ACT ONE
FADE IN
EXT. MANSION - NIGHT
An imposing Bel Air structure highlighted by water cascading
from the well-lit fountain in front of the main house. Limos
pull up and discharge a cross-section of "high society."
OMITTED
ANGLE - MERCEDES
Devon pulls up and stops his car. A valet opens the door
allowing Devon and Bonnie to get out. Devon thanks the
attendant with a nod, takes Bonnie's arm and they walk
toward the entrance. Camera zooms to a study on the
upper floor.
OMITTED
INT. STUDY - NIGHT
Pan from the window. We can still hear the noise of the
party here. The room is dimly lit...expensively furnished
...framed photographs of beautiful models adorn the walls.
Camera pans over to the desk where Philip Royce sits, typing
data into a computer terminal as he talks quietly but
intently on the phone.
ROYCE
(into phone)
...and I have a deadline to meet
...I know you are -- look, don't
push too hard, but push -- every
day you're there we're risking
discovery....
A knock on the door causes Royce to look up.
ROYCE
Yeah?
LAUREN (O.S.)
It's me.
ROYCE
Two seconds, honey.
(into phone)
My daughter. Stay on top of it,
we'll talk tomorrow.
He hangs up the phone, turns off the computer and goes to
open the door. A stunning young woman in her midtwenties
enters.
LAUREN
When a magazine throws a party, the
guests expect to see a mingling
publisher.
ROYCE
(kissing her)
I'm sorry. Just give me twenty
more minutes.
LAUREN
Real time or Philip Royce time?
ROYCE
(smiles)
Real time for a change. By the way
I'm expecting a man, Devon Miles. I
think he'll have a young lady with
him. When he arrives send him right
up. It's important. Okay?
LAUREN
Real time my eye.
He laughs, gives her a paternal kiss and opens the door.
Lauren exits. Royce goes back to his desk. There is a
beeping noise and he picks up his private line.
ROYCE
(into phone)
Hello.
He listens and his face changes. It's not a voice he
expected.
OMITTED
INT. MANSION - LOBBY - NIGHT
The large room is filled with beautiful and semi-beautiful
people sipping cocktails and nibbling finger foods as they
revel in the festive atmosphere of the Royce Mansion.
Lauren appears and moves through the crowd, performs her
hostess role with charm and ease.
LAUREN
I'm so glad you could come. Roger,
how nice to see you...hello...(etc.)
MAN'S VOICE
Barely out of diapers and she's
running the show.
Lauren turns around to see a handsome, stylish, prematurely
graying man in his early forties. He is Paul DeWitt.
LAUREN
(pleased)
Hello Paul. I thought you couldn't
make it.
PAUL
I couldn't. I can't. But I'm here
anyway. I've got some terrific news.
Our marketing research team tells me
our ads in Escapade are over sixty
percent more effective than other
print media.
LAUREN
(smiles)
I told you, Paul, we're changing our
image. And our demographics.
OMITTED
ANOTHER ANGLE
Devon and Bonnie standing at the door with a well-dressed
bouncer who apparently thinks he has a gate crasher. He
scans a guest list as Devon grows uneasy with the delay.
Bonnie takes in the sights.
DEVON
If you'll kindly get Mr. Royce, he'll
clear up the misunderstanding.
As the bouncer scrutinizes the guest list, an attractive
woman in her late thirties approaches. She is Anne Tyler.
ANNE
Excuse me, is there a problem?
DEVON
My guest and I were personally
invited by Philip Royce, but
apparently we're not on the guest
list.
ANNE
I'm sorry, are you Devon Miles?
DEVON
I am. And this is Miss Barstow.
ANNE
Forgive me. I'm Anne Tyler, Philip's
personal secretary. He is expecting
you. Please, follow me.
(off, to
Lauren)
Lauren, I found him.
Lauren, talking with someone else, waves. Devon and Bonnie
follow Anne Tyler.
OMITTED
INT. HALLWAY - NIGHT
Lauren escorts Devon to her father's study and knocks.
ANNE
Philip? They're here, Mr. Miles and
Miss ________. Philip?
(silence)
INT. STUDY - NIGHT
Anne, Devon and Bonnie start in. The room is empty, Royce
gone. The door to a private exit is open. On their puzzled
reactions:
SMASH CUT TO
EXT. HOTEL - DAY - ESTABLISHING - STOCK
INT. HOTEL CORRIDOR - DAY
A maid pushes a cleaning cart down the hall.
INT. HOTEL ROOM - DAY
The maid unlocks the door, taking the PLEASE MAKE UP ROOM
sign off the doorknob. She picks up a woman's dress and
liquor bottle off the floor. She walks over to the window
and throws back the drapes and turns to make up the bed.
She freezes, her hand flying to her mouth in horror.
MAID'S POINT OF VIEW OF THE BED
where Royce and a young woman lie dead wrapped up in the
blankets.
EXT. TRANS AM - DAY - STOCK
Michael is racing for a rendezvous.
EXT. SEMI - DAY - STOCK
The ramp descends and the Trans Am glides up.
INT. SEMI - CLOSE ON NEWSPAPER HEADLINE
which screams: SKIN PUBLISHER FOUND DEAD. Underneath is a
photo of the bodies on the bed.
DEVON'S VOICE
As you can see, Michael, they're
turning the man's death into a circus.
WIDER ANGLE
to reveal the presence of Michael and Bonnie. Devon puts the
newspaper down.
MICHAEL
Given the circumstances, I can see
why. What's the tie-in with Philip
Royce? Don't tell me it's because
you've been a faithful subscriber
all these years.
Michael flips to the centerfold in illustration. Devon
smiles, but he's quite serious.
DEVON
As a matter of fact I'm only dimly
aware of the magazine's existence.
But to answer your question I got a
call from Mr. Royce two days ago.
He wanted the Foundation's assistance
on a story he was researching.
MICHAEL
What kind of assistance?
DEVON
I never found out. But the impres-
sion I got from our phone call was
that the story was an expose. He
indicated it involved someone or
something quite powerful. Possibly
quite dangerous...someone or some-
thing both powerful and dangerous,
possibly in politics or industry.
Knowing we are apolitical, he felt
we could be an ally.
MICHAEL
Then you don't think his death is
for real.
DEVON
His death is clearly real. I'm just
not at all certain the circumstances
are.
MICHAEL
If you're right, the story does our
work for us. Find out who he was
going to expose and you've got your
number one suspect.
DEVON
Agreed.
MICHAEL
Does it have a title?
DEVON
If it does, Philip Royce kept it a
close secret. He referred to it by
a code name, 'Topaz.'
MICHAEL
Topaz? A name? A location? What?
(to Bonnie)
You run it through the computers?
BONNIE
(nods)
I came at it from every angle I could
think of. Nothing. The word doesn't
seem to connect to anything specific in
Philip Royce's personal or corporate life.
(smiles)
It is, however, a birthstone. Mine.
MICHAEL
Did I forgot your birthday?
DEVON
You were on assignment. Don't worry, I
covered for you. Tastefully. Regarding
Topaz, I'd suggest you contact Royce's
daughter, Lauren. From what I understand
they were very close.
Michael nods, starts toward K.I.T.T. Michael gets in.
BONNIE
I've programmed Kitt with everything
imaginable on Royce's publishing empire.
Along with all the past issues of
Escapade Magazine.
MICHAEL
Including the centerfolds?
BONNIE
I anticipated your every need.
Michael laughs, pulls out as the ramp drops.
EXT. HIGHWAY - DAY - STOCK
The Trans Am rolls out, accelerates and flies by the semi.
OMITTED
EXT. ROYCE MANSION - DAY
Michael drives through the well-tended grounds. We see a
bevy of beautiful girls in shorts and bikinis exercising,
playing volleyball, having fun. Michael parks in the midst
of this wonderland.
OMITTED
INT. TRANS AM - DAY
K.I.T.T.
Michael.
Michael is too busy looking to answer that.
K.I.T.T.
Michael?!
MICHAEL
Yeah, Kitt?
K.I.T.T.
Why are all those young ladies
running around in such skimpy
attire?
Michael gets out of the car.
MICHAEL
When I find out you'll be the first
to know.
He heads for the mansion entrance.
OMITTED
ANGLE - PHOTOGRAPHER
Loaded with gear, he walks up to the Trans Am with an
assistant.
PHOTOGRAPHER
This must be the new car.
OMITTED
INT. MANSION - LOBBY
As Michael enters the ornate lobby, Anne Tyler is exiting
with Paul DeWitt. Michael notices the gallery of beautiful
models that adorn the wall. He moves in for a closer look
as Anne sees DeWitt out the door.
ANNE
Thanks for stopping by, Paul. I'll
tell Lauren what you said.
PAUL
And tell her if there's anything I
can do....
ANNE
I will. Bye.
DeWitt exits, Anne moves to Michael.
ANNE
You must be Michael Knight. Anne
Tyler.
MICHAEL
Hello, Anne.
(looks around)
Terrific place. Terrific photos.
I'd swear one of them is you.
ANNE
(smiles)
Was. An earlier incarnation. I was
the first Escapade centerfold.
A nearby phone rings.
ANNE
Excuse me.
(into phone)
Yes?..Tell him I'll get right back
to him.
(hangs up;
to Michael)
A magazine is like a newspaper, it
never sleeps. Regardless of
personal tragedy...
(beat)
I'm sorry, we all miss him very much.
MICHAEL
I understand.
ANNE
Lauren's on the south lawn. Just
go out the door and to your left
down the path. You can't miss it.
MICHAEL
Thanks.
ANNE
Mr. Knight, I realize you have
business with Lauren, but I do
hope you'll keep it brief. This
is a very difficult time for her.
OMITTED
EXT. FIRING RANGE - DAY
A lone figure, Lauren, stands on the range, blasting away.
Michael enters the shot, stands behind Lauren and watches
her fire off the last of her rounds.
OMITTED
INSERT - TARGET
as bullets tear into its center.
RESUME SCENE
Lauren cracks open the barrel of her Woodsman Colt .22 and
reloads. Michael walks over to her.
MICHAEL
Very good.
Lauren glances at him briefly, coldly, snaps the pistol's
barrel back and takes up the marksman's stance and cooly,
deliberately fires off her rounds. There's a grim determina-
tion about her. It's as if the act of firing were a catharsis
for her. Michael tries to talk to her as she keeps shooting.
She ignores him.
MICHAEL
I know some marksmen who'd trade their
bull's-eyes for yours....
She fires.
MICHAEL
I might just be one of them....
She fires.
MICHAEL
I'm Michael Knight. I believe Devon
Miles called about me....
She fires.
MICHAEL
Look, Miss Royce -- Lauren -- I'm
here to see if I can help find out
what happened to your father....
She fires.
MICHAEL
I'm not a cop. I'm not an enemy.
I'm on your side....
She fires.
MICHAEL
I need to know about 'Topaz.'
She looks at him, her eyes hot and direct.
OMITTED
INT. STUDY - DAY
They enter. Lauren goes to her father's desk, stops, faces
him.
LAUREN
All right, what do you want to know?
MICHAEL
I want to know how I can get a hold
of the story your father was working
on.
LAUREN
Topaz.
Michael nods. Lauren crosses to the computer.
LAUREN
It's all in here, in the computer.
The story, the research, the
documentation, names, times and
places. Watch.
OMITTED
INSERT
She punches keys. The word "TOPAZ" appears on the screen,
followed by, "ENTER SIX DIGIT ACCESS CODE."
BACK TO SCENE
LAUREN
Do you know anything about computers?
MICHAEL
A little.
LAUREN
Then you know that without the
access code it's unreachable. It
might as well not exist.
MICHAEL
You don't have it?
LAUREN
No one has it. It died with my
father. It was his way of
guaranteeing security. For his
story, and for his family and
friends.
MICHAEL
What no one knew could never hurt
them.
LAUREN
Exactly. So they hurt him instead.
She turns away, pauses, collects herself.
LAUREN
When you think of Philip Royce,
what do you think of?
When Michael doesn't answer immediately she looks at him.
LAUREN
Don't say it. I'll say it for you.
Glamour and sex...cars and sex...
fashions and sex...a glossy, air-
brushed girlie magazine.
MICHAEL
I feel like I should say, 'Guilty as
charged.'
LAUREN
Say whatever you like. All I care
about is vindicating my father's
name. And I will.
MICHAEL
I didn't know it needed vindication.
LAUREN
Then you're no different from the
others. Philip Royce, bon vivant,
womanizer who turned an avocation
into a profession. Found murdered
in a hotel room with a girl half
his age. Makes perfect sense.
After all, those who live by the
sword die by the sword.
MICHAEL
Why are you so angry?
LAUREN
Because that's what the world
believes. That's his epitaph. So
few people knew the real Philip
Royce, the serious journalist, the
man who when he turned fifty came
into my room crying, saying he'd
rather sell Escapade than have it
continue as it had. He wanted to
turn it into a magazine that would
make a difference. Topaz was to be
the new beginning, the corner
stone...
(fights
back tears)
Don't you see what they've done? By
killing him the way they did they
not only took his life they took
his reputation, his credibility,
his...dignity...
(beat, hard)
They won't succeed. I refuse to let
them succeed.
The phone rings. Lauren goes to the private line, answers
it.
LAUREN
(into phone)
Hello.
EXT. PHONE BOOTH
George Olin, a private detective is in the booth. He's
nervous, tense.
OLIN
Lauren Royce?
LAUREN
Yes. Who is this?
OLIN
I'd rather not go into names on the
phone. I was working with your
father on Topaz.
LAUREN
(expression
changes)
Just a minute.
(covers phone,
to Michael)
This is a personal call. Thanks for
coming by. If I need your help I
know where to find you.
No choice, Michael nods.
OMITTED
INT. MANSION - HALLWAY - DAY
Michael closes the door, pauses.
MICHAEL
(comlink)
Kitt, trace the call on Royce's
private line.
EXT. PHONE BOOTH/INT. STUDY
LAUREN
Do you know who killed my father?
OLIN
I have a good idea. Meet me and
I'll tell you everything I know.
EXT. MANSION - DAY
Michael walks over to K.I.T.T. where the Photographer is
shooting pops of two delightful ladies modeling the latest
in scanty swimwear. Both doors are open and K.I.T.T.'s
scanner is flashing devilishly.
MICHAEL
Excuse me, ladies.
PHOTOGRAPHER
Hey, pal, who do you think you are?
MICHAEL
The owner of this car. Sorry girls.
The girls move away, disappointed. Michael slides behind
the wheel, fires it up and pulls away.
INT. TRANS AM - DAY - MOVING
MICHAEL
I've never seen you so...receptive
to strangers.
K.I.T.T.
The young ladies and I were
comparing 'bodywork.' I found it
quite stimulating.
MICHAEL
I could tell. Did you trace the call?
K.I.T.T.
Unlike most humans, Michael, I can
perform more than one task at a
time. The call was placed from a
phone booth at the corner of Sixth
and Colgate.
EXT. MANSION GATES - DAY
They open and a limo drives through, Lauren in back.
ANGLE - TRANS AM
as it pulls away from the curb down the street and falls in
behind Lauren's car.
CUT TO
EXT. STREET - DAY
Lauren gets out of the limo, dismisses the reluctant
chauffeur.
ANGLE - TRANS AM
as it pulls over to the curb. Michael puts K.I.T.T. into
Surveillance Mode and jumps out. He walks toward Lauren.
OMITTED
ANGLE - GEORGE OLIN
He emerges from the phone booth.
ANGLE - ROOFTOP
A man named Hagen takes aim with a rifle.
ANGLE - LAUREN
She looks at Michael, shocked to see him there.
LAUREN
What are you doing here?!
MICHAEL
Has it occurred to you this might be
a trap?
Before she can answer a shot rings out. Michael falls on
Lauren to protect her and they tumble to the ground, look
to see:
THEIR POINT OF VIEW - GEORGE OLIN
He lies dead on the street.
LAUREN
Oh no...God, no....
She looks at Michael, trembling.
FREEZE FRAME
AND
FADE OUT
END OF ACT ONE
ACT TWO
FADE IN
EXT. STREET CORNER - DAY
Pull back from a coroner's van as the body of Olin is put
inside. The van drives off. Several uniformed cops are
present.
We continue widening, see Michael and Lauren standing near
K.I.T.T. with Lieutenant Henley, homicide, note pad in hand.
HENLEY
...then you'd never actually met
Mr. Olin.
LAUREN
No, but ---
HENLEY
Just heard his voice on the phone.
LAUREN
Yes -- Lieutenant, is something
wrong? I feel like I'm being
interrogated.
HENLEY
Just routine questioning.
LAUREN
I don't think you understand -- this
is not a routine case. This man's
death is directly linked to my
father's.
HENLEY
I don't know that to be true.
LAUREN
I do!
MICHAEL
Lieutenant, she told you about their
phone conversation.
HENLEY
She told me about a phone
conversation. There's no proof the
man she spoke to was the deceased.
(to Lauren)
If anything further develops, I'll
be in touch.
He drifts off, talks MOS to other cops. Lauren is furious.
LAUREN
I don't believe this.
MICHAEL
C'mon.
NEW ANGLE
Michael leads her away, back toward the Trans Am.
LAUREN
They don't care.
MICHAEL
They care.
LAUREN
Whose side are you on?
MICHAEL
Yours.
He stops her, pauses.
MICHAEL
Lauren, the police will do what they
can based on what they know. The
problem is they don't know what you
and I do.
LAUREN
I get the distinct impression they
don't want to know.
MICHAEL
(shrugs)
They operate on facts. We can't
give them facts -- just theories and
intuitions.
LAUREN
George Olin was not a 'intuition.'
MICHAEL
(a smile)
What I'm trying to say is that's our
advantage. We're not limited by
facts. If we put our heads together
there's a chance we could get to the
bottom of this on our own.
(beat)
Okay?
LAUREN
Okay.
They continue to the Trans Am.
MICHAEL
Let's start by reconstructing the
last couple of days of your father's
life. Where he'd been, who he'd
see....
LAUREN
Where is easy. Las Vegas.
They reach the Trans Am, get in over:
MICHAEL
Business or pleasure?
LAUREN
I'm not sure. He went to the
Escapade Hotel on Tuesday, returned
on Wednesday.
MICHAEL
Alone?
LAUREN
I don't know, but we can find out.
The Trans Am pulls away.
QUICK CUT TO
OMITTED
EXT. PRIVATE AIRPORT - DAY
K.I.T.T. appears on an access road, drives right up beside
the Escapade Lear jet, parks.
INT. K.I.T.T. - CLOSER
as they come to a halt. Lauren looks at the dashboard.
LAUREN
Amazing. It's like riding with
mission control.
MICHAEL
I'm into gadgets.
LAUREN
There's Don.
She gets out, approaches a pilot who's walking towards them
from the plane.
K.I.T.T.
(immediately)
Michael, I am not a 'gadget.' I am
a state of the art ---
MICHAEL
Right. Kitt, give me a state of the
art composite on George Olin. Hard
copy.
K.I.T.T.'s computers whir.
INSERT - K.I.T.T.'S DASH
as a computerized photo of George Olin appears in a slot.
Michael takes it.
OMITTED
EXT. AIRFIELD - DAY
Michael walks towards Lauren who's with Don, the pilot.
She turns to Michael.
LAUREN
Dad took someone with him to Vegas, but
he came back alone. A 'Mr. Williams.'
MICHAEL
Any chance this is 'Mr. Williams'?
The pilot takes the photo, nods.
DON
That's him.
Lauren and Michael react.
MICHAEL
(to Lauren)
Hang on, I'll be right back.
Camera stays on Michael as he crosses to K.I.T.T., slides
inside.
MICHAEL
Kitt, patch me through to Devon.
K.I.T.T.
Good news?
MICHAEL
Right now any news is good news.
DEVON'S VOICE
(filtered,
over phone)
Michael?
MICHAEL
Devon, get me all you can on a
man named George Olin. He was
working for Royce under an assumed
name, and ---
Michael suddenly stops, realizing he is being drowned out
by ---
REVERSE ANGLE
as Michael turns and sees that the jet is taxiing down the
runway!
OMITTED
BACK TO SCENE
DEVON'S VOICE
Michael, are you there? Michael?
MICHAEL
I'll call you back!
Michael hits the gas.
OMITTED
EXT. CONTROL TOWER - DAY - STOCK
INT. CONTROL TOWER - DAY - STOCK
CONTROLLER #1 (V.O.)
I have an unidentified speeding object
on runway two.
CONTROLLER #2 (V.O.)
I didn't authorize that. Get me the
aircraft's ID number.
CONTROLLER #1 (V.O.)
Uh, sir...it's not a plane.
CONTROLLER #2 (V.O.)
What are you talking about? Give me
those binoculars.
EXT. RUNWAY - UNDERCRANK - DAY - BINOCULAR MATTE
The Trans Am hurtles down the runway.
CONTROLLER #2 (V.O.)
I see it...but I don't believe it.
OMITTED
EXT. DESERT ROAD - DAY - 2ND UNIT
Barren, beautiful vistas seeming to stretch on forever.
Suddenly the sound of an engine breaks the stillness. The
Foundation semi appears over a rise...and then so does
K.I.T.T. The semi's hydraulic ramp starts to descend. The
Trans Am drives up and in.
INT. SEMI - DAY
Michael jumps out, nods to Bonnie in passing.
MICHAEL
Bonnie, check the fuel cell levels
and give his logic circuits a pep
talk.
BONNIE
Not even a hello, Michael?
MICHAEL
Sorry. Our lady publisher ran out
on me.
BONNIE
She'll never know what she missed.
Say 'Ahh,' Kitt.
K.I.T.T.'s hood opens.
WITH DEVON
as he comes towards Michael, hands him a cup of hot coffee.
DEVON
What happened?
MICHAEL
It's a long story. Thanks.
(sips coffee)
Actually, it's a short story.
DEVON
She ran out on you.
MICHAEL
That pretty well sums it up. How'd
you do on George Olin?
DEVON
He's a private investigator, but don't
get your hopes up.
MICHAEL
Devon, if he's an investigator, he
has files ---
DEVON
(shakes head)
What he has -- rather 'had' -- was
his photographic memory. It was his
trademark. No files.
Michael shakes his head in frustration, looks at Devon.
MICHAEL
I've never seen anything like this.
Two men working on a project, both
murdered -- one kept everything
locked away in a computer and the
other one in his head.
(to Bonnie)
Bonnie, how are you doing on breaking
'Topaz'? Any luck?
BONNIE
Luck is just what it'll take, Michael.
The six figure code for Topaz has nine
to the seventh power possible combina-
tions.
Michael sighs, finishes his coffee, gets in the car.
MICHAEL
I'll call you from Las Vegas.
DEVON
What's the hurry?
MICHAEL
I have a plane to catch.
He backs out.
EXT. SEMI - ON ROAD - DAY - STOCK
as K.I.T.T. rolls out, makes a U-turn...roars away, becomes
a black streak of lightning hurtling towards the horizon.
CUT TO
OMITTED
EXT. LAS VEGAS - DAY - ESTABLISHING - STOCK
Glamorous, gaudy...a mecca of eternal hope and broken dreams.
EXT. TRANS AM - DAY - MOVING
K.I.T.T.'S VOICE
Michael, my sensors are picking up
some very strange vibrations.
MICHAEL'S VOICE
One-armed bandits, Kitt. Welcome to
Las Vegas -- land of the pot of gold
at the end of the rainbow.
K.I.T.T.'S VOICE
Michael...would you draw to an
inside straight?
MICHAEL'S VOICE
Been doing it all my life, Kitt.
CUT TO
EXT. MC CARREN AIRPORT - STOCK
OMITTED
RUNWAY - DAY
Lauren gets out of the plane, waves at the pilot...turns
and walks onward. Suddenly stops, stares in amazement
at ---
HER POINT OF VIEW - MICHAEL
In the parking lot, he leans casually against K.I.T.T. He
smiles pleasantly.
MICHAEL
Hi.
THE SCENE
She approaches him.
LAUREN
What is this, a joke? Magic?
MICHAEL
Somewhere between the two. Need a
lift?
LAUREN
Yes...no...how did you get here
ahead of me? You didn't drive....
MICHAEL
I think we've got more important
things to talk about. Like you
and me and some ground rules for
working together.
LAUREN
I didn't know we were 'working
together.'
MICHAEL
Then I'd say that's the first thing
we've got to decide. Either we are
or we aren't. If we aren't, I'll
leave right now.
They've reached the Trans Am. She looks at him.
LAUREN
We are.
She climbs in.
OMITTED
EXT. ESCAPADE HOTEL - DAY
Michael pulls up. Lauren points.
LAUREN
Use the VIP parking. Goes with the
territory.
Michael pulls in the space, which is close by the main
entrance. They get out.
INT. ESCAPADE LOBBY - DAY
Slot machines spill into the lobby from the adjoining
casino. Michael and Lauren come inside, passing one of
those ubiquitous Las Vegas grannies...the kind with a
racketball glove on the slot machine hand.
LAUREN
I'll let them know we're here.
Michael nods, unobtrusively speaks into his comlink.
MICHAEL
Kitt, I'll be awhile. Go into
Surveillance Mode.
K.I.T.T.'S VOICE
Your wish is my command, Michael.
CLOSE ON K.I.T.T.'S FRONT SCANNER - THROUGH LOBBY WINDOWS
- DAY
as it goes on and we hear the "whizz whizz." Snap pull back
to reveal the little old lady working two slot machines.
INTERCUT WITH SCANNER - SLOT MACHINES
as the wheels spin. They pay off jackpots.
INT. LOBBY - ANOTHER ANGLE
Lauren and Michael exit further into the hotel.
Camera adjusts to show the little old lady scooping up her
money. She turns to the man at the next machine.
SLOT GRANNY
Double jackpots. Praise the Lord!
This must be my lucky day.
Her neighbor nods affably, now visible for the first time.
It is Hagen, the man who shot George Olin.
HAGEN
Mine, too.
CUT TO
OMITTED
INT. HOTEL SUITE - DAY
Michael and Lauren walk into the tastefully furnished
suite.
MICHAEL
This was your dad's regular suite?
LAUREN
(nods)
He used it whenever he was in town.
Michael spots a computer terminal in the room and walks over
to it.
MICHAEL
Is this tied into the L.A. computer?
LAUREN
I think so.
Michael turns on the terminal, starts hitting the keys.
INSERT - TERMINAL SCREEN
where Michael punches out "TOPAZ." He gets the familiar....
ENTER SIX DIGIT ACCESS CODE
RESUME SCENE
They're not surprised. There's a knock on the door.
Lauren goes over and opens the door. Bob Kruger walks in
with a bouquet of white roses. Late thirties, he wears
the Escapade color scheme translated to blazer and slacks.
LAUREN
Bob! How sweet....
KRUGER
I can't tell you how bad we all
feel about...what happened....
LAUREN
I know, Bob. Thanks.
(to Michael)
Michael, meet Bob Kruger, head of
hotel security. Bob, Michael
Knight.
The men shake hands, ad-lib hellos. Lauren puts the flowers
on a table, arranges them.
MICHAEL
We're trying to clean up a few
loose ends regarding the estate.
(hands
him photo)
Do you know this man?
FAVORING KRUGER
KRUGER
(looks)
Yeah. That's Ed Williams.
Reactions from Michael and Lauren.
MICHAEL
Where do you know him from?
KRUGER
Here. The hotel. Mr. Royce brought
him to my office last week, told me
to hire him in security. So I did
-- and the guy disappears on me after
one day.
MICHAEL
That's all?
KRUGER
That's all I know.
(beat)
Well, if you need anything else....
They nod, ad-lib thanks. He leaves. When the door closes
they look at each other.
LAUREN
Ed Williams -- the same alias they
used with the pilot, Don -- why?
What were they trying to hide?
MICHAEL
My guess is your father's investi-
gation turned up something or someone
here at the hotel. So he brought
George Olin in undercover....
LAUREN
But why would he suddenly leave the
next day?
Michael shakes his head, moves around the room, thoughtful.
MICHAEL
Why don't you look through the
bedroom, I'll check out here.
Maybe we'll find something that's
not locked away under Topaz.
INT. HOTEL SUITE BEDROOM - DAY
Lauren searches through her father's things.
INT. HOTEL SUITE - DAY
Michael walks back over to the computer terminal and stares
at it.
MICHAEL
(watch
comlink)
Kitt, any progress on the access code?
K.I.T.T.'S VOICE
As Bonnie pointed out, Michael,
the possible numerical combinations
are virtually unlimited.
MICHAEL
C'mon, use your imagination. How
'bout 000001?
K.I.T.T.'S VOICE
(wry)
Thank you, Michael.
MICHAEL
(smiles)
Don't mention it, pal.
Michael decides to try something, starts hitting the
terminal's keys.
INSERT - TERMINAL SCREEN
as Michael punches out the name GEORGE OLIN. The following
appears underneath...SEE TOPAZ.
OMITTED
BACK TO SCENE
Another dead end. Then he becomes aware of a sound...
someone crying softly. Camera moves with him to the bed-
room. Lauren is holding a beautifully wrapped gift.
LAUREN
I'm sorry, I feel so....
MICHAEL
What? What is it?
LAUREN
Today's my birthday. He always used
to forget...I found this in the closet.
This time he didn't forget....
He puts his arms around her, holds her close, comforting
her.
OMITTED
INT. LOBBY - DAY - TIGHT ON THE SLOT GRANNY
still at it. Camera pans over to show Hagen playing a slot
machine. Kruger enters the shot, stands at the next machine.
Both men speak in hushed asides, the machines drowning out
their conversation. Kruger looks tight, worried.
KRUGER
They're asking questions about that
detective, Olin.
HAGEN
What'd you tell them?
KRUGER
Nothing. That he came and left. But
they're not going to let it go at that.
HAGEN
Next thing you know, they'll be trying
to get 'Topaz' out of the old man's
computer.
KRUGER
They won't have any better luck than
we did.
HAGEN
How do you know? They ain't here
for their health. If they're onto
something, we could be in a lot of
trouble.
KRUGER
Look, Royce is dead...Olin's dead
...you're not talking about....
He doesn't want to say it. Hagen pulls the handle on the
slot.
HAGEN
I'm talking about doing whatever's
necessary to stay well-paid and safe.
And as long as those files are in
that computer, and Royce's daughter
and her pal are asking questions,
I don't feel safe.
FADE OUT
END OF ACT TWO
ACT THREE
FADE IN
OMITTED
EXT. ESCAPADE HOTEL - DAY
Michael is talking to the doorman, who looks at the picture
of Olin, shakes his head. Camera pulls back to reveal
Lauren, waiting by K.I.T.T. Michael approaches her.
LAUREN
Any luck?
MICHAEL
A few people remember him...he smoked
filter tipped cigarettes and left a
twelve dollar tab at the bar. How
about you?
She shakes her head, discouraged.
LAUREN
Maybe we should go back to L.A.
MICHAEL
Not yet. Not until something breaks.
(smiles)
Speaking of breaks, I think we could
use one.
(takes her
hand)
C'mon. Show me the town.
MONTAGE - EXT. LAS VEGAS - NIGHT - STOCK
The sights and sounds of the gambling capital of the world
in all its splendid glitter...showing the spinning faces of
slot machines...dice bouncing off a crap table...stacks of
chips...an ace landing on a ten to make blackjack...a
spinning roulette wheel.
SUPERIMPOSED
Over the spinning roulette wheel are shots of Michael and
Lauren laughing, enjoying themselves in each other's
company.
SLOW DISSOLVE TO
INT. HOTEL SUITE - NIGHT
We hear a key in a lock. Michael and Lauren come into the
dark room.
LAUREN
(laughing)
...and then at the blackjack table,
splitting a pair of tens....
MICHAEL
You defied the gods.
LAUREN
And won! Believe it or not I've
never won before.
She turns on the lights, stops.
WIDER ANGLE
On the coffee table is a birthday cake, noise makers,
champagne, etc. She turns, touched.
LAUREN
Oh, Michael....
MICHAEL
Now don't tell me I shouldn't have.
LAUREN
You shouldn't have.
MICHAEL
Why?
LAUREN
Because....
For a moment it looks as if she'll cry again.
MICHAEL
Lauren, he loved you. He wanted the
best for you. If he thought you'd
let your birthday pass without a
cake, without a smile, a glass of
champagne....
LAUREN
You're right. You hardly know me,
but you're right. How can you be so
right all the time?
MICHAEL
It's my specialty.
They laugh. Their eyes hold for a moment longer than usual.
LAUREN
All right, there's the smile. What
do we have left, let's see -- the
cake, a glass of champagne...any-
thing else?
MICHAEL
Tell you what. You do the cake,
I'll do the champagne, and we'll see
what else comes to mind.
LAUREN
(smiles)
Deal.
She crosses to the cake, begins lighting candles as Michael
pops the cork, begins to pour.
LAUREN
Ready?
MICHAEL
Make a wish.
Lauren closes her eyes and makes her wish. Michael knows
what it is. She inhales and blows out the candles, smiles
up at him.
MICHAEL
Very good. Now the champagne.
He hands her a glass.
LAUREN
My toast. To a man I'd like to get
to know better.
They touch glasses and drink. The doorbell rings.
LAUREN
Who could that be? Excuse me.
ANGLE AT DOOR
She opens it to see Kruger.
KRUGER
Lauren, I'm sorry to interrupt, but
Anne Tyler called while you were
out. She said the police want you
back in L.A. immediately.
Over this Michael drifts over, curious.
LAUREN
Did she say why?
KRUGER
Something about a witness to connect
George Olin's death to your father's.
On their reactions:
CUT TO
OMITTED
INT. ESCAPADE LOBBY - NIGHT
Michael and Lauren go out, get into K.I.T.T. We notice the
Slot Granny still playing. K.I.T.T. circles around the
parking lot to exit, swinging past the entrance en route.
Immediately, the slot machines pay off again.
SLOT GRANNY
Hot dog, it's happening again!
K.I.T.T. - LAS VEGAS RUNBY - STOCK
EXT. AIRPORT - NIGHT
Michael pulls up and stops alongside the runway. The jet
stands there waiting to fly Lauren back. Michael takes her
arm and they cross to it, pause before Lauren boards.
MICHAEL
Call me as soon as you find out what
they've got.
LAUREN
I will. Michael? I'll miss you.
MICHAEL
Me too.
LAUREN
Can I take a rain check on the rest
of the champagne?
He smiles, nods. She kisses him quickly on the mouth and
boards. Camera pans Michael as he returns to K.I.T.T.,
opens the door.
K.I.T.T.
Michael, my sensors are picking up
screams inside the plane.
Michael reacts, sees the plane taxiing down the runway. He
jumps into the Trans Am and hits the gas.
EXT. AIRPORT - NIGHT
Michael burns rubber as the Trans Am shoots toward the
runway, pursuing the plane.
OMITTED
ANGLE - JET
It increases speed, seconds away from lift-off.
ANGLE - TRANS AM
It pulls abreast of the speeding plane.
ANGLE - MICHAEL
He puts K.I.T.T. on Auto Pilot, pops the roof open and
climbs up.
ANGLE AT PLANE
Michael climbs onto the wing, threads his way back to the
tail where he jams the flaps.
ANGLE IN COCKPIT
The pilot, Franks, can't get the plane to lift-off.
HAGEN
Shake him lose!
ANGLE ON PLANE
It suddenly swerves back and forth violently. Michael
tries to hang on, can't, falls to the ground and rolls.
ANOTHER ANGLE
The Trans Am does a 180o as the jet lifts into the
air, speeds over to where Michael lies, unconscious.
K.I.T.T.'S VOICE
Michael! Michael, are you all right?
Silence.
K.I.T.T.'S VOICE
Devon, it's Kitt. I'm at the
airport. Hurry, Michael's been hurt.
DISSOLVE TO
OMITTED
INT. SEMI - NIGHT - UP ANGLE - MICHAEL'S POINT OF VIEW
of diffused images, out of focus.
DEVON'S VOICE
Michael? Can you hear me?
Slowly the faces come into focus: Carlyle, the Foundation's
doctor, along with Devon and Bonnie.
ANOTHER ANGLE
We see Michael is on the sofa in the office end of the
semi. Carlyle checks his pupils with a thin flashlight.
Michael stirs.
MICHAEL
Devon...?
DEVON
(relieved)
Hello, Michael. Welcome back.
MICHAEL
Where am I? What happened?
He tries to sit up but Carlyle stops him, checks him with a
stethoscope.
CARLYLE
Not so fast.
DEVON
We're in the semi just outside Las
Vegas. Fortunately, Doctor Carlyle
was on one of his monthly gambling
forays. I collared him at a crap
table.
CARLYLE
My 'forays,' as you call them, are
semiannual, not monthly.
(to Michael)
Breathe. Deeper.
Michael remembers something, bolts upright.
MICHAEL
Where's Lauren?
Uncomfortable silence.
MICHAEL
Devon -- what happened?!
DEVON
I'm afraid they got her, Michael.
MICHAEL
'They?' Who's 'they?'
DEVON
I was hoping you could tell me.
BONNIE
(gently)
By the time we got to the airport
they'd left.
MICHAEL
What about the plane -- it was the
company plane ---
DEVON
We checked. The company plane is
still in Los Angeles.
(beat)
I'm sorry, Michael. Whoever planned
this was very clever, very thorough.
They used a plane identical to the
Escapade plane. They filed a
fictitious flight plan....
MICHAEL
(to Bonnie)
Anything on Topaz?
Bonnie shakes her head.
BONNIE
I've got Kitt and every available
computer working around the clock.
It's a long shot, Michael.
Michael struggles up, uses the wall for support.
ANGLE FROM WHERE K.I.T.T. IS PARKED
Michael comes in, followed by Devon and Bonnie. In b.g.,
Carlyle makes a phone call.
DEVON
Please, Michael, sit down. Rampaging
around won't accomplish anything.
MICHAEL
(a thought)
The phone call!
DEVON
What?
MICHAEL
You've been in touch with the police
-- do they have a new lead? A
witness?
DEVON
No, not as of an hour ago -- why?
Michael moves to K.I.T.T., jumps in and starts the engine.
Devon and Bonnie cross, concerned.
DEVON
Michael, you're in no condition to
drive -- where do you think you're
going?
MICHAEL
Gotta talk to a centerfold.
SEMI - NIGHT - STOCK - TRAVELING
K.I.T.T. exits, zooms away.
EXT. RURAL ROAD - DAY
A four-wheeler is seen driving up the road, Hagen inside.
ANGLE - FRANKS
The one who helped Hagen kidnap Lauren. He steps out from
the trees, a rifle under his arm, a walkie-talkie clipped
to his belt. The four-wheeler slows, Hagen waves,
continues past the check point.
EXT. CABIN - DAY
The four-wheeler pulls up and parks. Hagen reaches in back
and lifts out a bag of groceries, walks over to the cabin.
INT. CABIN - DAY
Hagen walks in and puts down the groceries on a table. The
cabin is a "rustic elegance"...a rich man's getaway
retreat. Hagen crosses to the kitchen with the groceries...
passing by Lauren as he does. She's tied to a straight
back chair and gagged.
HAGEN
Had to drive twenty miles to find a
store, and then they don't have
steaks. What's happening to this
country -- you can't keep a country
strong when you got people eating
fish and chicken all the time. And
vegetables. You think the Russians
eat vegetables?
He pops open a beer, returns to where Lauren is. He sits
in a chair opposite her, regards her soberly.
HAGEN
You hungry?
She stares at him.
HAGEN
(nods)
This means yes.
(shakes
head)
This means no.
She finally shakes her head, no.
HAGEN
I gotta tell you, sweetheart, I
don't like this anymore than you
do. But it won't be much longer now.
(glances
at watch)
They should be here in a half hour
or so.
He studies her for a moment.
HAGEN
You know, I can't figure somebody
like you out. You're young, you're
rich, you got great legs...why'd you
want to go on this crusade? Your
old man's dead. Why couldn't you
just leave it alone?
CUT TO
OMITTED
EXT. ESCAPADE MANSION - DAY
Michael screeches up in K.I.T.T., parks, runs for the front
door.
INT. MANSION - DAY
Michael opens the door and walks in. Anne Tyler is on the
phone. She stares at Michael in disbelief, puts down the
receiver.
ANNE
I thought you were....
MICHAEL
Dead? Sorry to disappoint you.
ANNE
(recovering)
I don't know what you mean -- I
thought you were still in Las Vegas.
Where's Lauren?
MICHAEL
Good question. That's what I came
here to find out.
ANNE
I don't know what you're talking
about ---
MICHAEL
Yes you do. You called Bob Kruger
at the hotel with a phony message
about the police needing Lauren back
here.
ANNE
That's not true!
She turns away but Michael grabs her, makes her face him.
MICHAEL
Anne, listen to me. It's all coming
apart at the seams. It's not going
to work. I don't know exactly how
you're involved in this, or why, but
I know you're involved. Help me find
Lauren before they kill her too.
For a moment it appears Anne will soften, break, but then
it passes. She's cold as steel.
ANNE
Take your hands off me or I'll call
security.
MICHAEL
She trusted you!
ANNE
Get out of here!
Michael drops his hands, pauses.
MICHAEL
I don't know what Philip Royce did
to you, real or imagined, but to let
Lauren die for his sins puts you in
a whole different category, lady.
When your pals go down on this one
I'll make a point of seeing that you
go down with them. All the way.
A lost look at her and he starts out. It's a calculated
move.
ANNE
(screams
after him)
'Real or imagined?!' You don't know
the half of it. I was Philip's
first centerfold -- Miss November --
I worked with him day and night to
make Escapade a success! I loved
him! I gave him everything....
Michael has reached the door, pauses, his back still to
her. Her voice changes.
ANNE
Don't you see...I helped create the
great Philip Royce...instead of
marriage I got a lifetime contract
and a title. Instead of love I got
a constant series of affairs, one
woman after another, year after
year....
Michael turns to face her. She is crying softly.
MICHAEL
Where have they got her?
ANNE
I don't know. I swear I don't.
He believes her. Something catches his eye: The photo of
Anne as Miss November on the wall.
MICHAEL
(realizing)
Topaz is the birthstone for November...!
ANNE
What?
MICHAEL
He thought more of you than you know.
He dashes outside.
OMITTED
EXT. MANSION - DAY - ANGLE UP FROM K.I.T.T.
as Michael runs over, opens the door.
MICHAEL
Kitt, run me Anne Tyler's measure-
ments from the first issue of
Escapade!
K.I.T.T.
Certainly, Michael.
INSERT - K.I.T.T.'S MONITOR - FEMALE OUTLINE - STOCK FROM
INSIDE OUT
Anne Tyler's measurements appear.
K.I.T.T.'S VOICE
Ninety-seven...sixty-one...ninety-seven....
BACK TO SCENE
Michael reacts.
MICHAEL
That's impossible.
K.I.T.T.
I beg your pardon, that is accurate,
Michael. Down to the last centimeter.
MICHAEL
(through
his teeth)
Inches, K.I.T.T. Inches.
K.I.T.T.
I do wish you'd learn to be more
explicit, Michael. Thirty-six...
twenty-four...thirty-six.
MICHAEL
Six figures, Kitt. We got it.
(beat)
The access code to 'Topaz.'
He starts the engine and roars off.
OMITTED
FREEZE FRAME
AND
FADE OUT
END OF ACT THREE
ACT FOUR
FADE IN
EXT. ROAD TO CABIN
A sedan makes its way along the road. Shadows darken the
windshield, preventing us from recognizing the two men in
the car.
EXT. TREES - DAY
Franks picks up his walkie-talkie. Pan the car as it
moves past.
INT. CABIN - DAY
Hagen finishes on the walkie-talkie.
HAGEN
(walkie-talkie)
All right. Stay there, hold
your position.
Hagen puts down the walkie-talkie and crosses to Lauren.
HAGEN
They're here. I'm gonna take off
your gag, but before I do I want to
tell you something. I've been in
situations like this before. People
go crazy, you know what I mean? They
scream and yell and do stupid things.
It doesn't do any good. Doesn't
change a damn thing. So take my
advice, do yourself a favor -- relax.
Go with it. Whatever's gonna happen
is gonna happen.
He moves behind her and begins to untie the gag.
EXT. CABIN - DAY
The car pulls in and parks. The man driving is Kruger.
The other man can't be seen.
INT. CABIN - DAY
as before, Hagen untying the gag. Lauren moves her jaw,
which is stiff. Hagen smiles.
HAGEN
What'd I tell you -- pretty as ever.
Over this, footsteps, and the door opens. The first man is
Kruger. He glances at Lauren but refuses to look at her.
He's ashamed but determined to see it through. The second
man in is Paul DeWitt. Lauren stares in shock.
DE WITT
Hello, Lauren.
LAUREN
(beat)
Paul...I don't believe it....
DeWitt crosses to her, puts a black leather case on a
nearby coffee table.
DE WITT
I'm sorry. This isn't what I
intended. None of this should have
ever happened....
He looks at her, quite sincere. He opens the leather case.
LAUREN
You? You're behind all this? My
father's death...? Paul, you
murdered my father?!
Hagen taps her on the shoulder. DeWitt prepares a syringe.
HAGEN
Remember what I said. Do yourself a
favor.
LAUREN
(to DeWitt)
He was your friend! Why? This is
insane. How could you do that to
him? Why?
DE WITT
In a word, 'Topaz.' Let's not mince
words, Lauren. I'm not proud of what
I've had to do, but I had to do it.
Believe that. But let's not labor
under the romantic illusion that
Philip Royce was a saint. For that
matter, even a decent man. He was
out to destroy me. Me and my company.
The great Dialozene expose, code name
'Topaz.' For the good of the world?
(shakes
his head)
For the good of Philip Royce.
(to Hagen)
Hold her arm.
Lauren screams and struggles but Hagen holds her mouth with
one hand and her arm with the other. DeWitt injects her
with the drug.
DISSOLVE TO
OMITTED
INT. STUDY - DAY
Michael punches keys on the computer. Devon and Bonnie
watch with anticipation.
INSERT - COMPUTER SCREEN
It flashes the familiar:
TOPAZ
ENTER SIX DIGIT ACCESS CODE
BACK TO SCENE
Now Michael punches in numbers.
DEVON
(puzzled)
36-24-36?
MICHAEL
Miss November.
DEVON BONNIE
Miss November? You can't be serious.
MICHAEL
Look.
INSERT SCREEN
It reads: ACCEPTED. It is immediately replaced by type-
written material.
BACK TO SCENE
They watch, fascinated.
MICHAEL
Who's the speedreader?
DEVON BONNIE
I am. I am.
MICHAEL
There's got to be a name in there.
The name.
He moves away, a little dizzy. He leans against the wall
for support, exhausted, still suffering side effects.
DEVON BONNIE
It's about drugs.... One drug in particular,
Dialozene....
DEVON BONNIE
Passed by the FDA.... But later independent
tests showed possible
side effects....
DEVON BONNIE
The company is Parkland The man is Paul DeWitt....
Pharmaceuticals....
Devon turns to Michael, sees the shape he's in.
DEVON
Are you all right?
MICHAEL
I'm okay. Paul DeWitt...That name
sounds familiar.
BONNIE
He was on the guest list at Philip
Royce's that night.
DEVON
It's hard to imagine a man of his
position directly involved.
MICHAEL
Not if he feels his own life's at
stake.
DEVON
Bonnie, be a love. And...Bonnie?
He's turned, sees she's not there; she's at the computer.
BONNIE
(beat)
Parkland Pharmaceuticals, Paul DeWitt,
President. What would you like to
know?
MICHAEL
His home address.
INT. CABIN - DAY
Lauren lies on the couch, half-unconscious under the effect
of the drug. DeWitt stares down at her. Hagen and Kruger
look on.
DE WITT
All right, Lauren, you're relaxed...
you feel good...everything is going
to be just fine....
HAGEN
You guys want a sandwich?
DE WITT
(stares at him)
What?
HAGEN
Forget it, we'll eat later.
DE WITT
(to Lauren)
Tell me about 'Topaz', Lauren.
She twists her head, troubled.
DE WITT
It's all right...think of Topaz as a
friend who's trapped, a friend you
want to set free....
(beat)
Do you know the access code?
LAUREN
No....
DE WITT
Does your friend, Michael Knight?
LAUREN
Michael...Michael....
DE WITT
Does he?
LAUREN
No....
EXT. TRANS AM - DAY
racing down the road.
DEVON'S VOICE
Michael, it's Devon.
INT. TRANS AM - DAY
MICHAEL
Yeah, Devon.
DEVON'S VOICE
To use your expression, Michael, do
a one-eighty.
MICHAEL
What are you talking about?
DEVON'S VOICE
I made a few calls. Paul DeWitt
isn't at his house in the city, he's
at his house in the country. Eagle
Lake to be specific.
EXT. TRANS AM - DAY
It does a 180 and heads back the opposite way.
INT. CABIN - DAY
Lauren is semi-conscious, still under the effect of the
drug.
LAUREN
I don't know....
DE WITT
Are you absolutely positive?
KRUGER
She doesn't know. I told you we
didn't have to do this -- she
doesn't know anything and neither
does Knight.
DE WITT
Don't fall apart on me now, Bob.
KRUGER
(sick of it)
I just want to get this over with.
OMITTED
EXT. RURAL ROAD - DAY - STOCK
The Trans Am speeds down it.
INT. TRANS AM - DAY
K.I.T.T.
Michael, my sensors are picking up
someone in the trees up ahead.
MICHAEL
Armed?
K.I.T.T.
Decidedly.
MICHAEL
Thanks, pal.
EXT. TRANS AM
It pulls off to the side of the road.
K.I.T.T.
Michael, why are we stopping?
MICHAEL
I want to keep our arrival a
secret.
EXT. TREES - DAY
Franks reacts as he hears something o.s. He picks up his
rifle and moves off to investigate.
ANGLE - FRANKS
as he brings up his binoculars.
MASK SHOT THROUGH BINOCULARS
as Franks sees the Trans Am driving towards him.
RESUME FRANKS
Someone taps him on the shoulder. Franks turns around and
Michael hits him with a hard right.
ANGLE - MICHAEL
as he lowers the unconscious Franks to the ground. Michael
takes the rifle and walkie-talkie and tosses them into the
bushes.
INT. CABIN - DAY
Hagen ties the final knot on the cord around Lauren's
wrist. Kruger and DeWitt are preparing to leave.
HAGEN
We coming back afterwards or what?
DE WITT
Why?
HAGEN
I got sixty dollars worth of food in
the kitchen, that's why.
DE WITT
You amaze me.
HAGEN
I amaze you, you amaze me. We
coming back or not?
DE WITT
Put it this way. If we don't, I'll
give you sixty dollars.
Hagen half carries Lauren toward the door. At the window,
Kruger sees something.
KRUGER
Someone's coming!
OMITTED
KRUGER'S POINT OF VIEW OF THE TRANS AM
barreling up the road leading to the cabin, still a
fair distance away.
BACK TO SCENE
HAGEN
It's probably Franks.
KRUGER
It's him! Knight!
EXT. TRANS AM - DAY
closing the distance between it and the cabin.
EXT. HOUSE - DAY
Hagen runs out with a scoped hunting rifle, sights and
fires. He squeezes off several rounds, looks.
HIS POINT OF VIEW - THE TRANS AM
It keeps coming, winding its way up.
BACK TO HAGEN
He runs over to DeWitt's car and jumps behind the
wheel.
INT. CAR - DAY - MOVING
Hagen can see the Trans Am heading for him. He throws open
the door.
ANGLE - HAGEN
rolling out of the car and into the bushes.
ANGLE - MERCEDES
as it gathers speed down the sloping road. In seconds
it'll crash head on into the Trans Am.
INT. TRANS AM - DAY - MOVING
Michael can't turn off the road, it's lined with trees.
The Mercedes seems to fill the windshield.
MICHAEL
Kitt....
K.I.T.T.
Yes, Michael?
MICHAEL
On the road of life, one must
overcome certain obstacles....
Michael hits a button on the dash.
ANGLE - TRANS AM
as it shoots over the speeding car.
ANGLE - TRANS AM
as it flies through the air.
ANGLE - TRANS AM
as it crashes back down on the road.
ANGLE - HAGEN
He runs back toward the cabin. The Trans Am overtakes him,
its door flying open.
ANGLE - MICHAEL
He dives out of the Trans Am and tackles Hagen. They
struggle to their feet, punching. Michael lands a hard
right and Hagen goes down. Michael picks him up.
MICHAEL
Kitt, let's stash this one.
K.I.T.T.
The trunk pops open.
ANGLE ON MICHAEL
He dumps Hagen in the trunk. It closes.
OMITTED
ANGLE AT CABIN
DeWitt and Kruger jump into a four-wheeler, DeWitt behind
the wheel. The Trans Am roars in, Michael leaping out,
ignoring the four-wheeler.
INT. CABIN - DAY
Michael runs in, sees Lauren on the floor, where they left her.
He unties her.
MICHAEL
Are you all right? Lauren?
LAUREN
I'm okay, I feel...dizzy, that's all.
MICHAEL
I'll be right back. Okay?
She nods. He kisses her forehead.
OMITTED
EXT. ROAD - DAY
The four-wheeler speeds along the rutted dirt road.
ANGLE - TRANS AM
as it tears after it.
ANGLE - FOUR-WHEELER
as it jumps a drainage ditch.
ANGLE - TRANS AM
as it suddenly cuts off the road.
ANGLE - TRANS AM
as it crashes through a shallow pond, water spraying in all
directions.
INT. FOUR-WHEELER - DAY - MOVING
DeWitt glances in his rearview mirror.
DE WITT
I think we lost him.
OMITTED
ANGLE - TRANS AM
as it suddenly appears out of nowhere and cuts in front of
the four-wheeler.
KRUGER (V.O.)
Look out!
ANGLE - FOUR-WHEELER
as it swerves off the road and winds up in a drainage ditch.
DeWitt throws the door open and staggers out. Kruger slumps
over the dash, unconscious.
ANGLE - DE WITT
as he scrambles out of the ditch, soaking wet, his four-
hundred-dollar suit a total washout. Michael walks over.
DeWitt takes a desperate swing at him.
MICHAEL
I was hoping you'd do that.
He takes DeWitt down with one punch.
MICHAEL
Kitt, we've got another customer.
ANGLE FROM K.I.T.T.
as Michael approaches with DeWitt over his shoulders.
K.I.T.T.'s trunk pops up and Michael deposits DeWitt
in with Hagen. The trunk closes.
K.I.T.T.'S VOICE
Michael?
MICHAEL
Yeah, Kitt?
K.I.T.T.'S VOICE
When it comes to human contact, I think
I preferred the girls at the mansion.
Michael laughs.
OMITTED
FADE OUT
END OF ACT FOUR
TAG
FADE IN
OMITTED
EXT. MANSION - DAY
Michael, Devon and Bonnie stand beside the Trans Am as
Lauren passes out the latest issue of Escapade Magazine.
LAUREN
Hot off the presses. They hit the
newsstand first thing in the morning.
In my opinion the DeWitt story is the
best piece we've ever published.
DEVON
I'm glad. It's a fitting epitaph
for Philip Royce.
MICHAEL
May I second that. The public owes
you and your father quite a debt.
LAUREN
And I owe you one...for saving my
life.
She gives him a kiss.
Bonnie is flipping through the magazine. She checks out
the centerfold and laughs.
BONNIE
Lauren, this is great.
LAUREN
Is that the centerfold? I thought
it came out terrific.
Michael takes the last issue from Lauren.
MICHAEL
Mind if I see that?
He opens the magazine and smiles.
MICHAEL
Not bad, love those sleek sexy lines.
INSERT - CENTERFOLD
K.I.T.T. -- surrounded by bathing beauties!
BACK TO SCENE
DEVON
Well, Kitt, what do you think?
K.I.T.T.
Overall, it's a very flattering
layout. However, there is one small
detail that keeps it from being
picture perfect.
MICHAEL
(baffled)
What's wrong?
K.I.T.T.
(re: photo)
Please remove the staple from my
fender.
On the reactions, we....
OMITTED
FREEZE FRAME
AND
FADE OUT
THE END
