KNIGHT RIDER: DIAMONDS AREN'T A GIRL'S BEST FRIEND

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

Production #57833
6th Draft - November 23, 1983 (F.R.)

Teleplay: .................. Robert Foster &
............................ Robert W. Gilmer
Director: .................. Jeffrey Hayden

                              
                                ACT ONE

     FADE IN

     INT. MANSION - NIGHT - CLOSE ON CHAMPAGNE BOTTLE

     as the cork is popped and a tray full of empty glasses is
     filled to overflowing with bubbly.  We pull back to reveal
     a very uptown party in progress:  the setting is elegant,
     the people beautiful.  Particularly the women, most of whom
     are models with the Michels Agency, very simply the agency
     to be with if one wants to be a star.  Holding court in the
     midst of several aspiring stars is:

     BERNIE MITCHELL

     in his late forties, handsome in a rough sort of way,
     brash, confident.  Mr. Wit and Charm.  He's got a long-
     legged lovely on his arm and he's displaying her to the
     onlookers as he talks:

                               BERNIE
               So, I looked Mr. Hollywood Producer
               right in the eye and I said, 'Do you
               really expect to put a price on
               beauty like this?  That's like
               trying to sell the sunrise.'

     The blonde blushes on cue and Bernie smiles a warm, almost
     paternal smile at her.  He puts his arm around her protec-
     tively, turns back to his audience.

                               BERNIE
               So Mr. Producer nods and says that's
               precisely what he expects to do.
               They call it show business, he tells
               me, not show art.  What could I do?
               I smiled diplomatically and said,
               'What a shame.  If that's the way
               you feel...'
                      (dramatic
                       pause)
               '...make sure it's a big price.'

     Bernie's delivery is impeccable.  The girls giggle, the men
     smile appreciatively.  Behind Bernie, surveying the party 
     and watching her girls, is Nina Jurgenson.  She's Bernie's
     lieutenant, and the woman who really runs the agency.
     She's in her forties, a bit severe.  She's heard Bernie's
     stories a hundred times and she's not laughing.  As her
     glance sweeps the party, we pan:

     ACROSS THE ROOM

     where a beautiful young model, Rachel Robinson, is arguing
     quietly, but intensely, with her boyfriend, Chris Carlsen.

                               CHRIS
               Rachel, it's our chance to get
               out of here...it's what we've been
               hoping for.

                               RACHEL
               It's not right.  Not this way.
               Chris, we can wait....

                               CHRIS
               What for -- old age?  A rich uncle
               to die?

                               RACHEL
               There's got to be another way.  I
               can't.  I'm sorry.

     With that, Rachel turns and hurries across the room.
     Halfway toward the door, she's intercepted by Lauren Janes,
     another of Bernie's models.

     ANGLE ON THE GIRLS

     Lauren looks at Rachel, concerned.  Rachel's almost crying.

                               LAUREN
               Rachel, are you okay?

                               RACHEL
               Yes...no...I don't know.
                      (beat)
               Lauren, I'm going home.

                               LAUREN
               I'll drive you.

                               RACHEL
               No, it's okay...you shouldn't leave.

                               LAUREN
               I'll hardly be missed.  C'mon, I'll
               take you and come right back.

     Before Rachel can protest, Lauren's leading her unobtrusively
     out the door.  As they disappear, we:

                                              CUT TO

     EXT. LAUREN/RACHEL'S APARTMENT - NIGHT

     as Lauren and Rachel pull up in a late model sports car.

     INT. CAR - NIGHT

     Rachel's crying.  Lauren looks at her.

                               LAUREN
               You want to talk about it?

     No response.

                               LAUREN
               You and Chris, hassling again?

     Rachel looks at Lauren a beat, thinking hard.

                               RACHEL
               Sort of.  Lauren, something's hap-
               pened, something really strange...
                      (beat)
               But, I shouldn't involve you.

                               LAUREN
               Hey, we're roommates.  Maybe I can
               help.

                               RACHEL
                      (hesitating)
               Look, you'd better get back.  I'll see
               you when you get home.
                      (beat)
               But, don't say anything to Bernie.
               Promise?  You've got to promise....

     Lauren studies Rachel, worried.

                               LAUREN
               Rachel, are you going to be all
               right?

     Rachel nods, gets out of the car.  Lauren watches as Rachel
     heads for the front door of the building.  As she disappears
     inside:

     EXT. APARTMENT - NIGHT

     as Rachel hurries to the door, stops to fumble for her key,
     finds it and starts to unlock the door.

                                              CUT TO

     INT. APARTMENT - NIGHT

     as the door opens and Rachel steps inside, feels for the
     light switch.  Before she finds it, a shadow moves toward
     her.

     CLOSE ON RACHEL

     as a gloved hand grabs her, covering her mouth and stifling
     a scream.  As Rachel struggles with her unseen assailant, we:

                                              CUT TO

     EXT. PARK - DAY - CLOSE ON MODEL

     At first, all we see are legs.  Six of them.  Then arms.
     Six more.  Over this, we hear the sound of a motor-driven
     Nikon whirring and up-beat rock music.  We pull back to 
     reveal three ravishing models, one of them Lauren, as they
     go through their routine for a Photographer.  Her litany
     provides the back beat for their moves.  If possible, we
     should freeze frame periodically as a picture is taken.
     In the b.g., watching every move, is Nina Jurgenson.

                               PHOTOGRAPHER
               That's it...good, good...very nice
               ...beautiful...keep moving girls,
               nice and smooth, nice and sexy...
               that's right.  Fantastic!  I love
               it...good, good!

     Then she straightens up, snaps her fingers.

                               PHOTOGRAPHER
               All right, ladies.  Take a break....

     The girls stop their posturing.  The brittle smiles turn
     into tired grimaces.  Lauren sees someone O.C. and smiles,
     this one genuine.  Then she hurries across the lawn into
     the arms of:

     MICHAEL KNIGHT

     Lauren gives Michael a big hug, then a kiss.  They look just
     like any couple in love.

     OMITTED

     CLOSER ANGLE ON MICHAEL AND LAUREN

     in each other's arms, whispering sweet nothings.  Lauren's
     on edge, nervous.

                               MICHAEL
               By the way, I'm Michael Knight.

                               LAUREN
               After all this, you'd better be.
               Mr. Miles described you perfectly.
               Thanks for coming.

                               MICHAEL
               My pleasure.

                               LAUREN
               I told everyone you were an old flame
               ...it'll help explain you being here.
                      (beat)
               That's what the hug and kiss was all
               about.

                               MICHAEL
                      (smiling
                       slightly)
               Not a bad cover.

     Lauren glances around, takes Michael's hand.

                               LAUREN
               Let's go somewhere we can talk.

     Lauren leads Michael across the park.  As she does, we see:

     NINA

     watching them from a distance.  Not particularly pleased.

     ANGLE ON K.I.T.T.

     parked near the shoot site.  A couple of the models come
     walking by, and one of them stops to fiddle with her hair,
     using her reflection in the driver's side window.

     INT. TRANS AM - DAY

     Looking out at the beautiful woman.

                               K.I.T.T.
               Glad to be of service.

     EXT. K.I.T.T.

     as the window rolls down.  The girls exchange a surprised
     look, and we go to:

     ANGLE ON MICHAEL AND LAUREN

     away from the others.  Lauren's more reserved.  And angry.

                               LAUREN
               I don't care what the police report
               says -- Rachel didn't commit suicide!

                               MICHAEL
               Lauren, I didn't say she did.  All I'm
               saying is everything points to that:
               no forced entry, no sign of a struggle,
               nothing stolen...an empty bottle of
               sleeping pills.

                               LAUREN
               She'd had those pills for a year!
                      (beat)
               Michael, the night she died she was
               really upset.  More than upset --
               scared.  She mentioned arguing with her
               boyfriend Chris, but it was more than 
               that.  She said something had happened,
               something 'really strange...'
                      (beat)
               I told the police but they'd already
               made up their minds.  That's why I
               came to the Foundation.

     Lauren turns, faces Michael.  She's intense.

                               LAUREN
               Rachel Robinson was my best friend.
               She couldn't have killed herself.
               She was happy, she had everything to
               live for...
                      (beat)
               I want to find out who killed her,
               Michael, who and why.

                               MICHAEL
               Me, too.  That's why I'm here.

     Lauren senses the sincerity in Michael's voice.  She nods,
     relaxes slightly.

                               LAUREN
               Okay.  Thanks.
                      (glancing
                       around)
               I'd better get back.

     Michael nods and they turn and walk back toward the
     shooting area.  We see Nina barking orders, getting things
     organized.  Michael watches her.

                               MICHAEL
               Who's the quarterback?

     Lauren smiles.

                               LAUREN
               Nina Jurgenson.  She's Bernie's
               right hand.

                               MICHAEL
               Bernie Mitchell -- 'The Man Who Makes
               The Stars Shine.'  Isn't that what he
               calls himself?

                               LAUREN
               That's some press agent's creation.
               Bernie's actually a very sweet guy
               who happens to be a genius at
               developing talent.
                      (sadly)
               Rachel was one of his favorites.

     As Michael and Lauren approach the shooting area, Nina
     claps her hands at Lauren.

                               NINA
               Lauren, darling, I said take a break,
               not a vacation.

     Lauren skips ahead to where the other models are waiting.
     Nina eyes Michael appraisingly.  And approvingly.  She
     smiles very correctly, extends her hand.

                               NINA
               Nina Jurgenson, Mr. Knight.  Lauren
               mentioned you.

                               MICHAEL
               Michael.  Nice to meet you.

     Nina holds Michael's hand just a beat too long.  Enough to
     be noticed.

                               NINA
               We don't encourage boyfriends to
               attend the sessions...the girls tend
               to lose their concentration....

                               MICHAEL
                      (a smile)
               We wouldn't want that, would we?

                               NINA
               Certainly not.

     Nina smiles, then turns back to the shoot.  As Michael
     starts to walk away, we see Nina turn and glance after
     him.  Michael continues on toward:

     THE TRANS AM

     parked nearby.  Michael approaches, climbs inside.

     INT. TRANS AM - DAY

     as Michael fires it up.

                               MICHAEL
               Get me an address on Chris Carlsen,
               Kitt.

     A grid of city streets appears on K.I.T.T.'s screen and we
     hear:

                               K.I.T.T.
               The address is 997 Grandby Street.

     Michael throws it in gear, drives off.  As he does:

                               K.I.T.T.
               Michael, I didn't realize you knew
               that young woman.

                               MICHAEL
               Lauren?  I don't.  Didn't.

                               K.I.T.T.
               For two strangers, you appeared
               awfully...familiar.

                               MICHAEL
                      (smiling)
               Were you spying on me?

                               K.I.T.T.
                      (defensively)
               I was simply monitoring you.  It's 
               part of my job.

                               MICHAEL
               Yeah, well, what you were monitoring
               was part of my job.
                      (another 
                       smile)
               Nice work when you can get it.

                               K.I.T.T.
               I was also monitoring those models.
               What were they wearing?

                               MICHAEL
               Next spring's fashions.  Why?

                               K.I.T.T.
               Next spring's fashions?  The
               clothing last spring seemed satis-
               factory.  Why create new apparel?

                               MICHAEL
               People's tastes change, Kitt.  They
               like new designs, new lines...same
               thing happens with cars every year.

                               K.I.T.T.
               As far as I'm concerned, that practice
               is criminal.  Why can't people be
               content with what they have?

                               MICHAEL
               Think of it this way.  If Detroit had
               been content, you'd still be a Model T.

                                              CUT TO

     OMITTED

     EXT. CHRIS CARLSEN'S APARTMENT - DAY

     as the Trans Am pulls up.  Michael parks, gets out and
     walks to the front door of the apartment building.  He
     checks a name on the mailbox, "Carlsen - 3B," then heads
     toward:

     EXT. APARTMENT - DAY - CLOSE ON THE DOOR

     It reads "3B."  Michael comes up, knocks.  No answer.  He
     glances around, and then goes to work on the door with a
     pick.  In a second, he's got the door open.  He steps
     quickly into:

     THE APARTMENT

     A small studio, sparsely furnished.  Michael closes the
     door, looks around the room.  He checks a picture of
     Carlsen and Rachel on an end table.  As he does, we hear
     a phone ring.  Michael turns, crosses to a wall phone near
     the kitchenette.  Into his comlink:

                               MICHAEL
               Kitt, trace this call.

     Michael then answers, gruffly, disguising his voice.

                               MICHAEL
               Hello?

     Through the phone, we hear the crackle of long distance and
     a Man speaking with a distinctive accent (Swiss/French).

                               MAN
               Monsieur Carlsen, please.

                               MICHAEL
                      (a beat)
               Speaking.

                               RAMBEAUX
               Mr. Carlsen, this is Phillip Rambeaux.
               We have received your telegram
               regarding the diamond necklace and
               earrings.  If the gems are of the
               quality you indicated, we would be
               most happy to represent them for you.

                               MICHAEL
               Good.

                               RAMBEAUX
               Your telegram indicated you might be
               in Europe as early as next week.  I 
               look forward to hearing from you.

                               MICHAEL
               Okay.  Good.

                               RAMBEAUX
               Au revoir.

     Michael hangs up the phone.  Into his comlink:

                               MICHAEL
               Any luck?

                               K.I.T.T.'S VOICE
                      (via comlink)
               It was placed from the offices of
               Rambeaux and Sons...in Geneva,
               Switzerland.

     The information registers on Michael's face.  We hold on
     him for a beat, and then:

                                              CUT TO

     OMITTED

     EXT. STREET - NEAR LAUREN'S - DAY

     as the Trans Am cruises down the street.  Michael and
     Lauren are inside, and we hear:

                               MICHAEL'S VOICE
               Rambeaux and Sons is one of the
               biggest jewelry houses in Europe.

     EXT. LAUREN'S APARTMENT - DAY - ON THE TRANS AM

     The same place Lauren dropped Rachel off.  The Trans Am
     pulls up and parks.  Michael and Lauren continue talking.

                               LAUREN
               But that doesn't make any sense.
               Rachel and Chris put every penny
               they earned into the bank -- to buy
               a farm back in Ohio.
                      (shaking 
                       her head)
               The closest Rachel ever came to
               diamonds was the costume jewelry
               Bernie gave us to wear in the photo
               sessions.

     Michael reacts to this:

                               MICHAEL
               Gave to you?  You mean, to keep?

                               LAUREN
               Sometimes.  In fact, Rachel just
               came back from France with a really
               beautiful necklace.

                               MICHAEL
               I'd like to see it.

                               LAUREN
               Okay, but why?

                               MICHAEL
               I'm not sure.  A hunch....

     But Lauren's already thinking, her mind racing.

                               LAUREN
               Wait a minute.  If that junk was
               real, it'd be worth a fortune.

                               MICHAEL
                      (nods)
               Easily worth a trip to Switzerland.

                               LAUREN
               But, why would Bernie give it to 
               Rachel and not tell her?

     ANGLE ON ENTRANCE TO APARTMENT BUILDING

     as Michael and Lauren reach the entrance of the apartment
     building, a man comes hurrying out the door past them.
     Neither Michael or Lauren gets a glimpse of his face, but
     as they head inside, we follow the man, named Miller, to:

     EXT. STREET - IN FRONT OF THE APARTMENT - DAY

     where he crosses to his car, parked directly in front of
     K.I.T.T.  He jumps inside, turns it over.  It won't start.
     He tries it again, then again, getting increasingly angry.
     Behind him, K.I.T.T.'s scanner flares.

     ON K.I.T.T.

     monitoring Miller's frustrated attempts to start his car.
     We hear:

                               K.I.T.T.
               If you keep abusing that vehicle,
               I'm going to report you to the auto
               club.

     ANGLE ON MILLER

     as he looks around, startled by the voice.  Off his look,
     we:

                                              CUT TO

     INT. LAUREN'S APARTMENT - DAY

     as Lauren and Michael step into the apartment.  A look of
     stunned disbelief passes over Lauren's face.  And for good
     reason:  the place has been completely ransacked.  Drawers
     emptied, cushions slit open, tables overturned.

                               LAUREN
               Oh my God.

     Michael stares at the apartment, thinking, then races for
     the window, talking into his comlink:

                               MICHAEL
               Kitt, the man who just left the
               building...ID his car.

     Michael turns to race out of the apartment.

                               MICHAEL
               Stay here, and don't touch a thing.

     Michael's out the door.  Lauren looks at the dishevelled
     room.  Scared, confused.  Off her look, we:

                                              CUT TO

     EXT. APARTMENT - DAY

     as an old Dowager, Mable, with her pet dog, Maurice, is at
     the curb.  Maurice is one of those little happy things about
     the size of a slipper, wearing a little blue ribbon in his
     hair.  Mable's carrying a pooper-scooper.  We see Michael
     rush through the entrance behind them.  Mable turns to see:

     MICHAEL

     talking into his comlink:

                               MICHAEL
               Over here, Kitt!

     Mable stares at Michael like he's nuts.  She's then
     distracted by:

     K.I.T.T.

     driverless, roaring back toward Michael.  The Trans Am
     screeches to a halt, and the door pops open.  Michael races
     by Mable and Maurice, both of whom are watching, trans-
     fixed.  He jumps into K.I.T.T.  Maurice starts whining.  He
     sounds like a travel alarm clock going off.

                                              CUT TO

     INT. TRANS AM - DAY

     Michael talking to K.I.T.T.  Outside, Mable moves closer 
     to the car, watching Michael.  Maurice is starting to bark.

                               MICHAEL
               What've you got?

                               K.I.T.T.
               The plates on the car were stolen.
               It's heading north, approximately
               one hundred and fifty yards ahead.

     Michael nods, puts the pedal to the metal.

     ON MABLE AND MAURICE

     as the Trans Am squeals away, Mable turns to Maurice.

                               MABLE
               That young man was talking to his
               car, Maurice.  Can you imagine
               talking to something that can't talk
               back?

                                              CUT TO

     EXT. STREET - DAY

     Another part of town, as the Trans Am roars past camera.

     INT. TRANS AM - DAY

     Michael's bent over the wheel.  We hear:

                               K.I.T.T.
               Michael, the car we're pursuing just
               parked.

     We see K.I.T.T.'s monitor blink on.  A grid of city streets
     is shown, with a red light designating the car.

                               MICHAEL
               That's where Rachel's boyfriend Chris
               lives.

     ANGLE ON TRANS AM

     as Michael takes a hard right, squeals around a corner,
     and disappears.

                                              CUT TO

     EXT. CHRIS CARLSEN'S APARTMENT - DAY

     Miller's car is parked in front as the Trans Am roars up.
     In a second, Michael's out, racing for Chris' apartment.
     We follow him to:

     EXT. APARTMENT

     as Michael runs up, then slows and cautiously approaches.
     The door to the apartment is partially open.  Michael
     creeps up, then kicks it open and rushes into:

     INT. CHRIS' APARTMENT

     where we see Chris Carlsen's body stretched out on the
     living room floor.  Obviously very dead.  Michael steps
     up to the body, leans down to check for a pulse.  Doesn't
     find one.  We hear:

                               K.I.T.T.'S VOICE
                      (via comlink)
               Michael, be careful.  My sensors
               indicate....

     CLOSE ON MICHAEL

     Suddenly, he's struck across the neck.  Hard.  He collapses
     to the ground, stunned, as a figure rushes past him and
     out the front door.  Michael struggles to his knees, then
     finds his feet.

                               MICHAEL
                      (into 
                       comlink)
               Kitt, meet me in front!

     Michael stumbles out of the apartment.

     EXT. APARTMENT - DAY

     as Michael emerges, we see Miller's car speed away from
     the curb.  K.I.T.T. squeals up to Michael, pops the door.

     INT. TRANS AM

     as Michael reaches the car, climbs inside.

                               K.I.T.T.
               Michael, are you all right?

                               MICHAEL
               No.  Let's go!

     With that, the Trans Am speeds off down the street after
     the sedan.

     EXT. STREET - DAY

     as Michael speeds through traffic.  The sedan has got a good
     lead, but the Trans Am is closing fast.  A yellow light
     turns to red, though, and the sedan sneaks through at the
     last second.  Suddenly, the intersection is blocked by
     cross traffic, and the Trans Am is speeding toward the cars.

     INT. TRANS AM - DAY

     as Michael sees the traffic in front of him.

                               MICHAEL
               Too late to slow down, pal....

                               K.I.T.T.
               And it may be too late to turbo,
               Michael....

                               MICHAEL
               It better not be.

     Michael hits the turbo button.

     EXT. TRANS AM

     roaring toward the intersection.  At the last possible
     moment, it lifts off, barely missing the car in front of
     it.  At the apex of the jump, we:

                                              FREEZE FRAME

                                              AND

                                              FADE OUT

                         END OF ACT ONE

                             ACT TWO

     FADE IN

     EXT. STREET - DAY - ON THE TRANS AM - CONTINUOUS ACTION

     as the Trans Am hits the pavement just the other side of
     the crowded intersection and races after the ND sedan.

     ANGLE ON THE SEDAN

     skidding around a corner, heading down another street.  A
     couple of beats later, the Trans Am roars around the same
     corner.

     WIDER ANGLE

     as the two cars race down the street, the Trans Am gaining 
     fast.  Suddenly, from an alley, a moving van begins backing
     into the street, blocking one lane and moving into the
     other.

     ON THE SEDAN

     slamming on its brakes, skidding sideways, barely missing
     the van, but somehow getting around it.

     ON THE TRANS AM

     A beat too late.  By now the van fills both lanes of the
     street.  There's no way around.

     INT. TRANS AM - ON MICHAEL

     having to make a split-second decision.  K.I.T.T. gives him 
     a hand.

                               K.I.T.T.
               Michael, we can't!

                               MICHAEL
               Gotcha, pal.

     Michael stands on the brakes.

     EXT. TRANS AM

     as it comes to a screeching halt inches from the moving van.

     INT. TRANS AM - CLOSE ON MICHAEL

     taking a real deep breath, shaking his head.  Off this, we:

                                              CUT TO

     EXT. FOUNDATION - DAY

     Over, we hear:

                               DEVON'S VOICE
               It doesn't make sense, Michael.  Why
               all this intrigue over costume
               jewelry?

                                              CUT TO

     INT. FOUNDATION - DEVON'S OFFICE - DAY

     Michael is talking with Devon.

                               MICHAEL
               What if the costume jewelry wasn't 
               just cut glass?  What if it was real?
                      (off Devon's
                       look)
               Devon, I did some checking...it turns 
               out Rachel's boyfriend, Chris, was 
               an amateur rock hound.

                               DEVON
                      (intrigued)
               Then he could have recognized real
               jewels.

                               MICHAEL
               He could've...and if he did, and
               wanted to sell them, that could 
               explain why Rachel was so worried
               the night she was killed.

                               DEVON
               You aren't suggesting he killed her?

                               MICHAEL
               No.  Rachel came home early that night
               ...unexpected.  What if she surprised
               someone in her apartment -- someone
               looking for the jewelry....

     Now Devon looks intrigued, picks up a computer print-out.

                               DEVON
               You may have something, Michael.
                      (looking
                       at print-out)
               Our research indicates that in the 
               last year and a half, six models 
               from the Michels Agency have been 
               robbed...and each of them reported 
               costume jewelry missing.

     Michael's suddenly excited.

                               MICHAEL
               That's it, Devon!  She surprised the
               guy, he killed her and made it look
               like a suicide.  Problem is, he couldn't
               find the necklace....

                               DEVON
               Which would explain the man you
               encountered at Lauren's apartment.

                               MICHAEL
                      (nodding)
               But he still couldn't find it.  He
               figured Rachel's boyfriend had to
               have it, and headed over there.

                               DEVON
               Unfortunately for him.
                      (thinking)
               Beautiful models carrying fortunes in
               jewels in from foreign countries...
               only to have them stolen.  Intriguing,
               but I still don't understand why.
               What possible purpose could it serve?

                               MICHAEL
               That's what I'd like to ask Bernie
               Mitchell.

     As Michael starts for the door:

                               MICHAEL
               I think I'll track this bear into his
               lair.  I've always wanted to see how
               the other half lives.

                                              CUT TO

     EXT. STREET - NIGHT

     as the Trans Am cruises by, and we go to:

     INT. TRANS AM - NIGHT

     Michael's dressed in a tux.

                               K.I.T.T.
               I suppose this party is another 
               phase of your 'undercover' work
               with Lauren.

                               MICHAEL
                      (smiling)
               It's a tough job, pal, but....

                               K.I.T.T.
               I know...someone's got to do it.
                      (beat)
               I am delighted to see you wearing a
               tuxedo, though.

                               MICHAEL
               I thought you weren't into fashions.

                               K.I.T.T.
               I'm not 'into' the irrational need
               to constantly change the design of
               clothing.

                               MICHAEL
               Oh.  Excuse me.

                               K.I.T.T.
               The tuxedo, however, is a classic
               that has changed very little during
               the past hundred years.

                               MICHAEL
               Yeah...it's always been stiff,
               scratchy and hot.

                               K.I.T.T.
               A small price to pay for style and 
               elegance.

                               MICHAEL
               That right?  Maybe we should fit you
               with a Continental Kit and a pair of
               mud flaps, and see how you like it.

                               K.I.T.T.
               You wouldn't dare!  Would you...?

     Michael just grins, turns into:

     OMITTED

     EXT. BERNIE'S MANSION - COURTYARD - NIGHT

     The Trans Am pulls in, parks.  Michael gets out and enters:

     INT. BERNIE MICHEL'S MANSION - NIGHT

     Michael enters, crosses through the hall to the living room
     where another one of Bernie's famous parties is happening.
     Bernie himself is stretched out on a sofa, once again the
     center of a gaggle of sycophants.  And loving it.

                               BERNIE
               It was October of '51.  We'd just
               parachuted fifty kilometers behind
               North Korean lines.  The three guys
               I'd jumped with bought it...pow!  Pow!
               Pow!  Just like that.  And old
               Bernie picked up about four pounds of
               shrapnel in parts of the body that I'm
               reluctant to mention...
                      (perfect pause)
               ...in front of gentlemen.

     More laughter.  Bernie chuckles, leans over and whispers
     something in the ear of a perfect blonde to his left.  She
     gasps, her eyes go round, and she covers her mouth.
     Blushing wildly.  Bernie pats her, turns back to his
     audience.

                               BERNIE
               But, I lived, right?  No problem,
               except when I've gotta go through
               one of those metal detectors at
               the airport.  you should see the
               looks I get.

     More laughter.  Bernie beams at the blonde.  Off this, we
     go to:

     NINA

     standing across the party, talking with a man who's back is
     initially to us.  He turns and we see it's Miller, the man
     we first saw outside of Lauren's.  As they talk, they glance
     across the room where Michael is talking with Lauren.

                               MILLER
               I don't know who he is, or what he's
               up to, but I don't like it.

                               NINA
               He didn't pass security, either.  He
               could be a problem.

                               MILLER
               He's already a problem.

     Nina nods, glances over at Michael, thinking.

                               NINA
               If he's something other than what 
               he says he is, we'll find out.

     Miller nods, moves away from Nina.  We follow her glance
     toward:

     MICHAEL AND LAUREN

     in a quiet corner, sipping champagne.  Lauren's upset.

                               LAUREN
               I just can't believe it's Bernie --
               he's been like a father to us.  Why?
               Why, Rachel?

                               MICHAEL
               That's what we're here to find out.

     Before Michael can continue, Lauren's started across the
     room, heading directly for Bernie.  Michael recovers,
     grabs her by the arm.

                               MICHAEL
               Lauren....

                               LAUREN
               Let go!  I'm going to find out 
               what's going on.

                               MICHAEL
               That's not the way to do it, believe 
               me.

     Lauren slowly relaxes.  A beat, then:

                               LAUREN
               I talked to Rachel's mom and dad on
               the phone today.  It's hard enough
               for them to lose her, but the thought
               she might have killed herself is 
               just destroying them....

                               MICHAEL
                      (quietly)
               We're going to find out what really 
               happened.  I promise.
                      (beat)
               One step at a time.  First, I want
               to have a look around.  Where does
               he do his business?

                               LAUREN
               His study.  It's at the end of the 
               hall.
                      (beat)
               Michael, I'm coming with you.

                               MICHAEL
               No.  I need you to keep an eye on
               things out here.

     Lauren starts to protest, but Michael leans over and kisses
     her.

                               MICHAEL
               We're supposed to be in love,
               remember?
                      (kisses her
                       again)
               The first commandment of undercover
               work is never blow your cover.
                      (smiles)
               I'll be right back.

     With that, Michael turns and heads slowly across the room.

     OMITTED

     MOVING WITH MICHAEL

     as he gradually heads for the hallway, grabbing another
     glass of champagne off a passing tray -- just for the
     looks.  Suddenly, Nina appears at his side.  Friendly.
     Warm.  And right in his way.

                               NINA
               Enjoying yourself?

                               MICHAEL
               Oh, yeah.  Terrific.  Bernie really
               knows how to throw a party.

                               NINA
               Bernie's a warm, generous person.
                      (beat)
               What about you, Michael?  Who are
               you?

     Michael studies Nina for a beat.  The smile is still in
     place, but there's something chilly behind her eyes.

                               MICHAEL
               Me?

                               NINA
               Yes, you.  As part of our normal
               security procedure, we ran a back-
               ground check on you.  Until two
               years ago, you didn't seem to exist.

     Michael looks at Nina, apparently dumbfounded.  Then he
     takes a gulp of champagne, smiles crookedly.  Looking a
     little in the bag.

                               MICHAEL
               Could've fooled me.

     Michael laughs.  Nina doesn't.  Michael takes another sip
     of the bubbly.

                               MICHAEL
                      (conspiratorially)
               Actually, it's true...I'm two,
               just big for my age.  They call 
               it...prodigious...
                      (hesitating)
               ...no, percerous...
                      (straining to
                       think)
               ...uh, old for my age.

     He goes to take another sip of champagne and spills it.
     Michael grins apologetically.

                               MICHAEL
               Then again, some people call it
               'drunk.'  No, that's not true...but....

     Michael looks around the room, then turns back to Nina.

                               MICHAEL
               You wouldn't happen to know where 
               the bathroom is, would you?  Just in
               case?

                               NINA
               Down the hall.  Second door to your
               right.

     Michael grins again, turns and walks, with some
     unsteadiness, down the hall.  Nina watches him for a 
     moment, then turns back to the party.  She catches Miller's
     eye across the room, nods to him.  As she does, we go to:

     MICHAEL

     Rounding, and he hurries to the end of the hall and
     disappears into the corner of the hallway.  The act is 
     gone.

     INT. STUDY - NIGHT

     The door opens and Michael slips inside.  He switches on a
     small desk lamp, starts searching through the room and
     turns up a wall safe cleverly hidden behind an exotic
     collection of masks.  Michael studies the safe, then:

                               MICHAEL
                      (into comlink)
               Kitt, I'm gonna need some help.

     We intercut with:

     INT. TRANS AM - NIGHT - ON K.I.T.T.

     His dash lit up, the monitor on.  Michael holds the comlink
     up to the safe, starts turning the dial.

                               K.I.T.T.
               Slowly Michael.  Good.  There:  Forty-
               three.  Now to the right...there:
               Twenty-seven.  To the left...that's it:
               Eleven.  Now to the right again...
               Seventeen.  Voila!

                               MICHAEL
               Good work, pal.  Now, keep an eye
               out.  Let me know if anyone's coming.

     Michael reaches into the safe, pulls out a beautiful
     bracelet and an equally gorgeous necklace.  Studded with
     expensive looking stones.  attached to each is a label.
     On one, "Humberto Orozco, Mexico City."  On the other
     "Eduardo Perrara, Puebla."

     Michael studies the necklaces.  Into his comlink:

                               MICHAEL
               Kitt, these jewels...are they real?

                               K.I.T.T.
               Yes.  Real glass.
                      (then urgent)
               Michael...someone is approaching!

     Michael quickly closes the safe, switches off the light,
     and hurries for a closet.  Just as he ducks inside, the
     door opens.  For a moment, we're not sure who it is, but
     then a man and a woman, whispering and giggling, step
     inside and close the door behind them.  They fall into a
     passionate embrace.

     OMITTED

     INT. HALLWAY

     as Miller comes round the corner, stops.  Listening.  He
     moves slowly toward the study door and we go to:

     INT. CLOSET - ON MICHAEL

     Stuck.  Outside we hear giggles.

                               MICHAEL
               Kitt, I'm in trouble.

     Intercut with:

     INT. TRANS AM

     as K.I.T.T. responds.

                               K.I.T.T.
               My sensors indicate they're not
               armed, Michael.

                               MICHAEL
               Not that kind of trouble.  I'm stuck
               in the closet.

                               K.I.T.T.
               Are they holding you captive?

                               MICHAEL
               They're too busy holding each other
               to worry about me.  Just do some-
               thing...create a diversion.

                               K.I.T.T.
               Oh, dear...what kind of diversion
               would be appropriate?

                               MICHAEL
               I don't care!  Just get them out of 
               here.

     INT. DEN

     where the man and woman are on the sofa, embracing.  Suddenly
     a light near the sofa blinks on.  They jump apart, startled.
     The man finds the light switch, plunges the room into dark-
     ness.  Then a light on the other end of the sofa blinks on.
     Again he switches them off, but just as quickly the overhead
     lights come on.  By now the couple is thoroughly spooked and
     they turn and hurry out of the room.

     INT. HALLWAY

     The couple almost runs over Miller standing outside the
     door.  They hurry away.  Miller glances after them, sneaks
     a look in the study, then heads back to the party.

     INT. DEN - ON THE CLOSET

     as Michael opens the door, peeks out.  He smiles to himself,
     quickly crosses to the door, checks the hallway.  By now
     it's clear and as Michael exits the den, we:

                                              CUT TO

     EXT. SEMI - DAY - STOCK

     cruising down the highway.

     INT. SEMI - DAY

     where we find Michael and Devon.  Spread out in front of 
     them are a series of photos, blow-ups of the pix Michael
     took. (Note:  we don't have to actually see the pix them-
     selves).  Devon hands Michael a computer print-out.

     Michael whistles as he studies the print-out.

                               MICHAEL
               Dummy corporations and numbered bank
               accounts in the Grand Caymans.  He's
               a busy man.

                               DEVON
               And extremely wealthy if those
               figures are accurate.

     Michael nods, thinking, then turns to Devon.

                               MICHAEL
               Devon can we find out where Bernie's 
               models have traveled in the last year?

     Devon nods, turns to the computer as he continues talking:

                               DEVON
               The Grand Caymans are the Caribbean
               version of Switzerland...an ideal
               place to hide money you wouldn't want
               anyone to know about....

                               MICHAEL
                      (nodding)
               Or launder the stuff you shouldn't 
               have.

     Devon looks up from the computer.

                               DEVON
               Michael, the computer indicates 
               they've been to Spain, France, Greece, 
               Peru and Chile.

                               MICHAEL
                      (excitedly)
               Devon, don't those countries have
               currency restrictions?

                               DEVON
                      (nods)
               Exceedingly strict, as I recall.  It's
               illegal to transfer money out of the
               country.

     Michael turns, grabs a picture of the necklace and bracelet
     he saw in Bernie's safe.  Devon begins to follow Michael's 
     train of thought.

                               MICHAEL
               But if you used that money to buy
               expensive jewels....

                               DEVON
               And then switched the real jewels
               in place of costume jewelry....

                               MICHAEL
               You could probably wisk them right
               through customs....

                               DEVON
               On the necks of beautiful American
               models.

                               MICHAEL
               And once they're in the states,
               Bernie converts the jewels back to
               cash and has the money transferred
               to those private accounts in the 
               Caribbean -- after he takes a 
               percentage off the top.

     Devon glances at the picture of the necklaces, turns and 
     begins to punch into the computer.

                               DEVON
               If you're on the right track, these
               necklaces are for Bernie's next
               customers.

     On the screen, we see pictures of two Mexicans.  Under each 
     is a name:  Eduardo Perrera, Humberto Orozco.

                               DEVON
               Orozco and Perrera certainly fit the 
               profile:  wealthy industrialists
               trying desperately to get money out
               of Mexico....

     Michael looks at Devon, suddenly concerned.

                               MICHAEL
               The next agency shoot is in Mexico
               City.  Lauren's scheduled to leave
               tomorrow.

     Now it's Devon's turn to look concerned.

                               DEVON
               Michael, the Foundation has no legal
               jurisdiction in Mexico.

                               MICHAEL
               Neither does Bernie Mitchell.  Devon,
               she shouldn't be down there alone....

     Michael's already heading for the car.

                               MICHAEL
               I'm going to brief her.

     As April nods, Michael jumps in the Trans Am, fires it up.

     EXT. SEMI - DAY - STOCK

     as the Trans Am backs out, roars off.

     OMITTED

     EXT. LAUREN'S APARTMENT - DAY

     Mable and Maurice are coming out of the apartment building.  
     Maurice has a little sweater on and the old lady's got her 
     trusty pooper-scooper.  As they start toward the sidewalk, 
     the Trans Am comes roaring up and Michael jumps out.  Mable 
     jerks Maurice to a halt, watches him apprehensively.  
     Maurice whines, straining at his leash.

                               MICHAEL
               Keep an eye on things, Kitt.

     The scanner flashes.  Mable cranes her neck to see it and
     Maurice starts growling, then barking.  Michael walks past
     them into the building.  The old lady glances over her
     shoulder, then peeks inside the car.  Shakes her head at
     Maurice, who suddenly goes for K.I.T.T.'s front tire, trying
     to bite it with his little teeth.  We hear:

                               K.I.T.T.'S VOICE
               Keep that up and you'll be on the 
               wrong end of a 'Car Bites Dog' story!

     Maurice backs away, his barks fading to a whimper.  Mable
     is stunned.  Off her look, we:

                                              CUT TO

     INT. LAUREN'S APARTMENT - DAY

     A knock on the door.  Then the doorbell.  A beat later and
     the door opens.  Michael puts his pick back in his pocket
     as he hurries inside.

                               MICHAEL
               Lauren...Lauren!

     No answer.  Michael hurries through the apartment, checking
     the living room, the bedrooms.  Nothing.

     ANGLE ON MICHAEL

     coming down the hall, passing the bathroom.  Something
     catches his eye and he stops.  He turns, walks into:

     THE BATHROOM

     where we see a hastily written note scrawled on the
     bathroom mirror, in lipstick.  It reads:  "Mexico City.
     Casa Hermosa.  Hurry!"

     ON MICHAEL

     taking in the note.  Off of his worried look, we:

                                              FREEZE FRAME

                                              AND

                                              FADE OUT

                         END OF ACT TWO

                            ACT THREE

     FADE IN

     OMITTED

     EXT. HIGHWAY - DAY - STOCK

     as the semi rolls by.  We hear:

                               MICHAEL'S VOICE
               He forced her to go with him!

     OMITTED

     INT. SEMI - DAY

     Michael and Devon are talking.  April's working on K.I.T.T.

                               MICHAEL
               I've got to get down there.

                               DEVON
               I'll make arrangements to get you and 
               Kitt on a plane to Mexico City as 
               soon as possible.

     We hear:

                               K.I.T.T.
               Michael, I do not intend to set one 
               wheel inside an airplane.

                               MICHAEL
               Kitt, I'm going to need you to trans-
               late for me.  Why don't you want to 
               go?

                               K.I.T.T.
                      (reluctantly)
               Because...I don't like flying.

                               MICHAEL
               But you've never flown before.

                               K.I.T.T.
               One doesn't have to be bitten by a
               dog to dislike dog bites.  Besides,
               if cars were meant to fly they would 
               have been made with wings.

     Michael and Devon exchange a glance, try to suppress grins.  
     Michael shrugs.

                               MICHAEL
               Well, if that's the way you feel,
               pal, I'll go alone.  Pick up a 
               rental car in Mexico City.

                               K.I.T.T.
                      (aghast)
               A rental car?  Michael, you wouldn't.
                      (beat)
               Perhaps I could make this one flight
               an exception.

     Everyone laughs.

                               MICHAEL
               Thanks, buddy.

     Devon turns to Michael.

                               DEVON
               Given what's happened, I'm still
               concerned about sending you down
               there alone.  Particularly without 
               some kind of plan.

     Michael looks at Devon, smiles slightly.

                               MICHAEL
               Funny you should mention that, because
               I've got an idea how we can make this
               a team effort...and get the kind of
               hard evidence we'll need to nail
               Bernie once and for all.

     Michael grins at Devon.  Off of his confused look, we:

                                              CUT TO

     OMITTED

     EXT. MEXICO CITY AIRPORT - DAY - STOCK

     EXT. MEXICO CITY STREET - DAY - STOCK

     Lots of cars, honking, congestion.  Music over.

     EXT. CASA HERMOSA - DAY - ESTABLISH

     then pan as K.I.T.T. pulls up in front of this beautiful
     Mexican casa, Michael behind the wheel.

                               MICHAEL'S VOICE
               That wasn't so bad, was it?

     ANGLE IN K.I.T.T.

                               K.I.T.T.
               Three hours in a cargo hold was
               bad.  Two hours in a Mexican traffic
               jam was bad.

                               MICHAEL
               Sorry, pal.

                               K.I.T.T.
               I only hope there was good reason 
               for all this.

     Michael smiles, punches a button on the dash that reads:
     "Record".

                               MICHAEL
               You bet...I need you to record
               everything that goes on inside.

                               K.I.T.T.
               It would have been far easier and
               cheaper, to bring a tape recorder.

                               MICHAEL
               Sure but it wouldn't be the same
               without your cheery personality.

                               K.I.T.T.
               Very funny.

     Michael laughs, gets out and heads into:

     INT. CASA HERMOSA - COURTYARD - DAY

     A photo shoot is underway.  A photographer jockeys for
     position.  Beautiful models, including Lauren, pose in a new
     line of clothes by a prominent Mexican designer.  As the
     camera angle widens we see we're in the courtyard of the
     house, the delicate fashions displayed in contrast to the
     rough stone and brick architecture.

     ANGLE ON LAUREN

     posing for photographers.  She is wearing the stunning
     diamond necklace we saw in Bernie's safe.  Looking off, she
     reacts when she sees:

     MICHAEL

     coming into the courtyard.  He spots her just as she sees
     him, breaks into a grin, hurries toward her.  Lauren
     excuses herself, moves to Michael.  They embrace.  Just a
     little too tightly, just a bit too long, for acting.  They
     both realize it, try to cover.

                               LAUREN
               You got my message -- Thanks, I had
               no idea you were so...dedicated.

                               MICHAEL
               My middle name.  Are you all right?
               What's been happening?

     Lauren glances around, takes Michael by the hand.  They walk
     and talk.

                               LAUREN
               I don't know where to start, it's
               all been so strange.  Something's 
               happening, Michael -- something
               important.  Bernie's throwing a big
               party tonight for some Mexican
               businessman.

                               MICHAEL
                      (thinking)
               Their names wouldn't happen to be
               Perrera and Orozco, would they?

                               LAUREN
                      (surprised)
               Yes...how'd you know?  Michael, what 
               did you find out?

     Michael glances over, sees Nina heading their way.

                               MICHAEL
               Here comes the quarterback.  I'll fill
               you in later....

     Nina arrives, gives Michael a cold look.

                               NINA
               I suppose you were just passing 
               through town.

                               MICHAEL
               It's a nice day for a drive.

                               NINA
               It's lovely you don't have to work
               for a living, but Lauren does...
                      (to Lauren)
               Need I say more?

     Lauren nods, gives Michael a little peck and heads back to
     the shoot.  Nina turns to Michael.  Her smile is a little
     forced.  Brittle.

                               NINA
               You're becoming more trouble than 
               you're worth.

                               MICHAEL
               I think Bernie'd be a better judge
               of that.  I've got a business propo-
               sition for him.

                               NINA
                      (tries to head
                       him off)
               Mr. Mitchell doesn't do business
               with his models' boyfriends.

                               MICHAEL
               Don't put money on it.

     Michael brushes past Nina, who glares at him.

     MOVING WITH MICHAEL

     heading for Bernie's suite.  Into his comlink:

                               MICHAEL
               Pop in a cassette, buddy...you're 
               about to earn your keep.

     As Michael disappears into the house, we:

                                              CUT TO

     INT. BERNIE'S HOUSE - DAY

     Bernie looks angry.

                               BERNIE
               All right, what do you want?

     WIDER ANGLE

     We see Michael across from him, two Mexican bodyguards in
     close b.g., Miller close by.  The house is spectacular.
     Michael indicates the bodyguards.

                               MICHAEL
               It's confidential.

                               BERNIE
               What, you got a social disease?  You
               want to borrow twenty dollars for
               cab fare?  Spit it out, lover-boy, 
               I've got things to do.

                               MICHAEL
               I thought we'd discuss money, Bernie.
               Lots of it.  tucked away in cozy
               little accounts in the Grand Caymans...
                      (off Bernie's 
                       look)
               Ring any bells?

     Bernie's eyes bore into Michael.

                               BERNIE
               You got no idea what you're talking
               about.

                               MICHAEL
               No?  Five accounts in the Chartered
               Bank of Grand Cayman.  Sequentially
               numbered, 0-10-12-62 thru 66.  That's
               for starters.

                               BERNIE
                      (beat)
               Who are you?

                               MICHAEL
               More than a persistent boyfriend.
               Just like you're more than the owner 
               of a modeling agency.

                               BERNIE
               What is this, extortion?  You want a
               payoff or what?

                               MICHAEL
               Bernie...such paranoia, such distrust.
               I represent a wealthy English expatriot
               who has vast holdings in Mexico.  He's
               planning to leave the country...and he'd
               like to take his money with him when he
               goes.

     INTERCUT - K.I.T.T.

     He is recording the conversation.

                               MICHAEL'S VOICE
               I have letters of introduction.
               Check him out.

     BACK TO SCENE

     Michael hands Bernie several sealed envelopes.

                               BERNIE
               I will, believe me.

                               MICHAEL
               He's looking forward to meeting
               you.  Tonight.

     Michael turns and exits.  Hold on Bernie, staring after 
     him, then:

                                              CUT TO

     EXT. CASA HERMOSA - NIGHT - ON K.I.T.T.

     We find K.I.T.T. parked near the entrance to the casa.  The
     sounds of music drifts through the open windows.  A couple
     of young Mexican boys, parking cars for the party, have
     spotted K.I.T.T. and are trying to get inside for a better
     look.  The doors don't budge, but they don't give up.
     Finally, K.I.T.T. loses patience:

                               K.I.T.T.
                      (rapid-fire
                       Spanish)
               All right, get your hands off me
               and get back to work!

     Though most of us won't understand the words, we get the
     message, just as the two kids do.  In a second, they're
     gone.  K.I.T.T. sighs.

     OMITTED

     INT. CASA HERMOSA - NIGHT

     Where a chic party is in progress, a combination of rich
     Americans and rich Mexicans.  A mariachi band plays a
     lovely slow waltz and as we pan the party, we pick up:

     MICHAEL AND LAUREN

     dancing in the middle of the floor.  Cheek-to-cheek.
     Obviously enjoying every second of it.

                               LAUREN
               Do you think our cover's working?

                               MICHAEL
               So far, but we can't let down our
               guard for a second.

     He holds her closer.  She smiles.

                               LAUREN
               You take your work very seriously,
               don't you?

                               MICHAEL
                      (smiling)
               I'm a dedicated professional.  Almost
               compulsive sometimes.

                               LAUREN
               I'm starting to like all this under-
               cover stuff.  Think I could make a 
               career out of it?

                               MICHAEL
               With practice and qualified instruc-
               tion.

     They smile, kiss, continue dancing and we pan past them
     toward the entrance to the room.

     DEVON AND APRIL

     as they make a grand and smashing entrance.  Devon looks
     perfect in his tux and April like a princess in a gorgeous
     dress, with jewelry dripping off her.  Several men turn to
     appreciate her beauty as she and Devon step into the room.
     As they do, we pick up:

     NINA

     watching them as they cross to the center of the party, and
     are greeted by Michael and Lauren.  She gestures to someone
     across the room.

     ANGLE - CLOSER

     as Michael, April and Devon go through their charade.

                               MICHAEL
               Senor Miles...senorita.

     Michael takes April's hand, kisses it over ad-lib greetings.

     ANGLE - WIDER

     as Bernie steps up to them.  Though he greets Devon, his 
     real attention is always on April.

                               BERNIE
               Senor Miles, how good of you to join
               us.
                      (to April)
               Enchante, mademoiselle....

     He takes April's hand, kisses it.  She blushes with its
     intimacy.  Bernie loves it.

                               BERNIE
               I spend my life around beautiful
               women.  How could I have missed you?

                               APRIL
               Ships in the night perhaps.

                               BERNIE
               You, my dear, could be a star.

     Devon glances at Michael, increasingly irritated.  He 
     checks his watch.

                               DEVON
               Mr. Mitchell, we only have a limited
               amount of time.

     Bernie doesn't take his eyes off April.  He frowns slightly.

                               BERNIE
               Business, business, business.  So
               little time for life's true pleasures.

     Another kiss to April's hand, then Bernie turns and gestures
     for Devon and Michael to follow him.  As they do, we stay
     with Lauren and April for a moment.

                               APRIL
               You must be Lauren.  I'm April.
               Michael's told me so much about you.

                               LAUREN
                      (pleased,
                       embarrassed)
               I didn't think there was that much 
               to tell.

                               APRIL
               According to Michael there is.

     April looks at Lauren, sees the apprehension in her eyes.

                               APRIL
               I know how hard this must be for you.
               It'll be okay.  Believe me....

                                              CUT TO

     OMITTED

     INT. STUDY - NIGHT

     Michael and Devon are across from Bernie in the richly
     appointed room.  A bodyguard stands at the door.  Bernie
     has Devon's letters of introduction open in front of him.
     He looks at them briefly, then suddenly rips them in half.

                               BERNIE
               Letters of introduction can be
               forged.  Phone calls can't.  Let's 
               see if Senor Perez really wrote this
               letter.

     He picks up the phone and begins to dial.  Michael and
     Devon exchange a panicky look.  Michael turns, casually
     moves across the room.  As he does, he whispers quickly 
     into his comlink:

                               MICHAEL
               Kitt, intercept this call.

     During this sequence, we intercut with:

     INT. TRANS AM - NIGHT - ON K.I.T.T.

                               K.I.T.T.
               Intercept it?  And then what...?

     There's not much time to consider.  We hear the phone being
     dialed, and then it starts ringing.  K.I.T.T.'s computer
     comes to life, whirring and blinking as he intercepts the
     call.

                               K.I.T.T.
               I hope my Spanish is up to par.

     K.I.T.T. simulates the sound of a phone being answered.

                               K.I.T.T.
                      (in Spanish)
               Hello.

                               BERNIE
                      (in Spanish)
               Alfredo Perez.  Bernie Mitchell calling.

                               K.I.T.T.
                      (in Spanish)
               I'm sorry...he's out for the evening....

     Devon and Michael watch nervously as Bernie continues.

                               BERNIE
               Do you speak English?

                               K.I.T.T.
                      (with accent)
               Yes.  Mr. Perez is out for the evening.

                               BERNIE
               It's important that I speak with
               him.  Do you know where he is?

                               K.I.T.T.
               Yes, he's visiting his nephew, Arturo,
               and then he's meeting Senor Devon 
               Miles for a late supper.

                               BERNIE
               I see...okay, thanks.

     BACK TO SCENE

     Bernie hangs up, looks at Devon, who's expecting the worse.

                               BERNIE
               My apologies, Mr. Miles.

                               DEVON
               Pardon?

                               BERNIE
               You're having a late supper with
               Alfredo?  Please.  Tell the restau-
               rant to bill me.

     Devon is amazed, but recovers beautifully.  Michael hides a
     knowing smile.

                               DEVON
               If you insist.  Now, if we may
               conclude our business?  I'd hate to
               keep Alfred waiting.

                               BERNIE
               By all means.  Cognac, gentlemen?

     Off Bernie's warm, embracing smile, we:

                                              CUT TO

     OMITTED

     EXT. LAX - DAY - STOCK

     as a 747 lands, taxis down the runway.

     EXT. AIRPORT - ND LOADING DOCK - DAY

     It could be anywhere.  A limo's parked, a driver waiting
     behind the wheel.  We see Nina, Bernie, Miller and Lauren
     come hurrying over and get into the car.  A porter puts
     their bags in the trunk and the limo silently moves off.

     ANOTHER PART OF AIRPORT - ON A PHONE BOOTH

     Michael's involved in an urgent call to Devon.

                               MICHAEL
               No, that part went like clockwork.
               Lauren sailed through customs 
               wearing a fortune in jewels and no 
               one looked twice.

     Intercut with:

     INT. DEVON'S OFFICE - DAY

     Devon's on the phone.

                               DEVON
               Good.  Now all you need to do is
               wait until Bernie Mitchell makes
               a move to retrieve the jewels.
               Once he does, he's ours.

                               MICHAEL
               That's the problem, Devon.  We're
               stuck in customs.  There's a small
               army going over Kitt with a fine
               tooth comb, and they won't take no
               for an answer.

                               DEVON
                      (angrily)
               We'll see about that.

     Stay with Devon.  He pushes another button.

                               DEVON
               Get me the senior officer in Customs.

                                              CUT TO

     OMITTED

     INT. LAUREN'S APARTMENT - DAY

     Lauren, followed by Bernie and Nina, come into her apart-
     ment.  Bernie's carrying Lauren's bag.  He sets it down.
     Lauren looks at him a little apprehensively, but she's
     covering her fear.

                               LAUREN
               Thanks for the help, Bernie.

                               BERNIE
               Are you kidding.  For my favorite
               model, I'd move mountains....

     Big grin.  Lauren tries to respond, manages half a smile.

                               NINA
               We'd better get going, Bernie.
               You've got a dozen meetings today.

     Bernie nods, turns to Lauren.

                               BERNIE
               You were sensational, sweetheart.
               Take a few days off, get your beauty
               rest, huh?

     Lauren nods, turns her cheek awkwardly as Bernie gives her
     a little peck.  He turns to go, then stops.

                               BERNIE
               Oh, one more...let me have that
               costume junk you're wearing.

     Lauren looks startled, but she covers nicely.

                               LAUREN
               Bernie, you said I could keep it.

                               BERNIE
               Yeah, but I've been looking at
               it...it's not you.  Much too
               gaudy....

     Bernie moves to reach for the jewelry, and Lauren stiffens,
     moves away.  An almost involuntary reaction, but a telling
     one.  Bernie stops, smiles at her.  Coldly.

                               BERNIE
               All right, darling, the charade's
               over.  And Bernie's very disap-
               pointed in you.

                               LAUREN
               What do you mean, Bernie?

                               BERNIE
               I was watching you on the flight
               back, Lauren.  I've given women
               diamonds before and I know how a
               woman acts when she's wearing them.
               There's a special quality in her
               eyes, a luminescence.
                      (smiling)
               I saw that look in your eye.  I saw
               it and I said to myself, 'This
               beautiful young woman should think
               she's wearing glass.  Why do I keep
               seeing that look in her eye?'  That's
               when I realized that you knew what
               was happening, my sweet...you and
               your friends.

     Lauren suddenly lashes out to hit Bernie, but he catches
     her hand as deftly as if he was swatting a fly off the wall.

                               LAUREN
               You killed Rachel!  You murdered 
               her...!

     Bernie's smile freezes to a cold, cruel stare.

                               BERNIE
               I'm sorry you said that, lovely
               Lauren.  For your sake...
                      (beat)
               It could cost you your life.

     Lauren struggles to get loose, but Bernie's steel grip 
     holds her fast.  Off her terrified look, we:

                                              FADE OUT

                        END OF ACT THREE

                            ACT FOUR

     FADE IN

     EXT. CITY STREET - DAY

     as the Trans Am roars by, and we hear:

                               K.I.T.T.
               It was absolutely outrageous!

     INT. TRANS AM - DAY

     Michael's driving intently.  K.I.T.T.'s complaining
     bitterly.

                               K.I.T.T.
               They poked and prodded me like I was 
               a common getaway car.

     Michael checks his watch.

                               MICHAEL
               How much further to Lauren's?

                               K.I.T.T.
               Approximately eleven minutes.

     Michael slams the dash in frustration.

                               MICHAEL
               Just when we were ready to close in
               on Bernie.

     There's a beat, then:

                               K.I.T.T.
               You're worried about Lauren, aren't
               you?

                               MICHAEL
               Bernie's killed two people, Kitt.
               It wouldn't be hard to make it three.

     Off this ominous note, we:

                                              CUT TO

     OMITTED

     EXT. CITY STREET - DAY

     as the Trans Am speeds by camera.

     INT. TRANS AM - DAY

     wheeling the Trans Am around a corner.  Suddenly, he slows,
     peers down the street at:

     MICHAEL'S POINT OF VIEW - IN FRONT OF LAUREN'S APARTMENT

     where we see the limo speeding down the street.

     RESUME SCENE

     as Michael watches the action.

                               K.I.T.T.
               Michael, they have Lauren in that
               vehicle.

                               MICHAEL
               That's what I was afraid of.

     Michael starts off down the street, following the limo from
     a safe distance.

                               K.I.T.T.
               What are you planning to do?

                               MICHAEL
               Can't do much except follow them
               and wait for an opening.  He could
               kill her if we made a move now.
                      (beat)
               Wish we had a little leverage.  An
               ace in the hole....

                               K.I.T.T.
               I recognize the tone in your voice,
               Michael.  Do you have an idea?

                               MICHAEL
               We'll see, pal.  Tell me what you
               know about banks.

                               K.I.T.T.
               Banks?

                               MICHAEL
               Banks -- and the electronic transfer 
               of money.

                                              CUT TO

     EXT. BERNIE'S MANSION - DAY - ON THE GATE

     as the limo pulls through the gates and they swing closed
     behind it.

     ON THE MANSION

     The limo stops and Nina, Bernie and Lauren get out.  Miller
     goes for the bags and the others head inside.

     EXT. ROAD TO MANSION - DAY

     K.I.T.T. roars by.

     ANGLE IN K.I.T.T.

     Sequential numbers flash past on the monitor.

                               MICHAEL
               Any progress?

                               K.I.T.T.
               I'm a computer, not a miracle worker.

                               MICHAEL
               Don't count miracles out -- we may
               need one.

     Michael peers through the windshield, sees the gates to the
     house.

                               MICHAEL
               There's Bernie's mansion...let's see 
               how he feels about party crashers.

     He presses pursuit.

     EXT. IRON GATE TO MANSION - DAY

     K.I.T.T. smashes through the iron gate.

     EXT. MANSION - DAY

     K.I.T.T. roars to the house, pulls to a stop.  Michael
     climbs out of K.I.T.T., leans down to say:

                               MICHAEL
               So far so good.

     Then, we hear:

                               BERNIE'S VOICE
               So far, not so good, lover boy.
               Freeze....

     Michael turns to see Bernie facing him, an automatic in his
     hand.  Michael fixes him with a cold stare.

                               MICHAEL
               I want Lauren.

                               BERNIE
               Don't we all.
                      (beat)
               Unfortunately, we don't always get 
               what we want in this life.

                               MICHAEL
               Either turn her over, or add kid-
               napping to your list of charges.

     Bernie laughs.

                               BERNIE
               My 'list of charges?'  What list?
               It'll take months to bring banking
               charges against me.  And I plan to
               be out of the country within an
               hour.
                      (a smile)
               A lovely little spot in the 
               Carribean.  I call it paradise.

     We hear Michael's comlink buzz, then:

                               K.I.T.T.'S VOICE
               Michael, I've done it!

     Michael nods, smiles, turns to Bernie.

                               MICHAEL
               Sorry, Bernie.  I just got word
               there's trouble in paradise.

                               BERNIE
               What're you talking about?

                               MICHAEL
               You're broke.  Seems all the money's
               been transferred out of your numbered
               accounts.  Some sort of computer
               mix-up.

     Bernie laughs, a bit uncertainly.  Michael grins.

                               MICHAEL
               You don't believe me, check your
               records.

     Bernie hesitates, then gestures at Michael to start moving.

                               BERNIE
               Inside.  Move it!

     Michael, followed by Bernie, walks into:

     OMITTED

     INT. MANSION - DAY

     Michael sees Lauren, with Nina holding a gun to her, coming
     into the living room.  Miller is also inside, but without a
     gun.

                               MICHAEL
               Lauren!  Are you all right?

     Lauren nods, but doesn't respond.  Bernie pushes Michael
     into:

     OMITTED

     INT. DEN - DAY

     Miller follows Michael and Bernie in.  Nina and Lauren stay
     in the living room.  Bernie crosses to his computer,
     punches up his access code, adds his account numbers.  He
     stares, dumbfounded at:

     INSERT - COMPUTER

     The account shows $1.00.

     BACK TO SCENE

     Convinced he's made a mistake, he punches it up again.  The
     result is the same.

                               BERNIE
               There's only a dollar left!

     Michael grins.

                               MICHAEL
               Maybe you could write one of those
               travel books.  The Grand Caymans on
               a Dollar A Day.  Course, you'd have
               to write it in one day.

     Bernie stares at the computer, stunned.

                               BERNIE
               What is this, some kind of joke?
               You can't do this!  It's illegal!

     He turns to Michael, forgetting for a moment, his gun,
     which he put down next to the computer.

     ON MICHAEL

     seeing the gun and seizing the moment.  He steps forward,
     kicks the gun out of reach, then lands a karate chop to
     Bernie's neck.  As Bernie stumbles backwards, Miller moves
     on Michael from behind.

     ANGLE - WIDER - ON THE FIGHT

     It's Michael against Miller and Bernie, with the gun lying
     on the floor just beyond anyone's reach.  Though it's two
     against one, Michael handles himself beautifully, combining
     his skill with the martial arts with his longer reach.
     Bernie finds himself flying against the far wall of the
     den.  He gets up and rather than help Miller, he turns and
     ducks out the door.

     ON MILLER

     as he grabs a poker from the fireplace (or an ornamental
     sword if there's no fireplace) and faces Michael with it.
     He swings, Michael ducks, and Miller swings again, narrowly
     missing.  It throws him off balance, though, and Michael
     catches him with a one-two combo that sends Miller down for 
     the count.  Into his comlink:

                               MICHAEL
               Kitt, Bernie's trying to escape...
               stop him!

     INT. LIVING ROOM

     as Michael races from the den.  Nina's waiting for him, gun
     raised, ready to fire.  Lauren sees Michael, shouts:

                               LAUREN
               Michael, look out!

     Michael sees Nina, ducks and rolls as she fires.  Lauren
     jumps on Nina as she shoots again, knocking the gun from
     her hand, and wrestling her to the floor.  Michael gets on
     his feet, hurries for the gun.

     OMITTED

     EXT. MANSION - DAY

     Meanwhile, Bernie's raced outside, jumped in the limo and
     started for the gate.  K.I.T.T.'s a step ahead of him,
     though, and heads him off.  Bernie reverses the limo, tries
     an end run.  No good, because K.I.T.T.'s again just a little
     too quick, like a sheep dog handling a flock of ewes.

     ON BERNIE

     staring at the driverless car, astonished.  He moves to the
     right and K.I.T.T.'s there.  To the left and K.I.T.T.'s also
     there.

     ANGLE - WIDER

     Finally, Bernie decides the only way around K.I.T.T. is
     through him.  He backs up, facing K.I.T.T. who's parked in
     the driveway, the small lake in front of the house right 
     behind him.  Bernie slams the limo into drive, roars for
     K.I.T.T.

     ON K.I.T.T.

     K.I.T.T. activates "Oil Slick"...waiting for just the right
     moment, and then deftly backing up, out of the path of the
     oncoming car.

     ANGLE ON PAVEMENT

     The oil spreads as the limo races ahead.

     ANGLE ON BERNIE

     He slams on the brakes, to no avail.  His eyes go wide.

     ON THE LIMO

     as it sails past K.I.T.T. and into the pond, slowly
     settling into the muddy water.

     ON THE MANSION

     as Michael comes racing out, sees what K.I.T.T.'s managed
     to orchestrate.  He laughs, waves.

                               MICHAEL
               Nice going, pal!

     ANGLE TO INCLUDE K.I.T.T.

     his scanner flashing.

                               K.I.T.T.
               You can always bank on me, Michael.

     Hold on K.I.T.T. and Michael, with a big grin on his face,
     then:

                                              FADE OUT

                         END OF ACT FOUR

                               TAG

     FADE IN

     OMITTED

     EXT. LAUREN'S APARTMENT - DAY

     A moving van is parked in front of the apartment.  K.I.T.T.
     is nearby.  As two movers come struggling out under a heavy
     load of furniture, we see Michael and Lauren following them.

     ANGLE - CLOSER

     as they watch the movers load the things into the van.

                               MICHAEL
               It didn't take long for Nina to
               start singing like a canary.  She
               started at 'A' and went from there.
                      (smiling)
               There's half a dozen state and
               federal agencies lined up and
               waiting for a piece of Bernie
               Mitchell.

     Lauren nods, not really listening to Michael.  She's staring
     sadly, wistfully, at the movers.  She turns, stares at the
     apartment building.

                               LAUREN
               I remember when Rachel and I first
               moved in...we had such high hopes, 
               grand illusions....

                               MICHAEL
               Lauren, you didn't pick the wrong
               profession...just the wrong people.

     Michael puts his arm around her, gives her a little hug.

                               MICHAEL
               And you've got a new apartment, a 
               new agency...you are going to stay,
               aren't you?

     She looks up at him, smiles.  And nods.

                               LAUREN
               Will I see you again?

                               MICHAEL
               Unless you change your name and
               move to Okinawa.

     Lauren smiles her beautiful smile, hesitates a beat, then:

                               LAUREN
               Know what I really want -- now that
               we don't have to do things for effect
               anymore?

                               MICHAEL
               What?

                               LAUREN
               Do it for real.

     She leans over, lifts her face and kisses Michael.  And it's
     clear she's not acting.  And neither is Michael.  They
     share a moment after the kiss, ad-lib good-byes, then
     Lauren crosses to the movers.  Michael turns, moves to
     K.I.T.T.

     ANGLE ON K.I.T.T.

     where Michael is confronted by Mable and Maurice.  Mable
     shakes her pooper-scooper at Michael while Maurice growls
     malevolently at K.I.T.T.  K.I.T.T.'s scanner flashes with
     irritation.

                               MABLE
               Maurice and I reported you and that
               talking car to the authorities.

                               MICHAEL
               Talking car?  Cars don't talk...
                      (turning to
                       K.I.T.T.)
               ...do they?

                               K.I.T.T.
               Absolutely not.  No self-respecting
               car, that is.

     Michael grins, starts to get in the car.  Mable's stunned
     and Maurice furious.  He starts barking.  Suddenly, much to
     his surprise, K.I.T.T. barks back.  Loudly.  Maurice shuts
     up, even whimpers.  As the Trans Am pulls away from the curb,
     we hear:

                               MICHAEL'S VOICE
               Took the words right out of my mouth,
               pal.  Well put.

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

     As the Trans Am pulls off down the street, we:

                                              FADE OUT

                             THE END