ACT ONE
FADE IN
EXT. HIGH-RISE OFFICE BUILDING - NIGHT
It's late and the building is mostly dark, except for a
random night owl's window which glows in the night.
ANGLE ON A CAT BURGLAR
coming over the edge of the roof on a cable and down the
side of the building like a spider. We move closer to the
figure, clad head to toe in black, leather gloves and a
tight-fitting ski mask concealing his identity. A handyman's
bag filled with delicate tools dangles from his belt. He
moves methodically and quickly down the thin cable.
ANOTHER ANGLE
as the cat reaches an office window. He withdraws a razor-
sharp exacto-knife from his handyman's bag and runs it along
the base of the window, separating two concealed alarm wires
from the silicon sealer surrounding the window. He slits
these wires, then pulls out a diamond-tipped cutter and,
attaching a vacuum cup to the center of the glass, begins
cutting a neat entrance through the casement window.
INT. OFFICE - NIGHT
We see the cat through the window glass, finishing his body-
sized cut and silently removing the glass from its frame,
"taping" it to the outside building wall. The cat then eases
in through the opening he's cut, landing in the expensively
furnished office. He pulls out a narrow-beam flashlight and
flicks it around the empty room, settling upon a large
armoire. Carefully opening it, the cat reveals a safe. He
quickly spins the tumblers and opens the safe, begins pulling
out the contents, dumping everything into a black canvas bag.
ANGLE ON CONTENTS OF SAFE
Some small stacks of large denominationed bills, a lot of
loose but expensive-looking jewelry, all passing into the
cat's bag. He hesitates as he pulls out a remarkable ruby
necklace called Sangre de Coeur, bags it.
WIDER ANGLE
as the cat closes the safe, then the armoire doors. He
pulls a small white card out of his bag and places it in
the corner of the armoire, then heads for the window and
climbs out.
EXT. HIGH-RISE OFFICE BUILDING - NIGHT - ANGLE ON CAT
as he shoulders the loot and, hand over hand, vanishes into
the night.
INT. PENTHOUSE OFFICE - NIGHT - ANGLE ON THE ARMOIRE
We angle down to the card on the corner, immaculately
engraved, reading:
YOUR GENEROSITY IS APPRECIATED
INT. DEVON'S OFFICE - DAY
Devon is seated at his desk, reading a newspaper article
with interest. After a moment, he puts the newspaper down,
rises, and moves thoughtfully to the window. As he looks
out, Michael enters, carrying a small overnight bag. He
tosses it onto a chair, moves into the room.
MICHAEL
Devon....
DEVON
(turning)
Michael, welcome back.
MICHAEL
I didn't expect a brass band, or a
red carpet or anything like that,
but I wouldn't have minded a little
ceremony of some kind...nothing
elaborate, just family...you, April,
a bottle of champagne -- domestic
would have been fine....
DEVON
You've only been gone a week. How
was the vacation?
MICHAEL
Let's define terms, Devon. This was
strictly a business trip, remember?
Arranged by you, assigned by you...
As a matter of fact, it got pretty
hairy there for a while. Kitt's
going to need at least a few days of
R and R....
DEVON
R and R...for Kitt?
MICHAEL
Sure. Reconditioning and rehabili-
tation.
DEVON
And you?
MICHAEL
Now comes the vacation.
Devon moves toward the desk, reaches for the newspaper.
DEVON
I'm afraid not, Michael. At least,
not just yet.
MICHAEL
I should've known. What's up?
DEVON
(hands Michael
the paper)
I'm not sure, really. But there's a
column item here that's rather intri-
guing. It seems the newspaper has
received several anonymous tips
regarding a number of elaborate
robberies which apparently haven't
been reported to the police.
MICHAEL
All right, that's intriguing, but
what's it got to do with us?
Devon is rummaging in a desk drawer, finally comes up with
the item he's been looking for. He tosses it across to
Michael, who hesitates, then picks it up.
MICHAEL
I know I'm going to regret this....
He looks down at the item.
INSERT - THE IDENTICAL BUSINESS CARD
left by the cat burglar, but clearly worn and somewhat aged.
BACK TO SCENE
MICHAEL
(reading)
'Your generosity is appreciated....'
DEVON
The robberies were committed by a
cat burglar with quite a distinctive
M.O., which includes leaving cards
like that one behind at the scene....
MICHAEL
But how did you get it?
DEVON
By going to the theatre one night
many years ago, and dining out after-
wards while my apartment was being
thoroughly and systematically robbed
by a cat burglar. That card was
left behind. I've kept it all this
time as a sort of...memento.
MICHAEL
Was the cat burglar ever identified?
DEVON
Oh, yes. Not positively, perhaps,
but he was tacitly understood to be
a man named Raymond Fallan -- a
very clever and daring man. Nothing
against him was ever proven.
MICHAEL
(glancing
at the card)
Now here he is again...after all these
years.
DEVON
That's what's really intriguing,
Michael. You see, so far as I know,
Raymond Fallan is dead.
On Michael's reaction:
CUT TO
EXT. BANK IN ELEGANT NEIGHBORHOOD - DAY - ANGLE ON AN OLD
ROLLS ROYCE
as it pulls into a parking lot adjacent to the bank. A
weasel-faced man, Ricky, carrying an attache case, moves
quickly to the passenger door, climbs in.
INT. ROLLS ROYCE - DAY
Ricky smiles nervously at the driver, Griffin, an elderly,
very proper-looking Englishman, immaculately dressed.
RICKY
Let's see what you've got.
Griffin pulls a briefcase out of the backseat and pours its
contents onto the console between the seats. We see the
contents of the safe. Ricky immediately plucks out the
ruby necklace, holds it in the sunlight.
RICKY
Nice. Very nice.
Griffin gathers up the remaining jewelry and bags it, then,
with a tolerant smile, takes the necklace from Ricky, adds
it to the cache. Ricky hands him the attache case.
RICKY
Feel free to count it.
GRIFFIN
I trust you, as always. And if it's
incorrect, I know where to find you.
Ricky grabs the briefcase and climbs out of the Rolls, leaves.
Griffin watches him go, then opens the attache case, rifles
through the money. He heaves a huge sigh of relief, dabs
his brow with a handkerchief, closes the attache case.
EXT. ROLLS ROYCE - DAY - ANGLE ON GRIFFIN
as he climbs out of the car, carrying the attache case. He
carefully locks the doors and heads toward the bank,
limping pronouncedly, like a man with a wooden leg. As he
enters the bank, we:
CUT TO
EXT. TRANS AM - DAY - MOVING THROUGH THE CITY
cruising at a peppy speed, darting traffic obstacles.
INT. TRANS AM - DAY - CLOSE ON COMPUTER VISUAL OF THE
SANGRE DE COEUR NECKLACE
broken down in graphic lines, rotating on K.I.T.T.'s monitor.
K.I.T.T.'S VOICE
The current market value of the
Sangre de Coeur is $350,000, Michael.
Devon's cat burglar has exquisite
taste.
WIDER ANGLE - MICHAEL
as he turns off the visual on the monitor.
MICHAEL
Or incredible luck. It's the only
item mentioned in the newspaper.
K.I.T.T.
Of course, I find it hard to under-
stand why anyone would value a mere
bauble so highly. According to my
data, a ruby is just a form of
carbon, naturally crystallized in
a red variety of corundum.
MICHAEL
Maybe. But that bauble, as you call
it, in that particular combination,
is valuable because it's so rare.
K.I.T.T.
The law of supply and demand....
MICHAEL
Exactly. All right, Kitt, let's see
what you've got current on Raymond
Fallan.
He punches a button. A computerized line-by-line photo-
graph of Raymond Fallan appears on K.I.T.T.'s screen.
K.I.T.T.
There's your cat burglar, Michael.
I'm afraid it's not very recent --
but that's because he's deceased. I
do have his last known address --
Oh, and one more thing. A daughter.
MICHAEL
A daughter?
A second photograph appears. Michael looks at it.
CLOSE ON PHOTO
MICHAEL'S VOICE
Not bad, Kitt...not bad at all.
K.I.T.T.'S VOICE
I'd say thank you, but I have the
feeling you're not referring to my
technical proficiency.
CUT TO
OMITTED
EXT. FALLAN'S MINI-ESTATE - DAY
An attractive, gated property, not extremely fancy, but
neatly maintained. The Trans Am pulls through the gates,
stops at the front door. Michael climbs out, crosses to
the door and is about to knock when the door flies open and
Grace Fallan, dressed in rather revealing gardening clothes
and carrying flower clippers, nearly collides with Michael
as she darts out of the house.
GRACE
Oh! I'm sorry, I didn't hear you
knock. I almost stabbed you with
these things.
MICHAEL
(smiles)
Glad you spared me. You're Grace
Fallan.
At the mention of her name, Grace reacts, seems to withdraw.
GRACE
Yes. What do you want?
MICHAEL
My name's Michael Knight -- I'm with
the Foundation for Law and Government.
I'd like to talk to you about your
father.
GRACE
In that case there's nothing to talk
about. My father died last month.
She shuts the door to punctuate this, moves out into the
garden to clip some flowers. Michael follows her.
MICHAEL
That's what I understand...I'm sorry.
GRACE
You said you're with some kind of
agency. This must be the beginning.
MICHAEL
I don't follow you.
GRACE
I've spent my whole life terrified
to see articles in the paper about
cat burglars, knowing people would
start asking me questions. I thought
that now that my father's dead, it
would end...and here you are, with a
thousand questions in your face.
MICHAEL
A famous necklace was stolen last
night. The burglar left a card like
this....
He offers her the calling card but she ignores it, looks
directly up at Michael.
GRACE
There's something you should under-
stand about me and my father. I
didn't know him as a notorious cat
burglar. To me, he was a wonderful
man who did magic tricks and told
stories and came down the chimney
like Santa at Christmas.
MICHAEL
(beat)
Grace, someone's been using your
father's M.O. to pull off highly
professional burglaries. And some-
one's been feeding information about
those burglaries to the press....
Grace occupies herself with the flowers.
MICHAEL
You said so yourself -- this could
just be the beginning.
GRACE
(frustrated)
I've got a nice quiet life now. I
work with children. I don't want to
be notorious. I don't want my life
opened up for public consumption.
MICHAEL
Maybe I can help.
(beat)
Did anyone else know your father's
techniques?
GRACE
(hesitates)
Only one person.
MICHAEL
Who?
GRACE
Me.
He takes in the information. She watches him.
GRACE
Still want to help?
MICHAEL
(beat)
If I can. If I offer it, will you
accept it?
She hesitates, thoughtful, undecided. Then nods. She
turns back to the flowers. Michael watches her, then moves
off toward K.I.T.T.
OMITTED
ANOTHER ANGLE
as Michael reaches the driveway, glances back over his
shoulder toward Grace as he walks -- and nearly collides
with a man who approaches the front door with a huge bag of
groceries, some of which fall to the ground. Michael
stoops to pick up the groceries, as does the man, who has a
great deal of trouble kneeling. As the man straightens,
with Michael's help, we see his liability -- he's Griffin,
the man with the limp.
GRIFFIN
I beg your pardon, sir. That was
most clumsy of me, not looking...I'm
Miss Grace's butler, Griffin.
The groceries safely bagged, Griffin heads for the door.
MICHAEL
Can I hold the door for you?
GRIFFIN
No thank you, sir. The exercise
does me good.
And as Griffin enters the house, Michael grins and climbs
into the Trans Am.
ANOTHER ANGLE
as the Trans Am pulls down the driveway and heads away from
the Fallan property.
NEW ANGLE - TO ESTABLISH
that Michael's exit was seen through the eyes of a Watcher,
and we now see him -- parked in an ND car, across the
street from the house. He's a big, strong man, hard-faced.
He watches as the Trans Am vanishes from sight, then his
eyes return to the Fallan house and he stares, unblinking,
as we:
EXT. STREET - DAY - THE TRANS AM
drives through.
INT. TRANS AM - MICHAEL
K.I.T.T.
I'm not sure I understand, Michael.
You think there's a possibility
Raymond Fallan's daughter is the
cat burglar?
MICHAEL
It's a possibility, Kitt. Right now
that's all it is....
There's a familiar sound.
K.I.T.T.
Devon's calling.
Michael punches a button. Devon's image comes up on
K.I.T.T.'s screen.
MICHAEL
Devon, what's up?
INTERCUT - DEVON
DEVON
I must say it took some delicate
persuasion, but my sources at the
newspaper finally revealed the names
of the burglary victims. Thomas
Delbert...Martin Anderson...James
Elliot. And although it's not common
knowledge, Elliot is the owner of the
Sangre de Coeur.
MICHAEL
Any common denominator between the
victims?
DEVON
Nothing readily apparent.
MICHAEL
I'll pay Elliot a visit. Maybe he
can shed some light.
CUT TO
EXT. STREET - DAY - K.I.T.T. - RUN THROUGH
EXT. HIGH-RISE OFFICE BUILDING - DAY
We recognize the same building as in the opening scene.
Michael pulls the Trans Am in, parks, enters the building.
INT. ELLIOT'S OFFICE
The one we saw robbed. James Elliot, midforties, well-
dressed, no-nonsense, is seated on the edge of his desk
finishing a phone call. He speaks very softly. There's a
single knock on the door, it opens and an attractive
secretary steps aside to allow Michael to enter, then with-
draws, closing the door. Elliot looks Michael over as he
finishes his call. Michael looks the office over with
approval and interest, glances at the armoire, moves to the
window which we saw cut open and looks out. The window has
been repaired. Suddenly, Elliot hangs up the phone, moves
behind his desk and sits. Michael turns as:
ELLIOT
All right, since you managed to talk
your way past my secretary, you must
have something interesting to say.
You have three minutes to say it.
MICHAEL
In that case I'll get right to the
point. You were robbed the other
night. Someone cleaned out your
safe and got away with the Sangre de
Coeur necklace -- valued at more
than a quarter million dollars....
Elliot is surprised, but covers nicely.
ELLIOT
You've been misinformed.
MICHAEL
Not me -- the police. You failed to
inform them.
ELLIOT
For your information there was no
such robbery. You've been reading
too many gossip columns.
MICHAEL
Do you know Martin Anderson or
Thomas Delbert?
ELLIOT
No. You have two minutes left.
MICHAEL
Guess I'll have to learn to talk
faster. How many people knew where
you kept the necklace?
ELLIOT
Where I keep the necklace is no
one's business but my own.
MICHAEL
May I see it?
ELLIOT
You are brash.
MICHAEL
You leave me no choice.
Michael glances at his watch, smiles. Elliot hesitates,
then rises, crosses to the armoire, opens the doors,
revealing the safe, works the combination quickly, opens
the safe, removes a small jewel case, opens it, showing
Michael the contents.
MICHAEL'S POINT OF VIEW - THE CASE
containing the necklace, the identical necklace we saw
taken.
THE SCENE
Michael reacts. Elliot closes the case, replaces it in the
safe, closes the safe, twists the dial, closes the armoire,
returns to his desk.
ELLIOT
Your three minutes are up. Good
day, Mr. Knight.
MICHAEL
Sorry I wasted your time.
Elliot resumes with his paperwork. Michael turns and exits,
Elliot looking up after him.
EXT. HIGH-RISE OFFICE BUILDING - DAY - ANGLE ON MICHAEL
as he exits the building, strides over the Trans Am and
climbs in.
INT. TRANS AM - DAY
K.I.T.T.
Michael, my sensors indicate you're
somewhat disturbed.
MICHAEL
You have a way with words, pal.
'Somewhat' is putting it mildly.
He pushes a couple of buttons.
MICHAEL
I want you to scan the building to
find out exactly how the cat burglar
got in -- if he got in.
K.I.T.T.'s computer lights flash.
K.I.T.T.
I thought it was a certainty.
MICHAEL
It was. Now it isn't.
INTERCUT - ANGLE ON THE MONITOR
as a view of the building appears on the screen. The angle
tightens and adjusts to feature Elliot's office windows,
the roofline above and the facade of the building. Appro-
priate graphics are superimposed as:
K.I.T.T.
Threadlike abrasions indicate the
play of wire or cable against the
facade at the roofline and at the
edge of that office window....
MICHAEL
Elliot's office window....
K.I.T.T.
If you say so, Michael...I also
detect the residue of a foreign sub-
stance with considerable abrasive
properties....
MICHAEL
As in 'cutting'?
K.I.T.T.
Perhaps. I'll process as much
detail as I can.
MICHAEL
While you're at it, there's a safe
in that office. Can you scan what's
inside?
K.I.T.T.
Michael, has it ever occurred to you
that April and I may have spoiled
you entirely?
NEW ANGLE - MICHAEL
MICHAEL
(a smile)
Never crossed my mind.
As K.I.T.T.'s computer lights continue to flash:
INT. DEVON'S OFFICE - DAY - ANGLE ON APRIL
as she enters carrying some computer print-outs, approaches
Devon and Michael.
MICHAEL
That's right, Devon. Paste. The
Sangre de Coeur Elliot showed me was
a first class phony.
DEVON
But why? Not reporting a burglary
is one thing, but going so far as to
provide a false duplicate is quite
another....
APRIL
The burglary was Fallan's M.O. to the
last detail -- including a specialized
chemical called Delenite which has
highly abrasive properties when
exposed to air.
MICHAEL
So James Elliot's office was burglar-
ized by a dead man.
DEVON
Or a very able student.
Devon's look is filled with an implication which Michael
cannot ignore.
MICHAEL
I just don't believe Grace did it.
APRIL
Michael, I can understand not
wanting to believe it, but she
admitted knowing her father's
techniques.
MICHAEL
(after a
beat)
Devon, what about the three victims
-- anything in common?
DEVON
Delbert, Anderson and Elliot are all
powerful men -- men who've acquired
considerable amounts of money by
various means...some of which are
highly questionable.
MICHAEL
If that means what I think it means,
that sounds like a good reason not
to bring in the police.
Devon nods, pacing thoughtfully.
DEVON
You know, it's strange, but for years
I've been fascinated with Fallan. The
gentleman cat, colorful, adventurous,
elusive, romantic....
APRIL
Romantic?
DEVON
After a fashion, yes...Robbing the
rich, disappearing, then suddenly
showing up again and daring the
authorities to stop him. A bit like
Robin Hood, don't you think? Not
that I condone his criminality. But
his style, his panache -- that's
something else. I thought it was
all over, long ago. Now, it seems
to be just beginning again....
MICHAEL
(a knowing
look to April)
Does that mean it's an official
Foundation case?
DEVON
Absolutely. After all, catching a
cat burglar is well within our
franchise...don't you agree?
As Michael and April exchange a smile....
EXT. PUBLIC PARK - TENNIS COURTS - DAY - ANGLE ON GRACE
delivering an expert serve. We widen to see that she's
being carefully watched by several children holding rackets;
outside the court, parents watch from a picnic area.
NEW ANGLE
as the Trans Am, scanner flashing, pulls to a stop outside
the tennis courts and Michael climbs out. He crosses to
the fence and when Grace looks up, he waves. Grace
hesitates, sets up the children to continue practicing and
moves to meet Michael.
GRACE
How did you find me?
MICHAEL
Through brilliant deduction. Griffin
told me.
Grace smiles, exits the court and we move with them as
they talk.
GRACE
I'd like to think this was strictly
a social visit, but you have the
look of somebody with more questions.
MICHAEL
Just a few. Tell me if any of these
names sound familiar.
Michael pulls out a piece of paper as Grace looks at him
closely. He notices.
MICHAEL
You're distracting me.
GRACE
Good.
MICHAEL
(reading)
'Thomas Delbert. Michael Anderson.
James Elliot.'
GRACE
'George Freidrich. Harold Salen.'
Michael reacts quizzically.
GRACE
After Dad died, I was going through
his things and I found a list of
names -- The three you mentioned,
and the two I added.
MICHAEL
Delbert, Anderson and Elliot were
burglarized this month.
Grace looks surprised. After a pause:
GRACE
Is that it -- Are you suspicious of
me? Michael, if I were trying to
hide something from you, why would
I tell you any names at all?
Her expression is sincere and innocent. Michael's comlink
buzzes. He leans away from Grace.
MICHAEL
Yeah, Kitt?
K.I.T.T.
Michael, the man in the spectator
section is heavily armed.
Michael glances at the spectator section across the way.
MICHAEL'S POINT OF VIEW - SPECTATOR SECTION
stocked with happy-faced parents, cheering their little
one's every move; and one hard-faced man, whom we recognize
as the Watcher from outside the Fallan residence.
ANGLE ON K.I.T.T.'S SCANNER
It flashes in anticipation.
OMITTED
ANGLE ON THE WATCHER
as Michael moves quickly across the park, skirting the
tennis court and coming up behind the man.
MICHAEL
Like to talk to you for a minute....
The Watcher looks back at Michael. Without answering, he
gets up and starts to walk away.
MICHAEL
Excuse me.
He reaches out to stop the man but the man whirls, smashes
him in the solar plexis and sprints across the park.
ON MICHAEL
doubled over, gasping for breath. Into the comlink:
MICHAEL
Need some help, buddy. Head him off
for me.
ANGLE ON K.I.T.T.
His engine comes to life, all systems functioning. As he
pulls out ---
FADE OUT
END OF ACT ONE
ACT TWO
FADE IN
EXT. PARK - DAY
The Watcher darts between cars, heading toward the parking
lot.
ANGLE ON K.I.T.T.
He screeches out backwards, spins at 180 and heads toward
the fleeing Watcher.
ANGLE ON PARENTS
watching open-mouthed as the driverless car pursues the
Watcher.
ANGLE ON TRANS AM
as K.I.T.T. slides to a stop directly in the path of the
running Watcher, cutting him off. He tries to go around,
but K.I.T.T. moves in his path, scanner flashing.
ANGLE ON MICHAEL
as he comes racing up. The Watcher turns to Michael,
furious. He whips out his wallet, a police shield inside.
WATCHER
Since you're so interested, the
name's Barth. Police Lieutenant
George Barth. And right now you're
a gnat's hair away from being busted
for obstruction of justice....
Michael stares at the badge in surprise, and we hear:
GRACE'S VOICE
Lieutenant Barth. I should have
known....
ANGLE - WIDER TO INCLUDE GRACE
Barth and Michael turn to see Grace walking up to them.
GRACE
You hounded my father for twenty
years, Lieutenant. Sorry he died
before you could satisfy your
obsession to catch him.
Barth fixes Grace with a cold, hard look.
BARTH
You can hide behind your manicured
bushes and fancy house, but I know
who you are. What you're doing.
You don't fool me, Grace Fallan.
The only difference between you and
your father is I'll catch you. And
that's a promise.
CUT TO
OMITTED
EXT. FALLAN MINI-ESTATE - DAY - ANGLE ON K.I.T.T.
He pulls to a stop in front of the house. Michael and Grace
climb out, she still carrying her tennis racquet. They
enter the house and we hold on the Trans Am as a gardener
comes around the house, whistling and dragging a garden hose.
As he passes, he accidentally sprays the car.
K.I.T.T.
Would you mind raining on someone
else's parade?
The gardener nearly jumps out of his skin, whirling with the
hose so that its spray now hits the front door. Realizing
what he's doing, he redirects the hose toward the lawn,
gazing in awe at the Trans Am.
K.I.T.T.
Thank you.
He drops the hose and runs.
INT. FALLAN LIVING ROOM - DAY
An attractive, warm room, filled with garden flowers and
photographs of Grace and the dapper Raymond Fallan.
MICHAEL
Did Lieutenant Barth ever arrest your
father?
GRACE
Twice. Dad was always out on bail in
time for breakfast.
MICHAEL
Who bailed him out?
GRACE
Griffin. He's always taken care of
everything. Dad hired him before I
was born. While my father was out
borrowing the crown jewels, Griffin
was changing my diapers.
MICHAEL
What about Barth? Why is he so
obsessed with your father?
GRACE
If I knew the answer to that, I
wouldn't be teaching tennis. I'm
serious, Michael. Who knows why
people become obsessed. George
Barth is. 'Why.' You'll have to
ask him.
MICHAEL
Next time I see him I will.
GRACE
All I know is with a man like Barth,
I'm guilty until proven innocent.
MICHAEL
I wouldn't count on that. With a man
like Barth, it might not make any
difference.
She stares at Michael, chilled by the thought.
MICHAEL
I still want to help. It's not
just a mystery now. Barth thinks
you've taken up where your father
left off.
(beat)
Make no mistake about it, he's after
you.
Grace holds his eyes and then turns and reaches into the
top drawer of a bureau, takes out a small telephone book.
GRACE
The list I told you about.
She opens it to a list of names in the back. Michael scans
it.
GRACE
If the cat's following this list,
George Friedrich's next. And Molly
Friedrich's just invited me to a
society fund raiser at her restaurant,
Chez Voltaire...
(a smile)
It's exactly the kind of affair my
father loved to hit.
MICHAEL
How many is the invitation for?
GRACE
Two. Interested?
MICHAEL
Wouldn't miss it for the world.
She looks at Michael, the trace of a smile on her face.
GRACE
Good. I've always had a weakness
for men in tuxedoes.
CUT TO
OMITTED
EXT. TRANS AM - NIGHT - MOVING THROUGH TRAFFIC
Michael driving. He's alone.
INT. TRANS AM - NIGHT
Michael's got on a tux and he's looking very debonaire, if
not overjoyed. A single rose, wrapped in lace, sits on the
seat beside him.
K.I.T.T.
Michael, I have a question.
MICHAEL
If it's how to tie a bowtie, don't
ask. Mine clips on.
K.I.T.T.
It's about jewelry. And the fas-
cination humans appear to have
with it. They even sing about it.
How can a human being conceive a
phrase like, 'Diamonds are a girl's
best friend' -- much less put it to
music?
MICHAEL
(smiles)
Don't take it so personally.
K.I.T.T.
Michael, I'm quite serious. How can
a crystalline carbon possibly function
as anyone's friend?
Michael laughs.
MICHAEL
Just a figure of speech, pal. A
diamond's special because it's
beautiful and rare...and expensive.
K.I.T.T.
According to my sources, so-called
'precious stones' are neither rare
nor expensive.
On the monitor, K.I.T.T. begins to display pictures of
precious stones...diamond, ruby, emerald...and their
chemical structure.
K.I.T.T.
A diamond is simply carbon, a ruby
aluminum oxide, and an emerald
beryllium and aluminum.
MICHAEL
So?
K.I.T.T.
So the question remains. Why do
humans adorn their bodies with
inexpensive chemicals...and pay so
much to be able to do so?
MICHAEL
Kitt, that's such a logical question
I doubt you'll ever find an answer.
Off of Michael's smile:
CUT TO
EXT. HIGH-RISE BUILDING - NIGHT
An elegant place, featuring a third-story restaurant called
"Chez Voltaire." K.I.T.T.'s parked out front, scanner
flashing.
INT. CHEZ VOLTAIRE - NIGHT - ANGLE ON MICHAEL AND GRACE
as they enter, Grace looking stunning in a skin-tight black
jump suit. She stays close to Michael as they approach a
desk where Molly Friedrich, a striking, multiple face-lifted
former bimbo, is signing people in, doing an extraordinary
amount of cheek-kissing. She sees Grace and her face lights
up. She holds out her arms.
MOLLY
Gloria, how delightful to see you!
You're looking wonderful.
Grace returns the hug, looking at the ceiling.
GRACE
It's Grace, Molly. Grace Fallan.
But Molly's eyes have already found Michael. She breaks
from the embrace, takes his hand.
MOLLY
And what a pleasant surprise this
is. You must be....
MICHAEL
Michael Knight.
MOLLY
Of course! Michael, darling. How
delightful to see you....
Grace links her arm through Michael's just as it appears
that Molly would sink her fangs into him. Ad-libbing an
"excuse me" to Molly, she leads him into the party.
GRACE
Better count your fingers...she'd
take any piece of you that wasn't
attached.
WIDER ANGLE
as Michael and Grace move into the room, filled with well-
dressed, obviously moneyed people; there's a lot of jewelry
on display.
CLOSER ON MICHAEL AND GRACE
as they mingle. A few people admire the handsome couple
that Michael and Grace present as they cross to a punch
bowl. Michael pours them drinks as:
MICHAEL
Hope they validate parking....
Grace smiles. Michael glances around the room.
MICHAEL
If the cat makes a call, I wonder
which way he'll come in.
Without a hesitation, Grace points across the room.
GRACE
That's where the offices are, where
the fewest people would be and where
they'd keep the safe.
Grace looks over Michael's shoulder, sees Molly approaching.
Quickly:
GRACE
Oh, no...here comes Molly. I have
a sudden desire to powder my nose.
MICHAEL
Wait a minute...You can't leave me
here. Alone....
Too late. Grace is already moving across the room. A
beat, and then Molly descends on Michael, all smiles and
squeezing hands.
MOLLY
This is criminal.
MICHAEL
Pardon?
MOLLY
A gorgeous man like you...alone.
(seductive
smile)
But, you're worth breaking the law
for....
Another sticky sweet smile. Michael responds weakly, looks
around for some help. Grace has disappeared. Molly
lumbers ahead.
MOLLY
Now, tell me, Michael Knight, where
did Grace find you? She never men-
tioned you, not that I blame her...
(smiles)
Of course, Grace is a dear, sweet
child, but just the slightest bit
...how shall I put it...strange?
(beat)
But, with a father like Raymond
Fallan, what else could one
expect....
Molly's interrupted by the buzz from Michael's comlink.
MOLLY
How darling! A wrist alarm!
MICHAEL
Actually, it's a beeper. If you'll
excuse me....
Before Molly can respond, Michael turns and walks away. We
see Molly stare after him for a beat, then walk toward the
office Grace pointed out earlier.
ON MICHAEL
finding a quiet corner of the room. He speaks into his
comlink:
MICHAEL
What's up?
K.I.T.T.'S VOICE
The restaurant's burglar alarm has
just been deactivated.
MICHAEL
Where?
K.I.T.T.'S VOICE
Somewhere inside the building,
Michael. Wait -- a sealed window
has just been opened....
At this moment, the lights in the restaurant go out.
Numerous protests ring out, accompanied by a few screams;
then, after a long beat and much scuffling, the lights go
back on. Across the room, Molly Friedrich appears,
clutching what we can see is another of the cat's calling
cards.
MOLLY
Somebody get help! There was someone
in the offices -- a cat burglar!
Michael runs for the exit, calling into the comlink:
MICHAEL
Kitt, get around to the west side of
the building pronto!
Just as Michael disappears across the room we see:
GRACE
come hurrying back into the room from another direction.
People are buzzing with alarm and confusion. We hold for a
beat on the startled Grace, and then:
CUT TO
EXT. BUILDING - NIGHT - CLOSE ON THE CAT
as the cat burglar comes down a wire hanging from somewhere
above, hangs for a beat and then drops a good distance to
the alley below.
OMITTED
CLOSE ON THE CAT
springing to his feet, glancing around and then turning and
moving quickly down the darkened alley toward a street a
good half block away.
ANOTHER ANGLE
as we see K.I.T.T. suddenly appear at the far end of the
alley, slam on the brakes and skid into a turn that takes
him into the alley, and directly toward the fleeing cat.
ON THE CAT
Seeing the Trans Am sppeding toward him, he skids to a
stop, turns and starts to run in the other direction.
Suddenly, a shot rings out.
ANOTHER ANGLE
At the other end of the alley, we see a figure, face
concealed in the darkness, with an automatic in his hand.
He fires again.
ON THE CAT
ducking, rolling and scrambling to find some kind of cover
in the alley. There's not much more than garbage cans and
trash bags. The bullets ricochet around him.
OMITTED
ON MICHAEL
as Michael comes around the side of the building, sees the
man shooting. He shouts into his comlink:
MICHAEL
Kitt, he'll be killed! Give him
some cover...!
Michael races toward the man with the gun as:
K.I.T.T.
squeals down the alley toward the cat, skids to a stop in
front of the defenseless cat, who then springs to his feet
and races down the alley and disappears.
OMITTED
ANOTHER ANGLE ON THE ALLEY - FEATURE MICHAEL
as he races up to the man with the gun, grabs him by the
arm, turns him and finds himself facing George Barth.
BARTH
You let her get away! I had her
right in my hands and you let her
get away!
MICHAEL
You were shooting to kill!
BARTH
What I do is none of your business,
Knight. I'm a cop. You're not.
MICHAEL
Let me tell you something, Barth.
You don't have an exclusive. You've
got to operate under laws too --
whether you like it or not.
BARTH
Why do you insist on defending her?
MICHAEL
Why do you insist on persecuting her?
BARTH
Because she's guilty. She was up
there tonight -- right? With you.
Was she with you when the lights
went out?
Michael thinks about it, his mind racing to the events
just before the robbery. Barth shoves his gun back into
his holster.
BARTH
Save your breath, I know the answer.
Barth turns and walks down the alley. Michael, more shaken
than he'd care to admit, runs back toward Chez Voltaire.
CUT TO
OMITTED
INT. CHEZ VOLTAIRE - NIGHT - ANGLE ON MICHAEL
as he enters amid a flurry of activity, guests checking
their belongings and attempting to leave. It's a human
traffic jam. Michael calls to people as they pass.
MICHAEL
Has anybody seen Grace Fallan?
He spots Molly Friedrich pouring apologies over the fleeing
guests. We angle with Michael as he strides over to her.
MICHAEL
Mrs. Friedrich, where's Grace?
She looks up at him, grabs his arm in a bejewelled grip.
MOLLY
If I knew I'd have her arrested!
Raymond's daughter, I should have
known.
She bustles away from Michael, and we hold on his face....
FADE OUT
END OF ACT TWO
ACT THREE
FADE IN
EXT. FALLAN MINI-ESTATE - NIGHT - ANGLE ON TRANS AM
as it tears up the driveway, screeches to a stop in front
of the house. We see Michael activate Surveillance Mode,
and as he climbs out:
MICHAEL
Kitt, keep your scanners peeled
for anything unusual.
K.I.T.T.
Would you care to be more specific?
MICHAEL
Would if I could, pal.
We follow Michael as he strides toward the door. Grace
opens it, wearing a hostess-type robe.
GRACE
Did you catch him?
MICHAEL
No, he got away. 'He' or 'she'....
She reacts to the inference, regards him, opens the door for
him to enter.
INT. FALLAN LIVING ROOM - NIGHT
as Michael comes in, paces. The energy of what just
happened still with him.
GRACE
So that's it...now you suspect me
again.
MICHAEL
I don't want to, Grace, but you
don't leave me much of a choice.
One minute you're there, then you
leave, and as soon as you're gone,
the lights go out and the 'cat'
appears.
GRACE
For your information, I was in the
powder room -- and no, I can't prove
it. I didn't bring a witness along.
MICHAEL
Why did you leave? Why didn't you
wait for me?
GRACE
Because I knew people would start
looking at me...'She's the cat's
daughter. I'll bet she's involved'
...So I took a cab home.
He can't fault her reasoning; it's true. She looks at this
moment particularly alone and vulnerable.
GRACE
Do you believe me?
MICHAEL
I want to.
(beat)
Grace, for the moment forget what-
ever's between us. Barth was there
tonight, waiting...he almost killed
the cat burglar. He's convinced
it's you. If it is...stop while
you're ahead. While you're still
alive.
She moves closer to Michael, oddly touched by his concern.
She looks up at him.
GRACE
You're really concerned about me,
aren't you? You really care...I'm
not the cat, Michael. Kisses don't
lie. Try me....
Her mouth moves to his and he kisses her, but even as
their lips join, Michael's eyes open to find hers, too,
filled with open doubt. In midkiss, someone across the room
clears his throat. Michael and Grace look up to see Griffin
at the entrance to the living room, wearing a bathrobe,
looking as if he just woke up.
GRIFFIN
Beg pardon, Miss Grace, but I heard
you and wondered if you might be
needing anything.
GRACE
No thanks, Griffin. Mr. Knight was
...just leaving.
MICHAEL
(a smile)
In case you didn't notice.
Griffin smiles. She kisses Michael lightly and allows
Griffin to escort him to the front door, ad-lib good nights
as he leaves.
EXT. FALLAN HOUSE - NIGHT
as Michael exits, heads toward the Trans Am, thinking about
Grace, wondering.
K.I.T.T.
Well, well, Michael -- carnauba wax
and glycerol on your collar. Is
that any way to catch a cat?
Michael glimpses lipstick stains on his collar as he moves
closer to K.I.T.T.
MICHAEL
We'll see, Kitt. How about you --
come up with anything?
K.I.T.T.
I did notice something rather pecu-
liar while you were in the house.
MICHAEL
What?
The lights on the dash pulsate as an image appears on the
monitor.
ANGLE ON MONITOR
showing a linear layout of the property, scanning it, stop-
ping at the garage. The outline of a Rolls Royce is
visible there, with spectral colors radiating from it.
K.I.T.T.'S VOICE
The vehicle in the garage exhibits
heat stress -- exhaust, radiator and
tire temperatures indicate it's been
recently driven at a high rate of
speed.
ON MICHAEL
glancing away from the monitor, toward the sealed garage.
MICHAEL
And nobody's been home to drive it
...except the butler. Thanks, pal.
ANGLE FROM HOUSE
Michael moves around to the side of the house, where a light
burns in a downstairs window. There's a door nearby and
Michael knocks lightly. Griffin opens it.
GRIFFIN
Why, Mr. Knight!
MICHAEL
Can I see you for a minute, Griffin?
GRIFFIN
Of course, sir. Please, come in....
INT. BUTLER'S QUARTERS - NIGHT
Michael and Griffin enter the immaculate room.
MICHAEL
Did you go out tonight?
GRIFFIN
Why, no, sir.
(pats bad
leg)
The old war wound's been kicking up
a bit lately.
MICHAEL
In that case you might like to know
that somebody's been driving your
car.
Griffin looks like a man who's been caught with his pants
down. He hangs his head.
GRIFFIN
Please don't tell Miss Grace, sir.
Griffin reaches into his robe pocket, pulls out a small
liquor bottle.
GRIFFIN
I'm afraid I'm a midnight nipper.
You see, I've a history of liver ail-
ments which precludes my drinking.
Miss Grace would be most displeased
with me. So I drove quite fast in
order to beat her home, sir.
Michael really isn't sure he believes this explanation, but
Griffin looks sincere.
MICHAEL
You didn't happen to be in the
vicinity of the Gourmet Restaurant
tonight, did you?
GRIFFIN
No, sir. I prefer health foods.
CUT TO
EXT. FOUNDATION - DAY - STOCK
A sunny, peaceful afternoon.
MICHAEL'S VOICE
I think it's the butler, Griffin....
INT. DEVON'S OFFICE - DAY
Michael and Devon, April at the computer.
DEVON
Michael, you can't be serious.
(to April)
April....
APRIL
(from computer)
He was born in Lancaster, England.
Third generation butler...he's been
with the Fallans since 1950...shot in
the leg in World War II, won a Purple
Heart....
DEVON
(to Michael)
You did say the man has a pronounced
limp, didn't you?
Michael nods.
DEVON
Obviously his war injury.
(beat)
Michael, are you sure your...'interest'
in Grace Fallan isn't clouding your
judgment?
MICHAEL
(sighs, paces)
I don't know...I don't know what to
think anymore.
(beat)
You think it's Grace, don't you?
Devon hesitates, glances to April, deferring to her.
APRIL
(gently)
Michael, look at the facts...She's
physically capable, she was at the
restaurant, she can't verify her
whereabouts....
MICHAEL
What about Raymond Fallan?
DEVON
What about him?
MICHAEL
Maybe he's not dead after all....
Devon and April appear disappointed in Michael's reasoning.
MICHAEL
All right, it's a long shot...but
it's possible. It's also possible
Griffin's not as disabled as every-
one likes to think he is.
CUT TO
OMITTED
EXT. BANK IN ELEGANT NEIGHBORHOOD - DAY - ANGLE ON GRIFFIN
as the butler limps out of the bank we saw before, carrying
a sealed yellow envelope. There's a mailbox across the
street; he's heading toward it.
ANOTHER ANGLE
as we pull back to see the Trans Am parked nearby and
realize that we're watching Griffin from Michael's point of
view.
INT. TRANS AM - DAY
Michael watches the butler toiling toward the mailbox.
K.I.T.T.
You must admit that's an awfully pro-
nounced limp, Michael.
MICHAEL
Whose side are you on, anyway?
K.I.T.T.
The side of logic.
MICHAEL
If logic could explain everything,
Kitt, people wouldn't pay thousands
of dollars for stones that are only
worth pennies.
MICHAEL'S POINT OF VIEW THROUGH WINDSHIELD - ON GRIFFIN
as he reaches the mailbox, slips the envelope in.
INT. TRANS AM - DAY
Michael eyes Griffin thoughtfully. Then suddenly punches
some buttons.
MICHAEL
Wait a minute -- run a medical scan
on Griffin and see if you can find
the old war injury.
ANGLE ON MONITOR
as a medical diagram of Griffin appears, running through
muscles and blood systems and ending with skeletal
structures. A red dot shows on Griffin's left upper thigh.
K.I.T.T.
I do detect an early trauma to
Mr. Griffin's left upper femur.
ANGLE ON MICHAEL
peering out at Griffin.
MICHAEL
In that case, it's kinda strange
that he limps on his right leg, don't
you think?
EXT. TRANS AM - DAY
Griffin limps back across the street.
OMITTED
INT. TRANS AM - DAY
Michael starts the engine and pulls away.
MICHAEL
So much for old war wounds.
K.I.T.T.
To quote the cliche, it appears as
if the butler did it.
MICHAEL
Looks like we're going to have to
share a few unpleasant facts with
Grace.
(punches
buttons)
Let's get Devon.
INTERCUT - MONITOR
Devon appears with April.
DEVON
Michael, I was just going to contact
you...any luck with Griffin?
MICHAEL
More than I'd hoped for -- I'll fill
you in later. What's up?
DEVON
April's come up with something
interesting....
APRIL
The last name on the list, Harold
Salen, was arrested on parole
violation last night.
Michael is intrigued by the possibilities.
MICHAEL
Where?
APRIL
Mexico City. It could take days
before it becomes general knowledge.
MICHAEL
(a smile)
Could it be we're thinking along the
same lines?
APRIL
(smiles)
Could be.
DEVON
In that case, kindly share the
benefit of your brilliance. I'm
lost.
MICHAEL
It's simple, Devon. With Salen
temporarily out of the picture, no
one will think twice if he throws
a party. Polish up your diamonds,
April. You're invited.
CUT TO
INT. FALLAN LIVING ROOM - DAY - MICHAEL AND GRACE
squared off from a distance, facing each other.
GRACE
You're telling me that a man I've
known all my life is the cat burglar
-- dragging my life and my father's
name through the mud? I don't
believe you!
MICHAEL
Grace, I know how hard this is for
you...but it's the truth. I saw it.
The limp is a fake.
GRACE
All right, maybe it is -- but that
doesn't mean he's the cat.
MICHAEL
I also ran a check on his bank
account. In the last month he's
deposited and withdrawn over half a
million dollars.
The weight of the evidence settles on her. For the present,
there's no fight left in her. Michael moves to her, takes
her hands, comforting her.
MICHAEL
I know what Griffin means to you.
And believe it or not, I hope you're
right about him. There's a way to
find out. Harold Salen's throwing
a party tomorrow night, and I managed
to get invited. Come with me. If
the cat burglar's true to form,
he'll be there, too.
GRACE
What if he is, and it's not Griffin?
MICHAEL
Then I'll admit I was wrong and
apologize to both of you.
(beat)
But I think he'll be there -- unless
you warn him.
On her troubled look....
CUT TO
EXT. FALLAN HOUSE - DAY
As Michael walks toward the Trans Am K.I.T.T.'s voice
suddenly rings out:
K.I.T.T.
Michael, there's a car approaching
at high speed.
Simultaneously a car tears up the driveway, cutting Michael
off from the Trans Am. Barth jumps out, his gun pointed at
Michael.
BARTH
Get in.
MICHAEL
If I'm under arrest, I want to know
the charge.
BARTH
No charge. Just a little private
conversation.
Michael debates it, crosses to the car.
CLOSE ON MICHAEL
As he climbs in, he speaks into the comlink.
MICHAEL
Let's see what he wants. Give us
a head start, then follow.
ANGLE ON K.I.T.T.'S SCANNER
It flashes acknowledgment.
EXT. FALLAN MINI-ESTATE - DAY
Barth's car leaves, Michael in the passenger seat. The
gardener seen earlier is now carefully engaged in pruning
a juniper which has lovingly been shaped, over the years,
into the image of a delicate swan. As Barth's car passes,
the gardener glances at it, returns to his work.
EXT. GRIFFITH PARK-LIKE AREA - DAY
Barth's car pulls off the street into the lushly overgrown
area, largely deserted; moves into the greenery.
OMITTED
EXT. FALLAN HOUSE - DAY - ANGLE ON TRANS AM
as it bursts to life, turns and starts down the driveway
toward the street.
ANOTHER ANGLE
The Trans Am barrels by, heading in the direction of Barth's
car. The gardener looks up from his surgeon-like work, the
electric shears safely away from the swan. He sees that
the car is driverless and reacts as if he'd seen a ghost.
The color drains from his face. His hands tremble. He
hears the sound of his shears biting into wood, turns just
in time to see the swan's head fall to the ground, its
delicate neck severed. From the look on his face, he might
as well have decapitated a human.
CUT TO
EXT. GRIFFITH PARK AREA - DAY
Barth's car swerves in, pulls to a stop. Barth gets out,
the gun still clutched in his hand. He gestures and Michael
gets out.
BARTH
I don't like you.
MICHAEL
If that's why you brought me here, I
could've saved you a trip. I figured
that one out already.
BARTH
No, there's more to it. Lots more.
(nudges Michael
forward with
the gun)
You see, I did a little checking on
you, Michael Knight. You're a real
mystery man -- it's almost like you
didn't exist before last year.
Michael stops, turns to face Barth, ignoring the gun pointed
at him.
MICHAEL
I'll level with you, Barth -- you're
a lousy conversationalist. Why don't
you just say what you want to say.
BARTH
Turn around and walk over to that
brush.
MICHAEL
No.
The two men stare at each other, neither backing down.
Barth raises the gun into firing position.
BARTH
Move or I'll shoot.
Michael holds his ground. We feel at any moment Barth may
fire. Then, suddenly, we hear the whine of K.I.T.T.'s
turbines.
UP ANGLE - K.I.T.T.
comes flying over greenery, airborne on Turbo Boost.
ANOTHER ANGLE
Stunned, Barth's eyes leave Michael for just an instant,
and an instant is all Michael needs. He tackles Barth.
ANGLE ON K.I.T.T.
He lands and skids to a stop, facing them, scanner
flashing and turbines snarling.
ANGLE ON MICHAEL AND BARTH
Barth throws a punch, misses, and Michael executes a
perfect judo move; Barth lands flat on his back on the
ground.
MICHAEL
(to K.I.T.T.)
Thanks, pal.
K.I.T.T.'s scanners flash. Michael empties Barth's gun,
throws the bullets into the brush. Then he hauls Barth
to his feet.
MICHAEL
You're a dangerous man, Barth. You're
obsessed. You've got no business in
that uniform. If you make one more
move off the mark, I'll see to it
that everything you've done goes
straight to Internal Affairs. And
that includes what just happened.
A last look at him and Michael tosses the gun in the
opposite direction of the bullets, turns and crosses to
K.I.T.T. Barth stares at Michael with hatred.
CUT TO
EXT. FALLAN HOUSE - DAY
It's quiet and peaceful.
INT. GRIFFIN'S QUARTERS - DAY
The room's dark until the door opens and an arm reaches in
to flick on the light. Grace enters, shuts the door
silently behind her. She looks around the immaculate abode
of the butler; then, using the methodical skill of a cat
burglar who knows instinctively where the goods'll be kept,
she begins searching the room -- rifling through drawers,
carefully returning the contents to their original state;
reaching under the mattress, feeling around, then straight-
ening the bed so no one could tell it'd been mussed;
continuing in this manner around the room, finding nothing.
ANOTHER ANGLE
as Grace's eyes light on a mirror hanging over the dressing
table. She crosses to it, careful not to put fingerprints
on the glass, and lifts it away from the wall. Behind the
mirror is a stash -- nothing fancy, just a hollowed out area.
Grace takes a small leather bag resting there, opens it.
CLOSE ON GRACE
Inside is a very large diamond -- Molly Friedrich's diamond.
Grace looks at it for a long moment, a silent tear tracing
its way down her cheek.
FADE OUT
END OF ACT THREE
ACT FOUR
FADE IN
EXT. FOUNDATION - DAY - STOCK
It's late afternoon.
INT. DRAWING ROOM - DAY
Devon's pacing, clearly upset. Michael's with him.
April stands by with what we'll learn is a stack of bills.
DEVON
I can't shake the feeling we should
cancel this party, Michael. If some-
thing goes wrong, all we'll have
succeeded in doing is making the cat
burglar a walking target....
MICHAEL
It's the only chance we've got to
catch the cat and Barth, Devon. We
have to try.
APRIL
Speaking of the party....
April hands the bills to Devon.
DEVON
What is this?
APRIL
Examples of the high cost of living
these days. Bills.
Devon rifles through the papers.
DEVON
Caterer? Valet parking? Orchestra?
Do we really need an orchestra?
April and Michael exchange smiles.
EXT. TRANS AM - MOVING THROUGH CITY STREETS - NIGHT - STOCK
The city glitters in the darkness, as if studded with
diamonds....
OMITTED
EXT. HIGH-RISE HOTEL - NIGHT
One building in a row of similar-height high-rises (if
possible). There's a multi-level parking lot next door.
CLOSER ANGLE
as Michael pulls up in the Trans Am.
INT. K.I.T.T.
as Michael activates Surveillance Mode, climbs out, leans
into the Trans Am.
MICHAEL
Beep me once for Barth entering the
area, twice for anybody scaling the
building.
Michael starts away, then pauses.
MICHAEL
How do you feel about heights, buddy?
K.I.T.T.
They are quite literally for the
birds, Michael.
Michael smiles and moves away from the Trans Am. We hold
on K.I.T.T. for a moment, then pan up to the roof.
OMITTED
INT. HOTEL - PENTHOUSE BANQUET ROOM - NIGHT
Michael enters the room, which is packed with formally-
dressed, well-appointed people.
APRIL'S VOICE
Michael Knight! How delightful to
see you.
Michael turns as April sweeps toward him as if she hasn't
seen him in years. She's wearing a stunning strapless gown,
her hair is coiffed high on her head, and around her neck
is a heavy, ornate diamond necklace. Reaching Michael, she
squeezes his hands, kisses his cheeks.
MICHAEL
You look terrific, April. I've
never seen diamonds look so natural
on a woman.
April touches the necklace, grins.
APRIL
They're real. Borrowed, but real.
MICHAEL
If I were a cat burglar, I wouldn't
be able to keep my hands off you.
Off your necklace, I mean.
APRIL
Of course.
(beat)
Well, look who's here.
She and Michael turn toward the entrance, and see:
MICHAEL AND APRIL'S POINT OF VIEW
as Grace steps into the room in a flowing, kaftan-like gown.
She looks very lovely, whereas her date -- Griffin -- looks
very uncomfortable in his once-fashionable formal attire.
Grace spots Michael and heads directly toward him, smiling
in a way that does not say "glad to see you."
NEW ANGLE
as Grace and Griffin join Michael and April. Michael's
clearly confused by Griffin's presence.
GRACE
Don't look so surprised. I said
I was bringing a date.
Griffin looks stricken, as only a man who knows he's out of
place can look.
GRIFFIN
I realize I shouldn't be here, sir.
But Miss Grace was most insistent....
MICHAEL
How are you, Griffin?
Grace links her arm through Griffin's.
GRACE
Wouldn't you like to introduce us to
your lady friend?
Michael realizes she refers to April.
MICHAEL
Griffin, Grace Fallan, this is
April Curtis.
APRIL
I'm so glad you could come. Harold
will be so pleased.
Grace looks to Michael for an explanation.
MICHAEL
April and Harold are...engaged.
APRIL
I've never been happier. People make
too much of age difference. What's
a decade or two when you're in love?
April smiles and moves to link her arm through that of a
man whose back is to us as he talks to someone. Then,
"Harold" turns and we see he's in fact Devon, dressed to
the nines. April escorts Devon over to Michael, Grace and
Griffin.
APRIL
I'd like you to meet Harold Salen,
my fiance. Harold, this is Michael
Knight, Grace Fallan, and....
GRIFFIN
Griffin, miss. Just Griffin.
Ad-lib hellos and greetings. Grace sizes up Devon.
GRACE
The last I heard, you were in prison,
Mr. Salen.
DEVON
Yes, I was. Dreadful place. For-
tunately, I was paroled for good
behavior.
GRACE
I'm Raymond Fallan's daughter, you
know.
DEVON
So I understand.
GRACE
According to my father, you're
incapable of good behavior.
Devon feigns surprise, chuckles. The band begins to play
and Michael takes Grace's arm.
MICHAEL
May I have this dance?
Grace looks up at him, removes his hand from her arm.
GRACE
That would hardly be polite to my
date.
She leads Griffin toward the dance floor.
ANGLE ON MICHAEL, DEVON, APRIL
They watch Grace and Griffin dance -- which, with Griffin's
limp, is an awkward affair.
DEVON
I'm beginning to seriously doubt your
theory, Michael. Since Griffin's here
as a guest, I'd say it's unlikely he's
planning to burglarize the place.
APRIL
And if the cat burglar doesn't strike,
this whole party will have been for
nothing.
DEVON
You wouldn't say that if you were
paying the bills.
MICHAEL
(smiles)
May I?
Michael takes April's hand and leads her toward the dance
floor.
CUT TO
OMITTED
EXT. HOTEL - NIGHT - ANGLE ON TRANS AM
as a car cruises down the street -- an ordinary, unnotice-
able car, except that we've seen it before -- it's Barth.
ANGLE ON TRANS AM
as Barth's car cruises past, the scanner flashes, and:
INT. HOTEL BANQUET ROOM - NIGHT - ANGLE ON MICHAEL AND
APRIL
on the dance floor. Michael's comlink beeps once. April
looks up at him, knowing it's a signal.
MICHAEL
Barth's here.
He looks across the room. Grace and Griffin are still
struggling away on the dance floor.
APRIL
So are Griffin and Grace.
MICHAEL
So I see.
(to April)
Thanks for the dance.
Michael hurries away through the crowd.
ANOTHER ANGLE - CLOSER
Michael finds an isolated spot, speaks into the comlink.
MICHAEL
What's Barth doing, Kitt?
INTERCUT - K.I.T.T.
K.I.T.T.
Circling wide. Waiting.
MICHAEL
No sign of the cat burglar?
K.I.T.T.
I'm afraid not.
(beat)
Wait...
MICHAEL
What is it?
K.I.T.T.
We just lost a burglar alarm, Michael.
And a window has just opened on the
opposite side of the building.
MICHAEL
From the outside?
K.I.T.T.
From the inside.
Michael swings around to face into the room.
MICHAEL'S POINT OF VIEW - THE ROOM
Neither Grace nor Griffin can be seen.
ANGLE ON MICHAEL
He reacts, starts away when suddenly the lights go out.
ANGLE ON THE ROOM
barely visible in the dim light cast by the many large
windows. Then a scream rings out. A figure in black can
be seen darting through the crowd, toward the far side of
the room.
ANGLE ON MICHAEL
squinting in the darkness, seeing the fleeing figure.
ANGLE ON APRIL
as the lights suddenly go back on. April's standing with
Devon. She clutches her neck, which is now bare of jewelry.
APRIL
My necklace! It's gone!
WIDER ANGLE - MICHAEL
dashes across the room, toward an understated sign reading:
AUTHORIZED PERSONNEL ONLY. He rushes through the door.
INT. HALLWAY - NIGHT
as Michael runs in, peers left and right and sees a figure
in black ducking through a door up the hall. Michael
pursues.
OMITTED
INT. CORRIDOR - NIGHT
as Michael darts from the hallway into this luxurious
corridor, bordered on both sides by suites. He hears a
noise behind a door on his left and he grabs the knob, throws
the door open and finds himself face to face with the Maid's
station, and a uniformed Maid standing with an armload of
towels. Ad-libbing an apology, Michael slams the door and
moves quickly up the corridor, listening. Suddenly, a door
opens and a figure in black darts out of a suite, runs
across the hall to another door and leaps through into the
room beyond. Michael follows.
INT. FIRE EXIT STAIRWELL - NIGHT
as Michael finds himself confronted by the coil of stairs.
He hears a sound above him and looks up to see the figure
in black on the next landing, trying desperately to get to
the roof.
ANOTHER ANGLE
Michael hammers up the stairs after the escaping cat.
CLOSE ON THE CAT
reaching the top, running toward a door marked ROOF. The
cat darts out the door.
CLOSE ON MICHAEL
taking the steps three at a time, reaching the top landing
and flying out the door after the cat.
EXT. HIGH-RISE HOTEL ROOF - NIGHT
as Michael reaches the roof and sees the cat running ahead
of him. Michael lunges, tackling the cat, and they fall to
the rooftop, struggling. April's diamond necklace falls
from the cat's clothes. Michael gets a good grip on the
cat's tight-fitting ski mask, pulls....
ANGLE ON MICHAEL AND THE CAT
as the mask comes off and Michael finds himself face to
face with Grace Fallan.
GRACE
So you've caught your cat. Surprised?
MICHAEL
Yes. Because I know Griffin's the
cat burglar and ---
Suddenly, a shot rings out, striking Grace in the right
shoulder.
MICHAEL
No!
The force of the shot knocks her down and Michael moves to
protect her with his body, drag her back out of the way.
ANGLE ON THE ADJACENT BUILDING'S ROOFTOP
where Barth crouches with a long-range rifle. He takes aim
again, fires.
ANGLE ON MICHAEL AND GRACE
MICHAEL
(comlink)
Kitt, I need help -- get Barth!
Quick!
K.I.T.T.'S VOICE
Hold on, Michael -- I'm coming.
More shots ring out and a couple of bullets ricochet near
Michael.
OMITTED
ANGLE ON TRANS AM
as the engine bursts to life and the car pulls out fast,
heading toward the parking structure.
ANGLE ON PARKING LOT ATTENDANT
seeing the Trans Am coming. He realizes the car's moving
driverless, and his eyes grow wide. He stares at the Trans
Am, gawking, as it races past.
ANGLE ON TRANS AM
tearing into the parking structure and up from level to
level at incredible speed.
ANGLE ON MICHAEL AND GRACE
More shots.
BARTH
moving to a better vantage point.
ANGLE ON THE TRANS AM
as it reaches the roof of the parking structure, speeds
across the roof, heading toward its far edge.
ON THE TRANS AM
as it turbo boosts from the parking structure's roof,
flying through the air in an upward arc, landing on the
roof of the hotel.
NEW ANGLE
as K.I.T.T.'s doors pop open. Michael and Grace, crouching
low, climb in.
ANGLE ON BARTH
He reacts, opens fire on the car.
ANGLE ON THE TRANS AM
The bullets bounce off as it turbo boosts toward Barth's
rooftop, blasting directly toward Barth. The cop flattens
against a wall as K.I.T.T. skids up to him, stopping just
short of impact but nonetheless pinning him to the wall.
K.I.T.T.
Don't move, you wolf in sheep's
clothing.
ANGLE ON MICHAEL
as he comforts Grace, gets out to confront Barth.
OMITTED
DOWN ANGLE - THE SCENE
as Michael picks up Barth's gun and K.I.T.T. backs up,
lights still flashing.
MICHAEL
I'd say this makes you 0 for 3,
Barth. That's a strikeout in any-
body's league -- even yours.
He grabs Barth's handcuffs and snaps them on Barth.
K.I.T.T.'s scanner flashes in satisfaction.
FADE OUT
END OF ACT FOUR
TAG
FADE IN
OMITTED
EXT. FALLAN MINI-ESTATE - DAY
The Trans Am's parked in the driveway. The front door
opens and Michael comes out, escorting Grace, whose arm's
in a sling. Griffin follows them out, all apologies.
GRIFFIN
...And so you see, sir, when Mr. Fallan
was dying, he gave me the list of
criminals who deserved to be robbed....
MICHAEL
And you took it upon yourself to carry
out his Robin Hood fantasy.
Griffin nods, ashamed. Michael looks to Grace, continuing.
MICHAEL
And once you became convinced it was
Griffin, you took it upon yourself
to protect him by taking his place.
GRACE
I was afraid he'd be caught or killed
-- or both.
MICHAEL
Instead you almost were.
She nods, not proud. They reach the Trans Am, pause.
MICHAEL
Well, at least all of the money was
turned over to charity. Every penny
-- confirmed by the Foundation.
Griffin lowers his eyes, holds his hands out.
GRIFFIN
Well, sir, I suppose this is the
end of the line. Please don't put
the cuffs on too tight, my circu-
lation isn't what it once was.
Michael looks at him, then to Grace.
MICHAEL
It's a good thing we were able to
recover Molly Friedrich's ring,
isn't it?
GRACE
A real stroke of luck.
MICHAEL
Too bad we couldn't catch the cat
burglar who took it.
Griffin looks up, eyes filled with hope.
GRACE
Guess, you can't win 'em all.
Michael winks at Grace, starts to climb into the Trans Am.
GRACE
Michael? Don't forget this.
She hands him his comlink watch. He looks at his wrist,
confused; realizes she lifted the watch.
MICHAEL
I see I'm going to have to keep a
closer eye on you.
GRACE
Promise?
He straps on the watch, closes the Trans Am's door, starts
the engine and pulls away.
INT. TRANS AM - MICHAEL
K.I.T.T.
You know, Michael, I've been thinking
of changing my name.
MICHAEL
To what, pal?
K.I.T.T.
Kitt the Cat.
Michael laughs.
ANOTHER ANGLE
As they leave down the long driveway, we see the gardener
has a new juniper in place of the old one, is meticulously
trimming the long arching neck of what will be a swan. As
K.I.T.T. passes, his scanner flashes.
K.I.T.T.
Sorry about the last swan.
The gardener reacts, spinning around and staring, as the
electric shears lop off the swan's half-completed head.
He can't believe he's done it again. On his look of abject
despair....
FADE OUT
THE END
