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KNIGHT RIDER: THE TOPAZ CONNECTION

EXEC. PRODUCERS: Glen A. Larson, Robert Foster
SUPV. PRODUCER: Joel Rogosin
PRODUCER: Steven E. de Souza

Production #57321
4th Draft - January 5, 1983 (F.R.)

Teleplay: .................. Stephen Katz
Director: .................. Alan Myerson

                              
                                ACT ONE

     FADE IN

     EXT. MANSION - NIGHT

     An imposing Bel Air structure highlighted by water cascading
     from the well-lit fountain in front of the main house.  Limos
     pull up and discharge a cross-section of "high society."

     OMITTED

     ANGLE - MERCEDES

     Devon pulls up and stops his car.  A valet opens the door
     allowing Devon and Bonnie to get out.  Devon thanks the 
     attendant with a nod, takes Bonnie's arm and they walk 
     toward the entrance.  Camera zooms to a study on the
     upper floor.

     OMITTED

     INT. STUDY - NIGHT

     Pan from the window.  We can still hear the noise of the
     party here.  The room is dimly lit...expensively furnished
     ...framed photographs of beautiful models adorn the walls.
     Camera pans over to the desk where Philip Royce sits, typing
     data into a computer terminal as he talks quietly but
     intently on the phone.

                               ROYCE
                      (into phone)
               ...and I have a deadline to meet
               ...I know you are -- look, don't
               push too hard, but push -- every
               day you're there we're risking 
               discovery....

     A knock on the door causes Royce to look up.

                               ROYCE
               Yeah?

                               LAUREN (O.S.)
               It's me.

                               ROYCE
               Two seconds, honey.
                      (into phone)
               My daughter.  Stay on top of it,
               we'll talk tomorrow.

     He hangs up the phone, turns off the computer and goes to
     open the door.  A stunning young woman in her midtwenties
     enters.

                               LAUREN
               When a magazine throws a party, the
               guests expect to see a mingling
               publisher.

                               ROYCE
                      (kissing her)
               I'm sorry.  Just give me twenty more 
               minutes.

                               LAUREN
               Real time or Philip Royce time?

                               ROYCE
                      (smiles)
               Real time for a change.  By the way
               I'm expecting a man, Devon Miles.  I
               think he'll have a young lady with
               him.  When he arrives send him right
               up.  It's important.  Okay?

                               LAUREN
               Real time my eye.

     He laughs, gives her a paternal kiss and opens the door.
     Lauren exits.  Royce goes back to his desk.  There is a
     beeping noise and he picks up his private line.

                               ROYCE
                      (into phone)
               Hello.

     He listens and his face changes.  It's not a voice he
     expected.

     INT. HOTEL ROOM - NIGHT

     The girl calling Royce, Janet, is on the phone.  She looks 
     frightened, but we don't know why.

                               JANET
                      (phone)
               Please, don't hang up...I know it's
               been a long time, I know there's 
               nothing between us anymore, but I
               need to talk to you....

     Over this pull back to reveal a man (Hagen) five feet away,
     a gun pointed at her.  She's terrified.

                               JANET
                      (phone)
               Please come, Philip -- it's the 
               last time I'll ever bother you, I 
               swear....

     OMITTED

     INT. MANSION - LOBBY - NIGHT

     The large room is filled with beautiful and semibeautiful
     people sipping cocktails and nibbling finger foods as they
     revel in the festive atmosphere of the Royce Mansion.

     Lauren appears and moves through the crowd, performs her
     hostess role with charm and ease.

                               LAUREN
               I'm so glad you could come.  Roger,
               how nice to see you...hello...(etc.)

                               MAN'S VOICE
               Barely out of diapers and she's 
               running the show.

     Lauren turns around to see a handsome, stylish, prematurely
     graying man in his early forties.  He is Paul DeBrett.

                               LAUREN
                      (pleased)
               Hello Paul.  I thought you couldn't 
               make it.

                               PAUL
               I couldn't.  I can't.  But I'm here
               anyway.  I've got some terrific news.
               Our marketing research team tells me
               our ads in Escapade are over sixty
               percent more effective than other
               print media.

                               LAUREN
                      (smiles)
               I told you, Paul, we're changing our
               image.  And our demographics.  Stick 
               with us and Parkway Pharmaceuticals
               will make the Fortune 500.

     OMITTED

     ANOTHER ANGLE

     Devon and Bonnie standing at the door with a well-dressed
     bouncer who apparently thinks he has a gate crasher.  He
     scans a guest list as Devon grows uneasy with the delay.
     Bonnie takes in the sights.

                               DEVON
               If you'll kindly get Mr. Royce, he'll
               clear up the misunderstanding.

     As the bouncer scrutinizes the guest list, an attractive
     woman in her late thirties approaches.  She is Anne Tyler.

                               ANNE
               Excuse me, is there a problem?

                               DEVON
               My guest and I were personally 
               invited by Philip Royce, but
               apparently we're not on the guest
               list.

                               ANNE
               I'm sorry, are you Devon Miles?

                               DEVON
               I am.  And this is Miss Barstow.

     Ad-lib hellos.

                               ANNE
               Forgive me.  I'm Anne Tyler, Philip's
               personal secretary.  He is expecting 
               you.  Please, follow me.
                      (off, to 
                       Lauren)
               Lauren, I found him.

     Lauren, talking with someone else, waves.  Devon and Bonnie
     follow Anne Tyler.

     A man (Photographer), admiring Bonnie, grabs her arm as 
     they pass.

                               PHOTOGRAPHER
               I hardly recognized you with your 
               clothes on!

                               BONNIE
                      (reacts)
               What did you say?

                               PHOTOGRAPHER
               Didn't I shoot you last year?
               Miss June?

     Pausing to watch, Devon smiles, takes her arm.

                               DEVON
               I think you have the wrong young
               lady.  Or the wrong month.

     They continue with Anne.  The Photographer tries to follow.

                               PHOTOGRAPHER
               I've got it -- Miss May!

     No reaction.

                               PHOTOGRAPHER
               Miss August?

     They're gone.

     OMITTED

     INT. HALLWAY - NIGHT

     Anne escorts Devon to Royce's study and knocks.

                               ANNE
               Philip?  They're here, Mr. Miles and
               Miss Barstow.  Philip?
                      (silence)

     INT. STUDY - NIGHT

     Anne, Devon and Bonnie start in.  The room is empty, Royce
     gone.  The door to a private exit is open.  On their puzzled
     reactions:

                                              SMASH CUT TO

     EXT. HOTEL - DAY - ESTABLISHING - STOCK

     INT. HOTEL CORRIDOR - DAY

     A maid pushes a cleaning cart down the hall.

     INT. HOTEL ROOM - DAY

     The maid unlocks the door, taking the PLEASE MAKE UP ROOM
     sign off the doorknob.  She picks up a woman's dress and
     liquor bottle off the floor.  She walks over to the window
     and throws back the drapes and turns to make up the bed.
     She freezes, her hand flying to her mouth in horror.

     MAID'S POINT OF VIEW OF THE BED

     where Royce and a young woman lie dead wrapped up in the 
     blankets.

     EXT. TRANS AM - DAY - STOCK

     Michael is racing for a rendezvous.

     EXT. SEMI - DAY - STOCK

     The ramp descends and the Trans Am glides up.

     INT. SEMI - CLOSE ON NEWSPAPER HEADLINE

     which screams:  SKIN PUBLISHER FOUND DEAD.  Underneath is a
     photo of the bodies on the bed.

                               DEVON'S VOICE
               As you can see, Michael, they're 
               turning the man's death into a circus.

     WIDER ANGLE

     to reveal the presence of Michael and Bonnie.  Devon puts the
     newspaper down.

                               MICHAEL
               Given the circumstances, I can see
               why.  What's the tie-in with Philip
               Royce?  Don't tell me it's because 
               you've been a faithful subscriber
               all these years.

     Michael flips to the centerfold in illustration.  Devon 
     smiles, but he's quite serious.

                               DEVON
               As a matter of fact I'm only dimly 
               aware of the magazine's existence,
               my boy.

                               BONNIE
               Royce called two days ago.  He wanted 
               the Foundation's assistance on a story 
               he was researching.

                               MICHAEL
               What kind of assistance?

                               DEVON
               We never found out.  But the impres-
               sion I got from our phone call was
               that the story was an expose.  He 
               indicated it involved someone or 
               something quite powerful.  Possibly 
               quite dangerous...Knowing we are 
               apolitical, he felt we could be 
               an ally.

                               MICHAEL
               Then you don't think his death is 
               for real.

                               DEVON
               His death is clearly 'for real.'  
               I'm just not at all certain the 
               circumstances are.

                               MICHAEL
               If you're right, the story does our
               work for us.  Find out who he was 
               going to expose and you've got your 
               number one suspect.

                               DEVON
               Agreed.

                               MICHAEL
               Does it have a title?

                               DEVON
               If it does, Philip Royce kept it a 
               close secret.  He referred to it by 
               a code name, 'Topaz.'

                               MICHAEL
               Topaz?  A name?  A location?  What?
                      (to Bonnie)
               You run it through the computers?

                               BONNIE
                      (nods)
               I came at it from every angle I could
               think of.  Nothing.  The word doesn't 
               seem to connect to anything specific 
               in Philip Royce's personal or 
               corporate life.
                      (smiles)
               It is, however, a birthstone.  Mine.

                               MICHAEL
               November 24th -- I forgot your
               birthday, didn't I?

                               DEVON
               You were on assignment.  Don't worry, 
               I covered for you.  Tastefully.

                               MICHAEL
               Thanks.  Okay 'Topaz.'  Where do I 
               start?

                               DEVON
               I'd suggest Royce's daughter, Lauren.  
               From what I understand they were 
               very close.

     Michael nods, starts toward K.I.T.T.  Michael gets in.

                               BONNIE
               I've programmed Kitt with everything
               imaginable on Royce's publishing empire.
               Along with all the past issues of
               Escapade Magazine.

                               MICHAEL
               Including the centerfolds?

                               BONNIE
               I anticipated your every need.

     Michael laughs, pulls out as the ramp drops.

     EXT. HIGHWAY - DAY - STOCK

     The Trans Am rolls out, accelerates and flies by the semi.

     OMITTED

     EXT. ROYCE MANSION - DAY

     Michael drives through the well-tended grounds.  We see a
     bevy of beautiful girls in shorts and bikinis exercising,
     playing volleyball, having fun.  Michael parks in the midst
     of this wonderland.

     OMITTED

     INT. TRANS AM - DAY

                               K.I.T.T.
               Michael.

     Michael is too busy looking to answer that.

                               K.I.T.T.
               Michael?!

                               MICHAEL
               Yeah, Kitt?

                               K.I.T.T.
               Why are all those young ladies 
               running around in such skimpy 
               attire?

     Michael gets out of the car.

                               MICHAEL
               When I find out you'll be the first 
               to know.

     He heads for the mansion entrance.

     OMITTED

     ANGLE - PHOTOGRAPHER

     Loaded with gear, he walks up to the Trans Am with an
     assistant.

                               PHOTOGRAPHER
               This must be the new car.

     He tries the door, can't open it.  Pounds on it, frustrated.
     Now several sexy models appear, gliding up to K.I.T.T.
     His scanner flashes.  The doors, trunk, hood and sunroof
     pop open immediately.  The Photographer is stunned.

     OMITTED

     INT. MANSION - LOBBY

     Anne Tyler leaves Paul DeBrett to answer the door.  It's 
     Michael.

                               ANNE
               Yes?

                               MICHAEL
               I'm Michael Knight.  I have an 
               appointment with Lauren Royce.

                               ANNE
               Yes, Michael.  Come in, please.
               I'll be right with you.

     Michael notices the gallery of beautiful models that adorn 
     the wall.  He moves in for a closer look as Anne sees 
     DeBrett out the door.

                               ANNE
               Thanks for stopping by, Paul.  I'll
               tell Lauren what you said.

                               PAUL
               And tell her if there's anything I 
               can do....

                               ANNE
               I will.  Bye.

     DeBrett exits, Anne moves to Michael.

                               MICHAEL
               Terrific place.  Terrific photos.
               I'd swear one of them is you.

                               ANNE
                      (smiles)
               Was.  An earlier incarnation.  I was
               the first Escapade centerfold.

     A nearby phone rings.

                               ANNE
               Excuse me.
                      (into phone)
               Yes?..Tell him I'll get right back 
               to him.
                      (hangs up;
                       to Michael)
               A magazine is like a newspaper, it
               never sleeps.  Regardless of
               personal tragedy...
                      (beat)
               I'm sorry, we all miss him very much.

                               MICHAEL
               I understand.

                               ANNE
               Lauren's on the south lawn.  Just 
               go out the door and to your left
               down the path.  You can't miss it.

                               MICHAEL
               Thanks.

                               ANNE
               Michael, I realize you have business 
               with Lauren, but I do hope you'll 
               keep it brief.  This is a very 
               difficult time for her.

     OMITTED

     EXT. FIRING RANGE - DAY

     A lone figure, Lauren, stands on the range, blasting away.
     Michael enters the shot, stands behind Lauren and watches
     her fire off the last of her rounds.

     OMITTED

     INSERT - TARGET

     as bullets tear into its center.

     RESUME SCENE

     Lauren cracks open the barrel of her Woodsman Colt .22 and
     reloads.  Michael walks over to her.

                               MICHAEL
               Very good.

     Lauren glances at him briefly, coldly, snaps the pistol's
     barrel back and takes up the marksman's stance and cooly,
     deliberately fires off her rounds.  There's a grim deter-
     mination about her.  It's as if the act of firing were a 
     catharsis for her.  Michael tries to talk to her as she 
     keeps shooting.  She ignores him.

                               MICHAEL
               I know some marksmen who'd trade their
               bull's-eyes for yours....

     She fires.

                               MICHAEL
               I might just be one of them....

     She fires.

                               MICHAEL
               I'm Michael Knight.  I believe Devon
               Miles called about me....

     She fires.

                               MICHAEL
               Look, Miss Royce -- Lauren -- I'm
               here to see if I can help find out
               what happened to your father....

     She fires.

                               MICHAEL
               I'm not a cop.  I'm not an enemy.
               I'm on your side....

     She fires.

                               MICHAEL
               I need to know about 'Topaz.'

     She looks at him, her eyes hot and direct.

     OMITTED

     INT. STUDY - DAY

     They enter.  Lauren goes to her father's desk, stops, faces
     him.

                               LAUREN
               All right, what do you want to know?

                               MICHAEL
               I want to know how I can get a hold
               of the story your father was working
               on.  The story he called Devon Miles
               and the Foundation about....

                               LAUREN
               Topaz.

     Michael nods.  Lauren crosses to the computer.

                               LAUREN
               It's all in here, in the computer.
               The story, the research, the
               documentation, names, times and
               places.  Watch.

     OMITTED

     INSERT

     She punches keys.  The word "TOPAZ" appears on the screen,
     followed by, "ENTER SIX DIGIT ACCESS CODE."

     BACK TO SCENE

                               LAUREN
               Do you know anything about computers?

                               MICHAEL
               A little.

                               LAUREN
               Then you know that without the
               access code it's unreachable.  It
               might as well not exist.

                               MICHAEL
               You don't have it?

                               LAUREN
               No one has it.  It died with my
               father.  It was his way of
               guaranteeing security.  For his
               story, and for his family and
               friends.

                               MICHAEL
               What no one knew could never hurt
               them.

                               LAUREN
               Exactly.  So they hurt him instead.

     She turns away, pauses, collects herself.

                               LAUREN
               When you think of Philip Royce,
               what do you think of?

     When Michael doesn't answer immediately she looks at him.

                               LAUREN
               Don't say it.  I'll say it for you.
               Glamour and sex...cars and sex...
               fashions and sex...a glossy, air-
               brushed girlie magazine.

                               MICHAEL
               I feel like I should say, 'Guilty as
               charged.'

                               LAUREN
               Say whatever you like.  All I care 
               about is vindicating my father's
               name.  And I will.

                               MICHAEL
               I didn't know it needed vindication.

                               LAUREN
               Then you're no different from the 
               others.  Philip Royce, bon vivant, 
               womanizer who turned an avocation
               into a profession.  Found murdered
               in a hotel room with a girl half
               his age.  Makes perfect sense.
               After all, those who live by the 
               sword die by the sword.

                               MICHAEL
               Why are you so angry?

                               LAUREN
               Because that's what the world
               believes.  That's his epitaph.  So
               few people knew the real Philip 
               Royce, the serious journalist, the
               man who when he turned fifty came
               into my room crying, saying he'd
               rather sell Escapade than have it 
               continue as it had.  He wanted to 
               turn it into a magazine that would 
               make a difference.  Topaz was to be 
               the new beginning...
                      (fights
                       back tears)
               Don't you see what they've done?  By
               killing him the way they did they
               not only took his life they took
               his reputation, his credibility,
               his...dignity...
                      (beat, hard)
               They won't succeed.  I refuse to let
               them succeed.

     The phone rings.  Lauren goes to the private line, answers
     it.

                               LAUREN
                      (into phone)
               Hello.

     EXT. PHONE BOOTH

     George Olin, a private detective is in the booth.  He's
     nervous, tense.

                               OLIN
               Lauren Royce?

                               LAUREN
               Yes.  Who is this?

                               OLIN
               I'd rather not go into names on the
               phone.  I was working with your
               father on Topaz.

                               LAUREN
                      (expression
                       changes)
               Just a minute.
                      (covers phone, 
                       to Michael)
               This is a personal call.  Thanks for
               coming by.  If I need your help I
               know where to find you.

     No choice, Michael nods.

     OMITTED

     INT. MANSION - HALLWAY - DAY

     Michael closes the door, pauses.

                               MICHAEL
                      (comlink)
               Kitt, trace the call on Royce's 
               private line.

     EXT. PHONE BOOTH/INT. STUDY

                               LAUREN
               Do you know who killed my father?

                               OLIN
               I have a good idea.  Meet me and
               I'll tell you everything I know.

     EXT. MANSION - DAY

     Michael walks over to K.I.T.T. where the Photographer is
     shooting pops of two delightful ladies modeling the latest
     in scanty swimwear.  Both doors are open and K.I.T.T.'s
     scanner is flashing devilishly.

                               MICHAEL
               Excuse me, ladies.

                               PHOTOGRAPHER
               Hey, pal, who do you think you are?

                               MICHAEL
               The owner of this car.  Sorry girls.

     The girls move away, disappointed.  Michael slides behind
     the wheel, fires it up and pulls away.

     INT. TRANS AM - DAY - MOVING

                               MICHAEL
               I've never seen you so...receptive 
               to strangers.

                               K.I.T.T.
               The young ladies and I were
               comparing 'bodywork.'  I found it 
               quite stimulating.

                               MICHAEL
               I could tell.  Did you trace the call?

                               K.I.T.T.
               Unlike most humans, Michael, I can
               perform more than one task at a 
               time.  The call was placed from a 
               phone booth at the corner of Sixth
               and Colgate.

     EXT. MANSION GATES - DAY

     They open and a limo drives through, Lauren in back.

     ANGLE - TRANS AM

     as it pulls away from the curb down the street and falls in
     behind Lauren's car.

                                              CUT TO

     EXT. STREET - DAY

     Lauren gets out of the limo, dismisses the reluctant
     chauffeur.

     ANGLE - TRANS AM 

     as it pulls over to the curb.  Michael puts K.I.T.T. into
     Surveillance Mode and gets out.

     OMITTED

     ANGLE - GEORGE OLIN

     He emerges from the phone booth.

     ANGLE - ROOFTOP

     A man named Hagen takes aim with a rifle.

     OMITTED

     ANGLE ON K.I.T.T.

                               K.I.T.T.
               Michael, there's a man on a rooftop
               down the street with a rifle!

     Michael sprints toward Lauren.  A shot rings out.  Michael
     tackles her, knocking her to the ground.

                               LAUREN
               What are you doing?!

                               MICHAEL
                      (comlink)
               Kitt, over here quick!

     ANGLE ON K.I.T.T. - SEVERAL SHOTS

     The instrument panel comes alive, the gearshift moves,
     tires spin.

     ANOTHER ANGLE

     Michael calms Lauren.

                               MICHAEL
               Take it easy.  Look.

     THEIR POINT OF VIEW - GEORGE OLIN

     He lies dead on the sidewalk.

     BACK TO THEM

                               LAUREN
               Oh no...no....

     K.I.T.T. screeches to a stop, door popping open.
     Michael jumps inside.

     ANOTHER ANGLE

     The Trans Am races toward the parking structure.

     ANGLE AT PARKING STRUCTURE

     as the Trans Am rounds a corner on two wheels, dodges
     several cars.

                               K.I.T.T.'S VOICE
               I'm not getting a reading on him,
               Michael.

                               MICHAEL'S VOICE
               He's gotta be here somewhere, Kitt.

     The Trans Am flies into the parking structure.

     INT. PARKING STRUCTURE - DAY - SEVERAL SHOTS

     as the Trans Am races up the various levels to the top.

     EXT. TOP OF PARKING STRUCTURE - DAY

     The Trans Am appears, races to the edge.  Michael jumps
     out.

     HIS POINT OF VIEW

     No one is here.  He can't believe it.  He looks down.

     HIS POINT OF VIEW - SEVERAL SQUAD CARS

     are parked down the street, officers examining Olin's body
     and talking to Lauren.

     BACK TO MICHAEL

     He turns back to K.I.T.T.

                               K.I.T.T.
               I'm sorry, Michael.  I focused my 
               scanners on traffic and pedestrians.
               When I went back up here he was
               gone.

                               MICHAEL
               It's okay, pal.  Can't win 'em all.

     He gets in and they start back down.

                                              FADE OUT

                         END OF ACT ONE

                             ACT TWO

     FADE IN

     EXT. STREET CORNER - DAY

     Pull back from a coroner's van as the body of Olin is put
     inside.  The van drives off.  Several uniformed cops are
     present.

     We continue widening, see Michael and Lauren standing near
     K.I.T.T. with Lieutenant Herndon, homicide, note pad in hand.

                               HERNDON
               ...then you'd never actually met 
               Mr. Olin.

                               LAUREN
               No, but ---

                               HERNDON
               Just heard his voice on the phone.

                               LAUREN
               Yes -- Lieutenant, is something 
               wrong?  I feel like I'm being 
               interrogated.

                               HERNDON
               Just routine questioning.

                               LAUREN
               I don't think you understand -- this
               is not a routine case.  This man's
               death is directly linked to my 
               father's.

                               HERNDON
               I don't know that to be true.

                               LAUREN
               I do!

                               MICHAEL
               Lieutenant, she told you about their
               phone conversation.

                               HERNDON
               She told me about a phone conversation.  
               There's no proof the man she spoke to 
               was the deceased.
                      (to Lauren)
               If anything further develops, I'll 
               be in touch.

     He drifts off, talks MOS to other cops.  Lauren is furious.

                               LAUREN
               I don't believe this.

                               MICHAEL
               C'mon.

     NEW ANGLE

     Michael leads her away, back toward the Trans Am.

                               LAUREN
               They don't care.

                               MICHAEL
               They care.

                               LAUREN
               Whose side are you on?

                               MICHAEL
               Yours.

     He stops her, pauses.

                               MICHAEL
               Lauren, the police will do what they 
               can based on what they know.  The 
               problem is they don't know what you
               and I do.

                               LAUREN
               I get the distinct impression they 
               don't want to know.

                               MICHAEL
                      (shrugs)
               They operate on facts.  We can't 
               give them facts -- just theories and
               intuitions.

                               LAUREN
               George Olin was not a 'intuition.'

                               MICHAEL
                      (a smile)
               What I'm trying to say is that's our
               advantage.  We're not limited by
               facts.  If we put our heads together
               there's a chance we could get to the
               bottom of this on our own.
                      (beat)
               Okay?

                               LAUREN
               Okay.

     They continue to the Trans Am.

                               MICHAEL
               Let's start by reconstructing the 
               last couple of days of your father's
               life.  Where he'd been, who he'd 
               see....

                               LAUREN
               Where is easy.  Las Vegas.

     They reach the Trans Am, get in over:

                               MICHAEL
               Business or pleasure?

                               LAUREN
               I'm not sure.  He went to the 
               Escapade Hotel on Tuesday, returned 
               on Wednesday.

                               MICHAEL
               Alone?

                               LAUREN
               I don't know, but we can find out.

     The Trans Am pulls away.

                                              QUICK CUT TO

     OMITTED

     EXT. PRIVATE AIRPORT - DAY

     K.I.T.T. appears on an access road, drives right up beside
     the Escapade Lear jet, parks.

     INT. K.I.T.T. - CLOSER

     as they come to a halt.  Lauren looks at the dashboard.

                               LAUREN
               Amazing.  It's like riding with
               mission control.

                               MICHAEL
               I'm into gadgets.

                               LAUREN
               There's Don.

     She gets out, approaches a pilot who's walking towards them
     from the plane.

                               K.I.T.T.
                      (immediately)
               Michael, I am not a 'gadget.'  I am
               a state of the art ---

                               MICHAEL
               Right.  Kitt, give me a state of the
               art composite on George Olin.  Hard
               copy.

     K.I.T.T.'s computers whir.

     INSERT - K.I.T.T.'S DASH

     as a computerized photo of George Olin appears in a slot.
     Michael takes it.

     OMITTED

     EXT. AIRFIELD - DAY

     Michael walks towards Lauren who's with Don, the pilot.
     She turns to Michael.

                               LAUREN
               Dad took someone with him to Vegas, but
               he came back alone.  A 'Mr. Williams.'

                               MICHAEL
               Any chance this is 'Mr. Williams'?

     The pilot takes the photo, nods.

                               DON
               That's him.

     Lauren and Michael react.

                               MICHAEL
                      (to Lauren)
               Hang on, I'll be right back.

     Camera stays on Michael as he crosses to K.I.T.T., slides 
     inside.

                               MICHAEL
               Kitt, patch me through to Devon.

                               K.I.T.T.
               Good news?

                               MICHAEL
               Right now any news is good news.

                               DEVON'S VOICE
                      (filtered,
                       over phone)
               Michael?

                               MICHAEL
               Devon, get me all you can on a
               man named George Olin.  He was 
               working for Royce under an assumed
               name, and ---

     Michael suddenly stops, realizing he is being drowned out
     by ---

     REVERSE ANGLE

     as Michael turns and sees that the jet is taxiing down the
     runway!

     OMITTED

     BACK TO SCENE

                               DEVON'S VOICE
               Michael, are you there?  Michael?

                               MICHAEL
               I'll call you back!

     Michael hits the gas.

     OMITTED

     EXT. CONTROL TOWER - DAY - STOCK

     INT. CONTROL TOWER - DAY - STOCK

                               CONTROLLER #1 (V.O.)
               I have an unidentified speeding object
               on runway two.

                               CONTROLLER #2 (V.O.)
               I didn't authorize that.  Get me the
               aircraft's ID number.

                               CONTROLLER #1 (V.O.)
               Uh, sir...it's not a plane.

                               CONTROLLER #2 (V.O.)
               What are you talking about?  Give me
               those binoculars.

     EXT. RUNWAY - UNDERCRANK - DAY - BINOCULAR MATTE

     The Trans Am hurtles down the runway.

                               CONTROLLER #2 (V.O.)
               I see it...but I don't believe it.

     K.I.T.T. ON ROAD - STOCK

                               MICHAEL'S VOICE
               Kitt, plot me a route to Las Vegas
               off major highways.

                               K.I.T.T.'S VOICE
               Right away, Michael.

     OMITTED

     EXT. DESERT ROAD - DAY - 2ND UNIT

     Barren, beautiful vistas seeming to stretch on forever.
     Suddenly the sound of an engine breaks the stillness.  The
     Foundation semi appears over a rise...and then so does
     K.I.T.T.  The semi's hydraulic ramp starts to descend.  The
     Trans Am drives up and in.

     INT. SEMI - DAY

     Michael jumps out, nods to Bonnie in passing.

                               MICHAEL
               Bonnie, check the fuel cell levels
               and give his logic circuits a pep
               talk.

                               BONNIE
               Not even a hello, Michael?

                               MICHAEL
               Sorry.  Our lady publisher ran out 
               on me.

                               BONNIE
               She'll never know what she missed.
               Say 'Ahh,' Kitt.

     K.I.T.T.'s hood opens.

     WITH DEVON

     as he comes towards Michael, hands him a cup of hot coffee.

                               DEVON
               What happened?

                               MICHAEL
               It's a long story.  Thanks.
                      (sips coffee)
               Actually, it's a short story.

                               DEVON
               She ran out on you.

                               MICHAEL
               That pretty well sums it up.  How'd
               you do on George Olin?

                               DEVON
               He's a private investigator, but don't 
               get your hopes up.

                               MICHAEL
               Devon, if he's an investigator, he
               has files ---

                               DEVON
                      (shakes head)
               What he has -- rather 'had' -- was 
               his photographic memory.  It was his 
               trademark.  No files.

     Michael shakes his head in frustration, looks at Devon.

                               MICHAEL
               I've never seen anything like this.
               Two men working on a project, both 
               murdered -- one kept everything 
               locked away in a computer and the 
               other one in his head.
                      (to Bonnie)
               Bonnie, how are you doing on breaking
               'Topaz'?  Any luck?

                               BONNIE
               Luck is just what it'll take, Michael.
               The six figure code for Topaz has nine
               to the seventh power possible combina-
               tions.

     Michael sighs, finishes his coffee, gets in the car.

                               MICHAEL
               I'll call you from Las Vegas.

                               DEVON
               What's the hurry?

                               MICHAEL
               I have a plane to catch.

     He backs out.

     EXT. SEMI - ON ROAD - DAY - STOCK

     as K.I.T.T. rolls out, makes a U-turn...roars away, becomes
     a black streak of lightning hurtling towards the horizon.

                                              CUT TO

     OMITTED

     EXT. LAS VEGAS - DAY - ESTABLISHING - STOCK

     Glamorous, gaudy...a mecca of eternal hope and broken dreams.

     EXT. TRANS AM - DAY - MOVING

                               MICHAEL'S VOICE
               Welcome to Las Vegas -- land of the
               pot of gold at the end of the rainbow.

                               K.I.T.T.'S VOICE
               Michael...would you draw to an 
               inside straight?

                               MICHAEL'S VOICE
               Been doing it all my life, Kitt.

                                              CUT TO

     EXT. MC CARREN AIRPORT - STOCK

     OMITTED

     RUNWAY - DAY

     Lauren gets out of the plane, waves at the pilot...turns
     and walks onward.  Suddenly stops, stares in amazement
     at ---

     HER POINT OF VIEW - MICHAEL

     In the parking lot, he leans casually against K.I.T.T.  He
     smiles pleasantly.

                               MICHAEL
               Hi.

     THE SCENE

     She approaches him.

                               LAUREN
               What is this, a joke?  Magic?

                               MICHAEL
               Somewhere between the two.  Need a 
               lift?

                               LAUREN
               Yes...no...how did you get here
               ahead of me?  You didn't drive....

                               MICHAEL
               I think we've got more important
               things to talk about.  Like you and 
               me and some ground rules for working 
               together.

                               LAUREN
               I didn't know we were 'working
               together.'

                               MICHAEL
               I gathered that when you took off 
               at the airport...so, I'd say that's 
               the first thing we've got to decide.  
               Either we are or we aren't.  If we 
               aren't, just say the word.  I won't
               bother you again.

     They've reached the Trans Am.  She looks at him.

                               LAUREN
               Are you sure you can handle me?

                               MICHAEL
               No.  You sure you can handle me?

     She smiles and climbs in the car.

                               LAUREN
               No.

     OMITTED

     EXT. ESCAPADE HOTEL - DAY

     Michael pulls up.  Lauren points.

                               LAUREN
               Use the VIP parking.  Goes with the
               territory.

     Michael pulls in the space, which is close by the main
     entrance.  They get out.

     INT. ESCAPADE LOBBY - DAY

     Slot machines spill into the lobby from the adjoining
     casino.  Michael and Lauren come inside, passing one of
     those ubiquitous Las Vegas grannies...the kind with a
     racketball glove on the slot machine hand.

                               LAUREN
               I'll let them know we're here.

     Michael nods, unobtrusively speaks into his comlink.

                               MICHAEL
               Kitt, I'll be awhile.  Go into
               Surveillance Mode.

                               K.I.T.T.'S VOICE
               Michael, my sensors are picking up
               some very strange vibrations.

                               MICHAEL
               Probably the one-arm bandits, Kitt.

                               K.I.T.T.'S VOICE
               Shall we pursue them?

                               MICHAEL
                      (smiles)
               Just a figure of speech, Kitt.

     CLOSE ON K.I.T.T.'S FRONT SCANNER - THROUGH LOBBY WINDOWS
     - DAY

     as it goes on and we hear the "whizz whizz."  Snap pull back
     to reveal the little old lady working two slot machines,
     losing.  Down to her last few quarters.

     INTERCUT WITH SCANNER - SLOT MACHINES

     as the wheels spin.  They pay off jackpots.

     ANGLE - SLOT GRANNY

     Delighted, she scoops up her winnings -- looks out and sees
     K.I.T.T.'s scanner flashing.  Curious, she moves to the next
     machine, deposits more quarters.

     ANGLE - K.I.T.T.'S MONITOR

     K.I.T.T.'s monitor shows a spinning slot machine.  With 
     K.I.T.T.'s help it stops at three cherries.

     ANGLE - SLOT GRANNY

     Her machine pays off big.  She stares at K.I.T.T.'s scanner
     -- is it possible?  Then reacts to:

     HER POINT OF VIEW - K.I.T.T.'S SCANNER

     seems to wink and K.I.T.T. moves to VIP parking.

     ANGLE - SLOT GRANNY

     She turns to the man at the next machine.

                               SLOT GRANNY
               This must be my lucky day.

     Her neighbor nods affably, now visible for the first time.
     It is Hagen, the man who shot George Olin.

                               HAGEN
               Mine, too.

                                              CUT TO

     OMITTED

     INT. HOTEL SUITE - DAY

     Michael and Lauren walk into the tastefully furnished suite.

                               LAUREN
               Welcome to the Escapade Suite.

     Michael spots a computer terminal in the room and walks over 
     to it.

                               MICHAEL
               Is this tied into the L.A. computer?

                               LAUREN
               I think so.

     Michael turns on the terminal, starts hitting the keys.

     INSERT - TERMINAL SCREEN

     where Michael punches out "TOPAZ."  He gets the familiar....

                   ENTER SIX DIGIT ACCESS CODE

     RESUME SCENE

     They're not surprised.  There's a knock on the door.
     Lauren goes over and opens the door.  Bob Kruger walks in
     with a bouquet of white roses.  Late thirties, he wears
     the Escapade color scheme translated to blazer and slacks.

                               LAUREN
               Bob!  How sweet....

                               KRUGER
               I can't tell you how bad we all
               feel about...what happened....

                               LAUREN
               I know, Bob.  Thanks.
                      (to Michael)
               Michael, meet Bob Kruger, head of
               hotel security.  Bob, Michael Knight.

     The men shake hands, ad-lib hellos.  Lauren puts the flowers
     on a table, arranges them.

                               MICHAEL
               We're trying to clean up a few
               loose ends regarding the estate.
                      (hands 
                       him photo)
               Do you know this man?

     FAVORING KRUGER

                               KRUGER
                      (looks)
               Yeah.  That's Ed Williams.

     Reactions from Michael and Lauren.

                               MICHAEL
               Where do you know him from?

                               KRUGER
               Here.  The hotel.  Mr. Royce brought
               him to my office last week, told me
               to hire him in security.  So I did
               -- and the guy disappears on me after
               one day.

                               MICHAEL
               That's all?

                               KRUGER
               That's all I know.
                      (beat)
               Well, if you need anything else....

     They nod, ad-lib thanks.  He leaves.  When the door closes
     they look at each other.

                               LAUREN
               Ed Williams -- the same alias they
               used with the pilot, Don -- why?
               What were they trying to hide?

                               MICHAEL
               My guess is your father's investi-
               gation turned up something or someone
               here at the hotel.  So he brought
               George Olin in undercover....

                               LAUREN
               But why would he suddenly leave the
               next day?

     Michael shakes his head, moves around the room, thoughtful.

                               MICHAEL
               Why don't you look through the desk,
               I'll check over here.  Maybe we'll 
               find something that's not locked away 
               under Topaz.

     INT. HOTEL SUITE BEDROOM - DAY

     Lauren searches through her father's things.

     INT. HOTEL SUITE - DAY

     Michael walks back over to the computer terminal and stares
     at it.

                               MICHAEL
                      (watch
                       comlink)
               Kitt, any progress on the access code?

                               K.I.T.T.'S VOICE
               As Bonnie pointed out, Michael,
               the possible numerical combinations
               are virtually unlimited.

                               MICHAEL
               C'mon, use your imagination.  How
               'bout 000001?

                               K.I.T.T.'S VOICE
                      (wry)
               Thank you, Michael.

                               MICHAEL
                      (smiles)
               Don't mention it, pal.

     Michael decides to try something, starts hitting the
     terminal's keys.

     INSERT - TERMINAL SCREEN

     as Michael punches out the name GEORGE OLIN.  The following
     appears underneath...SEE TOPAZ.

     OMITTED

     BACK TO SCENE

     Another dead end.  Then he becomes aware of a sound...
     someone crying softly.  Camera moves with him to the bed-
     room.  Lauren is holding a beautifully wrapped gift.

                               LAUREN
               I'm sorry, I feel so....

                               MICHAEL
               What?  What is it?

                               LAUREN
               Today's my birthday.  He always used
               to forget...I found this in the closet.
               This time he didn't forget....

     He puts his arms around her, holds her close, comforting
     her.

     OMITTED

     INT. LOBBY - DAY - TIGHT ON THE SLOT GRANNY

     still at it.  Camera pans over to show Hagen playing a slot
     machine.  Kruger enters the shot, stands at the next machine.
     Both men speak in hushed asides, the machines drowning out 
     their conversation.  Kruger looks tight, worried.

                               KRUGER
               They're asking questions about that
               detective, Olin.

                               HAGEN
               What'd you tell them?

                               KRUGER
               Nothing.  That he came and left.  But
               they're not going to let it go at that.

                               HAGEN
               Next thing you know, they'll be trying
               to get 'Topaz' out of the old man's
               computer.

                               KRUGER
               They won't have any better luck than
               we did.

                               HAGEN
               How do you know?  They ain't here
               for their health.  If they're onto
               something, we could be in a lot of
               trouble.

                               KRUGER
               Look, Royce is dead...Olin's dead
               ...you're not talking about....

     He doesn't want to say it.  Hagen pulls the handle on the
     slot.

                               HAGEN
               I'm talking about doing whatever's
               necessary to stay well-paid and safe.
               And as long as those files are in
               that computer, and Royce's daughter
               and her pal are asking questions,
               I don't feel safe.

                                              FADE OUT

                         END OF ACT TWO

                            ACT THREE

     FADE IN

     OMITTED

     EXT. ESCAPADE HOTEL - DAY

     Michael is talking to the doorman, who looks at the picture
     of Olin, shakes his head.  Camera pulls back to reveal
     Lauren, waiting by K.I.T.T.  Michael approaches her.

                               LAUREN
               Any luck?

                               MICHAEL
               A few people remember him...he smoked
               filter tipped cigarettes and left a
               twelve dollar tab at the bar.  How
               about you?

     She shakes her head, discouraged.

                               LAUREN
               Maybe we should go back to L.A.

                               MICHAEL
                      (for her
                       benefit)
               I think we need a break -- I know I 
               do.
                      (smiles)
               C'mon.  For me.  I'm itching to try 
               my luck.

     She finally responds, smiles.

     MONTAGE - EXT. LAS VEGAS - NIGHT - STOCK

     The sights and sounds of the gambling capital of the world
     in all its splendid glitter...showing the spinning faces of
     slot machines...dice bouncing off a crap table...stacks of
     chips...an ace landing on a ten to make blackjack...a
     spinning roulette wheel.

     SUPERIMPOSED

     Over the spinning roulette wheel are shots of Michael and
     Lauren laughing, enjoying themselves in each other's
     company.

                                              SLOW DISSOLVE TO

     INT. HOTEL SUITE - NIGHT

     We hear a key in a lock.  Michael and Lauren come into the
     dark room.

                               LAUREN
                      (laughing)
               ...and then at the blackjack table,
               splitting a pair of tens....

                               MICHAEL
               You defied the gods.

                               LAUREN
               And won!  Believe it or not I've
               never won before.

     She turns on the lights, stops.

     WIDER ANGLE 

     On the coffee table is a birthday cake, noise makers,
     champagne, etc.  She turns, touched.

                               LAUREN
               Oh, Michael....

                               MICHAEL
               Now don't tell me I shouldn't have.

                               LAUREN
               You shouldn't have.

                               MICHAEL
               Why?

                               LAUREN
               Because....

     For a moment it looks as if she'll cry again.

                               MICHAEL
               Lauren, he loved you.  He wanted the
               best for you.  If he thought you'd
               let your birthday pass without a 
               cake, without a smile, a glass of
               champagne....

                               LAUREN
               You're right.  You hardly know me,
               but you're right.  How can you be so
               right all the time?

                               MICHAEL
               It's my specialty.

     They laugh.  Their eyes hold for a moment longer than usual.

                               LAUREN
               All right, there's the smile.  What
               do we have left, let's see -- the
               cake, a glass of champagne...any-
               thing else?

                               MICHAEL
               Tell you what.  You do the cake,
               I'll do the champagne, and we'll see
               what else comes to mind.

                               LAUREN
                      (smiles)
               Deal.

     She crosses to the cake, begins lighting candles as Michael
     pops the cork, begins to pour.

                               LAUREN
               Ready?

                               MICHAEL
               Make a wish.

     Lauren closes her eyes and makes her wish.  Michael knows
     what it is.  She inhales and blows out the candles, smiles
     up at him.

                               MICHAEL
               Very good.  Now the champagne.

     He hands her a glass.

                               LAUREN
               My toast.  To a man I'd like to get 
               to know better.

     They touch glasses and drink.  The doorbell rings.

                               LAUREN
               Who could that be?  Excuse me.

     ANGLE AT DOOR

     She opens it to see Kruger.

                               KRUGER
               Lauren, I'm sorry to interrupt, but
               Anne Tyler called while you were out.  
               She said the police want you back in 
               L.A. first thing in the morning.

     Over this Michael drifts over, curious.

                               LAUREN
               Did she say why?

                               KRUGER
               Something about a witness to connect
               George Olin's death to your father's.

     On their reactions:

                                              CUT TO

     OMITTED

     INT. ESCAPADE LOBBY - NIGHT

     Michael and Lauren go out, get into K.I.T.T.  We notice the
     Slot Granny still playing.  K.I.T.T. circles around the 
     parking lot to exit, swinging past the entrance en route.
     His scanner comes on.  Immediately, the slot machines pay 
     off again.

     K.I.T.T. - LAS VEGAS RUNBY - STOCK

     EXT. AIRPORT - DAY

     Michael pulls up and stops alongside the runway.  The jet
     stands there waiting to fly Lauren back.  Michael takes her
     arm and they cross to it, pause before Lauren boards.

                               MICHAEL
               Call me as soon as you find out what
               they've got.

                               LAUREN
               I will.  And you call me if you get
               any more on George Olin.
                      (beat)
               Michael?  I'll miss you.

                               MICHAEL
               Me too.

                               LAUREN
               Can I take a rain check on the rest 
               of the champagne?

     He smiles, nods.  She kisses him quickly on the mouth and
     boards.  Camera pans Michael as he returns to K.I.T.T.,
     opens the door.

     INT. PLANE - DAY

     Close on Lauren entering, puzzled.

                               LAUREN
               Don?

     Camera pulls back to reveal Hagen and another man, Franks.
     Hagen approaches her, smiling.

                               HAGEN
               Don couldn't make it.

     She turns, tries to open the door but Hagen grabs her.  She
     struggles, screams.

     ANGLE AT K.I.T.T.

                               K.I.T.T.
               Michael, my sensors are picking up
               screams inside the plane.

     Michael reacts, sees the plane taxiing down the runway.  He
     jumps into the Trans Am and hits the gas.

     EXT. AIRPORT - DAY

     Michael burns rubber as the Trans Am shoots toward the
     runway, pursuing the plane.

     OMITTED

     ANOTHER ANGLE

     The plane increases speed.  The Trans Am tries to cut it
     off but the plane changes direction, gathers speed.

                               MICHAEL'S VOICE
               Looks like I need a boarding pass,
               Kitt.

     ANGLE - TRANS AM

     It pulls abreast of the speeding plane.

     ANGLE - MICHAEL

     He puts K.I.T.T. on Auto Pilot, pops the roof open and 
     climbs up.

                               K.I.T.T.'S VOICE
               This is highly unorthodox, Michael.

                               MICHAEL'S VOICE
               Thanks for reminding me.

     ANGLE AT PLANE

     Michael climbs onto the wing, threads his way back to the
     tail where he jams the flaps.

     ANGLE IN COCKPIT

     The pilot, Franks, can't get the plane to lift-off.

                               HAGEN
               Shake him lose!

     ANGLE ON PLANE

     It suddenly swerves back and forth violently.  Michael
     tries to hang on, can't, falls to the ground and rolls.

     ANOTHER ANGLE

     The Trans Am does a 180o as the jet lifts into the
     air, speeds over to where Michael lies, unconscious.

                               K.I.T.T.'S VOICE
               Michael!  Michael, are you all right?

     Silence.

                               K.I.T.T.'S VOICE
               Devon, it's Kitt.  I'm at the 
               airport.  Hurry, Michael's been hurt.

                                              DISSOLVE TO

     OMITTED

     INT. SEMI - NIGHT - UP ANGLE - MICHAEL'S POINT OF VIEW

     of diffused images, out of focus.

                               DEVON'S VOICE
               Michael?  Can you hear me?

     Slowly the faces come into focus:  Carlyle, the Foundation's
     doctor, along with Devon and Bonnie.

     ANOTHER ANGLE

     We see Michael is on the sofa in the office end of the 
     semi.  Carlyle checks his pupils with a thin flashlight.
     Michael stirs.

                               MICHAEL
               Devon...?

                               DEVON
                      (relieved)
               Hello, Michael.

                               BONNIE
               Welcome back.

                               MICHAEL
               Where am I?  What happened?

     He tries to sit up but Carlyle stops him, checks him with a
     stethoscope.

                               CARLYLE
               Not so fast.

                               DEVON
               We're in the semi just outside Las
               Vegas.  Fortunately, Doctor Carlyle
               was on one of his monthly gambling
               forays.  I collared him at a crap
               table.

                               CARLYLE
               My 'forays,' as you call them, are 
               semiannual, not monthly.
                      (to Michael)
               Breathe.  Deeper.

     Michael remembers something, bolts upright.

                               MICHAEL
               Where's Lauren?

     Uncomfortable silence.

                               BONNIE
               Michael, you should rest....

                               MICHAEL
               What happened?!

                               DEVON
               I'm afraid they got her.

                               MICHAEL
               'They?'  Who's 'they?'

                               DEVON
               I was hoping you could tell me.

                               BONNIE
                      (gently)
               By the time we got to the airport
               they'd left.

                               MICHAEL
               What about the plane -- it was the
               company plane ---

                               DEVON
               We checked.  The company plane is 
               still in Los Angeles.
                      (beat)
               I'm sorry, Michael.  Whoever planned 
               this was very clever, very thorough.  
               They used a plane identical to the
               Escapade plane.  They filed a
               fictitious flight plan....

                               MICHAEL
                      (to Bonnie)
               Anything on Topaz?

     Bonnie shakes her head.

                               BONNIE
               I've got Kitt and every available
               computer working around the clock.
               It's a long shot.

     Michael struggles up, uses the wall for support.

     ANGLE FROM WHERE K.I.T.T. IS PARKED

     Michael comes in, followed by Devon and Bonnie.  In b.g.,
     Carlyle makes a phone call.

                               DEVON
               Please, Michael, sit down.  Rampaging 
               around won't accomplish anything.

                               MICHAEL
                      (a thought)
               The phone call!

                               DEVON
               What?

                               MICHAEL
               You've been in touch with the police
               -- do they have a new lead?  A
               witness?

                               DEVON
               No, not as of an hour ago -- why?

     Michael moves to K.I.T.T., jumps in and starts the engine.
     Devon and Bonnie cross, concerned.

                               DEVON
               Michael, you're in no condition to
               drive -- where do you think you're
               going?

                               MICHAEL
               Gotta talk to a centerfold.

     SEMI - NIGHT - STOCK - TRAVELING

     K.I.T.T. exits, zooms away.

     EXT. RURAL ROAD - DAY

     A four-wheeler is seen driving up the road, Hagen inside.

     ANGLE - FRANKS

     The one who helped Hagen kidnap Lauren.  He steps out from
     the trees, a rifle under his arm, a walkie-talkie clipped
     to his belt.  The four-wheeler slows, Hagen waves,
     continues past the check point.

     ANOTHER ANGLE

     The four-wheeler continues up the road to the house.

     EXT. CABIN - DAY

     The four-wheeler pulls up and parks.  Hagen reaches in back
     and lifts out a bag of groceries, walks over to the cabin.

     INT. CABIN - DAY

     Hagen walks in and puts down the groceries on a table.  The
     cabin is a "rustic elegance"...a rich man's getaway
     retreat.  Hagen crosses to the kitchen with the groceries...
     passing by Lauren as he does.  She's tied to a straight
     back chair and gagged.

                               HAGEN
               Had to drive twenty miles to find a 
               store, and then they don't have
               steaks.  What's happening to this
               country -- you can't keep a country
               strong when you got people eating
               fish and chicken all the time.  And
               vegetables.  You think the Russians
               eat vegetables?

     He pops open a beer, returns to where Lauren is.  He sits
     in a chair opposite her, regards her soberly.

                               HAGEN
               You hungry?

     She stares at him.

                               HAGEN
                      (nods)
               This means yes.
                      (shakes
                       head)
               This means no.

     She finally shakes her head, no.

                               HAGEN
               I gotta tell you, sweetheart, I
               don't like this anymore than you
               do.  But it won't be much longer now.
                      (glances 
                       at watch)
               They should be here in a half hour 
               or so.

     He studies her for a moment.

                               HAGEN
               You know, I can't figure somebody
               like you out.  You're young, you're
               rich, you got great legs...why'd you
               want to go on this crusade?  Your 
               old man's dead.  Why couldn't you
               just leave it alone?

                                              CUT TO

     OMITTED

     EXT. ESCAPADE MANSION - DAY

     Michael screeches up in K.I.T.T., parks, runs for the front
     door.

     INT. MANSION - DAY

     Michael opens the door and walks in.  Anne Tyler is on the
     phone.  She stares at Michael in disbelief, puts down the
     receiver.

                               ANNE
               I thought you were....

                               MICHAEL
               Dead?

                               ANNE
                      (reacts)
               Why would I think that?  I thought 
               you were still in Las Vegas.  Where's 
               Lauren?

                               MICHAEL
               That's what I came here to find out.

                               ANNE
               I don't know what you're talking 
               about ---

                               MICHAEL
               Yes you do.  You called Bob Kruger
               at the hotel with a phony message
               about the police needing Lauren back
               here.

                               ANNE
               I did not.  I don't know what Bob
               told you, but I haven't talked to 
               him in days.  Good-bye Mr. Knight.

     She turns away but Michael grabs her, makes her face him.

                               MICHAEL
               Anne, listen to me.  It's all coming
               apart at the seams.  It's not going
               to work.  I don't know exactly how
               you're involved in this, or why, but
               I know you're involved.  Help me find
               Lauren before they kill her too.

     For a moment it appears Anne will soften, break, but then
     it passes.  She's cold as steel.

                               ANNE
               Take your hands off me or I'll call
               security.

                               MICHAEL
               She trusted you!

                               ANNE
               Get out of here!

     Michael drops his hands, pauses.

                               MICHAEL
               I don't know what Philip Royce did
               to you, real or imagined, but to let
               Lauren die for his sins puts you in 
               a whole different category, lady.
               When your pals go down on this one
               I'll make a point of seeing that you
               go down with them.  All the way.

     A lost look at her and he starts out.  It's a calculated
     move.

                               ANNE
                      (screams 
                       after him)
               'Real or imagined?!'  You don't know
               the half of it.  I was Philip's first 
               centerfold -- I worked with him day 
               and night to make Escapade a success!
               I loved him!  I gave him everything....

     Michael has reached the door, pauses, his back still to
     her.  Her voice changes.

                               ANNE
               Don't you see...I helped create the
               great Philip Royce...but instead of
               marriage I got a lifetime contract
               and a title.  Instead of love I got 
               a constant series of affairs, one 
               woman after another, year after 
               year....

     Michael turns to face her.  She is crying softly.

                               MICHAEL
               Where have they got her?

                               ANNE
               I don't know.  I had no idea it
               would...come to this.  I'm telling
               you the truth, I swear....

     He believes her.  Something catches his eye:  The photo of
     Anne on the wall.

                               MICHAEL
                      (a sudden
                       thought)
               Your centerfold shot -- what month 
               were you?

                               ANNE
               Miss November -- why?

                               MICHAEL
               The birthstone for November is 'Topaz.'
                      (off her 
                       confused
                       reaction)
               He thought more of you than you know.

     He dashes outside.

     OMITTED

     EXT. MANSION - DAY - ANGLE UP FROM K.I.T.T.

     as Michael runs over, opens the door.

                               MICHAEL
               Kitt, run me Anne Tyler's measure-
               ments from the first issue of
               Escapade!

                               K.I.T.T.
               Certainly, Michael.

     INSERT - K.I.T.T.'S MONITOR - FEMALE OUTLINE - STOCK FROM
     INSIDE OUT

     Anne Tyler's measurements appear.

                               K.I.T.T.'S VOICE
               Ninety-seven...sixty-one...ninety-
               seven....

     BACK TO SCENE

     Michael reacts.

                               MICHAEL
               That's impossible.

                               K.I.T.T.
               I beg your pardon, that is accurate,
               Michael.  Down to the last centimeter.

                               MICHAEL
                      (through 
                       his teeth)
               Inches, K.I.T.T.  Inches.

                               K.I.T.T.
               I do wish you'd learn to be more
               explicit, Michael.  Thirty-six...
               twenty-four...thirty-six.

                               MICHAEL
               That's it...The access code to 'Topaz.'

     OMITTED

                                              FREEZE FRAME

                                              AND

                                              FADE OUT

                         END OF ACT THREE

                             ACT FOUR

     FADE IN

     EXT. ROAD TO CABIN

     A sedan makes its way along the road.  Shadows darken the
     windshield, preventing us from recognizing the two men in
     the car.

     EXT. TREES - DAY

     Franks picks up his walkie-talkie.  Pan the car as it
     moves past.

     INT. CABIN - DAY

     Hagen finishes on the walkie-talkie.

                               HAGEN
                      (walkie-talkie)
               All right.  Stay there, hold 
               your position.

     Hagen puts down the walkie-talkie and crosses to Lauren.

                               HAGEN
               They're here.  I'm gonna take off
               your gag, but before I do I want to
               tell you something.  I've been in 
               situations like this before.  People
               go crazy, you know what I mean?  They
               scream and yell and do stupid things.
               It doesn't do any good.  Doesn't 
               change a damn thing.  So take my
               advice, do yourself a favor -- relax.
               Go with it.  Whatever's gonna happen
               is gonna happen.

     He moves behind her and begins to untie the gag.

     EXT. CABIN - DAY

     The car pulls in and parks.  The man driving is Kruger.
     The other man can't be seen.

     INT. CABIN - DAY

     as before, Hagen untying the gag.  Lauren moves her jaw,
     which is stiff.  Hagen smiles.

                               HAGEN
               What'd I tell you -- pretty as ever.

     Over this, footsteps, and the door opens.  The first man is
     Kruger.  He glances at Lauren but refuses to look at her.
     He's ashamed but determined to see it through.  The second 
     man in is Paul DeBrett.  Lauren stares in shock.

                               DE BRETT
               Hello, Lauren.

                               LAUREN
                      (beat)
               Paul...Bob...what...?

     DeBrett crosses to her, puts a black leather case on a
     nearby coffee table.

                               DE WITT
               I'm sorry.  This isn't what I 
               intended.  None of this should have
               ever happened....

     He looks at her, quite sincere.  He opens the leather case.

                               LAUREN
               You?  You're behind all this?  My
               father's death...?  Paul, you
               murdered my father?!

     Hagen taps her on the shoulder.  DeBrett prepares a syringe.

                               HAGEN
               Remember what I said.  Do yourself a 
               favor.

                               LAUREN
                      (to DeBrett)
               He was your friend!  
                      (to Kruger)
               You too, Bob -- he trusted you!
               Why?  This is insane.  How could 
               you do that to him?  Why?

                               DE BRETT
               In a word, 'Topaz.'  Let's not mince
               words, Lauren.  I'm not proud of what
               I've had to do, but I had to do it.
               Believe that.  But let's not labor
               under the romantic illusion that
               Philip Royce was a saint.  For that
               matter, even a decent man.  He was
               out to destroy me.  Me and my company.
               The great Dialozene expose, code name
               'Topaz.'  For the good of the world?
                      (shakes 
                       his head)
               For the good of Philip Royce.
                      (to Hagen)
               Hold her arm.

     Lauren screams and struggles but Hagen holds her mouth with
     one hand and her arm with the other.  DeBrett injects her
     with the drug.

                                              DISSOLVE TO

     OMITTED

     INT. STUDY - DAY

     Michael punches keys on the computer.  Devon and Bonnie
     watch with anticipation.

     INSERT - COMPUTER SCREEN

     It flashes the familiar:

                              TOPAZ
                   ENTER SIX DIGIT ACCESS CODE

     BACK TO SCENE

     Now Michael punches in numbers.

                               DEVON
                      (puzzled)
               36-24-36?

                               MICHAEL
               Miss November.

              DEVON                         BONNIE
         Miss November?                You can't be serious.

                               MICHAEL
               Look.

     INSERT SCREEN

     It reads:  ACCEPTED.  It is immediately replaced by type-
     written material.

     BACK TO SCENE

     They watch, fascinated.

                               MICHAEL
               Who's the speedreader?

              DEVON                         BONNIE
         I am.                         I am.

                               MICHAEL
               There's got to be a name in there.
               The name.

     He moves away, a little dizzy.  He leans against the wall
     for support, exhausted, still suffering side effects.

              DEVON                         BONNIE
         It's about drugs....          One drug in particular,
                                       Dialozene....

              DEVON                         BONNIE
         Passed by the FDA....         But later independent
                                       tests showed possible
                                       side effects....

              DEVON                         BONNIE
         The company is Parkway        The man is Paul DeBrett....
         Pharmaceuticals....

     Devon turns to Michael, sees the shape he's in.

                               DEVON
               Are you all right?

                               MICHAEL
               I'm okay.  Paul DeBrett...That name
               sounds familiar.

                               BONNIE
               He was on the guest list at Philip
               Royce's that night.

                               DEVON
               It's hard to imagine a man of his 
               position directly involved.

                               MICHAEL
               Not if he feels his own life's at
               stake.

                               DEVON
               Bonnie, be a love and...Bonnie?

     He's turned, sees she's not there; she's at the computer.

                               BONNIE
                      (beat)
               Parkway Pharmaceuticals, Paul DeBrett,
               President.  What would you like to
               know?

                               MICHAEL
               His home address.

     INT. CABIN - DAY

     Lauren lies on the couch, half-unconscious under the effect
     of the drug.  DeBrett stares down at her.  Hagen and Kruger
     look on.

                               DE BRETT
               All right, Lauren, you're relaxed...
               you feel good...everything is going
               to be just fine....

                               HAGEN
               You guys want a sandwich?

                               DE BRETT
                      (stares at him)
               What?

                               HAGEN
               Forget it, we'll eat later.

                               DE BRETT
                      (to Lauren)
               Tell me about 'Topaz', Lauren.

     She twists her head, troubled.

                               DE BRETT
               It's all right...think of Topaz as a 
               friend who's trapped, a friend you 
               want to set free....
                      (beat)
               Do you know the access code?

                               LAUREN
               No....

                               DE BRETT
               Does your friend, Michael Knight?

                               LAUREN
               Michael...Michael....

                               DE BRETT
               Does he?

                               LAUREN
               No....

     EXT. TRANS AM - DAY

     racing down the road.

                               DEVON'S VOICE
               Michael, it's Devon.

     INT. TRANS AM - DAY

                               MICHAEL
               Yeah, Devon.

                               DEVON'S VOICE
               To use your expression, Michael, do
               a one-eighty.

                               MICHAEL
               What are you talking about?

                               DEVON'S VOICE
               I made a few calls.  Paul DeBrett 
               isn't at his house in the city, he's 
               at his house in the country.  Eagle
               Lake to be specific.

     EXT. TRANS AM - DAY

     It does a 180 and heads back the opposite way.

     INT. CABIN - DAY

     Lauren is semi-conscious, still under the effect of the 
     drug.

                               LAUREN
               I don't know....

                               DE BRETT
               Are you absolutely positive?

                               KRUGER
               She doesn't know.  I told you we
               didn't have to do this -- she
               doesn't know anything and neither
               does Knight.

                               DE BRETT
               Don't fall apart on me now, Bob.

                               KRUGER
                      (sick of it)
               I just want to get this over with.

     He shakes his head, goes outside for some air.

     OMITTED

     EXT. RURAL ROAD - DAY - STOCK

     The Trans Am speeds down it.

     INT. TRANS AM - DAY

                               K.I.T.T.
               Michael, my sensors are picking up
               someone in the trees up ahead.

                               MICHAEL
               Armed?

                               K.I.T.T.
               Decidedly.

                               MICHAEL
               Thanks, pal.

     EXT. TRANS AM 

     It pulls off to the side of the road.

                               K.I.T.T.
               Michael, why are we stopping?

                               MICHAEL
               I want to keep our arrival a
               secret.

     EXT. TREES - DAY

     Franks reacts as he hears something o.s.  He picks up his
     rifle and moves off to investigate.

     ANGLE - FRANKS 

     as he brings up his binoculars.

     MASK SHOT THROUGH BINOCULARS

     as Franks sees the Trans Am driving towards him.

     RESUME FRANKS

     Someone taps him on the shoulder.  Franks turns around and
     Michael hits him with a hard right.

     ANGLE - MICHAEL

     as he lowers the unconscious Franks to the ground.  Michael
     takes the rifle and walkie-talkie with him.

     INT. CABIN - DAY

     Hagen ties the final knot on the cord around Lauren's 
     wrist.  Kruger and DeBrett are preparing to leave.

                               HAGEN
               We coming back afterwards or what?

                               DE BRETT
               Why?

                               HAGEN
               I got sixty dollars worth of food in
               the kitchen, that's why.

                               DE BRETT
               You amaze me.

                               HAGEN
               I amaze you, you amaze me.  We
               coming back or not?

                               DE BRETT
               Put it this way.  If we don't, I'll
               give you sixty dollars.

     Hagen half carries Lauren toward the door.  Kruger bursts
     through the door.

                               KRUGER
               It's him -- the guy in the car!
               Knight!

     OMITTED

     EXT. TRANS AM - DAY

     closing the distance between it and the cabin.

     EXT. HOUSE - DAY

     Hagen runs out with a scoped hunting rifle, sights and
     fires.  He squeezes off several rounds, looks.

     HIS POINT OF VIEW - THE TRANS AM

     It keeps coming, winding its way up.

     BACK TO HAGEN

     He runs over to DeBrett's car and jumps behind the 
     wheel.

     INT. CAR - DAY - MOVING

     Hagen can see the Trans Am heading for him.  He throws open
     the door.

     ANGLE - HAGEN

     rolling out of the car and into the bushes.

     ANGLE - MERCEDES

     as it gathers speed down the sloping road.  In seconds
     it'll crash head on into the Trans Am.

     INT. TRANS AM - DAY - MOVING

     Michael can't turn off the road, it's lined with trees.
     The Mercedes seems to fill the windshield.

                               MICHAEL
               Kitt....

                               K.I.T.T.
               Yes, Michael?

                               MICHAEL
               On the road of life, one must
               overcome certain obstacles....

     Michael hits a button on the dash.

                               K.I.T.T.
               My, how poetic.

     ANGLE - TRANS AM

     as it shoots over the speeding car.

     ANGLE - TRANS AM

     as it flies through the air.

     ANGLE - TRANS AM

     as it crashes back down on the road.

     ANGLE - HAGEN

     He runs back toward the cabin.  The Trans Am overtakes him,
     its door flying open.

     ANGLE - MICHAEL

     He dives out of the Trans Am and tackles Hagen.  They
     struggle to their feet, punching.  Michael lands a hard
     right and Hagen goes down.

     OMITTED

     ANGLE AT CABIN

     DeBrett and Kruger haul Lauren out and stuff her into the 
     four-wheeler.  DeBrett gets behind the wheel.  The Trans 
     Am roars in, Michael leaping out.  DeBrett aims a pistol
     at Lauren.

                               DE BRETT
                      (to Michael)
               One step closer and I'll kill her!
                      (to Kruger;
                       sotto voce)
               Don't just sit there!  Get the rifle 
               and shoot him.

     Kruger grabs a rifle from in back, jumps out.

     OMITTED

     ANOTHER ANGLE

     Michael is frozen, unwilling to approach and risk Lauren's
     life.

                               K.I.T.T.
               What do we do now, Michael?

                               MICHAEL
               Bide our time, Kitt.

     Kruger aims.  Michael steps behind the shield of K.I.T.T.'s 
     open door.  Kruger fires, fires again.  The bullets bounce 
     off.  Kruger and DeBrett react, amazed.  DeBrett shoves 
     the four-wheeler into gear and speeds off down the road.

                               KRUGER
               Wait!  Paul -- Wait!

     He's gone.  Kruger looks at Michael, terrified, throws the 
     rifle aside and runs wildly after the four-wheeler.

                               K.I.T.T.
               Are we through biding our time?

                               MICHAEL
                      (jumps in)
               You got it, pal.

     The Trans Am fishtails down the road.

     ANGLE ON ROAD

     Kruger is running as the Trans Am barrels down on him, its
     door popping open and hitting him on the back.  Lifted off
     the ground, he flies into the underbrush.

                               MICHAEL'S VOICE
               Nice touch, Kitt.

                               K.I.T.T.'S VOICE
               Thank you.

     OMITTED

     EXT. ROAD - DAY

     The four-wheeler speeds along the rutted dirt road.

     ANGLE - TRANS AM

     as it tears after it.

     ANGLE - FOUR-WHEELER

     as it jumps a drainage ditch.

     ANGLE - TRANS AM

     as it suddenly cuts off the road.

     ANGLE - TRANS AM

     as it crashes through a shallow pond, water spraying in all
     directions.

     INT. FOUR-WHEELER - DAY - MOVING

     DeBrett glances in his rearview mirror, satisfied he's lost
     Michael.

     OMITTED

     ANGLE - TRANS AM

     as it suddenly appears out of nowhere and cuts in front of
     the four-wheeler.

     OMITTED

     ANOTHER ANGLE

     It spins out of control, lands in a drainage ditch or 
     ravine.

     CLOSER

     DeBrett, momentarily stunned, searches frantically for the 
     pistol, sees Michael approaching, grabs a tire iron instead
     and jumps out.

     WIDER ANGLE

     DeBrett advances on Michael, swings the tire iron at him,
     Michael ducks.  DeBrett swings at him again and again,
     backing Michael up.  On one swing he misses Michael and 
     hits the Trans Am.

                               K.I.T.T.
                      (piqued)
               I beg your pardon.

     DeBrett reacts, eyes off Michael for an instant.  It's all 
     Michael needs.  He hits DeBrett with everything he's got,
     three or four punches in quick succession.  DeBrett 
     crumples.

                               K.I.T.T.
               Nice touch, Michael.

                               MICHAEL
                      (smiles)
               Thanks, Kitt.

     ANGLE AT FOUR-WHEELER

     Michael runs over, finds Lauren still shaken, groggy from 
     the drugs.  He helps her out.

                               MICHAEL
               Are you okay?  Lauren?  Here, give
               me your hand, etc....

     She looks up at him, focuses.

                               LAUREN
               What happened...
                      (remembering)
               Paul -- Paul DeBrett!  And Bob
               Kruger!  They....

                               MICHAEL
               I know.  It's okay.  It's all over.

     Relief floods through her.  She looks faint.  Michael puts 
     his arms around her.

     HIGH SHOT

     They hold that way for a moment, then Michael slowly walks 
     her back to the Trans Am.

     OMITTED

                                              FADE OUT

                         END OF ACT FOUR

                               TAG

     FADE IN

     OMITTED

     EXT. MANSION - DAY

     Michael, Devon and Bonnie stand beside the Trans Am as
     Lauren passes out the latest issue of Escapade Magazine.

                               LAUREN
               The phone's been ringing off the 
               hook.  The FDA has prohibited the 
               sale of Dialozene pending further 
               investigation.

                               DEVON
               Your father would be proud of you.
               You're a worthy heir.

                               LAUREN
                      (smiles)
               Thank you.
                      (to Michael)
               If I'm not mistaken, you and I have 
               some unfinished business.

                               MICHAEL
                      (nods, smiles)
               Rain check on a half-bottle of
               champagne.

                               LAUREN
               Two-thirds of a bottle.

     She smiles, gives him a kiss.

     Bonnie, flipping through the magazine, checks out the 
     centerfold and laughs.

                               BONNIE
               Lauren, I love it!

                               LAUREN
               I think it's one of our best.

                               MICHAEL
               I'll give you an expert opinion.

     He sees the centerfold and laughs.

                               MICHAEL
               Whoa.  Look at those lines!  Those 
               curves!

     INSERT - CENTERFOLD 

     K.I.T.T. -- surrounded by bathing beauties.

     BACK TO SCENE

                               DEVON
               Well, Kitt, what do you think?

                               K.I.T.T.
               Overall, it's a very flattering 
               layout.  However, there is one small
               detail that keeps it from being
               picture perfect.

                               MICHAEL
               What's that, pal?

                               K.I.T.T.
               Please remove the staple from my
               fender.

     OMITTED

                                              FREEZE FRAME

                                              AND

                                              FADE OUT

                             THE END