ACT ONE
FADE IN
EXT. INDUSTRIAL COMPOUND - NIGHT
Close on a sign that reads Delton Micronics. In the quiet
of the dimly lit night, the camera pans the barb-tipped
wire fence surrounding the manufacturing headquarters of
the high-tech firm. The metallic snipping of wire cutters
is heard and we tighten on a shadowy figure dressed
commando style -- black shoes, pants, turtleneck and a ski
mask to conceal his identity. He finishes his shearing,
picks up a tightly wrapped coil of thin nylon rope, and
furtively enters the factory grounds. As he runs from the
fence....
CUT TO
EXT. MAIN BUILDING - NIGHT
A strand of rope is hurled upward. It lands on top of the
modern, two-story building and a hook catches.
ANGLE - MAN
He tugs on the rope. It holds fast and he begins climbing
up the side of the building.
ANGLE - ROOF OF MAIN BUILDING
The interloper gathers his rope, approaches a skylight and
carefully, silently starts to remove the top portion.
INT. HALLWAY - NIGHT
The nylon rope drops down from the ceiling and the figure
in black shimmies into the shot. He lands softly in the
stark corridor, gets his bearings, then pads stealthily
down the darkened hallway.
ANOTHER ANGLE
The intruder approaches a heavy green metallic door marked
Authorized Personnel Only. There is a slot next to the
door for the plastic card required to open the "sesame."
The man takes a small tool from his pocket and attempts to
slide it into the slot.
ANGLE - TV MONITOR BANK
On one of the sets we see the intruder. Pull back to
reveal a security guard, Sikes, get out of his chair and
take a hard, disbelieving look at the screen. Sikes takes
his walkie-talkie from his belt and urgently intones:
SIKES
We've got a code nine in Sector A.
Does not appear to be armed, but
let's not take any chances.
Sikes holsters the walkie-talkie and exits the monitoring
station.
ANGLE - HALLWAY
The burglar is not faring well. He can't get the door
open. Suddenly he hears footsteps coming from one end of
the hallway. He takes off down the other end and goes down
another hallway just as an ND security guard appears and
starts chasing after him.
ANGLE - THE MAN
as he returns to the site of his illicit entry. He grabs
onto the rope and gets about halfway up when he hears:
SIKES (o.s.)
Freeze!
ANGLE - SIKES
He stands with the other guard, both holding guns trained
on the intruder.
CUT TO
INT. OFFICE - NIGHT
Elegant, modern, well furnished, highlighted by the presence
of several arcade machines and television monitors with
joystick hookups which tell us that Delton Micronics is in
the video game business. There is a knock on the door and
Elliot Stevens, a hip, curly haired, electronic wunderkind
answers the door. Attired in jeans, open shirt, and corduroy
sport jacket, Stevens is the embodiment of the youthful
entrepreneurs who have led the surge in high tech growth. He
opens the door to reveal Sikes and his colleague who step
into the office, the still hooded intruder firmly in their grasp.
SIKES
He's all yours, sir.
STEVENS
Nice job, guys.
SIKES
Don't mention it. If there's anything
else we can do....
STEVENS
No. The authorities will be here
any minute. I think I can handle it
til then.
SIKES
Roger. Good night, Mr. Stevens.
As the two guards exit, the intruder removes his mask.
It is Michael Knight.
ANOTHER ANGLE
Entering the office from a wood-panelled side door is Devon.
He's all business.
DEVON
Good evening, Michael.
(beat)
I'd like you to meet the President
of the Delton Micronics...Elliot
Stevens. Michael Knight.
The two men shake hands and ad-lib "nice to meet you's."
STEVENS
(to the point)
Where did they catch you?
MICHAEL
Outside the programming room.
Devon refers to a floor plan of the building which is spread
across the desktop. The security sectors are distinguishable
by color and letter.
DEVON
Then even without Kitt's assistance
you were able to penetrate the outer
security perimeter?
MICHAEL
Only cause I'm good.
(points to
chart)
Still, once I got here I was dead
meat.
STEVENS
There was no way you could have
entered the programming room?
MICHAEL
Not without the access code.
(beat)
Whoever is stealing your software
programs is doing it from the inside.
Stevens takes a deep breath.
STEVENS
I was afraid of that.
(beat)
Sometimes I wish I still ran this
company out of my garage. I mean
I'm just not prepared to deal with
industrial espionage.
MICHAEL
Leave that to us.
DEVON
How many of your employees have
access to the programming room?
STEVENS
Myself and four others. But I
can't believe one of them would
steal our prototypes.
MICHAEL
Why not? This is a boom or bust
industry. One lucky strike and a
man becomes an instant millionaire.
DEVON
You're living proof of that, Elliot.
STEVENS
And look what it's got me? An ulcer
and a new set of corporate masters
who demand more and more profits.
All I ever wanted to do was design
video games.
DEVON
It still baffles me that these
machines generate so much revenue.
STEVENS
It's the future, Mr. Miles.
Especially in the areas we're
developing -- educational games
that will be part of every child's
basic school training by the end
of the decade...That's if we can
keep from losing the rest of our
prototype designs. If not...phht,
Delton will go right down the tubes.
Stevens gives Devon and Michael a desperate look.
EXT. COUNTRY ROAD - DAY
Michael and Devon are seen in Devon's Mercedes. They are
heading for a rendezvous with:
EXT. FOUNDATION SEMI - DAY
It is parked at a scenic roadside turn off. We hear the
sounds of a video game being played off screen.
INT. SEMI - DAY
It's the next morning and Bonnie is making a few adjustments
on Kitt's dashboard - or so it seems. On closer inspection
we see that Bonnie is really playing a video game on Kitt's
monitor. She controls the flow of the game with a remote
joystick, intently trying to roll up a high score.
OMIT
INSERT - VIDEO MONITOR
Her dot gets blown up and we hear a sound indicating the
game is over.
BACK TO SCENE
K.I.T.T.
Sorry, Bonnie. Would you care to
try again?
BONNIE
No thanks. You know how low my
resistance is. I don't want to
get hooked on Space Cadet.
K.I.T.T.
Whatever you say, Bonnie. However,
I'd like to point out that this is
a game of skill, designed not only
to challenge one's hand-eye coordination
but to stimulate strategic thinking as
well.
BONNIE
As long as you put it that way...
one more quick one.
K.I.T.T. resets the game on the video monitor, but before
Bonnie can start playing, Devon and Michael enter the semi.
DEVON
How are you coming with Kitt?
BONNIE
(red faced)
Oh, fine...
(gets out
of the car)
His data banks are overflowing with
everything you ever wanted to know
about Delton Micronics.
(beat)
Personnel files, business reports,
stockholders, leading competitors;
not to mention their entire line
of video games.
INSERT
Michael looks into the car, sees the video game on Kitt's
monitor.
MICHAEL
Which one have you been playing?
BONNIE
Space Cadet.
MICHAEL
Looks like fun. Come on, Devon,
let's see if you can beat me.
DEVON
Michael, I have no intention of
partaking in a game of Space Cadet.
MICHAEL
Why not?
DEVON
(condescending)
Because I fail to understand the
allure of such a frivolous pastime.
Michael gets into Kitt.
MICHAEL
I'll bet your mom said the same thing
when you used to run off and play
cricket.
Devon is disarmed.
DEVON
Actually, it was my Nanny.
(beat)
However, I was in elementary school
at the time.
MICHAEL
You're never too old for video games,
Devon. Try it, you'll like it.
(starts the car)
Catch you later.
EXT. FOUNDATION SEMI - DAY
The Trans-Am emerges from the semi, does a one eighty and
heads back toward town.
OMITTED
INT. TRANS-AM - DAY
Michael is driving down a scenic rural road.
MICHAEL
Kitt, how about a rundown on the
four suspects?
K.I.T.T.
Certainly, Michael.
INSERT VIDEO MONITOR
We see four male faces. Two of them more closely resemble
rock stars than electronic engineers. Another is Oriental
and the last man is a well groomed, fragile type with
glasses and a look of subtle concern.
K.I.T.T. (o.s.)
Each of the individuals possesses a
degree in computer science and is
considered a top man in the profession.
The two men pictured above have been close
friends of Elliot Stevens since college and
would seem highly unlikely to betray
him.
BACK TO SCENE
MICHAEL
What about the other two?
K.I.T.T.
Unfortunately, the personal data I've
compiled sheds no light whatsoever on
their potential for criminal behavior.
MICHAEL
In other words, you're stumped.
K.I.T.T.
Perhaps if I did some cross referencing....
MICHAEL
Kitt, isn't there one bit of informa-
tion in the files that seems out of
the ordinary?
K.I.T.T.
I'm not sure if this fits into that
category, but one of the suspects
maintains two local addresses.
MICHAEL
Who's that?
K.I.T.T.
Julian Groves.
INSERT VIDEO MONITOR
A single close up of Julian Groves flashes on the screen.
DIRECT CUT TO:
CLOSE SHOT OF JULIAN GROVES
Pull back to reveal that he is coming out of an old residence
hotel along the ocean front walk. Pushing thirty years of age,
Julian has the harried look of a man who has begun to lose
control of his life. As he steps into the bright sunlight
he squints, trying to get a look at who's outside the hotel.
ANGLE - OCEAN FRONT WALK
We see the familiar beach denizens. An assortment of musclemen,
old people, bike riders, girls in bikinis and tourists. Among
this crowd is a woman in her late twenties. Attractive, dressed
in Khakis, polo shirt and running shoes, she is pretending to
be an out-of-towner.
CLOSE ON FLANNERY ROE
She has a camera dangling from her neck and she is apparently
taking a picture of two outlandishly dressed roller skaters
who can't stand still, hopping and bopping to the music
silently emanating from their walkman radios.
SKATER #1
Come on lady, we don't got all day.
Flannery notices Groves coming out of the hotel and hurries
to line up her shot.
FLANNERY
Just hang on a second. I can't
seem to get the focus right....
ANGLE THROUGH CAMERA
We see Groves fill the frame. She clicks the camera, taking
his picture as he comes out of hotel.
FLANNERY (v.o.)
Okay, let me see some of your moves.
ANGLE - THE SKATERS
They do a little roller boogey.
FLANNERY
Far out. Get down.
She takes a couple more shots of Groves.
ANGLE - GROVES
He sees the woman taking the pictures and reacts with suspicion,
then quickly moves on.
WIDER ANGLE
Flannery sees him go and stops taking pictures.
SKATER #1
You done?
FLANNERY
Huh? Oh, yeah, thanks a lot fellas.
If you want I can send you copies
when I get back to Des Moines.
SKATER #1
Don't they roller skate back there?
FLANNERY
No, we're still into hula hoops.
As they skate off shaking their heads at the crazy tourist
lady, Flannery goes into the hotel that Groves came out of.
INT. HOTEL HALLWAY - DAY
Flannery takes the las few steps up the stairwell and creeps
cautiously down the hall. She reaches room 206, removes a
lock pick set from her purse, opens the door, makes sure no
one's looking and enters:
INT. JULIAN'S HOTEL ROOM - DAY
By no means the Ritz. We see Julian's tools of the trade.
A word processor and appropriate software. The room is
sparsely furnished in ramshackle modern. There are dirty
clothes strewn across the bed and junk food containers
heaped on the dinette set. Flannery pokes around, checking
the closets and drawers. At one point she picks up a white
shirt and holds it up to her. Concluding that it's Julian's
she puts it down. She then takes a small device from her
coat pocket. We see that it is a bugging device. She plants
it inside the telephone receiver.
EXT. TRANS-AM - DAY
Michael and Kitt are tooling down a different city street,
decreasing speed as they approach a tennis club.
INT. TRANS-AM - DAY
MICHAEL
You're sure this is the place?
K.I.T.T.
According to my data Julian has a
court reserved for this time every
Wednesday morning.
They pull into the parking lot of the Match Point Tennis Club.
It's a classy athletic facility with a handful of shapely
members entering with tennis gear.
MICHAEL
(sees ladies)
We've got to start somewhere.
Might as well be here.
Michael pulls into a parking space.
K.I.T.T.
Michael, before you go in, it might
help if you familiarize me with your
strategy.
MICHAEL
My strategy is to take a thread of
evidence and see if I can weave a
case out of it.
He puts Kitt in surveillance mode.
MICHAEL
In the meantime...stay tuned to this
station.
EXT. TENNIS COURT - DAY
A game is in progress. Julian versus a veritable goddess.
Tall, blond, with high cheek bones and legs that stretch from
the baseline to the net, the lady knows her tennis. She gives
Julian a workout, skillfully spraying her shots all over the
court.
INT. TENNIS CLUB - DAY
Separated from the courts by a glass partition, the club's
restaurant and bar area provides a casual setting to eat, drink
and watch the play on the nearby courts. Michael is at the bar.
He's got his eye on Julian and his curvaceous opponent.
ANGLE BAR
A bartender approaches Michael and flips a cocktail napkin on
the counter. A strong, virile guy in his late twenties, he
wears a name tag that reads ARMAND.
MICHAEL
Is that fresh orange juice?
ARMAND
Squeezed it myself.
MICHAEL
How 'bout a double?
ARMAND
Coming right up.
Armand starts squeezing his oranges as Michael directs his
attention back to the tennis match.
MICHAEL
She's really putting on a show
out there.
ARMAND
What'd you say?
MICHAEL
I was just watching that blond.
She can really handle the old
racquet.
ARMAND
That's Connie Chasen. She's one of
our instructors.
MICHAEL
No kidding? I wouldn't mind having
her give me a few pointers.
As Armand sets a glass of orange juice on the bar Michael
notices a woman at a nearby table who also seems very interested
in Connie and Julian. It's Flannery, in tinted shades. This
time she has a miniature camera and is discreetly photographing
the couple.
ANGLE COURT
Connie strokes a passing shot by a vanquished Julian and trots
gracefully toward the net.
CONNIE
Julian, I hate to say this, but
your tennis game is falling apart.
JULIAN
It's not just my tennis game, it's
my entire life.
CONNIE
Want to talk about it?
JULIAN
No.
They walk from center court to a nearby bench where each has
a gym bag. They gather their things and walk toward the
clubhouse. Julian is very fidgety.
CONNIE
Julian, I can't help you if you
won't tell me what's wrong.
JULIAN
Okay, I'll tell you what's wrong.
This whole business of me stealing
for you. That's what's wrong. It's
driving me crazy. Look at me, I'm
a basket case.
Julian makes his point by jerking up his racket and hitting
himself on the side of the head.
JULIAN
See what I mean.
Connie rubs his head sympathetically.
CONNIE
What do you want, more money?
I'll see what I can do.
JULIAN
You haven't heard a word I've said.
It's not a question of money. You
can have all the money back, I just
want out.
CONNIE
It's not that easy, Julian. The fact
is that you're an industrial spy, and
since that fact can easily be brought
to the attention of the police....
JULIAN
You wouldn't.
CONNIE
I wouldn't want to, Julian. All
I want is the last software program
you promised me.
JULIAN
Connie, you don't understand. I'm
being followed by a strange woman.
She's been taking pictures of me.
CONNIE
Julian, you're letting the pressure
get to you. No one's after you.
You've got nothing to worry about.
JULIAN
How can you say that?
As they reach the entrance to the clubhouse, Connie stops
and puts her arms on Julian's shoulders. She stares deeply
into his eyes.
CONNIE
Because I'm looking after you, Julian.
Now, don't you trust me?
(silence)
One more time, and you're free and
clear.
JULIAN
Haven't I done enough already?
CONNIE
After tomorrow you'll have done enough.
Now come on. I'll buy you a celery
tonic.
She puts her arm around him and walks up the steps to the
clubhouse.
OMITTED
ANGLE FLANNERY
She snaps one last picture and stashes the camera inside her
purse. She hastily picks up a menu as Michael enters the shot,
pulling up a seat at her table. He catches Flannery off guard.
MICHAEL
Is this seat taken?
FLANNERY
Oh! You startled me.
MICHAEL
Sorry.
(indicates court)
You play?
FLANNERY
What? Tennis? No. But I'm
thinking about taking lessons.
MICHAEL
Oh, really? That's one of the
instructors over there. Maybe
you should talk to her.
He points to Julian and Connie who are at the bar.
ANGLE BAR
Julian notices Flannery and reacts with fear.
JULIAN
There she is!
CONNIE
There who is?
JULIAN
The girl who's been tailing me.
I've got to get out of here.
CONNIE
Julian, will you....
She can't stop him. Julian hurries toward the exit leaving
Connie alone as Armand arrives with two drinks.
BACK TO MICHAEL AND FLANNERY
He sees Julian leaving. So does Flannery.
MICHAEL
Will you excuse me?
As Michael leaves we see Flannery watch him curiously. As
he exits the bar she gets up too.
ANGLE BAR
Connie watches her leave, trying to figure out what's going
on. Armand is with her, equally inquisitive. As Connie
turns to the bartender....
CUT TO:
EXT. TENNIS CLUB - DAY
Michael is getting into the Trans-Am.
K.I.T.T.
Michael, Julian just left. He
seemed to be in quite a hurry.
MICHAEL
I know.
Michael pulls out of the lot just as Flannery emerges from
the tennis club. As she sees him drive off....
CUT TO:
EXT. TRANS-AM - DAY
Michael and Kitt are cruising down a city street.
INT. TRANS-AM - DAY
K.I.T.T.
What did you learn about Julian?
MICHAEL
Two things. He's a lousy tennis
player.
(beat)
And we're not the only one's
interested in him.
K.I.T.T.
Michael, would the other interested
party happen to be driving a convertible?
Michael checks his rear view mirror.
ANGLE THROUGH MIRROR
Flannery is following them in a Mustang convertible.
BACK TO SCENE
MICHAEL
Good guess, Kitt.
K.I.T.T.
She's been following us since we
left the tennis club.
(beat)
Michael why are we slowing down?
MICHAEL
I don't want her to lose us...
Not yet anyway.
K.I.T.T.
What about Julian?
MICHAEL
Keep him on the tracking scope. We'll get
back to him later. First I want to have a
word with our curious lady friend.
WIDE ANGLE
The Mustang pulls up close to the Trans-Am. Michael makes
certain Flannery sees him and knows he knows she's tailing him.
Then suddenly Michael accelerates. The Trans-Am shoots forward.
Flannery floors the Mustang in an attempt to keep up.
OMITTED
EXT. RESIDENTIAL STREETS - THE CHASE - VARIOUS ANGLES
Michael lets Flannery stay close behind as he twists and turns
through a web of residential streets. Then suddenly Flannery
loses sight of the Trans-Am. As she searches futilely for a
glimpse of the black car....
INTERCUT WITH:
EXT. TRANS-AM - DAY
Michael makes a few judicious cuts through alleys and streets,
avoiding assorted obstacles in his path.
ANGLE - POLICE CAR
A cop, Officer Kirby, sees the Trans-Am fly past him. He
fires up his motor.
NEW ANGLE
Michael takes a corner on two wheels and winds up on Flannery's
tail on an isolated street. He cuts her off and she jerks the
Mustang to a halt. Michael hops out of Kitt and approaches
the Mustang.
MICHAEL
All right, lady. Out.
Flannery opens the door and sheepishly gets out of the car,
shielding her hand behind the door. When she exposes her hand
it grips a stainless steel automatic pistol trained on Michael.
FLANNERY
Let's keep it right there, Mister.
And get your hands up.
Michael doesn't know how to respond as he looks at Flannery, obviously
inexperienced with a weapon, but trying to act tough.
MICHAEL
Who are you?
FLANNERY
I have a gun, right. That means
I get to ask the questions.
MICHAEL
Oh, is that the way it works?
Flannery nods and Michael suddenly reaches for the gun,
knocking it from her hand.
FLANNERY
Hey, you can't do that.
Michael picks up the gun.
MICHAEL
Never point a gun unless you intend
to use it.
He puts the gun in his pocket, grabs her by the arm and leads
her toward Kitt.
MICHAEL
It's time you and I had a serious
discussion.
ANGLE POLICE CAR
It arrives on the scene and Kirby, a tough, sinewy cop in
reflector shades, gets out of the car. Flannery immediately
launches into a dramatic rescue routine.
FLANNERY
Officer! Thank god, you're here.
You just saved my life.
She breaks away from Michael.
FLANNERY
This man pulled me over, dragged
me from my car, and was about to
assault me.
MICHAEL
Assault you?
FLANNERY
Be careful, officer. He's dangerous.
KIRBY
Okay, pal, turn around and put your
hands on the car.
Kirby begins to frisk Michael. He reaches the pocket and
removes Flannery's gun.
FLANNERY
Omigod, he had a gun!
MICHAEL
Officer. That's not mine.
Kirby roughly pins Michael against the Trans-Am and draws
his own gun.
KIRBY
Shut up! Now get your hands up
and keep looking straight ahead.
As Kirby goes for his handcuffs, Flannery can't keep from
smiling.
FLANNERY
Who says there's never a cop around
when you need one?
On Michael's look of frustration and contempt....
OMITTED
FREEZE FRAME
END OF ACT ONE
ACT TWO
FADE IN
EXT. POLICE STATION - DAY
Open with a close shot of a sign that reads Police, then pan
to see the Trans Am pull out of the parking lot.
INT. TRANS AM - DAY
A plainly frustrated Michael is behind the wheel.
K.I.T.T.
Michael, Devon's calling.
MICHAEL
I was afraid of that. Put him through.
INTERCUT WITH
INT. DEVON'S OFFICE - DAY
He's communicating with Michael over the phone.
DEVON
Michael, where in the blazes have
you been?
MICHAEL
The police station.
DEVON
Am I to infer that you've already
wrapped the case?
MICHAEL
No.
DEVON
Then what were you doing at the
police station?
MICHAEL
Let's just say there was a misunder-
standing.
DEVON
A misunderstanding? Why didn't you
call for help?
MICHAEL
Because they didn't press charges.
DEVON
Michael, I think a more detailed
explanation is in order.
MICHAEL
Look, Devon, everything's under control.
I'll get back to you after I take care
of a little unfinished business.
ON DEVON
as he hangs up the phone, perplexed.
INT. TRANS-AM - DAY
MICHAEL
Kitt, did you run a check on the
convertible's license plates?
K.I.T.T.
Yes, Michael. The car is registered
under the name of Flannery Roe.
MICHAEL
Address?
K.I.T.T.
2818 Euclid Ave. I take it that's
our immediate destination.
MICHAEL
You got that right.
As the Trans-Am accelerates down the street.
CUT TO
EXT. OFFICE BUILDING - DAY - ESTABLISHING
We're in a funky part of town. The building is old, but stylish.
INT. HALLWAY - DAY
Close on a door that reads Flannery Roe, Private Investigator.
Pull back to see Michael reading the print. His face registers
surprise at the fact that the lady is a private eye. He opens
the door angrily and storms into:
INT. OUTER OFFICE - DAY
It's totally still. A secretary's desk is in one corner, but
there's no secretary, nor does it appear that one has been
around for awhile. The agency has not been prospering.
MICHAEL
Flannery!
No answer. He walks toward the door of a private office. It
is slightly ajar. Michael opens it and steps inside.
INT. FLANNERY'S OFFICE - DAY
The room is in disarray. Desk drawers lie overturned on the
floor. The files have been rifled through. Michael notices
a folder on the desk marked Groves. He opens it and finds a
check payable to Flannery Roe signed by Linda Groves. He also
discovers several pictures of Julian and Connie. As he flips
through the photos a hand holding a pistol appears from behind
the open door and Michael is conked on the head. Armand, the
bartender, steps out from his hiding place as Michael crumples
to the floor. Armand takes the file, steps over Michael and
exits.
INT. JULIAN'S ROOM - DAY
Julian is eating a meager lunch, looking very lonely and
scared. The phone rings, startling Julian. He picks it
up with a shaky hand and speaks with a tremulous tone to
his voice.
JULIAN
Hello.
INTERCUT WITH
INT. TENNIS CLUB - DAY
Connie is speaking softly into a pay phone.
CONNIE
Hello, Julian. I just called to
say I'm free tonight.
EXT. JULIAN'S HOTEL - ANGLE BEACH - DAY
We see a woman listening to what appears to be a ghetto blaster
lying on the beach. Tighten to see that it is Flannery. Her
previously planted listening device is picking up the phone
conversation from Julian's room and she listens intently.
BACK TO TELEPHONE CONVERSATION
JULIAN
Tonight? Isn't that a little pre-
mature.
CONNIE
I really want to see you, Julian.
JULIAN
Can't you give me till the end of
the week?
CONNIE
No, something's happened. It has to be
tonight.
JULIAN
Connie, I don't think this is such
a good idea. I mean what about that
girl....
CONNIE
Julian, will you stop worrying so
much. Now what time will you be
through with work?
JULIAN
About eight. But Connie....
CONNIE
(cutting him
off)
Perfect. I'll meet you at your
hotel at eight thirty.
JULIAN
Wait a minute, you can't just hang
out in the lobby.
CONNIE
Don't worry. I took the precaution
of having your key duplicated. I'll
be waiting in your room.
(beat)
Don't disappoint me, Julian.
She hangs up the phone. Julian stays on for a beat,
looking very worried.
EXT. JULIAN'S HOTEL - DAY - ANGLE - BEACH
Flannery removes her headset, turns off the recorder that had
been taping the conversation, and walks away from the hotel,
a victorious smile on her face.
INT. FLANNERY'S OFFICE - DAY
Michael comes to. He gets up slowly, rubs his head, establishes
a sense of place. Remembering the file, he looks for it on the
table. It's gone. Michael beeps his watch.
MICHAEL
(into comlink)
Kitt, you still there?
K.I.T.T. (v.o.)
(through
comlink)
Michael, what happened? Are you
all right?
MICHAEL
No. Call Devon and tell him I need
background on Connie Chasen. She's
an instructor at the tennis club.
K.I.T.T.
I'll relay the message at once.
Michael is distracted by the sound of the door opening.
ANGLE INTO OUTER OFFICE
Flannery enters, is immediately suspicious when she sees her
office door open and papers strewn about the floor. She goes
into her office.
INT. FLANNERY'S OFFICE - DAY
When she sees Michael in the disheveled room Flannery's face
reddens with anger, but she tries to remain cool.
FLANNERY
Mr. Knight. I had a feeling our
paths would cross again.
MICHAEL
(grim)
Hello, Flannery.
FLANNERY
Don't let me interrupt you. Go right
ahead and trash the rest of the place.
MICHAEL
In case you forgot, it was like
this when you knocked me out.
FLANNERY
When I knocked you out? What are
you talking about?
MICHAEL
Don't play dumb with me. I've already
got half a mind to take you over my
knee and spank you.
FLANNERY
Look, if you came here to act out
some weird fantasy, you've got the
wrong girl.
MICHAEL
I came here to find out what your
connection is to Julian Groves.
FLANNERY
Why are you so interested in Julian?
MICHAEL
Just answer the question.
FLANNERY
No.
MICHAEL
Look. I know you were hired to
tail Julian. I want to know why.
FLANNERY
That's privileged information, Mr. Knight.
If I told you I'd be violating the
confidential relationship with my client.
Michael is ready to explode.
MICHAEL
All right, Flannery. I'm going to
give you a little piece of advice:
Lay off Julian Groves.
FLANNERY
That sounded more like an order.
MICHAEL
Take it however you like. Just stay
out of my way.
FLANNERY
If you want me to stay out of
your way, stay out of my office.
MICHAEL
You're in way over your head,
Flannery. If you don't watch out,
you're gonna go under.
With that, Michael walks out of Flannery's office, slamming
the door as he exits.
Flannery picks up her telephone, dials a number.
INTERCUT WITH
OMIT
INT. JULIAN'S HOUSE - DAY
The ringing phone is picked up by Julian's timorous wife,
Linda.
LINDA
Hello.
FLANNERY
Linda, it's Flannery Roe.
LINDA
Flannery, how's it going?
FLANNERY
Well, there've been a few minor
setbacks...but I think tonight
should be the clincher.
LINDA
What do you mean?
FLANNERY
They're getting together at Julian's
hotel room.
LINDA
(shaken)
I see.
FLANNERY
I know this isn't easy for you,
but in the long run you'll be glad
you hired me. Now I'll call you first
thing in the morning and we'll set a time
to get together and examine the evidence.
LINDA
Whatever you say. Goodbye, Flannery.
FLANNERY
Goodbye.
EXT. FOUNDATION - DAY - ESTABLISHING - STOCK
DEVON (v.o.)
Your friend Miss Chasen has a very,
shall we say, colorful background.
INT. DEVON'S OFFICE - DAY
DEVON
Not only is she a gifted athlete,
she was formerly one of the top
fashion models in New York.
BONNIE
Where, according to the society
pages, she was romantically involved
with some of the wealthiest businessmen
on the East Coast.
MICHAEL
What's she been doing out here?
DEVON
Keeping a slightly lower profile.
Aside from her job at the tennis
club, she's had bit parts in several
minor films.
MICHAEL
So we're talking about a very
sophisticated, very ambitious and
very attractive lady.
BONNIE
I'd say so.
MICHAEL
Then what's she doing with a wallflower
like Julian Groves?
DEVON
What are you driving at, Michael?
MICHAEL
Look, Julian's wife hires a private
detective to watch her husband. Most
likely because she suspects he's seeing
another woman. The private detective
has a file full of pictures of Julian
and Connie--now officially missing in
action. But from what you just told
me about Connie, there's no way they
could be having an affair. So why
else would they be getting together?
DEVON
So he could sell her the purloined
software programs.
MICHAEL
Bingo.
(beat)
Julian is vulnerable. Connie Chasen
is a master manipulator. It's the
perfect match.
DEVON
Michael, that's a very tenuous theory.
BONNIE
And even if it does manage to hold
water, we still don't know who
put Connie in touch with Julian.
MICHAEL
I know. But as soon as Connie gets
the next delivery, she'll lead us
right to him.
EXT. DELTON MICRONICS - NIGHT - ESTABLISHING
We hear the sound of laughter and conversation emanating
from the main building.
INT. JULIAN'S OFFICE - NIGHT
He enters from a door, behind which we see and hear portions of
a small, but lively office party. Julian closes the door,
eliminating the noise. He's shaking like the lead singer in
a rhumba band. He checks his watch. It's already eight-
thirty. He picks up the phone and push buttons a number.
INTERCUT WITH
INT. JULIAN'S HOTEL ROOM - NIGHT
The phone rings. Connie enters the shot to answer it. Pull
back to reveal a briefcase on one of the chairs.
CONNIE
Julian, where the hell are you?
JULIAN
How did you know it was me?
CONNIE
(caustic)
I'm psychic.
(silence)
Julian, did you get what I asked for?
JULIAN
Yeah, I got it. But I don't know
if I can get it out.
CONNIE
What do you mean?
JULIAN
There's a party for one of the
secretaries. There are a million
around.
CONNIE
Julian, listen to me. Relax.
Count to ten. Take deep breaths.
You're going to be fine.
Julian starts breathing deeply.
CONNIE
Isn't that better?
JULIAN
I can't tell. I think so.
CONNIE
Good. Now just walk out like
everything's normal. No one will
even notice you.
JULIAN
Okay...I'll see you in fifteen
minutes.
EXT. DELTON MICRONICS - NIGHT
Julian comes out of the main building, into the lot,
walking in quick short bursts toward his car.
INT. TRANS-AM - NIGHT
Michael is staking out the premises, sees Julian.
MICHAEL
Okay, Kitt, give it your best shot.
INSERT - K.I.T.T.'S SCANNER
It wigwags across the grill, zapping Julian's briefcase
with a barrage of X-rays.
INSERT - VIDEO MONITOR
We see the outline of reams of computer paper.
INT. TRANS-AM - NIGHT
MICHAEL
Looks like Julian's had his
hand in the cookie jar again.
K.I.T.T.
Shall we apprehend him?
MICHAEL
Not now. Julian's only half the
equation. The plan is to follow
what's inside the briefcase.
(beat)
Lock him in on the tracking scope.
ANGLE - JULIAN'S CAR - MICHAEL'S P.O.V.
Julian is sitting in his car, staring straight ahead.
INT. TRANS-AM - NIGHT
MICHAEL
Kitt, what's he doing?
K.I.T.T.
As far as I can tell, he's...
hyperventilating.
ANGLE - JULIAN'S CAR
He calms down, starts the car and drives away.
INSERT - TRACKING SCOPE
We see the dot that represents Julian move away from the
center of the scope.
DISSOLVE TO
EXT. JULIAN'S HOTEL - NIGHT
Julian's car pulls up. He parks, gets out of the car and
enters the hotel carrying the briefcase.
ANGLE - FLANNERY'S CAR
She observes Julian's arrival. Starts to assemble her
flash cube attachment. She gets it ready, waits a beat,
then opens the door and enters the hotel.
EXT. JULIAN'S HOTEL - NIGHT
Michael pulls up in Kitt.
INT. JULIAN'S HOTEL ROOM - NIGHT
The wind is blowing through the open window, ruffling
the drapes. Suddenly, the door bursts open and there's
Flannery. She points her camera at the bed and starts
flashing away. After the third flash she stops.
INT. HALLWAY
Michael hears Flannery scream and runs toward Julian's room.
INT. JULIAN'S HOTEL ROOM - MICHAEL'S P.O.V.
Connie lies lifelessly across the bed, a smattering of
blood on her chest. Julian is nowhere to be found. And
the briefcase has vanished.
ANGLE - MICHAEL
He stands in the doorway, eyeing the corpse. Flannery
turns and instinctively buries her head in Michael's chest.
On Michael's reaction.
FREEZE FRAME
END OF ACT TWO
ACT THREE
FADE IN:
INT. RESTAURANT - NIGHT
There is not much action in the eatery. Michael and
Flannery sit in one of the few occupied booths. She
is clearly downcast, her face is white and her eyes
have a glassy emptiness. Michael watches her sympa-
thetically as she sips a cup of tea. He is drinking
coffee.
MICHAEL
Maybe you should have something
to eat.
FLANNERY
No thanks. Tea is about all my
stomach and handle right now.
MICHAEL
You got a pretty strong dose of
reality tonight. It takes a
while to shake it off.
FLANNERY
It was my first murder, that's
all. They say once you get one
under your belt, it hardens you.
MICHAEL
Sometimes. Not always.
FLANNERY
Look, Michael, you don't have to
stay here and hold my hand. I'll
pull through.
MICHAEL
Flannery, did it ever occur to you
that maybe you're not cut out for
this line of work?
FLANNERY
(bristling)
No! Why would you even ask me
that? Because I'm a woman? Because
without the support of a big strong
man I'd fall to pieces?
MICHAEL
That's not what I meant.
Flannery comes out of her funk. She's getting combative
again.
FLANNERY
Oh, sure. Look, this whole thing is
Julian's fault, not mine. If he hadn't
started cheating on his poor wife, none
of this would have happened.
MICHAEL
They weren't having an affair,
Flannery.
FLANNERY
That's your opinion. I happen to
believe otherwise. Julian is a devious
little worm. I wouldn't put anything
past him. Including murder.
MICHAEL
Is that what you're going to tell
his wife?
FLANNERY
She hired me to learn the truth.
Sometimes the truth is painful.
MICHAEL
And sometimes the truth is not what
it seems.
Michael picks up the check and rises from his seat.
MICHAEL
Can I give you a ride home?
FLANNERY
No thank you. Despite what you may
think I'm perfectly capable of taking
care of myself.
MICHAEL
I hope you're right, Flannery, I
really do.
Michael walks away.
EXT. FOUNDATION GROUNDS - DAY - ESTABLISHING - STOCK
INT. DEVON'S OFFICE - DAY - CLOSE ON HEADLINE
of the morning paper that blares: Tennis Pro Murdered.
A picture of Connie takes up two columns below. Pull
back to reveal Michael and Devon.
DEVON
Julian is wanted for questioning by
the police.
MICHAEL
(decisive)
I'm telling you, Devon, he didn't
do it.
DEVON
Your gut feeling notwithstanding, he's
their number one suspect.
Devon puts down the paper.
MICHAEL
He may be a thief, but there's no
way Julian Groves is a murderer.
DEVON
Unfortunately, he's not around to
proclaim his innocence.
MICHAEL
What do you expect? Put yourself in
Julian's shoes for a second. He goes
to his room to meet Connie, he finds
her dead. Wouldn't you think that
whoever killed her might have the same
thing in mind for you, too? Especially
if you're still holding a million
dollars worth of briefcase.
DEVON
Michael, that's nothing but pure
speculation.
MICHAEL
What's Julian's motivation? What
would he gain by killing her?...
Michael is interrupted by the arrival of Elliot Stevens
who enters the office in a state of defeat. He carries
a newspaper.
STEVENS
Well, guys, looks like the ball
game's over.
(beat)
We lost the program source code
for our hottest new game last night.
DEVON
I'm sorry.
STEVENS
Hey, you did the best you could.
Actually, I'm as much to blame as
anyone. I always had a sneaking
suspicion that it was Julian.
MICHAEL
Why didn't you tell us before?
STEVENS
I didn't want to prejudice your
investigation. It's not like I
had any real proof.
(beat)
Anyway, since the police are involved
now, and we know the identity of our
spy...your services will no longer
be required. But I appreciate your
effort, really.
MICHAEL
Elliot, just one question: who do
you think Julian was selling the
program to?
STEVENS
I couldn't even guess. There are so
many new companies...that question
won't be answered until the game
appears on the market.
(beat)
Well, I've got to start working on
some excuses for the board of directors.
See you around.
Stevens leaves. Devon and Michael look at each other,
uncertain what to make of this latest development. After
a beat of uneasy silence, Michael heads for the door.
DEVON
Where are you going?
MICHAEL
Just because you get laid off
doesn't mean you have to hang
around the house.
(beat)
I've got too many questions,
Devon. I'm going after the
answers.
INT. TENNIS CLUB - DAY
Michael approaches the bar, sits down at a stool, facing
Armand.
MICHAEL
How you doing?
Armand gives him a look, acknowledging the greeting, but
offering none.
MICHAEL
Hey, I'm sorry about your
instructor. I read about that
in the paper this morning. Hell
of a way to go.
ARMAND
You were orange juice, right?
MICHAEL
Good memory.
Armand pours Michael a glass of juice, ignoring Michael's
initial comments about Connie.
MICHAEL
Did you know her well?
ARMAND
What do you mean?
MICHAEL
I mean, from what I read between
the lines, she liked the fast
lane.
ARMAND
(hostile)
Hey, who cares, huh? The lady's
dead. No sense dragging her name
through the mud.
MICHAEL
Hey, I didn't mean to offend you.
The bartender turns his back and walks away.
ANOTHER ANGLE
Michael spots Flannery talking to a man in a tennis outfit.
She's taking notes on a pad. MOS they finish their con-
versation and the man enters the locker room. Flannery
turns around and sees Michael staring at her. She starts
to walk away. Michael catches up to her.
MICHAEL
What are you doing here?
FLANNERY
That's none of your business.
Michael takes her arm and leads her outside.
ANGLE THROUGH GLASS PARTITION
MICHAEL
I thought you learned something
about yourself last night.
FLANNERY
What I learned was that when you
find yourself in the middle of a
hot case, you don't back off.
MICHAEL
Flannery, one person is already
dead. Do you want to be the
next?
FLANNERY
Don't try to scare me, Michael.
MICHAEL
All I'm trying to do is prevent
you from getting into unnecessary
danger.
FLANNERY
Danger is my business.
MICHAEL
(irritated)
Will you stop playing private eye
and listen to me. Despite all your
snooping around you have no idea
what's going on...Julian and Connie
had a business relationship. She was
his middleman, not his mistress.
FLANNERY
Why do you insist on protecting
Julian?
MICHAEL
At this point because his life may
be at stake.
FLANNERY
You're crazy.
MICHAEL
Okay. I'm crazy.
(beat, hard)
Now do you have any idea where
he might be hiding?
FLANNERY
(stands up to him)
Even if I did, I wouldn't tell
you.
MICHAEL
(angry)
So long, Flannery.
Michael turns, walks back into the restaurant and toward the
exit.
ANOTHER ANGLE
Armand the bartender has been watching Michael and Flannery.
As Michael walks out, Armand slices an orange vengefully and
squeezes the hell out of it.
EXT. RESIDENTIAL STREET - DAY
Michael pulls up and parks in front of a modest, but
attractive suburban home. He sees a woman working in a
garden toward the back of the house. In her late twenties,
Linda Groves is a shy, self-effacing and, at the moment,
emotionally confused young woman. We see a plastic bucket
at the end of the garden as Michael enters the shot with his
long strides. He approaches her softly.
MICHAEL
Mrs. Groves...
(she turns)
My name's Michael Knight.
LINDA
I've already told the police
everything I know.
MICHAEL
I'm not with the police department.
LINDA
One of the papers?
MICHAEL
I'm a friend.
LINDA
If you're a friend you'll leave
me alone.
MICHAEL
Mrs. Groves, it's very important that
I find your husband.
LINDA
I wish I could help you, Mr. Knight,
but I haven't spoken to Julian in
weeks. He could be in...Afghanistan
for all I know...or care.
MICHAEL
That's not true.
LINDA
That he's in Afghanistan?
MICHAEL
That you don't care.
LINDA
(deep breath)
Okay, I care. I know Julian's
in a lot of trouble, but honest to
God, I don't know where he is.
(beat, emotional)
All I know is that Julian couldn't
have killed that girl. He might
have been fooling around with her,
but he didn't kill her.
MICHAEL
He wasn't fooling around with her,
either.
LINDA
How do you know?
MICHAEL
Your husband has been stealing
software programs from Delton Micronics.
Connie Chasen was taking them off his
hands. Julian's a thief, not an
adulterer.
Linda's face perks up a little at the news of Julian's
fidelity.
LINDA
So that's why he started acting so
weird.
MICHAEL
How weird?
LINDA
Well, it used to be that Julian
spent all his free time on his
computer. All he cared about was
his work. He never showed any
interest in sports at all. Then one
day he decides he wants to play tennis.
Next it's fishing. He left me with
a freezer full of trout.
(indicates bucket)
You want some? I was gonna use them
for fertilizer in the garden.
Michael looks closely at the trout. They're all the same
size, clean and very unfishy.
MICHAEL
I don't think so.
(beat)
Did he mention where he went
fishing?
LINDA
No, but I hired a private investigator
to follow him once. He went to Shaker
Lake.
MICHAEL
When was that?
Michael picks up one of the trout and eyes it skeptically.
LINDA
I'm not sure of the dates, but he
went for four weekends in a row
last month. That's about all I
can tell you.
MICHAEL
That's all I need to know, Mrs. Groves.
You've been a big help.
Michael starts to leave.
LINDA
(smiling)
It's Linda.
(beat)
And if you see Julian, would you
tell him something?
MICHAEL
What's that?
LINDA
Tell him I love him.
(beat)
That I'll always love him. No
matter what he's done.
MICHAEL
I'll make sure he gets the message.
OMITTED
EXT. TRANS-AM - DAY
K.I.T.T. and Michael are on the move away from Julian's
old house.
INT. TRANS-AM - DAY
Michael is driving in silence, immersed in thought.
K.I.T.T.
Michael, are you all right?
MICHAEL
Yeah, Kitt, I'm just thinking.
K.I.T.T.
About what?
MICHAEL
Trout.
(beat)
Kitt, Julian went trout fishing and
came back with store-bought trout.
What does that tell us?
K.I.T.T.
That he couldn't catch any fish.
MICHAEL
Or that he never intended to catch
any. I think Julian's fishing
trips were a cover for something else.
(beat)
Kitt, punch up the dates the thefts
were reported.
INSERT - VIDEO MONITOR
We see a calendar for February with two Thursdays and two
Fridays circled.
OMIT
OMIT
BACK TO SCENE
MICHAEL
Each of Julian's trips took place
a day or two after a robbery.
(beat)
Kitt, plot the fastest course to
Shaker Lake.
CUT TO
EXT. TRANS-AM - DAY - RUNBYS - STOCK
through the hills.
K.I.T.T. (v.o.)
Michael, there's one thing I still
don't understand.
MICHAEL (v.o.)
What's that, Kitt?
K.I.T.T. (v.o.)
How did you know Julian bought the
trout in a store?
MICHAEL (v.o.)
Fisherman's instinct, Kitt. No way
you can catch that many plastic
looking trout.
EXT. SHAKER LAKE - DAY
A tiny, one road mountain fishing town. We see Julian's
car drive up to a cabin and stop. He gets out of the
car and walks toward the cabin carrying a bag of groceries.
He's eating from an open bag of cheese puffs. He reaches
the door, fumbles for his keys and almost drops the bag.
Finally he gets the door open.
INT. CABIN - DAY
Julian steps inside and drops the bag of groceries in
shock. The cabin has been ransacked.
ANOTHER ANGLE
Armand appears from behind the bathroom door holding a gun.
ARMAND
What do you say, Julian?
JULIAN
(terrified)
What are you doing here?
ARMAND
I know all about you, Julian. I
know you and Connie had something
going on before you bumped her off.
And I want in on it.
EXT. SHAKER LAKE - ANGLE TRANS-AM
Michael and Kitt are approaching the cabin. Michael spots
Julian's car.
INT. TRANS-AM
MICHAEL
There's his car, Kitt. Looks
like we hit the jackpot.
K.I.T.T.
Michael, my sensors are picking up
the sounds of two voices emanating
from the cabin.
MICHAEL
Two voices?
INT. CABIN - DAY
Julian is removing a gym bag as well as the briefcase from
a secret compartment hidden in the wall. He hands them
to Armand, his hands trembling.
JULIAN
Here, you can have the computer
codes and all the money Connie
gave me. I never spent a penny
of it.
ARMAND
(evil smile)
That's very generous of you, Julian.
JULIAN
But I swear to you I didn't kill
her. You've got to believe me.
ARMAND
Sure, Julian, you can tell me all
about it on the way back to town.
Armand grabs Julian and pushes him toward the door.
EXT. CABIN - ANGLE MICHAEL - DAY
Michael is looking through the window. He overhears the
tail end of the conversation between Armand and Julian
and springs into action.
INT. CABIN - DAY
The door swings open and Michael bursts in, fists first.
He and Armand take a few swings at each other. Neither
one establishes dominance. Then Armand grabs hold of
Julian and flings him into Michael, disabling both men.
Armand makes his escape.
JULIAN
Who are you?
MICHAEL
I'll explain later, Julian, just
stay put.
Michael dashes out the door.
EXT. CABIN - DAY
Michael cautiously searches around the cabin. There's
no sign of Armand.
K.I.T.T. (v.o.)
(through comlink)
Michael! Behind you!
Michael whirls around to see Armand with his arm wrapped
around Flannery and a gun in his hand.
ARMAND
One more step and your friend's
a memory.
On Michael's reaction...
FADE OUT:
END OF ACT THREE
ACT FOUR
OMITTED
FADE IN:
INT. CABIN - DAY
Armand is holding Michael, Julian and Flannery at gunpoint.
ARMAND
Julian, put the briefcase in
the gym bag.
Julian obeys the command.
MICHAEL
Armand, you don't know what you're
getting yourself into.
ARMAND
That's what you think.
(to Flannery)
Now, let's go, honey. You're
coming with me.
FLANNERY
You sure? I mean, I'm really
not very good company. We probably
don't have a thing in common....
MICHAEL
Armand, if you want to leave, leave.
You don't need her.
ARMAND
I'm calling the shots here, buddy.
She's my insurance policy. There's
one road out of this dump and if I
see you on it, the lady dies.
Armand picks up the gym bag and drags Flannery toward the
door.
FLANNERY
Michael, aren't you going to do
something?
ARMAND
Yeah, he's gonna wave goodbye.
Let's go.
Armand opens the door and exits with Flannery.
JULIAN
Can you tell me who you are now?
MICHAEL
My name's Michael Knight. I
work for the Foundation for Law
and Government. It's my job to
bring you back to justice, Julian.
JULIAN
(sighs)
I had to ask.
MICHAEL
If you keep running, it will only
get worse.
JULIAN
Yeah? Well, what about Armand,
are you going to let him get away scot-
free?
MICHAEL
You'll see. Come on.
They start for the door.
OMITTED
INT. ARMAND'S PICK-UP (BLAZER)
Armand is driving with reckless abandon down the mountain
road. He holds the steering wheel with one hand while
the other holds a gun trained on Flannery.
FLANNERY
You know, you really should have
both hands on the wheel.
ARMAND
Shut up. I don't need you to
tell me how to drive.
FLANNERY
It was merely a suggestion.
Something in the side view mirror catches Armand's attention.
ANGLE THROUGH MIRROR
The Trans-Am appears in the distance.
BACK TO SCENE
ARMAND
There's that black car. I hate
to have to show them I wasn't
bluffing.
Flannery turns around to look out the window.
ANGLE ROAD - HER P.O.V.
There is no car.
INT. PICK-UP
FLANNERY
What are you talking about?
There's no car back there.
Armand checks in the mirror. There's no sign of the
Trans-Am.
ARMAND
There was, a second ago.
FLANNERY
Let's try to stay cool, okay, Armand?
ANGLE TRANS-AM
We see Kitt rambling across the rugged off-road
terrain, without benefit of a driver.
EXT. MOUNTAIN ROAD - ANGLE JULIAN'S CAR - DAY
Michael is driving. Julian rides nervously in the
passenger seat.
MICHAEL
How did you get mixed up with
Connie in the first place?
JULIAN
It started at the tennis club.
When I told her I designed video
games, her eyes lit up. She really
thought I was a neat guy.
MICHAEL
And that was enough to turn you
into a criminal?
JULIAN
What can I say?...I'm weak.
(beat)
But that's the only way I'm
involved. I didn't kill her.
You've got to believe me.
MICHAEL
I believe you, Julian. I
believe you.
EXT. TRANS-AM - DAY
The driverless Kitt leaps a ravine and lands on the
mountain road, straightens out and starts heading
back toward the approaching pick-up.
INT. PICK-UP
As Armand comes around a bend, he sees the Trans-Am
heading toward him in the other lane.
ARMAND
What the....
EXT. MOUNTAIN ROAD - DAY
Kitt drives past the pick-up. Armand looks into the
Trans-Am and sees nothing.
INT. PICK-UP
ARMAND
(in shock)
There's nobody driving that car.
FLANNERY
Armand, get a hold of yourself.
EXT. MOUNTAIN ROAD - DAY
Kitt does a one-eighty and heads back toward the pick-up.
As the Trans-Am approaches the pick-up, Kitt calls out:
K.I.T.T. (v.o.)
Pull over!
INT. PICK-UP
Armand can't believe what he just heard.
ARMAND
Did you?...no, that's impossible.
K.I.T.T. (o.s.)
Didn't you hear me? I said, pull
over!
FLANNERY
You better do what he says. That
car means business.
EXT. MOUNTAIN ROAD - DAY
Kitt pulls in front of the pick-up and delicately runs
it off the side of the road so no one is hurt.
At the same time, Michael and Julian arrive. Michael
jumps out of the car and runs over to Kitt.
MICHAEL
Nice work, Kitt.
K.I.T.T.
I was merely executing a brilliant
plan, Michael.
MICHAEL
Thanks, buddy. Better buzz the police
and tell 'em to get right over.
Michael goes over to the pick-up and opens the door,
hauling out a visibly shaken Armand. Flannery bounces
out of the passenger's side. She carries the gym bag.
FLANNERY
Michael, you saved my life.
MICHAEL
(cool)
It couldn't be helped.
(to Armand)
Okay, Armand, start talking. You're
too dumb to be the mastermind of this
scam, so I want some names.
ARMAND
I don't know any names.
MICHAEL
Look, you're already on the line for
kidnapping and extortion. If you
insist you're working alone, that tells
me you killed Connie Chasen, too.
ARMAND
Get out of here, man. She was my
girlfriend. Why should I kill her?
MICHAEL
Maybe 'cause she had another boyfriend.
ARMAND
I was cool about that.
MICHAEL
Who was it?
ARMAND
I don't know. I never saw him. I
just knew she had somebody else on the
side. I don't know who.
ANOTHER ANGLE
A state police car pulls up and Michael releases Armand.
MICHAEL
(to the cop)
There's one more.
Michael walks over to Julian's car. He is standing there
with Flannery. He knows the bell tolls for him.
JULIAN
Are you sure this is absolutely
necessary?
MICHAEL
It's time to start putting your
life back together, Julian.
JULIAN
You're right.
MICHAEL
I'll do everything I can to help.
JULIAN
Won't I need a little more than
that?
MICHAEL
You'll have Linda, too.
Julian's face brightens at the mention of his wife's name.
EXT. JULIAN'S HOUSE - ESTABLISHING - DAY
The Trans-Am is parked in front.
INT. JULIAN'S HOUSE - DAY
Michael is there with Flannery and Linda Groves.
FLANNERY
I don't know what else to say, Linda,
except I'm sorry. I never thought
to give your husband the benefit of
the doubt.
LINDA
As long as Julian's safe, that's
my only concern.
MICHAEL
How would you like to go see him?
LINDA
Could I?
MICHAEL
I'm sure Flannery would love to
give you a ride down to the station,
wouldn't you, Flannery?
FLANNERY
Oh, yes, I mean it's the least I
could do after all the anguish
I've caused.
LINDA
Just give me a second to get ready.
She starts out of the room, but Michael stops her.
MICHAEL
Linda, can I ask you one quick
question?
LINDA
Certainly, Michael.
MICHAEL
You said Julian was always an
observer, never an active
participant.
LINDA
He used to be that way. Until
he joined that stupid tennis club.
That's when all the problems started.
MICHAEL
What made him decide to join?
LINDA
One of the men at work talked him
into it.
MICHAEL
Do you remember who that was?
LINDA
Yes. As a matter of fact, I do.
DIRECT CUT TO:
CLOSE SHOT -- THE BACK OF A CHAIR
The phone rings and the man in the chair swivels around to
pick it up. The man is Elliot Stevens.
PULL BACK to reveal we are in:
OMITTED
INT. STEVEN'S OFFICE - DAY
Stevens is alone as he answers the phone.
STEVENS
Hello.
INTERCUT WITH:
INT. DEVON'S OFFICE - DAY
Bonnie is on the other end of the line.
BONNIE
Am I speaking to Elliot Stevens?
STEVENS
Yes, who is this?
BONNIE
You don't know me, Mr. Stevens.
I was an old friend of Connie Chasen.
We went through modelling school
together back in New York.
STEVENS
Is that what you called to tell
me?
BONNIE
No, I called because the night
Connie was killed she brought a
briefcase to my apartment. She
said if anything happened to her,
I should get in touch with you.
STEVENS
Young lady, this is highly
irregular....
BONNIE
If you're not interested, I'll
just turn it over to the police.
STEVENS
No, I want it.
BONNIE
I thought you might. Connie also
said there'd be some money in it
for me.
STEVENS
How does five thousand dollars
sound?
BONNIE
Ten thousand and it's a go.
STEVENS
All right, ten thousand. Where
can I meet you?
BONNIE
How about the tennis club?
STEVENS
Couldn't we make it someplace
slightly less conspicuous?
BONNIE
Since I don't know you, I'd feel
safer in a crowd.
STEVENS
Okay, the tennis club. How will
I know you?
BONNIE
I'll be at the back of the lounge.
Look for a lady in red.
Bonnie hangs up. Michael and Devon nod approvingly.
INT. TENNIS CLUB - DAY
Bonnie is in a booth sipping a cocktail. She is dressed
in a red designed pant-suit. Stevens enters the bar, sees
Bonnie and approaches her. He carries a tennis bag. He
takes a seat next to Bonnie.
STEVENS
I believe we spoke on the telephone.
BONNIE
Mr. Stevens?
Stevens nods. Bonnie takes the briefcase from her lap and
hands it to him.
BONNIE
Here you go. It's all yours.
Stevens takes the briefcase, opens it and looks inside.
Satisfied, he hands the tennis bag to Bonnie.
STEVENS
It's been a pleasure doing business
with you.
He starts to leave. Bonnie grabs his arm.
BONNIE
Yes, it has been a pleasure.
EXT. TENNIS CLUB - ANGLE TRANS-AM - DAY
Michael is in the car waiting for Stevens to come out of
the building.
INT. TRANS-AM - DAY
K.I.T.T.
Michael, he's on his way out.
MICHAEL
Did he take the bait?
K.I.T.T.
If you mean does he have the
briefcase, the answer is yes.
MICHAEL
Then I better go reel him in.
Michael opens the door and gets out of the car.
ANGLE STEVENS
As he comes out of the tennis club he sees Michael
coming toward him. He instantly dashes toward his
car. Michael takes off after him, but is cut off by
a car that turns into the parking lot. Stevens fires
up his engine and zips away.
ANGLE TRANS-AM
Michael runs over and hops into Kitt.
MICHAEL
Let's get him, buddy.
OMITTED
EXT. CITY STREETS - DAY - VARIOUS ANGLES - THE CHASE
Michael pursues Stevens through heavy traffic, down
backstreets, and around various obstacles before nailing
him. Michael takes him into custody.
MICHAEL
This time, the ball game really is
over.
On Michael's ironic smile....
OMITTED
FREEZE FRAME
END OF ACT FOUR
TAG
INT. DEVON'S OFFICE - DAY
Devon, Michael, Bonnie and Flannery are assembled, rehashing
the case.
FLANNERY
I've got to hand it to you.
You guys really know your stuff.
MICHAEL
I hope you were taking notes.
FLANNERY
Actually, I still can't figure out
how you knew it was Stevens pulling
the strings.
DEVON
That was accomplished by a phone call
to a member of the board of directors
of Delton Micronics.
BONNIE
Devon learned that a decision had been
made in secret to replace Elliot as
President of the company.
MICHAEL
Unfortunately, Stevens had gotten
wind of that decision, so he cut a
deal to trade Delton's experimental
programs to another company in exchange
for a future job.
FLANNERY
But why did he bring in the Foundation
if he was the real villain?
MICHAEL
For one thing, it removed him from
suspicion. Besides, he was setting
up Julian to take the fall, not only
for the rip-offs, but for Connie's murder.
BONNIE
Hold it a second, now I'm confused.
If Stevens was using Connie, why did
he kill her?
MICHAEL
Because he didn't trust her. She was
the only person who could implicate him.
Stevens showed up at Julian's hotel
thinking the final exchange had been
made already. What he didn't know
was that Julian was going to be late
for the meeting. He killed Connie
before he realized Julian hadn't made
the delivery.
DEVON
That explains why he removed us from
the case.
FLANNERY
It does?
MICHAEL
He wanted to find Julian himself.
He needed that last program to
complete his own deal. So we had
Bonnie give it to him.
FLANNERY
Boy, do I feel stupid. All I
thought was going on was a little
extra-curricular hanky panky between
Connie and Julian.
MICHAEL
Well, don't feel too bad. Under the
circumstances, Julian will probably
get off on probation.
FLANNERY
I hope so. I'll feel guilty until
he and Linda are back together.
MICHAEL
That reminds me, Devon. Julian
wanted me to give you this as a
little token of his appreciation.
Michael takes a package from beside the desk and
hands it to Devon who immediately unwraps it.
DEVON
What is it?
What it is is a miniature video game.
BONNIE
Here, I'll show you.
She turns it on and shows Devon how to operate the
joystick. He quickly gets the hang of it.
DEVON
This is rather amusing, isn't
it?
Michael and Bonnie begin to chuckle.
MICHAEL
Watch it, Devon, you'll get
hooked.
DEVON
Nonsense.
As he continues playing....
FREEZE FRAME:
END OF TAG
