Home : Knight Rider : Season 2 : K.I.T.T. The Cat : Scripts : 4th Draft

KNIGHT RIDER: K.I.T.T. THE CAT

EXEC. PRODUCERS: Glen A. Larson, Robert Foster
SUPV. PRODUCER: Joel Rogosin
CO-PRODUCERS: Robert W. Gilmer, Gian R. Grimaldi

Production #57824
4th Draft - September 11, 1983 (F.R.)

Teleplay: .................. Janis Hendler
Director: .................. Jeffrey Hayden

                              
                                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 pulls a laser 
     light from his bag and runs it along the window.  Then
     attaching a vacuum cup to the center of the glass, begins
     cutting a neat entrance through the 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.  We
     angle down to the card on the corner, immaculately engraved,
     reading:

               YOUR GENEROSITY IS APPRECIATED

     OMITTED

     EXT. CITY STREET - NIGHT

     The Trans Am appears in light late night traffic.

     INT. TRANS AM - NIGHT

     Michael is at the wheel.  He's been driving for some time.

                               MICHAEL
               You've been awfully quiet tonight.
               Homesick?

                               K.I.T.T.
               No.  However, it will be nice to see
               April and Devon again.

                               MICHAEL
                      (smiles)
               Homesick.

     EXT. HIGH-RISE BUILDING - NIGHT

     The cat burglar can be seen descending the building, hand
     over hand.

     ANGLE ON SECURITY GUARD

     making his rounds.  He turns a corner, stops short, staring.

     WIDER ANGLE

     The cat burglar comes down the last few feet and jumps to
     the ground.  The Security Guard draws his gun.

                               SECURITY GUARD
               Hey you -- stop!

     The cat burglar reacts, immediately darts away.

                               SECURITY GUARD
               Stop or I'll shoot!

     The cat burglar ignores him, sprinting in the opposite
     direction.  The Security Guard fires a warning shot in the
     air and pursues.

     ANGLE IN K.I.T.T.

     Michael hears the distant shot.

                               MICHAEL
               Kitt, what was that?

                               K.I.T.T.
               A pistol, Michael.

                               MICHAEL
               Where?

                               K.I.T.T.
               Just around the corner.  Surely you're
               not thinking of....

     Michael hits the gas.

                               K.I.T.T.
               Apparently you are.

     ANGLE IN HIGH-RISE COMPLEX

     K.I.T.T. comes around the corner and from nowhere, the cat
     appears, an elusive dark figure, running, almost colliding
     with the Trans Am.  Michael hits the brakes and the cat
     rolls across the hood, lands on his feet and darts into
     a corridor between two buildings.

     ANOTHER ANGLE

     The Security Guard comes running up, breathing hard.

                               SECURITY GUARD
               You see a guy run by here?!

                               MICHAEL
                      (points)
               He went down there.  Need any help?

                               SECURITY GUARD
                      (running,
                       shouts back)
               I could use some light!

     ANGLE AT MOUTH OF CORRIDOR

     Michael and K.I.T.T. arrive with the Security Guard,
     K.I.T.T.'s headlights illuminating the area.  They react.

     THEIR POINT OF VIEW - THE CORRIDOR

     deadends a short distance away, bordered on all sides by
     concrete and stone.  The cat is nowhere to be seen.

                               MICHAEL
               Kitt, can you pick him up on your 
               scanner?

                               K.I.T.T.
               How extraordinary.  I had him on my
               scanner, Michael.  He simply...
               vanished.

     On Michael's reaction:

                                              CUT TO

     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
                      (preoccupied)
               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've been fine....

                               DEVON
               You've only been gone a week.  How
               was the vacation?

                               MICHAEL
               Let's define terms, Devon.  This trip
               was strictly business, remember?  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)
               Something rather intriguing.  It seems
               the newspaper has received 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 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
               robbed by a cat burglar.  That card
               was left behind.  I've kept it all
               this time as a sort of...memento.
                      (beat)
               Michael?

                               MICHAEL
                      (remembering
                       last night)
               I wonder if it's the same guy....

                               DEVON
               Pardon?

                               MICHAEL
               Nothing -- just an incident last
               night.  I almost hit someone dressed
               like a cat burglar.  He disappeared
               right before my eyes, like Houdini.
                      (beat)
               Was this cat burglar ever identified?

                               DEVON
               Not positively, but it was widely
               believed to be a man named Raymond
               Fallan -- a very clever and daring
               chap.  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, the papers reported
               that Raymond Fallan died last month.

     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 opens it.
     We see the contents of the safe.  Ricky immediately plucks
     out the Sangre de Coeur, holds it in the sunlight.

                               RICKY
               Nice.  Very nice.  For this an extra
               ...hundred thou.

     Griffin, with a tolerant smile, takes the necklace from
     Ricky and pockets it.

                               GRIFFIN
               It's worth twice that.

                               RICKY
               Let me think about it.

                               GRIFFIN
               Don't take too long.

     Ricky leaves the attache case he brought, 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 handker-
     chief, 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,
     passes a gardener and 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 over a month
               ago.

     She shuts the door to punctuate this, moves out into the
     garden to clip some flowers.  Michael follows her.

                               MICHAEL
               I know.  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
               at Christmas like Santa.

                               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
               Only one person.

                               MICHAEL
               Who?

                               GRACE
               Me.

     He takes in the information.  She watches him.

                               GRACE
               Thanks for offering to help but I
               prefer to think it will just go
               away...back into the past where it
               belongs.

                               MICHAEL
                      (beat)
               I hope you're right.

     It's clear he doesn't think it will.  Ad-lib good-byes and
     Grace turns back to the flowers.  Michael moves off.

     OMITTED

     ANGLE ON K.I.T.T.

     parked as before.  The gardener appears, whistling, dragging
     a garden hose as he sprays flowers.  As he passes he acci-
     dentally sprays K.I.T.T.

                               K.I.T.T.
               Would you mind raining on someone
               else's parade?

     The gardener nearly jumps out of his skin, loses control 
     of the hose and sprays the house.  He catches himself,
     returns the spray to the flowers, shaken.

                               K.I.T.T.
               Thank you.

     The gardener shudders and quickly moves off.

     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 sees he's having trouble.

                               MICHAEL
               Can I give you a hand?

                               GRIFFIN
               No thank you, sir.  The exercise 
               does me good.

     And as Griffin struggles into 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:

                                              CUT TO

     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....

                               K.I.T.T.
               Not a penny over four hundred dollars.

                               MICHAEL
               What?

                               K.I.T.T.
               Grace Fallan's diamond ring.  The
               stones were tiny, Michael -- not at
               all what a prosperous cat burglar
               would wear.

                               MICHAEL
                      (a smile)
               I'll keep that in mind, pal.

     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
               It took some persuasion, but my
               sources at the newspaper confided
               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, but we're
               still checking.

                               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 compelling 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 ---

     Elliot is surprised, but covers nicely.

                               ELLIOT
               You've been misinformed.  For your 
               information there was no 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
               Don't press your luck.

                               MICHAEL
               Still got a minute left.

     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, apparently identical to the one
     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.

                               ELLIOT
               Time's up.

     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 to the Trans Am and
     climbs in.

     INT. TRANS AM - DAY

                               K.I.T.T.
               Michael, my sensors indicate you're
               somewhat disturbed.

                               MICHAEL
               You could say.
                      (pushes buttons)
               I want you to scan the building,
               Kitt -- let's find out if Elliot was
               robbed last night or not.

     K.I.T.T.'s computer lights flash.

     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 cable against the edge of
               the office window...I also detect
               the residue of a foreign substance
               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
               inside with the Sangre de Coeur
               necklace....

                               K.I.T.T.
               Michael, I thought the Sangre de
               Coeur was stolen.

                               MICHAEL
               So did I.  I want to find out if the
               one in that safe is real....

     As K.I.T.T.'s computer lights continue to flash:

     OMITTED

     INT. DEVON'S OFFICE - DAY - ANGLE ON DEVON

                               DEVON
                      (amazed)
               Paste?  Are you absolutely sure?

                               MICHAEL
               Kitt is.

     Over this, April rises from the computer with data sheets.

                               DEVON
               But why?  Not reporting a burglary
               is one thing, but going so far as
               to provide a phoney necklace is quite
               another.  It defies credibility.

                               APRIL
               Maybe to us, maybe not to a criminal
               mind.
                      (beat)
               The men who've reportedly been robbed
               -- Delbert, Anderson and Elliot --
               do have something in common after
               all.  It's not public knowledge,
               but they've all made a lot of their
               money illegally.

                               MICHAEL
               That sounds like a good reason not
               to bring in the police -- and maybe
               even offer up a fake Sangre de Coeur
               as proof they weren't robbed.

                               DEVON
               Are you suggesting whatever was in 
               their safes might incriminate them?

                               MICHAEL
               It's happened before.
                      (to April)
               Anything on Kitt's data on the
               burglary?

                               APRIL
                      (re data
                       sheets)
               It was Fallan's M.O. to the last
               detail.

                               MICHAEL
               So Elliot's office was burglarized
               by a dead man....

                               DEVON
               Or a very able student.

     Devon paces thoughtfully, captivated.

                               DEVON
               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, donating large sums to various
               charities...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.
               Apparently it's just beginning.

                               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?

     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.
                      (from notes)
               'Thomas Delbert.  Claude 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 recently.

     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?
                      (glances off)
               No, Elizabeth -- remember, it's the
               shoulder.

     She moves toward her students, demonstrating.  Michael's
     comlink buzzes.

                               MICHAEL
               Yeah, Kitt?

                               K.I.T.T.
               Michael, the man at the picnic table
               is heavily armed.

     MICHAEL'S POINT OF VIEW - PICNIC TABLE

     past the happy-faced parents, cheering their little one's
     every move, we see the 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 stares in disbelief.
     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 the gardener,
     on a ladder pruning a nearby tree, cuts some leaves which
     fall on K.I.T.T.  Rather than startle the gentleman by
     speaking, K.I.T.T. opts to simply back up a few feet.  The
     gardener, however, notices this, reacts, the ladder wobbling
     beneath him.  Panicked, he grabs the tree limb as the ladder
     crashes to the ground.  He is left suspended fifteen feet
     off the ground, clinging to a tree branch.

     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, Grace.  Barth
               thinks you've taken up where your
               father left off.  Make no mistake
               about it, he's after you.
                      (beat)
               It's not going to just go away.

     Grace holds his eyes for a moment.

                               MICHAEL
               Deal?

     She thinks it over, finally nods.  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, George
               Friedrich's next.  And Molly
               Friedrich's just invited me to a
               society fund raiser at her restau-
               rant, 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 three-piece suits.

                                              CUT TO

     OMITTED

     EXT. TRANS AM - NIGHT

     Michael is driving out to Grace's.

     INT. TRANS AM - NIGHT

     Michael's got on a suit 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 necktie, don't
               ask.

                               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.

     OMITTED

     INT. CHEZ VOLTAIRE - NIGHT - ANGLE ON MICHAEL AND GRACE

     as they enter, Michael looking very debonaire in a suit and
     tie, Grace 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 sports a large diamond ring.  She sees
     Grace and her face lights up.  She holds out her arms.

                               MOLLY
               Grace, how delightful to see you!
               You're looking wonderful.

     Grace returns the hug, looking at the ceiling.

                               GRACE
               It's nice to see you, Molly.

     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.  So
               delighted you could join us....

     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 hesitation Grace points across the room.

                               GRACE
               That's where the offices are -- where
               the fewest people would be.

     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.

     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 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, stunned.  She stares at the ringless finger where
     the diamond ring was.

                               MOLLY
               My ring!  He took my diamond ring
               right off my finger!

     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 he turns, looking
     for Grace:  she's nowhere to be seen.

     OMITTED

                                              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 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.

                               MOLLY
               If I knew I'd have her arrested!
               She took the diamond ring right off
               my finger!

                               MICHAEL
               Did you see her?  Are you sure it 
               was Grace?

                               MOLLY
               It was the cat burglar -- who else
               could it be but Grace?!

     On Michael's look....

                                              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 Chez Voltaire
               Restaurant tonight, did you?

                               GRIFFIN
               No, sir.  I prefer health foods.

                                              CUT TO

     EXT. FOUNDATION - DAY - STOCK

     A sunny, peaceful afternoon.

                               APRIL'S VOICE
               ...He was born in Lancaster, England....

     INT. DEVON'S OFFICE - DAY

     Michael and Devon, April at the computer.

                               APRIL
                      (from computer)
               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
               He was presumed dead in a plane
               crash, but his body was never found.
               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.

                               K.I.T.T.
               Which reminds me, Michael -- how
               much did you pay for those cuff links
               you wore last night?

                               MICHAEL
               They were a gift.  Why?

                               K.I.T.T.
               They were gold fill.  Far be it from
               me to speculate on their value, but ---

                               MICHAEL
               Then don't.

                               K.I.T.T.
               Very well.
                      (beat)
               Not over three dollars wholesale.

     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 tonight, 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
               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.

     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 carrying a badge.

     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 are two items -- the Sangre de Coeur necklace and
     Molly Friedrich's diamond ring.  Grace looks at them 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

     It's late afternoon.

     INT. DEVON'S OFFICE - 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
               He already is, Devon.  At least this
               way we'll have some control over 
               what happens...I hope.

                               APRIL
               Speaking of the party....

     April hands the bills to Devon.

                               DEVON
               Yes?  What's 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?

     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.  He's wearing a tux.
     Tres chic.

     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.
                      (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?  Good to see
               you.

     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.  He doesn't see Grace or Griffin.

                               APRIL
               Where's Grace?  And Griffin?

                               MICHAEL
               Good question.
                      (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...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 - HALLWAY

     The cat's legs disappear into a duct in the ceiling.
     Michael, from the dance floor sees this, moves into the
     hallway as the duct closes.  Michael dashes through an
     exit door.

     INT. OUTER HALLWAY - NIGHT

     as Michael runs in, sees elevators close by.  He pushes a
     button, jumps into the elevator.

     OMITTED

     INT. CORRIDOR - NIGHT

     as Michael darts from the hallway into this luxurious
     corridor, bordered on both sides by suites.  He runs to
     the end of the hall, goes through a door heading for the
     roof.

     INT. FIRE EXIT STAIRWELL - NIGHT

     as Michael runs up the stairs toward the roof.

     EXT. ROOF - NIGHT

     As the cat comes out of the duct, April's diamond necklace
     still clutched in his hand, another figure suddenly appears,
     identically dressed.  This new cat grabs the necklace;
     there's a strange, unspoken moment between these two
     figures, then the original cat, sans necklace, scampers
     away into the darkness, gone.

     ANGLE ON MICHAEL

     as he appears on the roof, sees the cat with the necklace
     and pursues.

     OMITTED

     ANOTHER ANGLE

     Michael lunges, tackling the cat, and they fall to the
     rooftop, struggling.  April's diamond necklace falls from
     the cat's grip.  Michael gets a hand 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
               Grace, what are you trying to do?  I
               know it's Griffin ---

     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.

     ANGLE ON MICHAEL

     as he jumps 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, before
               Mr. Fallan died, 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
               on the roof.

                               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.  For what it's
               worth, I'm through being a cat.  A
               butler's more to my liking.  Please
               don't put the cuffs on too tight, my
               circulation 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 other one.

     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