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KNIGHT RIDER: NOBODY DOES IT BETTER

EXEC. PRODUCERS: Glen A. Larson, Robert Foster
SUPV. PRODUCER: Joel Rogosin

Production #57331
2nd Draft - February 22, 1983 (F.R.)

Writer: .................... David Braff
Director: .................. Harvey Laidman

                              
                                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