss along these lines.
CHRISTOPHER: I see. (Walks over to Kosta) Mr. Kosta. I’d like to talk to you. (Sits down near Kosta)
KOSTA: What are you after:
CHRISTOPHER: Well, the bank has hired me to protect its clients from blackmail, I just want to know why you’re being blackmailed.
KOSTA: Isn’t that academic now? The Hurtil Bank has agreed to follow the blackmailers’ final instructions and pay the amount. Your job now, it seems to me, is to see that these instructions are carried out. (Stands up) I must go now. (Grabs his briefcase and walks over to Hurtil while talking) Herr Hurtil, may I thank you for your gracious handling of a most difficult situation. (Kosta and Hurtil, who is now standing near the center of the room, shake hands). Auf Wiedersehen.
HURTIL: Auf Wiedersehen. (The two walk to the door, Hurtil opens it, Kosta exits, Hurtil closes the door and speaks to Christopher) Well, as you pointed out, we have no evidence. And at this moment, I have no choice.

(In daylight, Christopher drives down a street one way and Abbott the other way. Both cars have their tops down. Many other cars are parked on the sides of the street. Christopher and Abbott stop across from each other and talk.)
ABBOTT: I spoke to Mr. Hurtil. He says there’s a ransom to pay?
CHRISTOPHER: Yeah, that’s what I wanna talk to you about.
ABBOTT: (Lightly smiles) Hmmm. Follow me. (She drives off and Christopher follows, reversing to the nearest intersection, then turning around and driving forward. The two are shown driving close to each other in several places, mostly rural. At a few points, they drive side by side and smile and make friendly gestures toward each other. Eventually, they are shown driving in a snowy, mountainous area. At that point, Christopher is driving in front of Abbott. He turns a corner and a short distance in front of him, the road is blocked off by snow and a snow plow. He violently steers to the left and the front two wheels of his car go off the cliff. The car is shaking back and forth from front to back. He tries reversing it to no avail. Abbott arrives a few seconds later. Christopher turns off the ignition of his car and opens the driver side door. Abbott gets out of her car, runs over to Christopher’s car and pushes it back with both hands. He extends his left hand, which she grabs with her left hand while pushing back on the car with her right hand. He steps out of the car and she helps pulls him to safety. They hug tightly.)
ABBOTT: (Softly whispering) I’m so sorry.
CHRISTOPHER: I was stupid, God. (The two kiss passionately.)

(Christopher and Abbott are in bed together, topless. They are kiss and cuddle. After a few seconds, they lie on their fronts side by side with Abbott’s right arm around Christopher.)
ABBOTT: (Softly) David.
CHRISTOPHER: What?
ABBOTT: (Long pause) I must tell you something.
CHRISTOPHER: Mmm, you’re married and have ten children, right?
ABBOTT: (Laughs gently) No. I’m serious. (Strokes his hair)
CHRISTOPHER: ???. (Starts to kiss her but she back away)
ABBOTT: No, please. (Pauses and takes a deep breath) I want to make a confession.
CHRISTOPHER: What do I look like, a priest?
ABBOTT: (Smiles) No, no. Look like the man (pause) I just made love to. (Kisses him between some of the words)
CHRISTOPHER: Good, now that you’ve confessed, can… (He puts his left hand on the back of her neck and moves his lips toward hers but she again backs away)
ABBOTT: No, ho, please.
CHRISTOPHER: (Looking dejected, faces forward) Okay, confess, confess.
ABBOTT: My father… (pause) My father…
CHRISTOPHER: Your father was a drunk; so was mine, so what?
ABBOTT: You know about that?
CHRISTOPHER: Yeah, I know about it.
ABBOTT: You know the rest?
CHRISTOPHER: Most of it. Your mother ran away when your (short pause) father died. You were brought up in a convent, you ran away from the convent when you were seventeen. You (short pause) worked as a model, a waitress and…
ABBOTT: (Starts speaking shortly before Christopher finishes his last line.) A mistress.
CHRISTOPHER: Uh, my information is that wasn’t work; you were in love.
ABBOTT: Mmm. (Kisses his right upper arm) I told you about Jamie.
CHRISTOPHER: You told me about Jamie.
ABBOTT: I told you it was over.
CHRIRSTOPHER: You told me it was over.
ABBOTT: (Playfully pushes his head with her left hand) You don’t care.
CHRISTOPHER: (Smiles briefly) You said it was over. (The two start to kiss but she backs away again)
ABBOTT: Yeah, I did. He went back to his wife, his children and his career. (Lightly laughs and kisses his right upper arm) End of the confession.
CHRISTOPHER: (After several seconds of silence) Now it’s my turn.
ABBOTT: (After several seconds of silence) You want to confess?
CHRISTOPHER: Mmhmmm. I (pause) would like (pause) a cup of coffee.
ABBOTT: (Laughs and she and Christopher smile together and she kisses his right upper arm) Alright! (They hug and she roll on top of him)
CHRISTOPHER: Later.

(The camera shows a park in bright daylight. It moves and shows Christopher driving to a side of a street. Hurtil Bank is in the background. Christopher sits in the car and sees Benninger walk out of the bank over to a taxi where Jensen is sitting in the backseat. He hands her a portfolio.)
BENNINGER: (Whispering) ??? (Christopher remains seated in the car and watches the interaction between Benninger and Jensen.)
JENSEN: Fahren Sie bitte. (Please go ahead.) (The taxi drives away and Christopher follows. Jensen gets out of the taxi near a heavily commercial district. She walks by a restaurant with outdoor seating, over to a wall on a river. She looks at her watch and walks over to one of the outdoor restaurant tables, where she sits down. A small motor boat with a driver and a passenger arrives at a nearby dock and the passenger gets out. Christopher is shown walking away from his car. He walks to the table where Jensen is seated and sits down next to her.)
CHRISTOPHER: Hey, I’m sorry I’m late, I got held up in traffic.
JENSEN: I’m afraid you made a mistake.
CHRISTOPHER: It’s not mistake, my name is David Christopher.
JENSEN: (Mildly laughs sarcastically) I don’t know any David Christopher, sorry.
CHRISTOPHER: I am very big on secrets. Any friend of Franz Benninger’s a friend of mine.
JENSEN: And what big secret do you know about me, Mr. Christopher? (Says his last name as if she’s not sure she remembers it)
CHRISTOPHER: (Makes a stuttering sound) Call me David, I’ll call you, what do I call you?
JENSEN: For somebody who’s that big on secrets, I’m surprised you don’t know.

(Waiter arrives at table)
WAITER: Was darf ich Ihnen bringen? (What may I serve you?)
CHRISTOPHER: (To Jensen) Uh, what would you like?
JENSEN: Nothing, thank you.
CHRISTOPHER: (To waiter) Uh, nothing, ???. (To Jensen) Now, Miss uh, Miss what?
JENSEN: Jensen. My name is Rita Jensen.
CHRISTOPHER: Rita Jensen.
JENSEN: And it’s not a very big secret. And if you would excuse me, please. (During the sentence, she grabs her belongings on the table and at the end she gets up and walks away. Christopher sits there for several seconds before getting up and walking away. Then a man stares for several seconds, apparently having just watched Christopher and Jensen.

(Benninger and Jensen are sitting in a restaurant at a table next to a window that overlooks the city.)
BENNINGER: What will you have?
JENSEN: Oh, I, I don’t care; Campari Soda, anything.
BENNINGER: (To waiter off screen) A Campari Soda for Madame and a vodka for me. Ice, twist of lemon.
JENSEN: (Looks to her right, possibly to see if anyone else is listening in on their conversation) We’re in trouble, Franz.
BENNINGER: What trouble?
JENSEN: That man, David Christopher, saw us together.
BENNINGER: When?
JENSEN: In front of the bank, I suppose. He followed me.
BENNINGER: What? (Jensen opens her mouth to respond but before she says anything, the waiter speaks.)
WAITER: Would you like to order now, sir?
BENNINGER: No, thank you. Later, perhaps. (To Jensen) What did you tell him?
JENSEN: Nothing.
BENNINGER: What did he say?
JENSEN: He said “Any friend of Franz Benninger is a friend of mine.”

(Hurtil and Christopher are standing in Hurtil’s office The audio of this scene starts a few seconds before the video of the last scene ends.)
HURTIL: Franz Benninger, my own vice president? It can’t be. I simply can’t believe it.
CHRISTOPHER: (Shrugs) That’s my information. (The phone rings and Hurtil picks it up after only one ring.)
HURTIL: Yes?
WOMAN ON PHONE: Mr. Christopher, please.
HURTIL: (Holding the phone toward Christopher) For you. (Christopher walks up to Hurtil and takes the phone.)
CHRISTOPHER: Hello?
BENNINGER: (Benninger’s voice is heard softly over the phone but he is not seen in this scene.) ???.
CHRISTOPHER: I’ll wait.
BENNINGER: Franz Benninger. I would very much like to speak with you.)
CHRISTOPHER: Yes, where?
BENNINGER: At the Hauptbahnhof (main station).
CHRISTOPHER: When?
BENNINGER: ???.
CHRISTOPHER: I’ll be there. (He hangs up the phone and speaks to Hurtil.) Franz Benninger. He wants to meet me. (Christopher leaves the office while Hurtil stands silently, looking concerned.)

(Korsak is sitting in his parked rental car near the bank while Sando is standing outside the car.)
KORSAK: He’s coming out of the bank. (Christopher is shown walking away from the bank. Sando gets in Korsak’s rental car. Christopher gets in his car and drives away. Korsak and Sando follow him. While following Christopher, Korsak breaks suddenly to avoid colliding with a large delivery truck.)

(The inside of the train station is shown. Christopher walks through and is followed discreetly by Korsak and Sando. Christopher looks around for Benninger. Korsak and Sando pretend like they’re looking at books at a shop inside the train station.)
KORSAK: (His right forearm lightly nudges Sando’s left side.) Hey, come on. (The two walk very near the right side of a luggage rack on which the luggage is stacked above their heads in some places.) Korsak is shown holding a silencer in his left hand. He pulls a hand gun out of his the inner left pocket of his suit jacket with his right hand. He puts the silencer on the gun. They continue walking at about the same speed that the luggage rack is being wheeled. Korsak’s head is to the immediate right of a suitcase that is stacked above his head. Benninger and Jensen are shown walking toward the center of the train station. Korsak reaches his right hand around the suitcase that he’s hiding behind and points the gun at Christopher. He fires but Benninger walks in front of Christopher and gets shot in the back.)
JENSEN: (Screams) (Runs Christopher and Jensen both quickly grab Benninger, who appears to be struggling to remain standing. A crowd of people gather around Benninger within a few seconds and he falls to the ground a few seconds after that. Korsak and Sando run. Sando knocks a man down. They look forward, and apparently seeing something that disturbs them, they stop and start running to their right. Frey and Schwand are then shown walking with two other police officers.)
FREY: (Says something in German) (Frey points as he speaks that line. He and the other police officers all take off running after Korsak and Sando, who climb onto a moving train. Korsak gets inside. Sando holds on to an open door and fires at Frey, who ducks behind a pay phone. After Sando’s shot, Frey shoots Sando and hits him. He falls off the train and lies motionless on the floor. Frey runs fast to catch the train and does. He enters it, followed by Christopher a few seconds later. Korsak runs through the train, going from one car to the next, followed closely by Sando.) FREY: Stop, stop, stop or I’ll fire! (Korsak turns around and points the gun at Frey, who fires at Korsak and hits him. Korsak drops his gun falls to the ground. Christopher arrives just a few seconds later. Korsak lies motionless. Frey and Christopher look shaken and exhausted. The train stops a few seconds later.

(Inside the fenced in back patio of a house, Hurtil and Christopher are talking to Jensen.)
HURTIL: (Sternly) You deny that you and Benninger had no part of blackmail?
JENSEN: Blackmail?! (Lightly chuckles sarcastically) That’s ridiculous! You are talking about blackmail?! You have known Franz for over 30 years. You think he would stoop to blackmail?
CHRISTOPHER: Well, the two of you have been up to something. What is it?
JENSEN: It was my fault. Everything. My father died two months ago. He had (short pause), I would say a very good business. But lately he had trouble. Financial trouble.
HURTIL: But what does all this got to do with Herr Benninger?
JENSEN: Well, my father had his numbered account in your bank. So I made an appointment with Mr. Benninger and (short pause) he said without the proper papers, he could not hand over the account to me.
HURTIL: He was correct.
JENSEN: Well (stutters), then (short pause), I saw Mr. (short pause) Benninger (short pause) quite a lot of times and we (short pause) fell in love. And he decided to turn over the numbered account to me. And then with all these murders happening, I mean, we were afraid that if the case would not get solved, and if David Christopher could not solve it, everything would be lost, so we had to hurry. And he turned over the account to me and I, in turn (short pause), paid off the loan and the debt of my father.
HURTIL: (Somewhat angrily) And he did this without consulting me?!
JENSEN: Yes, Mr. Hurtil. Without consulting you. You see, Franz didn’t think he was doing anything wrong. The money was legally mine. I am the only heir. And believe me, Mr. Hurtil, it did pain him to go behind your back. It really did. But you see, he loved me. And he wanted to help me. And I loved him.
MAN: (Entering the room and smiling while he talks) Excuse me, but I thought you would like to know that Herr Benninger’s condition is good! He was very lucky!
JENSEN: (Looks overjoyed) Thank you! (She hugs Hurtil tightly who hugs her lightly and, it appears, reluctantly.
CHRISTOPHER: (Walking out of the room) That solves your problem. Herr Hurtil. (Hurtil follows Christopher into the hall. Christopher speaks to Hurtil) Tomorrow morning, you can drive with the diamonds. Have ‘em pick up McGowan and Kosta and meet me at my hotel and eight o’clock. I’ve got a plane to catch. (He walks away.)
HURTIL: Where are you going? What about tomorrow morning?
CHRISTOPHER: (While still walking away) I’ll be back. (Hurtil turns and walks back toward the patio.)

(A jet is shown lifting off.)

(The inside of a night club is shown. First exotic dancers are shown on stage. Then some patrons are shown dancing and others are shown sitting or standing. Finally, Frey and Schwand are shown sitting at the bar. Frey has a bottle of beer, some of which is in a glass next to the bottle.
FREY: I just had a meeting with David Christopher at the airport:
SCHWAND: At the airport?
FREY: Yes, at the airport. We have a problem, Sergeant.
SCHWAND: We do?
FREY: If we find that one of our banks is being blackmailed and a number of its clients are involved with disclosures of their secret numbered accounts, complicated by the fact that two of these clients have been (short pause), shall we say (short pause), been terminated violently (pause), major crimes have been committed. Murder and blackmail. So what should we do?
SCHWAND: Captain, we must go to the commission, immediately.
FREY: Wrong, not immediately, but very soon.
SCHWAND: I don’t understand.
FREY: If we present an unfinished equation to the commissioner, a problem without a solution, we have a, a scandal of major proportions. And that is one thing our country does not need now. A major banking scandal. David Christopher is a very clever man. He told me a very interesting story. Fascinating. I’ve given him twenty-four hours. Come, Sergeant. We have work to do.
SCHWAND: Where was he going?
FREY: Who?
SCHWAND: Christopher.
FREY: He didn’t say.
SCHWAND: But you know?
FREY: (Short pause) Yes. I know. Uncut diamonds, yes, very clever.
SCHWAND: Uncut diamonds?
FREY: High value in a small package. Easy to conceal, easy to market. Virtually untraceable. Yes, very smart, our Mr. blackmailer. (The two get up and walk away.)

(Christopher walks into a restaurant at his hotel and approaches Frey, who is sitting at a table, reading a newspaper. Christopher stand behind him and speaks.)
CHRISTOPHER: I just wanted to remind you, Captain, I’m gonna do this my way.
FREY: (Nods and responds while still reading the newspaper) You do it your way. I’ll do it my way. (Christopher nods and walks away. A few seconds later, Frey folds up his newspaper and snaps his right middle finger, at the same time motioning toward him the person who he’s calling.) Herr Ober (Waiter)!

(Christopher walks out of the hotel and approaches a limousine whose chauffeur is standing on the right of the car. The right passenger door is open.)
KRAUSE: (Upon seeing Christopher he extends the his right hand, which contains a small bag, toward Christopher.) Good morning, sir. Krause is my name. Here are the diamonds. (Christopher takes the diamonds.)
CHRISTOPHER: Alright, we’ll pick up Miss Abbott at the Bellevue.
KRAUSE: (As Christopher is getting into the car) Yes, sir. (Krause closes the door promptly when Christopher gets inside. The Krause then opens the driver’s door, gets in, closes the door and starts driving.)

(The limousine arrives at the Bellevue and parks in front of the main entrance. Abbott walks out and Krause opens the left passenger door to let her in. He closes the door promptly when she gets in, then opens the driver’s door, gets in, closes it and drives away.)

(The limousine is moving and across the backseat are seated, from the camera view’s left to right, McGowan, Kosta and Abbott. Christopher is sitting across from them, holding the bag of diamonds in his left hand.)
ABBOTT: What’s that?
CHRISTOPHER: Uncut diamonds. That’s what they want, the bank says that’s what they’ll get. (He hands the bag to Kosta, who opens it and holds the diamonds in his right hand. Abbott grabs a few.)
ABBOTT: They don’t look very pretty. (Kosta puts the diamonds back in the bag and hands the bag back to Christopher.

(The limousine is showing driving under two side by side overpasses, then through a rural area and finally up to the wooden that was mentioned in the final instructions from the blackmailer. Everyone gets out of the limousine except McGowan. Christopher, Abbott and Kosta walk up to a car that is parked near the limousine. Christopher opens the from passenger’s door, grabs some papers from inside and closes the door.)
CHRISTOPHER: (Reading from paper) “Go to Brienz where the road to Kaneb crosses the railroad tracks; a steam engine waits for you; further instructions by the engineer.” (Glances at the car and speaks to Kosta) Now you check the car. (Hands Kosta the papers. Christopher and Abbott walk back toward the limousine and Kosta examines the car. When Christopher and Abbott arrive at the limousine, the left passenger’s window is open and McGowan is holding a bottle of pills in his left hand and pouring some pills into his right hand. Christopher speaks to McGowan) Alright, McGowan, let’s go.
MCGOWAN: I’m sorry, Davey Boy, this is as far as I go; I can’t make it.
ABBOTT: But the instruction says…
CHRISTOPHER: (Interrupting Abbott) Yes, I know; it said all of us.
MCGOWAN: I’m sorry, Davey. I want no part of it. I’m a sick man. I’ve gone as far as I’m gonna.
CHRISTOPHER: (To Krause) Uh, Herr Kassa, you take a Mr. McGowan back to his hotel; He’s not feeling well.
KRAUSE: Very well, sir. (As Christopher and Abbott walk toward Kosta, Krause gets into the limousine and drives away.)
KOSTA: (Looking under the hood of the car) What happened?
CHRISTOPHER: Said he’s sick, he’s goin’ back to the hotel. (Pointing under the hood) How is it:
KOSTA: One of the cylinders is bad. Points needs adjustment, the carburetor’s dirty, besides, she’s stolen. (Closes hood)
CHRISTOPHER: Stolen?
KOSTA: No registration, no insurance, nothing. (Abbott opens the back right door. Christopher closes it for her promptly when she gets in. Kosta opens the driver’s door, gets in and closes the door. Christopher stares for a few seconds as the limousine that is driving off, then opens the front right door, gets in and closes the door.

(The limousine carrying McGowan is driving through a city and passes Frey and Schwand who are in a car together. Schwand is driving. Frey turns around and looks at the limousine as it passes.)
FREY: (Picks up car phone) Lehmann 7 an Zentrale! (Lehmann 7 to headquarters!)
WOMAN ON PHONE: Zentrale an Lehmann 7. (Headquarters to Lehmann 7.)
FREY: This is Captain Frey. We are in Brienz approaching Interlaken. We have just passed a black Mercedes 600. Going out towards Zürich. License number Zed H5OO1. Pick up and follow but do not interfere or stop. Will contact later. Ende. (Roger.) (Hangs up)
SCHWAND: I think I recognized Herr McGowan in the backseat.
FREY: Yes. So did I.

(Christopher, Abbott and Kosta arrive at the steam engine. The engineer is standing next to the engine. He speaks as the car as is slowing down and about to stop.
ENGINEER: Ja, hier ist gut, ja, hier. (Yes, here is fine, yes, here.) (The car stops. As Christopher, Abbott and Kosta begin exiting the card, the engineer speaks again.) Go right up to the front. Uh (points to his right), this way. (Christopher, Abbott and Kosta ride up a mountain on the steam engine. Kosta is seated alone, away from the aisle. Christopher is sitting immediately behind Kosta and Abbott is sitting on Christopher’s right. The steam engine stops and the engineer speaks.) Go over to the ski lift platform. (The three get out of the steam engine and follow a sign.)

(Schwand and Frey are in their car. Schwand is driving and they are in a rural area.)
WOMAN ON POLICE RADIO: Zentrale an Lehmann 7! (Headquarters to Lehmann 7!) Area surveillance has observed suspects boarding Interlaken ski train. Will continue surveillance until further notice. Ende.

(Christopher, Abbott and Kosta arrive at the ski lift platform. A nearby phone rings three times and Christopher answers it.)
CHRISTOPHER: Hello.
ENGINEER: Start the ski tow. Bring the diamonds up to the top of the ski lift. The rest stay in plain sight. There is a rifle on each one of you. (He hangs up and chuckles.)
CHRISTOPHER: (Hangs up)
ABBOTT: What did he say?
CHRISTOPHER: (Pauses) He said I’m to bring the diamonds to the top of the lift. You two are supposed to stay in plain sight.
KOSTA: May I make a suggestion?
CHRISTOPHER: Go ahead.
KOSTA: You have no value to these people; they’ll kill you without compunction.
CHRISTOPHER: What makes you think they won’t kill you?
KOSTA: I have a value. I may be a future object of blackmail. And if they were foolish enough to try (pulls out a handgun with his right hand), I’m a fairly good shot, myself. (Puts gun away not completely in camera view; possibly in the front right pocket of his suit jacket. Extends his left hand.) Allow me, Mr. Christopher. (Christopher pauses, then, with his right hand, lobs the bag of diamonds to Kosta, who catches them with his left hand.)
CHRISTOPHER: Go ahead. (Kosta gets on a ski lift cart and buckles himself in. A few seconds later, a helicopter is heard, getting progressively louder and a few more seconds later, it’s shown overhead.)
ABBOTT: (Pointing upward) Look. (Within a few seconds, the helicopter gets more distant and quiter.)
CHRISTOPHER: (Grabs Abbott’s right arm with both of his hands and pulls her over to a ski lift cart. They both get on.) Let’s go for a ride.
ABBOTT: What are you doing?! ???.

(The engineer is working on a steam engine and Frey and Schwand walk up to him. Frey, using his right hand, taps the engineer’s left shoulder. The engineer turns around. Frey reaches with his right hand into the left inner pocket of his suit jacket, pulls out his badge and shows it to the engineer. He begins speaking slightly before pulling out his badge.)
FREY: I’m Captain Frey, police. Have you seen two men and a woman, one man an American?
ENGINEER: Yes. I just took them up to the ski lift. I was given some money yesterday and told to expect them. It was a joke he wanted to play on his American tourist friends. (Chuckling) It was very funny!
FREY: (Sarcastically) Mmmhmm. A joke. (Schwand smiles sarcastically) Can you show me exactly what you did? Please?
ENGINEER: Yeah. (He starts climbing on to the steam engine and Frey follows.) I called him from the cab. (He picks up the phone with his left hand and points to is with his right hand.) Start the ski tow. (Near the end of the word “tow,” the video switches to Christopher and Abbott on the ski lift and remains there for the rest of the engineer’s lines.) Bring the diamonds up here; the rest stay in plain sight. There is a rifle on each of you.
ABBOTT: He said there was a rifle on each of us.
CHRISTOPHER: How do you know what he said? He talked to me on the phone.
ABBOTT: (After a few seconds of silence) Why are you doing this?
CHRISTOPHER: I flew to London last night; I had a little talk with Lord James.
ABBOTT: (After a few seconds of silence) Why did you do that?
CHRISTOPHER: Well, maybe I was jealous.
ABBOTT: (After a few seconds of silence) He denied I was his mistress?
CHRISTOPHER: No, he didn’t deny it. ??? left out the good part. Ever since he said goodbye, you’ve been blackmailing him; he’s tired of it; he told his wife, he told his children, he’s gonna take his chances with the newspapers.
ABBOTT: What does that have to do with this?
CHRISTOPHER: Well, once a blackmailer, always a blackmailer. (Pause) And I tried to figure out what could put four unlikely characters like McGowan, Kosta, Rasher and Hayes together and I came up with you, Honey. Beautiful woman alone in Zürich who’ll do anything for money.
ABBOTT: Even if it were true, what does it prove? (Smiles lightly)
CHRISTOPHER: Well it proves that nobody broke bank security; nobody gave away any secret numbers, there are no mysterious blackmailers blackmailing all of you; You pooled you statements and blackmailed each other; that’s what it proves.
ABBOTT: You have a lovely imagination, David. (Smiles briefly at the end of the sentence)
CHRISTOPHER: Yeah, you tell me where I went wrong, lady.
ABBOTT: If nobody takes the diamonds, then there is no crime. (Smiles briefly) Not one you can prove.
CHRISTOPHER: You count two murders, and attempt on my life as a misdemeanor?
ABBOTT: Mr. Hayes was killed by a gangster from Chicago; that what I read in the newspaper. And poor Mr. Rasher was murdered by his business associate (pause), who he was cheating.
CHRISTOPHER: I suppose you didn’t try to kill me in the car. You didn’t encourage Bobby Hayes to try to kill me in the garage.
ABBOTT: (Starting to get defensive) I’m not responsible for Bobby Hayes. And I’m not responsible for (Pause) Mr. Kosta or for the (short pause) very charming Mr. McGowan.

(Kosta is very close to arriving at the top of ski lift. He holds up the bag of diamonds in his right hand. A man’s right arm is then shot pointing a hand gun at Kosta. A shot is fired, which hits Kosta and he drops the bag on the ground. The gun man quickly walks up and grabs the bag. He face is then shown. It is McGowan. He jogs to the helicopter, which is parked on the mountain.)

(Christopher and Abbott) are close to the top of the ski lift. The see Kosta moving down on the ski lift. Abbott suddenly looks very disturbed. A close up of Kosta with a bullet hole in his forehead is shown.

(McGowan gets into the helicopter and a few seconds later, Christopher and Abbott reach the top of the ski lift. Christopher fires four shots with his hand gun at the helicopter. At least one of the shots his one of the propellers. The helicopter starts spinning around and lands a few seconds later. McGowan gets out and keeps most of his body behind the helicopter. While holding the bag of diamonds in his left hand, he reaches his right arm around the windshield and fires two shots at Christopher, who ducks. McGowan starts running up a hill. Christopher chases him. McGowan turns around and fires another shot at Christopher, then continues running up the hill. Christopher fires a shot at McGowan, hitting him in the back. He drops his gun and the bag of diamonds and falls over the cliff.)
MCGOWAN: (Screams) (Christopher runs up and looks down. He sees McGowan still falling. After a few seconds, he looks down and sees the bag of diamonds. He picks it up with his left hand and tucks his hand gun inside his belt. He starts walking downhill and is approached by Abbott.)
ABBOTT: They can be ours. Yours and mine. If you want them. The blackmailer got them. He killed McGowan and Kosta. He got away. Don’t you see?! Who loses, David? The bank? ???. The bank has no morals.
CHRISTOPHER: Yeah, neither do you, lady. (He stars to walk away but she suddenly pulls out a hand gun with her right hand and points it at Christopher.)
ABBOTT: I will have those???

(Frey and Schwand arrives at the top of the ski lift and get off of it very quickly.)

(Christopher moves the bag of diamonds from his left hand to his right hand and lobs it at Abbott. She reaches down low to catch it and he quickly pulls his hand gun out of his belt with his right hand and points it at her. Suddenly Frey and Schwand are heard in the distance.)
FREY: Check the helicopter.
SCHWAND: Yes, sir. (Schwand walks by and Frey walks up to Christopher and Abbott.)
FREY: (Smiling and speaking sarcastically) You have an affinity for dead bodies, Mr. Christopher.
CHRISTOPHER: Yeah, that’s true, Captain, but this time I’ve got an explanation. It’s a little complicated, but you’re gonna love it.
ABBOTT: (To Frey; acting shaken) So glad you came in time, Inspector. This horrible man – he’s responsible for all this. He killed two men and he was trying to kill me, too.
FREY: You are safe now, Miss Abbott. These are serious charges, Mr. Christopher. You will return to Zürich in the custody of Sergeant Schwand – while I escort Miss Abbott.
ABBOTT: (Still acting shaken) Oh, it was the most, the most (pause), the most terrible experience in my life. (The two start walking away together during that sentence.)
FREY: (Starting to speak before Abbott finishes her last sentence.) Yes, yes, it must have been very difficult for you. (He suddenly stops and turns around, smiles and speaks sarcastically) You won’t forget to bring the diamonds? Will you, Mr. Christopher? (Starts walking away with Abbott again) Now Miss Abbott, you will tell me the entire story ???. (Abbott turns around and glances at Christopher. Christopher remains standing on the mountain. The view of him moves further and further away until it changes into a postcard reading “Greetings from Switzerland.” The closing credits begin.)

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