ACT ONE
FADE IN
INT. MANSION - NIGHT - CLOSE ON CHAMPAGNE BOTTLE
as the cork is popped and a tray full of empty glasses is
filled to overflowing with bubbly. We pull back to reveal
a very uptown party in progress: the setting is elegant,
the people beautiful. Particularly the women, most of whom
are models with the Michels Agency, very simply the agency
to be with if one wants to be a star. Holding court in the
midst of several aspiring stars is:
BERNIE MITCHELL
in his late forties, handsome in a rough sort of way,
brash, confident. Mr. Wit and Charm. He's got a long-
legged lovely on his arm and he's displaying her to the
onlookers as he talks:
BERNIE
So, I looked Mr. Hollywood Producer
right in the eye and I said, 'Do you
really expect to put a price on
beauty like this? That's like
trying to sell the sunrise.'
The blonde blushes on cue and Bernie smiles a warm, almost
paternal smile at her. He puts his arm around her protec-
tively, turns back to his audience.
BERNIE
So Mr. Producer nods and says that's
precisely what he expects to do.
They call it show business, he tells
me, not show art. What could I do?
I smiled diplomatically and said,
'What a shame. If that's the way
you feel...'
(dramatic
pause)
'...make sure it's a big price.'
Bernie's delivery is impeccable. The girls giggle, the men
smile appreciatively. Behind Bernie, surveying the party
and watching her girls, is Nina Jurgenson. She's Bernie's
lieutenant, and the woman who really runs the agency.
She's in her forties, a bit severe. She's heard Bernie's
stories a hundred times and she's not laughing. As her
glance sweeps the party, we pan:
ACROSS THE ROOM
where a beautiful young model, Rachel Robinson, is arguing
quietly, but intensely, with her boyfriend, Chris Carlsen.
CHRIS
Rachel, it's our chance to get
out of here...it's what we've been
hoping for.
RACHEL
It's not right. Not this way.
Chris, we can wait....
CHRIS
What for -- old age? A rich uncle
to die?
RACHEL
There's got to be another way. I
can't. I'm sorry.
With that, Rachel turns and hurries across the room.
Halfway toward the door, she's intercepted by Lauren Janes,
another of Bernie's models.
ANGLE ON THE GIRLS
Lauren looks at Rachel, concerned. Rachel's almost crying.
LAUREN
Rachel, are you okay?
RACHEL
Yes...no...I don't know.
(beat)
Lauren, I'm going home.
LAUREN
I'll drive you.
RACHEL
No, it's okay...you shouldn't leave.
LAUREN
I'll hardly be missed. C'mon, I'll
take you and come right back.
Before Rachel can protest, Lauren's leading her unobtrusively
out the door. As they disappear, we:
CUT TO
EXT. LAUREN/RACHEL'S APARTMENT - NIGHT
as Lauren and Rachel pull up in a late model sports car.
INT. CAR - NIGHT
Rachel's crying. Lauren looks at her.
LAUREN
You want to talk about it?
No response.
LAUREN
You and Chris, hassling again?
Rachel looks at Lauren a beat, thinking hard.
RACHEL
Sort of. Lauren, something's hap-
pened, something really strange...
(beat)
But, I shouldn't involve you.
LAUREN
Hey, we're roommates. Maybe I can
help.
RACHEL
(hesitating)
Look, you'd better get back. I'll see
you when you get home.
(beat)
But, don't say anything to Bernie.
Promise? You've got to promise....
Lauren studies Rachel, worried.
LAUREN
Rachel, are you going to be all
right?
Rachel nods, gets out of the car. Lauren watches as Rachel
heads for the front door of the building. As she disappears
inside:
EXT. APARTMENT - NIGHT
as Rachel hurries to the door, stops to fumble for her key,
finds it and starts to unlock the door.
CUT TO
INT. APARTMENT - NIGHT
as the door opens and Rachel steps inside, feels for the
light switch. Before she finds it, a shadow moves toward
her.
CLOSE ON RACHEL
as a gloved hand grabs her, covering her mouth and stifling
a scream. As Rachel struggles with her unseen assailant, we:
CUT TO
EXT. PARK - DAY - CLOSE ON MODEL
At first, all we see are legs. Six of them. Then arms.
Six more. Over this, we hear the sound of a motor-driven
Nikon whirring and up-beat rock music. We pull back to
reveal three ravishing models, one of them Lauren, as they
go through their routine for a Photographer. Her litany
provides the back beat for their moves. If possible, we
should freeze frame periodically as a picture is taken.
In the b.g., watching every move, is Nina Jurgenson.
PHOTOGRAPHER
That's it...good, good...very nice
...beautiful...keep moving girls,
nice and smooth, nice and sexy...
that's right. Fantastic! I love
it...good, good!
Then she straightens up, snaps her fingers.
PHOTOGRAPHER
All right, ladies. Take a break....
The girls stop their posturing. The brittle smiles turn
into tired grimaces. Lauren sees someone O.C. and smiles,
this one genuine. Then she hurries across the lawn into
the arms of:
MICHAEL KNIGHT
Lauren gives Michael a big hug, then a kiss. They look just
like any couple in love.
OMITTED
CLOSER ANGLE ON MICHAEL AND LAUREN
in each other's arms, whispering sweet nothings. Lauren's
on edge, nervous.
MICHAEL
By the way, I'm Michael Knight.
LAUREN
After all this, you'd better be.
Mr. Miles described you perfectly.
Thanks for coming.
MICHAEL
My pleasure.
LAUREN
I told everyone you were an old flame
...it'll help explain you being here.
(beat)
That's what the hug and kiss was all
about.
MICHAEL
(smiling
slightly)
Not a bad cover.
Lauren glances around, takes Michael's hand.
LAUREN
Let's go somewhere we can talk.
Lauren leads Michael across the park. As she does, we see:
NINA
watching them from a distance. Not particularly pleased.
ANGLE ON K.I.T.T.
parked near the shoot site. A couple of the models come
walking by, and one of them stops to fiddle with her hair,
using her reflection in the driver's side window.
INT. TRANS AM - DAY
Looking out at the beautiful woman.
K.I.T.T.
Glad to be of service.
EXT. K.I.T.T.
as the window rolls down. The girls exchange a surprised
look, and we go to:
ANGLE ON MICHAEL AND LAUREN
away from the others. Lauren's more reserved. And angry.
LAUREN
I don't care what the police report
says -- Rachel didn't commit suicide!
MICHAEL
Lauren, I didn't say she did. All I'm
saying is everything points to that:
no forced entry, no sign of a struggle,
nothing stolen...an empty bottle of
sleeping pills.
LAUREN
She'd had those pills for a year!
(beat)
Michael, the night she died she was
really upset. More than upset --
scared. She mentioned arguing with her
boyfriend Chris, but it was more than
that. She said something had happened,
something 'really strange...'
(beat)
I told the police but they'd already
made up their minds. That's why I
came to the Foundation.
Lauren turns, faces Michael. She's intense.
LAUREN
Rachel Robinson was my best friend.
She couldn't have killed herself.
She was happy, she had everything to
live for...
(beat)
I want to find out who killed her,
Michael, who and why.
MICHAEL
Me, too. That's why I'm here.
Lauren senses the sincerity in Michael's voice. She nods,
relaxes slightly.
LAUREN
Okay. Thanks.
(glancing
around)
I'd better get back.
Michael nods and they turn and walk back toward the
shooting area. We see Nina barking orders, getting things
organized. Michael watches her.
MICHAEL
Who's the quarterback?
Lauren smiles.
LAUREN
Nina Jurgenson. She's Bernie's
right hand.
MICHAEL
Bernie Mitchell -- 'The Man Who Makes
The Stars Shine.' Isn't that what he
calls himself?
LAUREN
That's some press agent's creation.
Bernie's actually a very sweet guy
who happens to be a genius at
developing talent.
(sadly)
Rachel was one of his favorites.
As Michael and Lauren approach the shooting area, Nina
claps her hands at Lauren.
NINA
Lauren, darling, I said take a break,
not a vacation.
Lauren skips ahead to where the other models are waiting.
Nina eyes Michael appraisingly. And approvingly. She
smiles very correctly, extends her hand.
NINA
Nina Jurgenson, Mr. Knight. Lauren
mentioned you.
MICHAEL
Michael. Nice to meet you.
Nina holds Michael's hand just a beat too long. Enough to
be noticed.
NINA
We don't encourage boyfriends to
attend the sessions...the girls tend
to lose their concentration....
MICHAEL
(a smile)
We wouldn't want that, would we?
NINA
Certainly not.
Nina smiles, then turns back to the shoot. As Michael
starts to walk away, we see Nina turn and glance after
him. Michael continues on toward:
THE TRANS AM
parked nearby. Michael approaches, climbs inside.
INT. TRANS AM - DAY
as Michael fires it up.
MICHAEL
Get me an address on Chris Carlsen,
Kitt.
A grid of city streets appears on K.I.T.T.'s screen and we
hear:
K.I.T.T.
The address is 997 Grandby Street.
Michael throws it in gear, drives off. As he does:
K.I.T.T.
Michael, I didn't realize you knew
that young woman.
MICHAEL
Lauren? I don't. Didn't.
K.I.T.T.
For two strangers, you appeared
awfully...familiar.
MICHAEL
(smiling)
Were you spying on me?
K.I.T.T.
(defensively)
I was simply monitoring you. It's
part of my job.
MICHAEL
Yeah, well, what you were monitoring
was part of my job.
(another
smile)
Nice work when you can get it.
K.I.T.T.
I was also monitoring those models.
What were they wearing?
MICHAEL
Next spring's fashions. Why?
K.I.T.T.
Next spring's fashions? The
clothing last spring seemed satis-
factory. Why create new apparel?
MICHAEL
People's tastes change, Kitt. They
like new designs, new lines...same
thing happens with cars every year.
K.I.T.T.
As far as I'm concerned, that practice
is criminal. Why can't people be
content with what they have?
MICHAEL
Think of it this way. If Detroit had
been content, you'd still be a Model T.
CUT TO
OMITTED
EXT. CHRIS CARLSEN'S APARTMENT - DAY
as the Trans Am pulls up. Michael parks, gets out and
walks to the front door of the apartment building. He
checks a name on the mailbox, "Carlsen - 3B," then heads
toward:
EXT. APARTMENT - DAY - CLOSE ON THE DOOR
It reads "3B." Michael comes up, knocks. No answer. He
glances around, and then goes to work on the door with a
pick. In a second, he's got the door open. He steps
quickly into:
THE APARTMENT
A small studio, sparsely furnished. Michael closes the
door, looks around the room. He checks a picture of
Carlsen and Rachel on an end table. As he does, we hear
a phone ring. Michael turns, crosses to a wall phone near
the kitchenette. Into his comlink:
MICHAEL
Kitt, trace this call.
Michael then answers, gruffly, disguising his voice.
MICHAEL
Hello?
Through the phone, we hear the crackle of long distance and
a Man speaking with a distinctive accent (Swiss/French).
MAN
Monsieur Carlsen, please.
MICHAEL
(a beat)
Speaking.
RAMBEAUX
Mr. Carlsen, this is Phillip Rambeaux.
We have received your telegram
regarding the diamond necklace and
earrings. If the gems are of the
quality you indicated, we would be
most happy to represent them for you.
MICHAEL
Good.
RAMBEAUX
Your telegram indicated you might be
in Europe as early as next week. I
look forward to hearing from you.
MICHAEL
Okay. Good.
RAMBEAUX
Au revoir.
Michael hangs up the phone. Into his comlink:
MICHAEL
Any luck?
K.I.T.T.'S VOICE
(via comlink)
It was placed from the offices of
Rambeaux and Sons...in Geneva,
Switzerland.
The information registers on Michael's face. We hold on
him for a beat, and then:
CUT TO
OMITTED
EXT. STREET - NEAR LAUREN'S - DAY
as the Trans Am cruises down the street. Michael and
Lauren are inside, and we hear:
MICHAEL'S VOICE
Rambeaux and Sons is one of the
biggest jewelry houses in Europe.
EXT. LAUREN'S APARTMENT - DAY - ON THE TRANS AM
The same place Lauren dropped Rachel off. The Trans Am
pulls up and parks. Michael and Lauren continue talking.
LAUREN
But that doesn't make any sense.
Rachel and Chris put every penny
they earned into the bank -- to buy
a farm back in Ohio.
(shaking
her head)
The closest Rachel ever came to
diamonds was the costume jewelry
Bernie gave us to wear in the photo
sessions.
Michael reacts to this:
MICHAEL
Gave to you? You mean, to keep?
LAUREN
Sometimes. In fact, Rachel just
came back from France with a really
beautiful necklace.
MICHAEL
I'd like to see it.
LAUREN
Okay, but why?
MICHAEL
I'm not sure. A hunch....
But Lauren's already thinking, her mind racing.
LAUREN
Wait a minute. If that junk was
real, it'd be worth a fortune.
MICHAEL
(nods)
Easily worth a trip to Switzerland.
LAUREN
But, why would Bernie give it to
Rachel and not tell her?
ANGLE ON ENTRANCE TO APARTMENT BUILDING
as Michael and Lauren reach the entrance of the apartment
building, a man comes hurrying out the door past them.
Neither Michael or Lauren gets a glimpse of his face, but
as they head inside, we follow the man, named Miller, to:
EXT. STREET - IN FRONT OF THE APARTMENT - DAY
where he crosses to his car, parked directly in front of
K.I.T.T. He jumps inside, turns it over. It won't start.
He tries it again, then again, getting increasingly angry.
Behind him, K.I.T.T.'s scanner flares.
ON K.I.T.T.
monitoring Miller's frustrated attempts to start his car.
We hear:
K.I.T.T.
If you keep abusing that vehicle,
I'm going to report you to the auto
club.
ANGLE ON MILLER
as he looks around, startled by the voice. Off his look,
we:
CUT TO
INT. LAUREN'S APARTMENT - DAY
as Lauren and Michael step into the apartment. A look of
stunned disbelief passes over Lauren's face. And for good
reason: the place has been completely ransacked. Drawers
emptied, cushions slit open, tables overturned.
LAUREN
Oh my God.
Michael stares at the apartment, thinking, then races for
the window, talking into his comlink:
MICHAEL
Kitt, the man who just left the
building...ID his car.
Michael turns to race out of the apartment.
MICHAEL
Stay here, and don't touch a thing.
Michael's out the door. Lauren looks at the dishevelled
room. Scared, confused. Off her look, we:
CUT TO
EXT. APARTMENT - DAY
as an old Dowager, Mable, with her pet dog, Maurice, is at
the curb. Maurice is one of those little happy things about
the size of a slipper, wearing a little blue ribbon in his
hair. Mable's carrying a pooper-scooper. We see Michael
rush through the entrance behind them. Mable turns to see:
MICHAEL
talking into his comlink:
MICHAEL
Over here, Kitt!
Mable stares at Michael like he's nuts. She's then
distracted by:
K.I.T.T.
driverless, roaring back toward Michael. The Trans Am
screeches to a halt, and the door pops open. Michael races
by Mable and Maurice, both of whom are watching, trans-
fixed. He jumps into K.I.T.T. Maurice starts whining. He
sounds like a travel alarm clock going off.
CUT TO
INT. TRANS AM - DAY
Michael talking to K.I.T.T. Outside, Mable moves closer
to the car, watching Michael. Maurice is starting to bark.
MICHAEL
What've you got?
K.I.T.T.
The plates on the car were stolen.
It's heading north, approximately
one hundred and fifty yards ahead.
Michael nods, puts the pedal to the metal.
ON MABLE AND MAURICE
as the Trans Am squeals away, Mable turns to Maurice.
MABLE
That young man was talking to his
car, Maurice. Can you imagine
talking to something that can't talk
back?
CUT TO
EXT. STREET - DAY
Another part of town, as the Trans Am roars past camera.
INT. TRANS AM - DAY
Michael's bent over the wheel. We hear:
K.I.T.T.
Michael, the car we're pursuing just
parked.
We see K.I.T.T.'s monitor blink on. A grid of city streets
is shown, with a red light designating the car.
MICHAEL
That's where Rachel's boyfriend Chris
lives.
ANGLE ON TRANS AM
as Michael takes a hard right, squeals around a corner,
and disappears.
CUT TO
EXT. CHRIS CARLSEN'S APARTMENT - DAY
Miller's car is parked in front as the Trans Am roars up.
In a second, Michael's out, racing for Chris' apartment.
We follow him to:
EXT. APARTMENT
as Michael runs up, then slows and cautiously approaches.
The door to the apartment is partially open. Michael
creeps up, then kicks it open and rushes into:
INT. CHRIS' APARTMENT
where we see Chris Carlsen's body stretched out on the
living room floor. Obviously very dead. Michael steps
up to the body, leans down to check for a pulse. Doesn't
find one. We hear:
K.I.T.T.'S VOICE
(via comlink)
Michael, be careful. My sensors
indicate....
CLOSE ON MICHAEL
Suddenly, he's struck across the neck. Hard. He collapses
to the ground, stunned, as a figure rushes past him and
out the front door. Michael struggles to his knees, then
finds his feet.
MICHAEL
(into
comlink)
Kitt, meet me in front!
Michael stumbles out of the apartment.
EXT. APARTMENT - DAY
as Michael emerges, we see Miller's car speed away from
the curb. K.I.T.T. squeals up to Michael, pops the door.
INT. TRANS AM
as Michael reaches the car, climbs inside.
K.I.T.T.
Michael, are you all right?
MICHAEL
No. Let's go!
With that, the Trans Am speeds off down the street after
the sedan.
EXT. STREET - DAY
as Michael speeds through traffic. The sedan has got a good
lead, but the Trans Am is closing fast. A yellow light
turns to red, though, and the sedan sneaks through at the
last second. Suddenly, the intersection is blocked by
cross traffic, and the Trans Am is speeding toward the cars.
INT. TRANS AM - DAY
as Michael sees the traffic in front of him.
MICHAEL
Too late to slow down, pal....
K.I.T.T.
And it may be too late to turbo,
Michael....
MICHAEL
It better not be.
Michael hits the turbo button.
EXT. TRANS AM
roaring toward the intersection. At the last possible
moment, it lifts off, barely missing the car in front of
it. At the apex of the jump, we:
FREEZE FRAME
AND
FADE OUT
END OF ACT ONE
ACT TWO
FADE IN
EXT. STREET - DAY - ON THE TRANS AM - CONTINUOUS ACTION
as the Trans Am hits the pavement just the other side of
the crowded intersection and races after the ND sedan.
ANGLE ON THE SEDAN
skidding around a corner, heading down another street. A
couple of beats later, the Trans Am roars around the same
corner.
WIDER ANGLE
as the two cars race down the street, the Trans Am gaining
fast. Suddenly, from an alley, a moving van begins backing
into the street, blocking one lane and moving into the
other.
ON THE SEDAN
slamming on its brakes, skidding sideways, barely missing
the van, but somehow getting around it.
ON THE TRANS AM
A beat too late. By now the van fills both lanes of the
street. There's no way around.
INT. TRANS AM - ON MICHAEL
having to make a split-second decision. K.I.T.T. gives him
a hand.
K.I.T.T.
Michael, we can't!
MICHAEL
Gotcha, pal.
Michael stands on the brakes.
EXT. TRANS AM
as it comes to a screeching halt inches from the moving van.
INT. TRANS AM - CLOSE ON MICHAEL
taking a real deep breath, shaking his head. Off this, we:
CUT TO
EXT. FOUNDATION - DAY
Over, we hear:
DEVON'S VOICE
It doesn't make sense, Michael. Why
all this intrigue over costume
jewelry?
CUT TO
INT. FOUNDATION - DEVON'S OFFICE - DAY
Michael is talking with Devon and April.
MICHAEL
What if the costume jewelry wasn't
just cut glass? What if it was real?
Devon and April exchange a look. As Michael continues,
April starts punching into her computer.
MICHAEL
I did some checking...it turns out
Rachel's boyfriend, Chris, was an
amateur rock hound.
APRIL
(intrigued)
Then he could have recognized real
jewels.
MICHAEL
He could've...and if he did, and wanted
to sell them, that could explain why
Rachel was so worried the night she
was killed.
DEVON
You aren't suggesting he killed her?
MICHAEL
No. Rachel came home early that night
...unexpected. What if she surprised
someone in her apartment -- someone
looking for the jewelry....
April turns to Devon and Michael.
APRIL
You could be right, Michael.
(looking
at screen)
In the last year and a half, six
models from the Michels Agency
have been robbed...and each of them
reported costume jewelry missing.
Michael and Devon exchange a look. Michael's excited.
MICHAEL
That's it, Devon. She surprised the
guy, he killed her and made it look
like a suicide. Problem is, he couldn't
find the necklace....
DEVON
Which would explain the man you
encountered at Lauren's apartment.
MICHAEL
(nodding)
But he still couldn't find it. He
figured Rachel's boyfriend had to
have it, and headed over there.
DEVON
Unfortunately for him.
(thinking)
Beautiful models carrying fortunes in
jewels in from foreign countries...
only to have them stolen. Intriguing,
but I still don't understand why.
What possible purpose could it serve?
MICHAEL
That's what I'd like to ask Bernie
Mitchell.
As Michael starts for the door:
MICHAEL
I think I'll track this bear into his
lair. I've always wanted to see how
the other half lives.
CUT TO
EXT. STREET - NIGHT
as the Trans Am cruises by, and we go to:
INT. TRANS AM - NIGHT
Michael's dressed in a tux.
K.I.T.T.
I suppose this party is another
phase of your 'undercover' work
with Lauren.
MICHAEL
(smiling)
It's a tough job, pal, but....
K.I.T.T.
I know...someone's got to do it.
(beat)
I am delighted to see you wearing a
tuxedo, though.
MICHAEL
I thought you weren't into fashions.
K.I.T.T.
I'm not 'into' the irrational need
to constantly change the design of
clothing.
MICHAEL
Oh. Excuse me.
K.I.T.T.
The tuxedo, however, is a classic
that has changed very little during
the past hundred years.
MICHAEL
Yeah...it's always been stiff,
scratchy and hot.
K.I.T.T.
A small price to pay for style and
elegance.
MICHAEL
That right? Maybe we should fit you
with a Continental Kit and a pair of
mud flaps, and see how you like it.
K.I.T.T.
You wouldn't dare! Would you...?
Michael just grins, turns into:
OMITTED
EXT. BERNIE'S MANSION - COURTYARD - NIGHT
The Trans Am pulls in, parks. Michael gets out and enters:
INT. BERNIE MICHEL'S MANSION - NIGHT
Michael enters, crosses through the hall to the living room
where another one of Bernie's famous parties is happening.
Bernie himself is stretched out on a sofa, once again the
center of a gaggle of sycophants. And loving it.
BERNIE
It was October of '51. We'd just
parachuted fifty kilometers behind
North Korean lines. The three guys
I'd jumped with bought it...pow! Pow!
Pow! Just like that. And old
Bernie picked up about four pounds of
shrapnel in parts of the body that I'm
reluctant to mention...
(perfect pause)
...in front of gentlemen.
More laughter. Bernie chuckles, leans over and whispers
something in the ear of a perfect blonde to his left. She
gasps, her eyes go round, and she covers her mouth.
Blushing wildly. Bernie pats her, turns back to his
audience.
BERNIE
But, I lived, right? No problem,
except when I've gotta go through
one of those metal detectors at
the airport. you should see the
looks I get.
More laughter. Bernie beams at the blonde. Off this, we
go to:
NINA
standing across the party, talking with a man who's back is
initially to us. He turns and we see it's Miller, the man
we first saw outside of Lauren's. As they talk, they glance
across the room where Michael is talking with Lauren.
MILLER
I don't know who he is, or what he's
up to, but I don't like it.
NINA
He didn't pass security, either. He
could be a problem.
MILLER
He's already a problem.
Nina nods, glances over at Michael, thinking.
NINA
If he's something other than what
he says he is, we'll find out.
Miller nods, moves away from Nina. We follow her glance
toward:
MICHAEL AND LAUREN
in a quiet corner, sipping champagne. Lauren's upset.
LAUREN
I just can't believe it's Bernie --
he's been like a father to us. Why?
Why, Rachel?
MICHAEL
That's what we're here to find out.
Before Michael can continue, Lauren's started across the
room, heading directly for Bernie. Michael recovers,
grabs her by the arm.
MICHAEL
Lauren....
LAUREN
Let go! I'm going to find out
what's going on.
MICHAEL
That's not the way to do it, believe
me.
Lauren slowly relaxes. A beat, then:
LAUREN
I talked to Rachel's mom and dad on
the phone today. It's hard enough
for them to lose her, but the thought
she might have killed herself is
just destroying them....
MICHAEL
(quietly)
We're going to find out what really
happened. I promise.
(beat)
One step at a time. First, I want
to have a look around. Where does
he do his business?
LAUREN
His study. It's at the end of the
hall.
(beat)
Michael, I'm coming with you.
MICHAEL
No. I need you to keep an eye on
things out here.
Lauren starts to protest, but Michael leans over and kisses
her.
MICHAEL
We're supposed to be in love,
remember?
(kisses her
again)
The first commandment of undercover
work is never blow your cover.
(smiles)
I'll be right back.
With that, Michael turns and heads slowly across the room.
OMITTED
MOVING WITH MICHAEL
as he gradually heads for the hallway, grabbing another
glass of champagne off a passing tray -- just for the
looks. Suddenly, Nina appears at his side. Friendly.
Warm. And right in his way.
NINA
Enjoying yourself?
MICHAEL
Oh, yeah. Terrific. Bernie really
knows how to throw a party.
NINA
Bernie's a warm, generous person.
(beat)
What about you, Michael? Who are
you?
Michael studies Nina for a beat. The smile is still in
place, but there's something chilly behind her eyes.
MICHAEL
Me?
NINA
Yes, you. As part of our normal
security procedure, we ran a back-
ground check on you. Until two
years ago, you didn't seem to exist.
Michael looks at Nina, apparently dumbfounded. Then he
takes a gulp of champagne, smiles crookedly. Looking a
little in the bag.
MICHAEL
Could've fooled me.
Michael laughs. Nina doesn't. Michael takes another sip
of the bubbly.
MICHAEL
(conspiratorially)
Actually, it's true...I'm two,
just big for my age. They call
it...prodigious...
(hesitating)
...no, percerous...
(straining to
think)
...uh, old for my age.
He goes to take another sip of champagne and spills it.
Michael grins apologetically.
MICHAEL
Then again, some people call it
'drunk.' No, that's not true...but....
Michael looks around the room, then turns back to Nina.
MICHAEL
You wouldn't happen to know where
the bathroom is, would you? Just in
case?
NINA
Down the hall. Second door to your
right.
Michael grins again, turns and walks, with some
unsteadiness, down the hall. Nina watches him for a
moment, then turns back to the party. She catches Miller's
eye across the room, nods to him. As she does, we go to:
MICHAEL
Rounding, and he hurries to the end of the hall and
disappears into the corner of the hallway. The act is
gone.
INT. STUDY - NIGHT
The door opens and Michael slips inside. He switches on a
small desk lamp, starts searching through the room and
turns up a wall safe cleverly hidden behind an exotic
collection of masks. Michael studies the safe, then:
MICHAEL
(into comlink)
Kitt, I'm gonna need some help.
We intercut with:
INT. TRANS AM - NIGHT - ON K.I.T.T.
His dash lit up, the monitor on. Michael holds the comlink
up to the safe, starts turning the dial.
K.I.T.T.
Slowly Michael. Good. There: Forty-
three. Now to the right...there:
Twenty-seven. To the left...that's it:
Eleven. Now to the right again...
Seventeen. Voila!
MICHAEL
Good work, pal. Now, keep an eye
out. Let me know if anyone's coming.
Michael reaches into the safe, pulls out a beautiful
bracelet and an equally gorgeous necklace. Studded with
expensive looking stones. attached to each is a label.
On one, "Humberto Orozco, Mexico City." On the other
"Eduardo Perrara, Puebla."
Michael studies the necklaces. Into his comlink:
MICHAEL
Kitt, these jewels...are they real?
K.I.T.T.
Yes. Real glass.
(then urgent)
Michael...someone is approaching!
Michael quickly closes the safe, switches off the light,
and hurries for a closet. Just as he ducks inside, the
door opens. For a moment, we're not sure who it is, but
then a man and a woman, whispering and giggling, step
inside and close the door behind them. They fall into a
passionate embrace.
OMITTED
INT. HALLWAY
as Miller comes round the corner, stops. Listening. He
moves slowly toward the study door and we go to:
INT. CLOSET - ON MICHAEL
Stuck. Outside we hear giggles.
MICHAEL
Kitt, I'm in trouble.
Intercut with:
INT. TRANS AM
as K.I.T.T. responds.
K.I.T.T.
My sensors indicate they're not
armed, Michael.
MICHAEL
Not that kind of trouble. I'm stuck
in the closet.
K.I.T.T.
Are they holding you captive?
MICHAEL
They're too busy holding each other
to worry about me. Just do some-
thing...create a diversion.
K.I.T.T.
Oh, dear...what kind of diversion
would be appropriate?
MICHAEL
I don't care! Just get them out of
here.
INT. DEN
where the man and woman are on the sofa, embracing. Suddenly
a light near the sofa blinks on. They jump apart, startled.
The man finds the light switch, plunges the room into dark-
ness. Then a light on the other end of the sofa blinks on.
Again he switches them off, but just as quickly the overhead
lights come on. By now the couple is thoroughly spooked and
they turn and hurry out of the room.
INT. HALLWAY
The couple almost runs over Miller standing outside the
door. They hurry away. Miller glances after them, sneaks
a look in the study, then heads back to the party.
INT. DEN - ON THE CLOSET
as Michael opens the door, peeks out. He smiles to himself,
quickly crosses to the door, checks the hallway. By now
it's clear and as Michael exits the den, we:
CUT TO
EXT. SEMI - DAY - STOCK
cruising down the highway.
INT. SEMI - DAY
where we find Michael, Devon and April. Spread out in front
of them are a series of photos, blow-ups of the pix Michael
took. (Note: we don't have to actually see the pix them-
selves). April hands Michael a computer print-out.
Michael whistles as he studies the print-out.
MICHAEL
Dummy corporations and numbered bank
accounts in the Grand Caymans. He's
a busy man.
DEVON
And extremely wealthy if those
figures are accurate.
Michael nods, thinking, then turns to April.
MICHAEL
April, can you find out where
Bernie's models have traveled in the
last year?
April nods, turns to the computer as Devon continues:
DEVON
The Grand Caymans are the Caribbean
version of Switzerland...an ideal
place to hide money you wouldn't want
anyone to know about....
MICHAEL
Or launder the stuff you shouldn't
have.
April looks up from the computer.
APRIL
According to our information, they've
been to Spain, France, Greece, Peru
and Chile.
MICHAEL
(excitedly)
Devon, don't those countries have
currency restrictions?
DEVON
(nods)
Exceedingly strict, as I recall. It's
illegal to transfer money out of the
country.
Michael turns, grabs a picture of the necklace and bracelet
he saw in Bernie's safe. Devon and April begin to follow
Michael's train of thought.
MICHAEL
But if you used that money to buy
expensive jewels....
DEVON
And then switched the real jewels
in place of costume jewelry....
MICHAEL
You could probably wisk them right
through customs....
APRIL
On the necks of beautiful American
models.
MICHAEL
And once they're in the states,
Bernie converts the jewels back to
cash and has the money transferred
to those private accounts in the
Caribbean -- after he takes a
percentage off the top.
Devon glances at the picture of the necklaces.
DEVON
If you're on the right track, these
necklaces are for Bernie's next
customers.
April turns, punches into her computer. On the screen, we
see pictures of two Mexicans. Under each is a name:
Eduardo Perrera, Humberto Orozco.
APRIL
Orozco and Perrera certainly fit the
profile: wealthy industrialists
trying desperately to get money out
of Mexico....
Michael looks at April, suddenly concerned.
MICHAEL
The next agency shoot is in Mexico
City. Lauren's scheduled to leave
tomorrow.
Now it's Devon's turn to look concerned.
DEVON
Michael, the Foundation has no legal
jurisdiction in Mexico.
MICHAEL
Neither does Bernie Mitchell. Devon,
she shouldn't be down there alone....
Michael's already heading for the car.
MICHAEL
I'm going to brief her.
As April nods, Michael jumps in the Trans Am, fires it up.
EXT. SEMI - DAY - STOCK
as the Trans Am backs out, roars off.
OMITTED
EXT. LAUREN'S APARTMENT - DAY
Mable and Maurice are coming out of the apartment building.
Maurice has a little sweater on and the old lady's got her
trusty pooper-scooper. As they start toward the sidewalk,
the Trans Am comes roaring up and Michael jumps out. Mable
jerks Maurice to a halt, watches him apprehensively.
Maurice whines, straining at his leash.
MICHAEL
Keep an eye on things, Kitt.
The scanner flashes. Mable cranes her neck to see it and
Maurice starts growling, then barking. Michael walks past
them into the building. The old lady glances over her
shoulder, then peeks inside the car. Shakes her head at
Maurice, who suddenly goes for K.I.T.T.'s front tire, trying
to bite it with his little teeth. We hear:
K.I.T.T.'S VOICE
Keep that up and you'll be on the
wrong end of a 'Car Bites Dog' story!
Maurice backs away, his barks fading to a whimper. Mable
is stunned. Off her look, we:
CUT TO
INT. LAUREN'S APARTMENT - DAY
A knock on the door. Then the doorbell. A beat later and
the door opens. Michael puts his pick back in his pocket
as he hurries inside.
MICHAEL
Lauren...Lauren!
No answer. Michael hurries through the apartment, checking
the living room, the bedrooms. Nothing.
ANGLE ON MICHAEL
coming down the hall, passing the bathroom. Something
catches his eye and he stops. He turns, walks into:
THE BATHROOM
where we see a hastily written note scrawled on the
bathroom mirror, in lipstick. It reads: "Mexico City.
Casa Hermosa. Hurry!"
ON MICHAEL
taking in the note. Off of his worried look, we:
FREEZE FRAME
AND
FADE OUT
END OF ACT TWO
ACT THREE
FADE IN
OMITTED
EXT. HIGHWAY - DAY - STOCK
as the semi rolls by. We hear:
MICHAEL'S VOICE
He forced her to go with him!
OMITTED
INT. SEMI - DAY
Michael and Devon are talking. April's working on K.I.T.T.
MICHAEL
I've got to get down there as soon
as possible.
(to April)
April, get me and Kitt on a plane
to Mexico City as soon as possible.
We hear:
K.I.T.T.
Michael, I do not intend to set one
wheel inside an airplane.
MICHAEL
Kitt, I'm going to need you to trans-
late for me. Why don't you want to
go?
K.I.T.T.
(reluctantly)
Because...I don't like flying.
APRIL
Kitt, you've never flown before.
K.I.T.T.
One doesn't have to be bitten by a
dog to dislike dog bites. Besides,
if cars were meant to fly they would
have been made with wings.
Michael, Devon and April exchange a glance, try to suppress
grins. Michael shrugs.
MICHAEL
Well, if that's the way you feel,
pal, I'll go alone. Pick up a
rental car in Mexico City.
K.I.T.T.
(aghast)
A rental car? Michael, you wouldn't.
(beat)
Perhaps I could make this one flight
an exception.
Everyone laughs.
MICHAEL
Thanks, buddy.
Devon turns to Michael.
DEVON
Given what's happened, I'm still
concerned about sending you down
there alone. Particularly without
some kind of plan.
Michael looks at Devon, smiles slightly.
MICHAEL
Funny you should mention that, because
I've got an idea how we can make this
a team effort...and get the kind of
hard evidence we'll need to nail
Bernie once and for all.
Michael grins at Devon and April, who exchange a confused
look. Off their reaction, we:
CUT TO
OMITTED
EXT. MEXICO CITY AIRPORT - DAY - STOCK
EXT. MEXICO CITY STREET - DAY - STOCK
Lots of cars, honking, congestion. Music over.
EXT. CASA HERMOSA - DAY - ESTABLISH
then pan as K.I.T.T. pulls up in front of this beautiful
Mexican casa, Michael behind the wheel.
MICHAEL'S VOICE
That wasn't so bad, was it?
ANGLE IN K.I.T.T.
K.I.T.T.
Three hours in a cargo hold was
bad. Two hours in a Mexican traffic
jam was bad.
MICHAEL
Sorry, pal.
K.I.T.T.
I only hope there was good reason
for all this.
Michael smiles, punches a button on the dash that reads:
"Record".
MICHAEL
You bet...I need you to record
everything that goes on inside.
K.I.T.T.
It would have been far easier and
cheaper, to bring a tape recorder.
MICHAEL
Sure but it wouldn't be the same
without your cheery personality.
K.I.T.T.
Very funny.
Michael laughs, gets out and heads into:
INT. CASA HERMOSA - COURTYARD - DAY
A photo shoot is underway. A photographer jockeys for
position. Beautiful models, including Lauren, pose in a new
line of clothes by a prominent Mexican designer. As the
camera angle widens we see we're in the courtyard of the
house, the delicate fashions displayed in contrast to the
rough stone and brick architecture.
ANGLE ON LAUREN
posing for photographers. She is wearing the stunning
diamond necklace we saw in Bernie's safe. Looking off, she
reacts when she sees:
MICHAEL
coming into the courtyard. He spots her just as she sees
him, breaks into a grin, hurries toward her. Lauren
excuses herself, moves to Michael. They embrace. Just a
little too tightly, just a bit too long, for acting. They
both realize it, try to cover.
LAUREN
You got my message -- Thanks, I had
no idea you were so...dedicated.
MICHAEL
My middle name. Are you all right?
What's been happening?
Lauren glances around, takes Michael by the hand. They walk
and talk.
LAUREN
I don't know where to start, it's
all been so strange. Something's
happening, Michael -- something
important. Bernie's throwing a big
party tonight for some Mexican
businessman.
MICHAEL
(thinking)
Their names wouldn't happen to be
Perrera and Orozco, would they?
LAUREN
(surprised)
Yes...how'd you know? Michael, what
did you find out?
Michael glances over, sees Nina heading their way.
MICHAEL
Here comes the quarterback. I'll fill
you in later....
Nina arrives, gives Michael a cold look.
NINA
I suppose you were just passing
through town.
MICHAEL
It's a nice day for a drive.
NINA
It's lovely you don't have to work
for a living, but Lauren does...
(to Lauren)
Need I say more?
Lauren nods, gives Michael a little peck and heads back to
the shoot. Nina turns to Michael. Her smile is a little
forced. Brittle.
NINA
You're becoming more trouble than
you're worth.
MICHAEL
I think Bernie'd be a better judge
of that. I've got a business propo-
sition for him.
NINA
(tries to head
him off)
Mr. Mitchell doesn't do business
with his models' boyfriends.
MICHAEL
Don't put money on it.
Michael brushes past Nina, who glares at him.
MOVING WITH MICHAEL
heading for Bernie's suite. Into his comlink:
MICHAEL
Pop in a cassette, buddy...you're
about to earn your keep.
As Michael disappears into the house, we:
CUT TO
INT. BERNIE'S HOUSE - DAY
Bernie looks angry.
BERNIE
All right, what do you want?
WIDER ANGLE
We see Michael across from him, two Mexican bodyguards in
close b.g., Miller close by. The house is spectacular.
Michael indicates the bodyguards.
MICHAEL
It's confidential.
BERNIE
What, you got a social disease? You
want to borrow twenty dollars for
cab fare? Spit it out, lover-boy,
I've got things to do.
MICHAEL
I thought we'd discuss money, Bernie.
Lots of it. tucked away in cozy
little accounts in the Grand Caymans...
(off Bernie's
look)
Ring any bells?
Bernie's eyes bore into Michael.
BERNIE
You got no idea what you're talking
about.
MICHAEL
No? Five accounts in the Chartered
Bank of Grand Cayman. Sequentially
numbered, 0-10-12-62 thru 66. That's
for starters.
BERNIE
(beat)
Who are you?
MICHAEL
More than a persistent boyfriend.
Just like you're more than the owner
of a modeling agency.
BERNIE
What is this, extortion? You want a
payoff or what?
MICHAEL
Bernie...such paranoia, such distrust.
I represent a wealthy English expatriot
who has vast holdings in Mexico. He's
planning to leave the country...and he'd
like to take his money with him when he
goes.
INTERCUT - K.I.T.T.
He is recording the conversation.
MICHAEL'S VOICE
I have letters of introduction.
Check him out.
BACK TO SCENE
Michael hands Bernie several sealed envelopes.
BERNIE
I will, believe me.
MICHAEL
He's looking forward to meeting
you. Tonight.
Michael turns and exits. Hold on Bernie, staring after
him, then:
CUT TO
EXT. CASA HERMOSA - NIGHT - ON K.I.T.T.
We find K.I.T.T. parked near the entrance to the casa. The
sounds of music drifts through the open windows. A couple
of young Mexican boys, parking cars for the party, have
spotted K.I.T.T. and are trying to get inside for a better
look. The doors don't budge, but they don't give up.
Finally, K.I.T.T. loses patience:
K.I.T.T.
(rapid-fire
Spanish)
All right, get your hands off me
and get back to work!
Though most of us won't understand the words, we get the
message, just as the two kids do. In a second, they're
gone. K.I.T.T. sighs.
OMITTED
INT. CASA HERMOSA - NIGHT
Where a chic party is in progress, a combination of rich
Americans and rich Mexicans. A mariachi band plays a
lovely slow waltz and as we pan the party, we pick up:
MICHAEL AND LAUREN
dancing in the middle of the floor. Cheek-to-cheek.
Obviously enjoying every second of it.
LAUREN
Do you think our cover's working?
MICHAEL
So far, but we can't let down our
guard for a second.
He holds her closer. She smiles.
LAUREN
You take your work very seriously,
don't you?
MICHAEL
(smiling)
I'm a dedicated professional. Almost
compulsive sometimes.
LAUREN
I'm starting to like all this under-
cover stuff. Think I could make a
career out of it?
MICHAEL
With practice and qualified instruc-
tion.
They smile, kiss, continue dancing and we pan past them
toward the entrance to the room.
DEVON AND APRIL
as they make a grand and smashing entrance. Devon looks
perfect in his tux and April like a princess in a gorgeous
dress, with jewelry dripping off her. Several men turn to
appreciate her beauty as she and Devon step into the room.
As they do, we pick up:
NINA
watching them as they cross to the center of the party, and
are greeted by Michael and Lauren. She gestures to someone
across the room.
ANGLE - CLOSER
as Michael, April and Devon go through their charade.
MICHAEL
Senor Miles...senorita.
Michael takes April's hand, kisses it over ad-lib greetings.
ANGLE - WIDER
as Bernie steps up to them. Though he greets Devon, his
real attention is always on April.
BERNIE
Senor Miles, how good of you to join
us.
(to April)
Enchante, mademoiselle....
He takes April's hand, kisses it. She blushes with its
intimacy. Bernie loves it.
BERNIE
I spend my life around beautiful
women. How could I have missed you?
APRIL
Ships in the night perhaps.
BERNIE
You, my dear, could be a star.
Devon glances at Michael, increasingly irritated. He
checks his watch.
DEVON
Mr. Mitchell, we only have a limited
amount of time.
Bernie doesn't take his eyes off April. He frowns slightly.
BERNIE
Business, business, business. So
little time for life's true pleasures.
Another kiss to April's hand, then Bernie turns and gestures
for Devon and Michael to follow him. As they do, we stay
with Lauren and April for a moment.
APRIL
You must be Lauren. I'm April.
Michael's told me so much about you.
LAUREN
(pleased,
embarrassed)
I didn't think there was that much
to tell.
APRIL
According to Michael there is.
April looks at Lauren, sees the apprehension in her eyes.
APRIL
I know how hard this must be for you.
It'll be okay. Believe me....
CUT TO
OMITTED
INT. STUDY - NIGHT
Michael and Devon are across from Bernie in the richly
appointed room. A bodyguard stands at the door. Bernie
has Devon's letters of introduction open in front of him.
He looks at them briefly, then suddenly rips them in half.
BERNIE
Letters of introduction can be
forged. Phone calls can't. Let's
see if Senor Perez really wrote this
letter.
He picks up the phone and begins to dial. Michael and
Devon exchange a panicky look. Michael turns, casually
moves across the room. As he does, he whispers quickly
into his comlink:
MICHAEL
Kitt, intercept this call.
During this sequence, we intercut with:
INT. TRANS AM - NIGHT - ON K.I.T.T.
K.I.T.T.
Intercept it? And then what...?
There's not much time to consider. We hear the phone being
dialed, and then it starts ringing. K.I.T.T.'s computer
comes to life, whirring and blinking as he intercepts the
call.
K.I.T.T.
I hope my Spanish is up to par.
K.I.T.T. simulates the sound of a phone being answered.
K.I.T.T.
(in Spanish)
Hello.
BERNIE
(in Spanish)
Alfredo Perez. Bernie Mitchell calling.
K.I.T.T.
(in Spanish)
I'm sorry...he's out for the evening....
Devon and Michael watch nervously as Bernie continues.
BERNIE
Do you speak English?
K.I.T.T.
(with accent)
Yes. Mr. Perez is out for the evening.
BERNIE
It's important that I speak with
him. Do you know where he is?
K.I.T.T.
Yes, he's visiting his nephew, Arturo,
and then he's meeting Senor Devon
Miles for a late supper.
BERNIE
I see...okay, thanks.
BACK TO SCENE
Bernie hangs up, looks at Devon, who's expecting the worse.
BERNIE
My apologies, Mr. Miles.
DEVON
Pardon?
BERNIE
You're having a late supper with
Alfredo? Please. Tell the restau-
rant to bill me.
Devon is amazed, but recovers beautifully. Michael hides a
knowing smile.
DEVON
If you insist. Now, if we may
conclude our business? I'd hate to
keep Alfred waiting.
BERNIE
By all means. Cognac, gentlemen?
Off Bernie's warm, embracing smile, we:
CUT TO
OMITTED
EXT. LAX - DAY - STOCK
as a 747 lands, taxis down the runway.
EXT. AIRPORT - ND LOADING DOCK - DAY
It could be anywhere. A limo's parked, a driver waiting
behind the wheel. We see Nina, Bernie, Miller and Lauren
come hurrying over and get into the car. A porter puts
their bags in the trunk and the limo silently moves off.
ANOTHER PART OF AIRPORT - ON A PHONE BOOTH
Michael's involved in an urgent call to Devon.
MICHAEL
No, that part went like clockwork.
Lauren sailed through customs
wearing a fortune in jewels and no
one looked twice.
Intercut with:
INT. DEVON'S OFFICE - DAY
Devon's on the phone.
DEVON
Good. Now all you need to do is
wait until Bernie Mitchell makes
a move to retrieve the jewels.
Once he does, he's ours.
MICHAEL
That's the problem, Devon. We're
stuck in customs. There's a small
army going over Kitt with a fine
tooth comb, and they won't take no
for an answer.
DEVON
(angrily)
We'll see about that.
Stay with Devon. He pushes another button.
DEVON
Get me the senior officer in Customs.
CUT TO
OMITTED
INT. LAUREN'S APARTMENT - DAY
Lauren, followed by Bernie and Nina, come into her apart-
ment. Bernie's carrying Lauren's bag. He sets it down.
Lauren looks at him a little apprehensively, but she's
covering her fear.
LAUREN
Thanks for the help, Bernie.
BERNIE
Are you kidding. For my favorite
model, I'd move mountains....
Big grin. Lauren tries to respond, manages half a smile.
NINA
We'd better get going, Bernie.
You've got a dozen meetings today.
Bernie nods, turns to Lauren.
BERNIE
You were sensational, sweetheart.
Take a few days off, get your beauty
rest, huh?
Lauren nods, turns her cheek awkwardly as Bernie gives her
a little peck. He turns to go, then stops.
BERNIE
Oh, one more...let me have that
costume junk you're wearing.
Lauren looks startled, but she covers nicely.
LAUREN
Bernie, you said I could keep it.
BERNIE
Yeah, but I've been looking at
it...it's not you. Much too
gaudy....
Bernie moves to reach for the jewelry, and Lauren stiffens,
moves away. An almost involuntary reaction, but a telling
one. Bernie stops, smiles at her. Coldly.
BERNIE
All right, darling, the charade's
over. And Bernie's very disap-
pointed in you.
LAUREN
What do you mean, Bernie?
BERNIE
I was watching you on the flight
back, Lauren. I've given women
diamonds before and I know how a
woman acts when she's wearing them.
There's a special quality in her
eyes, a luminescence.
(smiling)
I saw that look in your eye. I saw
it and I said to myself, 'This
beautiful young woman should think
she's wearing glass. Why do I keep
seeing that look in her eye?' That's
when I realized that you knew what
was happening, my sweet...you and
your friends.
Lauren suddenly lashes out to hit Bernie, but he catches
her hand as deftly as if he was swatting a fly off the wall.
LAUREN
You killed Rachel! You murdered
her...!
Bernie's smile freezes to a cold, cruel stare.
BERNIE
I'm sorry you said that, lovely
Lauren. For your sake...
(beat)
It could cost you your life.
Lauren struggles to get loose, but Bernie's steel grip
holds her fast. Off her terrified look, we:
FADE OUT
END OF ACT THREE
ACT FOUR
FADE IN
EXT. CITY STREET - DAY
as the Trans Am roars by, and we hear:
K.I.T.T.
It was absolutely outrageous!
INT. TRANS AM - DAY
Michael's driving intently. K.I.T.T.'s complaining
bitterly.
K.I.T.T.
They poked and prodded me like I was
a common getaway car.
Michael checks his watch.
MICHAEL
How much further to Lauren's?
K.I.T.T.
Approximately eleven minutes.
Michael slams the dash in frustration.
MICHAEL
Just when we were ready to close in
on Bernie.
There's a beat, then:
K.I.T.T.
You're worried about Lauren, aren't
you?
MICHAEL
Bernie's killed two people, Kitt.
It wouldn't be hard to make it three.
Off this ominous note, we:
CUT TO
OMITTED
EXT. CITY STREET - DAY
as the Trans Am speeds by camera.
INT. TRANS AM - DAY
wheeling the Trans Am around a corner. Suddenly, he slows,
peers down the street at:
MICHAEL'S POINT OF VIEW - IN FRONT OF LAUREN'S APARTMENT
where we see the limo speeding down the street.
RESUME SCENE
as Michael watches the action.
K.I.T.T.
Michael, they have Lauren in that
vehicle.
MICHAEL
That's what I was afraid of.
Michael starts off down the street, following the limo from
a safe distance.
K.I.T.T.
What are you planning to do?
MICHAEL
Can't do much except follow them
and wait for an opening. He could
kill her if we made a move now.
(beat)
Wish we had a little leverage. An
ace in the hole....
K.I.T.T.
I recognize the tone in your voice,
Michael. Do you have an idea?
MICHAEL
We'll see, pal. Tell me what you
know about banks.
K.I.T.T.
Banks?
MICHAEL
Banks -- and the electronic transfer
of money.
CUT TO
EXT. BERNIE'S MANSION - DAY - ON THE GATE
as the limo pulls through the gates and they swing closed
behind it.
ON THE MANSION
The limo stops and Nina, Bernie and Lauren get out. Miller
goes for the bags and the others head inside.
EXT. ROAD TO MANSION - DAY
K.I.T.T. roars by.
ANGLE IN K.I.T.T.
Sequential numbers flash past on the monitor.
MICHAEL
Any progress?
K.I.T.T.
I'm a computer, not a miracle worker.
MICHAEL
Don't count miracles out -- we may
need one.
Michael peers through the windshield, sees the gates to the
house.
MICHAEL
There's Bernie's mansion...let's see
how he feels about party crashers.
He presses pursuit.
EXT. IRON GATE TO MANSION - DAY
K.I.T.T. smashes through the iron gate.
EXT. MANSION - DAY
K.I.T.T. roars to the house, pulls to a stop. Michael
climbs out of K.I.T.T., leans down to say:
MICHAEL
So far so good.
Then, we hear:
BERNIE'S VOICE
So far, not so good, lover boy.
Freeze....
Michael turns to see Bernie facing him, an automatic in his
hand. Michael fixes him with a cold stare.
MICHAEL
I want Lauren.
BERNIE
Don't we all.
(beat)
Unfortunately, we don't always get
what we want in this life.
MICHAEL
Either turn her over, or add kid-
napping to your list of charges.
Bernie laughs.
BERNIE
My 'list of charges?' What list?
It'll take months to bring banking
charges against me. And I plan to
be out of the country within an
hour.
(a smile)
A lovely little spot in the
Carribean. I call it paradise.
We hear Michael's comlink buzz, then:
K.I.T.T.'S VOICE
Michael, I've done it!
Michael nods, smiles, turns to Bernie.
MICHAEL
Sorry, Bernie. I just got word
there's trouble in paradise.
BERNIE
What're you talking about?
MICHAEL
You're broke. Seems all the money's
been transferred out of your numbered
accounts. Some sort of computer
mix-up.
Bernie laughs, a bit uncertainly. Michael grins.
MICHAEL
You don't believe me, check your
records.
Bernie hesitates, then gestures at Michael to start moving.
BERNIE
Inside. Move it!
Michael, followed by Bernie, walks into:
OMITTED
INT. MANSION - DAY
Michael sees Lauren, with Nina holding a gun to her, coming
into the living room. Miller is also inside, but without a
gun.
MICHAEL
Lauren! Are you all right?
Lauren nods, but doesn't respond. Bernie pushes Michael
into:
OMITTED
INT. DEN - DAY
Miller follows Michael and Bernie in. Nina and Lauren stay
in the living room. Bernie crosses to his computer,
punches up his access code, adds his account numbers. He
stares, dumbfounded at:
INSERT - COMPUTER
The account shows $1.00.
BACK TO SCENE
Convinced he's made a mistake, he punches it up again. The
result is the same.
BERNIE
There's only a dollar left!
Michael grins.
MICHAEL
Maybe you could write one of those
travel books. The Grand Caymans on
a Dollar A Day. Course, you'd have
to write it in one day.
Bernie stares at the computer, stunned.
BERNIE
What is this, some kind of joke?
You can't do this! It's illegal!
He turns to Michael, forgetting for a moment, his gun,
which he put down next to the computer.
ON MICHAEL
seeing the gun and seizing the moment. He steps forward,
kicks the gun out of reach, then lands a karate chop to
Bernie's neck. As Bernie stumbles backwards, Miller moves
on Michael from behind.
ANGLE - WIDER - ON THE FIGHT
It's Michael against Miller and Bernie, with the gun lying
on the floor just beyond anyone's reach. Though it's two
against one, Michael handles himself beautifully, combining
his skill with the martial arts with his longer reach.
Bernie finds himself flying against the far wall of the
den. He gets up and rather than help Miller, he turns and
ducks out the door.
ON MILLER
as he grabs a poker from the fireplace (or an ornamental
sword if there's no fireplace) and faces Michael with it.
He swings, Michael ducks, and Miller swings again, narrowly
missing. It throws him off balance, though, and Michael
catches him with a one-two combo that sends Miller down for
the count. Into his comlink:
MICHAEL
Kitt, Bernie's trying to escape...
stop him!
INT. LIVING ROOM
as Michael races from the den. Nina's waiting for him, gun
raised, ready to fire. Lauren sees Michael, shouts:
LAUREN
Michael, look out!
Michael sees Nina, ducks and rolls as she fires. Lauren
jumps on Nina as she shoots again, knocking the gun from
her hand, and wrestling her to the floor. Michael gets on
his feet, hurries for the gun.
OMITTED
EXT. MANSION - DAY
Meanwhile, Bernie's raced outside, jumped in the limo and
started for the gate. K.I.T.T.'s a step ahead of him,
though, and heads him off. Bernie reverses the limo, tries
an end run. No good, because K.I.T.T.'s again just a little
too quick, like a sheep dog handling a flock of ewes.
ON BERNIE
staring at the driverless car, astonished. He moves to the
right and K.I.T.T.'s there. To the left and K.I.T.T.'s also
there.
ANGLE - WIDER
Finally, Bernie decides the only way around K.I.T.T. is
through him. He backs up, facing K.I.T.T. who's parked in
the driveway, the small lake in front of the house right
behind him. Bernie slams the limo into drive, roars for
K.I.T.T.
ON K.I.T.T.
K.I.T.T. activates "Oil Slick"...waiting for just the right
moment, and then deftly backing up, out of the path of the
oncoming car.
ANGLE ON PAVEMENT
The oil spreads as the limo races ahead.
ANGLE ON BERNIE
He slams on the brakes, to no avail. His eyes go wide.
ON THE LIMO
as it sails past K.I.T.T. and into the pond, slowly
settling into the muddy water.
ON THE MANSION
as Michael comes racing out, sees what K.I.T.T.'s managed
to orchestrate. He laughs, waves.
MICHAEL
Nice going, pal!
ANGLE TO INCLUDE K.I.T.T.
his scanner flashing.
K.I.T.T.
You can always bank on me, Michael.
Hold on K.I.T.T. and Michael, with a big grin on his face,
then:
FADE OUT
END OF ACT FOUR
TAG
FADE IN
OMITTED
EXT. LAUREN'S APARTMENT - DAY
A moving van is parked in front of the apartment. K.I.T.T.
is nearby. As two movers come struggling out under a heavy
load of furniture, we see Michael and Lauren following them.
ANGLE - CLOSER
as they watch the movers load the things into the van.
MICHAEL
It didn't take long for Nina to
start singing like a canary. She
started at 'A' and went from there.
(smiling)
There's half a dozen state and
federal agencies lined up and
waiting for a piece of Bernie
Mitchell.
Lauren nods, not really listening to Michael. She's staring
sadly, wistfully, at the movers. She turns, stares at the
apartment building.
LAUREN
I remember when Rachel and I first
moved in...we had such high hopes,
grand illusions....
MICHAEL
Lauren, you didn't pick the wrong
profession...just the wrong people.
Michael puts his arm around her, gives her a little hug.
MICHAEL
And you've got a new apartment, a
new agency...you are going to stay,
aren't you?
She looks up at him, smiles. And nods.
LAUREN
Will I see you again?
MICHAEL
Unless you change your name and
move to Okinawa.
Lauren smiles her beautiful smile, hesitates a beat, then:
LAUREN
Know what I really want -- now that
we don't have to do things for effect
anymore?
MICHAEL
What?
LAUREN
Do it for real.
She leans over, lifts her face and kisses Michael. And it's
clear she's not acting. And neither is Michael. They
share a moment after the kiss, ad-lib good-byes, then
Lauren crosses to the movers. Michael turns, moves to
K.I.T.T.
ANGLE ON K.I.T.T.
where Michael is confronted by Mable and Maurice. Mable
shakes her pooper-scooper at Michael while Maurice growls
malevolently at K.I.T.T. K.I.T.T.'s scanner flashes with
irritation.
MABLE
Maurice and I reported you and that
talking car to the authorities.
MICHAEL
Talking car? Cars don't talk...
(turning to
K.I.T.T.)
...do they?
K.I.T.T.
Absolutely not. No self-respecting
car, that is.
Michael grins, starts to get in the car. Mable's stunned
and Maurice furious. He starts barking. Suddenly, much to
his surprise, K.I.T.T. barks back. Loudly. Maurice shuts
up, even whimpers. As the Trans Am pulls away from the curb,
we hear:
MICHAEL'S VOICE
Took the words right out of my mouth,
pal. Well put.
K.I.T.T.'S VOICE
Thank you, Michael.
As the Trans Am pulls off down the street, we:
FADE OUT
THE END
