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"MUSIC OF THE HEART" (aka Fifty Violins) an original screenplay by Pamela Gray SHOOTING DRAFT January 25, 1999 FADE IN: CREDITS OVER PHOTOS IN AN ALBUM The photos include a sepia-tone portrait of an Italian immigrant family... a b&w snapshot of ROBERTA, a nine-year- old girl playing violin in front of a refrigerator (1950)... ...Roberta and her dashing Italian father, hand-carving a wooden music stand... a b&w snapshot of Roberta in a communion dress... Roberta at 15, playing violin in front of the same refrigerator, eyes on the music stand... ...a color photo of two cute blonde little boys building a sandcastle on a beach... a color photo of a groom in a white naval uniform and his pretty bride, (Roberta at 25), her hand over his as they cut their wedding cake with a sword... ...a color photo of Roberta and her husband Greek dancing with another couple at an outdoor taverna. Roberta's husband and the other man's sexy wife are exchanging a slight smile... HOLD ON THIS LAST PHOTO as we now see the ALBUM open on the floor of a bedroom, as if it's been tossed. We are: INT. GUASPARI HOUSEHOLD, ROME, N. Y. - BEDROOM - DAY (1988) [WOMAN'S VOICE (O.S.)] Wake up, Roberta! We hear the sound of KNOCKING as the CAMERA PANS a small, darkened guest room. A few streaks of daylight filter through Venetian blinds. [WOMAN'S VOICE (O.S.)] Come on, Bert -- get out of bed! The CAMERA finds a WOMAN lying face down on a twin bed, thick wavy hair sprawled across her shoulders. [WOMAN'S VOICE (O.S.)] Please, Bert -- you need to get out of that bed. The KNOCKING continues, and she puts the pillow over the top of her head. END CREDITS INT. GUASPARI BEDROOM - DAY The WOMAN -- ROBERTA GUASPARI-DEMETRAS (38) -- retrieves the photo album from the floor, looks at a photo and removes it. She's a beautiful woman with large, expressive eyes, but right now she looks like hell. She stares at the photo -- it's the two couples dancing. A quick glimpse of hurt on her face, then her jaw tightens and she rips the picture in half. There's muffled talking outside the door, and then two young boys' voices. [BOY'S VOICE (O.S.)] Can you come out now, Mommy? Please? She puts the half with her and her husband on the dresser, then tears the woman off the other half and rips her into pieces. [BOY #2 (O.S.)] Mommy, Nick broke my crayon! [BOY #1 (O.S.)] Well, Lexi hit me and he almost broke... he almost broke my ear! O.S. arguing "I DID NOT!" "YES YOU DID!" "LIAR!" etc. As if that one action siphoned all her energy, Roberta returns to bed, gets into fetal position, and stares at a point beyond the wall, ignoring the O.S. voices. [WOMAN'S VOICE (O.S.)] Hear that? Your boys need you. EXT. GUASPARI HOUSE - DOORWAY - DAY ASSUNTA GUASPARI (58), Roberta's slender, tired Italian- American mother, stands in the doorway of a well-tended working-class home, addressing a young NAVAL OFFICER who holds a lengthy delivery inventory. It's a gray day with ominous storm clouds. Late 70's CARS are parked on the street. [ASSUNTA] But I have no room for this! [OFFICER] I'm sorry, M'am. We have orders to deliver these. Assunta looks beyond the man, dismayed. HER POV Large wooden CRATES cover her front lawn, and TWO MOVERS plant down another. They hurry back to the TRUCK, grabbing the next crate too quickly this time. It slips from their hands, CRASHES to the ground and splinters open. Several VIOLIN CASES spill out. The crate looks like it holds a whole lot more. BACK TO SCENE Instantly a second-story window is flung open, and Roberta sticks her head out, a hundred times more energized than we've seen her so far. [ROBERTA] Watch it, you idiots! Be careful with those! The men scramble to pick them up. Assunta looks at all the violins, then up at Roberta. [ASSUNTA] Why so many? Roberta disappears inside and slams the window shut. INT. GUASPARI LIVING ROOM - DAY The living room is filled with boxes shipped from Greece, labelled by the U.S. NAVY. And on the floor, in the middle of the boxes, are FIFTY VIOLIN CASES of various sizes, also with Greek and U.S. NAVY labels. NICK (7) and LEXI (5) climb over the boxes as if they were giant blocks. [NICK] (calling) Mommy, which box has our toys? INT. GUASPARI HALLWAY - CONTINUOUS ROBERTA'S on the phone, yelling at someone. She's still in the same ratty nightgown. [ROBERTA] Look, I know he's there, so quit lying to me!... Then check under Lana Holden -- Mrs. Lana Holden... Fine. Just tell Lieutenant Demetras that his wife called and -- ASSUNTA grabs the phone from her hand and hangs it up. [ROBERTA] Ma! [ASSUNTA] No. I want you to listen to me. You can't keep doing this to yourself -- or to the boys. They need their mother now. You're a beautiful, talented woman and you have your whole life ahead of you. [ROBERTA] If I'm so beautiful and talented, why did Charles leave me? [ASSUNTA] Because Charles is a big jerk. (beat) Now get dressed. She exits, leaving Roberta to mull over her words. INT. GUASPARI KITCHEN - DAY Coffee is brewing and homemade cinnamon rolls are cooling on a rack. We recognize the kitchen from the home movie footage. As Assunta clears the boys' breakfast dishes from the table, Roberta enters. She's dressed, but hasn't put on makeup or done much with her hair. It's a start. [ROBERTA] You really think Charles is a jerk? [ASSUNTA] From the day you married him. [ROBERTA] Why didn't you say something? [ASSUNTA] Since when do you listen to me? Roberta half-smiles, pours herself some coffee, then sits down at the table. [ROBERTA] (sighs, then) What am I gonna do? [ASSUNTA] First, you eat breakfast. Second, you go out and get a job -- any job. Your boys, god-bless-em, are good eaters -- but I can't afford it. [ROBERTA] Mama, he's gonna get tired of her -- you'll see. Assunta's face shows she's doubtful about this. [ASSUNTA] Well in the meantime, get a job. INT. DEPARTMENT STORE - GIFT WRAP COUNTER - ROME, N.Y. - DAY Roberta is behind the counter, meticulously wrapping a present with ribbons, bows and stickers. At one point she even unties a ribbon and redoes it because it's not perfect. She looks pretty, but she's dressed conservatively, like a navy housewife. There's only one other clerk wrapping gifts and a long line of impatient customers. A male SUPERVISOR appears behind Roberta. [SUPERVISOR] Just wrap. You're not Picasso. He exits, and Roberta quickly tries to finish her task. [MALE VOICE (O.S.)] Picasso would probably put the bows on the back of the box. Roberta looks up to find BRIAN TURNER (40), a handsome, sexy guy with longish hair and a beat-up leather jacket. [ROBERTA] Brian Turner? [BRIAN] Hello, Roberta. [ROBERTA] I thought you moved away. [BRIAN] I did. I'm in town for my Mom's birthday. He holds out his hand. Roberta misunderstands the gesture and tries to shake his hand. [BRIAN] No -- that's her gift. [ROBERTA] (embarrassed) Oh! Sorry. Roberta hands him the gift she's been wrapping. [BRIAN] It looks very pretty. [ROBERTA] Thank you. (beat) I heard you had a book published. I didn't read it but... [BRIAN] That's O.K. My parents didn't read it either. It looks good on their coffee table, though. Roberta smiles. [BRIAN] So what are you doing here? I thought you'd be in Carnegie Hall by now. HOLD ON ROBERTA as she takes this in. INT. COFFEE SHOP - ROME, N.Y. - DAY Roberta sits opposite Brian. Her lunch is untouched. [ROBERTA] My college professors said it was too late -- I hadn't had enough training to be a concert violinist. So I got a teaching degree instead. [BRIAN] I'll bet you're a great teacher. [ROBERTA] I think I am. It's just that... (sighs) See, every time I'd get started somewhere, Charles would be transferred... then I had my kids and took time off to raise them... and then when I decided to teach again, no one would hire me 'cause you can't count on a navy wife to stick around. I finally decided I'd start my own program -- Charles gave me the money and I bought fifty violins from this little Greek shop -- got started at a private school and then... [BRIAN] Your husband ran off with your best friend. A beat. [ROBERTA] She wasn't my "best" friend. She was a friend. (beat) Charles is the last person you'd think would cheat on me -- he never broke a rule... (a few beats) I wake up one night -- it's like one in the morning -- and he's not in bed. I go outside and our neighbor -- this old Greek guy -- is sitting out there, smoking a cigar, so I ask if he's seen my husband. "He's taking a walk with the other officer's wife," he says. "He takes a walk every night with the other officer's wife." A beat as she gets lost in the memory. She takes a bite of a french fry. [ROBERTA] God, these are cold. [BRIAN] So you're just gonna wrap presents and wait for him to come back? [ROBERTA] You sound like my mother. [BRIAN] That's not very sexy. [ROBERTA] Are you trying to be sexy or be my friend? [BRIAN] A little of both. Roberta smiles, blushing a bit. Brian looks at her, getting an idea. [BRIAN] You know, I know this really cool lady who runs this elementary school -- I wrote a piece on her. It's a public school, but it's alternative -- she might be able to create some kind of gig for you. Let me give her a call. [ROBERTA] Great! [BRIAN] (takes his last bite of sandwich) If she hires you, though, you have to be willing to relocate. [ROBERTA] Where is it? EXT. SPANISH HARLEM, NEW YORK CITY - TRAVELLING SHOT - DAY A SALSA SONG PLAYS OVER as we see stores with Spanish names and signs; Black and Latino elementary school children walking home from school; some burned-out buildings; Black and Latino teens playing basketball on a cement court; Spanish graffiti on walls; elderly women buying fruit at a produce stand. PULL BACK TO REVEAL this is the POV of Roberta from the back seat of a cab. The SALSA SONG plays on the cab's radio. Roberta looks scared shitless. Suddenly, two YOUNG MEN flash down the middle of the street, dart IN FRONT of the cab and the driver SLAMS on the brakes, jerking Roberta forward. [TAXI DRIVER] Welcome to East Harlem. EXT. CENTRAL PARK EAST ELEMENTARY SCHOOL (CPE 1) - EAST HARLEM - ESTABLISHING - DAY INT. JANET WILLIAMS' OFFICE - DAY JANET WILLIAMS, a Black woman (40's) with a kind face, sits behind her desk and looks at Roberta's resume. A sign on her desk indicates that she's the DIRECTOR. Also on the desk is a FRAMED PICTURE of Janet, her husband, daughter (14), and son (12). Roberta sits nervously in the chair opposite her. [JANET] (looking at resume) Aside from half a term in a private school -- in Greece -- and a year teaching chorus in Hawaii -- ten years ago -- it doesn't look like you've had any other teaching experience. [ROBERTA] Well, not traditional teaching experience. I've been doing private lessons... Janet looks for this on the resume. [ROBERTA] It's not on there... I taught my sons. Janet smiles politely. [JANET] I'd like to help you, Mrs. Demetras. Brian spoke highly of you and I told him I'd consider starting a violin class... But without the proper qualifications, and without any experience in an inner city school... Roberta nods, defeated. [JANET] I'm very sorry. INT. CPE 1 - HALLWAY - DAY Roberta stands outside Janet's office, dejectedly watching the children noisily running through the hall. INT. AREA OUTSIDE JANET WILLIAMS' OFFICE - THE NEXT DAY Roberta knocks on Janet's door. [JANET (O.S.)] Yes? As Roberta opens the door, we see that Nick and Lexi are with her. All three have violins. INSIDE, Janet's in conversation with DENNIS RAUSCH (38), an uptight man with a tie that doesn't match his suit jacket. He's showing Janet a large scheduling chart. [ROBERTA] I'm sorry to interrupt, but I wanted you to meet my sons -- Nick, Lexi... They enter. INT. JANET'S OFFICE - CONTINUOUS Janet smiles at the boys, but clearly thinks Roberta's a little off. Roberta holds her hand out to Dennis. [ROBERTA] Roberta Guaspari-Demetras. Dennis shakes her hand, regarding her warily. [JANET] This is Dennis Rausch, our music teacher and program coordinator. (beat) Mrs. Demetras, didn't I make things clear yesterday? [ROBERTA] If I could just show you something -- it'll only take a minute. Before Janet can answer, Roberta and the kids quickly take out their violins and get into position. Janet and Dennis exchange a look. [DENNIS] Are we having a talent show? I should have brought my tap shoes. Roberta ignores the jab, then nods to the boys. The three of them begin an incredibly impressive violin trio, playing an ETUDE in three-part harmony. For the first measures, Janet's still annoyed by the intrusion, but she's quickly won over. Dennis watches impassively. Roberta and the boys finish their piece; Janet applauds and Dennis joins in to be polite. The three take bows. A beat. [LEXI] Will you hire her now? Janet laughs, then gestures for them to sit. [JANET] How long have you boys been playing? [NICK] Since I was three. [LEXI] (contemplates, then) Maybe since I was three and a half. [JANET] Your mom must be a good teacher. [NICK] (shrugs) She's O.K. Roberta gives Nick a look, but Janet smiles. [JANET] (to Roberta) If you could teach our students to play like that, I'd be thrilled, but -- [ROBERTA] I can. Any child can learn the violin. [DENNIS] Assuming they had the discipline. [ROBERTA] I'll teach them to have discipline. [JANET] A lot of our parents are struggling to feed their kids and pay the rent -- they don't have time to help them learn violin. [ROBERTA] They don't have to. If they can help, great -- but these kids will be committed. They'll practice on their own, they'll help each other in the classroom -- Dennis laughs. Roberta looks at him, a bit miffed. [DENNIS] (with an edge) I think I know these students, Miss Demetras. Their attention span doesn't go past do-re-mi. Maybe on a good day, I can get them to "fa." [ROBERTA] You're underestimating them. They can play as well as any other kids. [DENNIS] That I'd like to see. [ROBERTA] You will. A beat. Janet observes the tension, then turns to Roberta. [JANET] (to Roberta) For now I'll put you down as a sub, but I have to warn you -- even if it works out, the Board may not let me create a permanent position for you. [ROBERTA] That's O.K. I'll worry about that later. (with a grateful look) Thank you. We see relief -- and fear -- in Roberta's face. [DENNIS] (to Janet) Well, I've already planned out the whole term, and I can tell you right now, there's no room for this! Besides, where you gonna find money for violins? [ROBERTA] You need violins? INT. MUSIC ROOM - DAY In a noisy music room with bad acoustics, Roberta tries to take control of fifty kids, third through fifth-graders, who are in a state of manic excitement over the FIFTY VIOLIN CASES on the floor. [ROBERTA] (gently) Please do not open the cases, O.K.? They ignore her. [ROBERTA] Look, can everyone just settle down and listen to me -- please? ANGLE - Three girls open their cases. [ROBERTA] (starting to lose it) Keep them closed! Please. ANGLE - Two boys open their cases. [ROBERTA] (to the boys) Did you hear what I just said? ANGLE - Three kids are using the violin cases as pretend machine guns -- and shooting each other. [ROBERTA] Put those down, please! ANGLE - A boy and a girl are having a "sword fight" with their bows. [ROBERTA] (to the fencers) Don't do that! Put the bows back in the cases -- right now! There's the SOUND of violin strings being plucked. [ROBERTA] Who's plucking? Roberta wheels around to find a girl plucking her violin like a banjo, and doing a little dance. This is LUCY, a skinny Puerto Rican girl in perpetual motion. [ROBERTA] What have I been saying? Put that away! Back in the case! Roberta takes a breath. The kids settle down a bit. [ROBERTA] O.K. Thank you. That's much better. (takes another breath) I'll be dividing you into five classes, but for today -- ANGLE - A boy plays "bongos" on his violin case. [ROBERTA] O.K. -- that's it! You! Stand up! The bongo player stands. [ROBERTA] You will be the first student who will NOT be in my violin class. Out! The child looks stunned. [ROBERTA] I said OUT! With a sheepish expression, he exits. The room is finally quiet -- and Roberta's amazed that something worked. She puffs up a little bit, enjoying the feeling of control. [ROBERTA] Who else would like to be kicked out of my class? The students stare at her, afraid of her now. DE SEAN, a small but tough Black boy, raises his hand. [ROBERTA] Are you raising your hand because you want to be kicked out? [DE SEAN] Yeah. [ROBERTA] Why? [DE SEAN] I don't wanna learn no stupid violin. It's for wimps. [ROBERTA] Who told you that? [DE SEAN] I just know. [ROBERTA] What's your name? [BOY] De Sean. [ROBERTA] Well, De Sean -- you haven't given me a good enough reason, so you're staying. She looks around the room. [ROBERTA] Anyone else? Silence. INT. MUSIC ROOM - LATER In front of the class, Roberta helps NAEEM, a graceful Black boy, hold the violin. He has a serious expression and a scar on his left cheek. Roberta controls the bow and fingerboard, but it appears that the boy is playing music. He smiles. [NAEEM] Hey, I play pretty good. Roberta laughs. [ROBERTA] (to Naeem) See how easy it is? (to the class) Maybe in the spring, we could have a big concert for your families and for the whole school. (to the boy) What's your name? [NAEEM] Naeem. Roberta writes in a notebook and we see that she's measuring for violin sizes. [ROBERTA] (to class) If you listen to me and do exactly what I say, you're gonna sound beautiful at the concert and you're gonna be so proud of yourselves. (to Naeem) Good, Naeem. Your hand's staying soft. (to the class) But if you don't listen to me, you'll sound so bad that your own parents will feel sick when they hear you. They might even throw up. ON THE KIDS, not used to a teacher speaking like that. INT. BRIAN'S APARTMENT - LIVING ROOM - NIGHT A funky apartment on the Upper West Side. Nick and Lexi are both asleep in sleeping bags on top of a futon on the floor, their suitcases nearby. Brian tiptoes past them, carrying two glasses of champagne. He knocks on his office door. [ROBERTA (O.S.)] Come in. INT. BRIAN'S APARTMENT - OFFICE - CONTINUOUS Roberta's in a bathrobe and nightgown, some rollers in her hair. She's tidying up her suitcase, etc., next to an old couch that's been made up as a bed. Leftist political books line a shelf above Brian's desk, including copies of his own, TO HELL AND BACK: INTERVIEWS WITH VIETNAM VETS by BRIAN TURNER. His desk is covered with files and books pertaining to MIGRANT WORKERS. Brian enters. [ROBERTA] (referring to champagne) What's this? [BRIAN] It's a toast. (giving her a glass, holding his up) To Roberta, who's made it through her first week. They clink glasses and drink. [ROBERTA] I don't know, Brian. I'm hanging on by a thread there. Out of fifty kids, maybe six are listening to me. [BRIAN] Look at the progress. Didn't you say no one was listening to you on Monday? Roberta laughs. [ROBERTA] I really appreciate all you've done for us. And I promise -- this weekend I'll start looking for a place. [BRIAN] There's no rush. [ROBERTA] No, we've put you out enough. You're supposed to be writing, not babysitting for us. (crosses to his desk, flips through his Vietnam book) I've started your book. It's very powerful. [BRIAN] Thank you. Brian comes up behind her and starts to kiss her neck. Roberta's scared -- so she keeps talking, as if it's not really happening. [ROBERTA] So what made you choose migrant workers for your next book? I mean, how do you know what to write about? [BRIAN] (kissing her neck) I follow my gut, pay attention to what I'm being drawn to... Roberta's aroused, in spite of herself. She turns around and faces him. [ROBERTA] What are you doing? [BRIAN] I've been waiting to do that since Mr. Baines' orchestra class. [ROBERTA] You didn't even notice me! [BRIAN] Sure I did. You used to ignore me and it drove me wild. [ROBERTA] You had at least five different girlfriends. [BRIAN] It didn't mean I had the one I wanted. He gives her a flirtatious smile, then takes out one of her rollers. [BRIAN] You're not a navy wife anymore... He moves to takes out another roller and Roberta stops him. [ROBERTA] Yes I am... legally. [BRIAN] And is it a navy requirement that you dress like it's the 1950's? [ROBERTA] I do not! [BRIAN] (goading her) Who did you vote for in the last election? [ROBERTA] What does that have to do with anything? [BRIAN] Tell me. [ROBERTA] (hesitates, then) I don't know. Charles filled out my absentee ballot. [BRIAN] Oh my God -- it's even worse than I thought! (touching her hair) Is this the same Roberta who got the orchestra to strike until they gave us new uniforms? She laughs wistfully, then looks a little sad. [ROBERTA] That Roberta's not around anymore. He pulls her towards him by the belt to her robe. [BRIAN] I don't believe that. They kiss and it heats up quickly. Roberta pulls back. [ROBERTA] I shouldn't. [BRIAN] Because? [ROBERTA] The boys -- [BRIAN] They're sleeping. [ROBERTA] I know, but... I'm still married. [BRIAN] And what's your husband doing right now? A few beats, and she moves towards him. INT. BRIAN'S BEDROOM - DAY Sun streams into the room as Roberta awakens in Brian's bed, a look of afterglow on her face. She suddenly remembers where she is, and quickly looks at the clock. [ROBERTA] Oh shit -- the boys. [BRIAN (O.S.)] They're still sleeping. She turns, relieved, until she sees that Brian's packing a suitcase. [ROBERTA] Where are you going? [BRIAN] Texas. He dashes out. Roberta sits up, rattled by this news. INT. BRIAN'S OFFICE - DAY Brian excitedly gathers papers and files scattered around his electric typewriter. [ROBERTA (O.S.)] What's in Texas? He turns to see Roberta in the doorway. [BRIAN] Farm workers. I just got the call -- it came through -- my research grant! It came through! Isn't that great? [ROBERTA] Today? He places items into a carry-on bag, packing at a rapid clip. In contrast, Roberta seems to be moving in slow motion. [BRIAN] I've got a few families lined up there, some in California -- [ROBERTA] How long will you be gone? [BRIAN] Two, three months. [ROBERTA] What? INT. BRIAN'S BATHROOM - DAY Brian throws toiletries into a plastic bag. Roberta enters. [ROBERTA] I thought... I just thought you were gonna be around. And then last night -- He stops what he's doing and looks at her. [BRIAN] Whoa. Roberta -- last night was great but did you think I was gonna marry you in the morning? [ROBERTA] No! Of course not. We see in her face that part of her did think that. [ROBERTA] It's just that... we just got here and we're barely... I don't even know where to buy groceries. Brian softens as he sees how vulnerable she is. He takes her in his arms. [BRIAN] You're gonna be fine. You have a job, a place to stay, your kids have a school to go to -- and there's a D'Agostino's around the corner. She attempts a smile. [ROBERTA] Congratulations. He kisses her forehead, then exits. HOLD ON ROBERTA, looking hurt and frightened. INT. MUSIC ROOM - DAY Roberta rosins her bow, standing in front of ten kids -- third through fifth-grade -- who sit on the floor next to their violin cases. The kids are Black and Latino, with a couple of white faces. They're all talking and ignoring Roberta except for NAEEM and GUADALUPE, a petite Mexican girl with a long dark braid. [NOTE: We'll see other violin students from time to time, but this is the class we'll follow for Roberta's first year] [ROBERTA] And what am I doing now? [NAEEM/GUADALUPE] Rosining the bow. [ROBERTA] Good. And what am I doing when I turn this little screw? (raising her voice) Everyone stop talking. Right now! The kids quiet down. Only Naeem raises his hand. [ROBERTA] Naeem? [NAEEM] Tightening the horse hair. [ROBERTA] (touches the heel of the bow) And what do we call this? Again, only Naeem raises his hand. Roberta sees him but turns to DE SEAN, who's talking to his neighbor. [ROBERTA] De Sean? [DE SEAN] Yeah? [ROBERTA] What do we call this? [DE SEAN] I don't know. [ROBERTA] Why not? [DE SEAN] I wasn't here. [ROBERTA] Yes you were but you weren't paying attention! Do you want people to think you're stupid? This makes De Sean blush -- and it pisses him off. [ROBERTA] All right, Naeem -- tell them. [NAEEM] It's called the frog. Some kids giggle and joke about this. Roberta points to the scroll of the violin. [ROBERTA] Anyone remember what this is? LUCY, the fidgety girl, snaps her fingers. [ROBERTA] Lucy! Do you like people snapping their fingers when you're talking? [LUCY] Yeah! The kids laugh. Roberta doesn't. She points to the scroll. [ROBERTA] What is this called? [LUCY] The jeri curl? Roberta laughs, even though she's trying to be tough. INT. DENNIS' MUSIC CLASSROOM - DAY Dennis's twenty students play recorder in rows of attached theatre-style seats. Dennis sits at his desk, a METRONOME ticking, and apathetically leads them in scales, using a red pen as a baton. He keeps one eye on a stack of quizzes that he's marking, stopping to circle mistakes with the pen. [DENNIS] C-C-C-C, D-D-D-D, E-E-E-E... ANGLE - Roberta stands in the hallway at the open door, dismayed by Dennis' uninspired teaching. She enters and crosses to Dennis, speaking quietly to him. [ROBERTA] Excuse me -- sorry to interrupt -- The students immediately start to chatter. [DENNIS] No talking! He looks back at Roberta, annoyed by her intrusion. [ROBERTA] I'm supposed to take kids out of Miss Cooper's classroom for my ten o'clock class -- there's nobody there. [DENNIS] Miss Cooper's students have phys ed on Tuesdays. [ROBERTA] But you scheduled them for violin. [DENNIS] You must have read the schedule wrong. [ROBERTA] (trying to remain polite) I don't think so. [DENNIS] Well, I can't solve this problem for you right now. (nods to his class) I'm trying to teach. [ROBERTA] So am I. She exits. INT. BRIAN'S BEDROOM - NIGHT Lexi and Nick are in Brian's bed. Roberta's tucking in Lexi; he holds a toy truck with Greek writing on it. [LEXI] Can I bring a puppy for show and tell tomorrow? [ROBERTA] Honey, we don't have a puppy. [NICK] Daddy said we could get one when we moved back to America. Roberta looks at Nick, then turns back to Lexi. [ROBERTA] How about your truck? I'll bet you're the only one in school with a truck from Greece. [NICK] When's Daddy coming back? Roberta turns to Nick and tucks him in. [ROBERTA] Well, he's still on his tour, so we'll just have to see but... It shouldn't be too much longer. [LEXI] Is he gonna live with us and Brian? [ROBERTA] No, honey. We're just staying at Brian's house for a little while. She turns back to Nick who looks worried. She kisses him. [ROBERTA] Good night, sweetie. She kisses Lexi, then reaches to turn off the lamp. [NICK] No! Leave it on. Roberta nods, smiles at her sons, and exits. INT. MUSIC ROOM - DAY Nine children stand, violins under their right arms, bows hanging down from their right hands, and try to position their feet as Roberta addresses them. [ROBERTA] Now take the right foot and put it on a tile. Good. Now with the other foot take a tiny step forward and put it on a line. Try to make a box with your feet -- She walks over to BENJAMIN, a white boy with glasses, and corrects his feet. She sees Lucy dancing in place. [ROBERTA] Lucy! Would you like to leave the class right now? Lucy nods, giggling. Roberta walks down the row of students. [ROBERTA] You should feel very strong -- so strong and balanced that if I wanted to knock you over I couldn't. She crosses to TANISHA, a sweet-natured Black girl with her hair in tiny braids, and gently pushes her belly. [ROBERTA] You see? If you're standing strong, I can't even push you. Roberta turns to De Sean, who's talking to JAMES, a pudgy Black/Puerto Rican boy. [ROBERTA] De Sean! James! Quiet! (as she crosses to another student) Does anyone know where Naeem is? [TANISHA] I saw him this morning but he's not here. [ROBERTA] Yes, I know he's not here -- that's why I'm asking. She gently pushes Guadalupe's belly. The girl stumbles back. [ROBERTA] See how I pushed you? It means your feet aren't centered. Guadalupe tries to correct her feet. Roberta bends down to help and sees that the little girl wears LEG BRACES under her pants. Roberta stands and gestures to one of the boys. [ROBERTA] Can you bring over a chair? (to Guadalupe) It's probably better for you to sit. The boy brings the chair. Guadalupe sits, embarrassed. EXT. SCHOOL YARD - DAY Roberta walks through a school yard filled with kids and parents picking them up. She sees Naeem and crosses to him. [ROBERTA] Where were you today, Naeem? [NAEEM] I can't be in violin class anymore. [ROBERTA] Why not? [NAEEM] My mother won't let me. [ROBERTA] What? NAEEM'S MOTHER, MRS. ADISA, steps INTO FRAME. She's an attractive Black woman in a dress and head scarf made of African fabric. [MRS. ADISA] My son's got more important things to do than learn dead white men's music. [ROBERTA] They're gonna learn "Twinkle Twinkle Little Star"! [MRS. ADISA] How many Black classical composers can you name? How many Black classical violinists do you know? [ROBERTA] That doesn't mean it's the way it should be. Naeem's learning to play music -- and that makes him feel good about himself. Why should it matter who wrote it? [NAEEM] Please, Mom? Can't I be in the class? Mrs. Adisa puts a protective arm around her son, then addresses Roberta. [MRS. ADISA] Look. I've seen this before. You white women come up here and think you can rescue our poor inner city children who never asked to be rescued in the first place. No thank you. She walks off with Naeem. He glances back at Roberta, then turns away quickly. Roberta watches after them. INT. BRIAN'S LIVING ROOM - NIGHT Roberta attempts to read Brian's book, To Hell and Back: Interviews with Vietnam Vets, but she's distracted. She glances at her purse, then back to the book. She puts the book down and dials the phone. [ROBERTA] Brian Turner's room, please. While she waits, she looks at Brian's picture on the book jacket. There's no answer and she hangs up. She starts to straighten the already clean room, then gets her purse, takes out her wallet, and opens it to the plastic covered pictures. INSERT - PICTURES Charles in uniform; a studio shot of the boys when they were 3 and 1; the whole family posed on the terrace of their home in Greece, a view of the ocean behind them. BACK TO ROBERTA She's really depressed herself now. INT. CLASSROOM - DAY ALICE CROWLEY (50's), a no-nonsense Black teacher, shows her fifth-graders a globe. She doesn't turn as Roberta enters and crosses to her. In the b.g. we see ROBERTA'S STUDENTS waiting in THE HALL. [ALICE] And which ocean is this? Kids simultaneously yell out "ATLANTIC" and "PACIFIC." [ROBERTA] Excuse me... I'm here for the violin students. [ALICE] (icy) You're late. [ROBERTA] Just a couple of minutes -- I'm sorry. [ALICE] They're having a lesson now. [ROBERTA] But this is when they have violin class! [ALICE] That's not my problem. Roberta's reluctant to argue in front of the kids; she exits. EXT. SCHOOL YARD - DAY Lots of noise and chaos as kids run wild during lunch recess. Janet rushes through the throngs while Roberta tries to keep up. [ROBERTA] I thought all the teachers agreed to this. [JANET] In theory. (to a student) Adam! I want you in my office right after lunch, you understand? [ADAM] What'd I do? [JANET] Think about it! (to Roberta) Whenever you pull kids out, it's a disruption, plus it's extra work for the teacher 'cause they have to fill the kids in on what they missed. Some teachers resent it. [ROBERTA] Well, can't you talk to them? Janet stops walking and pulls a box cutter out of her pocket. [JANET] I took this off a second-grader this morning. I'll help you Roberta -- but I can't hold your hand here. Janet starts to walk away, then turns. [JANET] A word of advice? When you're picking up your students, go to Alice's classroom first. Roberta stands there as Janet walks on ahead. INT. MUSIC ROOM - DAY The nine children hold their violins in position as Roberta addresses them. [ROBERTA] So pretend you're driving a car and I'm the policeman and I say STOP! Thumb up, fingers straight up, flat palm. Now you be policemen, but turn your hand and make it say stop to yourself. ON THE CHILDREN, attempting this. She walks around and helps. [DE SEAN] (to himself) You're under arrest. Some kids crack up and start joking and chatting. [ROBERTA] Knock it off, De Sean! (to all) If you kids can't take this seriously, I don't want you here. I'm teaching you a difficult instrument because I respect you and have faith that you can learn it. But none of that matters if you don't have respect for yourself. Some of the children think about what she's saying. A couple, uncomfortable with the intensity, hold back giggles. [ROBERTA] Now turn your wrist so it's flat against the fingerboard, and that's how you'll set up your hand... Roberta sees Guadalupe struggling. [ROBERTA] Guadalupe! You've got the violin in the wrong hand! How did that happen? Embarrassed, Guadalupe corrects her position. INT. BRIAN'S KITCHEN - NIGHT At the small kitchen table, Nick does homework and Lexi puts stickers in a sticker book. Roberta's cooking dinner; she grabs a potholder and checks on a bubbling lasagna in the oven. The PHONE RINGS and she answers it. [ROBERTA] Hello? [CHARLES (O.S.)] Hello, Bobbi. Her face falls as she hears the voice. She holds onto the counter to steady herself. [ROBERTA] Where are you? [CHARLES (O.S.)] (calm, detached) I'm back in the States. I'm at my parents. Roberta closes the oven and gathers her courage. [ROBERTA] Are you still with her? A beat. [CHARLES (O.S.)] No. We watch Roberta's body collapse into a sense of overwhelming relief. FOLLOW HER as she steps into THE HALLWAY, then stretches the phone into: INT. BRIAN'S BATHROOM - CONTINUOUS She half-closes the door, leans against the sink and starts to cry. [ROBERTA] (through tears) We've missed you so much, Charles. The boys... they can't wait for you to come home... I know we'll have a lot to work out and it won't be easy right away, but we're gonna get through this, you know? We're a family and we belong together and -- [CHARLES (O.S.)] (more emotive than before) Bobbi -- stop, O.K.? Just stop. Roberta looks as if she's been slapped. A beat. [CHARLES (O.S.)] I want a divorce. [ROBERTA] What? Silence. [ROBERTA] But you said... you and Lana... you said it was over. [CHARLES (O.S.)] It is. (beat) It's over between us too, Bobbi. HOLD ON ROBERTA, devastated. ANGLE on NICK, watching her through the door. INT. BRIAN'S HOTEL ROOM, TEXAS - NIGHT Brian's on the phone with Roberta. He's in a t-shirt and sweats, and his papers are scattered on the bed. [ROBERTA (O.S.)] He wouldn't even talk about it! No explanations, no discussion... INTERCUT Roberta in Brian's living room. She's extremely agitated and her eyes are puffy from crying. [BRIAN] I can't believe you were still holding out hope. The guy hasn't called you or the kids in three months -- I thought you'd moved on. [ROBERTA] I never said that. [BRIAN] No? Maybe not with words. This embarrasses her, then pisses her off. [ROBERTA] You know what? I shouldn't have called you. This was a mistake. [BRIAN] No, no -- I'm sorry. Look, I know it hurts, but you're gonna get through this, Roberta -- you will. [ROBERTA] I'm moving back to my Mom's. [BRIAN] What? You're gonna quit teaching in the middle of the term? [ROBERTA] I don't fit in there -- I'm not making any progress with the kids... [BRIAN] What are you gonna tell Janet -- your husband left you and nothing else matters? [ROBERTA] I don't know yet. INT. BRIAN'S LIVING ROOM - NIGHT Roberta lies awake on the futon, heartbroken. INT. BRIAN'S BEDROOM - NIGHT Roberta stands and watches Nick and Lexi sleep. She lies down beside them and closes her eyes. INT. SCHOOL HALLWAY - DAY Roberta walks through crowds of kids towards Janet who's in the middle of confronting a boy student. Janet holds a FIFTY- DOLLAR BILL. Roberta hangs back and waits for a chance to speak. [BOY] My mother gave it to me. [JANET] Why would she give you fifty dollars? [BOY] To buy breakfast. Janet gives him a stern look. [JANET] Do you know how hard your mother works? Do you think it's right for you steal from her? [BOY] I didn't! [JANET] Well let's go call her right now and ask her. As Janet turns to walk off, Roberta crosses to her. [ROBERTA] I need to speak to you. It's important. [JANET] It'll have to wait. (to the boy) Come on. In my office. Roberta watches as Janet dashes off with the boy in tow. INT. MUSIC ROOM - DAY Guadalupe sits on a chair in the empty room, struggling to set up her violin. Roberta enters, surprised to see her. [ROBERTA] Guadalupe? What are you doing here? [GUADALUPE] I can't get the stop sign. [ROBERTA] Honey, your teacher's probably looking for you. Guadalupe sighs, then hands Roberta the violin. [GUADALUPE] I can't come anymore. It's too hard. [ROBERTA] The violin is hard for everyone. [GUADALUPE] But everyone else is better than me. I'll always be slow. Roberta looks at her sadly and puts the violin in its case. [ROBERTA] Did you ever hear of Itzhak Perlman? [GUADALUPE] No. [ROBERTA] He's one of the greatest violinists in the world, and he has problems with his legs too. He walks with two canes -- but he still makes the most beautiful music. [GUADALUPE] And he sits down when he plays? [ROBERTA] He has to. Guadalupe takes this in. [GUADALUPE] He was your student? Roberta laughs. [ROBERTA] No. But if he was, I'd tell him the same thing I'm telling you. You shouldn't quit something just because it's hard. [GUADALUPE] But I can't stand strong. [ROBERTA] Standing strong doesn't only mean using your legs. You can stand strong on the inside too. (beat) Know what I mean? Guadalupe nods. Roberta holds out the violin case. Guadalupe lunges forward and hugs her around the waist. Roberta awkwardly accepts the hug, startled and touched by it, and strokes the girl's hair. Guadalupe lets go, takes the violin and exits. HOLD ON ROBERTA as she absorbs what just happened. JANET pokes her head into the room. [JANET] You wanted to speak to me? [ROBERTA] Oh. Umm -- that's O.K. It's taken care of. Janet looks at her curiously, then exits. INT. EMPTY APARTMENT - EAST HARLEM - DAY Roberta walks around an empty, rundown apartment, her expression somber. Crayon markings on the walls, cigarette burns on the floors, a filthy bathroom and kitchen. An older Puerto Rican woman stands back as Roberta inspects the place. Roberta wipes grease off one of the windows. [LANDLADY] Is just for you and your boys? [ROBERTA] Yes. [LANDLADY] No husband? No boyfriend? A beat. [ROBERTA] No. EXT. SCHOOL YARD - LUNCH RECESS - DAY Roberta enters the yard from inside the school. It's filled with kids playing, including Nick and Lexi. She waves to them and Lexi runs up to her, carrying a piece of artwork. [LEXI] Look what I made you, Mommy! He gives her a tempera PAINTING of a man's face, the background decorated with glued-on macaroni. It says DADDY. [ROBERTA] (covering her discomfort) That is so beautiful! He runs off. Roberta exhales, sits down alone on a bench and takes out her lunch. She smiles at ALICE CROWLEY and another TEACHER but they cross to another bench. ISABEL VASQUEZ (25) approaches, a lively Puerto Rican woman with a strong New York accent. [ISABEL] Whatsa matter -- you got cooties? [ROBERTA] Apparently. [ISABEL] I'll take my chances. (extends a hand) Isabel Vasquez. Second grade. [ROBERTA] Roberta Demetras. I'm the -- [ISABEL] Violin teacher. I know. She sits down beside Roberta, takes out her lunch. [ROBERTA] Is it my imagination, or does everyone hate me? [ISABEL] It's hard to fit in when you're doing a special program. People figure you're not gonna be here very long, so why make the effort? (beat) It may take a while for folks to warm up, but nobody hates you. [ROBERTA] (sotto) What about Alice Crowley? [ISABEL] (sotto) A) she thinks the violin's a waste of time... and B) -- she's a bitch. Roberta laughs. [ROBERTA] And then there's Dennis. [ISABEL] The Music Man. You've had the bodacity to threaten his private little empire -- not to mention the fact that you messed up his sacred scheduling chart. [ROBERTA] How come you're being nice to me? [ISABEL] Ulterior motives. I want my daughter in your class next year. Roberta smiles. [ROBERTA] If I'm here next year. [ISABEL] You will be. INT. ROBERTA'S NEW APARTMENT - LIVING ROOM - NIGHT LEXI'S PAINTING is on the wall, along with a crayon drawing of himself, Roberta, and Nick in front of a house. ANGLE - ROBERTA looks out the window. She's gotten some used furniture, cleaned the place, and it's less depressing. ROBERTA'S POV OUT THE WINDOW On the street below, three prostitutes stand at the corner. Two men sit on a stoop, smoking a joint, and in a parked car, three men seem to be making a drug deal. One of the buildings on the street is burned out, missing a front door. BACK TO SCENE Nick, in his pajamas, enters and crosses to his mother. She smiles at him and they both look out the window. [NICK] In Greece, we could see the ocean. Remember? [ROBERTA] I remember. And the fishing boats... [NICK] And the octopuses. Roberta smiles and puts her arm around him. [NICK] Is Daddy coming here soon? Roberta tenses up. [ROBERTA] Well, that's something I've been wanting to talk to you about. Daddy's not gonna live with us anymore. You and Lexi will have special times when you stay with him, like at Christmas. A beat. [NICK] Can you tell the birthday story? Roberta looks at him, concerned that he's not responding to her news. [ROBERTA] Don't you want to talk about what I told you? [NICK] I want to hear the birthday story. A beat as she contemplates whether to push or not, then: [ROBERTA] It was the day of Grandpa's birthday, and I was sad because he had died a few months back. [NICK] But you knew I'd be born that day. [ROBERTA] So I packed a bag and got all ready -- [NICK] And Daddy laughed. [ROBERTA] I said, "It's my father's birthday, and the baby's gonna be born today." [NICK] He didn't believe you. But I was born. The same day as Grandpa. [ROBERTA] It was a happy day. [NICK] Was Daddy happy too? She looks at him, taken aback by the question. [ROBERTA] Of course he was. [NICK] Then why is he leaving me? Roberta, overcome with emotion, can barely answer. [ROBERTA] He's not leaving you, Nick. He loves you and Lexi very much. [NICK] Then why can't he live here? [ROBERTA] (struggling) It's very hard to explain... Sometimes things happen between grown-ups... and they just can't be together. The CAMERA moves behind them as they continue to look out the window, and we see Nick move away from his mother. INT. MUSIC ROOM - DAY The kids play "Twinkle Twinkle Little Star" and they sound awful. Roberta looks disgusted as she leads them. [ROBERTA] Slow bows! Slow bows! Don't squeeze! Stop! Everybody stop! (to De Sean) How much did you practice this week? [DE SEAN] My asthma -- it was very bad and I had to go to the hospital. [ROBERTA] Again? You told me you went to the hospital last week. [DE SEAN] Oh yeah. Maybe it was last week. Roberta rolls her eyes, then turns to Lucy. [ROBERTA] Lucy -- you sounded the worst of all. Have you practiced? [LUCY] No. [ROBERTA] Why not? You can't be in this class if you don't practice! [LUCY] My grandma got mugged. A beat. [ROBERTA] Oh. I'm sorry. Is she O.K.? [LUCY] She died. Roberta stands there, sobered. [ROBERTA] I'm really sorry, Lucy. (tries to get her bearings) Just do the best you can. EXT. SCHOOL YARD - DAY A group of kids stand together with their violins and chat. Roberta exits the building and they greet her. She waves back, but she's clearly still upset by her interaction with Lucy. She sees Naeem and his mother and approaches them. [NAEEM] Hi, Roberta. [ROBERTA] Hi, Naeem. Can I talk to your mom for a minute? Naeem nods and moves off. [ROBERTA] Look, I didn't come up here to rescue anybody. I'm a single mother and I needed a job. And I know you think you're protecting your son, but you're not. I mean, what if Arthur Ashe's mother had stopped him from playing tennis because it's a "white man's game"? (beat) The important thing is that when Naeem plays music, his whole face lights up. You should see him. Mrs. Adisa takes this in. Roberta exits. Mrs. Adisa looks for Naeem and sees him watching the violin students, longing to be among them. She watches her son with compassion. EXT. OUTDOOR MARKET - DAY Roberta and the boys shop in a colorful outdoor produce market in their neighborhood. The boys suddenly rush over to A MAN sitting on the ground with mixed-breed PUPPIES in a cardboard box. The boys pet them excitedly. Roberta watches her sons; they're happier than she's seen them in ages. INT. ROBERTA'S APARTMENT - LIVING ROOM - NIGHT A brown puppy is jumping all over Nick and Lexi who laugh delightedly. Roberta is putting down newspapers. [ROBERTA] We all have to take turns cleaning up, O.K.? The boys are oblivious to her -- they're in heaven. [ROBERTA] (to herself) Yeah, right. INT. MUSIC ROOM - DAY Roberta's SCREAMING at the kids as they play "Twinkle Twinkle Little Star." [ROBERTA] First finger on the E! Three -- two -- one -- open! (to a white girl with pigtails) Wrong string, Becky! We've done this fourteen times! And look at your nails! You're supposed to cut them for violin class! O.K, everybody stop! It sounds horrible! I can't believe how bad it sounds! They stop playing. Tanisha raises her hand. [ROBERTA] Is this an important question, Tanisha? Tanisha nods. [TANISHA] Do you have two of those skirts? [ROBERTA] What? [TANISHA] You wore a skirt just like it on Monday. Some of the kids crack up. [ROBERTA] You know, Tanisha -- I don't think that's such an important question. (to class) O.K. Let's try -- The door opens and Naeem enters with Mrs. Adisa. Roberta crosses to them. [MRS. ADISA] Naeem and I were wondering if he could still be in the class. A beat. [ROBERTA] I'd love that. (to Naeem) You'll have a lot of catching up to do. You think you can work that hard? [NAEEM] Yeah, I can. [ROBERTA] Maybe we can also arrange some private lessons at my house. [MRS. ADISA] I wouldn't have the money for that. [ROBERTA] That's O.K. (to Naeem) Why don't you go grab one of my spare violins? Naeem happily runs to the extra violins at the front of the room; Mrs. Adisa nods to Roberta with a look of gratitude, then exits. Roberta crosses back to the front of the room. [ROBERTA] (to class) Let's try it again. They begin again, and we see Naeem take out a violin and join in. As they play, Roberta's ears perk up at something she's hearing. She crosses to Lucy. [ROBERTA] What are you playing? [LUCY] Twinkle. [ROBERTA] (to class) Everyone stop! (to Lucy) Let me hear. Lucy hesitates, thinking she's in trouble. She plays a jazz variation of the song. Roberta smiles. [ROBERTA] Did someone teach you that? [LUCY] No. I made it up. [ROBERTA] That's really great, Lucy. I'm proud of you. Lucy beams. [ROBERTA] (to class) All of you -- try it. The class plays Lucy's jazz variation and Naeem happily joins in. INT. JANET WILLIAMS' OFFICE - DAY Roberta sits opposite Janet and MRS. LAMB, a white woman in her 30's. [MRS. LAMB] You're shouting at them. All the time. [ROBERTA] Not all the time. But if they don't listen -- [MRS. LAMB] Didn't you tell them that they were making their parents sick? Janet raises her eyebrows at this. [ROBERTA] That wasn't exactly what I said -- [MRS. LAMB] I'm raising Becky in a supportive atmosphere. I don't send her to school to be abused. [ROBERTA] I'm just trying to discipline them. If they're gonna learn an instrument, they need to take it seriously -- [JANET] I think what Mrs. Lamb is trying to say, Roberta, is that you're a little too harsh. I'm sure you might be able to soften some of your comments to the children? She gives Roberta a long hard look. Roberta nods. INT. MUSIC ROOM - DAY Roberta listens to the students play "Go Tell Aunt Rhody" -- badly. They finish and stare at her, afraid of her response. [ROBERTA] Well, that was... that was pretty good... that wasn't too bad... They look at her in disbelief, then look at each other. [DE SEAN] It wasn't? I thought we stunk. [ROBERTA] I wouldn't put it that way... You all just need to practice a bit more. (to James) James, have you practiced this week? The boy nervously shakes his head no. [ROBERTA] Can you please try a little harder for next week? James nods. The kids are baffled by her politeness. [ROBERTA] Good. Just do the best you can. [DE SEAN] Why you acting like that? [ROBERTA] Like what? [DE SEAN] Nice. [ROBERTA] Don't you want a nice teacher? [DE SEAN] I already got nice teachers. You added some variety. [LUCY] Yeah. We like you better the way you used to be. [ROBERTA] Oh. (to Becky) What about you, Becky? [BECKY] Yeah. This is even worse. You're acting weird now. A beat. [ROBERTA] Well, then -- I take it back. You all stunk. The kids laugh. [ROBERTA] But don't tell your parents I said so! The kids laugh again. INT. KENNEDY AIRPORT - DEPARTURE GATE - DAY Christmas MUZAK plays in the b.g. as Roberta kisses and hugs Lexi and Nick goodbye. A FLIGHT ATTENDANT stands nearby. [LEXI] Can't you come with us? Please? [ROBERTA] Honey, I told you. This is Daddy's special time with you. Lexi looks upset; Nick is stoic. Roberta hugs them one last time. The FLIGHT ATTENDANT steps forward. [FLIGHT ATTENDANT] I'll take good care of them. The FLIGHT ATTENDANT escorts them into the jet way. Roberta holds back tears as they get further away from her. At the last moment, Lexi turns and waves; Nick does not. Roberta waves, tears starting to fall, and the boys disappear from sight. She observes all the families travelling together, and feels like the loneliest person in the airport. INT. ROBERTA'S APARTMENT - LIVING ROOM - NIGHT Roberta enters her apartment, back from the airport, and double-locks the door behind her. You can see on her face that she's dreading the emptiness. She crosses to a small Christmas tree, obviously decorated by her and the boys, and plugs in the tiny blinking lights. It's not exactly Rockefeller Center. She turns on the T.V., playing IT'S A WONDERFUL LIFE. She crosses to the kitchen, then returns with a carton of eggnog, a glass, and a bottle of rum. She sits down on the couch, pours herself some eggnog, adds rum, adds more rum, goes back into the kitchen, returns with nutmeg, sprinkles some on top, then drinks. She sighs, glancing miserably at the tree and the T.V. Pathetic. She couldn't look any less festive if she tried. There's a KNOCK on the DOOR. Roberta gets up and warily approaches the door. [ROBERTA] Who is it? [BRIAN (O.S.)] Santa Claus. She looks through the peephole, then quickly unlocks the door and opens it, revealing BRIAN, giving her a big smile. He looks sexy as hell (even with a silly lit-up Santa Claus pin on his leather jacket), and he holds a long-stemmed red rose in one hand, and a Christmas present in the other. [BRIAN] I'm back. Roberta's thrilled and relieved to see him. She embraces him, and they kiss passionately. INT. BROWNSTONE - DAY (TIME CUT - TWO MONTHS LATER) CLOSE ON plaster walls being knocked down with sledgehammers. REVEAL Brian, Roberta, and a couple of workmen knocking down the walls in an old brownstone. EXT. BROWNSTONE - EAST HARLEM - THE SAME DAY A mild winter day. Roberta, covered with plaster dust and overheated from working, leans against a car and drinks a beer. The three-story brick building has some graffiti on it and is badly in need of a paint job; there are a few broken windows, and the front stairs need repairing. WORKMEN file in and out. We can see from the STREET SIGNS that we're on 118th STREET, a few houses off FIRST AVENUE. Brian (also dust-covered), Nick and Lexi toss around a football. LAWRENCE (6), a Black boy who lives next door, joins them. Brian crosses to Roberta, sweaty and out of breath. He takes a swig of her beer. [ROBERTA] O.K., enough goofing off -- back to work. [BRIAN] You trying to kill me? She laughs and they kiss. ASSUNTA comes up the street with a bag of take-out food. She casts a dubious glance at the lovers. [ASSUNTA] I was the only person in the whole coffee shop not speaking Spanish. Roberta rolls her eyes. O.S. a car BACKFIRES. [ASSUNTA] You hear that? Gunshots! How you gonna live here by yourself? (calling) Boys, come eat! [ROBERTA] I work in this neighborhood, Mama. I want to live here. The boys approach and Assunta hands them sandwiches. Lawrence hangs back. Assunta calls to him. [ASSUNTA] What's your name? [LAWRENCE] Lawrence. [ASSUNTA] You hungry, Lawrence? Lawrence nods and she hands him a sandwich. Roberta smiles at her mother's gesture. The kids move off to Lawrence's front steps and Assunta gives Roberta and Brian sandwiches. [ASSUNTA] (to Brian) Why did you let her buy this house? [BRIAN] Hey, your daughter does what she wants -- or haven't you noticed? [ASSUNTA] I've noticed. INT. ROBERTA'S APARTMENT - KITCHEN - DAY Robert washes dishes and Assunta dries. The leftovers from an Italian dinner are on the counter. [ASSUNTA] I still don't understand the rush. [ROBERTA] Having my own place will make me feel like I'm really starting my life again. [ASSUNTA] But if you invested your divorce settlement, you could buy something nice someday. It's bad enough that you've been renting in this neighborhood, but to lock yourself into a mortgage -- [ROBERTA] (snapping) Mama, please. Just stop! Assunta backs off. Roberta feels guilty and moves to her. [ROBERTA] Don't worry, O.K.? Besides, if things keep going well, I'm sure eventually Brian will move in with us. A few beats. [ASSUNTA] How much do you know about this man? [ROBERTA] Brian's a good person, he's helped me a lot, he's great with the boys -- since he got back to town, it's been really sweet. [ASSUNTA] (with an attitude) And how long has he been back? [ROBERTA] Two months. [ASSUNTA] That's not very long. Don't make the same mistake twice, Bert. You barely knew Charles when you married him. [ROBERTA] (defensive) I don't get it -- you're ragging on me about buying the house -- I would think you'd want Brian to live with me. [ASSUNTA] Not if he's the wrong person. Roberta locks her jaw, not wanting to believe that she's right. INT. MUSIC ROOM - DAY The kids play "Allegro," Roberta leading them. [ROBERTA] Get ready, now -- we're coming up to the fermata... They reach a certain note, then pause. [ROBERTA] Hold... Hold... Don't anybody move. Now at the Spring Concert, the audience is gonna be dying for that next note -- but we'll make them wait. As a matter of fact, I think I'll go grab a cup of coffee. She starts for the door and the kids moan and groan: "Come on, Roberta!" "Roberta, get back here!" She smiles. [ROBERTA] Well, O.K. But you have to promise you'll all start together. She nods. They begin again -- all at different times. [DE SEAN] Man. We'll never get that right. [ROBERTA] That's not a very nice thing to say about your classmates. (to class) How many people think they can get it right by the concert? All the kids raise their hands. De Sean looks around, embarrassed, then raises his too. Roberta smiles. INT. ROBERTA'S APARTMENT - LIVING ROOM - NIGHT Brian and Roberta finish making love on the futon. They lie in each other's arms, still breathing heavily. [ROBERTA] I love you. Brian makes a sound that's either panting or laughing. [ROBERTA] Did you just laugh? [BRIAN] I'm sorry. It's just... Roberta looks at him, offended. [ROBERTA] What? [BRIAN] Why do people feel like the minute something's going great, they gotta name it? (beat) Once you name something, you snuff the life out of it. She disentangles from him. [ROBERTA] Jesus, Brian. Do you still get away with that crap? It's not the Sixties anymore. [BRIAN] Well, maybe if you'd actually gone through the Sixties, you'd know what I'm talking about. [ROBERTA] Fine! We won't name it, we won't talk about it, we'll act like we have no feelings for each other whatsoever! She angrily turns on her side with her back to him. Brian regrets hurting her and moves to her, kissing her shoulder. [BRIAN] I'm sorry. I'm being an asshole. (sweetly teasing) You can say you love me if you want. [ROBERTA] Forget it. I changed my mind. He laughs and coaxes her to kiss him -- a temporary truce. INT. BROWNSTONE - DAY ERNIE (70's), a rickety Black man in work boots, looks baffled by a tangled mess of wires protruding from a wall. Roberta approaches. [ROBERTA] How's it coming, Ernie? [ERNIE] Well, if I could just remember what I did here yesterday, I'd be moving a whole lot faster. (beat) You look real pretty today, honey. Brian overhears, rolls his eyes and pulls her aside. [BRIAN] You're crazy. Why did you hire him? [ROBERTA] He needed a job. Besides, he's wired all of East Harlem. [BRIAN] When? Fifty years ago? Brian sighs and walks off into another room. Two MEN carry in large panels of sheetrock with old WALLPAPER on it. [ROBERTA] Why is there wallpaper on it? [MAN #1] That's how it comes. They lean the panels against a wall. Roberta turns to Ernie. [ERNIE] Yep, that's how it comes now. The guys quickly exit. Brian re-enters and sees the panels. [BRIAN] What the hell is this? [ROBERTA] Sheetrock. [BRIAN] You've gotta be kidding. Those ex- cons you hired ripped this off -- and you too! Roberta feels stupid but doesn't want to show it. [ROBERTA] Look -- this house is taking every penny of my settlement. I can't afford fancy union workers! [BRIAN] (throwing up his hands) Fine. Do it your way. He stomps off. ANOTHER ANGLE - Nick watches them fight and looks distressed. EXT. SCHOOL YARD - DAY Lots of screaming and commotion as the kids crowd around a fight in progress. As we move through the crowd we see that NICK's in a fight with another boy; Nick's nose is bleeding and he has the boy in a headlock. TWO TEACHERS run over to break it up. INT. AREA OUTSIDE JANET'S OFFICE - DAY Nick sits outside, holding an ice pack to his bloody nose. INT. JANET'S OFFICE - DAY Roberta stands opposite Janet. [JANET] I'm giving him a two-day suspension -- but next time he'll be expelled. [ROBERTA] There won't be a next time -- I promise. [JANET] Have you noticed your son lately? He's tied up in knots and he needs help. [ROBERTA] Janet, kids fight. You're making too much of this. [JANET] He was choking the kid. (beat) Nick's in trouble, Roberta. You need to deal with it. Roberta takes this in, upset. INT. ROBERTA'S APARTMENT - LIVING ROOM - NIGHT Roberta plays "Go Tell Aunt Rhody" with Guadalupe, De Sean, Naeem, Benjamin, and two kids from the other classes. Lexi plays along with them. Nick enters from the kitchen, eating a cookie, ignoring the students. He turns on the T.V. [ROBERTA] (to students) Keep playing, guys. Roberta crosses to Nick and shuts off the T.V. [ROBERTA] You can watch when we're done. [NICK] It's my house! They don't live here -- I do! [ROBERTA] (sotto) Nick honey -- the kids are real nervous about the Spring concert. You could probably give them some pointers. [NICK] I don't feel like it. He reaches for the T.V. dial and she stops him. [ROBERTA] I said no. She crosses back to her students; Nick turns on the T.V. EXT. CENTRAL PARK - DAY Brian, Nick and Lexi laugh as they play frisbee alongside a DUCK POND. Roberta watches, relieved to see Nick enjoying himself. [BRIAN] Good catch Nick! Nick throws it back to Brian and it lands in the WATER. [BRIAN] (mock sternly) Uh-oh. You know what that means? He stalks towards Nick menacingly, picks him up and pretends he's going to throw him into the water. Nick laughs hysterically. [NICK] (through laughter) Don't! Don't throw me in! [BRIAN] Whatsa matter? Afraid of a little water? The ducks aren't afraid! Are you a chicken or a duck? [NICK] Don't! Don't throw me! [BRIAN] Looks like you got yourself a chicken, Roberta! [NICK] I'm not a chicken! [BRIAN] Well then you must be a duck! He pretends again to throw Nick in, then puts him down. Lexi holds out his arms to Brian. [LEXI] Throw me in the water, Brian! Do it to me! Brian swoops him up and Lexi starts laughing. Roberta laughs along, happy to see the affection between Brian and her sons. EXT. CENTRAL PARK - A LITTLE LATER Brian and Roberta speak as they stroll; the boys run ahead of them, dragging sticks along the pavement. In the b.g. we see HARLEM STREETS bordering the park. [ROBERTA] You seem to be the only one who can get Nick to laugh these days. [BRIAN] He misses his dad. I'm just a surrogate. [ROBERTA] No -- I think Nick really likes you. (taking his arm) You know... we're all hoping you'll move into the new house with us. [BRIAN] Whoa. Can we just slow down here a minute? It's too much like getting married. [ROBERTA] What's so bad about that? [BRIAN] That kind of commitment just isn't realistic. I mean, how can we know that you and I will even be able to stand each other in five years? [ROBERTA] Well, we don't. But if two people care about each other, they take a chance. [BRIAN] And look what happened to you and Charles. [ROBERTA] I'm not talking about Charles. I'm talking about us. [BRIAN] Look, Roberta. Marriage is based on a belief that one person can completely meet another person's needs. I just don't buy that. This is making her nervous. She looks at him, afraid of what he might be saying. [ROBERTA] (carefully) What are you saying? If there's some need you have that I don't meet, you'd go and get it "met" by someone else? He heaves a sigh of frustration, not wanting to answer the question. [BRIAN] I'm saying that it's the 80's and it's a fantasy to think of marriage lasting these days. One out of two marriages ends in divorce! [ROBERTA] You didn't answer my question. (beat) If I don't meet all your needs, and we're in a committed relationship -- forget marriage for a minute; I'm just talking about a relationship -- would you go to someone else? A beat. [BRIAN] In theory, yes. [ROBERTA] In theory. Roberta looks very disheartened. Brian feels badly. [BRIAN] Roberta, we've got something good right now -- that's the important thing. Let's just keep it that way, O.K.? He pulls her to him, kissing her neck, but she pulls away from him. ON NICK, observing with an anxious expression. INT. ROBERTA'S APARTMENT - NIGHT [NICK (O.S.)] (whining) Why can't he? Roberta looks distressed by her talk with Brian as she and the boys enter, back from the park. [ROBERTA] He just can't, O.K.? Brian's at his house tonight, and we're at ours. [NICK] Well then I wanna go to his house. [ROBERTA] Enough, Nick. Now why don't you and your brother practice while I make dinner. [NICK] I don't feel like practicing. [ROBERTA] Well do it anyway. [NICK] I wanna go to Brian's! [ROBERTA] Stop whining, and get your violin. Nick stomps off to get his violin. Lexi follows. Roberta puts down her bag and takes off her coat. While Lexi sets up his violin, Nick opens his violin case, takes out the violin and angrily starts playing, loudly and roughly. [ROBERTA] What the hell are you doing? [NICK] The problem with you is you're mean to everybody and then they don't want to be with you! [ROBERTA] I've heard just about enough from you, young man. Now set your violin up properly and start practicing. Nick THROWS the violin against the floor. Roberta's speechless. [NICK] I hate the violin! [ROBERTA] You pick that violin up right now and don't you ever ever -- Nick picks up the violin and THROWS the violin down even harder, then YELLS at Roberta before she can even respond. [NICK] It's all your fault! You made Daddy leave and you're gonna make Brian leave too! You're gonna be all alone and I'll have to take care of you! Roberta is stunned. The anger drains out of her as she suddenly sees what this is all about. [ROBERTA] Nick -- you don't have to take care of me. [NICK] Then who's going to? [ROBERTA] I'll take care of myself -- and I'll take care of you and Lexi. I promise. [NICK] You didn't try hard enough. You made Daddy leave us. This hits her in the solar plexus. Her hurt and vulnerability start to pour out. [ROBERTA] That's not true. I begged him not to leave, but he didn't listen. [NICK] Why not? Roberta hesitates, but knows she has to tell them the truth. She addresses both boys. [ROBERTA] Your father met someone he liked more than Mommy, and then -- [NICK] Who? Roberta swallows, shocked to hear him ask this. She can hardly answer him. [ROBERTA] Lana. Remember our friends Lana and Tom? [NICK] Is he gonna marry her now? [ROBERTA] No, but he's not coming back... to me. Nick and Lexi look very upset, not only from hearing the finality in her words, but from seeing their mother's pain. Roberta moves closer to them. [ROBERTA] I'll take care of you, Nick. You too, Lexi. I promise. I'm not going anywhere. We're still a family. Nick starts crying. Roberta takes him in her arms. Lexi starts to cry and Roberta holds him too. [ROBERTA] (softly, to both) I promise. INT. BROWNSTONE - DAY Ernie's radio plays a BLUES SONG. The BRICK WORKERS radio plays SPANISH MUSIC, and the PAINTERS' radio plays a RAP SONG. Roberta stands in the middle, about to lose her mind. HER POV - Ernie sits on a stool facing his wiring. He's fast asleep. ANOTHER ANGLE - The brick workers build a crooked fireplace. BACK TO SCENE Roberta sighs heavily, then crosses to the painters. [ROBERTA] What color is this? [PAINTER] White. [ROBERTA] I told you Eggshell. [PAINTER] Eggshells are white. Brian watches this interaction as he sands a door. [BRIAN] You're an idiot! I told you -- you can't be your own contractor. [ROBERTA] You're right. I'm an idiot. She crosses to Ernie and shakes him. [ROBERTA] Wake up, Ernie. He looks at her groggily. [ROBERTA] You're fired. She crosses to the brick workers. [ROBERTA] You're fired. She crosses to the painters. [ROBERTA] You're fired. Brian smiles at her, impressed. [BRIAN] That's more like it. [ROBERTA] You're fired too. Brian laughs. [ROBERTA] No, Brian. I mean it. I need to be with a man who can make a commitment to me. I need that, and my sons need that. (beat) So can you? [BRIAN] (hesitates, then) Roberta -- His tone and expression tell her the words are not forthcoming. [ROBERTA] Get out. He looks at her, shocked by her toughness, but knows he can't give her what she wants. He exits. Roberta stands in the middle of the room, a determined look on her face. INT. SCHOOL AUDITORIUM - NIGHT ROBERTA Stands in the aisle, leading the students and playing violin. ON STAGE The fifty fifth-grade students play the "Twinkle" variations. Their playing is impeccable and they look terrific. As the CAMERA PANS the audience, we recognize: MRS. ADISA, tears in her eyes as she watches Naeem; MRS. LAMB and her husband, watching Becky in amazement; ISABEL and her daughter sitting with ASSUNTA, NICK and LEXI; JANET, impressed as hell; and DENNIS, seething with jealousy. As the kids start the jazz variation of "Twinkle," a WOMAN elbows her husband: [WOMAN] That's the one Lucy wrote! The CAMERA returns to the children and captures their own pride in their playing, including LUCY, who smiles as she hears her song played by fifty. THE CONCERT - TIME DISSOLVE The students are now playing "Allegro," and they reach the fermata. They hold their positions in silence and the audience watches in anticipation. Roberta cues them and they play the next note in perfect unison. An involuntary smile lights on DE SEAN's face. They finish the song, the audience applauds, and Roberta turns to face them. She lights up when she sees how thrilled Janet looks, and Janet in turn raises her hands higher as she applauds Roberta. DISSOLVE TO: EXT. CPE 1 - DAY - ESTABLISHING - TIME CUT (1998) The side of the building now has an impressive mural: an urban landscape with three super heroes -- Puerto Rican, Black, and white -- rising up out of the street. It reads ONLY THE STRONG SHALL SURVIVE. INT. CLASSROOM - DAY Roberta stands in front of a classroom of twenty cute first- graders -- mostly Black and Latino, a few white -- sitting on the floor, chatting excitedly. Even though Roberta's ten years older, she seems more youthful; her wavy hair is loose over her shoulders, her clothing's casual and artistic. Beside her is Janet, her hair flecked with gray, and Dennis, who looks pretty much the same. The classroom teacher is ISABEL, a little older, a little tougher. [ISABEL] C'mon everybody, settle down -- Janet wants to talk to you. [JANET] Today's a very special day because we're starting the tenth year of the East Harlem Violin Program. This is a wonderful opportunity for you, so I want you to talk to your parents about whether you'd like to try this. [ISABEL] My daughter took violin with Roberta when she was your age, and now she's in high school and she still talks about how much she loved it. [DENNIS] Janet and I started this program because we knew how much you kids could benefit from it. CUTAWAY to Roberta and Janet exchanging glances over Dennis taking credit for the program. [DENNIS] You should know, however, that the violin is a difficult instrument. JUSTIN, a Black boy with attitude, raises his hand. He always wears a puffy red, yellow and green crocheted beret. Isabel nods to him. [JUSTIN] Who's that lady in the back? ANGLE - DOROTHEA (Doro-taya) VAN HAUFTEN (40's), an elegant, beautiful woman, smartly dressed, takes photographs from the back of the room. [JANET] That's Dorothea Van Hauften -- [JUSTIN] Say what? What kinda name is that? [ISABEL] Justin -- sshh! [JANET] -- and she's taking pictures of Roberta's classes for a magazine article about music education. [JUSTIN] I wanna be in the magazine! [ISABEL] First things first, Justin. Roberta's gonna explain to you about the "lottery." Roberta steps forward. RAMON OLIVAS (7), a small, adorable Puerto Rican boy with a crew cut, watches her with adoration. [ROBERTA] I used to just teach fifty kids at this school. But now I teach a hundred and fifty kids at three East Harlem schools and there's so many children who want to take violin classes that we have to have a lottery. VANESSA raises her hand, a white girl whose clothes and accessories are always adorned with cats. [VANESSA] Can I be in the class? [ISABEL] Roberta's explaining that. Just listen. [ROBERTA] After your parents sign your permission slips, I'm gonna put them in a sack, and I'll pick fifty names from each school. ANGLE - Ramon listens intently with his fingers crossed. [ROBERTA] So everyone bring in your slips by Friday, and I'll come back and tell you who's in violin class. [ISABEL] Remember, she's just picking names from a hat. It doesn't mean that anyone's better than anyone else. RAMON raises his hand. [RAMON] (to Roberta) I really really hope that I get in the class. Roberta looks at him, struck by his sweetness. [ROBERTA] I hope so too. EXT. 118TH STREET - STREET SIGN - ESTABLISHING - DAY EXT. ROBERTA'S BROWNSTONE - DAY The brownstone looks a lot better than when we last saw it. Graffiti's been removed, the stairs have been repaired, the windows have security bars, and there are flowers blooming in pots in front of the building. Roberta steps INTO FRAME, walking Allegra, now a 10-year-old dog. INT. BROWNSTONE - DAY The house is transformed: the first floor is one long open room with oak floors, a living room in front with a beautiful fireplace and a grand piano, and a country kitchen in the rear, complete with pots hanging over a large butcher block. NICK (17) practices cello and LEXI (15) practices piano; they play Haydn's "Trio #13." Now handsome young men, their blonde hair has darkened to brown. Nick is huskier; Lexi has a slighter build. Both are passionate, talented musicians. On the couch, RACHEL (12), a mature, beautiful Black girl, rosins her bow. [RACHEL] How come you guys don't play the violin? [LEXI] Well, picture her being your teacher and your mother. Rachel cracks up but stifles her laughter as Roberta enters from outside with Allegra. [ROBERTA] Hi Rachel. Be right with you. As Roberta removes Allegra's leash, Rachel and Lexi share a conspiratorial look. In the b.g., Nick packs up his cello. [ROBERTA] (to Nick) You're gonna practice upstairs? [NICK] No. I'm done. [ROBERTA] Already? You've barely practiced. [NICK] What -- are you timing me with a stop watch? Why don't you pick on Lexi for a change? [LEXI] 'Cause I'm perfect. Nick jostles him and heads upstairs. Lexi gets up from the piano. [LEXI] (to Rachel) Have a good lesson. He crosses to a sharp-looking bike parked behind the front door and addresses Roberta. [LEXI] I'll be back in a couple of hours. [ROBERTA] Be careful. Lexi mouths "be careful" along with her. EXT. RIVER EAST PARK - DUSK Lexi plays basketball with a group of Black and Latino guys. Despite his small stature, he's a great athlete, and an accepted part of the group. The game ends. He and his buddy Lawrence (now 16), both all sweaty, cross to a water fountain. As Lexi takes a drink -- [MALE VOICE (O.S.)] Can I try your bike? Lexi wipes his mouth and looks up at HENRY (18), a tall, intimidating Black teenager who towers over him. Lawrence watches tensely. [LEXI] I'm gonna be leaving pretty soon. [HENRY] Just wanna take it for a spin. [LAWRENCE] C'mon, Henry -- he don't want to loan you his bike. [HENRY] I didn't hear him say that. (to Lexi) Is that true? Did you say that? Lexi looks at him, knowing there's only one right answer. INT. LIVING ROOM - DAY Roberta and Rachel play Bach's "Minuet One" together on the violin. The girl has obvious talent. [ROBERTA] Vibrato... don't wiggle your wrist. Rachel stops, frustrated. [RACHEL] Dang! I can't get that right. [ROBERTA] You almost have it. [RACHEL] Almost isn't good enough. [ROBERTA] Did I turn you into such a perfectionist? [RACHEL] No. I came that way. [ROBERTA] (smiles, then) Just as long as you get it right for your Julliard audition. [RACHEL] What? [ROBERTA] I've recommended you for a gifted kids scholarship. Rachel looks at her in wide-eyed gratitude. ANGLE - Lexi enters the front door, a glum look on his face. [ROBERTA] Where's the bike? INT. HONDA/EXT. EAST HARLEM STREETS - NIGHT Roberta drives with Nick in the front, Lexi and Lawrence in the back. They're in a dangerous looking part of East Harlem. [LEXI] Mom, please. Don't do this to me! [NICK] C'mon, Mom -- why don't you let me handle this? [ROBERTA] Are we getting closer, Lawrence? [LAWRENCE] It's the next block up. [LEXI] (to Roberta) You don't have to do this. I'll pay you back. [ROBERTA] How? It took me six months to save up for it. [NICK] I'll help him, O.K.? We'll both pay you back. [LEXI] Or we'll ask Dad -- he'll help us out. [ROBERTA] Yeah, right. [LAWRENCE] O.K., slow down. It's the second one on the right. Roberta slows the car down next to a HOUSING PROJECT. EXT. HOUSING PROJECT - NIGHT Not a place you'd want to go into, even in the day time. PULL BACK TO REVEAL this is their POV from INSIDE THE CAR. The boys look frightened, but Roberta's on a mission. [NICK] C'mon Mom, let's get out of here. [ROBERTA] Lock the doors. And she exits. The boys watch as she heads for the building, then Lexi shakes his head and covers his face. [LEXI] I'm dead. She's gonna get me killed. Nick jumps out of the car and heads after her. [NICK] I'm coming with you! [ROBERTA] No. Get back in the car and stay with the boys. Nick hesitates and heads back. Roberta presses on. Lawrence opens the window and calls to her. [LAWRENCE] Don't take the stairs! INT. TENEMENT BUILDING - LOBBY - NIGHT CLOSE ON THE ELEVATOR DOOR with a handwritten SIGN that reads OUT OF ORDER. WIDER - Roberta stands in front of the elevator, staring tensely at the sign. She takes a deep breath, then heads for the staircase. INT. TENEMENT BUILDING - STAIRWELL - NIGHT Roberta climbs the dimly-lit stairs of a dilapidated, scary building. O.S. a BABY CRIES, a couple of TV's BLARE. INT. TENEMENT BUILDING - HALLWAY - CONTINUOUS At the top of the stairs, Roberta turns down the hall, passing a door riddled with bullet holes. She finds the apartment and knocks. No response. She knocks again. [OLD WOMAN (O.S.)] Yeah? [ROBERTA] I'm a school teacher. Henry has taken my son's bicycle and I want it back. A beat, then the door cracks open, an OLD WOMAN visible through the chain lock. [OLD WOMAN] Henry's not here. [ROBERTA] Well you tell Henry that if he returns the bike, I won't have to notify the police -- or his school principal. Although since I am a teacher, it would be very easy for me to do that. A couple of beats. [OLD WOMAN] He's not home. He doesn't get home till late. [ROBERTA] How late? [OLD WOMAN] Not till after ten. [ROBERTA] I'll be on the steps of CPE 1 at 11 P.M. I'll be waiting for him. The door closes. Roberta exhales. Did she just do that? EXT. CPE 1 - NIGHT Roberta, Nick, Lexi and Lawrence sit on the front steps of the school. The street is deserted. [LEXI] You're crazy. He's not gonna show. Roberta sits confidently. [NICK] You think he actually cares that you're a teacher? You think he even goes to school? [LEXI] C'mon, Mom -- let's just go. [ROBERTA] It's only five after eleven. Nick and Lexi roll their eyes and exchange a look: she's nuts. Suddenly, there's the SOUND of a bicycle. Nick, Lexi and Lawrence look towards the sound, incredulous. Lexi stands. Henry rides up on the bike and dismounts. Lexi looks directly at him as he takes the bike from him. [HENRY] I was just borrowing it. He glances at Roberta, then walks off. INT. CPE 1 - CLASSROOM - DAY Roberta stands in front of Isabel's class and calls out names, handing the selected children acceptance letters. The kids are charged up; "My heart is pounding!" "Please pick me!" [ROBERTA] Shandra Wilson. A pretty Black girl with braids and tons of barrettes jumps up and down, then runs up for her letter. The kids SQUEAL and CHEER for each student called. Shandra hugs her best friend MYESHA, a chubby Black girl who also holds a letter. [ROBERTA] Justin Brady. JUSTIN raises his fists in triumph. ANGLE - RAMON anxiously waits to see if his name will be called. JUSTIN sits down next to him, waves his letter in Ramon's face, taunting him. [ROBERTA] Vanessa Klein. Vanessa takes her letter and smiles. She puts it into her cat-shaped backpack. [ROBERTA] O.K. One more name... Ramon crosses his fingers and holds his breath. [ROBERTA] Leonard Hood. RAMON looks crushed. JUSTIN taunts him some more. LEONARD, a scrawny white boy takes his letter, scared by it. He starts to cry. [LEONARD] It's too hard! I don't wanna do it! [ISABEL] Don't you even wanna try, Leonard? [LEONARD] (through tears) I don't want to! Isabel looks at Roberta. [ROBERTA] Well, O.K. then. I'll pick someone else. (she picks a name) Ramon Olivas. Ramon's face lights up. EXT. SCHOOL YARD - DAY As Roberta walks through the yard, she sees kids excitedly showing acceptance letters to their moms. SHANDRA and MYESHA hold hands as they run to Shandra's mom, BEVERLY WILSON, pushing a stroller. She looks at the letter and hugs Shandra. ANGLE - RAMON reads his letter to his mother, CONCEPCION (45), whose eyes tell you that she's lived through a lot. She speaks with a Puerto Rican accent. [RAMON] This is to inform you that your child, Ramon Olivas, has been chosen by lottery to be in the violin program. [CONCEPCION] You happy? Ramon spins round and round with the letter in his hand. [CONCEPCION] I think you're happy. EXT. RIVER EAST ELEMENTARY SCHOOL - DAY Roberta illegally parks her old Honda, rushes out of the car, grabs her book bags and three violins, pulls a parking ticket from her pocket and puts it on the windshield. [WOMAN'S VOICE (O.S.)] (German accent) Does that really work? Roberta turns. It's DOROTHEA, the PHOTOGRAPHER we saw in the classroom. [ROBERTA] No. But I keep trying. And maybe someday the school will give me a parking space! She rushes towards the school and Dorothea follows her. [DOROTHEA] Wait -- She hands Roberta a thin box. Roberta puts down her violins, glances inside it and forgets about being late. INSERT -- Terrific black and white shots of Roberta's advanced classes playing violin. [ROBERTA (O.S.)] God, these are great. BACK TO SCENE [DOROTHEA] Those copies are for you. [ROBERTA] Thank you. Can I... pay for you them? [DOROTHEA] Don't be silly. Besides -- you'll need your money for parking tickets. They smile at each other. [DOROTHEA] What you're doing for these children is wonderful. My husband's a violinist -- he was quite impressed when I told him about you. [ROBERTA] What's his name? [DOROTHEA] Arnold Steinhardt. [ROBERTA] Of the Guarneri String Quartet? Dorothea nods, and hands Roberta a card. [DOROTHEA] Stay in touch. Let us know when the kids have a concert. RACHEL, heading for school, calls out to Roberta. [RACHEL] Don't be late for violin class! I hear the teacher's really mean. Roberta smiles, slips the card in her pocket, nods to Dorothea and follows Rachel. INT. RIVER EAST SCHOOL - MUSIC ROOM - DAY Roberta's advanced class plays "Can-Can." Rachel's one of the eight sixth-graders. Roberta plays along, crossing to AMANDA, a white girl in a country-western outfit. [ROBERTA] Amanda, what did I tell you about wearing cowboy boots to violin class? They're too slippery! She crosses to a pudgy Black/Puerto Rican boy with glasses. [ROBERTA] Relax your two, Simon... She glances at STEPHANIE, a white girl with red hair, next to KENNY, a Black boy with an earnest expression. [ROBERTA] Your stop sign has to be up, Kenny! Stephanie, it doesn't look like you ever had a lesson with me! CARLOS (13) hurries in, a handsome Black boy in a baseball jacket that says "LOS LEONES." He looks 15. [ROBERTA] Where's your violin, Carlos? [CARLOS] It's coming. He nervously looks down the hall. [ROBERTA] What, is it walking here by itself? A Black third-grade girl rushes into the room and hands Carlos his violin, then runs off. Roberta crosses to Carlos as he quickly readies the violin. [ROBERTA] Your buddies giving you a hard time? [CARLOS] Look, it's just not cool. You wouldn't understand. [ROBERTA] Hey, you want your sister to carry your violin, that's fine. But is she practicing for you too? Because lately, that's how it sounds. [CARLOS] I've been busy! I've been -- [ROBERTA] I'm not interested! Just get here on time, and commit to this class or I don't want you in here, you understand? He nods sullenly. [ROBERTA] You're a good violinist, Carlos -- and it's definitely not "cool" to waste your own talent. Carlos takes this in as Roberta crosses to another student. EXT. RAMON'S APARTMENT - EAST HARLEM - ESTABLISHING - NIGHT It's upstairs from a grocery store on a busy street. INT. RAMON'S APARTMENT - LIVING ROOM - NIGHT Ramon sits on the floor, upset, half-heartedly building with Legos, while his parents argue in the KITCHEN. His father MANUELO is a stocky, muscular man. INTERCUT between the two areas. This is a modest, well-kept apartment. Off the kitchen, religious candles burn on a shelf above a washing machine. [MANUELO] Why didn't you show it to me? [CONCEPCION] It just needed one parent's signature. [MANUELO] (with some Spanish) Well, I'm his parent and I don't give permission! He should be playing baseball, not the violin! [CONCEPCION] It makes him happy. ON RAMON, looking far from happy at the moment. EXT. RIVER EAST SCHOOL - DAY Rachel steps off a city bus, carrying her violin. She passes two sixth-grade boys and a girl. [BOY #1] (loudly) Ooh, check out little Miss Violinhead. [GIRL] She carry that violin with her all the time 'cause she think she special. Rachel turns to them. [RACHEL] I am special. She proudly continues on, then sees Roberta walking towards the school and catches up to her. [RACHEL] (nonchalant) So I heard from Julliard. Roberta stops and looks at her. [ROBERTA] And? [RACHEL] They said yes! Roberta gives her a big hug. INT. CPE 1 - MUSIC ROOM - DAY ON THE BEGINNER'S CLASS, including Ramon, as they play "Lightly Row." Roberta walks around, making corrections as she addresses the students. She doesn't see Justin poking Ramon with his bow; Ramon swats the bow away and glares at his nemesis. Roberta moves some of Shandra's braids away from the violin. [ROBERTA] So when you take the violins home, tape your music to the wall directly in front of your nose so you can play with perfect posture. Your parents are gonna be so excited to hear you play! INT. RAMON'S HOUSE - LIVING ROOM - NIGHT SCREECHING comes from Ramon's room as he practices "Lightly Row." His brothers, PEDRO (18) and ERNESTO (17), cringe as they try to watch T.V. Ernesto gives up and puts on his Walkman; Pedro's ready to break the violin. Concepcion listens patiently as she folds laundry, but even she winces. [PEDRO] (yelling) Ramon! How many cats you killing in there? INTERCUT RAMON - He plays with pride, eyes on the music taped to the wall. INT. CPE 1 - MUSIC ROOM - DAY (A FEW MONTHS LATER) ON RAMON, his improved playing showing that time has passed. WIDER - the beginner's class plays "Lightly Row." JUSTIN is struggling more than the other students. Roberta plays along with the class, eyeing each student. [ROBERTA] More bow! To the frog! Myesha, your stop sign line should be touching. Don't let it wiggle! You're on the wrong string, Justin! And look at your feet! Vanessa enters the front door without her violin. [ROBERTA] Where's your violin? [VANESSA] I forgot. [ROBERTA] Goodbye! And you may be dropped. Vanessa pouts and exits. Roberta moves to ROSARIO, a Puerto Rican girl. [ROBERTA] Look at those nails, Rosario! She pulls a clipper from her pocket and swiftly clips them. MYESHA nervously glances at her own nails. [ROBERTA] I see you over there, Myesha. She moves to Ramon and corrects his bowing position. [ROBERTA] (to Ramon) You're doing much better. As Roberta walks on to the next student, Justin purposely knocks over Ramon's music stand. [RAMON] Drop dead, Justin! [JUSTIN] It was a accident! [RAMON] Was not! [ROBERTA] Ramon, I don't like that kind of talk. Justin, pick up his stand, now! Our spring concert is in three weeks and you might not be in it. Is that what you want? EXT. CPE 1 - DAY As Roberta heads for her car, she sees Vanessa being helped into a car by her FATHER, his suit wrinkled and tie loosened. There's SNOW on the ground. [ROBERTA] Mr. Klein? I'm gonna have to drop Vanessa from the class if she keeps forgetting her violin. [MR. KLEIN] (sotto) She's going back and forth between houses. My wife and I split up. [ROBERTA] (softening) Oh. I'm sorry. Roberta leans into the car window. [ROBERTA] Vanessa, maybe you could write down for your Mom and Dad which days are violin days. [VANESSA] (almost in tears) The tape doesn't stick. [ROBERTA] What? [VANESSA] I taped the music to the wall at my Mom's house and then I took it to my Dad's house and it doesn't stick anymore. Mr. Klein's eyes tear up and he quickly wipes them. [ROBERTA] Well you know what? That's an easy problem to solve. She looks through her book bag, takes out a piece of music and gives it to her. [ROBERTA] Now you have two, O.K.? One for each house. Vanessa nods, clutching the piece of music. Roberta and Mr. Klein exchange a look. She touches his arm, then walks off. INT. RAMON'S HOUSE - NIGHT Ramon, holding his bow and violin, crosses to his father who's watching a baseball game on T.V. [RAMON] You wanna hear my new song, Papa? [MANUELO] (in Spanish) Not right now. Ramon exits, hurt. Concepcion watches from the side, and crosses to her husband. [CONCEPCION] We made mistakes with Pedro and Ernesto and we can't fix them now, but Ramon -- he works so hard. The violin makes him want to be good at everything. He shows no response, and she exits. Manuelo ponders what she said. EXT. CPE 1 ELEMENTARY SCHOOL - DAY (MORNING) Roberta approaches the school on a winter morning. She smiles as she sees Vanessa get out of her MOTHER'S car with her violin. Roberta nears the front door and finds Isabel and some teachers huddled in conversation. A few students are crying. [ROBERTA] (to Isabel) What happened? INT. MUSIC ROOM - DAY The beginners sit on the floor and rosin their bows. A few chat, but it's quieter than usual, except for RAMON who is "blessing" kids with his violin bow. [RAMON] You go to heaven... You go to hell... You go to hell... heaven... Roberta enters slowly. She looks very shaken up. She takes note of what Ramon is doing, and overhears Toussaint and Shandra in mid-conversation. [TOUSSAINT] My grandpa died and my uncle, so that makes six. [SHANDRA] I know more than that. At least seven people... maybe even nine. Roberta gently tells Ramon to sit, and then she sits down on a child-sized chair in front of them. [ROBERTA] (quietly) I know that you've all heard the bad news about Justin. [MYESHA] I didn't hear. [TOUSSAINT] There was a drive-by shooting by his house and he got shot on accident and he died. Myesha takes this in, looking sad. [ROBERTA] Does anyone want to talk about it? [RAMON] (angry) I think we should just play violin. Roberta watches him. INT. RAMON'S HOUSE - LIVING ROOM/KITCHEN AREA - DAY Concepcion cooks chicken and Pedro sets the table, whistling along to Ramon's O.S. violin playing "We Shall Overcome." There's a KNOCK on the door. Concepcion answers it, revealing Roberta. [CONCEPCION] Roberta! Come in. Roberta enters. [ROBERTA] I came by to check on Ramon. [CONCEPCION] (confused) Why? [ROBERTA] Didn't he tell you what happened at school? Concepcion shakes her head no. INT. RAMON'S ROOM - DAY Ramon is still playing violin as Concepcion and Roberta enter. When he sees Roberta he straightens up even more. [CONCEPCION] Roberta wants to talk to you, O.K.? He nods. Concepcion touches his head, then exits. [RAMON] Did that sound O.K.? [ROBERTA] Yeah, it did. Ramon smiles, pleased with himself. [ROBERTA] I've been thinking about Justin. Remember how mad I got the last time I saw him? [RAMON] Yeah. You got very strict with him. [ROBERTA] It wasn't always so easy to be nice to him, you know? Ramon looks away from her, upset. [RAMON] You think Justin's in heaven or hell? [ROBERTA] Heaven. Ramon runs his fingers along his bow. [RAMON] I told him to drop dead. Roberta touches Ramon's back. [ROBERTA] Justin didn't die because of what you said. I promise. [RAMON] How do you know? [ROBERTA] I don't think you're that powerful, do you? I mean, if you had such powers, just imagine what kind of violin player you'd be by now! [RAMON] Yeah. I'd be better than you! They laugh together, then Ramon looks sad again. [ROBERTA] It's O.K. to cry, you know. [RAMON] Not for a man. [ROBERTA] My boys still cry and they're big, strong young men now. (beat) I bet Justin's daddy cried. Ramon's eyes get teary. Roberta quietly leaves the room. EXT. ROBERTA'S BROWNSTONE - ESTABLISHING - DAY (SPRING) INT. ROBERTA'S BROWNSTONE - LIVING ROOM - DAY Roberta brings in the mail, looking curiously at a manila envelope with a return address from the NY REVIEW OF BOOKS. She opens it, looks inside, then pours out a batch of other letters onto the table. They're addressed to BOX HOLDER 127. She opens one, reads it, then rushes to an INTERCOM. [ROBERTA] Nick, Lexi! Get down here right now! INT. ROBERTA'S BROWNSTONE - MOMENTS LATER [NICK] We were just trying to help! Nick and Lexi stand by the table, opposite Roberta -- with the incriminating pile of letters between them. [ROBERTA] This is humiliating! [NICK] Mom, no one knows it's you! I mean, you don't even have to read them if you don't want to. (glances at pile) Although obviously, a lot of guys are interested in dating you. [ROBERTA] No. A lot of guys are interested in dating you and Lexi. (beat) What did you say about me, anyway? They thought she'd never ask. [NICK] "Beautiful musician, late 40's, tired of playing solo -- [LEXI] -- seeks a healthy, stable, attractive man who's not afraid of a duet with a strong, independent woman. [NICK] My violin playing will feed your soul... [LEXI] ...And my lasagna will be music to your palate." They beam with pride. Roberta looks at them, mortified. [ROBERTA] Oh, my God. [LEXI] Did you catch all the music metaphors? [ROBERTA] Don't you think it's a little weird that you're trying to get your mother a date? [NICK] Don't you think it's a little weird that you're not even interested in dating? [ROBERTA] Boys, look. Number one -- even if I wanted to date, I don't have time. And number two -- I've got my teaching, I've got you guys -- that's all I need. The boys nod, disappointed, and she exits. They look at each other with glum expressions. [LEXI] (to Nick) I really thought she'd like the music metaphors. INT. ROBERTA'S BROWNSTONE - LIVING ROOM - NIGHT Roberta lies on the couch, reading the personal ad letters. She tosses one aside, then opens another. INSERT The letter is designed like a newspaper with a headline that reads: JOURNALISM PROFESSOR DAN PAXTON ANSWERS PERSONAL AD; HOPES RUN HIGH BEAUTIFUL MUSICIAN WILL CALL FOR A DATE! BACK TO SCENE Roberta can't help but be charmed. INT. ROBERTA'S BROWNSTONE - LIVING ROOM - NIGHT Roberta, Nick and Lexi play Haydn's "Trio #13" together on their respective instruments. We sense that this is a special family ritual. They play throughout their conversation: [ROBERTA] I think you're flat, Nick. [NICK] I'm not flat. [ROBERTA] The B sounded flat. [NICK] Just play the violin, Mom. I'll take care of the cello. They play for a few beats. [LEXI] You nervous, Mom? [ROBERTA] No. I'm fine. The DOORBELL rings and Roberta jumps up, bolting into the bathroom down the hall. Lexi and Nick exchange a smile, then Lexi crosses to the door and opens it. INT. DOORWAY - CONTINUOUS Standing in the doorway is a man in casual college professor attire. He's nice-looking, but no Prince Charming. He shakes Lexi's hand and smiles warmly. [DAN] Hi. I'm Dan Paxton. Lexi shows him in. INT. ROBERTA'S BATHROOM - CONTINUOUS IN THE MIRROR - Roberta takes a last look at herself, wondering if he'll find her attractive. She touches her hair, adjusts her dress, then takes a deep breath as she builds up her courage. INT. ROBERTA'S BROWNSTONE - LIVING ROOM - CONTINUOUS Roberta enters the living room where Dan is chatting with Nick and Lexi. Dan sees her and is instantly smitten. [DAN] (shaking her hand) Wow. An honest woman. [ROBERTA] Honest? [DAN] Your ad. When you said you were beautiful, you were telling the truth. She smiles, blushing, and avoids eye contact with her sons who are trying really hard not to laugh. As she and Dan start to exit: [NICK] Make sure you're home by midnight, young lady. INT. ROBERTA'S BROWNSTONE - LIVING ROOM - NIGHT CLOSE ON CLOCK It reads 12:30. WIDER - Nick and Lexi play a video game on the TV screen. O.S., there's the SOUND OF A CAR. They race to the window. [LEXI] Ten bucks he tries to kiss her. [NICK] That's a no-brainer. Of course he'll try. The real question is whether she'll let him. [LEXI] O.K. -- ten bucks she lets him. [NICK] You're on. They stare out the window intently. INT. DAN'S CAR - NIGHT Dan pulls his car up in front of Roberta's house. Beside him, Roberta holds a program from a Lincoln Center concert. Roberta's tense, but Dan seems relaxed and centered in his attraction to her. [DAN] I had a lot of fun tonight. [ROBERTA] Yeah, I did too. [DAN] I have a confession -- I've never answered an ad before. I did it on a dare. [ROBERTA] Well, I have a confession -- my boys placed the ad behind my back. They both laugh, then smile at each other. An awkward beat: will he or won't he? Dan leans in to kiss her, and Roberta turns away, uncertain. [ROBERTA] Look, Dan -- I went along with this 'cause it's been a while. Quite a while... And I had a very nice time... but I'm not sure if I'm ready to get involved with anyone right now. A beat. Roberta feels badly about rejecting him. [DAN] (deadpan) Does this mean I don't get any lasagna? Roberta cracks up. Dan smiles at her. INT. ROBERTA'S BROWNSTONE - NIGHT Roberta enters. The boys are back to their video game, covering that they've been spying on her. [ROBERTA] Why are you guys still up? [NICK] (all innocence) Why? Is it late? [ROBERTA] Good try, Nick. [LEXI] So how was it? [ROBERTA] Well... he's nice. [NICK] "Nice"? As in "let's just be friends" nice? [ROBERTA] I don't know yet. We'll see. Nick looks disappointed. [NICK] There's still a lot more letters. [ROBERTA] Good night, Nick. She starts heading upstairs. [LEXI] Hey, Mom -- can you loan me ten dollars? INT. CPE 1 - MUSIC ROOM - DAY THE BLACKBOARD reads: SPRING CONCERT IN 10 DAYS! PRACTICE PRACTICE PRACTICE! Roberta rushes in, frazzled, not noticing at first that the beginners are very quiet -- and that most don't have violins. [ROBERTA] Guys, I'm so sorry -- I got stuck over at CPE 2... She puts her stuff down, then looks at the kids. [ROBERTA] What's going on? Where are all your violins? [RAMON] We heard you got fired. [ROBERTA] What?! EXT. HALLWAY - DAY Janet and Dennis talk outside Janet's office. Roberta storms over to them. Janet looks at her, alarmed. [ROBERTA] Is it true? [JANET] Why don't you come in my office? [ROBERTA] It's true? You're firing me? [JANET] It's not me, Roberta. The Board of Ed. cut the budget, the District had to comply, and as of the end of this term, the violin program has been... excessed. Roberta takes this in, momentarily speechless. In the b.g., the beginners slip into the hall to watch. [ROBERTA] Excessed. (beat) They specifically said that my violin program has to go. [JANET] They've slashed the budget -- music and art programs got hit the worst. [ROBERTA] What about Dennis' classes? [DENNIS] I'm tenured, Roberta. Roberta looks at him, then back to Janet. [ROBERTA] When was this decided? [JANET] Things happened very quickly... I wanted to tell you myself -- [ROBERTA] (reeling) I just... I can't even believe this is happening! [DENNIS] Why not? You're a sub. Your position has never been permanent. [JANET] Shut up, Dennis! You're not helping! (softly, to Roberta) Come into my office, please. They leave Dennis standing there, looking as if he's had his face slapped. INT. JANET WILLIAMS' OFFICE - CONTINUOUS [ROBERTA] There's gotta be a way to fight this! [JANET] Fight it with what? I don't have any other extra programs to give them instead. [ROBERTA] Oh, I see. So after ten years, after fourteen hundred children have learned to play the violin, this is just an "extra program." [JANET] You know I don't feel that way and you know damn well I've been standing by you all these years! You think I haven't noticed what you've done for these kids? [ROBERTA] Then do something! [JANET] (points to her phone) I've been on this phone for the past three days trying to "do something" -- the District office can't even stand the sound of my voice. Believe me, there are some people around here I'd much rather get rid of. But as far as the Board's concerned, violin classes are not a priority. Roberta's fury starts to give way to grief. She looks terribly wounded. Janet looks at her helplessly. [JANET] I don't have the power here, Roberta. I'm so sorry. A beat, and Roberta exits. EXT. SCHOOL YARD - DAY Roberta's dazed and in pain as she walks through the crowds of children, oblivious to kids calling her name and waving. INT. ROBERTA'S BROWNSTONE - DAY (LATE AFTERNOON) Nick and Lexi enter the darkened house, chatting as Nick wheels in the bike and Lexi bounces a basketball. They turn on a light to reveal [ROBERTA] sitting at the kitchen table with a glass of wine, her face ashen. [NICK] What happened? EXT. STREETS - DAY (LATE AFTERNOON) Roberta, Nick and Lexi walk Allegra in their neighborhood. Roberta looks worn out. [ROBERTA] I'm a good teacher. I've worked so hard to give these kids something to be proud of. Lexi moves to comfort her. [LEXI] I'm so sorry, Mom. I can't believe they did this to you. [ROBERTA] It's like when my father got killed. For twenty years, he followed every safety rule the factory had, and then someone else flips the wrong switch... (she chokes up) It's not fair. You do everything right and then... [NICK] It's the wrong analogy. You couldn't do anything about Grandpa's death. It was irreversible. This isn't. [ROBERTA] Tell that to the Board of Education. [NICK] Let me ask you something. Why did you risk your life for a bicycle? Roberta and Lexi look at Nick, baffled as to the relevance of the question. [ROBERTA] I did not risk my life. [NICK] Of course you did! That building? Threatening Henry? And for what -- two hundred dollars? [ROBERTA] No. Not for that. [LEXI] Then why? [ROBERTA] When someone steals something that belongs to my kids, I'm not gonna sit back and let that happen! A beat as she realizes what she's just said. The boys look at her and the three of them stop walking. [ROBERTA] Guys -- you need to think about this. If I try to fight this -- with no salary coming in -- I could lose the house, screw up your college plans... It would be a lot safer to just go out tomorrow and get a job in a private school. [LEXI] Yeah, but is that where you really want to be? INT. ROBERTA'S HOUSE - LIVING ROOM - NIGHT Roberta frantically searches through her purse, then crosses to a hall closet and quickly checks the pockets of her coats and jackets. She feels inside a jacket pocket, then finds it: DOROTHEA'S BUSINESS CARD. EXT. COLUMBIA UNIVERSITY - ESTABLISHING - DAY INT. COLUMBIA UNIVERSITY - DEPT. OF JOURNALISM - DAY FOLLOW DAN PAXTON as he walks down the hall towards his office and sees a strange silver object on the floor in front of his office door. He picks it up. INSERT -- A foil-covered plate with a note on top: DO YOU KNOW ANYONE AT THE NEW YORK TIMES? BACK TO SCENE Dan lifts up the foil to reveal a large piece of LASAGNA. INT. CPE 1 AUDITORIUM - THE CONCERT - STAGE - NIGHT SEVENTY-FIVE KIDS play "We Shall Overcome" and it's incredibly moving. Nick's on cello, Lexi plays piano. ROBERTA proudly leads the children. At the side of the stage, we see DOROTHEA photographing the concert. THE CAMERA PANS THE AUDIENCE of teary-eyed parents, many of them with CAM CORDERS. We FIND Ramon's family. Manuelo is riverted by his son's playing, and he starts to cry. Concepcion knows this without looking. She takes his hand. ANGLE - JANET stands along the side and her eyes start to fill with tears. She tries to stay composed, then discreetly exits the auditorium. The song ends and the audience APPLAUDS, rising from their seats, including ASSUNTA (now 65), next to ISABEL and DAN. Someone remains seated: a REPORTER (40's), sitting beside Dan and taking notes. The STUDENTS bow, then point to Roberta who bows and takes the stage. She gestures for people to sit. A beginner student brings her flowers. Roberta kisses her, then approaches the mike. [ROBERTA] (to the audience) The beautiful concert that you just heard could be the last concert of the East Harlem Violin Program. The Board of Education and the District Superintendent don't think that music is important for our children. But they're wrong -- and they're in for a fight. The parents stand and applaud. We see the REPORTER writing quickly. Dorothea snaps more pictures. Roberta extends an arm towards the kids, directing the applause at them. Ramon gives her a thumbs up. INT. ROBERTA'S BROWNSTONE - LIVING ROOM - NIGHT ROBERTA is vacuuming the living room while Assunta dusts. Extra chairs are set up in the living room in preparation for a meeting. The doorbell RINGS. [ROBERTA] Someone's early. FOLLOW ASSUNTA to the DOOR. She opens it, revealing JANET, who's carrying two bags of groceries. Assunta's demeanor instantly cools when she sees her. In the b.g. Roberta sees Janet and turns off the vacuum cleaner. [JANET] Hello, Assunta. How are you? [ASSUNTA] I'd be a lot better if my daughter had a job next year. [ROBERTA] Ma! [JANET] (to Assunta) I would too. Janet briskly walks into THE LIVING ROOM, puts the grocery bags down on a table, and begins to take things out of them. Roberta watches her, mystified. [JANET] (to Roberta) Sorry I'm early, but I figured we'd need time to set up. Roberta watches Janet for a beat, then addresses Assunta. [ROBERTA] Mama, why don't you take Allegra out for a walk? Assunta hesitates for a beat, then gets the dog and exits. Janet continues unpacking the bags as if there's nothing unusual about her being there. Cheeses, crackers, bread, salads, fruit, paper plates, napkins, etc. She sees Roberta's confused expression. [JANET] You are having a meeting here tonight, right? Parents and teachers? [ROBERTA] Well, yes, but ... [JANET] Take it from me. If you want to get parents to help you with something, you have to feed them. She holds up two wedges of cheese. [JANET] You have a cutting board for these? Roberta crosses into the kitchen and returns with a cutting board and a knife. [JANET] (as she continues to unpack) And if you think parents are bad, teachers are even worse, no offense. If you don't feed them, you never get anything extra out of them. That's why I got this. She pulls out an Entenmann's blackout cake. [JANET] Entenmann's gets them every time. Roberta continues to stare in amazement at Janet. [JANET] What? Don't tell me you expected me to bring something homemade. [ROBERTA] (as she takes the cake from her) Well, no... I -- [JANET] Good. Because take it from me -- my own family begs me to stay out of the kitchen. [ROBERTA] What I didn't expect was for you to be here. [JANET] Why not? We've gotta figure out a way to fight this. (as she arranges crackers on a plate) After ten years, Roberta, I can't imagine walking through those hallways and not hearing that off-key, screechy, scratchy, nails-on-the- blackboard violin music. Roberta smiles. Janet holds up a baguette. [JANET] What do you think? Cut it into slices now, or leave it whole? [ROBERTA] Let's cut it now. It'll be less messy. Janet hands her the bread. A beat as the two women exchange a private smile, then return to their respective tasks. INT. ROBERTA'S BROWNSTONE - NIGHT There's a crowd of PARENTS assembled in Roberta's front room, talking at once, yelling out ideas, including CONCEPCION, BEVERLY WILSON (Shandra's mom), MR. ADAMS (Black) and MRS. ADAMS (Puerto Rican), the parents of James (from Roberta's first year) and Simon. DOROTHEA, JANET, ISABEL are also there; ASSUNTA is keeping tabs on the refreshments. [ISABEL] Don't they realize how much this program helps the kids? [MR. ADAMS] Simon's our third child to study with Roberta. James is pre-med, April's valedictorian -- now that says something! [MR. KLEIN] I think we should inundate the Board and the District with letters. [JANET] You're wasting your time. The Board and the District are not gonna pay for this program, no matter how many letters they get. Disappointed grumblings. [ISABEL] What if we raise the money ourselves? [JANET] I can't see how they'd object to that. A beat as people take this in. [CONCEPCION] Well once that newspaper article comes out, that should help bring in money. [BEVERLY] Yeah, but what if it doesn't? For all we know, it's gonna be buried on the back page. Besides, who says anyone's gonna give a damn about our kids? [DOROTHEA] (to Roberta) What if you do a benefit concert? We can raise a batch of money from ticket sales, and then the concert itself could be great publicity. There's word of mouth... you could get reviewed... [ROBERTA] It better be a good concert! Some people laugh but we see the anxiety on Roberta's face. [ROBERTA] We have to offer something more than me and the kids. (to Dorothea) Do you think maybe your husband would perform with us? [DOROTHEA] (slyly) I'm sure I could persuade him with a little pillow talk. And maybe he can get another violinist too -- Itzhak Perlman, perhaps. This gets people's attention. [ROBERTA] That would be fantastic. [DOROTHEA] We could rent a place like the 92nd Street Y -- it's perfect for this. It seats about nine hundred people and if we charge between fifty and a hundred a ticket -- [ISABEL] (to Roberta) We could probably raise enough to reinstate your program for a year. [JANET] Sounds like a plan. [ROBERTA] (half to herself) It better be a good concert. The DOORBELL RINGS and Roberta crosses to get it. DAN enters, holding copies of the NY POST, the DAILY NEWS, and a couple of other papers. Each paper has been opened to a specific page. [DAN] Take your pick. Roberta grabs the top one -- the POST -- opened to page 5. INSERT The page has a photo of Roberta at the Spring Concert, and a large article headlined A VIOLIN TEACHER FIGHTS BACK. INT. MUSIC ROOM - DAY Lots of chaos as a TELEVISION NEWS CREW sets up. Roberta tries futilely to get the beginners to pay attention to her. [ROBERTA] Kids, listen to me -- it's really important that you don't look at the camera and you try to act as natural as possible. Dennis storms in. [DENNIS] Who authorized this? [ROBERTA] Janet. [DENNIS] Well Janet's not here today and I want these people out of here. The kids quiet down and watch them argue. A CAMERA GUY starts shooting the argument and Dennis sees him. [DENNIS] Turn that off, you hear me? [ROBERTA] Why are you doing this? We're not bothering anyone. [DENNIS] You're disrupting school and I want them out of here -- now. [ROBERTA] You still don't get it, do you? I don't care if you hate me, Dennis -- that's your business. But think about the students for once. Every time you interfere, you're not hurting me -- you're hurting them. She points to the kids. They're silent, waiting to see if Roberta got through to him. A beat. [DENNIS] Get these people out of here or I'm calling the police. [ROBERTA] Go right ahead, call them. That'll look real good on the eleven o'clock news. A beat and he exits. Roberta takes a deep breath, then turns back to the kids who are watching her, impressed. [RAMON] I don't hear no sirens. INT. ROBERTA'S BROWNSTONE - LIVING ROOM - NIGHT ON THE TV is the news segment: ROBERTA speaks to an unseen interviewer. [ROBERTA] I'm from a blue collar family, and if it weren't for the lessons I got in public school, I never would have learned the violin. It CUTS TO Roberta's beginners speaking to the interviewer. [INTERVIEWER (O.S.)] How does it make you feel to lose your violin program? [SHANDRA] It makes us sad! [RAMON] Yeah, like we're never gonna have no more violin lessons -- [VANESSA] And it's bad because... because we love violin class. WIDER - REVEAL Roberta, Lexi and Nick watching the TV. INT. ARNOLD STEINHARDT AND DOROTHEA'S APARTMENT - NIGHT ON TV - THE SAME NEWS SEGMENT, ANOTHER SOUND BITE [ROBERTA] Yes, I've gotten offers from two private schools, but this is where I want to be. [DOROTHEA (O.S.)] Arnold, these kids need help. WIDER - REVEAL a comfortable Upper East Side apartment and DOROTHEA watching T.V. while ARNOLD practices violin. There's FRAMED PHOTOGRAPHY on the walls, signed by Dorothea. [ARNOLD] Didn't we send them a donation? [DOROTHEA] They need something bigger. And you can't just write a check -- you have to get involved. [ARNOLD] Involved how? The look on her face tells him it's more than he bargained for. [ARNOLD] Uh-oh. INT. SERIES OF SHOTS - DAY 1. Arnold Steinhardt speaks on the phone. His Roladex is open to the name ITZHAK PERLMAN. In the b.g., Dorothea tensely waits to hear if Itzhak Perlman will say yes. 2. Parents, Roberta, Nick and Lexi hang "FIDDLEFEST CONCERT" posters around their neighborhood, announcing a concert at THE 92ND STREET Y with ARNOLD STEINHARDT, ITZHAK PERLMAN and STUDENTS FROM THE EAST HARLEM VIOLIN PROGRAM. 3. Parents -- including Beverly Wilson, Concepcion, Mr. Adams and Carlos' mom and dad -- stuff envelopes with INVITATIONS to "FIDDLEFEST" and accompanying LETTERS and TICKET ORDER FORMS. Roberta and Dorothea open envelopes with filled-out TICKET ORDER FORMS and CHECKS. They stack the checks in a pile, address return envelopes and place FIDDLEFEST TICKETS inside them. INT. MUSIC ROOM - DAY Thirty-three excited kids from Roberta's different classes chat, tune their violins, rosin their bows. The students include Carlos, Stephanie, Amanda, Kenny, Rachel, Simon, Ramon, Vanessa, and Shandra. Roberta enters the room, full of energy, and addresses them as she heads to the front. [ROBERTA] Listen up, everyone! Quiet down! The students give her their attention. [ROBERTA] You are my very best beginner and advanced violin students and I've chosen you to play in Fiddlefest because I trust that you can handle the pressure. It's gonna be a lot of work -- a lot. Right now, we've sold some tickets, but I'm not gonna be back here in the fall if the audience storms out of their seats, demanding a refund! She nods to Rachel who starts handing out sheets of music. [ROBERTA] Rachel's gonna be my lieutenant and I expect you to listen to her. Ramon looks through his music sheets. [RAMON] Bach's "Minuet One"? [ROBERTA] People are gonna be paying good money for this concert -- we're not just gonna play "Twinkle." (handing out papers) I'm passing out a contract that you and your parents need to sign. The kids read the contracts. Carlos' eyes widen. [CARLOS] Every Saturday and Sunday? [ROBERTA] Plus night time rehearsals during the week. There's only six weeks till the concert, so classes in school won't be enough. The kids look sobered by this. [ROBERTA] Come to think of it, we'll probably also need to meet before school. Lots of grumbling: "Say what?" "No way!" "Before school?" I'ma be sleepwalking!" [ROBERTA] You've heard of Navy Seal Training? Well, this is gonna be Roberta String Training. ANOTHER ANGLE - Two young men and two young women walk in, carrying violins. We realize from the scar that one is NAEEM (20), now a strikingly handsome man, over six feet tall. With him is DE SEAN (19), a short guy with dreadlocks, looking more like a rapper than a violinist. GUADALUPE (19), walking with a cane, is now a beautiful young woman, her long braid pinned up. The fourth is a reserved Puerto Rican woman (20). [ROBERTA] Oh my god! Naeem! De Sean! (hugs them) Guadalupe! She hugs her, then looks closely at the other woman. [ROBERTA] Lucy? Is that you? The woman snaps her fingers and smiles. Roberta laughs and embraces her, then turns to the students. [ROBERTA] Kids, these are four of my very first violin students and I've asked them to play in the concert with us. (to the alumni) I was just telling them how hard they're gonna have to work. [DE SEAN] (to class) Take it from me -- this lady don't lie. Y'all are gonna work your butts off. INT. RAMON'S HOUSE - NIGHT Ramon's father carefully reads the violin contract while Ramon and Concepcion anxiously watch. He stops to look up a word in the English-Spanish dictionary beside him. Ramon and his mom are squirming. Manuelo nods as he finishes reading, then SIGNS the contract. Ramon breaks into a smile, throws his little arms around his Papa and kisses him. EXT. RIVER EAST - DAY School's letting out; Carlos' sister exits, carrying Carlos' violin. A few beats later, Carlos quickly exits, checking his watch. He sees his LOS LEONES teammates standing in a group, and tries to bypass them without being noticed, but they spot him. [TEAMMATE #1] Hey Carlos! Where ya goin'? We got a game, remember? [CARLOS] Yeah, I know, but... I can't make it. [TEAMMATE #1] What you talkin' about? [CARLOS] I just can't make it. [TEAMMATE #2] You got a date with the violin teacher? A beat. [CARLOS] Yeah. I do. He dashes off, a barrage of Spanish and English curses behind him, and crosses to his sister, waiting for him DOWN THE STREET. He takes the violin from her and carries it himself. INT. CPE MUSIC ROOM - DAY The Fiddlefest kids, including Carlos, Vanessa, Shandra, Ramon, Stephanie, Amanda, Kenny, Simon, Thomas, De Sean and Guadalupe practice Bach's "Minuet One," Roberta leading them and giving direction. They're playing badly. Rachel plays as well, but walks around the room making corrections. It's early morning, and the kids look half- asleep. [ROBERTA] Frog! Frog! I need more accents on the down beat! More bow! More! They play a few more bars and still sound pretty bad. [ROBERTA] Stop! Stop! (they do so) You sound horrible! Isn't anyone practicing? [CARLOS] How can we practice? We're rehearsing all the time. Some kids laugh, including Stephanie. [ROBERTA] (to Stephanie) You think this is funny, Stephanie? (to all of them) You think the four hundred people who've bought tickets so far will think it's funny too? You think Itzhak Perlman will think it's funny that he's donating his time and you're all gonna stink? Vanessa yawns and Roberta sees her. Uh-oh. [ROBERTA] Am I boring you, Vanessa? [VANESSA] No. It's 7:30 in the morning. I'm just tired. [ROBERTA] There's no time to be tired. (to all, getting her violin in position) Let's try it again. INT. ARNOLD AND DOROTHEA'S APARTMENT - DAY Dorothea opens the door for Roberta who just charges in, agitated, without even saying hello. We sense that Dorothea too, is troubled by something. [ROBERTA] I must have been crazy to agree to this. They're never gonna be ready. And you should hear the Bach Double! A disaster. So the good news is tickets are selling like hot cakes, but the bad news is that the kids sound like shit. [DOROTHEA] There's more bad news... We've lost the Y. Roberta looks at her, aghast. [ROBERTA] What?! [DOROTHEA] They had a flood -- a water heater burst... The concert hall was damaged and they've cancelled all events. [ROBERTA] Until when? [DOROTHEA] "Until further notice." [ROBERTA] This can't happen! We've sold tickets! We've done publicity! The concert's in three weeks! [DOROTHEA] I've been on the phone all morning calling other theaters. Nothing's available. They both sink into the couch, completely undone by this. [ROBERTA] Just keep looking. INT. ROBERTA'S BROWNSTONE - NIGHT The Fiddlefest kids are crammed into Roberta's house, (including De Sean, Guadalupe, Ramon, Vanessa, Shandra, Carlos, Thomas, Stephanie, Amanda, Kenny, and Simon), rehearsing "Orange Blossom Special." They play badly. Rachel helps Roberta correct students. [ROBERTA] Stop! Someone's playing the wrong notes! And you shouldn't need your music anymore! Except for the Bach Double, everything has to be memorized by next rehearsal! The kids look at each other, daunted. [ROBERTA] And you sound like you're sleepwalking. Your heart's not even in it. [VANESSA] Maybe 'cause we don't have a place for the concert. Roberta looks at her, and then notices the despondent looks on many of the kids' faces. [ROBERTA] Well, you're right. This might all be for nothing. So we can either keep on rehearsing in case we find a place -- or we can just... give up. [DE SEAN] Am I hearing right? Did you use the words "give up"? (to the students) Let's take a vote. How many of you want to give up? No one raises a hand. Roberta takes this in. [GUADALUPE] See? You taught us well. INT. ROBERTA'S BROWNSTONE - KITCHEN - DAY It's early morning. Lexi cooks breakfast while Nick and Roberta look at scribbled-on, marked-up lists. [ROBERTA] What about in the Bronx? [NICK] There's nothing. (beat) Why don't you just do it in one of the schools? It'll be a lot smaller but -- [ROBERTA] We won't make enough money. [LEXI] What about postponing it? [ROBERTA] Itzhak and Arnold are booked all summer. They all look depressed. Lexi places an equally depressing- looking stack of pancakes on the table. There's a BANGING on the door, startling everyone. [DOROTHEA (O.S.)] It's Dorothea. Nick opens the door and Dorothea rushes in, out of breath, talking a mile a minute. [DOROTHEA] I have good news -- really good news. Arnold got a call from his friend Wally Scheur who heard about us losing the Y and wanted to see how he could help -- and then Wally had this brilliant idea and called his friend Isaac Stern and it's all arranged! We have a new place for Fiddlefest! [ROBERTA] Where? [DOROTHEA] Carnegie Hall. Dorothea grins from ear to ear, Nick and Lexi whoop and holler, and all wait for Roberta to jump up and down for joy -- but she looks stricken. [ROBERTA] (panicked) Carnegie Hall? INT. CARNEGIE HALL - DAY CLOSE ON THE CEILING OF CARNEGIE HALL, revolving slowly. PULL BACK TO REVEAL THIS IS ROBERTA'S POV She stands on the empty stage, gazing at the ceiling as she slowly turns around. She's holding her violin case. She looks at the UPPER BALCONIES -- THE LOWER BALCONIES -- THE ORCHESTRA SEATS. Her footsteps echo as she walks towards the front of the stage, then stops. CLOSE ON ROBERTA We can see her imagining the audience on the night of the concert. She can't believe her eyes. A beat, and she looks around to make sure she's alone. She takes out her violin, takes a deep breath as she looks out towards her "audience," then starts to play the second violin part of the Bach Double Concerto. Suddenly, there's the SOUND of a stage door opening. Roberta stops. [MALE VOICE (O.S.)] Incredible sound in this room, no? Roberta turns to see ISAAC STERN approaching her. She's completely flustered. [ROBERTA] Oh my god -- Isaac Stern. [ISAAC STERN] You must be Roberta. [ROBERTA] Thank you so much for helping us. [ISAAC STERN] (looking out at the hall) Would you believe in 1960, they tried to tear this place down? They wanted to replace it with a bright red skyscraper -- we called it "the red terror." [ROBERTA] You're kidding. [ISAAC STERN] We had to fight like hell, but with a lot of help, we saved Carnegie Hall. Roberta takes this in, relating it to her own struggle. [ISAAC STERN] If it's all right with you, I'd like to play in your concert. Maybe bring a couple of friends... [ROBERTA] Yes, of course! That would be great! Isaac nods, then touches her shoulder. [ISAAC STERN] Don't give up. EXT. SIDEWALK CAFE, UPPER WEST SIDE - DAY Roberta pours nervous energy into her cappuccino, adding cinnamon, chocolate, and sugar, stirring loudly. Dan sits across from her, observing. [ROBERTA] I just don't see how I'm gonna do this. It's huge. It's gigantic! It's Carnegie Hall! And listen to this: now Isaac Stern wants to play with us -- Diane Monroe, Michael Tree -- there's other people calling -- [DAN] That's fantastic! [ROBERTA] Fantastic? I'll never get the kids up to speed in time, I'll never get myself up to speed. I'm gonna be playing side by side with the world's greatest violinists. [DAN] And "the world's greatest violinists" are playing side by side with you because they want to help you win this fight. He offers her a forkful of some decadent-looking chocolate cake, but she shakes her head. [ROBERTA] Yes, but... you don't understand. Maybe there's a good reason why I never made it as a violinist -- maybe I just can't cut it. I keep blaming it on not having enough early training, but if I were talented, if I had a gift -- [DAN] But you do have a gift. You're gonna put thirty East Harlem kids on stage at Carnegie Hall not because they're prodigies, but because you got them to stick with something that's hard as hell and to strive for excellence -- which, by the way, I certainly wasn't striving for when I was their age. Not to mention the other ten years' worth of students whose lives were changed because of you. That's your talent, Roberta. She takes this in, looks at him gratefully and puts her hand over his. He strokes her hand. [ROBERTA] I'm scared. [DAN] I know. (beat) And by the way, I happen to think you're a pretty good violinist too. [ROBERTA] You've barely heard me play. [DAN] I've heard enough to know you're gonna do just fine. Roberta looks at him with trepidation. Dan takes another forkful of his cake. [DAN] Besides, no one's gonna be paying attention to your playing anyway. Roberta laughs. Dan smiles, glad he got her to lighten up. EXT. CPE 1 - DAY (EARLY MORNING) The Fiddlefest kids (including Ramon, Shandra, Vanessa, De Sean, Naeem, Guadalupe, Lucy, Simon, Stephanie, Amanda and Kenny -- but RACHEL is absent) stand outside the locked school gate, waiting for Roberta. Some of the kids have their violins out of the cases, tuning them. [CARLOS] Teacher's late. I think she should be dropped, don't you? Kids laugh. [RAMON] Yeah. I don't think we should let her play in Fiddlefest! A few kids start playing "CAN-CAN." It catches on, and more of them join in. PASSERSBY stop to listen, and some drop change into the open cases. RAMON and a couple of other kids grin at this. CARLOS steps in front of the kids as he plays, and begins an uncanny imitation of Roberta: [CARLOS] More bow! To the frog! You sound terrible! I can't believe how terrible you sound! The kids crack up, but a few spot ROBERTA heading quickly up the street. Carlos is oblivious to this -- and no one signals him that Roberta's watching. [CARLOS] You're gonna make everyone in Carnegie Hall sick to their stomachs! That's right, they're gonna pay a thousand dollars a ticket and you're gonna make them throw up on their gowns and tuxedos! Carlos senses a presence and turns to see Roberta. A tense beat as he awaits her reaction. [ROBERTA] (in all seriousness) If you're gonna imitate me, do it right. (corrects his posture) Shoulders back. Violin higher. Check your feet. There. (beat) G'head, Carlos. Continue. Carlos freezes. [CARLOS] No, that's O.K. You can take it from here. Roberta nods, and addresses the kids as she unlocks the gate. [ROBERTA] He's right, by the way. You do sound terrible, and you are gonna make everyone in Carnegie Hall sick to their stomachs. The kids start filing in. Rachel comes up the street and catches up to Roberta. [RACHEL] I need to talk to you. Roberta sees how distressed Rachel looks. [ROBERTA] (to kids) I'll be right in. Start on Minuet One. (to Rachel) What's wrong? [RACHEL] We're moving away. [ROBERTA] What? Where are you moving? [RACHEL] (looking downward) It's a secret... My father... he's been hurting my mom... We have to leave. [ROBERTA] (gently) Has he been hurting you too? Rachel shakes her head no, then starts to cry a little. [RACHEL] I'm sorry about Julliard... and the concert. She hands Roberta her violin. [ROBERTA] Keep it. Take it with you. [RACHEL] No... I don't want to play anymore. [ROBERTA] What?! You can't give up violin, Rachel -- it's a part of you. A very important part. Rachel looks anguished. Roberta moves closer and touches her arm. [ROBERTA] Please honey. Just take it. [RACHEL] I don't want to. Roberta looks at her, pained, then hugs her. Rachel quickly kisses Roberta goodbye and exits. Roberta watches her. INT. CPE 1 - MUSIC ROOM - A LITTLE LATER Roberta leads De Sean, Naeem, Guadalupe, Lucy, Stephanie, Thomas, Carlos, Erica and Nicholas in the Bach Double Concerto. The other kids watch. Roberta's on the edge of hysteria. She signals the players to stop. [ROBERTA] No, no, no! Accent the up bow after the slurred notes and then it'll get you off of those slurred notes! You Double Concerto kids need to be working harder! This is the grand finale of the concert! You're each gonna be sharing a music stand with one of the world's greatest violinists! The kids say "the world's greatest violinists" along with her -- they've obviously been hearing this a lot. Roberta glares at them. [ROBERTA] I think we should forget the Bach Double. (to the other kids) And you guys are never gonna get Minuet One. I think we should drop that too. [VANESSA] No! We can do it, Roberta! [CARLOS] And we'll get the Bach Double. We will. She stops, takes a breath. [NAEEM] It's gonna be O.K., Roberta. [ROBERTA] (vulnerable) You think? All the kids nod. A few beats. [ROBERTA] O.K... (not believing it) It's gonna be O.K. She crosses to take a look at her music, and the kids exchange looks that say, "Oh shit. What did we just promise?" REHEARSAL MONTAGE - SERIES OF SHOTS - DAY 1. Carlos practices violin against the fence around River East School. In the b. g., his buddies make fun of him. 2. Shandra practices in a school stairwell, ignoring a boy who pulls one of her braids as he passes by. 3. Stephanie practices at a bus stop, her eyes closed, then looks up and realizes she's just missed her bus. 4. Ramon practices in his living room, his father watching attentively, then helping him lift the violin higher. 5. Vanessa practices in a crowded school hallway, frustrated as kids keep bumping into her. 6. Roberta, in her nightgown, practices in front of her refrigerator in the middle of the night. INT. ROBERTA'S BROWNSTONE - DAY (LATE AFTERNOON) Pandemonium. Nick and Lexi, both in tuxes, are doing several tasks at once while Roberta, in a simple black velvet dress and stockinged feet, tries to put on her makeup but keeps poking her head out of the bathroom, giving orders. Allegra BARKS outside the back door. [ROBERTA] Nick -- did you feed Allegra? [NICK] (fixing Lexi's tie) Yes, Mom. [ROBERTA] Lexi, can you make sure the charts are still in my bag? [LEXI] I already checked, Mom. [ROBERTA (O.S.)] Check again, please. And look for my repair kit too. ASSUNTA descends the staircase, dressed in a formal dress. She holds a small jewelry box and heads for the bathroom. [ASSUNTA] Bert, which earrings you want? Roberta sticks her head out and picks the earrings. Assunta enters the small bathroom to work on her own makeup. [ROBERTA] Nick? Get two more violins. [NICK] You've already got two -- how many emergencies can there be? A beat. [ROBERTA] Get three more. And make sure a couple of them are half-size. Nick rolls his eyes and runs upstairs while Lexi organizes things by the door: Nick's cello, Roberta's papers, extra violins. Roberta rushes out of the bathroom, adjusting the earrings. She starts compulsively straightening the house. [ROBERTA] Lexi -- can you call about the car again? [LEXI] Mom, they're not gonna forget to send a car! Nick comes running down the stairs with the violins and stares in disbelief at Roberta fluffing a couch pillow. [NICK] What are you doing? [ROBERTA] Just straightening a little. [NICK] You're insane, you know that? (grabs the pillow) Finish getting dressed! He throws the pillow onto the couch. Roberta heads upstairs. INT. CARLOS' ROOM - DAY IN THE MIRROR - Carlos adjusts his tuxedo. We see the reflection of his baseball bat, glove and trophies in the room behind him. INT. GUADALUPE'S ROOM - DAY Guadalupe's mom pins up her braid, then steps back to look at her daughter, radiant in a floral gown. Her mom starts to cry. INT. SHANDRA'S ROOM - DAY Beverly puts rhinestone-studded barrettes in Shandra's hair. INT. RAMON'S ROOM - DAY ON RAMON - He's in a sharp black suit and looks very dapper. WIDER - Manuelo and Concepcion stand back to admire him, then Manuelo straightens Ramon's tie, brimming with pride over his son. INT. ROBERTA'S BROWNSTONE - FRONT ROOM - DAY [ROBERTA (O.S.)] SHIT! Nick and Assunta look towards the stairs. Roberta comes running down. [ROBERTA] Can you believe this? She turns around, revealing a RIP on the back of the dress, next to the zipper. The DOORBELL RINGS. [ROBERTA] It can't be time! Is it time? [ASSUNTA] I'll sew it in the car. EXT. ROBERTA'S BROWNSTONE - DAY Roberta, Assunta and the boys step outside, amazed to see a STRETCH LIMOUSINE double-parked in front, a CHAUFFEUR waiting. [LEXI] See? I told you they'd send a car. Roberta's open-mouthed. She leads her entourage towards the limo. THE NEIGHBORS come out of their houses to watch. Some lean out windows, gawking. Ad libs... "Who's that?" "It's the Violin Lady!" LAWRENCE, dressed in a tux, gives Lexi a high sign. The chauffeur helps Roberta and Assunta into the limo while Nick and Lexi start to load the instruments into the trunk. INT. LIMOUSINE - CONTINUOUS Roberta sits down beside Assunta and turns around so Assunta can mend the tear in her dress. Assunta partially unzips the dress and starts stitching it from the inside. [ROBERTA] Thank you, Mama. [ASSUNTA] Don't worry about it. You rip -- I sew. [ROBERTA] Not just for that. (beat) Thank you for getting me out of bed. Assunta stitches, remembering, and smiles. [ASSUNTA] Don't thank me -- thank Charles. [ROBERTA] Charles?! [ASSUNTA] If that jerk hadn't of left you, none of this would've happened. Roberta contemplates this. A beat. [ROBERTA] Thank you, Charles. Her last stitch finished, Assunta rips the needle from the thread. EXT. CARNEGIE HALL - ESTABLISHING - DUSK INT. CARNEGIE HALL - BACK STAGE - NIGHT The kids and their parents are practically boiling over with excitement. Last minute kisses, violin tunings, and clothing adjustments take place throughout the room. The boys are in suits or tuxes, the girls in velvet or flowered dresses, some with bows in their hair, some with their hair up in buns. Roberta tries to take a head count, Dorothea confers with a stage manager, Assunta fixes a boy's tie, and Janet helps one girl with her hair, stopping in the middle to button the back of another girl's dress. [ROBERTA] Where's Vanessa? Has anyone seen Vanessa? Janet looks at her, concerned. [JANET] I'll call her house. ANGLE - Roberta sees MRS. ADISA enter the room with Naeem. The two women walk towards each other and embrace. As they start to chat, Roberta suddenly sees someone and excuses herself: BRIAN is walking towards her, wearing a tux. They smile at each other, but Roberta's clearly a bit shaken to see him. They're not quite sure how to greet each other -- he takes her hand, and then kisses her on the cheek. [BRIAN] Congratulations. [ROBERTA] Thank you... [BRIAN] I knew you'd get here sooner or later. I'm glad I'm here to see it. A beat. [ROBERTA] I am too. INT. CARNEGIE HALL - BACKSTAGE WINGS AREA - NIGHT Guadalupe shyly approaches Itzhak Perlman, her mother behind her, silently encouraging her. [GUADALUPE] Excuse me, Mr. Perlman? He turns around. [GUADALUPE] (extends a hand) I'm Guadalupe. I've wanted to meet you for a long time. He smiles at her and they shake hands. [ITZHAK PERLMAN] A pleasure to meet you, Guadalupe. As Guadalupe introduces him to her mother, CARLOS approaches. [CARLOS] You nervous, Mr. Perlman? [ITZHAK PERLMAN] Should I be? [CARLOS] Us kids are gonna be great -- I don't know about you guys. How much did you practice? Itzhak Perlman laughs. INT. CARNEGIE HALL - BACK STAGE - NIGHT Roberta talks to Janet with a worried expression. [ROBERTA] You called Vanessa's father and mother? [JANET] No answer at either. A Carnegie Hall staff person in a suit enters. [STAFF PERSON] Half hour call! It's now half hour call! So pace yourself accordingly. Don't get more than thirty minutes worth of nervous! The room electrifies with nerves. VANESSA rushes into the room with her father. She's out of breath, her stocking has a big run in it, and she's in tears. [VANESSA] They stole the car! [MR. KLEIN] With the violin. [ROBERTA] Oh my God. (calling) Nick, Lexi -- [NICK] Done. The boys rush over to the extra violins and look to find the right size. [VANESSA] (crying) And then when we were getting a taxi, I fell down. Roberta comforts her and Janet moves in. [JANET] C'mon honey -- let's get you cleaned up. ANGLE - DAN enters with a bouquet of long-stemmed red roses. He's in a tux and looks very handsome. He crosses to Roberta, hands her the flowers, and they hug. [DAN] You're glowing. [ROBERTA] It's terror. INT. CARNEGIE HALL - NIGHT The hall is filling to capacity as people take their seats, the room buzzing with voices. INT. CARNEGIE HALL - BACKSTAGE - NIGHT The CARNEGIE HALL staff person enters. [STAFF PERSON] FIVE MINUTE CALL. WE NOW HAVE FIVE MINUTES. The tension in the room shoots sky high. INT. CARNEGIE HALL - STAGE - PODIUM - NIGHT Janet stands onstage and addresses the audience. [JANET] When I became the principal of Central Park East Elementary, I envisioned a school where children could fulfill their highest potential, despite the challenges of poverty and racism. Ten years ago, Roberta Guaspari walked into my office because she needed a job, and because she had a vision that any child could learn the violin. We put our dreams together and created the East Harlem Violin Program which has helped more than a thousand students expand their vision of what's possible in their lives. When a program like this is cut, our children's future is compromised. I want to thank you for your support. Enjoy the concert. INT. CARNEGIE HALL - BACKSTAGE - NIGHT In the b.g. we hear the audience APPLAUDING Janet. Roberta holds up her hands to quiet down the anxious students. [ROBERTA] Everyone -- attention please! They become quiet. [ROBERTA] I want you all to take a second just to breathe, O.K.? Deep breath. The kids breathe. [ROBERTA] I would like you all to play with your heart, all right? Play like I know you can play. You'll be wonderful. Watch me, don't look out in the audience -- you don't need to be afraid. It's gonna be really wonderful. So play -- play from here. She pats her heart. INT. CARNEGIE HALL - BACKSTAGE CORRIDOR - NIGHT The kids head out towards the stage, the APPLAUSE getting louder as they get closer. INT. CARNEGIE HALL - STAGE - NIGHT CRANE SHOT of the children on stage, in their positions. REVERSE SHOT - FOUR FILLED BALCONIES BACK TO THE STAGE Some of the kids look awestruck by the audience; one subtly waves hi to her family. Roberta walks out to APPLAUSE. She bows to the audience, turns to the kids, signals them with a slight nod and the BACH MINUET ONE begins. We've heard it in all phases, and now it is flawless. PAN the STUDENTS watching her: VANESSA, wearing a corsage; SIMON in his red bow tie; SHANDRA in black velvet with pearls; NAEEM standing proud and tall, DE SEAN in dreadlocks and a tux; RAMON playing from his heart... INT. CARNEGIE HALL - BACK STAGE - CONTINUOUS Isaac Stern, Itzhak Perlman, Michael Tree, Arnold Steinhardt, Diane Monroe, Karen Briggs and Mark O'Connor wait back stage, chatting and listening to the kids. INT. CARNEGIE HALL - THE STAGE - MOMENTS LATER The students finish MINUET ONE. There's an exquisite moment of silence, then APPLAUSE. INT. CARNEGIE HALL - THE STAGE - LATER Country fiddler MARK O'CONNOR plays ORANGE BLOSSOM SPECIAL with the kids. He improvises, surprising them as his violin makes the sound of a TRAIN moving through a tunnel. RAMON smiles, awed by this -- but he remains calm and professional. INT. CARNEGIE HALL - BACK STAGE CORRIDOR - LATER As the guest violinists head for the stage, we hear their names over a mike, mixed with APPLAUSE: [MALE VOICE (V.O.)] Isaac Stern, Itzhak Perlman, Arnold Steinhardt, Diane Monroe, Michael Tree, Mark O'Connor and Karen Briggs. INT. CARNEGIE HALL - STAGE - MOMENTS LATER CRANE SHOT of the six guest violinists on stage for the Grand Finale, each one sharing a music stand with a student. Roberta nods, and they begin THE BACH DOUBLE CONCERTO. She turns to face the audience as she joins them. MOVE IN AND PAN the performers and students: NAAEM shares a stand with ARNOLD STEINHARDT; ISAAC STERN stands and plays with GUADALUPE, sitting beside him; ITZHAK PERLMAN sits and plays next to CARLOS, standing beside him; MICHAEL TREE plays beside DE SEAN; DIANE MONROE plays beside LUCY; KAREN BRIGGS plays beside THOMAS, and MARK O'CONNOR plays beside STEPHANIE. NICK plays cello; LEXI plays the piano behind them; and, playing with her own solo music stand, ROBERTA. Their expressions are serious and passionate, broken by occasional smiles lighting on faces: Isaac Stern... Lucy... Carlos... Itzhak Perlman... Diane Monroe... De Sean. The song finishes and the APPLAUSE begins. The OTHER FIDDLEFEST PLAYERS come out from back stage, RAMON in front, and join the rest. More applause. The CAMERA PULLS BACK TO INCLUDE the audience facing the stage, then REVERSES to show the audience standing in the orchestra and balconies. We see the students' PARENTS; JANET, ISABEL and their families; ASSUNTA, LAWRENCE and DOROTHEA; DAN; CONCEPCION, MANUELO and their sons; BRIAN; and DENNIS -- even he can't stop himself from applauding. BACK AGAIN to the stage where the students and guest violinists bow... and MOVE IN CLOSER on ROBERTA in her moment of triumph. INT. CARNEGIE HALL - STAGE - PODIUM - MOMENTS LATER Roberta addresses the audience. Her voice is strong but softer around the edges; she is a woman in a state of grace. [ROBERTA] We're all here tonight because we have a bigger mission: to take the magical spirit of tonight's concert with us out into the world, and to fight for music and art to be a part of every child's education. Thank you. The APPLAUSE is DEAFENING, then slowly diminishes as we: DISSOLVE TO: INT. CPE 1 - MUSIC CLASSROOM - DAY Roberta addresses ten first-graders sitting in a circle on the floor. She points to the horsehair on her bow. [ROBERTA] And this? What's this? [BOY] The frog hair? Roberta and the kids laugh. [ROBERTA] Did you ever see a frog with hair? The boy smiles and shakes his head. [A FEW KIDS] It's horsehair! [ROBERTA] That's right. (to the boy) But you're right, there is a frog. Can you show me where it is? One girl raises her hand with urgency. [GIRL] Ooh! I know! [ROBERTA] Sssh -- let him answer. The boy points to the frog of the bow and Roberta smiles. And as she continues her lesson, her voice recedes and we: FADE OUT: THE END CRAWL: Roberta Guaspari lives in East Harlem with her daughter Sofia, whom she adopted from El Salvador. Nick is a professional cellist in a graduate music program, and Alexi has been accepted to medical school. Roberta teaches violin to approximately 150 students a year in three East Harlem elementary schools. The East Harlem Violin Program, however, is still not funded by the New York City Board of Education. The money raised from Fiddlefest supported Roberta's violin program for three years. Roberta and Opus 118 continue their fundraising efforts to keep the program alive.

{"title": "Music of the Heart (Fifty Violins)"}

dailyscript

ACT ONE FADE IN RENO - NIGHT - ESTABLISHING - STOCK EXT. ND HOTEL - NIGHT - STOCK INT. CASINO - NIGHT - STOCK Should be maximum up-key. CLOSE ON CRAP TABLE (TO MATCH) Action at the table, loud music from the lounge, Charles Acton, fifty-five, graying temples, handsome and distinguished is on a roll. Quite appropriately standing next to him as if completing an ad for Gentleman's Quarterly, a woman wearing both furs and jewelry, none of which she'd need to be the centerpiece for the entire room. She is Tanya Walker. She looks at her watch discreetly as Charles clenches his fist in conservative jubilance. CROUPIER Seven the winner. A stack of hundred dollar checks is pushed at Charles and he modestly picks them up and places them in a chip holder already packed. He is having a very lucky night. [CHARLES] I can't seem to lose tonight. [TANYA] Don't say that. It could lead to bad luck. [CHARLES] I don't believe in luck. As Acton turns to look back at the game, Tanya's eyes drift to Wilson, a husky man in a three-piece suit standing to the back of the gallery. He is chief of security for Consolidated Chemical Corporation, something we might deduce as we push in to a small earpiece with an inconspicuous, flesh-colored wire leading down into his suit. He lifts a hand to the earpiece, which brings his watch up into proximity to his mouth. When he speaks, it is surrepticiously unnoticed by people craning to see the game in front of him. [WILSON] Okay, Lonnie. He's winning big. It's now or never. Wilson turns his head and we follow his gaze to an elevator into which moves a statuesque dark-haired girl. Her name is Lonnie. CLOSE ON LONNIE as the elevator doors close on her, and we pull back to reveal the back of the head of a second man watching her progress. He too is wearing a tell-tale earpiece. He is standing farther back behind both Wilson and the game that is in progress. He is Michael Long. We see little of his face except to notice that he is young, has dark curly hair and rugged outlines to his sparsely seen features. He turns away from the game and we tilt down to avoid his face and see him flip a microswitch on his belt receiver/transmitter. [MICHAEL] I think it's coming down -- Wilson just sent Lonnie into the elevator. Do you read? A MAN STANDING ON A LADDER - MUNTZY wearing hotel coveralls. [MUNTZY] Loud and clear, Lieutenant. If she's coming -- I'll have a front row seat. He is changing a ceiling fixture as an elevator door opens down the corridor and Lonnie heads his way, giving him a smiling look as she moves past. He doesn't acknowledge the girl, continuing his work, obliviously. LONNIE reaches a door, looks both ways. POINT OF VIEW OF THE MAN ON THE LADDER No interest. She is relieved. She puts a key in the lock and enters...We push back up to the man on the ladder, he turns his head to us, full on and we now see an earpiece. [MUNTZY] I've got her. She just went into Acton's suite. TO INTERCUT WITH MICHAEL LONG IN THE CASINO [LONG] Muntzy. Be careful. [MUNTZY] Hey -- I've got ten years on you, junior. I'm the original man of steel. You're the one I'm worried about. You're right inside that nest of snakes. INSIDE ACTON'S SUITE Lonnie moves hurriedly to a safe installed for the use of "high roller" guests in most lavish Nevada suites. She opens it and removes a folder containing documents. She places them under a table light and begins to shoot photographs of them with a minicamera. ON WILSON at the craps table. Nothing but passes and cheers. [LONNIE'S VOICE] (filtered) I'm finished. BACK IN THE ROOM We see that she's closing the safe and is walking to the door. TO INTERCUT WITH WILSON [WILSON] Be sure no one sees you. [LONNIE] There's no one in the corridor but an electrician. Wilson's facade stiffens. [WILSON] Electrician. You didn't say anything about an electrician. [LONNIE] He works for the hotel. I've seen him around. [WILSON] Stay in the room. [LONNIE] For how long? Suddenly Acton is turning from the table with Tanya on his arm and both hands filled with chips. [ACTON] Come on, Wilson. We're calling it a night. A startled Wilson exchanges looks with Tanya. [WILSON] But you're on a roll. [ACTON] I got to be chairman of Consolidated Chemical by knowing when to quit winners. Let's go, darling. Be sure security stays close behind until we get these in the room safe. As Acton moves off -- Wilson holds Tanya back. [WILSON] Delay him. Wilson turns hurriedly. ON MICHAEL LONG'S BACK as Wilson rushes to him. [WILSON] Stay close to Mr. Acton. He's carry- ing a lot of money. As Michael rushes off, we hold on Wilson who speaks quietly. [WILSON] Get out of there, Lonnie. Acton's coming up. TO INTERCUT WITH LONNIE standing nervously at the door to the corridor. [LONNIE] What about the guy on the ladder? [WILSON] If he follows you, I'll handle him. You just get in your car and head east, out of town. We'll pick up the film from you there. IN THE CORRIDOR Lonnie rushes out of the suite and down to the elevator bank. We push into Muntzy on the ladder as the elevator door opens and she hurries inside. [MUNTZY] She's leaving in a hurry, Lieutenant. ON MICHAEL crossing the casino -- a few yards behind Acton and Tanya. [MICHAEL] I know. Wilson just put me in charge. That means they've got a broken play -- can you follow Lonnie? BACK IN THE CORRIDOR Muntzy scampers down the ladder and races for a second elevator as Lonnie disappears into a first. [MUNTZY] Back me up if I blow it. BACK IN THE CASINO - ON MICHAEL [MICHAEL] We've got six months in this one, Muntzy. I'll be right behind you. OMITTED BACK AT THE ELEVATOR as Acton looks at Tanya with puppy-loving eyes, a small crowd of anxious guests around them waiting for their elevator impatiently. [TANYA] Charles, security can only do so much in a crowd with you carrying all those chips. I'd feel much better if you stop off at the cashier's. Michael moves up hurriedly. [MICHAEL] That's good advice, Mr. Acton. I'd recommend it. [ACTON] I guess you're right. They're clumsy as hell to carry, anyway. Michael walks with the couple towards the cashier's cages, keeping his eyes on the elevators behind him. Tanya, too, is eyeing the elevators. ON THE ELEVATORS As one car arrives, Lonnie steps out and hurries away. On another car as it arrives and we see Muntzy, the hotel maintenance man exit, look both ways, spot Lonnie and hurry after her. ON MUNTZY hurrying across the lobby. He lifts his cuff. [MUNTZY] You can relax, Lieutenant. [MICHAEL] Be careful, Muntzy. I don't know where Wilson is. ON WILSON as he watches the entire charade and speaks covertly. [WILSON] Gray. They've burned her. She's got a guy on her tail. He's wearing a maintenance suit...Stop him. OUTSIDE THE HOTEL Gray, a rugged-looking man steps out of the shadows of a billboard and watches as Lonnie races out of the casino and towards a car. [GRAY] I've got her. She jumps into her car and drives off. [GRAY] And I've got him. Gray pulls out a weapon and attaches a silencer. BACK INSIDE THE CASINO at the cashier's cage. [MICHAEL] Wait here, Mr. Acton. Don't leave these cages and guards. [ACTON] What're you talking about. Where are you going? [TANYA] Michael...Michael...I don't know what's gotten into him, Charles. I'll be right back. She too, hurries off. ON MICHAEL racing across the casino. He talks into his lapel. A small American flag. [MICHAEL] Watch it, Muntzy. Wilson is on his way out. I think he made you... Muntzy. Muntzy. OUTSIDE THE CASINO A security car, complete with red lights and formal lettering on the side, speeds up. Wilson jumps in as the car streaks off into the night, driven by Gray. Right behind them, Michael exits the casino on the dead run. He sees the security car streak off and runs into the parking lot, panning back we see Tanya following the parade. She sees Michael entering the darkened lot and hurries after him. [TANYA] Michael...What are you doing? ON A BLACK TRANS AM as Michael streaks up to find Muntzy clutching at the door to the car. He collapses as Michael reaches him, Tanya -- right behind him. [MICHAEL] Muntzy! (to Tanya) Watch him. I'll get help. [MUNTZY] Forget it, Lieutenant. Go after 'em. [MICHAEL] Muntzy...you've got to hang on -- Muntzy. But it's obvious that Muntzy is dead. Michael looks up at Tanya, ashen. [TANYA] What is it? What's going on? [MICHAEL] Stay here with him. Michael starts into the car. Tanya races to the other side as hotel personnel and bystanders move up, warily. [TANYA] Why are you doing this. You were hired to protect Charles. You can't leave him. [MICHAEL] These people are no longer interested in your boss. They just got what they were after. [TANYA] What are you talking about? I'm coming with you. INSIDE THE TRANS AM as Tanya jumps in and it speeds off into the night. Michael is pulling out his gun and checking it. [MICHAEL] I don't have time to explain it all to you, Tanya, but your boss's chief of security is up to his Bahamian bank accounts in industrial espionage -- and now murder. [TANYA] I don't believe it. [MICHAEL] Did you believe that dead cop back there? He was my partner. I was supposed to be covering him. DESERT ROAD - NIGHT (SHOT) It is night on a lonely desert road as Wilson and Gray emerge from their car which has pulled Lonnie off the road. With red lights flashing, Symes moves from a car marked: CONSOLIDATED CHEMICAL Special Security [WILSON] Will you step out of the car please. Lonnie steps out revealing a sumptuous figure. [WILSON] Good work, Lonnie. I'll take the microfilm.... Lonnie reaches into her purse and removes a small micro- camera. Suddenly, the scene is bathed in light as Michael's Trans Am screams up from o.s. ON MICHAEL (SHOT) as he climbs out of the car, his gun leveled on the three- some. [MICHAEL] Hold it right there. You move. I fire. THE CONSPIRATORS (SHOT) freeze. [MICHAEL] Drop the gun, and kick it over here. [WILSON] Michael Long, (Mr. Acton's personal bodyguard). We seem to have made a small mistake. (Words in parenthesis to be looped into scene, v.o.) Tanya climbs out of the Trans Am and comes forward around the side of the car. [MICHAEL] I'd call treason more than a small mistake. It draws the death penalty. Tanya, pick up that gun. [TANYA] That won't be necessary. I have my own. Michael freezes, a chill racing up his spine. He sees the expressions on the faces of his three captives relax into smiles, then into laughter. Slowly he turns to look. ON TANYA (SHOT) as she stands with the gun straight out, aimed into Michael's face. [MICHAEL] You're working with them? [TANYA] Ahh. I've disappointed you. [MICHAEL] Tanya. Give me the gun. I can still make a deal for you, if you cooperate. He extends his hand for her gun. [MICHAEL] Give it to me. [TANYA] I intend to. Cooly, she fires into Michael's face at point-blank range. MICHAEL (SHOT) flies off of his feet in slow motion, his hands racing up to cover his face...He tumbles backwards into the darkness of the desert fringing the highway, only his shoes protruding onto the light of his own headlights. Michael's point of view slow motion. All is suddenly still except for the sound of Michael's idling car. A NEW ANGLE (SHOT) on the strange death scene as suddenly something is happening as we perceive a strange whine far in the distance and camera tilts up to reveal a pinpoint of light far off on the horizon. The light grows larger and larger until it is directly over- head. Suddenly a powerful light bursts on, bathing the scene of carnage in dazzling brightness. Close on a weathered old face. The man is Wilton Knight. He stares down from the hovering machine. [KNIGHT] My God. We're too late. He signals and the machine begins to lower down to the highway. SLOW DISSOLVE TO HIS POINT OF VIEW (SHOT) where we see the body of Michael sprawled in the dust. THE KNIGHT ESTATE - DAY (SHOT) as a twin turbine jet helicopter lands behind a massive house. On the machine is the logo of KNIGHT INDUSTRIES. OMITTED ON DOCTOR MILES (SHOT) as he examines the now carefully bandaged and reconstructed form of Michael Long. He looks at a wall of medical instru- mentation and examines the eyes of Michael as Wilton Knight enters the room. [KNIGHT] Well? [MILES] I'll give you the same answer I've given you the past four days. He's probably the only human being on this planet in worse condition than you. [KNIGHT] You have the bedside manner of a rattlesnake. [MILES] My deal with you was honesty. [KNIGHT] Is he going to die? [MILES] He should have. The bullet was fired into his head at point-blank range. [KNIGHT] Then how did he survive? [MILES] The man has a metal plate in his forehead. Military surgery, I'd suspect. It deflected the bullet away from a dead center hit in his brain and back out through his face. We'll never know what he looked like. ON MICHAEL stirring restlessly...mumbling...crying out in anguish and anger. (Note: The following underlined dialogue will either be shot in closeup or v.o.) [KNIGHT] That's it, son...get mad...and stay mad. It will keep you living. Just like me. OMITTED INT. THE ESTATE HOSPITAL ROOM (SHOT) Doctor Miles stands over Michael who is prone on an operating table. Knight looks on from across the room as one by one, the delicate bandages come off. ON DEVON (SHOT) as he enters and moves up to Knight. [DEVON] I have good news for you. The Knight 2000 will be ready by.... [KNIGHT] Shhhh.... Knight moves forward leaving Devon mystified and not just mildly frustrated. [DEVON] (under breath) I work these people around the clock and suddenly you aren't interested. ON MILES (SHOT) as he masterfully lifts the final strip of adhesive and begins to unwrap Michael's face. Knight moves in to stand beside him, and Devon beside the two other men. We are looking up at them from Michael's point of view as they stare down not revealing anything. ON MICHAEL KNIGHT (SHOT) A new face, far more rugged than his former image. Char- acter and age somehow replacing youthful naivete. [MICHAEL] That bad? [MILES] On the contrary. An excellent job if I do say so myself. Why don't you look for yourself? Almost reluctantly, Michael rises up and moves slowly across the room to a mirror. [KNIGHT] Perfection. [MICHAEL] It isn't me. Michael raises his fingers up to feel the unfamiliar contours. [DEVON] You now have a second chance to live. Unless you'd prefer to walk around with a face that could get you killed all over again? Michael turns a sober look towards Knight. [KNIGHT] Take my word. You'll be much safer with this face. And it's rather handsome if I do say so myself. Devon leans in. [DEVON] Does it strike you that there's an uncanny resemblance between this fellow and you as a young man? Knight shoots Devon a wilting glare. [DEVON] Just my imagination, I'm sure. [KNIGHT] Stick to your task. When will I see it? [DEVON] I tried to tell you. It'll be ready within the week. [KNIGHT] Excellent. I pray it leaves me enough time. EXT. GROUNDS - DAY - ON MICHAEL THROUGH BINOCULAR MATTE jogging around the perimeter of the Knight Estate wearing simple blue shorts and jogging shoes. ON KNIGHT Camera pulls back to reveal Knight watching him. Knight lowers the binoculars and nods in satisfaction as Devon moves up. [DEVON] How much have you told him? [KNIGHT] I've told him he no longer has anyone to fear. In the eyes of the law, Michael Long is legally dead. Devon looks uncomfortable. [DEVON] But Mr. Knight, stealing a body from the medical school for the police to find wasn't exactly playing by the rules. [KNIGHT] I make my own rules. So does the government. They fake deaths and identities all the time. Not to mention our adversaries who don't exactly play by the rules. [DEVON] All right. But why are you doing it? [KNIGHT] I think you know why, Devon. I want to leave something behind -- something worthwhile, not just numbers in a bank account. Now, when will the Knight 2000 be ready? [DEVON] Soon. I'm already working the crew double shifts. [KNIGHT] Make it around the clock. We must hurry.... [DEVON] Has the Doctor told you.... [KNIGHT] (interrupts) Don't worry about what the good Doctor's told me. Let me worry about the doctors...and Michael Long. CLOSE ON MICHAEL - DAY as he pulls up to Knight, as Devon moves off. [KNIGHT] Aren't you pushing it a bit, Michael? [MICHAEL] I've got to get back into shape fast. I've got one last debt to pay. [KNIGHT] Is revenge all that you can think of? You're better than that. You were a good cop. [MICHAEL] Was I? I blew it? [KNIGHT] What if I could offer you another shot. I want Tanya and her friends too -- but they're just the tip of the iceberg. If we were to work together.... Michael comes back to his feet. [MICHAEL] (interrupts) Mr. Knight, my last partner is dead. It's nothing personal, but from now on I work alone. I can't take responsibility for anyone's life but my own. I think you can understand that. Michael jogs off. INSIDE GARAGE WITH COMPUTER EQUIPMENT Devon enters. [DEVON] It's ready. [KNIGHT] I know -- and so are we. I've found our man. I'm sure of it. [DEVON] Wilton, I've never been in total agreement about this project. But even if I were, I question Michael Long as your choice. He's too young --- [KNIGHT] He'll need to be young --- [DEVON] And inexperienced. [KNIGHT] Three years of counter intelligence work in Nam, working on his own in deep cover. [DEVON] He was captured. [KNIGHT] He survived -- which is more than I can say for his captors. [DEVON] All right. I'll give you his ability to work well on his own -- Perhaps that's what disturbs me most -- what you have in mind -- what we hope to accomplish -- demands team work. [KNIGHT] Does it. He's going to have to be out there on his own most of the time, Devon --- [DEVON] Yes, at first -- of course -- but eventually when we prove --- [KNIGHT] When we prove. He's going to be the living proof, Devon -- The living proof that each of us as individuals can make a difference. [DEVON] Why do I always attempt to challenge your instincts with logic? I always lose. Knight smiles.... [KNIGHT] This time in losing -- you win -- we both win. Michael Long is our man. OMITTED INSIDE THE LARGE WAREHOUSE-LIKE STRUCTURE It might have been designed to accommodate a prototype 747. In fact, the superstructure is very much like an aircraft hangar, although the small Lear-type jet which sits in a far corner is dwarfed by the dimensions of the building, where a dark form in the shape of an automobile silhouette stands ominously beckoning to Michael. He moves closer, closer, until a narrow red light comes on and begins to scan the area between the shape and Michael. It is as if he is being perceived by a red-eyed Cobra. Michael stops in his tracks, sucks in his breath, then moves forward once more. Suddenly the headlights pop up, bathing him in light. Again, Michael stops, startled. Once more he starts forward and suddenly the engine roars to life. Suddenly, the car lunges ahead driving straight for Michael. As the car bears down on him, we: FREEZE FRAME FADE OUT END OF ACT ONE ACT TWO FADE IN ON MICHAEL (SHOT) as the sleek car screeches to a halt at his feet, and the lights to the cavernous room resembling something out of the Kennedy Space Center suddenly blossom, with straight down beams of light on the sleek vehicle. [KNIGHT] Enough, Devon. You've had your fun with your guest. Devon climbs out of the car and Michael turns to see Wilton Knight limping forward with his cane. [DEVON'S VOICE] It's not polite to sneak about uninvited. [KNIGHT] Be gracious, Devon. I think an explanation is well overdue. [MICHAEL] You're damned right it is. Now what is all this? What are you guys up to with people sneaking in and out of here at all hours of the day and night? [DEVON] Look who's talking. [KNIGHT] Be quiet both of you. Let's get down to business. I'm running out of time and Michael is now healthy enough to carry on. Knight moves up to stand beside Michael, Devon right behind him. [MICHAEL (v.o.)] Carry on what? Hey, look. I don't know what you do out here, but all I want to do is settle the score and get on with my life. [DEVON (v.o.)] That's not very grateful. (*Several additional lines are to be added either in closeup or v.o. as underlined.) [MICHAEL] The guys you're after are too big. They're the kind of criminals that operate above the law. Nobody can touch them. [KNIGHT] I don't agree with you. [MICHAEL] You're entitled to your opinion. As for me, I'm pulling out of here tonight and I'm taking my car with me. [KNIGHT] Prepare the car for him, Devon. [DEVON] But sir. [KNIGHT] I said, prepare the car. There's a great deal he'll need to know about it before it's safe for him to drive. I must go to bed. I'm not feeling very well. Knight turns and starts out of the huge room. Devon turns a severe look to Michael. [DEVON] You just struck a dying man. [MICHAEL] Hey, listen. I like that old man. I really do. But it's time to get on with my life. [DEVON] You wouldn't have a life if he hadn't brought you here. There are people who will still kill you if they find out you're alive. [MICHAEL] But I'm legally dead, remember? I don't even know me with this face. Now what is all this I'm supposed to know about my own car. [DEVON] Any resemblance between your car and this one is purely superficial. Michael walks closer to the machine. [MICHAEL] What're you talking about. That's my Trans Am. I left it out in the desert. [DEVON] No, it may look like your car, but in actuality, that vehicle is now probably the most expensive car in the world. [MICHAEL] Come on...What are you talking about? It's just.... Michael has moved up to the sleek machine. He pats the fender. He reacts. [MICHAEL] What is this, new paint? It feels like baby skin. He looks closely. [MICHAEL] Guys do nice work. Hasn't got a ripple in it.... He leans in close. [MICHAEL] Like a mirror. A dentist could use this to drill.... [DEVON] It isn't paint. It's a finish bonded into the molecular structure of a new substance. [MICHAEL] You mean the metal? [DEVON] It isn't metal, and it isn't Fiberglass. Devon moves forward with a large pinhead hammer. [DEVON] Here. Strike the surface as hard as you can. [MICHAEL] I'm not going to hit my car. It's beautiful. Devon smiles. Takes the hammer himself and raises it high, driving it down. It bounces off the surface and out of his hand. Michael stares in disbelief. [MICHAEL] How'd you do that? OMITTED MICHAEL (SHOT) walks up and stares at the point of impact. It is flawless. [DEVON] Don't stand there with your mouth open. Get in. INSIDE THE TRANS AM (SHOT) Michael sits staring at the futuristic panel. [DEVON] Welcome aboard the Knight 2000. [MICHAEL] Thank you. What is all this? It looks like Darth Vadar's bathroom. [DEVON] This is a one of a kind car, Mr. Long. It is faster and safer, and stronger than any machine in the world. It is completely fuel-efficient and is entirely operated by microprocessors which make it physically impossible for it to be involved in any kind of collision or mishap, unless specifi- cally ordered by its pilot. [MICHAEL] Pilot? Don't tell me this thing flies. [DEVON] No. But it thinks. [MICHAEL] It thinks? My car thinks? [DEVON] We like to think of it as our car. Devon reaches over and touches a panel and a whirring sound snaps on as the car comes to life. [DEVON] Now, in order to motivate forward. [MICHAEL] Devon. I recognize the more rudimentary controls -- such as the accelerator. I do know how to drive. Michael simply does as he's told. The results are startling. The Trans Am leaps forward with such acceleration that there is no stopping at the door. ON THE OUTSIDE OF THE WAREHOUSE-LIKE STRUCTURE (SHOT) as the Trans Am fires through it, splintering the door into a million toothpicks. Suddenly the car screeches to a halt. INSIDE THE TRANS AM (SHOT) [DEVON] I'd have preferred you let me open the door first, however, no harm has been done to the car. Michael jumps out and rushes to look at the front of the car, then slowly moves back and reenters the vehicle. [MICHAEL] There's not a scratch on it and that door is made out of metal. [DEVON] You were told that the new alloy is virtually indestructible. [MICHAEL] Yeah? Well, you also said that this machine couldn't have a collision. [DEVON] Not if that system is operable. But first you have to turn it on. Devon simply reaches over and touches another heat-sensitive switch on the dash. [MICHAEL] Now you're telling me I can't hit anything? [DEVON] Trust me. [MICHAEL] I'll never trust anybody again. Michael floors the car and aims for the edge of the property. A security guard tips his cap to Devon and opens the gate in time for the Trans Am to streak off the grounds. OUT ON THE HIGHWAY - DAY (SHOT) The Trans Am roars along. [MICHAEL] I'm warning you. I'm going to put this thing to the test. [DEVON] Be my guest. ON A SEMITRUCK AND TRAILER (SHOT) moving up the highway...panning back we see the Trans Am moving up rapidly behind it. INSIDE THE TRANS AM (SHOT) [MICHAEL] I can't believe this. I'm playing chicken with a ten-ton semi.... [DEVON] I believe the expression is, 'Keep the pedal to the metal.' ON THE TRANS AM (RESHOOT) as it races up and suddenly turns, passing the truck. BACK INSIDE THE TRANS AM (SHOT) [MICHAEL] The car just drove around the truck ...it steered itself. [DEVON] Marvelous, isn't it? [MICHAEL] I hate it. I like to make my own decisions. [DEVON] The microprocessor deduced that you were making one counter to your best interests. It had two options. Slow the car down, or maneuver around the obstacle. [MICHAEL] Okay, so why did it steer around the truck instead of slowing down? That would have been much safer. Devon looks pained. He doesn't answer right away. [MICHAEL] Come on...come on...I think I just found a flaw in your perfect machine. [DEVON] It isn't a flaw...It's just that.... [MICHAEL] Yeah.... [DEVON] It's showing off for you. Michael's head snaps around to look at Devon. [MICHAEL] What? He brings the car to a halt. [MICHAEL] Oh, great. You mean it can decide to take off and go for gas, or a car wash. Just like that. Be great if you happen to be working under it at the time. [DEVON] It wouldn't do anything to harm you, I assure you. Its primary function is in the preservation of human life. Your life. [MICHAEL] By me, you mean anyone driving this thing? Devon takes a long pause, and a deep breath, continuing to stare straight ahead. [DEVON] No, actually I mean you. Michael Arthur Long. Soon to be Michael Knight. IN A CORRIDOR - NIGHT Doctor Miles stands waiting anxiously as Michael and Devon move down the hall. [MILES] You'd better hurry. INSIDE A LARGE BEDROOM - NIGHT (SHOT) A fire rages in the fireplace. The drapes are drawn and Wilton Knight lies as if in state, his eyes closed. Devon approaches fearfully, Michael not far behind him. (Note: The following underlined dialogue will be shot in v.o.) [MICHAEL] We're too late. Knight's eyes open. They shift to Devon and Michael. [KNIGHT] Almost. What kept you? Car not fast enough? [MICHAEL] Hey, look. I don't even know what to say. You've got to put that machine on the market. It could save thousands of lives. There's never been anything like it. [KNIGHT] And have it taken away from me and kept off the market like my airplane. (grimaces and coughs) No! I have other plans for that car. [DEVON] Don't try to talk, sir. Let me explain. Knight appears to be sinking. Devon turns to Michael. [DEVON] Mr. Knight is the last of his breed. He built his own empire like the Fords and the Rockefellers. [MICHAEL] Devon, we've been through all that. [KNIGHT] Enough. Now, Michael come closer. Think about the opportunity you have. [MICHAEL] What opportunity? [KNIGHT] You don't exist. You're legally dead. No one can trace your source of funds or identity. Even your fingerprints have been altered. [MICHAEL] You set this whole thing up. [KNIGHT] You set it up when you still had faith that 'one man could make a difference.' I want you to get that spirit back. I want it to be your obsession as it is mine. [MICHAEL] (almost breaking) Look, I'd like to be able to promise you I'll feel like taking on the world some day, but I can't. I used to have a real life with real friends -- Now...I still wake up in the middle of the night shaking, remembering that gun in my face and the whole world blowing up. [KNIGHT] Remember that moment, and think of it as your baptism by fire. You were spared to lead a great fight. Don't turn away in fear. One man can make a difference. You're going to be that man. [MICHAEL] Mr. Knight...I can't stand here at a time like this and lie to you...I just don't know if.... Michael stops midsentence as he sees a frail hand extended towards him. He looks from the hand to the face of Wilton Knight. There is a small smile on his face. Michael fights off emotion as he reaches out and takes the hand. [KNIGHT] My adventure has ended, and yours has just begun. OMITTED KNIGHT seems to relax, his eyes slowly closing out the visitors. His smile fades to a look of peace. ON MICHAEL as he looks down at the limp hand in his own. He places it at Knight's side. IN A SPRAWLING, LUSH GREEN CEMETARY - STOCK A large number of people are in attendance of Wilton Knight's funeral, including some television news teams. [REPORTER (v.o.)] (speaking in a hush) And so the end comes for another American pioneer whose life was dedicated to bucking the system and proving that the individual can still fulfill the American dream. Wilton Knight, dead at the age of eighty-one. [MINISTER (v.o.)] Ashes to ashes, dust to dust, amen. Michael Long turns and walks out of the crowd of mourners. Devon Shire whispers something and tosses a flower onto the grave. ON MICHAEL AND DEVON IN THE GARAGE (SHOT) Michael walks hurriedly towards the car, Devon trying to catch up. (To be used as shot plush indicated v.o.) (Note: The following underlined dialogue will either be shot in closeup or v.o.) [DEVON] Don't walk so fast. I'm an old man. [MICHAEL] Sorry, but I've got places to go. [DEVON] Typical. You can't wait to go into action and you haven't got a clue where to start. [MICHAEL] And I suppose you do. [DEVON] Of course. Michael stops in his tracks. [DEVON] Tanya's working in Silicon Valley -- Millston to be precise. Probably the wealthiest four-mile strip of space-age industry in the world. She's managed to promote a position as executive assistant to Will Benjamin, president of Com Tron -- one of the biggest operations there. [MICHAEL] I've heard of Silicon Valley -- where they make all the microchips. The stakes may have changed but she's still playin' the same game. [DEVON] My thoughts exactly. [MICHAEL] Well if Tanya is in Silicon Valley, that's where I'm going. Now...today. [DEVON] I forbid it. [MICHAEL] You can't forbid it. You don't own me. [DEVON] I can certainly take away the car. [MICHAEL] I'll get another one. Besides it's in my name. [DEVON] That's where you're wrong. Devon hands Michael the registration slip. [MICHAEL] Michael Knight? [DEVON] Michael Long is dead. Remember that. You wouldn't want to die using it a second time. [MICHAEL] No, once was plenty, but how do I suddenly.... Devon extends a wallet to Michael. He flips it open. [MICHAEL] Driver's license...credit cards.... [DEVON] All according to Mr. Knight's orders. [MICHAEL (v.o.)] Then I'll be on my way. Michael fires up the car. [DEVON] Wait...there are countless more things about the vehicle to explain to you.... [MICHAEL] I'm a fast study. I'll pick things up as I go along.... [DEVON] That's very foolhardy. [MICHAEL] Good-bye and thank you, Devon. I want you to know I kind of got to like you. [DEVON] What? [MICHAEL] Never mind. What does it mean, anyway. Coming from a primitive like me. (PLUS ADDITIONAL SHOT FOOTAGE) FADE OUT END OF ACT TWO ACT THREE FADE IN OMITTED ON BEAUTIFUL NORTHERN CALIFORNIA (SHOT) lush and green as we helicopter a shot of the Trans Am cutting up a long, nearly empty highway. ON A SIGN (SHOT) SAN FRANCISCO 241 Miles MILLSTON 171 Miles INSIDE THE TRANS AM [MICHAEL] One hundred seventy-one miles to Millston, the heart of Silicon Valley. Might as well put on some music. (looking at the Knight 2000's complex dash) With all these stupid gadgets, you'd think they'd give you a radio. Suddenly a voice resembling the voice of Hal, the computer in 2001, begins a low drone. [K.I.T.T.] What would you like to hear? A little Beethoven? The car suddenly screeches to a halt. [MICHAEL] What the hell was that? Michael scans the dash. CLOSE ON A FLASHING LIGHT marked: K.I.T.T. MICHAEL (SHOT) pushes the light. The voice resumes. [K.I.T.T.] Possibly, you'd prefer Chopin. [MICHAEL] Hell, no. I want to know who you are and how you're listening in. [K.I.T.T.] There's no reason for increased volume. I am scanning your interrogatives quite satifac- torily. I am the voice of the Knight Industries 2000's micro- processor. K.I.T.T. for easy reference. Kitt if you prefer. [MICHAEL] I don't prefer and what's more I do not intend to drive around in a car that talks back to me. So, either Devon pulls your plug, or you get yourself a new driver. [K.I.T.T.] Unfortunately, I am not programmed to overrule your wishes. [MICHAEL] Oh, that's real good to hear, because I don't want to hear another peep out of you, until I can get a call off to Devon. So clam up so I can listen to some good music. And don't offer any suggestions. I'll choose my own. [K.I.T.T.] As you wish, Mr. Knight. But, since I sense we are in a slightly irritable mood caused by fatigue...may I suggest you put the car in the auto cruise mode for safety's sake. [MICHAEL] No, you may not. And that's final. Good night. [K.I.T.T.] Good night. ON MICHAEL (SHOT) as he punches up a radio button and music fils the car with a hard-driving beat. [MICHAEL] (mumbling) Can't believe it. Car starts talking to me. This machine has got to go. SLOW DISSOLVE THRU TO ANOTHER AREA OF THE HIGHWAY - DAY (SHOT) The Trans Am is speeding along to the sounds of different music. ON MICHAEL (SHOT) as we see him fighting off sleep. ANOTHER SLOW DISSOLVE THRU TO THE TRANS AM (SHOT) in still another part of the highway. Underscored by new music from the radio. ON MICHAEL (SHOT) as his head nods, falling back against the headrest and slightly cocked to one side. He is now sound asleep. CLOSE ON K.I.T.T.'S FUTURISTIC INSTRUMENT PANEL as we hear a beep and see two lights exchange positions. INSERT ON THE LIGHTS (SHOT) A flashing light reading "NORMAL CRUISE" moves from the flashing stage to simply illuminated, while the light next to it which has been illuminated to read "AUTO CRUISE" begins to flash indicating that it is now activated. ON THE TRANS AM (SHOT) as it begins to maneuver around a corner, neatly and safely. OMITTED INSERT - CLOSE ON K.I.T.T.'S FUTURISTIC INSTRUMENT PANEL A single light flashes and we see the car wheel turn slightly and move over, the speed coming down. Michael continues to sleep. OMITTED A POLICE CAR (SHOT) as it races out across the double line and speeds up to pass. ON DEKE AND KYLE (SHOT) as they pass the car. POINT OF VIEW OF THE TRANS AM (SHOT) with Michael cuddled against the window, sound asleep. BACK INSIDE THE POLICE CAR (SHOT) [KYLE] Did you see what I saw? That man is plumb asleep at the wheel. [DEKE] Well slow down and get his attention. He ain't gonna make Dead Man's Curve up ahead. THE POLICE CAR (SHOT) slows down until it is driving parallel to the Trans Am. The police car's horn begins to honk incessantly. They flip on the intersection bleeper which sounds like a destroyer bearing down on a submarine. MICHAEL (SHOT) remains dead to the world. BACK IN THE POLICE CAR (SHOT) Kyle looks up ahead with fright. [DEKE] Kyle, drop back. He ain't gonna make that curve and he'll take us right along with him. [KYLE] He's deader 'n a doornail...but you can't say we didn't try. THE POLICE CAR (SHOT) drops back behind the Trans Am. POINT OF VIEW OF THE TRANS AM (SHOT) as it negotiates Dead Man's Curve perfectly. ON THE TWO POLICEMEN (SHOT) as they exchange incredulous looks. ON THE TRANS AM (SHOT) as it continues to snake down a winding road leading to the valley below. [KYLE] That boy woke up just in time. [DEKE] Probably drunk as a skunk. Let's pull him over. Once again the police car pulls alongside the Trans Am on the winding road. POINT OF VIEW OF THE TRANS AM (SHOT) with Michael sleeping soundly, a smile on his face. THE TWO POLICE OFFICERS (SHOT) exchange incredulous looks. OMITTED INSIDE THE TRANS AM (SHOT) The radio dial turns down to be replaced by a beeper not unlike a wake-up call. ON MICHAEL (SHOT) as he stirs, his sound sleep jarred by the change in environment, first the comparitive silence from the dimming radio, then the beeper...then the ungodly siren, horn blaring and screaming policemen. [MICHAEL] What in the.... Michael looks back. [MICHAEL] Oh oh...What'd I do?... [K.I.T.T.] Deny everything. INSERT - THE DASHBOARD as Michael switches it from super to normal. THE TRANS AM (SHOT) pulls over, the police car moving to a stop behind it. Michael is digesting that as the officers both come forward, each with a hand on his gun. [DEKE] Okay...Out.... [K.I.T.T.] If I may suggest. Deafness is always a good approach to law enforcement officers. [MICHAEL] You shut up. I'll handle this. You were probably weaving all over the road. [K.I.T.T.] On the contrary. You couldn't have driven better. I might also suggest you display a slight kink in your neck since you were driving with your head against the window. [MICHAEL] Aah -- terrific. Why didn't you warn me? [K.I.T.T.] You told me to keep quiet. [DEKE] Who's he talking to? [KYLE] Nobody. This boy's a hard-core alky. [DEKE] Did you hear me? I said, out, or you'll spend the night in jail. ON MICHAEL (SHOT) as he moves his lips without sound coming forward and points to his ears with one hand as he rolls down the window with the other. [KYLE] That's better. Out. Get the balloon, Deke. [MICHAEL] (loudly) I'm sorry, officer, but can you speak in sign language, or slightly slower. I haven't quite gotten lip reading down, yet. [KYLE] You mean you can't hear? [MICHAEL] Could you talk louder, into this ear. Michael climbs out and turns his other ear, bending over slightly for the officer, his head kinked to one side like a permanent injury. [KYLE] You mean you're deaf? [DEKE] That explains everything. I told you nobody could drive that smooth if he was drunk. [MICHAEL] What? Michael is yelling. So do the officers in return. [KYLE] He said...Never mind. Go on your way. Sorry to bother you, but watch your rearview mirror from now on. We've been flashing you for miles. [MICHAEL] Yes, sir. I'll do that. The officers walk back to their car, climb in and drive off as Michael watches them, then climbs into the car. [MICHAEL] Why do I have the feeling this won't be the last time I run into trouble in this town? Michael shoves the car in gear and drives off. EXT. MILLSTON - DAY - ESTABLISHING ON A LARGE MODERN MANUFACTURING PLANT - DAY A large logo reads: COM TRON ON THE TRANS AM - DAY as it cruises to a stop across the street from the plant in time to see a number of people, including several very attractive young ladies, cross the street and enter a lively looking establishment called the House of the Rising Sun...with subneon lights in script proclaiming sushi, disco dancing, and motel accommodations. [MICHAEL] House of the Rising Sun. This looks like a good place to pick up on the local scene. [K.I.T.T.] Saloons usually are. [MICHAEL] How would you know? Michael pulls up into the parking lot. [K.I.T.T.] Social gathering places where alcoholic beverages are consumed in quantity can create an environment in which indiscretion becomes commonplace. Just remember this is business, not pleasure. Michael flares up, pounding the dash as he climbs out. [MICHAEL] You can say that again -- You're about as much fun as a divorce -- which is a good idea. [K.I.T.T.] I want custody of me. Three girls have paused in the doorway to take note of Michael's outburst. Michael slams the door and storms away, mumbling under his breath. [MICHAEL] Should have gotten rid of you before I turned you on...Now I can't shut you up. (arrives at the door) Evening, ladies.... They give him a weird look as he passes them and enters.... [LONNIE] Some guys sure start early. LONNIE - DAY is possibly the prettiest of the three girls but it's almost a toss-up between three tens. [LONNIE] He isn't our problem. Those guys are. Let's stick to business. The girls look back to see the three young men crossing from the plant, wearing three-piece suits and laughing amongst themselves. The girls enter the House of the Rising Sun. INSIDE THE LIVELY DISCO Michael sits alone at a corner table. The booths are taken up by boisterous people enjoying themselves with ample rounds of libation. Michael is eyeing a corner booth. AT THE BOOTH The three girls who entered the restaurant with Michael are now well-ensconced with the three young executives who entered just behind them. Two of them are getting extremely friendly. A few kisses don't go unnoticed as Sally, remaining aloof from the public display of affection, casually glances over at Michael with sober curiosity. Michael stares back. Sally appears interested, but is cut off as Maggie, a young waitress, interrupts the cross-room romance. [MAGGIE] Your tab's starting to get up there. I'll need a credit card. Michael glances up. [MICHAEL] Sure. Uh. Do you know those people in the corner booth? Maggie looks over at them. [MAGGIE] Lemme do you a favor. Unless you like waking up sucking dirt, don't get interested in anyone at that table. [MICHAEL] It wasn't anyone at the table I was curious about. It's someone else. I noticed they all came across the street from Com Tron. [MAGGIE] Yeah? [MICHAEL] Well, I'm trying to look up an old friend of mine who works there. I thought she might be able to help me. [MAGGIE] I used to work there. Who's the friend? [MICHAEL] Tanya Walker. Maggie's half-patient stare turns bitterly sour. She suddenly takes the fresh beer on her tray and pours it into Michael's lap. He jumps to his feet. [MICHAEL] Hey...What's a matter with you.... [MAGGIE] That's what I think of friends of Tanya Walker. SALLY is frozen on the outburst across the room. Catching snatches of it, she watches as a Manager rushes up. [MANAGER] What happened here?..Oh, look at your pants, what a terrible accident. [MAGGIE] It wasn't an accident. [MANAGER] Maggie, this is the last time I put up with your discourtesy. You may as well punch out. When you finish up. You're fired. [MICHAEL] Hey, that's not necessary. [MAGGIE] Shut up, jerk. Go hang out with those Com Tron bums. I fight my own battles. She shoves a tray with drinks into the Manager's gut in a way he can't possibly handle. Three more drinks come tumbling down onto Michael. MICHAEL watches as Maggie hustles into the kitchen. He is obviously determined to continue the discussion. [MICHAEL] I think I'll leave before something else comes down on me. He rises giving special attention to Sally who is eyeing his every move. OUTSIDE THE DISCO - DAY As Michael heads towards the car...Lonnie appears in the doorway behind him. [LONNIE] I heard you mention Tanya Walker. You a friend? [MICHAEL] You're not going to throw anything at me, are you? [LONNIE] Why should I? She's a friend of mine, too. [MICHAEL] You know how I might get in touch with her? [LONNIE] I'm afraid she's seeing someone. [MICHAEL] I'm not interested in her body. I'm interested in her money. [LONNIE] Come again? [MICHAEL] I've got something to sell. Some- thing rather valuable. [LONNIE] Like what? Michael looks both ways. [MICHAEL] That's between me and her. [LONNIE] Who shall I tell her inquired? [MICHAEL] Tell her an old friend. Michael smiles and climbs into his car as she hurriedly scribbles down the license number. EXT. COM TRON - DAY - ESTABLISHING IN AN INNER OFFICE [SYME'S VOICE] Security. Symes, speaking. A man turns around in his chair and we recognize him as the uniformed security guard who participated in the Nevada desert shootings. TO INTERCUT WITH TANYA IN AN EXECUTIVE OFFICE Plush furnishings and pools of light. Tanya is in one of them. [TANYA] This is Tanya. Someone just came to town asking about me. Let me give you a car and license number. (refers to a note pad) A new black Trans Am with Nevada plates and the lettering, K N I G H T. [SYMES] Got it. If it's another cop we'll handle him like the last ones. [TANYA] Exactly what I had in mind. [BENJAMIN] Who're you calling, love? She reacts to a pair of arms being placed around her from behind. Warmly she turns into Will Benjamin's embrace. He is forty-five, in good shape and reasonably handsome. [TANYA] Just our people in Security. As president of this company you're an irreplaceable asset and I want to make sure you're safe tomorrow. You know how I worry about you out in public. [BENJAMIN] Nothing's going to happen to me. [TANYA] Darling, in this day and age, there are all kinds of people out there in the world, who'd like to get their hands on a rich man like you. She kisses him fully and we push into her eyes which open diabolically as she rests her chin on his shoulder. [TANYA] Just be grateful you have me to look out for your best interests. FADE OUT END OF ACT THREE ACT FOUR FADE IN ON THE TRANS AM - NIGHT sitting parked in the shadows at the back door of the disco bar. Maggie exits carrying her clothes and other belongings that might be appropriate for someone who just cleaned out their locker. Michael watches as she moves to an old VW. He starts his car and moves up behind the vehicle. [MICHAEL] Maggie. Maggie spins around. [MAGGIE] Get lost, I warn you I've got a purse full of mace. [MICHAEL] I stayed in my car so I wouldn't alarm you. [MAGGIE] Well, ain't you the David Niven. [MICHAEL] Look, I'm sorry about what happened in there. But you misunderstood. I'm not a friend of Tanya's. I just need to find her. [MAGGIE] Who cares. Not me. She and that group of parasites have taken away everything I had...my husband...my job...my house. I can't even afford decent clothes for my kid. She starts into her car. The Trans Am blocks any chance of her backing out.... [MAGGIE] Hey...out of my way, or I'll put a dent in the middle of that machine. I mean it. [MICHAEL] If it'll make you feel better. [K.I.T.T.] That's easy for you to say. It's my body we're abusing. [MAGGIE] You asked for it.... She floors her car and it backs into the Trans Am with a resounding crash. Her bumper falls off. Michael jumps out of the car and moves to the back of hers.... [MICHAEL] I'll pay to get this fixed for you. Maggie is looking at her car and at his. [MAGGIE] How can I go through life with luck this bad? I plow into your door and my bumper falls off. [MICHAEL] Let me help change your luck. [MAGGIE] Just leave me alone. I just lost the last job I'll ever get in this town. [MICHAEL] What if Tanya and her crew could be run out of Millston? She looks at him and starts to laugh. [MAGGIE] Don't tell me. You're about to hand me a silver bullet. [MICHAEL] Just a chance to get even. [MAGGIE] For what? How much do you know about what's going on here? [MICHAEL] Not enough. I was hoping you could tell me what I need to know. [MAGGIE] To do what? [MICHAEL] One step at a time, Maggie. Will you help? She studies him. ON THE SILICON VALLEY STRIP - NIGHT A colorful assortment of lights from restaurants, motels, nightclubs, etc.... [MAGGIE] It's a regular boom town. There's more money flowing through this valley now than there was during the California Gold Rush. THE TRANS AM - NIGHT moves easily up the strip, the colorful lights dancing off of the diamond-finish black paint. The dashboard is in normal configuration. [MICHAEL] All because of tiny little micro- chips. [MAGGIE] Yeah. Every calculator, every electronic kid's game. They were all born right here. [MICHAEL] What about you? How do you fit into Silicon Valley? [MAGGIE] My husband came here to take a job as head of security and Com Tron. [MICHAEL] It didn't work out? [MAGGIE] It worked out great until the pres- ident got a new executive assistant. You wouldn't believe her. She started as a fill-in girl and worked her way to the top inside of three months. [MICHAEL] Tanya Walker? Maggie shoots him a look. [MAGGIE] Hey, before she rode that flashy tail of hers to the top, Com Tron was one happy family. Then she started making wholesale changes. [MICHAEL] Your husband was fired? [MAGGIE] That wasn't the worst of it. He couldn't accept what was going on. He started poking into things. One night he didn't come home. [MICHAEL] He disappeared. [MAGGIE] They found him dead in a gulley. Said he'd been drinking. He didn't drink. Not even beer. [MICHAEL] How'd they make that stick? [MAGGIE] Witnesses. Half a dozen truck drivers who hang out in that place where I work. All animals who work for Com Tron. [MICHAEL] You wouldn't have taken that job to find some answers? [MAGGIE] I took the job to feed our little boy. This is where I live. What else do you want to know? Michael pulls to a stop. [MICHAEL] Everything. [MAGGIE] Well, in that case I guess you better come on in. EXT. APARTMENT - NIGHT as they get out of the car and enter the building. INT. MAGGIE'S APARTMENT - NIGHT It's neat, clean and cheap. As they are allowed entrance by a kindly elderly woman of Hispanic origin who removes a door chain, several dead bolts and a door lock: [LUCE] Ah...senorita -- I was worried --- [MAGGIE] I'm sorry I'm late, Luce...I ran into -- something --- [LUCE] Oh -- I hope it was nothing serious -- (as she sees Michael in doorway, puts her hands to her cheeks) Oh my goodness, I hope it is something serious --- [MAGGIE] Luce -- please -- you're embarrassing me -- this is Mr. Knight -- Luce looks after my son. Luce sweeps up her shopping bags, stuffed with who knows what, and beats a hasty retreat. [LUCE] He is sleeping -- and I am leaving you two -- have a good time. You especially. She is a wonderful woman -- a saint -- remember that. She hugs Maggie. [LUCE] (whispered) Good luck -- this one is a winner. And Luce is gone, pulling the door closed behind her. Maggie turns to Michael, beet red and speechless. [MAGGIE] I don't know what to say -- she never behaves like that. [MICHAEL] No apologies necessary. What could I be, but flattered. [MAGGIE] Thank you, but I have to know you believe me. I haven't had a man in my apartment since my husband --- [BUDDY] Mom --- She turns in place to see a sleepy-eyed Buddy, age approx- imately nine, enter in his footed pajamas. [MAGGIE] Buddy -- what on earth are you doing up -- This is Buddy. [MICHAEL] I figured -- Hi, Buddy --- [BUDDY] Hi! Are you going to marry my mother? She reacts like she just touched a hot stove. [MAGGIE] Ahh -- I don't believe he said that. Now you get right back to bed. Will you excuse me a minute --- Michael smiles warmly. [MICHAEL] Listen -- I know you've got to get to bed, and I only need to talk over a couple of things -- like.... She exits to bedroom as Michael idly wanders around the room, calling off to her. [MICHAEL] If I wanted to talk to Tanya, alone, where would I go? The plant, her apartment...? [BUDDY (v.o.)] Who's Tanya -- competition? [MAGGIE] Shh -- Go to bed. Look, forget trying to get to her off duty. I think she's staying at Benjamin's estate. [MICHAEL] William Benjamin? [MAGGIE (v.o.)] He owns Com Tron. She rarely leaves his side. Now you go to sleep. Michael seems to sink as Maggie reappears, closing the bed- room door behind her. [MAGGIE] Wait a minute! Tomorrow's one day she and Benjamin have to go out. Com Tron is sponsoring a charity show out at the track. [MICHAEL] The track? [MAGGIE] A demolition derby for charity. Buddy wanted to go. Ya see, in Silicon Valley, they have so much money, they don't use junkers. Every plant is putting up a brand new car. People are eating it up. Michael seems to be lighting up.... [MICHAEL] Can anyone enter? [MAGGIE] Come on. Who can afford to get his brand new car totalled out? Michael nods.... [MICHAEL] Tell your son, I'll be by to pick you both up at ten o'clock. [MAGGIE] You mean we get to watch it? [MICHAEL] You two get to watch. I'll be in it. On Buddy as he appears in a suddenly opened door. [BUDDY] Yeah!!! AT THE AUTO RACING TRACK - DAY A carnival of activity as beautiful new cars from various electronic manufacturers in the famous valley, proudly bear their company logos and are being serviced by teams each utilizing the same semi truck and trailer rigs furnished by Com Tron and each bearing its logo and stripes. ON THE TRANS AM as it pulls into the area. INSIDE THE TRANS AM Michael is behind the wheel. Maggie is beside him wearing shorts and a halter. Her nine-year-old son is in the back. The dash is in normal. [BUDDY] Wow, it's better than an auto show! [MAGGIE] Better take 'em in while you can, Buddy. There won't be much left of them after the race. [MICHAEL] Why all the trucks from Com Tron? She turns to Michael. [MAGGIE] Because they're sponsoring the race and providing the drivers. You aren't really thinking of entering your beautiful car? [MICHAEL] It's for charity, isn't it? [MAGGIE] It's also for people who can afford it. I can't figure out why you're doing this. [MICHAEL] I have my reasons. [MAGGIE] You're a strange man. Nice...but strange. [MICHAEL] Thanks. (beat) Well, let's at least get you some good seats in the owner's row.... [MAGGIE] Me? In the owner's row. That'll frost 'em. AT A CREDENTIAL BOOTH Tanya is seated with several other girls as Michael moves up, opening his wallet. [MICHAEL] I understand this is where I check in, Tanya. [TANYA] (looking at him curiously) I beg your pardon. [MICHAEL] I'm Michael Knight. [TANYA] You're the one who phoned. Then you were serious about entering your car? [MICHAEL] Dead serious. [TANYA] Well, your car serves as the entry fee. You'd better not plan on getting much of it back. There is a nice trophy to the winning car and the driver gets a five-thousand- dollar prize. [MICHAEL] That's nice. I'll give the prize money to the charity. [TANYA] You're very confident. You know I should warn you that most of these Com Tron drivers are professionals and a little too eager for the driver's money. It could be dan- gerous. [MICHAEL] These days what isn't? A beat as she worries about the implications of his words. [MICHAEL] By the way, did anyone mention the fact to you that I was in town? [TANYA] As a matter of fact, yes. But I didn't understand the message and I don't deal with salesmen. [MICHAEL] You don't know what I'm selling. [TANYA] It wouldn't matter. [MICHAEL] Want to bet? After the race, you'll be looking for me. I guarantee it. [TANYA] Mr. Knight. I'm not sure I can accept your entrance into this race without proper credentials. Who are you? Where are you from? Why are you here? As she studies him Benjamin moves up. [BENJAMIN] Come on, Tanya...Let's go, let's go...The crowd's a waiting. [MICHAEL] You must be Mr. Benjamin. I sure do admire your charity work here, and I'm sure glad to do my little part. Michael has his hand out and is pumping Benjamin's like he's attempting to pull water out of a dry well. [BENJAMIN] Doing your part? [MICHAEL] I guess I'm the only independent driver in the race. But it's still an honor. [BENJAMIN] We don't use jalopies in this race, Mister...? [MICHAEL] Knight...And my car's no jalopy...You can see for yourself. She's brand spanking new. [BENJAMIN] Well, you are a generous man. You make sure the crowd appreciates his gesture, Tanya. Tanya eyes Michael coldly.... [MICHAEL] Oh, and I'll need a couple of seats in the owner's row. Tanya looks over Michael's shoulder and sees Maggie standing with her son. [TANYA] Here are your passes to the owner's row, Mr. Knight. Good-bye. She rises up and follows after Benjamin, talking in muffled tones which suggest she's angry.... [BENJAMIN] Why are you so hostile? You think there's a kidnapper under every lunch pail.... Michael smiles and moves to Maggie with the tickets.... [MICHAEL] Here ya go. Take your place with the valley's finest. [MAGGIE] You're a doll...Buddy...Buddy. She looks around. [MAGGIE] Now where did that boy go? [MICHAEL] There're a lot of cars to see. He'll turn up. ON THE STARTING LINE as row after row of gleaming new cars right off the show- room floors roar around the figure-eight track in tight formation, waiting for the starting flag. ON THE STARTER as he waves the green flag.... [ANNOUNCER] And the race is on. Remember ladies and gentlemen, this is a figure-eight track and as the cars begin to spread out, it will become increasingly dif- ficult to get through the intersection without colliding with another car. ON THE TRANS AM as Michael switches the dashboard to Super and jockeys to take the lead, pouring it on. He is wearing racing-style shoulder belts. Suddenly a small head appears behind him from the floor, staring wide-eyed at the Super dash. [BUDDY] Gosh. I've never seen anything like that. Michael's head spins around.... [MICHAEL] Buddy...what're you doing here? You're supposed to be with your mother.... [BUDDY] This is much more fun. ON A CAR deliberately trying to run Michael up and off the track as Michael was trying to pass on the outside...Michael brakes and lets the car go ahead.... [BUDDY] Awww...why'd you chicken out?... [MICHAEL] Because you're standing there ready to be flipped out of the car. Climb over the seat and strap yourself in. Now...fast. Buddy climbs over the seat.... ON THE TRANS AM as it approaches the next curve.... [ANNOUNCER] Once again, the young independent is challenging on the outside against a car weighing half again as much...We'll see if he backs down again.... INSIDE THE TRANS AM where Buddy is strapped in the passenger seat. [MICHAEL] Ready? [BUDDY] Ready.... [MICHAEL] Here we go. ON THE CORNER as the Trans Am screams up on the outside and as the competing driver decides to once again force Michael to fall back or hit the wall. Michael gives the wheel a hard left and the inside car makes the equivalent of a U-turn sending it flying back into the infield where it plows into one of the Com Tron trucks.... INSIDE THE TRANS AM [BUDDY] Yeah...You not only wiped him out, you wiped out the truck. ON THE SIDELINES Benjamin looks up, shaking his head. [BENJAMIN] Those boys aren't supposed to hit my trucks. Where'd you get these new drivers, Tanya? Tanya burns. ON THE TRACK as two cars are in front of Michael, with only a half-a-car width between them.... INSIDE THE TRANS AM [BUDDY] We're in trouble...There's no room.... [MICHAEL] Well, if the shoe fits.... Michael looks down at Kitt and its related lights.... [MICHAEL] Okay, Kitt. I need to knock out about four feet, I'm going on Auto Pursuit...you figure out what to do. [K.I.T.T.] As you wish. ON THE DASH as we see the lights go from Normal to Auto.... ON THE TRANS AM as it moves up towards the two cars, and suddenly turns up onto two wheels and barrels down the narrow alleyway between the two cars.... ON DRIVER ONE as he is so busy staring at what's just gone by him, he fails to negotiate a turn and puts his car through a fence. BACK TO THE TRANS AM as it comes back down onto all fours. INSIDE THE CAR [MICHAEL] Thanks, Kitt. I needed that.... [K.I.T.T.] You're welcome. It's so good to be communicating again.... [BUDDY] Golly...this car even talks. [MICHAEL] That was just the radio.... [BUDDY] No, it wasn't...I may be just a kid but I'm not stupid. The car talked to you. [MICHAEL] Buddy...It might be better if we didn't mention that to a whole lot of people. Like any, if you know what I mean. [BUDDY] I think I know what you mean. ON THE TRANS AM racing around the track gaining on two more cars. INSIDE ONE OF THE LEAD CARS Logan is looking back into his rearview mirror. [LOGAN] Hey, Carney? CARNEY in the car next to logan yells back. [CARNEY] Yeah.... [LOGAN] I figure this hotshot's trying to horn in on my money that rightly belongs to one of us. You get my drift? [CARNEY] Loud and clear. Let's give him a little room to get through. The two cars separate allowing Michael to shoot up between them. ON MICHAEL in the car. [MICHAEL] Now, why are they being so generous? [BUDDY] They're chicken. [MICHAEL] I wonder. THE TRANS AM as it shoots up the middle, we see the two cars close the gap, banging in to catch the car in a pinzer. BACK INSIDE THE CAR [BUDDY] Look out.... Michael hits a button.... ON THE TRANS AM as it leaps over the other two cars. ON THE TWO DRIVERS gaping out and over as the car hits the track in front of them.... [CARNEY] How'd he do that? [LOGAN] I don't know...But nobody makes a fool out of me. I'm going to get him. ON LOGAN as he races up behind Michael and begins banging into the back of the car. INSIDE THE TRANS AM [BUDDY] He can't do that...It's against NASCAR regulations. [MICHAEL] I don't think this is a regulation race. They get punched again from behind.... BUDDY looks at the various buttons on the console. [BUDDY] Wow...if that last button made this thing fly...I wonder what this one would do.... Buddy pushes a button. [MICHAEL] Hey, don't start pushing things. I don't even know what those do. ON THE BACK OF THE TRANS AM to see a pipe reveal itself and begin spewing out a continuous stream of thick oil. ON A CORNER as Logan races up to pass the Trans Am, suddenly hits the oil slick and spins out, doing a one eighty. ON LOGAN [LOGAN] Hey...what's happening.... ON BUDDY looking back. [BUDDY] Wow...All right.... CARNEY [CARNEY] Okay, pal. Now you're up against number one. ON BUDDY [BUDDY] Here comes the other dirty rat who tried to cut us off.... [MICHAEL] Just sit tight and don't touch anything. ON BUDDY eyeing Michael warily. Then looking at the buttons, breaking into a smile. INSERT - A BUTTON SMOKE SCREEN ON CARNEY as he races up towards a corner. ON A SMALL FINGER pushing a button. ON A SMOKE SCREEN pouring out of the back of the Trans Am. ON CARNEY [CARNEY] Hey...I can't see. ON CARNEY'S CAR as it crashes straight ahead, missing a turn, and plowing through a wall. ON THE FLAG MAN as he starts to raise a black flag. [ANNOUNCER] Oh, oh, ladies and gentlemen, that flashy Trans Am has apparently blown an engine and is about to get the black flag disqualifying it.... INSIDE THE CAR [MICHAEL] Buddy. Take your finger off that button. Buddy's hand jerks back as if touching a hot stove. ON THE TRANS AM as the smoke abruptly stops. ON THE FLAG MAN looking puzzled. [ANNOUNCER] An amazing turn of events as the lead car is apparently all right, after all. The flag man scratches his head and puts down the black flag and reaches for the checkered flag. [ANNOUNCER] We're coming up on the end of the race with only six cars still in the running. ON THE FIGURE-EIGHT INTERSECTION as two competing cars arrive at precisely the same time resulting in a total head-on with both cars skidding off in opposite directions, rolling over and over, clearly out of the race. [ANNOUNCER] The field has narrowed to but six cars, ladies and gentlemen, and oh, oh...here go two more. ON THE TRANS AM as it heads into a certain collision at the figure-eight. MICHAEL punches up a button.... THE TRANS AM leaps the intersection, vaulting over the other car. [ANNOUNCER] I saw it ladies and gentlemen, but I don't believe it. Apparently a bump in the road allowed the Trans Am to go airborne, completely escaping certain destruction. ON THE LAST CARS mangled messes, bumping and shoving one another as steam and oil flow from the cars in all directions. [ANNOUNCER] As a matter of fact ladies and gentle- men, from here, it doesn't look like the Trans Am has a mark on it. BENJAMIN is looking at the track through field binoculars. [BENJAMIN] That car's incredible, Tanya. I want to know all about that young man. [TANYA] That makes two of us. As Benjamin exits, Tanya moves over to Wilson, but before she can speak, Michael intercepts her. [MICHAEL] You just saw what I'm selling. If you want to know more, meet me at the Rising Sun -- tonight -- eight o'clock. Michael walks off and Tanya resumes with Wilson. [TANYA] What have you found about about him. [WILSON] He doesn't exist. We've run his credit card numbers from the club, car license...Everything. Up until three months ago, there was no Michael Knight. She looks at Wilson...then back to the track. [TANYA] Phony credentials don't surprise me. He says he's here to sell me something. [WILSON] Since when did we go public? [TANYA] Since I saw that car perform. [WILSON] It's one thing to sneak out of a development lab with secrets to sell. It's quite another to steal an entire prototype. This smells like a setup. [TANYA] Did you run his fingerprints? [WILSON] I don't have them, and in any event that's a fallacy. Fingerprints are only on file if someone has a criminal record. [TANYA] Or has worked for the government in some law enforcement capacity. [WILSON] Well, I can only think of one way to get his prints and it could get messy. [TANYA] I leave it entirely in your hands. IN FRONT OF MAGGIE'S APARTMENT - DAY The Trans Am pulls up to the curb, and almost before it can come to a stop, Maggie's boy is jumping out of the car. [MAGGIE] Buddy, you come back here and say thank you. [BUDDY] Thank you, thank you, thank you, Mr. Knight...I gotta go tell every- body.... On his exit there is a pregnant pause. [MICHAEL] You don't look very happy. I thought it was a real nice day. [MAGGIE] Who are you really? [MICHAEL] A friend. [MAGGIE] Michael. Do you know what you're up against? I still hurt from the last man who made me feel...I can't go through it again. She reaches over and kisses Michael on the cheek and exits as he stares after her. ON THE HOUSE OF THE RISING SUN - DAY Michael pulls up and climbs out and enters. INSIDE THE RISING SUN - DAY It is like a scene from an old Western, as the place seems to come to a halt when Michael enters to find himself looking into the faces of all the truck drivers who raced against him. They are a Rogues Gallery of misfits and criminal-types. [MICHAEL] Hi, fellas. Nice race. [DOLAN] Let's talk about it outside. [MICHAEL] Sorry. I'm here to meet a young lady. [CARNEY] Miss Walker got the message. She sent us to pick you up. [MICHAEL] Tanya did that? You work for her, too? [DOLAN] She suggested we show you what we think of outsiders coming into our little town and taking away our prize money. [MICHAEL] Oh, didn't Tanya tell you, I'm donating it to the charity. [CARNEY] Yeah, well we've each got a little donation for you, too. [MICHAEL] Fellas -- I hate to mention this, but I'm kind of heavily into martial arts. They smile. [DOLAN] Yeah? Reactions as we see Maggie, Lonnie and others gasp as drivers fly through air across tables, out doors, etc. OMITTED FADE OUT END OF ACT FOUR ACT FIVE FADE IN ON THE TRANS AM - DAY as it is being towed through the gates of the large modern factory bearing the Logo of Com Tron Industries. ON FRED WILSON - DAY as he exits the office building section in the company of Tanya. They move towards the car which is being towed towards some opening doors in the factory. [TANYA] I want that car examined from top to bottom. Inside and out. [WILSON] What's that going to tell us? [TANYA] Who Michael Knight is working for. [WILSON] The car is going to tell us that? [TANYA] Even cars that are specially engineered require stock parts and they have serial numbers. Benjamin's engineers should be able to give us a pretty good idea where the work was done and by whom. ON DEVON INSIDE THE KNIGHT MANSION (SHOT) He is standing at a window, speaking into the telephone with a look of grave disappointment on his face. [DEVON] You're where? INSIDE THE JAIL - TO INTERCUT (SHOT) Michael is in a holding cell, using the telephone. [MICHAEL] Jail. But it's a trumped up charge. [DEVON] It always is. [MICHAEL] Look, I'm dead serious. These people we're after are practically running the town. [DEVON] Where is the Knight 2000? [MICHAEL] I...I'm not sure. [DEVON] What do you mean you're not sure. Mr. Knight practically went to his grave creating that marvelous machine. How can you call me long distance and tell me you've misplaced it. [MICHAEL] I didn't misplace it. They impounded it. The trouble is, I think Com Tron talked the Sheriff into letting them check the car out. [DEVON] Congratulations. You've managed to live up to my every expectation. [MICHAEL] This is no time to be trading insults, Devon. What are we going to do. [DEVON] Wonderful. Now it's we. A few hours ago you practically drove over my foot to be on your own. [MICHAEL] I was a little hasty. Deke moves up. [DEKE] Your time's up, boy. Let's get back to the cell. [MICHAEL] I'm counting on you, Devon. We've got 'em right where we want 'em if you come through. [DEVON] It'll take me awhile to get there. We may have to rely on other...means, temporarily. [MICHAEL] What do you mean by that. Devon... Devon...Hey you guys cut me off... I demand another phone call. Deke opens the holding cell door and stands impatiently. IN AN ORDINARY CELL BLOCK - NIGHT Michael is deposited in a cell adjacent to a second cell in which we see Carney who was arrested in the same brawl. Deke turns and walks away as Carney moves to the bars between the two cells. [CARNEY] Hey, cowboy. Michael folds onto his bed. [CARNEY] Hey. I'm talking to you. I want to know what that machine of yours is made of. [MICHAEL] Sit and spin. OMITTED EXT. COM TRON - NIGHT - ESTABLISHING INT. GARAGE - ON THE TRANS AM as a team of auto experts buzz around the machine like a swarm of bees. Unfortunately, nothing is getting accom- plished. A man on the door is trying to drive a crowbar into the door. A second man, assisted by a third is attempting to penetrate the hood with a diamond bit drill. Two more crewmen with acetylene torches are trying to burn their way into the car through the windows and trunk. ON TANYA watching impatiently. [SYMES] We've gone through three diamond bit drills. [TANYA] It's impossible. Just plain impossible. WILSON arrives hurriedly. [WILSON] Maybe I can explain it. He hands a wire to Tanya.... [TANYA] I don't understand what this means. [WILSON] The Sheriff fingerprinted Knight when he was arrested. These are the results. [TANYA] What does this mean? No identification possible. [WILSON] Keep reading.... She reads on, then suddenly pales. [TANYA] Altered? [WILSON] Expertly done. But still not the man's own prints. Tanya moves off to herself. [TANYA] It's unraveling. Someone on a very high level is breathing down our necks. It's time to get out. [WILSON] A few days from penetrating all of Com Tron's secrets? [TANYA] We can go for the main one. I got the access code for the bubble memory chip from Benjamin. It's worth more than all their other patents combined. We can get it out of the computer and fly out tonight. [WILSON] Tanya...You're panicking over nothing. If he had any proof of anything, he wouldn't be wasting time in demoliton derbies or letting himself get locked up. He'd tell the Sheriff why he was here. [TANYA] Trust me, I could feel it when I looked into his eyes. He's not an ordinary cop. He's far more dangerous. He has to be eliminated. (a long pause) Now go get Michael Knight out of jail while I start clearing out the records. ON THE JAIL - NIGHT [CARNEY] You're just making it worse. This your first time in the can? [MICHAEL] No. I used to nose around for Army Intelligence back in 'Nam. I got caught once by the Cong. [CARNEY] What happened to you? [MICHAEL] I had to punish them. Carney nods...then does a take, looking at his cellmate with a new kind of respect. [CARNEY] I hope you didn't take what we did to you tonight, personally. [MICHAEL] No. You look like you already paid a pretty good price. [CARNEY] You got any friends on the outside at all? I mean you did make the one call, but no one seems to have shown up. [MICHAEL] I have one friend. [CARNEY] That's good. [MICHAEL] But we aren't on the best of terms. [CARNEY] That's bad. INSIDE THE FACTORY - ON THE TRANS AM as the light hoods shift up and the lights flash on. We push in closer and hear the powerful engine turn over. INSIDE THE CAR - ON THE NORMAL DASH We see the dash convert to Super. Then we see the micro- processor shift from normal to pursuit. The brake lights go out as the transmission light shifts to low gear. INT. GARAGE (SHOT) as the car burns rubber and lurches forward. ON THE GARAGE DOORS (SHOT) as they shatter into the sky and come bounding down in the wake of the Trans Am which disappears off into the night. BACK INSIDE THE JAIL - NIGHT Michael moves from the window to lie on his cot. [MICHAEL] The other drivers. The ones that beat me up. They local boys? [CARNEY] Naw. We all got hired by Wilson, the new security chief. I heard about it in stir as I was getting my parole. They pay good and you don't have to break too many laws. [MICHAEL] Sounds great. Ever wonder why a nice polite electronics company needed strong-arm boys? [CARNEY] I don't ask questions like that. OMITTED ON THE TRANS AM as it cruises slowly down main street. It stops at the entrance to the alley. EXT. SHERIFF'S OFFICE - NIGHT as a Com Tron security car pulls up in front and Wilson gets out leaving Gray at the wheel. He enters the building. ON THE SUPER DASH (SHOT) as microprocessors are sensing directions and opportunities. Lights change and the Trans Am turns down the alley. Suddenly it stops...guns its engine and hauls for all its worth towards a brick building at the end of the alley. ON MICHAEL (SHOT) His eyes are shut. IN THE SHERIFF'S OFFICE (SHOT) [WILSON] Deputy. I have a court order for Mr. Knight's release. [DEKE] Okay...I guess he's yours. BACK ON MICHAEL (SHOT) He rolls over, his back to the window. Suddenly his eyes open as he hears the screaming whine of an engine growing louder and closer. Suddenly: THE WALL BEHIND MICHAEL (SHOT) explodes, sending bricks everywhere. IN THE SHERIFF'S OFFICE (SHOT) Deke, Wilson, react, as dust drops in from the ceiling. [WILSON] What the hell was that? Deke turns to rush back to the cell block. Wilson looks and races after the deputy. BACK IN THE JAIL CELL (SHOT) Michael climbs out from under a layer of red chalk and stares in disbelief. [MICHAEL] I don't believe it. [CARNEY] Must be a drunk. See if he hurt himself. Michael climbs across the bricks to the door and opens it. The front seat is empty. [MICHAEL] I won't even ask how you did this, Kitt. [CARNEY] Who you talking to? There's nobody in there. The deputy rushes up to the door, Wilson behind him. [DEKE] Hey...what in the.... With that Michael jumps into the machine and throws it into reverse, roaring back into the alley. EXT. SHERIFF'S OFFICE - NIGHT as the Trans Am brodies out into the main street and flashes past Gray as Wilson rushes out and jumps into his car. Gray spins a fast U-turn and takes off in pursuit. OMITTED ON THE TRANS AM screaming down the dark highway. ON THE SECURITY VEHICLE as it tries vainly to catch up. INSIDE THE SECURITY VEHICLE [WILSON] It isn't any use trying to catch that machine. [GRAY] Then how do we stop him? He's got to be heading out of town. There's nothing else out this way. [WILSON] Oh, yes there is. ON COM TRON INDUSTRIES - NIGHT situated handsomely amongst its well-manicured grounds, illuminated only by exterior ground lights. Only the executive floor is lighted with a single car out on the parking lot. THE TRANS AM pulls into the parking lot and moves up beside the single vehicle in front of which we see the sign: TANYA WALKER MICHAEL looks up at the lighted top floor and a security fence which surrounds the building. He drives on around the side of the building. ON THE SIDE OF THE BUILDING Michael looks up. It's a long way to the roof and the fence whose top is laced with razor wire prohibits any intruders with a bent for climbing. MICHAEL examines the Super dash. [MICHAEL] Now how am I going to get up there? It's times like this that I wish I'd listened a little more closely to Devon. [K.I.T.T.] Might you entertain a suggestion? Michael takes a deep breath. [MICHAEL] Yes...yes. It's all right. I have to get up to a roof about one hundred feet straight up! [K.I.T.T.] Very well, if you'll set the pressure adjustment for precisely six hundred pounds, you should land quite gently. [MICHAEL] That's it. I just set the pressure and hit the button? [K.I.T.T.] It would help if you also open the sun roof. [MICHAEL] Smart aleck car.... Michael quickly sets the button and opens the roof. He takes a deep breath and pushes the button. ON MICHAEL as he is catapulted high into the air and onto the roof. ON A NIGHT WATCHMAN who steps out of a door and looks around. He spots the car and quickly runs toward it. ON THE SUNROOF as we see it slowly closing on its own. THE GUARD rushes up and looks at the vehicle. He tries it, then grabs his walkie-talkie. [GUARD] You guys aren't going to believe this, but it's back. IN THE GARAGE portion of the building where the shattered doors are bathed in lights as guards stand gaping at the damage done by the missing vehicle. Tanya grabs the walkie-talkie from the Guard and barks into it. [TANYA] What do you mean, it's back? Back where? ON THE GUARD [GUARD] Right out here on the south parking lot. TANYA looks at the assorted guards around her and charges out the door. INSIDE THE OFFICE BUILDING An air duct is pulled up, and Michael Knight lowers himself to the floor. He moves to the nearest desk, looks amongst the directories in a file stand and opens one marked Com Tron Industries. [MICHAEL] Let's see. Data Processing. Ninth floor. Michael turns and hurries to a staircase and down into the darkness. ON THE TRANS AM as all the guards try in vain to open the car. Headlights suddenly bathe the scene in light as the security car races to a stop. [TANYA] Where's Knight? [WILSON] I dunno. He busted out of jail. [TANYA] You think he's here? Wilson turns and looks up at the lighted executive suite on the top floor. [WILSON] There's no way he could get in. Not without being seen. [TANYA] How much do you want to stake on that? I'm going back up and secure the microchip design. You give the guards orders to shoot to kill. This is a serious breach of national security. Tanya enters the building as.... [WILSON] You heard her, gentlemen. We've got a man in that building trying to get at our top secrets. We've got to stop him. (turning to a guard) You stay by this vehicle and shoot anyone who attempts to come near it. Wilson removes the gun from his shoulder and cocks it and takes off on the dead run. OMITTED TANYA enters the office, punches an identification code into a desk top computer as the phone rings. She answers. [TANYA] It's okay. I've accessed the design specifications on the new memory chip. I'll be leaving for the airfield now. Alert the pilot -- I'm flying out on Benjamin's orders. You get Knight and meet me at the field. She hangs up and reaches for her gun which is lying on the desk. As she does so.... MICHAEL'S HAND reaches under her arm and picks up the gun. She spins around, startled half out of her wits. He looks at her with a gleam of satisfaction in his eyes. [MICHAEL] Very kind of you to organize the evidence for me, Tanya. [TANYA] Look. Don't do this. Whoever you're working for -- it can't be worth what I can do for you. He raises the gun to her face. [MICHAEL] Would you rather I did this, Tanya? It's not a starry night in Nevada, but it'll hurt just as much. She pales. [TANYA] Michael Long?... ON TANYA She gasps. FADE OUT END OF ACT FIVE ACT SIX FADE IN IN THE OFFICE [TANYA] You don't want to do this. Look, I can share millions with you. All the money we took out of Consolidated and Knight Industries is safely out of the country. Please don't do this...please. Michael lowers the gun almost imperceptibly. Tanya takes it as a sign of weakening and presses her case. [TANYA] I didn't want to hurt you, Michael, but I had no choice. If I hadn't done it, Wilson would have. Those were his orders. [MICHAEL] Come on, Tanya. How can we share the millions if someone else is giving the orders? You're the boss, Tanya. No one else. [TANYA] Okay. I'm the boss. But we could use someone like you. (seductively) I promise you ours would be a very rewarding partnership. OVER MICHAEL'S SHOULDER We can see Symes in the corridor, moving towards the suite, his gun drawn. [MICHAEL] Not this time, Tanya. You see, I work alone. Standing close to him, he holds the gun at her belly. Suddenly Michael catches a glimpse of movement out of the corner of his eyes. He dives as a shot rings out spinning him around. FROM THE FLOOR Michael fires at Symes who is himself firing while going down. Recovering first, Michael races for a door as Tanya rises up and races towards the fallen Symes. She grabs the gun and fires it into the door after Michael. Slowly she moves to the door and opens it. ON AN EMPTY CORRIDOR Tanya spins around and races for the elevator. ON WILSON running down a corridor. He stops as a Guard rounds the corner surprising him. [WILSON] Where'd the shot some from? [GUARD] I couldn't tell. [WILSON] Get every guard to check in. OMITTED IN A THIRD FLOOR CORRIDOR Michael rushes towards a stairwell, starts down, then jumps back at the sound of voices coming towards him. [GUARD #1] I'll take Personnel. You take Accounting. Michael ducks back into an office alcove as a guard rounds the corner. His hand suddenly shoots out and grabs the man by the mouth and pulls him back into the alcove. EXT. BUILDING - NIGHT as Tanya exits, jumps into her car and takes off. ON A GUARD racing down a corridor. ON ANOTHER GUARD in the garage area. ON MICHAEL as he steps out of the alcove in a guard's uniform. IN A STAIRWELL as Michael struggles hurriedly down. Suddenly his walkie- talkie squawks. [GUARD #1] Nothing in Personnel. What about you Baker?...Baker...Baker.... Michael looks down at his nameplate. [MICHAEL] Nothing. ON WILSON standing with another guard. Symes rushes up. [WILSON] That wasn't Baker. ON THE PARKING LOT A Guard paces by the Trans Am as across from him a silhouette appears at one of the doors. A figure exits. The Guard raises his weapon. [MICHAEL] Don't shoot. It's Baker.... The Guard is momentarily fooled by the uniform, but he relaxes only slightly, squinting against the back-lighted man in uniform. [GUARD #2] What's going on? [MICHAEL] Wilson wants you upstairs. As Michael is almost close enough to make a move...the walkie-talkie on his side begins to squawk. [WILSON] All guards be aware that Baker's uniform has been stolen. Repeat... suspect is now wearing a guard's uniform.... [GUARD #2] Hold it right there, Knight. Holding the weapon in one hand and raising his own walkie- talkie with the other, he chortles into his instrument. [GUARD #2] I got him. Dead in my sights. Right out here by his car. ON WILSON as he turns, excitedly inside the building. [WILSON] Don't let him move so much as an inch and you've got yourself ten thousand dollars, boy... (then to Symes) Let's go. [GUARD #2] Yes sir. BACK TO THE GUARD AND MICHAEL [GUARD #2] You almost made it...But I was too smart for you, fella. [MICHAEL] Sorry. You'd better look behind you. [GUARD #2] Oh no. There's no one behind me for two hundred yards. [MICHAEL] What about the car? [GUARD #2] There's no one in the car, either. I checked. Michael nods silently. Then.... ON THE TRANS AM as the headlights suddenly snap on and the engine starts. ON THE GUARD as his knees weaken and his mouth falls open. [GUARD #2] Don't kill me. I have dogs at home and a sick mother. [MICHAEL] Just lay right down and toss your weapon over here. He falls to the ground and hurls his weapon. Michael picks it up as guards led by Wilson and Symes race out of the building. MICHAEL turns and moves painfully to the car...touches the lock. It opens to his touch. He enters...backs up and spins around, races off. [WILSON] You idiot. How'd you let him get away? [GUARD #2] He had help. There musta been dozens of 'em. [WILSON] Get to the cars. And alert the two guarding the driveway. ON THE TWO SECURITY CARS AT THE DRIVEWAY as the Trans Am races towards the entrance without slowing. The guards in both cars hold their guns steady, and commence firing, round after round. INSIDE THE TRANS AM Ping, ping, ping, as the two cars loom up less than thirty yards ahead. ON THE CARS as at the last possible moment, the security guards leap out of their vehicles narrowly making it to safety as the two cars explode sending flames high in the sky. BACK TO WILSON AND SYMES driving looking at the entrance in disgust. [WILSON] Forget trying to catch him in security cars. There's only one way to stop him now. Wilson turns and hurries towards the building. ON THE HIGHWAY The Trans Am races along. INSIDE THE CAR (SHOT) Michael is faltering behind the wheel. [MICHAEL] Kitt? You there? [K.I.T.T.] Where would I go? [MICHAEL] Look, I know we've had some misunder- standings, but I'm not sure I'm going to be around at the end of this trip. [K.I.T.T.] If you're suffering from any form of trauma, you should seek immediate medical attention. [MICHAEL] We can't stop, pal. They're going to be coming at us from all directions. [K.I.T.T.] What can I do? [MICHAEL] Is there any way to get in touch with Devon? [K.I.T.T.] Mr. Devon is en route to Millston now. You could communicate quite easily by phone. [MICHAEL] Do it. Do it fast. ON THE KNIGHT 2000 JET (SHOT) streaking through the night sky. ON DEVON seated in an executive interior. A veritable war room. [DEVON] What in the name of heaven is going on? TO INTERCUT WITH MICHAEL IN THE TRANS AM He speaks without using a hand phone and fights off dizzyness. [MICHAEL] They were going to kill me. Would have if it weren't for Kitt. [DEVON] Michael. What's wrong? Kitt. What's wrong with Michael? [K.I.T.T.] I'm afraid Mr. Knight's been injured. His vital signs are deteriorating rapidly. He's losing blood. I really feel I should take over. [MICHAEL] You aren't taking over anything. You hear? [DEVON] Michael...Forget everything. Save yourself. We'll regroup to fight another day. Remember -- Wilton Knight had a dream for you that goes well beyond Tanya and her sordid rabble. [MICHAEL] He was a great man, Devon. I'm proud he chose me to help him. But I'm afraid I'm not going to be around to help with his dream. [DEVON] Michael, don't talk like that. Kitt!! [K.I.T.T.] What can I do? He's still overriding me. [MICHAEL] Don't worry Devon, I'm going to take us out winners -- for Wilton, for you -- for Kitt.... [DEVON] Kitt? [K.I.T.T.] Given his signs, I suggest you hear him out -- quickly. [DEVON] Michael, what does this mean? What have you learned? [MICHAEL] That Tanya and her buddies are about to rip-off Com Tron. [DEVON] Can you prove it? [MICHAEL] Right now they're trying to get away with millions of dollars worth of Com Tron's secrets. We have to catch them in possession. [DEVON] I'll contact the local police immediately. [MICHAEL] Forget them. They've been bought. Get to the State Police or the FBI. Have them standing by. [DEVON] Standing by where? [MICHAEL] They're making a run for it. To the airport. I'm going after them. [DEVON] Kitt. Can he make it? [K.I.T.T.] You want the truth -- in front of him? [MICHAEL] You can both take a flying leap -- If I'm going out -- I'm taking those vultures with me. [DEVON] Michael -- Michael -- I forbid it. You'll destroy everything. [K.I.T.T.] Listen to him, Michael. He's not just talking about me. OMITTED IN A COM TRON HELICOPTER Wilson is in the passenger seat beside Gray who is piloting the bird. Wilson calmly talks into the headset. [WILSON] This is Chief of Security Wilson. Patch me into Com Tron truck dis- patch. I want everything we've got on the road to stand by for special insructions. BACK IN THE TRANS AM - NIGHT racing through the night. Michael trying to hang on. [DEVON] Michael, are you there? Kitt? [K.I.T.T.] He's still conscious, sir and insisting on maintaining control of the vehicle. [MICHAEL] And that's another thing that gripes me. [DEVON] What's that? [MICHAEL] I don't want to have anything to do with a car that takes off on its own. That can listen to my thoughts and make its own decisions. [DEVON] You're giving it far too much credit. [MICHAEL] I don't think so. I can see myself out on a dance floor sometime and my car comes up and cuts in on me. [K.I.T.T.] Amusing, but not factual. [DEVON] It's all right, Kitt. Keep him talking. [MICHAEL] Anything to keep me awake, Kitt...to keep me angry.... POINT OF VIEW - A GIANT SEMITRUCK AND TRAILER (SHOT) is racing towards an intersection. The logo on the truck reads Com Tron Industries. MICHAEL [MICHAEL] Great. Just great.... [DEVON] What is it? [MICHAEL] I just figured out how they intend to keep me from getting to the airport. Michael slows down to a stop as he sees the semi's next move as it moves into the intersecting highway. THE SEMI (SHOT) stops, completely blocking the intersection. ON THE TRUCK DRIVER (SHOT) as he looks out his window smiling and we recognize him as Dolan, one of the drivers who gave Michael such a beating. [DOLAN] Come on, big shot. Come to papa. ON MICHAEL (SHOT) [MICHAEL] Okay, Kitt, here goes nothing. [K.I.T.T.] With all due respect, you aren't possibly considering.... Michael floors it. [K.I.T.T.] Oh my word, you are. ON THE TRANS AM (SHOT) as it accelerates towards the intersection, faster, faster.... ON DOLAN (SHOT) as his look turns sour.... [DRIVER] Hey...is he nuts?... ON THE TRANS AM (SHOT) as it hits a dip in the road and goes airborne, directly into the logo on the side of the truck. ON THE OTHER SIDE OF THE TRUCK (SHOT) as the Trans Am exits and continues on up the highway leaving a gaping hole in its wake. MICHAEL [MICHAEL] I gotta admit. This car is something. [K.I.T.T.] Bold of you. [MICHAEL] Don't rile me, Kitt. Don't rile me. [K.I.T.T.] But that's the whole idea. Your condition should improve drastically when you get angry. ON DOLAN (SHOT) as he stares back at his trailer in disbelief. INSIDE THE CAL TRON HELICOPTER [WILSON] Dolan. Dolan. Did you get him? [DOLAN'S VOICE] I blocked the road and cut him off. [WILSON] Good work. [DOLAN] But he went right through my trailer. [WILSON] Have you been drinking? [DOLAN] Not yet, but I plan on it. You aren't going to stop that thing. POINT OF VIEW OF THE CAR from the copter. BACK TO WILSON [WILSON] Attention all drivers. Anybody wanting a fifteen thousand dollar bonus is to smash that Trans Am head on. Do you hear me? Head on. He's currently moving north on Highway 17. [RED] This is truck forty-one coming up 17 and you're nuts. What good is fifteen thousand dollars if you're dead? [WILSON] Jump clear, you idiot. Just be sure you level that Trans Am. OMITTED INSIDE THE TRANS AM [RED] Forget it. [WILSON'S VOICE] Make it twenty-five thousand to the first man that nails him head on. Michael reacts to the radio. [MICHAEL] Did you hear that, Devon? [DEVON] I'm afraid so. [MICHAEL] Well? You know what Kitt can do. Can he do it? [K.I.T.T.] Yes, can I? [DEVON] I can't recall having put him to that precise test. [MICHAEL] Great. [K.I.T.T.] I suggest we'd better reach the airport before we reach the truck. [MICHAEL] You know something? I think you're right. OMITTED ON THE TRANS AM racing along the highway.... OMITTED ON THE COM TRON TRUCK (SHOT) racing along the highway in the opposite direction. ON THE COM TRON HELICOPTER [WILSON] Where are you, forty-one? [DRIVER #2'S VOICE] Just coming up to the airport turnoff. OMITTED INSIDE THE HELICOPTER [WILSON] I see you. You've got him. He's just over the next rise. Wilson smiles at Gray (pilot) next to him. The pilot takes a shotgun from its rack and places it in a handy position. [GRAY] Just in case he gets by. [WILSON] No one survives a head-on collision with a semi. Wilson smiles securely. BACK ON THE TRANS AM barrelling down the highway. [MICHAEL] We should be seeing him any minute. ON THE TRUCK - FROM MICHAEL'S POINT OF VIEW coming in the opposite direction. [DRIVER #2'S VOICE] I got him in sight. He's coming over the rise now. ON WILSON IN THE HELICOPTER [WILSON] Remember, twenty-five thousand big ones if you nail him. [DRIVER #2] Consider him nailed. INT. CAR - NIGHT [K.I.T.T.] Mr. Knight. This is foolhardy. I really must assume control. ON THE PANEL as we see the light go from manual to automatic. [MICHAEL] Negative. I'm driving this machine. Michael pushes the manual button back in. The light reverts to manual control. [K.I.T.T.] Mr. Devon. Michael is in no condition to be making decisions. ON DEVON [DEVON] Kitt, I'm afraid so long as he is in the driver's seat and conscious, we have no choice. [K.I.T.T.] An absurd set of circumstances. [MICHAEL] Too bad, Kitt. But the guy who designed you believed in the strength of the individual. We may have to put it to the test. ON WILSON looking down. [WILSON] He isn't stopping. [GRAY] Man's nuts. [WILSON] I hope so. OMITTED INSIDE THE TRANS AM [MICHAEL] Any last thoughts, Kitt? [K.I.T.T.] I wish you hadn't put it that way. ON THE SCENE The Trans Am coming from the left. The truck from the right. Closer...closer...closer.... Intercut: POINT OF VIEW FROM COPTER as it lights the scene as the truck and car hurtle towards each other. Closer and closer. We reveal an intersection with a left turn towards the airport. It's even money which vehicle will make it first. Intercut: THE CAR AND TRUCK CLOSING FROM BOTH POINTS OF VIEW POINT OF VIEW FROM THE COPTER as the two vehicles close, the car at the last possible moment swings left up the airport road as the truck hurtles by. INT. CAR - NIGHT [MICHAEL] Now that's about as close as it can get. [K.I.T.T.] Tell me about it. OMITTED AERIAL VIEW OF MICHAEL'S CAR weaving up the airport road. ON WILSON [WILSON] Take her down. It's up to us. ON THE TRANS AM as it continues on the road. ON MICHAEL as he continues trying to hold himself together as he continues towards the airport. ON THE HELICOPTER as it drops to running parallel and very close to the car and Wilson lifts the shotgun and fires point blank at Michael's head through the open side of the copter. ON THE WINDOW as the myriad lethal pellets ricochet back into the chopper. INSERT - SMOKE pouring out of the chopper. GRAY [WILSON] He hit us -- [GRAY] No, you hit us! [WILSON] Shut up and make another pass. [GRAY] You want to make another pass. You jump out. We'll be lucky to make the airport. EXT. AIRPORT - NIGHT Tanya's car slams to a stop next to the whining jet, as the chopper lands. [TANYA] You get 'im? [WILSON] Does it look like it? Roll this machine. [TANYA] Not until I finish Michael Knight. She suddenly reacts: HER POINT OF VIEW of the rapidly approaching distant headlights of the Trans Am. BACK TO SCENE as Wilson and Gray dash towards the jet, physically grabbing Tanya. As the hatch closes the jet starts to roll out. THE TRANS AM as it screams through the airport gates towards the runway. MICHAEL'S POINT OF VIEW OF THE JET taxiing fast. INT. CAR - CLOSE ON MICHAEL bathed in a cold sweat. [K.I.T.T.] Better let me take over. Your reflexes can't handle it. [MICHAEL] It's two out in the bottom of the ninth, Kitt. I'll finish the game. [K.I.T.T.] I'll bet nobody talks that way to Tommy Lasorda. WIDE SHOT As the jet reaches the end of the runway and swings around for take-off, Michael swings the car towards the plane and aims toward it. They are both starting towards each other from virtually opposite ends of the field. INTERCUT 1. Michael's point of view of the approaching jet. 2. The Pilot's point of view of the approaching car. OMITTED CLOSE ON THE CAR as it closes with the jet's wingtip. THROUGH THE WINDSHIELD OVER MICHAEL'S SHOULDER as the car reaches and tears off the jet's wingtip as the rest of the wing explodes. WIDE SHOT as the car turns off as the plane does a 180 and comes to a stop, the burning wing o.c. The door opens and Tanya, Wilson and Gray stumble out followed by the crew as the plane blows up in the b.g. As sirens begin to be heard in the distance: [WILSON] Run for the hangar -- we've got to find another way out. ON TANYA as she cold-bloodedly starts across the apron towards a pair of closing headlights, slowly removing the gun from her fur coat pocket, the same gun she used to forever destroy Michael Long. [TANYA] I'll get you a way out of here, that nothing can stop. [GRAY] Tanya, come back here. THE TRANS AM screeches to a halt. Michael Knight looks out through half-opened eyes. TANYA raises the gun to the side window at point blank range. [TANYA] You lose, Michael! [MICHAEL] No Tanya, don't.... [WILSON] The windows are --- Tanya smiles and fires. Michael grimaces. Tanya's hands clutch her once beautiful face. ANGLE ON THE GATE as three police cars, sirens screaming and red lights flashing, pour onto the runway. INT. CAR - NIGHT - MICHAEL looks down with empty satisfaction. [MICHAEL] It's done, Kitt. And now it's all yours. He passes out. There is a short beat as we see steam pouring out from under the hood. ANGLE ON THE SUPER DASH as the car shifts from manual to automatic. EXT. CAR - NIGHT as it slowly drives off as the police stare after it. EXT. HOSPITAL - NIGHT - ESTABLISHING - STOCK CLOSE ON EMERGENCY ENTRANCE as the car slowly pulls up to a stop, the horn honks and the door opens to reveal Michael. Michael stirs and comes to slightly. [MICHAEL] Where are we? [K.I.T.T.] Emergency hospital. They should be able to take care of you. [MICHAEL] Thanks. [K.I.T.T.] While you're in there, see if they've got room for me. [MICHAEL] What's your problem? [K.I.T.T.] Acute exhaustion. He honks again as a couple of attendants come out, discover Michael, load him in a gurney and rush him inside. There's a beat, then the door closes and the car slowly moves out of frame. Hold on emergency room doors as we: FREEZE FRAME FADE OUT END OF ACT SIX TAG FADE IN EXT. HOSPITAL - DAY - ESTABLISHING - STOCK OMITTED EXT. HOSPITAL - DAY A nurse is rewrapping Michael's bandages as Michael stands next to his hospital bed. [MAGGIE] Michael, are you all right? [MICHAEL] Well I'm a little stiff and sore but the Doc says I'm mobile. [MAGGIE] I don't know what I'm going to do with Buddy now that you're leaving. [MICHAEL] I'd keep him. He's a pretty good kid. [MAGGIE] You know what I mean. He needs a man. I can see that. I thought I could just go on not caring.... [MICHAEL] ...and not looking? [MAGGIE] Stupid, huh? Here I had a prime candidate right under my nose and I chased him away. [MICHAEL] Don't consider it a permanent condition. [MAGGIE] You mean that? I mean, you might come back to see us? [MICHAEL] Tell Buddy it's a promise. Michael leans over and kisses Maggie who tears up. [MAGGIE] You know Buddy was hoping you'd take him for one last ride in your car. [MICHAEL] Well that might be a small problem.... DISSOLVE TO CLOSE ON DEVON (SHOT) driving the Trans Am. [DEVON] Only you could have put a dent in that machine. Pull back to reveal that the Trans Am is being towed through the gates of the airport towards a ramp, leading up into a waiting truck bearing the logo, KNIGHT INDUSTRIES. [MICHAEL] Hey. Nothing's perfect. When do I get it back? [DEVON] Who said anything about getting it back? [MICHAEL] Devon. It's my car. I have the registration. [DEVON] We'll have to talk about that! The tow truck comes to a stop. Michael and Devon climb out as workers, wearing the Knight Industries logo, begin pre- paring the car to be winched up into the waiting semi. OMITTED ON THE LEAR JET as it streaks off into the air. INSIDE THE JET [MICHAEL] Now then, about my car. [DEVON] Well, simply stated, Wilton Knight was my friend as well as my employer. It's my legacy to see that his final dream is faithfully pursued, like it or not. (beat) You on the other hand, have no such obligation, your options are still open. You don't have to.... [MICHAEL] Devon. The old man wanted me. It was his dying request. [DEVON] Yes, of course. To rid the world of Tanya and her friends -- The rest of his dream would bore you to tears -- just a sort of insignificant foundation. [MICHAEL] Tell me about it, Devon -- Tell me about the foundation. What's it for? [DEVON] For law and justice. But largely paperwork. The major part of our activity involves legal research, class action suits, strictly bureaucratic.... [MICHAEL] What else, Devon? [DEVON] What else? [MICHAEL] The part he wanted me for. The truth! [DEVON] The truth. Well, Mr. Knight also believed that there are certain situations in which direct action might provide the only feasible solution. That's what the Knight 2000 was designed for. The pilot program is to consist of one man and one car. Absurd really -- who'd want to take that on --- [MICHAEL] I was supposed to be that man, wasn't I? [DEVON] Well, I --- [MICHAEL] The truth. [DEVON] He did seem to feel you were singu- larly well qualified to go it 'alone' as he put it. But!!! [MICHAEL] But, what? [DEVON] Who could expect it of you? I mean you barely came through this mis- adventure with your life -- not to mention the damage to the Knight 2000. [MICHAEL] I don't have any more choice than you do, Devon. [DEVON] You don't? [MICHAEL] Think about it. I've spent years knocking my head against criminals of one type or another who've always had the upper hand. Now this. [DEVON] Now what? [MICHAEL] The answer! A loner's dream. I've had it all handed to me on a silver platter. A completely free hand. The world's most fantastic car. All the money and resources of the Knight Foundation, and most of all, the best chance I'll ever get to prove that one man really can make a difference. [DEVON] An admiral ambition in theory -- however.... [MICHAEL] I don't think we're ever going to get along too well, Devon. But you're straight and you're honest. And you know I'm what Wilton Knight wanted. So you've got no choice about me. Not until I decide to leave. And that may be a long time coming. After all -- I gave Mr. Knight my word on his deathbed. Devon nods in resignation and pours a couple of drinks. [DEVON] I was afraid that might be your attitude. He hands Michael a glass. [DEVON] Well, shall we drink to what could be the start of.... [MICHAEL] (interrupting lightly) Of what? [DEVON] Of one man's dream. [MICHAEL] And to our future! No matter who it may take us up against -- or where. Devon nods. For once they are in complete agreement. As they touch glasses: [FREEZE FRAME] THE END

{"show": "Knight Rider", "season": "s01", "episode": "e01", "title": "Pilot Episode (aka. Knight of the Phoenix)"}

knightriderarchives

ACT ONE FADE IN OMITTED EXT. CAMP ENGLEHART - MUNITIONS COMPOUND - NIGHT surrounded by fencing. A single light casts long shadows across the expanse of concrete and catwalks. Two bull-necked sentries pass by on their rounds. They are Corporals Mank and Cotler. We hold on this area after they pass. Col. Earnest T. Ladd, a handsome officer in his late fifties, slips around the corner...enters the main building. OMITTED INT. BUILDING - NIGHT It's a long cavernous tunnel. Ladd moves cautiously down it, reaches the first turn in the tunnel. Ladd looks around. There are boxes and crates everywhere. He moves forward... draws back as Sergeant Ray Perkins, lean, mean, in his thirties...passes by close to the camera. Perkins goes around a corner to an area illuminated by an overhead light. Ladd -- and we -- can't see what he's doing, but it makes a fair amount of noise. Ladd moves ahead cautiously...stops as his hand bumps into something. He turns on a small flashlight. INT. BUILDING - LADD'S POINT OF VIEW He has bumped into an open can of blue paint. Brushes and other paint cans are evident. BACK TO SCENE Ladd shines the light on his hand, which has blue paint on it. LADD (whispering) Oh, no. My God, no! He wipes the paint on his pants, then hurries to the window. He slips out of the building. OMITTED BY FENCE Ladd sticks the flashlight in his pocket, starts over the fence. Halfway up, the flashlight drops to the ground. THE FLASHLIGHT falls on a metal drum. In the still of the night, the clang is loud...and dangerous. THE SENTRIES Turn at the sound. One hits an alarm button, then they rush off. INT. BUILDING Sergeant Perkins is wiping blue paint off his hands when the alarm goes off. He tosses the rag aside, runs out. EXT. MUNITIONS COMPOUND Ladd jumps into a Jeep, roars off into the night. A moment later, Cotler and Mank pull up in another Jeep. Perkins runs out of the building. [PERKINS] He was inside! Did you see who it was? [PERKINS] (shaking his head) Does it matter? We gotta stop him. Perkins junps into the Jeep. They roar off. EXT. MILITARY BASE - NIGHT as the three soldiers chase their superior officer. Ladd drives desperately, but cooly. From time to time, he looks down at his blue-stained hands. In the other Jeep, Mank drives while Perkins takes Cotler's M-16, aims it. He begins firing on automatic. INT. LADD'S JEEP Ladd ducks as bullets whizz by over his head. He swerves all over the road. The other Jeep comes closer...closer.... CUT TO OMITTED A BUSY FOUR-LANE HIGHWAY - DAY stretching into the desert. The highway is crowded with travellers and truckers. From o.s., we hear: [MICHAEL'S VOICE] Okay...okay...whoa! A close one! [K.I.T.T.'S VOICE] Michael, slow down! You're going to crash! [MICHAEL'S VOICE] I can handle it, Kitt! [K.I.T.T.'S VOICE] But you're approaching a dangerous curve...your chance of survival is less than .04 percent! [MICHAEL'S VOICE] Will you stop with the odds? I'm okay...I'm.... Suddenly we hear the sounds of skidding tires, screeching brakes. CLOSE ON MONITOR SCREEN IN THE KNIGHT 2000 A simulated car crashes on the screen, with accompanying sounds of destruction. Then the screen reads, "SORRY - YOU'RE DEAD!" and a miniature cross springs up where the car used to be. As we pull back, we see that Michael isn't driving...K.I.T.T. is (red scanner and all). Michael has an Atari-type control hooked up to the monitor. It's one of the "Auto Race" games. [K.I.T.T.] Sorry, Michael. That makes it forty-two to three...my favor. Michael tosses the control aside, leans back in his seat, arms behind his head. [MICHAEL] Yeah, well, these computer things are all a waste of time. [K.I.T.T.] Ahem. [MICHAEL] Oh...present company excluded, of course. Michael looks out the window at --- OMITTED MICHAEL'S POINT OF VIEW At the side of the highway is a broken down compact car. Inside is a very pretty woman of about twenty-five, dressed in Army uniform. She is trying to turn over the engine, but only gets a grinding noise. INT. KNIGHT 2000 As it passes the car, Michael reaches under the dash, hits a control. [MICHAEL] Go to manual, Kitt. We're stopping. [K.I.T.T.] Really? Why? Is there a young lady in the vicinity? [MICHAEL] (suspicious) How'd you know that? Your perimeter scanners weren't on. [K.I.T.T.] Really, Michael. You're so pre- dictable. BY DISABLED CAR The Knight 2000 pulls to a stop and Michael climbs out. Robin looks up from the car. On closer inspection, she is even prettier, though irritated. [MICHAEL] Hi. Need a little help, Lieutenant? [ROBIN] No. (beat) I need a lot of help. Michael grins, extends a hand. [MICHAEL] Michael Knight. [ROBIN] I'm Robin Ladd. [MICHAEL] What's the problem? [ROBIN] It won't go. [MICHAEL] You don't have to get technical.... Michael opens the hood. Billows of smoke pour out. [MICHAEL] (after a moment) You're right...It won't go. He steps back until the smoke clears, peers inside. [MICHAEL] You got a bad hose...It's totally shot. Where are you headed? [ROBIN] The Englehart Army Base. [MICHAEL] I'm going right past it. Put your gear in my car. [ROBIN] Thank you! Robin goes to the trunk of her car, gets luggage. Michael goes to Kitt, gets in. INT. K.I.T.T. [MICHAEL] Kitt, it's our day to join the Traveler's Aid. We're going to give the lady a lift. [K.I.T.T.] What about her vehicle? [MICHAEL] We'll have to tow it in. He starts to get back out. Before he can: [K.I.T.T.] What do you mean, 'we'? Michael shuts the door quickly. Robin looks up only for a second. [K.I.T.T.] Did I hear wrong, or did you say 'tow?' [MICHAEL] Sure, tow. You know, we connect her car onto.... [K.I.T.T.] Me? Michael, I was not designed to be a...tow truck. I have numerous complex systems which could be adversely affected. [MICHAEL] Oh, come on, Kitt. You're built like a brick...garage. He gets out of the car to help Robin with her bags. [K.I.T.T.] Michael! OMITTED EXT. CAR RENTAL AGENCY - DAY as an attendant disconnects Robin's car from K.I.T.T. Robin signs a form, then gets into K.I.T.T. with Michael. They drive away. INT. KNIGHT 2000 - DAY Michael and Robin have become very relaxed with each other. [ROBIN] What brings you to our neck of the desert? [MICHAEL] Oh, work. [ROBIN] What kind of work? [MICHAEL] Something like...insurance. (changing the subject) Have you been away for a long time? [ROBIN] Two years...in Germany. It's funny ...when I was just an Army brat in the post school, Englehart was my home...this time it's my assignment. [MICHAEL] Army brat, huh? Was Mom an officer, too? [ROBIN] (smiling) No, Dad...and he's still there. He thinks I'm coming in next week. But I want to walk into his office and say... (deep voice) 'Colonel Ladd, sir? -- I'm reporting for duty!' I hope he doesn't mind. [MICHAEL] He won't. (on her look) If they had officers like you when I was in uniform, I never would've left. She smiles. EXT. ENGLEHART WEAPONS TEST CENTER - DAY A sign at the main gate of the post reads "UNITED STATES ARMY - ENGLEHART WEAPONS TEST CENTER." Like many of the larger Army posts it is "open", and Michael can drive right on. He parks near --- EXT. HEADQUARTERS BUILDING An impressive, red-bricked building. Robin practically skips up the walk in anticipation. Michael hurries to stay abreast of her. [ROBIN] Look at this place -- why does home always look...smaller? [MICHAEL] Maybe 'cause our memories are so big? OMITTED EXT. CORRIDOR OUTSIDE COLONEL LADD'S OFFICE - DAY Robin starts to say something to Michael, but he just smiles, steps back -- allowing her to enter alone. INT. COLONEL LADD'S OFFICE - DAY Robin enters with a big smile. [ROBIN] (deep voice) Colonel Ladd? When Major Doug Sanderson, a rugged-looking man in his early fifties, looks up from the desk, he is no less surprised than Robin. [ROBIN] I'm sorry, sir...I thought this was Colonel Ladd's office. Sanderson gets up from the desk quickly. [SANDERSON] It is. You must be Lieutenant Ladd. I'm Major Sanderson, General Duncton's adjutant. [ROBIN] Pleased to meet you, Major. Can you tell me where I can find my father? Sanderson looks extremely ill-at-ease. Hearing the discus- sion, Michael comes into the room behind Robin. [SANDERSON] (rising) I think you should talk to General Duncton. This way...please. CORRIDOR - DAY Sanderson leads them along, several paces ahead. [MICHAEL] (to Robin) Problems? [ROBIN] (unsure) Oh, you know the Army...hurry up and wait. They enter --- INT. GENERAL DUNCTON'S OFFICE - DAY Behind the desk is General Frederick Duncton, a distinguished- looking man in his sixties. [SANDERSON] Excuse me, General, but.... Before Sanderson can finish, Duncton rises, crosses quickly to Robin, greets her warmly. [DUNCTON] Robin Ladd! As I live and breathe -- look at you...you're a poster for the modern Army! [ROBIN] (smiling) It's good to see you, too...oh, I'm sorry -- this is Michael Knight -- Michael, this is General Duncton... he's practically an uncle. [MICHAEL] (shaking hands) Hello, sir. [DUNCTON] Pleased to meet you, young man. Hope you can handle this little tomboy.... [MICHAEL] Ah...we're really not.... [ROBIN] General what's going on? Where's my father? Is he on leave or --- Duncton turns, looks at Sanderson. [DUNCTON] Sanderson, didn't you tell her? [SANDERSON] No, sir. I thought you would...uh ...rather.... Duncton looks darkly at Sanderson...if looks could bust you three ranks...Sanderson wilts. Duncton turns to Robin, pained. [DUNCTON] Then...you don't know...? [ROBIN] Know what? [DUNCTON] Robin, my dear -- I'm afraid there's been an accident. Robin tenses. [DUNCTON] I'm sorry. His Jeep went into Buena Vista Gorge out in the desert. He probably blacked out before...he, uh...felt anything.... Robin sways. Michael steps over quickly, helps support her. [ROBIN] Oh, no...Daddy...oh, no.... As Michael's arms go around her helplessly, we: CUT TO OMITTED INT. MILITARY CHAPEL - DAY Camera pulls back from two honor guards to reveal a full house of uniforms and a few civilians. Michael is alongside Robin. Michael wears a well-worn sport jacket, jeans, tie hastily knotted over a casual shirt. Robin is in dress uniform, her face tight, controlled. Sanderson is nearby with others we have (or will) meet. At the podium, General Duncton is in mid-eulogy. [DUNCTON] ...so there we were...Earnest Ladd and I...two old war horses toasting each other on our latest promotions. Suddenly he tells me, 'Fred, you're not really gonna bust those two trainees, are you?' And I say, 'Ernie, we caught them in the CO's residence having a party with some nurses...what do you expect me to do?' And he looks at me and says, 'I expect you to remember that you and I did the same thing in Eisenhower's office!' MOURNERS - INTERCUT THROUGHOUT Some smiles break through the solemnity in the room. Michael restrains his amusement until he sees that Robin, too, smiles at the anecdote. [DUNCTON] (after a moment) That was Ernie, to a 'T'...anytime you'd swell up like a pompous balloon, well, there he'd be...with a stick pin...I don't know what they'd say at the war college, and I don't care.... ON SERGEANT PERKINS Also in the crowd, his face appropriately solemn. [DUNCTON'S VOICE] But to me, Earnest Ladd was the ideal soldier...a man of war who loved peace most of all.... BACK TO SCENE [DUNCTON] When you asked him about the chestful of medals he earned on the frozen fields of Korea, he'd change the subject...and then he'd talk for hours about supervising rescue flights to the Mississippi flood plain...or working on the Orphan Air Lift in Vietnam. His family and friends will mourn him, his comrades and his troops will miss him...and we will all remember him. Affected, Duncton steps from the podium. Robin reaches over, takes Michael's hand. CUT TO EXT. CHAPEL - DAY as the mourners come out. As soon as sunlight hits his face, Michael removes his necktie. He moves a discreet distance away as Duncton embraces Robin paternally. Then he walks alongside her. [MICHAEL] Is there anything I can do for you? [ROBIN] (tense) Thank you, but I'm fine. The clipped reaction silences him for a moment. He tries again. [MICHAEL] Your father sounded like a fine officer...a fine man. [ROBIN] He was. [MICHAEL] What are your plans now? Are you going to stay, or.... [ROBIN] This is my new post. Of course, I'll stay. I have a job to do. They pass by Sanderson, who is in animated discussion with some other officers. [SANDERSON] No, no, nobody said he was drinking ...he just lost control of the wheel, I guess...maybe his reflexes weren't what they used to be, or --- Sanderson breaks off, embarrassed, as Robin and Michael pass by. Robin glares as Sanderson moves off. Robin stops walking, faces Michael. [ROBIN] Look, maybe there is something you can do. Didn't you say you were in insurance? [MICHAEL] Something like that. [ROBIN] Then answer this: Could a healthy sober man lose control of a vehicle he drove every day, on a road he drove every day? [MICHAEL] I don't know. (beat) Why don't we find out? [ROBIN] Terrific! Meet me in thirty minutes outside the BOQ. That's 1600 hours, got it? [MICHAEL] Yes, ma'am. [ROBIN] (embarrassed) Uh...sorry. You can take the girl out of West Point...but.... She shrugs, apologetic. Michael moves away. [MICHAEL] I'll be there. But no demerits if I'm late, okay? She smiles, turns away. INT. K.I.T.T. - STREET NEAR POST - DAY Michael gets in, tosses his sport jacket in back. He pushes a button and.... [MICHAEL] Hey, what's wrong with this window? [K.I.T.T.] Michael, I'm afraid I have some alarming news. [MICHAEL] I'm sitting down. [K.I.T.T.] I've checked my circuits and due to that towing incident my Alpha circuit is malfunctioning. That's all my windows, the cigarette lighter -- and the infrared radar scrambler. [MICHAEL] Gee, I'm sorry...but I think we can manage for a while without those. [K.I.T.T.] Michael...what if it was your Alpha circuit? [MICHAEL] Okay, okay. You're still under war- ranty. Call the home office. OMITTED EXT. ROAD ABOVE BUENA VISTA GORGE - HIGH ANGLE SHOT - DAY The camera drops down as K.I.T.T. pulls up. Michael and Robin get out, both in civvies. They walk on foot toward the accident site. [MICHAEL] Robin...the Military Police already checked this out...How do you know we'll do any better? [ROBIN] I don't...but.... She turns, looks at him thoughtfully. [ROBIN] You seem...subtly efficient. [MICHAEL] Thank you...I think. They look around at the terrain. [ROBIN] When Mom was alive, we'd come up here for picnics every Sunday. Dad always drove out here -- to relax. He loved this desert. Some people are mountain people. Some love the ocean. Dad was a desert person. (a pause) When I was at West Point, he'd send me things. I mean not like the other cadets -- they got cookies and cakes, stuff like that. I got articles -- and books -- on 'Women In Action'...Molly Pitcher...Queen Zenobia ...Golda Meir...even Belle Starr...! He wanted me to be the first female four-star general. She turns to him, shaking. [ROBIN] ...There's so much...I didn't get to tell him. She seems close to crying...something that didn't even happen at the memorial service. Michael holds her protectively... but the moment ends so quickly, it is almost nonexistent. She shakes off his grasp, is all business again. [ROBIN] All right, how do you want to do this? Michael looks around, kneels. See scrape mark on a boulder near the edge. [MICHAEL] This is obviously where the Jeep went over. (standing) Let's try a dry run. Don't go away. He runs back toward K.I.T.T. WITH MICHAEL A few yards from K.I.T.T., he stops as he sees something on the ground. He bends, picks it up. It's a .223 casing... brass from an M-16. Michael looks at it, suspicious, then looks back at it --- MICHAEL'S POINT OF VIEW - ROBIN looking out at the terrain. She hasn't seen his discovery. BACK TO SCENE Michael gets into K.I.T.T. [MICHAEL] Kitt, we may be on to something... I just found a spent cartridge. I wonder if.... [K.I.T.T.] ...it could be significant? [MICHAEL] Why not? [K.I.T.T.] Considering the fact that we are inside a military base specializing in the loading, testing and firing of ammunition, ordinance and artillery, I find it singularly insignificant. [MICHAEL] Uh...right. He starts the car. WIDER SHOT - ROAD Michael roars down the road. ROBIN reacting, stepping back instinctively (but not necessarily). THE SCENE Michael slams on the brakes...skids to a halt...on the inside curve of the road, against the cliff. Robin catches her breath as Michael gets out of the car. [ROBIN] (catching her breath) That was...very convincing. [MICHAEL] And productive. (pointing) You sure your father was traveling in this direction? [ROBIN] Yes. Why? [MICHAEL] This turn is inside, towards the cliff...not outside, towards the drop. If you lost control here coming from this direction, you'd stop exactly where I did against the hill. At worst, you'd wind up with a busted radiator. [ROBIN] Then...what made him go off the road? A beat. Michael slowly opens his hand. As Robin looks at the brass casing, we: CUT TO EXTERIOR - DAY - LIMBO - TIGHT ON COTLER He's looking at something through binoculars. It doesn't make him happy. He turns as Mank drives up, with Perkins in a Jeep. [PERKINS] (getting out) This better be important.... [COTLER] See for yourself. Perkins takes the binoculars, looks at --- HIS POINT OF VIEW - ROBIN AND MICHAEL AT GORGE - BINOCULAR MATTE engaged in animated conversation. They turn, get into K.I.T.T., drive away. BACK TO SCENE Perkins lowers the binoculars, concerned. [MANK] Whaddya think, Sarge? [PERKINS] I think it may be time for another funeral. OMITTED [FREEZE FRAME] END OF ACT ONE ACT TWO FADE IN EXT. POST PARKING LOT - DAY Army personnel pass by. Parked in the lot are various cars, Army vehicles, a catering truck -- whose Vendor doles out plastic-coated sandwiches and plastic-tasting coffee -- and the Knight 2000. INT. KNIGHT 2000 Robin and Michael are inside: [MICHAEL] ...so...the whole time you were overseas, he never said anything... never wrote about unusual events back at the base? Nothing like that? [ROBIN] No. If he did discover something, it must have been recently. I can check his quarters out. [MICHAEL] Good. I'll do the same with his office. He leans over, opens the door for her. She shrugs, walks away. Michael looks at --- HIS POINT OF VIEW - HEADQUARTERS BUILDING Traffic goes in and out...all of it military. BACK TO SCENE [MICHAEL] Kitt, we have to get in there. [K.I.T.T.] 'We', Michael? I think I would attract a great deal of attention inside that building. [MICHAEL] Unfortunately, so would I...unless.... Michael stops. He's noticed the activity at the catering truck behind him. [K.I.T.T.] Michael, I detect a certain tone in your voice. [MICHAEL] Oh? What tone is that? [K.I.T.T.] The one where you're convinced you've come up with a brilliant idea. The next thing you know, you're doing something foolhardy and I'm in my surveillance mode. [MICHAEL] Kitt? [K.I.T.T.] Yes, Michael? [MICHAEL] Go into surveillance mode. Michael gets out of the car. Some interesting lights blink on. OMITTED BY CATERING TRUCK When the crowd thins out, Michael approaches the vendor, Sanj. Sanj has a rag wrapped around his hand as he futilely tries to adjust the --- [SANJ] Ow! Lousy stinkin' thermostat --- [MICHAEL] Hi, can I have a candy bar? Sanj nods wearily. He starts towards the boxes of candy. [MICHAEL] In fact, can I have all your candy bars? Sanj turns back to see if this guy's crazy or what. Michael pulls out his wallet full of Foundation money. [VENDOR] Listen, mac, I run a business here.... [MICHAEL] For an hour -- max. [VENDOR] (skeptical) I gotta sell my sandwiches.... [MICHAEL] I'll buy them, too. [VENDOR] And...and...my chips and pretzels. Michael nods, counts out some money. Sanj's eyes light up. [MICHAEL] And, if anyone asks, I'm your nephew. [VENDOR] For another twenty dollars, I'll adopt you. FLIP TO EXT. HEADQUARTERS BUILDING - DAY Michael trots along, whistling. He's wearing a greasy apron, McDonalds-type cap...carrying a tray of goodies. He sidesteps a group of pretty lady soldiers...gives them the once over...and walks right into two very large MP's. [MICHAEL] Oh, hi, guys. (rummaging in tray) Looking for a snack? [MP] Where's Sanj? [MICHAEL] Sanj? Is that Indian? [MP] Nah, Sanj...The regular sandwich guy! The 2nd MP is rummaging through Michael's tray...helps himself to a candy bar. [MICHAEL] Oh, uh...he's on vacation...Sandwich Islands. I'm covering for him. [MP #2] (mouth full) Yeah. So where's your health card? [MICHAEL] ...health card? [MP #2] You know. The one that shows you vendors ain't got no diseases we might catch. [MICHAEL] Oh, that health card. I left it at home. But I'm the picture of health. See? He tries to go past them. They're a wall. [MP] (to MP #2) Do you see that? [MP #2] I don't see that. [MP] Let's go give him a checkup. And they grab him by the elbows and drag him away. CUT TO OMITTED INT. INTERROGATION ROOM - DAY Michael sits at a desk, across from a friendly looking, bear-like man, Major Hugh Rainey. The two big MP's stand nearby. [RAINEY] What exactly were you doing, Mr. Knight? [MICHAEL] Just trying to make a buck. That's no crime, is it Major? [RAINEY] No...but could you explain the cards in your wallet? [MICHAEL] Cards? [RAINEY] (reads them) 'Michael Knight -- Speedy Repairman', 'Michael Knight -- Quick Carpet Cleaner', 'M. Knight, Enterprises - Swedish massage, While-U-Wait'. [MICHAEL] Major, times are rough. I've had to do a lot of odd jobs -- just to make ends meet. That's why I was so lucky Uncle Sanj gave me this job. [RAINEY] Uncle Sanj? Even his family calls him that? [MICHAEL] Sure. We're a tight-knit group. Indian, you know. Rainey looks at Michael, dubious. [RAINEY] That should be easy enough to check. He goes out. Michael turns in the chair a bit nervously as the two MP's approach. But all they do is help themselves to more food. Michael smiles. [MICHAEL] Go ahead...anything for our boys in uniform. They retreat to the back of the room again, chomping. Michael's eyes fall on.... MICHAEL'S POINT OF VIEW - FILE FOLDER ON RAINEY'S DESK It's sideways to Michael, but he can read -- LADD, EARNEST T., COLONEL -- ACCIDENT REPORT. BACK TO SCENE Michael can't believe his luck. He turns, looks at --- THE TWO MP'S sharing some M and M's. MICHAEL quickly slaps the file into his tray. As he finishes he reacts to Rainey, who reenters. [RAINEY] All right, Mr. Knight. Your Uncle Sanj verifies your story. Next time you want to make a buck, get a health card. Michael smiles, relieved. [MICHAEL] Okay. He reaches down into his basket. He hands Rainey a candy bar. [MICHAEL] Candy bar -- on the house. Rainey smiles, takes the bar. OMITTED EXT. POST STREET - DAY Perkins watches as Michael comes out of the MP building. When Michael is gone, Perkins walks briskly to the building. Major Rainey is coming out. [PERKINS] Sir, see that vendor...What was he here for? [RAINEY] Nothing, much. Why? [PERKINS] Uh, no reason, sir. I thought I served with him in 'Nam. Perkins turns, hurries away. OMITTED INT. MUNITIONS WAREHOUSE - NIGHT Cotler and Mank are playing cards. Perkins comes into the shot on the double. [PERKINS] Cotler...Mank. I've got a job for you. Lieutenant Ladd's civilian was snooping around the post. [MANK] (pleased, rising) Guess it's time for that other funeral. OMITTED EXT. RESTAURANT - NIGHT Michael and Robin exit. Michael gingerly touches his stomach. [MICHAEL] Well, that was certainly...food. [ROBIN] Not everyone likes junk. [MICHAEL] I do. This was just...beyond junk. You ready to compare notes? [ROBIN] If one note counts, yes. I found my father's weekly diary...but there's nothing very exciting. She hands him a pocket planner-type book. Michael leafs through it. [MICHAEL] According to this, your father was granted a leave over a week ago. Yet, he came back to the post...Why? They've reached K.I.T.T., Michael opens the door for her. [ROBIN] I don't know. [MICHAEL] Great. OMITTED EXT. ROAD - NIGHT Michael and Robin drive towards the base. INT. K.I.T.T. - NIGHT - TRAVELING [ROBIN] Your turn. [MICHAEL] Right. Was your father a handyman- type? You know, do it yourself and all that? [ROBIN] No way. He had to call the Quartermaster to change a lightbulb. Why? [MICHAEL] I, uh...borrowed a file from the Military Police. It said that your father had blue paint on his hands. [ROBIN] Blue paint? [MICHAEL] Doesn't ring any bells? [ROBIN] No. EXT. POST - NIGHT Michael pulls up near the BOQ, parks. He and Robin get out. Robin seems lost in thought as they walk along. [ROBIN] Michael...I've been thinking...I know I started this...whole investi- gation of ours...but we seem to be running around in circles...we haven't really found anything.... [MICHAEL] There was that empty cartridge case at the gorge.... [ROBIN] (wryly) On an Ordinance Testing Center, that's not much. [MICHAEL] A friend of mine said the same thing ...what are you saying? You want to call it quits? They've reached the building. She looks at him guiltily. [ROBIN] You make it sound...like retreating in front of the enemy. Michael, I have my own life...my own career...my father wouldn't want me to waste that chasing down shadows. And you...you have your insurance business to take care of. [MICHAEL] Look... (points to her building) You have your career waiting...I have the General Patton Motel down the road. Let's both sleep on it ...maybe inspiration will strike. If not...we can throw in the towel over breakfast. Okay? [ROBIN] (smiling) Okay. [MICHAEL] Good night. She goes inside. He crosses to K.I.T.T., drives off the base. EXT. POST - NIGHT Michael drives out the gate, exits the shot. We hold, then the camera pans to a secluded part of the road. Headlights go on. INT. PICKUP - NIGHT Mank and Cotler are inside. [MANK] There he is. [COTLER] (correcting) There he was. Cotler takes an M-16 out of an oilcloth. They drive off after Michael. FREEZE FRAME FADE OUT END OF ACT TWO ACT THREE FADE IN EXT. ROAD - NIGHT - K.I.T.T. drives by. INT. K.I.T.T. [MICHAEL] How about a little music, Kitt? [K.I.T.T.] Sorry. The Alpha circuit took out the radio, too. [MICHAEL] You're never going to forgive me for that, are you? [K.I.T.T.] Michael 'forgiving' implies an emo- tional state and has no application in my case. (beat) However, let's avoid a future occur- rence, shall we? EXT. ROAD - NIGHT suddenly the pickup truck zooms forward...comes alongside K.I.T.T. Swerves into the other car. INT. K.I.T.T. [MICHAEL] Hey! [K.I.T.T.] Michael, you really must learn to drive defensively. OMITTED EXT. ROAD another hit. INT. K.I.T.T. [K.I.T.T.] Michael, those people seem to be very poor drivers. The car shudders from another sideswipe. [K.I.T.T.] Michael, are we going to just sit and take this? [MICHAEL] No. LOW ANGLE SHOT - MICHAEL He pops the clutch...throws the gearshift and... EXT. ROAD K.I.T.T. does an in-place 180 turn, heads back the other way. INT. PICKUP Mank and Cotler's heads swivel in surprise. Mank slams on the brakes. EXT. ROAD The pickup makes a bootlegger's turn, roars in pursuit. INT. K.I.T.T. Michael pours it on...suddenly comes up behind a truck. Oncoming traffic prevents him from passing. Michael honks to no avail. Looks over his shoulder. HIS POINT OF VIEW - PICKUP getting very close. Cotler is leaning out with the rifle. INT. K.I.T.T. Michael sees the gun, reacts. COTLER cocks the weapon...aims.... LOW ANGLE SHOT - MICHAEL clutch...gearshift...just like before.... EXT. ROAD just like before...another 180...but this time...Michael sideswipes the pickup, zooms past. PICKUP FROM DRIVER'S SIDE swerving all over the road, it skids into the bushes, stops. Smoke pours from the radiator. INSIDE PICKUP - CLOSE ON MANK across the wheel, dazed. He looks at his partner...and his mouth drops in surprise. Camera adjust to show that Cotler has the passenger door in his lap, bent to hell. The barrel of his M-16 is still sticking through the window...twisted like a pretzel. CUT TO INT. DATA PROCESSING ROOM - ON BASE - DAY Pullback from a whirring, printing computer. Robin is lean- ing over it, checking items off on a clipboard. A female Corporal, Webb, is with her. General Duncton leans over a console, watching. [ROBIN] (to Webb) Okay...now send the same data back in the pipeline to Washington. We'll pick up any glitches when we compare copy. [CORPORAL WEBB] It's already done. She exits. Duncton looks around at the blinking equipment. [DUNCTON] It's amazing how you handle this, Robin. My generation still gets nervous around adding machines. [ROBIN] Well...you have to be confident around them. They can sense fear, you know. Duncton laughs. [DUNCTON] I see you haven't lost your old spark. [ROBIN] Thank you, sir. I see you haven't lost your old devious charm. [DUNCTON] What...? [ROBIN] Begging your pardon, General...but you didn't come out here to check on the Pentagon Computer link. You came to check on me. [DUNCTON] Now, why would I do that? It's not...regulation. [ROBIN] Then I must be wrong. [DUNCTON] Like hell. They laugh. Michael comes in in a rush. [MICHAEL] Robin, I have to talk to.... He stops, seeing Duncton, who immediately puts out his hand. [DUNCTON] Ah, Mr. Knight, isn't it? Duncton looks from Michael to Robin knowingly. [DUNCTON] Now, what could keep a foot-loose civilian like you in a boring place like this? Michael shrugs, "caught"...does his best to fill Duncton's perception. [MICHAEL] The color scheme, General. I just love olive drab. Duncton laughs, slaps Michael on the back. [DUNCTON] Robin, remember...call me...for anything. [ROBIN] Yes sir. Duncton exits. Robin turns to Michael. [ROBIN] It's a little late for breakfast. She crosses to another machine. [ROBIN] And where's your towel? CLOSER SHOT Michael turns her around, speaks in hushed tones. [MICHAEL] We're not throwing it in yet. Robin, you were right all along. Corporal Webb returns with some print-outs. [CORPORAL WEBB] We hit the jackpot, Lieutenant. It came back clean as a whistle. [ROBIN] That's terrific, Rogers... (eyeing Michael) Uh...why don't you take a break now? [CORPORAL WEBB] Thank you, ma'am. She leaves. Robin turns to Michael. [ROBIN] What are you saying? [MICHAEL] Your father didn't die in an accident. Something's going on at this base...something worth several murders. [ROBIN] Well, why didn't you tell General Duncton? He could ask the MP's to --- [MICHAEL] Robin, the MPs already wrote your father off as an accident. I'm not ready to trust anybody yet. [ROBIN] How do you know all this anyway? [MICHAEL] Partly a hunch... (rubbing his neck) And partly whiplash. Listen, do you have a map of the base? OMITTED INT. K.I.T.T. - DAY - TIGHT ON A MAP as Michael's finger stabs at it. [MICHAEL] Right...there...! We widen, see he's with Robin in the car. [MICHAEL] Unless your father liked to climb mountains in the moonlight, the only place he could have been coming from that night is this...C-11. What's complex C-11? Robin looks at the legend on the other side of the map. [ROBIN] C-11, C-11...Munitions. She notices the thoughtful look on his face. [ROBIN] Michael, you can't go there. [MICHAEL] Of course not...it's still daytime. Put that good-bye breakfast on hold. He leans over, opens her door. [MICHAEL] By tomorrow morning a lot of things can happen. [ROBIN] I was wrong. Your efficiency is anything but subtle. She waves, walks away. [K.I.T.T.] Michael. [MICHAEL] Yes, Kitt? [K.I.T.T.] The home office has arrived. They're waiting two point four miles to the Northwest. [MICHAEL] How nice of them. He throws the car into gear, leaves the lot. CUT TO EXT. ROAD - DAY - STOCK Michael drives K.I.T.T. into the shot...sees the Foundation trailer...drives up the rear ramp. INT. FOUNDATION SEMI - DAY Michael gets out of the car, smiles at Bonnie and Devon. [MICHAEL] Hello, Bonnie...Devon. [DEVON] We came as soon as we got Kitt's signal. Bonnie wags a tool in Michael's face. [BONNIE] You know, I don't usually make house calls. (to K.I.T.T. solicitious) What's wrong with you? [K.I.T.T.] It's my Alpha circuit, Bonnie. [BONNIE] Alpha circuit? (puzzled) Kitt, the only way you could damage that is to do something stupid like...like... (thinking) ...towing another car. Right? [K.I.T.T.] Bonnie...no comment. Michael leans close to the car. [MICHAEL] (sotto) Kitt, you're one in a million. [K.I.T.T.] I know. [DEVON] (patience fading) Michael...may I have a word with you? [MICHAEL] Sure. Michael heads for Devon as Bonnie moves to enter K.I.T.T. with a testing device. It's a tight squeeze. [BONNIE] Excuse me. [MICHAEL] Anytime. Devon takes Michael by the elbow, leads him to the "office" part of the semi. [DEVON] Michael, yesterday you were sent out on assignment for the Foundation. [MICHAEL] I know, Devon...but.... [DEVON] But what? You never arrived...you never called...instead, you're out doing...doing... (beat) What are you doing? [MICHAEL] If you'll let me get a word in...I'm investigating something suspicious at the Englehart Weapons Center. [DEVON] Really? I didn't know the Military Police had been disbanded. [MICHAEL] Devon, I appreciate the problem...and I'll get to it. By tomorrow morning, I know I'll --- [DEVON] Michael, I cannot sanction you and your wild goose chases! Michael stands, earnest. [MICHAEL] Devon, last night someone tried to kill me. Pause. [DEVON] I have an alibi. Michael crosses towards K.I.T.T. just as Bonnie exits the car. [MICHAEL] Devon, believe me, this Army thing is important. You have my word it'll all work out, and.... [BONNIE] (squeezing past) Excuse me. [MICHAEL] Uh...where was I? [DEVON] 'This Army thing is important -- You have my word, it'll all work out.' CLOSE ON MICHAEL He hops in the car. [MICHAEL] Thanks, Devon! I knew you'd see it my way! He hits the gas. EXT. SEMI - DAY - STOCK The car backs out, spins around...drives away. INT. SEMI Devon sighs. Bonnie hides a smile. CUT TO OMITTED EXT. MUNITIONS AREA - NIGHT K.I.T.T. pulls up, pakrs in the shadows a good distance from the compound. Michael gets out, stealthily approaches the building. (Note: All these shots should duplicate Colonel Ladd's actions.) Michael suddenly ducks out of sight as Cotler and Mank walk by on sentry duty. Both sport bandages. [COTLER] Whaddya mean, 'demolition derby?' [MANK] I'm telling you, he musta been in some. I've seen them on TV. That's the only way he could drive like that.... They move on. Michaels slips into the main bunker. INT. BUNKER Michael moves along cautiously. CUT TO INT. DATA PROCESSING CENTER - NIGHT Robin puts a computer tape up...runs it...panels blink. OMITTED MICHAEL moves down the long tunnel. OMITTED MICHAEL takes out a pocket flashlight...moves past crates of shells.... ROBIN punches away at a keyboard. The computer starts to print out data for inventory. OMITTED MICHAEL sees the crates and boxes marked "Practice Shells" and "Armor-Piercing Shells". Then he moves to where the wall chart is located. He looks up at the color code chart then the flashlight stops on the open can of blue paint. Above the paint are four shelves of shells, all painted blue. He points the beam of light at the color code chart which indicates various colors for artillery. He stops the flashlight beam on --- "BLUE - ARMOR PIERCING" Michael takes out his keys and starts to scrape at one of the blue shells. After a second, the blue chips away -- to reveal yellow paint. He scrapes some more and sees more yellow. He points the flashlight up to the chart which reads: "YELLOW - TACTICAL NUCLEAR WEAPONS" As Michael reacts we: CUT TO ROBIN looks at the now extensive print-out. Columns shift along- side each other. Reads it. Her eyes widen. [ROBIN] Oh my God.... She rips the print-out from the machine. Folds it up. Exits in a great hurry. OMITTED EXT. MUNITIONS COMPOUND - NIGHT Michael slips out the way he came...gets in K.I.T.T...drives away. CUT TO OMITTED INT. HEADQUARTERS BUILDING - NIGHT Robin comes in, hurries down the corridor. Turns into Duncton's office. [ROBIN] General! I --- She stops, seeing --- INT. DUNCTON'S OFFICE - NIGHT Sanderson is looking in one of the General's desk drawers. [SANDERSON] Can I help you, Lieutenant? [ROBIN] Where's General Duncton? [SANDERSON] He's off the post... (eyeing her) Is something wrong? Robin thinks about it...approaches the desk. [ROBIN] Yes, sir. Something is very wrong. She spreads the computer print-out across the desk. It spills towards Sanderson's lap. [ROBIN] This is a print-out of the artillery inventory. Look at this column right here. Sanderson hardly glances at it. [SANDERSON] Lieutenant...that's a classified document. Suddenly his hand rises from beneath the print-out...holding a .45. [SANDERSON] You're under arrest. Robin is stunned. [ROBIN] You...you knew all along.... Sanderson presses a buzzer on the desk. [SANDERSON] You're too much like your father, Lieutenant. He didn't know when to keep his eyes closed, either. [ROBIN] (quietly) You killed him. Perkins walks in the room...whistles under his breath when he sees Robin. He and Sanderson exchange a cold, business- like look. [SANDERSON] (to Robin) You read the report -- my report. He drove into the gorge. And now his only daughter -- crazy with grief -- went AWOL. Disappeared without a trace...along with her civilian friend. [PERKINS] (grimly) When we find him. [SANDERSON] Of course, that part of the report remains to be written. I'll try and get to it next week. (to Perkins) Take care of her. He tosses something from the desk to Perkins. It's an MP armband. [SANDERSON] Be discreet. CUT TO EXT. HEADQUARTERS BUILDING - NIGHT Perkins leads Robin towards the Jeep. She's in handcuffs. He forces her into the passenger seat, drives off with her. We pan them away...and hold on a lone figure who looks at the Jeep as it passes. It's Corporal Webb, Robin's assistant from the Data Processing Center. She reacts, surprised. EXT. FIELD - NIGHT Perkins' Jeep bounces across a field toward the camera. Perkins parks the Jeep in front of all things -- a tank. He pulls Robin out of the car. INT. TANK - NIGHT Perkins opens the hatch -- and shoves Robin inside. She can't keep her balance and she falls to the floor. Perkins slams the hatch shut, pitching the interior into darkness. EXT. TANK - NIGHT Camera pulls back slowly, as the Jeep drives away. We see now that the tank has a huge bull's-eye painted on the side. INTERCUT - ARTILLERY IMPLACEMENTS - NIGHT - STOCK All around the tank -- in this valley which is the Ordinance Test Range -- tanks, howitzers and other artillery -- wait to be fired. EXT. TANK The pull back concludes on a sign reading "Ordinance Testing Field - Danger." FADE TO BLACK END OF ACT THREE ACT FOUR FADE IN OMITTED EXT. DATA PROCESSING CENTER Michael roars up in K.I.T.T., parks. He runs inside. INT. DATA PROCESSING CENTER He runs inside, sees Corporal Webb. [MICHAEL] Where's Lieutenant Ladd? [CORPORAL WEBB] I'm afraid I've got some bad news for you. [MICHAEL] What? [CORPORAL WEBB] Sergeant Perkins arrested her last night. Drove her away in an MP Jeep. Michael spins, runs out. CUT TO EXT. POST - DAY Michael parks K.I.T.T. as he sees Rainey crossing the post. He runs up to him, grabs him. [MICHAEL] Major Rainey! Why was Robin Ladd arrested? [RAINEY] Well, well, the sandwich man.... [MICHAEL] Lieutenant, it's important! Why? [RAINEY] I don't know what you're talking about. Lieutenant Ladd hasn't been arrested. [MICHAEL] But -- Sergeant Perkins picked her up in an MP vehicle. [RAINEY] Perkins? Perkins isn't in the Military Police...he's in munitions. [MICHAEL] (realizing) Munitions! Michael tears away from Rainey, zooms off in K.I.T.T. KNIGHT 2000 The car takes off like a shot...90 M.P.H...120 M.P.H...150 M.P.H...across the desert roads.... EXT. MUNITIONS - DAY Sanderson is supervising Perkins, Mank and Cotler. The two privates carry the blue shells from the munitions building to a truck. From o.s., we hear the sounds of artillery fire. [SANDERSON] Get a move on and get the last batch. That plane with our customers lands at 0-10-hundred hours. They look up when they hear an approaching vehicle.... THE KNIGHT 2000 as it tears like a glider across the desert. MUNITIONS COMPOUND As Michael screeches into sight, the four criminals see him, run in several directions. MICHAEL jumps out of K.I.T.T., points to Mank and Cotler. [MICHAEL] Kitt...stop those two! The car roars off on its own. Michael races after Sanderson. MANK AND COTLER running together, they realize they're heading for a dead end. They turn -- panic as they see --- THEIR POINT OF VIEW - K.I.T.T. roaring towards them and --- THE SCENE stopping on a dime -- the dime in Mank's pocket. Both men are pinned to the wall with barely enough room to breathe. [MANK] D...did he talk to that car? [COTLER] (nods, awe) And...it listened...! MICHAEL runs into shot. He sees Sanderson run towards the door of the main building. Michael starts to follow -- and gets bumped from behind by Perkins. They roll over together... get to their feet a split second apart. Both men are big, clever. It's half a fight, half a fencing match. Finally Michael sees his opening...the Sergeant goes to early retirement. Wiping a speck of blood from his mouth, Michael heads for the main building. INT. MUNITIONS BUILDING - DAY - ON SANDERSON running desperately, Sanderson's shoes slip on the slick concrete as he comes to the end of the long tunnel. He turns, hearing --- HIS POINT OF VIEW - LONG SHOT - MICHAEL as he comes in the main door...far, far away from Sanderson. BACK TO SCENE Desperate, Sanderson turns...sees that he's near a door marked "SMALL ARMS." Sanderson opens it.... INTERCUT - MICHAEL seeing this, running forward. INTERCUT WITH MICHAEL - SANDERSON in a panic as Michael's rapid footsteps approach. Behind the door is a locked gun rack full of M-16s. Sanderson takes out a keychain...fumbles for the right key...unlocks the rack...drags out an M-16...grabs a clip from an open box...slams it home...and turns to aim -- just as Michael barrels into him at full speed! The weapon goes flying... Sanderson sags, his energy and backbone leaving together. Michael holds him by his lapels. [MICHAEL] Where's Robin Ladd? [SANDERSON] I don't know! In the b.g., we hear the gunfire of artillery coming from the ordinance area. [SANDERSON] You're going to be in big trouble, Knight. Accosting Army personnel, destroying government property.... [MICHAEL] Oh, really? Michael looks around. Near the turn in the tunnel is another box of the pseudo-blue shells. Michael drags Sanderson towards them. Conveniently, they are near the chart Michael saw during his nighttime visit. [MICHAEL] Those shells are blue. Then according to the chart, they must be armor- piercing shells. Sanderson is starting to get nervous. With a free hand, Michael grabs the shell. [MICHAEL] But...suppose somebody was repainting these shells...it's an awful, thought, I know.... Michael breaks the lead seal on the cap. Starts to slowly unscrew it. Sanderson's eyes widen. [MICHAEL] But, just suppose...why, then this might be a tactical nuclear weapon... a weapon that somebody planned to sell to, oh, some nasty people somewhere.... Michael's tone is losing it's pleasant edge. Sanderson stares at the turning cap. The sound of the metal threads seems amazingly loud. [MICHAEL] But, if that's the case, Major, don't worry...there won't be an explosion...just enough radiation to last quite a few half-lifes...And you know the saying...one nuclear bomb can ruin your whole day. [SANDERSON] (a shout) Stop!! Michael pushes the shell towards the Major. [MICHAEL] Where is she? [SANDERSON] She's...at ground zero.... [MICHAEL] What the hell are you talking about? [SANDERSON] The test range. She's locked inside a target vehicle. When this sinks in, Michael drags Sanderson to the small arms room, locks him in. Then Michael grabs the dropped M-16, runs out of the shot. OMITTED EXT. MUNITIONS COMPOUND - TIGHT ON MANK AND COTLER still sweating it out against the wall. Camera widens to reveal Michael, leading a groggy Perkins at gunpoint. [MICHAEL] Move, Kitt. The car backs away. Michael gestures with the gun barrel at Mank and Cotler. [MICHAEL] In there. He pushes them through the door of the main bunker, locks it, (or barricades it with the M-16, if possible). Runs toward K.I.T.T. CUT TO GUN CREWS - DAY firing away. TARGET ZONE - DAY As shells explode, leaving gaping craters.... A TARGET VEHICLE vanishing in a burst of steel and dust. ROBIN inside her prison on wheels, covering her ears as the explosions rock the vehicle. EXT. ENTRANCE TO TEST RANGE A barricade looks at the sign reading: "MUNITIONS TEST RANGE - DANGER - NO ADMITTANCE: But Michael revs up the Knight 2000 -- smashes through the barricade. INT. KNIGHT 2000 O.S. the guns are much louder. When the car comes over a rise, we can see clouds of smoke and explosions. [MICHAEL] Kitt, can you get the Army frequency? [K.I.T.T.] Certainly. The Pentagon? [MICHAEL] Duncton. Get Duncton. INTERCUT - COMMAND POST - DAY Duncton is handed the phone by an Aide. [DUNCTON] Yes, Mr. Knight...You're where?! INTERCUT - MICHAEL [MICHAEL] Halfway across your target zone. [DUNCTON] Are you out of your mind? You'll be killed if you --- [MICHAEL] (breaking in) General, listen! I have proof that a group of men on the post tried to steal tactical nuclear weapons. Sanderson was the ringleader. [DUNCTON] Are you positive of that?! [MICHAEL] Yes, sir. Sanderson locked Robin Ladd up at Ground Zero. I'm going to get her out. Can you stop the tests? [DUNCTON] Stop the tests? Of course, imme- diately! You're a brave man, Mr. Knight! Duncton hangs up. Whirls towards a table, grabs a PA mike. [DUNCTON] (into mike) Attention all personnel. This is General Duncton. Your attention, please. EXT. ARTILLERY TEST RANGE - VARIOUS SHOTS of gun crews, observers, etc...all looking up, listening to Duncton's voice from --- PA SPEAKERS [DUNCTON'S VOICE] There is a black unmarked car approaching ground zero...repeat, a black unmarked car.... EXT. COMMAND POST The camera tightens on Duncton. [DUNCTON] This vehicle is a remote controlled drone. It is part of today's tests. The gun crew that blows it off the map will get a three day pass! TEST CENTER PERSONNEL reacting, pleased...looking forward to that pass! CUT TO KNIGHT 2000 as it heads down into the target zone...towards ground zero. ON ARTILLERY HOWITZERS - STOCK as they shoot rounds of ammo. THE KNIGHT 2000 The ammo bursts all around the car. [MICHAEL] Hey! They're still shooting at us! [K.I.T.T.] Thank you, Michael, but I noticed that myself. [MICHAEL] (realizing) Kitt...I don't think I should have called our 'buddy' General Duncton.... Michael swerves to avoid a bomb crater. Explosions are coming closer to the car. [MICHAEL] Kitt, can you take a direct hit? Just then, a near hit rattles the car. [K.I.T.T.] I don't think we want to find out. OMITTED KNIGHT 2000 as it bears to the right, then the left, then zooms out of range. It is successfully avoiding the tank's fire. SANJ'S TRUCK - LIMBO parked on a road. The sounds of explosions tells us it's near the test center. A Soldier is looking over Sanj's wares like a comparison shopper. Again, Sanj is fiddling with the thermostat. [SANJ] C'mon, make up your mind. I gotta get to the PX for their lunch break. (burning fingers again) Lousy stinkin' thermostat.... Another Soldier enters the shot, calls to the first. [SOLDIER #2] Hey, Lupo! We gotta go to Munitions on the double. We're running out of armor-piercing shells. The Soldiers exit. Sanj gets in the truck, drives down the road. OMITTED EXT. TARGET ZONE - DAY The K.I.T.T. continues to swerve and dodge fire. INT. K.I.T.T. - DAY - TRAVELING Michael is looking out the windows. [MICHAEL] He said a 'target vehicle'...It has to be a tank...they couldn't lock her inside anything else. [K.I.T.T.] Michael, I'm scanning a tank... 350 meters over that ridge. [MICHAEL] Let's hit it! An explosion rattles the car. [K.I.T.T.] Michael, could you use another word besides 'hit?' A TARGET VEHICLE explodes as K.I.T.T. zooms past. ROBIN'S TANK A near hit shoots up a column of dirt. INT. TANK - ON ROBIN falling over from the shock of the near-miss. LONG SHOT - K.I.T.T. - BINOCULAR MATTE dodging, weaving...surviving. DUNCTON - AT COMMAND POST He lowers the binoculars, turns to his staff. [DUNCTON] That drone is tougher than we thought...ready the heat-seeking missiles! The men rush to comply. MUNITIONS BUNKER AREA - SOLDIER #2 AND FRIEND They pull into munitions, look around for a bit...until Soldier #2 sees the truck of blue shells. [SOLDIER] (pleased) Hey, look. Armor-piercing. All ready to go. They start to load some of the shells into their truck. INT. BUNKER - DAY Perkins, Mank and Cotler are screaming and banging on the heavy metal fire door. EXT. BUNKER AREA - DAY Soldier #2 stops, a blue shell in hand. Did he hear someone? The sound of a new artillery barrage drowns out his doubts. Nah. He shrugs...loads the last shell...drives off with his buddy. DUNCTON - AT COMMAND POST looking through his binoculars, he commands: [DUNCTON] Fire the heat-seeking missiles! EXT. MISSILE LAUNCHER - STOCK as missiles are launched. INT. THE KNIGHT 2000 [K.I.T.T.] Michael! Three heat-seeking rockets are approaching from the southwest! Michael looks out the window, sees them. [MICHAEL] Try and dodge them. [K.I.T.T.] I am trying, Michael. But they're homing in on the heat of my engine. [MICHAEL] We have to find another source of heat! Michael looks around. [MICHAEL] Head for that underbrush, Kitt. OMITTED EXT. KNIGHT 2000 drives to a thicket of chaparral, sagebrush and mesquite. INT. KNIGHT 2000 [MICHAEL] Fire your rocket booster! EXT. CAR K.I.T.T. does -- and the thicket bursts into flames. INT. K.I.T.T. Michael turns, looks at.... HIS POINT OF VIEW - MISSILES - STOCK heading toward them. BACK TO SCENE His heart in his mouth he watches until.... THE CHAPPARAL as three explosions in succession rock it. INT. K.I.T.T. [MICHAEL] (simultaneously with explosions) One...two... (beat) What happened to three? CUT TO EXT. ROAD - DAY - LIMBO Pull back from the thermostat on Sanj's truck. It's in the "red -- danger" zone. As the shot widens, we see that Sanj has stopped by the side of the road. Sanj is in the bushes ...his back to camera...he looks up as he hears a whistling sound. CLOSER - SANJ His eyes pop. He runs away down the road as --- NEW ANGLE - SANJ'S TRUCK A heat-seeking missile slams into it, blows Danish and tuna sandwiches into the next county. SANJ Bowled over by the explosion, he looks at what's left of his truck and we: CUT TO INT. K.I.T.T. Michael hears the distant explosion. [MICHAEL] Three...! Let's go, Kitt! THE KNIGHT 2000 It turns, heads for the tank. INT. TANK - DAY Robin reacts as a pipe drops down near her...the tank is going to fall apart soon, from near-misses alone. EXT. TANK - DAY K.I.T.T. slams to a halt next to it. Michael jumps out of the sunroof, climbs aboard. Opens the hatch. [MICHAEL] Robin! Come on! She appears as amazed as she is pleased. [ROBIN] Michael...? How did you...? [MICHAEL] We'll talk later. Get in! INT. K.I.T.T. as they drop inside. Before Michael's hit the seat he's shouting --- [MICHAEL] Go, Kitt! Go! They roar away. THE SCENE The tank takes a direct hit just as K.I.T.T. leaves. INT. K.I.T.T. Dirt showers down on the car and it rocks. But they're safe. [MICHAEL] You all right? [ROBIN] Now I am! How do we get out of here? [MICHAEL] The same way we got in. Kitt, plot a course that's only semi- fatal. [K.I.T.T.] I recommend the gap between any two gun positions, Michael. [ROBIN] Who said that? [MICHAEL K.I.T.T.] Uh...me.... I did. [MICHAEL] Let's go pay the General a visit! [ROBIN] Is this a car -- or a spaceship? [MICHAEL] A little of both. FAT SOLDIER AND FRIEND line the blue shells up to three red ones, wave at the gun crew. Drive away. The gun crew loads a red shell, fires. KNIGHT 2000 heading to Duncton's bunker. The only thing between them is the Howitzers. THE CREW load up another red shell. There is but one left. KNIGHT 2000 [K.I.T.T.] Michael, we're getting closer to the guns! [MICHAEL] That's the idea! GUN CREW load up the last red shell and fire. They start to load the blue shell. KNIGHT 2000 swerving.... GUN CREW The blue shell is loaded. The breech closes...a hand reaches for the chain.... TO INCLUDE KNIGHT 2000 The Knight 2000 swerves wildly close to the Howitzer, swipes one of the legs. GUN CREW Their weapon tilts. The blue shell drops from the breech. DUNCTON - IN COMMAND POST He sees this, knows the jig is up. He grabs his belongings, runs out. His staff look at each other, confused. EXT. COMMAND POST - DUNCTON Duncton runs towards an armored personnel carrier, jumps in. [DUNCTON] (to the driver) Soldier! Move out! That's an order! The startled soldier complies...the massive vehicle starts up. OMITTED EXT. COMMAND POST The Knight 2000 heads right for the APC...swings away at the last minute, just clipping the bogies on one side. The track snaps like an old rubber band. NEW ANGLE - APC with only one track biting the ground, it swings around in a wild circle, slams to a halt in a cloud of dust. DUNCTON Knocked off his feet, he scrambles to climb out and escape -- runs right into Michael, who grabs him. Trapped, he doesn't even struggle. [MICHAEL] General, I think you just blew your pension. Robin steps over. With a grim smile, she rips the stars from Duncton's shoulder. FREEZE FRAME FADE OUT END OF ACT FOUR TAG FADE IN OMITTED INT. GENERAL DUNCTON'S OFFICE - DAY Devon, Michael and Robin are inside. Devon is on a roll. [DEVON] ...oh, yes...it's the typical Michael Knight situation...total confusion... mass destruction...all in a good cause, of course, but without the slightest regard for --- [ROBIN] Mr. Miles, please. I was the one who got Michael into this in the first --- [DEVON] Oh, I know. That's part of his typical pattern as well...a young lady who innocently causes a --- All turn as the door opens. Major Rainey enters, crosses to the desk. [RAINEY] Thank you all for joining me. (aside to Michael) I see you left your sandwiches outside. Devon looks at Michael inquisitively. Michael makes an "Ixnay" gesture. [RAINEY] (to others) It's certainly been a confusing morning...The top brass on the post is in the stockade, and I find myself the acting Commander.... The phone buzzes. Rainey picks it up. [RAINEY] Major Rainey.... (eyes widening) Yes, sir. Yes, they're right here. (covering phone) They want to talk to someone from the Foundation...whoever's respon- sible for what happened here. Michael reaches for the phone, resigned. [MICHAEL] I guess that's me. (a look at Devon) I've just been told I was operating on my own.... [RAINEY] It's the White House. [DEVON] I'll take it. In one deft move, Devon intercepts the phone halfway between Rainey and Michael. [DEVON] Hello, sir. Devon Miles here. (listens) Thank you, sir. (listens) No, no we didn't have any inside information...just our own crime- busting instincts...yes, yes...The Foundation for Law and Government prides itself on flexibility... individual initiative...yes...that's exactly why the situation at this base was one of our top priorities. Thank you, sir...and good-bye. Devon hangs up, a blissful expression on his face. ROBIN AND MICHAEL She leans close to him, whispers. [ROBIN] How can he tell such outrageous lies? [MICHAEL] With a sincere expression. EXT. HEADQUARTERS BUILDING - DAY Devon and Michael enter the shot from behind the camera, walk towards K.I.T.T. [MICHAEL] Devon, now that this is an official Foundation effort...could we talk about my expenses here? There was a motel...I bought Robin dinner.... [DEVON] Michael, there's no basis for --- [MICHAEL] No basis? What happened to 'flexi- bility'? 'Intuitive thinking'? 'Individual initiative'? As they continue arguing, we pan to K.I.T.T....tighten on the rear bumper...where a bumper sticker reads "Go Army!" FREEZE FRAME FADE OUT THE END

{"show": "Knight Rider", "season": "s01", "episode": "e02", "title": "Deadly Maneuvers"}

knightriderarchives

ACT ONE FADE IN EXT. UNEMPLOYMENT OFFICE - DAY Police officers are crouching behind a variety of vehicles which surround the office. MICHAEL KNIGHT in the Knight 2000, driving slowly right up to the police barricades until he reaches the S.W.A.T. team Leader. [S.W.A.T. LEADER] (into megaphone) We're working on your demands right now! But we need more time! (aside, to aide) What's going on downtown? What are we supposed to do? I can't string these clowns along all day! I need help! [MICHAEL] Ah, excuse me, Captain.... The S.W.A.T. Leader turns, looks at Michael as if he and the car had just parachuted down from Mars. [S.W.A.T. LEADER] What's your problem? [MICHAEL] It's very simple... (pointing to the office) One of the clerks in there is a witness in a big case we're handling. She's late for a deposition. [S.W.A.T. LEADER] Are you crazy? Look what's going on here! I got no time for lawyers! [MICHAEL] (pleasant) In all honesty, neither do I...I'm just a legman. Tell me, do you have any idea when the hostages will be freed? [S.W.A.T. LEADER] Are you kidding? A couple of kooks freaked out and decided to collect all their benefits at once. It could be hours...days... (to aide) Who is this guy? Where did he come from? [MICHAEL] I don't think we can wait that long. Thanks for your time. INT. K.I.T.T. Michael hits controls on his dashboard. [MICHAEL] Kitt. Give me a read-out on the activity inside. [K.I.T.T.] Ten-four, skipper. [MICHAEL] And knock off the cop act, will ya? [K.I.T.T.] Roger -- check the CRT. INSERT OF SCREEN showing the relative positions of the hostages and the baddies. [MICHAEL] Looks possible. Michael turns. The S.W.A.T. Leader is banging on the window. [S.W.A.T. LEADER] Get this thing out of here! [MICHAEL] (smiling) Right away, officer. He hits the gas. THE SCENE The Knight 2000 roars straight for the front door of the office. INT. OFFICE The Knight 2000 smashes through the door. Glass flies as K.I.T.T. pins the gunmen against one wall, separating them from the hostages. A beat. Michael gets out of the car, coughs a bit. [MICHAEL] Freeze, or I'll laser your balls off. The dazed gunmen freeze as Michael quickly collects their weapons then turns and looks around the assorted hostages. [MICHAEL] Miss Marsha Laden? [MARSHA] Uh...that is...who...I...am...me... right! In the b.g., the S.W.A.T. team enters as dramatically as possible. [MICHAEL] (casual) I'm Michael Knight. The Foundation asked me to drive you down to the courthouse. (to the S.W.A.T. Captain) They're all yours, Captain. He gallantly opens the passenger door for her as the S.W.A.T. team cuffs the stunned heavies...then watches astonished as Michael backs out of the building...drives away. OMITTED INT. FANCY RESTAURANT - DAY where Devon is seated alone in a corner booth enjoying a sumptuous lunch as Michael enters, crosses to him and sits. [DEVON] What a delightfully unwelcome surprise. [MICHAEL] The office told me I'd find you here. [DEVON] How very thoughtful of them. He beckons to the waiter who approaches. [DEVON] (continuing) Well, as long as you're here would you like to order something? The waiter offers the menu which Michael waves away. [MICHAEL] Let me have a cheeseburger with onions, double order of fries and a Coke. The waiter and Devon exchange looks of sheer disgust. [MICHAEL] If you can't handle it, there's a take-out joint right across the street. The waiter, miffed, nods and exits as Devon resumes his lunch. [MICHAEL] What's that? [DEVON] Saltimbocca. It's a delicate Northern Italian veal dish, that has been rendered comatose by the mere thought of your order. [MICHAEL] I'm not a fussy eater, I guess. [DEVON] You're so right. Well, what is it you wished to see me about so urgently. Michael, who is eating a roll, mumbles. [DEVON] No, let me guess. You've done something to the car. Michael shakes his head, no. [DEVON] You're in some kind of trouble and you want me to pull the appropriate strings to.... Michael violently shakes his head, no. He's trying hard to swallow. [DEVON] Well, spit it out, man. Michael puts a napkin up to his mouth. [DEVON] Not the food! The request! Michael swallows. [MICHAEL] I'm really beat, you know. [DEVON] I wouldn't doubt it. Especially after seeing your performance on the news today. Can't you ever do anything simply? [MICHAEL] Kitt and I made it as simple as possible. Nobody got hurt, and those cops would have fooled around with that mess for the rest of the day. Anyway, what I wanted to tell you is that I want a vacation. A slow grin grows on Devon's face...he can't hide his happiness. [DEVON] A vacation. What a thoroughly brilliant concept. Do you have a destination in mind? [MICHAEL] I thought I'd go do some rock climbing. [DEVON] I hear the Himalayas are charming this time of year. Would you like to use my travel agent? [MICHAEL] I really wasn't thinking quite that big. [DEVON] I see. [MICHAEL] Anyway, I won't be gone too long. [DEVON] (disappointed) Don't push yourself on my account, dear boy. I'd really hate for you to burn out too quickly. [MICHAEL] I'll bet. The waiter arrives with his food and shoves it in front of him. Michael piles in with gusto as Devon looks on in disgust. EXT. HIGHWAY - DAY - STOCK Michael and K.I.T.T. drives through the beautiful Northern California scenery. INT. K.I.T.T. - DAY Michael is arched over both seats as K.I.T.T. drives on automatic. [K.I.T.T.] Oshkosh. [MICHAEL] (thinking) Oklahoma. [K.I.T.T.] Wrong. We're only using place names with both a double vowel and a double consonant. Oklahoma has two sets of double vowels but no double consonant. Now, if you'd said.... [MICHAEL] Kitt! [K.I.T.T.] Yes? [MICHAEL] Shut up. [K.I.T.T.] It was your idea to play. A somewhat frivolous pastime anyway when you could be briefing me on our mission instead. [MICHAEL] We're not on a mission. We're on a vacation. [K.I.T.T.] (searches banks) What's a vacation? [MICHAEL] It's kind of an interlude. So you can relax, clear your head. [K.I.T.T.] I see. But to what purpose? [MICHAEL] Like I said. To relax. [K.I.T.T.] What does relax mean? [MICHAEL] (groping) It's like when I put you into neutral. [K.I.T.T.] Oh. How very unproductive. [MICHAEL] Not for people, it isn't. Now me, I'm going rock climbing. [K.I.T.T.] Why? What happens when you get to the top of whatever it is you're climbing? [MICHAEL] Nothing. [K.I.T.T.] Then why climb it? [MICHAEL] Because it's there. [K.I.T.T.] I see. Well, I suppose that makes about as much sense as word games. [MICHAEL] Good. I'm glad you can understand it. [K.I.T.T.] Not really. After all, word games don't attempt to defy the laws of gravity -- an activity which could easily get you killed or seriously injured. [MICHAEL] (kiddingly) I didn't know you cared. [K.I.T.T.] Of course I care. After all, that's the way I was programmed, isn't it? As Michael reacts: OMITTED EXT. WHITE ROCK - DAY - ESTABLISHING SHOT A charming, small town less dedicated to tourism than to being comfortable. There is a jail, a bar, a general store, an inn, etc. THE TRANS AM pulls up in front of the White Rock General Store, and Michael gets out. INT. WHITE ROCK GENERAL STORE - DAY Sherry Benson -- early twenties, a natural beauty, is absorbed in tying a homemade fishing fly...it's delicate work and she doesn't look up when.... Michael enters and walks to the counter. [SHERRY] The nightcrawlers are in the refrig- erator next to the fudgsicles. And the meal worms are on the counter. You can pay me later, Clayton. [MICHAEL] Who's Clayton and what's a night- crawler? Sherry looks up startled...first by the voice, then by the man. [SHERRY] A worm. Not Clayton, he's an old man that picks up his bait everyday around this time. A nightcrawler is a worm. [MICHAEL] (smiling) I see. [SHERRY] I guess you're not a fisherman. [MICHAEL] No, it's always seemed kind of boring to me. I came to climb... (kidding) ...but I've been known to get hooked on new things. Sherry laughs nervously. They like each other. [SHERRY] Is there something I can help you with? [MICHAEL] The sign said homemade hamburgers. I could go for one with everything on it...everything but the night- crawlers. Davey, a ten-year-old contemporary Huck Finn, rushes into the store. [DAVEY] (interrupting) Sis! You gotta come out front and see this car, it's.... [MICHAEL] Mine. You like it, huh? [DAVEY] Like it? You gotta be kidding? [MICHAEL] Well, hang in until I eat and I'll take you for a ride. [DAVEY] Wow! No kidding? [SHERRY] (to Michael) How do you want that cooked? [MICHAEL] Medium. [SHERRY] Anything else? [MICHAEL] French fries, well done, please. [SHERRY] Anything else? [MICHAEL] Some meaningful conversation? [SHERRY] Rare! SCREEN FLIP TO EXT. GENERAL STORE - DAY Davey follows Michael out of the store. [MICHAEL] Does your sister have a steady boyfriend? [DAVEY] Don't know. (refering to car) She's beautiful. [MICHAEL] (refering to Sherry) I noticed. [DAVEY] Fantastic body. [MICHAEL] I noticed. You ready to go? [DAVEY] You betcha! They climb into the Trans Am. CUT TO EXT. MAIN STREET - DAY The Trans Am cruises the main drag. INT. CAR - DAY Davey rides shotgun. He proudly waves to everyone he knows. [DAVEY] (seeing something) Hey, stop over there. I mean if it's okay with you. [MICHAEL] How 'bout if I drop you off? I'm anxious to get settled and check out White Rock Mountain. [DAVEY] Sure. I just want Donny Spencer to see me get out of this car. He thinks he's so hot 'cause of his brother's dumb pickup. Michael laughs and pulls up next to Donny's brother's pickup. Davey gets out of the car like a tough guy. [DAVEY] (to Michael) Catch ya later, okay? [MICHAEL] It's a deal. EXT. TRANS AM - DAY K.I.T.T. kicks a little dust in Donny's face as Michael takes off leaving Davey with Big Donny, a twelve-year-old bully. INT. CAR - DAY Michael stops at the only traffic signal in town and glances in his rearview mirror. INSERT - REARVIEW MIRROR Big Donny Spencer pushes Davey to the ground and jumps on him. EXT. THE TRANS AM - DAY runs the red light...makes a U-turn in the middle of the street...reruns the red light and heads for Davey, passing the town's only police car. THE POLICE CAR also makes a U-turn and follows with his red lights on. MICHAEL jumps out of the car and pulls Big Donny off Davey, then pushes the still swinging Davey back. [DAVEY] He said your car was dumb. [MICHAEL] So why all the excitement? If the car doesn't mind, it's not your problem. ANGLE ON THE SHERIFF as he gets out of his car. He starts to write up Michael's ticket, paying no attention to the other goings on. BACK TO SCENE as Michael, still holding Big Donny, leaning on the pickup, is confronted by Big Donny's big brother, Big Lonny. [BIG LONNY] (coming out of nowhere) The only thing worse than leaning on my truck is touching my little brother. Michael puts on his most friendly face and gently releases Big Donny. [MICHAEL] Sorry, I was just trying to make sure no one got hurt. This your truck? [BIG LONNY] Yeah. What about it? [MICHAEL] It's real nice. Love the color. [BIG LONNY] Yeah, well, yours is dumb. [MICHAEL] (tired of bullys) Really? Your family seems to have a somewhat limited vocabulary. [BIG LONNY] Hey, don't start getting smart- mouthed about my family. [MICHAEL] Sorry. I know it's really gross to pick on the handicapped. [BIG LONNY] (steaming and ready to go) You're really looking for it, right? The Sheriff who has been watching all this with mild amusement, now decides it's gone far enough. He moves in on the confrontation. [SHERIFF] Howdy, Lonny. Any problems here? [LONNY] Nothing I can't handle, Sheriff. And with pleasure. [SHERIFF] Yes, I suppose so. (to Michael) Just passing through town, mister? [MICHAEL] Kind of. I'm going rock climbing out at White Rock. [SHERIFF] One of those macho types, huh? Well, if you enjoy rock climbing, White Rock's as good as they come. Or so they say. Well, don't let us hold you up. [MICHAEL] You telling me to get out of town, Sheriff? [SHERIFF] I'm telling you it takes two to make an argument. And if there's only one of you in town.... [MICHAEL] And if I decide to stay a while? [SHERIFF] I'm a peace officer, son. With the emphasis on peace, and like I said, it takes two to make an argument. And so if one of you is in jail.... [LONNY] Any bets on who it'll be? [MICHAEL] I guess I'd better go rock climbing, huh? [SHERIFF] Now that's what I call good thinking. As Michael starts to cross back to K.I.T.T.: [SHERIFF] (continuing) Oh, just one more minute. I'll need to see your driver's license first. [MICHAEL] What for? [SHERIFF] (waving his ticket book) Need it to finish the traffic citation. You made an illegal U-turn back there. As Michael reaches for his wallet in disgust: INT. K.I.T.T. - DAY as Michael and Davey drive back to the store. Davey is pissed and somewhat disillusioned with Michael. [DAVEY] Boy, you sure let the Sheriff push you around. [MICHAEL] What do you think I should have done? Shot it out with him; like in the movies? [DAVEY] Well no, I guess not, but still.... [MICHAEL] How old are you, Davey? [DAVEY] Ten. [MICHAEL] Well, if you want to make eleven, twelve, and thirteen like that, you better learn there's times to fight and times not to fight. [DAVEY] (sarcastically) You mean like only when you can win? [MICHAEL] No, that's the way bullies like Big Lonny think. I mean only like when you just don't have any choice. As Davey reacts: OMITTED EXT. HIGHWAY - DAY The Scorpions, a group of bikers who look like the most bizarre New Wave album cover you can imagine on wheels. They ride down the highway having their kind of off- center fun. ANGLE ON MONK the biggest, oldest, meanest. He's the leader and he drives a bike with a sidecar where Sneaker, a tiny weasel of a man rides. He wears black, high-top tennis shoes instead of motorcycle boots. Monk snaps his fingers and holds out his hand. SNEAKER digs deep in the sidecar, pulls out a quart bottle of whiskey and hands it to Monk, who takes one long drink and tosses it to: THE PRIEST A tall, skinny serious-looking guy (picture the lead singer in The Cars) catches the bottle, takes a swig and throws it to: OMITTED ANGLE ON HILLY as he catches the bottle and virtually finishes it, then tosses it back to Sneaker, almost hitting him. ON MONK who starts to get mad, then reacts: OMITTED MONK'S POINT OF VIEW OF A ROAD SIGN WHITE ROCK 2 miles BACK TO SCENE as Monk signals to the Scorpions that they'll be turning soon. CUT TO OMITTED EXT. TRANS AM - DAY as Michael turns on to the highway. MICHAEL'S POINT OF VIEW - THE SCORPIONS as they drive by. REVERSE ANGLE - THE SCORPIONS as they turn off the highway and head into White Rock. EXT. MAIN STREET - DAY as the Scorpions ride into town. They approach Big Donny and Big Lonny still hanging out. BIG LONNY AND BIG DONNY try to be cool. They nod their head at the bikers. THE SCORPIONS return their gesture with a group glare. BIG LONNY puts Big Donny in his truck and goes home...this just isn't their day. THE SCORPIONS following Monk's lead, pull up in front of the White Rock Inn. [MONK] This'll do. [HILLY] (to Monk) I don't like it. [MONK] You don't like anything. ANGLE ON THE INN The sign reads -- VACANCY. BACK TO SCENE as the Scorpions get off their bikes and help themselves to Sneaker's cooler. Hilly relaxes by doing push-ups. [MONK] Priest, go get the rooms. INT. WHITE ROCK INN - DAY A little, old lady peeks through a lace curtain at the gang. She hurries to the front door...locks it, and replaces the VACANCY sign with a SORRY, NO VACANCY sign. OUTSIDE THE INN The Priest is on the steps when he sees the sign. [THE PRIEST] We got a problem. [HILLY] (stopping the push-ups) Ain't no such thing. Monk, you want I should go make some room? [SNEAKER] We should just make camp by the lake, like we already planned. Hilly grabs Sneaker. [HILLY] You and your plans make me sick. Monk knocks Hilly on his ass. [MONK] Don't ever let me see you touch him again. And remember. We're here on business.... Another biker is digging in the sidecar for the beer. [SNEAKER] We're outta beer, man. INTERCUT - VARIOUS SHOTS The Scorpions starting their bikes and townspeople locking doors, putting up closed signs, etc. [HILLY] I bet the store's closed, too. [MONK] Not for long. SCREEN FLIP TO EXT. GENERAL STORE - DAY - ESTABLISHING A CLOSED SIGN in the front door. ANGLE ON A MOTORCYCLE BOOT as it kicks the door in. Pull back to reveal: THE SCORPIONS entering Sherry's store. END OF ACT ONE ACT TWO FADE IN INT. GENERAL STORE - DAY where we left off. Sherry and Davey react as the Scorpions enter the store. [HILLY] Well, looky here. I knew this town wasn't as boring as it looked. [THE PRIEST] (to Sherry) What's your name, sweet thing? [DAVEY] (bravely) Davey Benson, and we're closed! The Scorpions react to Davey's courage. Most of them wander through the store helping themselves to whatever catches their eye. [MONK] (to Davey) This is a special occasion, little man. We're gonna be big customers. (to Sherry) And we're hungry. Real hungry. Sherry is doubtful that Monk means...food. As she reacts: EXT. WHITE ROCK MOUNTAIN - DAY Michael and K.I.T.T. are at the base of White Rock Mountain. Michael is unloading and checking his gear. [MICHAEL] Well, I guess I'm ready. See you later, Kitt. [K.I.T.T.] Michael, I have calculated the risk factor involved in this operation. [MICHAEL] (correcting) Vacation, not operation. [K.I.T.T.] Yes, well...this mountain is a eight/ten grade. Don't you think you should preprogram me in the event you don't return? Michael gives the car a look. [MICHAEL] Thanks for the confidence. Michael picks up his gear and starts to leave. [K.I.T.T.] Michael, what should I do while you're gone? [MICHAEL] You're on vacation...get some sun! ANGLE ON K.I.T.T. as Michael leaves. The sunroof opens up. CUT TO INT. GENERAL STORE - DAY Sherry is cooking and passing out hamburgers. She offers a sandwich to Hilly who grabs her instead of the burger. [HILLY] You smell good, baby. Sherry struggles. [SHERRY] Take your hands off me! [MONK] Knock it off, jerk. We don't need any extra trouble around here. There is a momentary freeze between them. Then: [HILLY] What the hell, I think I'll just eat first anyway. EXT. WHITE ROCK MOUNTAIN - DAY Michael is climbing the base of the mountain. MICHAEL'S POINT OF VIEW STRAIGHT UP THE ROCKY CLIFF BACK TO SCENE Michael hammers in his first piton and attaches his safety line, pulls himself up, and hammers in the second piton. INT. GENERAL STORE - DAY Hilly is finishing his hamburger. [THE PRIEST] (looking out the window) Hey, man...it's the man. THE PRIEST'S POINT OF VIEW OUT THE WINDOW The Sheriff drives up. [MONK] Everyone, stay cool...we're just customers. [HILLY] (to Sherry) I guess desert will have to wait. THE SHERIFF enters the store. He has a very calm look on his face and looks around before he speaks. [SHERIFF] Welcome to White Rock, gentlemen. You found the best hamburgers in town. OMITTED EXT. WHITE ROCK MOUNTAIN - DAY - MICHAEL struggling to pull himself higher. Michael's foot slips as a rock loosens and falls. He falls a few feet and hangs on his lifeline. ANGLE ON PITON as it works its way out of the rock. BACK TO MICHAEL He sees the piton and remembers.... ANOTHER ANGLE - THE PITON as little by little it becomes less sturdy. BACK TO SCENE as Michael carefully tries to find a footing...he knows he's racing against time. THE PITON pops out of the rock. LONG SHOT - MICHAEL falls twenty feet and the safety line snaps taut...keeping him from falling the rest of the way. MICHAEL'S POINT OF VIEW - THE ROCKS BELOW BACK TO SCENE as he finds his footing. He reacts with relief and starts climbing again. INT. GENERAL STORE - DAY The Sheriff stands with Sherry and Davey. [MONK] Priest, pay the little lady. [HILLY] Yeah, man...put it on your American Express card. (holding imaginary card) Do you recognize me? Monk flashes Hilly an angry look. [SHERRY] I'm not exactly sure what you had... I wasn't keeping track. [THE PRIEST] (taking out money) Five oughtta handle it. [DAVEY] That's not right! [SHERIFF] Now, Davey, I'm sure the man's being quite fair. Let's just say the beer is on the house. [SHERRY] Sheriff Bruckner, I can't afford to.... [MONK] (interrupting) ...That's very understanding of you, Sheriff. ANGLE ON HILLY as he grabs an extra six-pack. BACK TO SCENE [MONK] Say thank you, boys. [THE SCORPIONS] (in unison) Thank you, Sheriff. The Scorpions exit the store. [HILLY] (to Sherry) We'll be sure to come back. As the door closes behind them: [SHERRY] Why didn't you arrest them? How could you let them get away with that? [SHERIFF] (with force) You should count your lucky stars we got off that easy. [SHERRY] (angry) What?! [SHERIFF] Listen to me. You don't mess with those kind of people. They'll be gone in a few hours or a few days and everything will be back to normal...with no trouble, as long as we all keep our wits about us. [SHERRY] In other words, you'd let them do anything they please. [SHERIFF] In other words, it takes two to make an argument. A confrontation could cost us more than a little petty pilfering. A lot more. EXT. GENERAL STORE - DAY The Scorpions are getting on their bikes. [HILLY] Wow, man, the cop of my dreams...I knew I'd meet him someday. [MONK] Why do you think I picked this town in the first place? [THE PRIEST] Smart thinking. [HILLY] Yeah, maybe if we stick around long enough he'll even deputize all of us. CUT TO EXT. WHITE ROCK MOUNTAIN - DAY - MICHAEL is pulling himself up the rope...with each tug he verbalizes his inspiration. Michael is now back to where he was before the fall. He takes out a piton and begins again. OMITTED EXT. WHITE ROCK MOUNTAIN - DAY - MICHAEL is almost to the top. He takes out a big hook and line and throws it over the edge of the mountain. ANGLE ON THE LINE as it fails to attach to anything and falls back on Michael. He throws it again. THE HOOK anchors itself behind a big boulder. MICHAEL pulls the rope...it's solid. He begins the last stretch of the climb. He pulls and climbs and reaches the top totally elated, then reacts to: DAVEY holds out his hand to help Michael up. [MICHAEL] (amazed) How'd you get up here? [DAVEY] There's a path back there. Everyone in town knows about it. [MICHAEL] Great. Well, what are you doing out here anyway? [DAVEY] Looking for you. There's trouble in town and I didn't know who else to go to. [MICHAEL] Why not the Sheriff? [DAVEY] Him? You gotta be kidding. Anyway, there's this bunch of bikers in town. Mean. Real mean. And I think they might do something bad to Sherry if somebody doesn't do something. Michael sets up his rope for a long rapell. [MICHAEL] Go meet me back by the road to town. [DAVEY] Where are you going? [MICHAEL] To pick up my car. [DAVEY] What's so darned important about your car? [MICHAEL] You'd be surprised, Davey. You really would. As Davey looks on, Michael rapidly rapells down the sheer rock face. EXT. GENERAL STORE - DAY - MICHAEL AND DAVEY arrive in the Trans Am. INT. GENERAL STORE - DAY Michael and Davey enter. [MICHAEL] You all right? [SHERRY] Michael? Davey, you shouldn't have bothered him. [MICHAEL] (smiles) Hey, a guy should never miss a chance to be a hero. Sherry manages a weak smile. [MICHAEL] Look, Davey told me everything. Are you okay...really? [SHERRY] I'm better now. [MICHAEL] I think maybe I should stay here tonight. [SHERRY] It's really not necessary, we can take care of ourselves. The sound of motorcycles takes Davey to the window. [DAVEY] They're back. [MICHAEL] How many? [DAVEY] Just one this time. The real bad one. Sherry reaches for the shotgun...Michael sees this. [MICHAEL] You won't be needing that. EXT. GENERAL STORE Hilly arrives. He stops to look at the Trans Am with almost professional interest. ANGLE ON MICHAEL as he exits the store and crosses to Hilly. [HILLY] Nice car. Yours? [MICHAEL] Yeah. [HILLY] You wouldn't mind if I drove it around the block a little, would you? [MICHAEL] Personally, I wouldn't think cars are your kind of scene. During the following, Hilly tries to open the door without success and as he increasingly struggles and tries to cover it up: [HILLY] Don't let it worry you. I'm always ready to learn...This thing locked? [MICHAEL] Just sticks sometimes. See? He crosses and easily opens the door, but then slams it shut again before Hilly can react. Hilly, really pissed, now grabs the door handle and really struggles with it, then finally gives up. [HILLY] Smart guy, huh? I don't know how you did that, but nobody makes a fool out of me and walks away in one piece. [MICHAEL] Is that a fact? You know I think you must have watched too much TV when you were a kid. [HILLY] Yeah, why's that? [MICHAEL] Because your whole act is not only lousy, but it's ten years out of date. You just can't be for real. [HILLY] (laughs wickedly) Oh, I'm real, all right. I'm a Scorpion...Hilly. (pulls out a knife) This is a knife...Stinger. And you're about to be the sting-ee. [MICHAEL] Before or after the commercial? [SHERRY] (to Davey) Go get the Sheriff. Davey has no trouble following these orders...he runs out of the scene as Hilly moves in on Michael. OMITTED MICHAEL kicks the knife out of Hilly's hand. HILLY is pissed. He runs at Michael like a charging rhino. BACK TO SCENE as they connect...knocking the air out of each other. OMITTED BACK TO SCENE Michael and Hilly are fighting on the ground as Sherry watches unsure of what to do. OMITTED BACK TO SCENE The sound of the rest of the Scorpions is heard. Michael and Sherry react. [MICHAEL] (to Hilly) I think playtime is about over, pal. Michael grabs Hilly in an armlock and maneuvers him to his feet, then throws him onto his bike. As they both collapse: [MICHAEL] (to Sherry) C'mon. They start for the car as the gang arrives. OMITTED (Note: Scenes 94 thru 105 (except where omitted) are now all exteriors.) THE SCORPIONS are confused by what they're seeing. They don't know if Michael is friend or foe. They move towards him. BACK TO SCENE [MICHAEL] There was a little accident. I was just going to get some help for him. (to Sherry) Get in the car. Sherry gets in the car as Michael gets in on the other side. [MONK] What's going on? (to Hilly) Hey, man, what happened? ANGLE ON K.I.T.T. as Michael bumps into the first motorcycle in the row...it's the domino effect and all the bikes fall over. They are not put out of commission, just humiliated. FAVORING HILLY who has returned to "normal." He and the boys grab chains and weapons and attack K.I.T.T. The pipes and chains bounce off K.I.T.T. throwing the Scorpions off balance. BACK TO SCENE as the Sheriff arrives...Davey's in the car with him. THE SCORPIONS prepare to fight with Michael and the Sheriff. THE SHERIFF gets out of his car...hand on his gun, and walks right into the middle of the scene. [MICHAEL] (getting out of car) Great timing, Sheriff. He holds out his hand to shake the Sheriff's. THE SHERIFF quickly slaps handcuffs on Michael. INT. JAIL - DAY Sheriff Bruckner is putting Michael in a cell. [MICHAEL] Hey, it was a really great idea. Maybe the only way we could get outta there with all our teeth ...but don't you think you're carrying it a little too far? [SHERIFF] You're under arrest, Mr. Knight. So just sit back and relax. [MICHAEL] You've got to be kidding. [SHERIFF] Not at all. Look, Mr. Knight, I told you before that it takes two to make an argument. Now I got me a lot of problems right now. But what I don't need is a knight in shining armor grandstanding for a damsel in distress. [MICHAEL] You're really serious...you're gonna lock me up and let them do what they damn well please. [SHERIFF] Up to a point, you're right. [MICHAEL] And exactly what is the point. The point where you start to do something about it? [SHERIFF] That's my problem. And my responsi- bility. [MICHAEL] Well, what about my phone call? I get to make one phone call, don't I? [SHERIFF] What's the phone number? [MICHAEL] 213-555-0433. The Sheriff dials and hands the phone to Michael who listens with disgust. [SHERIFF] No answer? [MICHAEL] It's busy. Michael hands the phone back to the Sheriff...defeated. [SHERIFF] How lucky for both of us. I'll let you make a try again later. [MICHAEL] How much later? [SHERIFF] A whole lot later. [MICHAEL] Where's my car? [SHERIFF] Impounded. EXT. IMPOUND LOT - DAY K.I.T.T. is completely blocked in by other vehicles. The lot looks more like a junkyard than an impound lot. EXT. SCORPION CAMP - DAY The Scorpions are camped by the lake. Sneaker works methodically on the bikes. [MONK] I want everyone's ride in ace shape ...got it. [SNEAKER] Sure, Monk. [MONK] (with authority to Hilly) Now, listen. I don't want any more trouble from you until the time is right. (to everyone) Understand? There are very grim ad-lib responses. The Scorpions are a serious bunch. ANGLE ON ONE SCORPION as he shaves his head...the look on his face is like a warrior preparing to do battle. BACK TO SCENE [HILLY] What about the girl? [MONK] Afterwards, Hilly, afterwards. Just remember. One thing at a time. A slow pan of: THE SCORPIONS They are a serious bunch of guys. END OF ACT TWO ACT THREE FADE IN EXT. WHITE ROCK JAIL - NIGHT - ESTABLISHING SHOT INT. WHITE ROCK JAIL - NIGHT The Sheriff is getting ready to go on night patrol. [MICHAEL] (in his nicest voice) Sheriff Bruckner. [SHERIFF] Yes. [MICHAEL] I've been thinking. Why don't you let me out of here...deputize me. I'll go along with your 'confrontation-avoidance' program...but at least I'll be avail- able if you need any help. [SHERIFF] Son...you just get some rest and if I need your help, I'll know exactly where to find you. I'm going on night patrol. As the Sheriff exits: [MICHAEL] Do me a favor and check on Sherry and Davey, will you? Michael lays back on his bunk -- thinking, as he hears the Sheriff's car drive off. OMITTED INTERCUT [MICHAEL] (into watch) Kitt. Where are you? [K.I.T.T.] Impounded, Michael, just like you. [MICHAEL] Can you get out? [K.I.T.T.] Of course. Do you want me to come get you out? [MICHAEL] That won't be necessary...I can handle it myself. [K.I.T.T.] Are you quite sure? [MICHAEL] I'm sure. Any more questions? [K.I.T.T.] Just one...Are we still on vacation? Michael clicks off the transmitter on his watch and quickly unzips one of the many pockets on his hiking pants. He takes out a small hook. He then takes off his boot and sock and begins to unravel the sock. EXT. IMPOUND LOT - NIGHT K.I.T.T., trapped between two cars, enters into a driverless destruction derby. INT. TRANS AM - NIGHT On the dash, the microprocessor switches from normal to impact. The brake light goes out. The transmission light shifts to low gear. The car burns rubber and lurches forward. EXT. IMPOUND LOT - NIGHT - ON THE WRECK in front of the Trans Am as K.I.T.T. smashes into it. INT. TRANS AM - NIGHT The transmission shifts into reverse. EXT. IMPOUND LOT - NIGHT - ON THE TRUCK BEHIND K.I.T.T. as the Trans Am burns rubber and smashes into it...moving the truck at least three inches. INT. TRANS AM - NIGHT as the transmission switches from reverse to low gear. INT. JAIL - NIGHT as Michael throws his makeshift hook and line towards the keys hanging on the wall...it misses and he reels it in and tries again. ANGLE ON THE KEYS as the hook catches them. MICHAEL reels the hook, line and keys in. [MICHAEL] I guess it all depends on what you're fishing for. EXT. IMPOUND LOT - NIGHT as K.I.T.T. easily maneuvers, unscratched, from between the two destroyed vehicles that were earlier blocking the Trans Am and exits the lot. INT. JAIL - NIGHT as Michael finds the correct key and lets himself out of jail. OMITTED EXT. JAIL - NIGHT K.I.T.T. waits for Michael. He shows up and jumps in. INT. TRANS AM - NIGHT as they drive off. [K.I.T.T.] Are we, as they say, getting out of town? [MICHAEL] No, we're going to find the Scorpions and see what they're up to. ANGLE ON THE DASH as a map of White Rock appears on the screen and a scanner goes from left to right. INSERT - VIDEO SCREEN as the map clicks into closer sectors. BACK TO SCENE [K.I.T.T.] They are camped by the lake. [MICHAEL] I'm a little curious. How did you do that? [K.I.T.T.] In layman's terms...that area is reading like a motorcycle parts store with a big sale going on. DISSOLVE TO EXT. CAMPSITE - NIGHT - K.I.T.T. AND MICHAEL are high above the Scorpion camp on a dirt road. INT. TRANS AM - NIGHT [MICHAEL] Wait here. [K.I.T.T.] Are you sure? [MICHAEL] I don't think you could pass for a motorcycle. [K.I.T.T.] It would be a problem. [MICHAEL] If I don't come back, go get Sherry and Davey and take them out of White Rock. Okay? [K.I.T.T.] You're the driver. But on the whole I think it would be preferable if you did come back. EXT. CAMPSITE - NIGHT - MICHAEL scurries down the rocks closer and closer to the camp. MICHAEL'S POINT OF VIEW - THE SCORPIONS as he sneaks around the outskirts of the camp. They are talking, but he can't hear what they're saying...he's not close enough. MICHAEL goes from place to place stealing wardrobe, a hat here, a vest there. BACK TO SCENE as Michael saunters directly into camp...he stays off to himself. ANGLE ON MONK who is seated alone. Thinking. ANGLE ON HILLY who is doing push-ups, sweat glistening on his huge, bare arms...his face straining with deadly purpose. BACK TO SCENE as a Scorpion walks up to Michael. [SCORPION] Got a light, man? Michael is in the shadows...he searches through the vest he just stole and finds a BIC lighter. ANGLE - CLOSER as Michael holds the lighter as far from his face as possible. The flame illuminates Michael's face, but the Scorpion is watching his cigarette. When the flame goes out.... [SCORPION] Thanks. Michael nods his head. ANGLE - HILLY as he picks up and swings a tire iron. [HILLY] The Road Dogs are gonna fall, man. I'm personally gonna take off half of their heads. He hits the top of a rotted log with the iron...sending bark flying. [HILLY] ...think you lightweights can handle the other half? BACK TO SCENE Ad-lib acknowledgements from the gang. [THE PRIEST] This town isn't gonna know what hit it. [MONK] The biggest biker war on the West Coast. We'll put this place on the map. ANGLE - MICHAEL as he hears the news. He begins to fade farther into the shadows, getting ready to sneak away...as he hears: [HILLY] I still want that sweet thing from the General Store. [MONK] Later, man...later. Michael quietly sneaks away into the night. INT. K.I.T.T. - NIGHT as they drive along. [MICHAEL] Looks like we got ourselves a real problem. [K.I.T.T.] Would you care to feed it to me? [MICHAEL] Those bikers are planning a full- scale gang war tomorrow. [K.I.T.T.] That's a problem? It would appear to be a self-solving problem. [MICHAEL] Like how? [K.I.T.T.] Like why do we care who wins? [MICHAEL] Because they're planning to use the town as the battlefield. That's why. [K.I.T.T.] Yes, I see. It could make a difference at that. Well, I suppose we'll just have to do something about it, then. [MICHAEL] Got any ideas? [K.I.T.T.] I thought I'd let you try first. It always makes you feel so much better on those rare occasions when you outthink me. Michael reacts as we: CUT TO INT. SHERRY'S HOUSE - NIGHT Michael enters the house behind the General Store. He's still in the gang garb. Once again he surprises Sherry. [MICHAEL] (seeing her) Sherry -- we don't have much time. Sherry reels around, aims and cocks her shotgun. [SHERRY] Keep away from me! [MICHAEL] It's me, Michael. First you think I'm Clayton...now you think I'm someone else...You know, we really ought to get to know each other better. The gun slowly drops. Sherry's fear changes to relief. [SHERRY] Why aren't you in jail? Why are you dressed like that? [MICHAEL] One thing at a time. Where's Davey? [SHERRY] Sleeping. [MICHAEL] Good. Lately we just never seem to have any time alone. [SHERRY] (exasperated) Did you break out of jail? [MICHAEL] Of course, how else would I be able to keep our dinner date? [SHERRY] It's a little late for dinner. [MICHAEL] Better late than never. Michael takes Sherry in his arms and they kiss...a tender first kiss. [SHERRY] You're crazy. Michael smiles and looks in her eyes. [MICHAEL] You're beautiful. [SHERRY] I think I'm going to like this plan. OMITTED EXT. JAIL - NIGHT - MICHAEL AND SHERRY are on their way into the jail. [SHERRY] Why don't you let me go in alone and tell the Sheriff what happened? [MICHAEL] It's more believable if it comes from me...no offense. [SHERRY] What if he tries to put you back in jail? [MICHAEL] No way...not after what I tell him. INT. JAIL - NIGHT The Sheriff is on the phone when Michael and Sherry enter. [SHERIFF] Never mind, Henry, the problem took care of itself. The Sheriff hangs up the phone. [SHERIFF] I'll see if I can arrange some kind of reward for you Sherry, for 'appre- hending' the prisoner. [SHERRY] He's not a criminal, Sheriff Bruckner. [SHERIFF] A few hours ago I would've agreed with you...but since then he's wrecked two cars stealing his vehicle from the impound lot and broken out of jail. [MICHAEL] I didn't steal my car. [SHERIFF] ...I suppose you want me to believe it drove itself over here and picked you up. Michael reacts. [MICHAEL] Look, Sheriff -- you don't know it but you've got a real problem on your hands. Sheriff Bruckner stands. [SHERIFF] The only problem I've got right now is your word. Anything you've got to say, save it for the Judge. [MICHAEL] Wait a minute. It's the Scorpions. They're planning a gang war...in White Rock. Some other guys...The Road dogs are on their way up here. Check it out with the Highway Patrol. They usually keep a close watch on that kind of thing. [SHERIFF] A gang war...in White Rock. [SHERRY] It's true, Sheriff Bruckner, we have to do something. [SHERIFF] (approaching Michael) I'll tell you what we're gonna do -- We're gonna put this lunatic back in jail where he belongs. The Sheriff tries to escort Michael back into the cell, but Michael slips from his grasp. [MICHAEL] Come on Sheriff, why would I break out of jail and then come back here and lie to you? ANGLE ON THE SHERIFF as he puts his hand on his gun. BACK TO SCENE Michael eyes the Sheriff's hand carefully. [SHERIFF] I don't know you, mister...White Rock doesn't know you either. [MICHAEL] In twenty-four hours there won't even be a White Rock if you don't listen to me. [SHERRY] He's telling the truth! The Sheriff moves to draw his gun. Michael is much too fast for him. Michael lunges at the Sheriff and wrestles the gun from him. [MICHAEL] Now you got a fast choice to make, Sheriff. You can either go along with me and between us we can save the town. [SHERIFF] Or? [MICHAEL] Or I'll throw you in your own slammer and try and save the town without you. As they stare at each other, we: [FREEZE FRAME] END OF ACT THREE ACT FOUR FADE IN OMITTED EXT. SCORPION CAMP - MORNING All of the Scorpions are sleeping, except Sneaker, who's making coffee. ANGLE ON TWO BIKERS who have thrown arms and legs around each other in the middle of the night. THE PRIEST is off to himself...sleeping with one hand on his chopper's tire. ANOTHER ANGLE - HILLY AND MONK sleep next to each other...Monk in his sleeping bag, Hilly on top of his. The sound of a finely tuned car engine in the distance. SNEAKER looks up...wondering who's up this early. SNEAKER'S POINT OF VIEW - THE TRANS AM - A LONG SHOT as it approaches the camp. [SNEAKER] I knew that guy was trouble. Hey, you guys...wake up! ANGLE ON THE TWO BIKERS as they wake up and realize they are in each other's arms. They almost smack each other. THE PRIEST wakes up and throws an empty beer can at Sneaker. [SNEAKER] (shaking Monk) Monk, wake up...Monk! Monk rolls over and continues sleeping. INT. TRANS AM - DAY Michael and Sherry exchange a look. [MICHAEL] You sure you want to stay in the car? [SHERRY] Sally Field didn't get out of the car in Smokey and the Bandit, besides, I'm safer with you. [MICHAEL] You sure about that? EXT. SCORPION CAMP - DAY as the Trans Am screeches directly into camp. INT. TRANS AM - DAY The Scorpions react...they've definitely been caught with their leather chaps down. [MICHAEL] (into PA) Morning boys...rise and shine. The Trans Am circles in and out of the Scorpions...they move like spooked cattle. [MICHAEL] The lady wanted to see what the animals are like when the zoo's still closed. [MONK] (stands in front of car) Keep on coming...this is gonna be the sorriest day of your life. The Trans Am stops short of Monk. Monk smiles. EXT. TRANS AM - DAY Michael puts the car in reverse. [MICHAEL] (to Sherry) Hold on. Michael revs the engine as Hilly comes to Sherry's window. [SHERRY] (to Hilly) I heard you were looking for me. Well, here I am...come get me! Michael gives Sherry a look and releases the clutch. The Trans Am moves out of camp in reverse at incredible speed. EXT. SCORPION CAMP - DAY as the Scorpions take the bait. They all rush to their bikes and follow the Trans Am. VARIOUS SHOTS OF THE TRANS AM leading the bikers through rural roads. THEIR POINT OF VIEW - OUTSIDE THE CAR of the Scorpions in pursuit. TRANS AM followed by the Scorpions. ANGLE ON THE HIGHWAY as the Trans Am leads the bikers out of town and on to the open road. ESTABLISH - BILLBOARD on the way out of town. It has a picture of a man catching a fish and reads: WHITE ROCK DON'T FORGET TO COME BACK! ANGLE ON THE TRANS AM as it suddenly leaves the road and heads cross-country. THE SCORPIONS turn off the highway to follow. [MONK] (smiles) We got him now...he's on our kind of ground! Monk waves and the bikes whine into high gear. [THE PRIEST] (taking off) Hyperspace!! INT. TRANS AM - DAY The Speedometer reads 98 M.P.H. Michael presses the pursuit button and.... EXT. TRANS AM - DAY as the car does a fast speed U-turn and heads for the bikers. A LONG SHOT as the Trans Am plays chicken with the Scorpions. When they pass each other a lot of high speed maneuvering is done. Hold on: THE TWO BIKERS who don't make it...they lay their bikes down...men and bikes skid across the highway and crash into the trees. ANGLE - THE PRIEST turns around first and follows the Trans Am. EXT. TRANS AM as it reaches a dry river bed gully. Whatever. INT. TRANS AM - DAY Sherry's eyes are wider than they've been in life. Michael is serious. [SHERRY] You're not going to stop? [MICHAEL] Not at the moment. EXT. CAR as it jumps the river. THE PRIEST is going too fast to stop. He tries to stop block and ends up going...sailing through the air. CLOSEUP - THE PRIEST as his grin turns to a grimace...he and his bike land in the river. THE TRANS AM turns around again and comes back for the rest. MONK, SNEAKER AND HILLY rendezvous at a slower speed. [MONK] You two go back the other way...I'll bring him in. Sneaker and Hilly turn around and head back the other way. Monk takes off in the direction of the Trans Am. BACK TO SCENE - MONK'S POINT OF VIEW OF THE TRANS AM MONK turns his bike around and lets Michael chase him. INT. TRANS AM - DAY Sherry's excited. Michael is thoughtful...he knows Monk is up to something. [SHERRY] We did it...We've got them on the run!! [MICHAEL] Not yet...I'd rather have him chasing me. Michael accelerates. The speedometer reads 125 M.P.H. BACK TO SCENE as the Trans Am easily passes Monk. ANGLE as what's left of the bike gang reverses their field and follows after the Trans Am. EXT. HIGHWAY - DAY as the Trans Am followed by the gang heads back to White Rock. They are really going fast. INSERT - SIGN which reads: WHITE ROCK 2 miles THE TRANS AM comes to the turn-off and makes the turn...just barely. ANGLE ON HILLY who doesn't make the turn...he crashes through the back of the billboard. THEIR POINT OF VIEW - MED. SHOT - HILLY hanging half-through the billboard where the fish used to be. EXT. GENERAL STORE - DAY The Sheriff with Davey and five of his friends as they rendezvous on the far side of the road. ANOTHER ANGLE - SHERIFF runs across the road to check a rope he has attached to a tree on the other side of the street. He's satisfied everything is in order and returns to Davey and the others. THEIR POINT OF VIEW as they spot the Trans Am aproaching at high speed. [DAVEY] Here they come...what'd I tell ya? INT. TRANS AM - DAY Michael and Sherry come closer. [SHERRY] (trying to be brave) Aren't you going a little fast? [MICHAEL] Sally Field trusted Burt Reynolds. Sherry gives Michael a look. [SHERRY] I hope Davey came through. [MICHAEL] Don't worry about Davey...you just.... [SHERRY] ...I know...hold on! EXT. TRANS AM - DAY as it speeds over the rope. ANGLE ON THE KIDS All six of them have ahold of the cable. [SHERIFF] (yells) Now! They run until the cable is taut and then brace themselves. ANOTHER ANGLE - THE CABLE is exactly shoulder high. THE SCORPIONS who see the rope and commence to take a turn to avoid it. ANOTHER ANGLE - THE SCORPIONS as they continue straight ahead, trying to slow down or change directions. INTERCUT - MONTAGE of bikes, bikers, tires, etc. ON THE KIDS as they jump up and down...triumphant. Ad-lib congrat- ulations. THEIR POINT OF VIEW of the rest of the gang sprawled across the road. [DAVEY] We did it! We really showed those punks! [SHERRY] (motherly) I think they did it to themselves, Davey... (devilishly) ...with a little help from us. VARIOUS SHOTS - TOWNSPEOPLE coming out of their places of business to see what's going on. They are amazed! EXT. HIGHWAY - DAY The Road Dogs are on their way into town...They are a mean bunch of guys...flying their colors...ready to squash the Scorpions. ANGLE ON ROAD DOGS as they turn into White Rock. EXT. MAIN STREET - DAY The Road Dogs ride down a deserted street. They're looking for signs of the Scorpions, signs of life...it's like a ghost town. ANOTHER ANGLE - ROAD DOGS as they turn a corner and see: ROAD DOGS' POINT OF VIEW - TOWNSPEOPLE The whole town of White Rock standing behind the Scorpions' destroyed choppers. Slow pan: TOWNSPEOPLE armed with guns, hoes, baseball bats, but most of all... courage. THE ROAD DOGS get the signal from their leader...turn around and get out of town fast. We hold on: BILLBOARD which has a gaping hole and now reads: [WHITE ROCK] DON'T..........COME BACK! END OF ACT FOUR TAG FADE IN INT. FANCY RESTAURANT - DAY Devon is again seated in his favorite booth enjoying his usual sumptious repast as Michael enters and crosses to him. [DEVON] Ah, dear boy. Come to ruin my digestion again, have you? Well, sit down and bore me with the details of your vacation. [MICHAEL] It really wasn't much of a vacation at all. [DEVON] Yes, I know. I received the state police report only this morning. You just can't seem to low profile it anywhere, can you? [MICHAEL] Just lucky, I guess. [DEVON] There are those who might think disaster-prone would be a better way of putting it. [MICHAEL] (impatiently) Whatever. Anyway I figure it should count as a Foundation mission, even if it was accidental. [DEVON] Very well. I'll put another gold star on your report card. [MICHAEL] I'd rather have another vacation, if it's okay with you. [DEVON] What a really splendid idea, Michael. You really need to revitalize the tissues and as I said before, take all the time you like. [MICHAEL] Thanks, Devon. See ya. He exits quickly as Devon looks past him. [DEVON] Funny. He didn't even argue with me this time. EXT. RESTAURANT - DAY as Michael crosses quickly to the Trans Am and gets in. INT. TRANS AM where we discover Sherry seated in the passenger seat. [SHERRY] What did he say? [MICHAEL] He said to take all the time I wanted. [SHERRY] What a nice man! [MICHAEL] Isn't he. He flips the car on automatic and goes into a passionate clinch with Sherry as the car moves off. [K.I.T.T.] I assume nobody wants to play 'Geography' at the moment. [MICHAEL] You're so right, Kitt. Just keep driving. [K.I.T.T.] But for how long? [MICHAEL] Until one of us runs out of gas. EXT. STREET - DAY as the Trans Am moves away from camera. [FREEZE FRAME] THE END

{"show": "Knight Rider", "season": "s01", "episode": "e03", "title": "Good Day at White Rock"}

knightriderarchives

ACT ONE FADE IN EXT. STADIUM - DAY - SHOTS OF A CROWD at a sunlight-drenched raceway. Note: A section of the grandstand is empty, roped off and posted with signs reading, "UNSAFE. KEEP OUT". OMITTED ANGLE - THE THREE CARS running in a straight line towards camera as they peel off and go in various maneuvers, then coming to a stop, as Lisa, Mario and Sammy get out and take bows. ANGLE - CROWD applauding the performance. OMITTED ANGLE - STUNT AREA Crew members, including Mark, are busy checking the ramp, lighting the fire rings and lining up the cars in prepara- tion for Sammy's jump. As we hear a drumroll build: INT. ANNOUNCER'S BOOTH where we establish that the Announcer also works all the requisite musical effects via prerecorded tapes. [ANNOUNCER] Ladies and gentlemen, it is now time for the grand finale of Slammin' Sammy's Super Stunt Show Spectacular -- the most death defying, logic defying, gravity defying group of daredevil drivers this side of the Mississippi. INSERT - SLAMMIN' SAMMY'S STUNT SHOW SPECTACULAR PROGRAM ANGLE - SAMMY waves to the crowd then jumps into his car and buckles himself into his seat. ANGLE - SAMMY as his beautiful twenty-five-year-old daughter, Lisa, leans into the window of his car and kisses him on the cheek. [LISA] Good luck, Daddy. Sammy winks at her, pats the side of his helmet twice for luck and he's off. BACK TO SCENE Sammy takes off in a long circle around the track and hits a special ramp sending his car onto two wheels. He remains in this "ski jump" for a few seconds until all four wheels of his car hit the ground. SAMMY'S POINT OF VIEW as he heads down the straightaway and hits the ramp. BACK TO SCENE In slow motion the car takes off in a powerful glide that takes it over four cars, through a ring of fire and con- tinues through the air and finally lands and wheels to a stop, approximately where he left from. ANGLE - STANDS where the crowd reacts with mild to indifferent enthusiasm. ANGLE - SAMMY'S CAR as Sammy emerges from under his car and waves to the crowd. INT. ANNOUNCER'S BOOTH - DAY [ANNOUNCER] Now I know you folks have seen this sort of stunt before -- or maybe even something a bit more spectacular. But Slammin' Sammy is now about to show you something you've never seen before. And probably will never see again. Sammy is going to repeat the very same stunt you just saw. Only this time -- he will do it driving blind. A gasp goes up from the crowd. INSERT [ANNOUNCER (v.o.)] To insure your complete confidence in this performance, we have asked the Reverend Henry Jackson to inspect the hood and secure it over Sammy's helmet. During the above, a tall, distinguished black clergyman is handed the hood which is almost an exact match to Sammy's helmet. He inspects it carefully, moves his hand and then proceeds to place it over Sammy's helmet and tie it in place. [ANNOUNCER (v.o.)] Actually, ladies and gentlemen, the Reverend is here to serve a dual role. If anything should go wrong during this stunt, well, it's always handy to have a clergyman available. Ha! Ha! Just a little joke, folks. CLOSER ANGLE as Sammy, to the accompaniment of a drumroll, is helped to climb into his car and slowly drives off. VARIOUS ANGLES as he repeats the prior stunt exactly. BACK TO SCENE as Sammy stops the car, gets out and removes the hood, then with his arms raised takes his bows to a resounding ovation. [ANNOUNCER (v.o.)] Let's hear it for the master! ANGLE - STANDS The crowd gives Sammy a standing ovation. CLOSE ON BILL GORDON AND MAN [GORDON] (quietly) Putting this guy out of business is gonna be a snap. INT. DEVON'S OFFICE - DAY Devon stands in front of a long carpet practicing not golf but croquet. ANGLE - DOOR Michael quietly enters and stares at Devon who squat/stoops over a mallet that he holds between his legs. Michael stares at the odd figure without saying a word. BACK TO DEVON as he prepares to shoot but suddenly cocks his head and begins a ritualistic chant. [DEVON] 'Whence croquet sprang to benefit the Earth, What happy garden gave the pasttime birth, What cunning craftsmen carved its graceful tools.' Devon shoots a delicate shot that barely misses -- glancing off to one side of the wicket. [MICHAEL] Devon, don't let anybody tell you differently...you are a little strange. [DEVON] (surprised) This is a game of gentlemen, of serenity, of Charles II and Samuel Pepys, know them? [MICHAEL] Only by reputation...and from what I understand they spent most of their spare time in bed. [DEVON] Trust you to take the poetry out of poetry. ANGLE - MICHAEL who picks up a ball and flops in a chair in one motion. Michael knows Devon could go on for days, at least he'll be comfortable while he waits. [DEVON] ...Ah, well...yes, to business. Devon crosses to a desk and opens a folder. [DEVON] Twelve years ago a man by the name of Sammy Phillips purchased a race- track. [MICHAEL] It's called Slammin' Sammy's Super Stunt Show Spectacular. [DEVON] Aren't we astute? [MICHAEL] I've seen this guy perform. He's really incredible. [DEVON] Unfortunately Sammy's show may be closing shortly. [MICHAEL] Like why? Devon looks down at his folders. [DEVON] For the past few months the founda- tion computers have been tracing the movements of one Lawrence Blake, President and sole owner of a questionable but profitable operation known as Blake Enterprises. Blake is an unscrupulous sort of a chap who will stop at nothing to make a profit. [MICHAEL] What's the connection with Sammy? [DEVON] Blake's favorite tactic seems to be buying up second mortgages on marginal businesses. [MICHAEL] That doesn't seem too tacky. [DEVON] Not on the face of it, but the really interesting aspect is that shortly after acquiring these mortgages, the business in question suffers some sort of unexpected misfortune and folds. [MICHAEL] And Blake picks up the property for a song, huh? [DEVON] Exactly. [MICHAEL] And something tells me that Blake just picked up Sammy's second mortgage. Right? [DEVON] Very perceptive, Michael. [MICHAEL] And you figure that this time maybe I can stop him before something nasty happens to Sammy or his show. [DEVON] Exactly. Or better still, catch him in the act. Mr. Blake is long past due being put away for a bit. [MICHAEL] It should be a pleasure. [DEVON] Any ideas? [MICHAEL] No, but I'll think of something. [DEVON] Just be sure and clear it first. [MICHAEL] Now don't go getting another anxiety attack, Devon. Trust me. [DEVON] Do I have a choice? Do I ever have a choice? Michael smiles and starts to reply as Devon's phone buzzes. He picks it up. [DEVON] (into the phone) Yes...I certainly will. Devon hangs up the phone. [DEVON] Bonnie is ready for you. Michael rises. [MICHAEL] I only with that meant what it sounds like. Michael picks up the croquet mallet and using the American "side saddle" stance, hits the ball gently and accurately through the wicket. He hands the mallet back to Devon. [MICHAEL] (self- assuredly) It was always a kid's game to me. Devon shakes his head, as a smiling Michael exits the room. OMITTED INT. TRAILER - MINUTES LATER Bonnie has her head under K.I.T.T.'s dashboard, her legs sticking out the side door. [K.I.T.T.] Yes, Bonnie, that should be a perfect calibration. [BONNIE] Then that's it, Kitt. You should be functioning flawlessly, at least until that nut starts abusing you again. [MICHAEL] Thanks a lot. Bonnie opens the front door. [BONNIE] Kitt has been equipped to oxygenate the interior upon your command. [MICHAEL] Should be a great help on the morning after, or so they say. [BONNIE] (sarcastic) Funny...we've also increased the booster power by about twenty-five percent. So please keep this in mind when you switch to alternate power. Michael crosses close to Bonnie. [MICHAEL] (passionately) You know something Bonnie. [BONNIE] (coldly) What? Michael realizes once again that it's a lost cause. [MICHAEL] (turning off) I'm really glad you told me about these new additions. [BONNIE] Well, you might need these if you get caught between a rock and hard place. Michael looks from Bonnie to K.I.T.T. [MICHAEL] (under his breath) Yeah, I know what that's like. [BONNIE] What? [MICHAEL] Nothing. See ya. Michael gets into K.I.T.T. and Bonnie watches him drive off. CUT TO EXT. RACEWAY - DAY - ESTABLISHING INT. SAMMY'S OFFICE - DAY Sammy sits at his desk pouring over some bookkeeping in this room filled with a lifetime's worth of driving memorabilia -- pictures, trophies, souvenirs, etc. Mark, his son, enters bursting with enthusiasm. [MARK] Hey, Dad, listen, I just worked out a really great stunt. I'm on my motorcycle, see, and I do a headstand.... [SAMMY] Mark, I've got enough problems here without you splattering yourself all over the track. [MARK] But I've been practicing, Dad. I can do things on my bike as good as anybody. [SAMMY] I said no. [MARK] You're never gonna give me a chance, are you? [SAMMY] I didn't say that...when you're ready.... [MARK] But I am ready, Dad. I've got my routine down pat. [SAMMY] Mark, your technique is fine. But you're still too eager. In this line of work, enthusiasm can get you killed. A little more maturity is all you need. Just be patient. Now go gas my car before the show. [MARK] Big deal. Mark turns on his heels and storms out of the office. On his way out he passes Lisa. [LISA] Hi Mark. Mark doesn't answer. He just keeps walking. Lisa walks up to her father who has just resumed his bookkeeping. [LISA] Let me guess...he wants you to let him perform on his motorcycle. [SAMMY] Kids! [LISA] He is getting real good, Dad. [SAMMY] (annoyed) Look, like I told him, not now, okay? Sammy goes back to his bookwork. [LISA] What's with you? [SAMMY] We're just barely breaking even...I got 500 condemned seats out there I can't use till I get the stands fixed and no money to pay for it, and the last thing I feel like talking about is Mark who wants to be a star even if he kills himself doing it. Lisa looks hurt. Sammy, realizing what he's done, crosses over to his daughter and caresses her cheek with a fatherly touch. [SAMMY] I'm sorry. I guess I'm just a crochety old man who should be put out to pasture. [LISA] Knowing you, you'd probably try to work up a stunt show with the cows. [SAMMY] Nah. They're too slow. Mario Lutenza enters. He is a handsome, dark-haired man in his early thirties who has the running hots for Lisa and/or anyone else. ANGLE - MARIO [MARIO] (to Lisa) Lisa, you promised we'd rehearse the new routine today. [LISA] (bored) Not now, Mario. [MARIO] Afraid to be alone with me? [LISA] Mario, you've really got to stop watching soap operas. Go find your- self another groupie. I'll catch you later. Mario rolls his eyes as he exits. CUT TO INT. STUNT SHOW GARAGE - DAY Parked in the garage is a souped-up stunt car with "Slammin' Sammy" written on the side door. ANOTHER ANGLE as Mark approaches his father's car and opens the hood. Perched on top of the carburetor is a special three-gallon stainless steel gas tank used in stunt cars to minimize the fuel load. Mark lifts a marked five-gallon gas can, unscrews the top of the tank and carefully tops it off with gas from the can. He then refastens the top, closes the hood and exits. There is a long silent beat. Then.... POINT OF VIEW - SABOTEUR He approaches the car. He opens the hood and unscrews the top of the gas tank, then carefully siphons out about one- third of the fuel. CUT TO EXT. OFFICE BUILDING - DAY - STOCK INT. BLAKE'S OFFICE - DAY as we discover Michael dressed as a handyman searching the office. Suddenly he hears a noise o.s. and dives for cover (Bruce's problem) as Blake enters the office, crosses to his desk, picks up the phone and dials. [BLAKE] (into phone) Gordon? Blake. Just checking. Everything's okay, then? Right! Right. So Sammy should have his 'accident' in about thirty minutes. Fine, I'll look forward to seeing it on the news tonight. He hangs up. CLOSE ON MICHAEL (wherever he's hidden) as he reacts, realizing he's trapped. INT. STADIUM - DAY - STOCK SHOTS OF A CROWD OMITTED VARIOUS ANGLES as we repeat the same routines seen in the prior show including the first part of Sammy's stunt. INTERCUT WITH SC. 31-A as Blake gets up and leaves the office. Michael waits a beat, then exits after him. EXT. STREET - DAY K.I.T.T. driving fast. EXT. FIELD - DAY as another clergyman (white) repeats the routine of inspect- ing the hood and placing it over Sammy's helmet and tying it into place. Over this: [ANNOUNCER'S VOICE] To insure your complete confidence in this performance, we have asked the Reverend Donald Newman to inspect the hood and secure it over Sammy's helmet. Actually, ladies and gentlemen, the Reverend is here to serve a dual role. If anything should go wrong during this stunt, well, it's always handy to have a clergyman available. Ha! Ha! Just a little joke, folks. ANGLE - SAMMY as his hood is tied in place and he climbs into the car. INT. TRANS AM - DAY as Michael speeds along. [MICHAEL] C'mon, Kitt. We're not gonna make it. Do something. [K.I.T.T.] Is it that important? [MICHAEL] Just a man's life is at stake. That's all. [K.I.T.T.] Well, then may I suggest you cut in the boosters. That is, if you don't mind the whole police department trailing after us. [MICHAEL] Couldn't care less. He hits the booster switch. EXT. TRANS AM - DAY as it really takes off. ANGLE - SAMMY as he pats the side of his helmet twice for luck and he's off. BACK TO SCENE Sammy performs his usual routine. He takes off in a long circle around the track and hits a ramp sending his car onto two wheels. He remains in this "ski jump" for a few seconds until all four wheels of his car hit the ground. SAMMY'S POINT OF VIEW as he heads down the straightaway and hits the ramp. INSERT - SAMMY'S FOOT smashing down on the accelerator pedal again and again. CLOSE ON SAMMY'S MASKED FACE ANGLE as the Trans Am swings into the stadium and slams to a stop and Michael gets out. BACK TO SCENE In slow motion the car takes off but just as it leaves the ramp it becomes obvious to everyone, Sammy's car is going to fall short. As it slices through the air, his car crashes into the ring of fire and slams into the ground. ANGLE - CROWD Various reaction shots of horror from the people watching. ANGLE - LISA as she looks on totally stunned. BACK TO SCENE Safety men rush to the aid of their injured boss with fire extinguishers and extrication tools. ANGLE - BILL GORDON who nods satisfactorily -- the show's over...in more ways than one. Gordon gets up to leave. ANGLE ON MICHAEL as he reacts in anger. BACK TO SCENE as the ambulance rushes to the overturned car. Feverish activity as they extricate Sammy, load him on a gurney and then load him into the ambulance. As the ambulance takes off.... OMITTED FREEZE FRAME FADE OUT END OF ACT ONE ACT TWO FADE IN EXT. STADIUM - DAY A stunt car heads straight for camera and spins through a perfect 180 degree turn and stops. Lisa Phillips, exits the car and walks toward Michael, the only spectator in the stadium. In the b.g., Mario is working on his car near the stands and also coming on strong with his semipermanent entourage of three or four sexy, if somewhat tasteless, groupies. He alternates his attention between his car, the girls and scowling at Michael and Lisa. (Note: Shoot enough footage to allow intercutting throughout scenes 72, 74, 90, 90-A, 90-B, etc.) [MICHAEL] That was terrific! [LISA] (flatly) Thanks. Lisa starts to walk toward the office. Michael stops her. [MICHAEL] How's your father doing? [LISA] He'll be okay. He just won't be driving for a while. Hey, who are you, anyway? [MICHAEL] Just a guy looking for a job. [LISA] Boy, your timing is unbelievable, Mr. --- [MICHAEL] Knight. Michael Knight. [LISA] Lisa Phillips. And we've got no jobs, Mr. Knight. [MICHAEL] I dunno, Lisa. Seems to me you're kinda short a driver for a while. [LISA] And you think you can replace my father? That's a laugh. [MICHAEL] Doesn't look to me like you can afford to be that choosy...Besides, you haven't seen me drive yet. [LISA] We can't spare a car for you to wrack up, Mr. Knight. [MICHAEL] No sweat, I'll use my own, okay? Or are you afraid I'll wreck your track? [LISA] Okay. Go ahead and show me what you think you can do. [MICHAEL] Thanks. He crosses out of the stadium to get K.I.T.T. as Mario and Mark enter the scene. [MARIO] Who was that? [LISA] Some nut wants to be stunt driver. [MARK] Instead of letting me fill in? [MARIO] So what did you tell him? [LISA] I said we'd look. [MARIO] Why? [LISA] Why not? EXT. STADIUM - DAY as Michael gets into the Trans Am and fires it up. INT. TRANS AM - DAY [K.I.T.T.] How did it go, Michael? [MICHAEL] The jury's still out, Kitt. We're about to audition. [K.I.T.T.] Meaning? [MICHAEL] We've got to prove we can perform stunts. [K.I.T.T.] You must be joking. I can easily outperform those primitive stock machines they refer to as stunt cars. My data indicates that if you wish, we could perform a 360, 540, or even a 720 degree turn. [MICHAEL] So what? [K.I.T.T.] There are also a multitude of more advanced evolutions we could perform. [MICHAEL] Kitt, you're forgetting a very important element...we're not sup- posed to be that good. [K.I.T.T.] Oh! [MICHAEL] Exactly. EXT. RACEWAY - DAY as K.I.T.T. enters and then roars down the track, executes a series of high-speed tricky but basic maneuvers then pulls to a stop. Michael hops out of the car and heads for Lisa. [MICHAEL] How'd I do? [LISA] Not bad. For an amateur. [MICHAEL] When my life is on the line, I learn fast, if you'll teach me, that is. [LISA] Yeah, and maybe you can get us both killed. [MICHAEL] And maybe I won't. [LISA] Well, maybe we'll give it a shot. [MICHAEL] Is that a firm maybe? [LISA] Maybe. [MICHAEL] (trying to lighten up) Sure are a lot of maybes in this business. Lisa smiles. [LISA] Hang in here for a minute, I'll check it out with my father. Okay? She exits. INTERCUT - VARIOUS SHOTS OF MARIO working on his car and scowling at them, obviously jealous. OMITTED ANGLE as Mark comes up to Michael. [MARK] Hey, you weren't too bad out there. [MICHAEL] Thanks -- uh. [MARK] Mark Phillips. [MICHAEL] Michael Knight. [MARK] If you join up with us it's gonna be tough learnin' those routines. [MICHAEL] You people are even tougher. Mark does not fully understand Michael's statement. [MARK] Yeah I guess...Hey, you want to see my act? [MICHAEL] Shake it down. ANGLE - TRACK Mark takes off on his motorcycle and immediately pops a few wheelies. ANGLE - MICHAEL He looks on, greatly impressed. ANGLE - STUNT CAR Mark approaches the car and with the aid of a small ramp is able to drive right over the trunk, roof and hood of the car. ANGLE - MARK He races down the track toward Michael and pops one long sustained wheelie. Just as he is about to stop directly in front of Michael, he dumps his bike out from under one leg and takes a bow. ANGLE - MICHAEL who claps with approval. [MICHAEL] That was really great! [MARK] Thanks. [MICHAEL] When is Sammy going to put you in the show? [MARK] It'd better be soon. [MICHAEL] It'll come. [MARK] It's taking long enough.... Before Mark can finish his statement, Sammy comes hobbling down the track. ANGLE - SAMMY [SAMMY] Mark! BACK TO SCENE [MARK] Yeah Dad? [SAMMY] I thought I told you to change the tires on Mario's car. [MARK] I was just getting to it. [SAMMY] Don't give me any excuses. I just saw you hot-dogging it around this track. [MARK] (proudly) What'd you think? [SAMMY] I think you better get into gear and do what I tell you. I don't want this to happen again. You understand? Mark shoots Sammy a look that could kill, then silently gets on his motorcycle and drives off. ANGLE - MICHAEL AND SAMMY [MICHAEL] You know that kid is terrific. [SAMMY] He's got a lot of talent. [MICHAEL] Then why are you so rough on him? [SAMMY] I'm trying to teach him discipline and responsibility. I don't want him getting hurt. Stunt cars are rough enough. But motorcycles! [MICHAEL] I wonder if he sees it that way. [SAMMY] If he doesn't now...he will. It's the way I was taught...besides I -- Hey, who are you anyway? [MICHAEL] Name's Michael Knight. And I'm your new driver. [SAMMY] Says who? [LISA (o.s.)] Well, I did, sort of. I was just looking for you to.... She enters shot. [SAMMY] Who's show is this anyway? [LISA] Your's, Dad. [SAMMY] Then how come you're hiring me a driver? [LISA] Three reasons. One, we need a temporary replacement for you. Two, he's not bad for an amateur and three, nobody else is applying for the job. [SAMMY] You wanna drive for me? [MICHAEL] That's the idea. [SAMMY] Okay, then show me something. Something interesting. [MICHAEL] No sweat. What would you like me to do? [SAMMY] (putting him on) Oh, I don't know. How about a little skiing? [MICHAEL] What's skiing? [SAMMY] What's skiing? (to Lisa) See what I mean? (to Michael) It's driving on two wheels. [MICHAEL] Which two? Left or right? [SAMMY] (really putting him on) Your choice...or better still, do it both ways. [MICHAEL] Gotcha. As he crosses towards K.I.T.T. [LISA] Dad, that isn't fair. Practically nobody can do it both ways. [SAMMY] So let him find it out for himself. That hard way. INT. TRANS AM - DAY [MICHAEL] I guess this time we'd better pull out a few stops. Sammy's not gonna be an easy audience. [K.I.T.T.] I'm yours to command, Michael. Anything you can think of, I'm sure I can perform. [MICHAEL] I sure admire your modesty, Kitt. [K.I.T.T.] Modesty is a state of mind, Michael. I only deal in facts. ANOTHER ANGLE as Michael goes through the same evolutions as previously. ON SAMMY AND LISA as Sammy watches, not terribly impressed. BACK TO CAR as Michael goes into a series of skiing maneuvers, rapidly switching from one side to another. ON SAMMY who is now very impressed. WIDEN as Michael pulls to a stop next to Sammy. [MICHAEL] Well? [SAMMY] (grudging) Not bad. Not too bad. [LISA] Don't let him kid you. You were great. Why don't we try one together? [MICHAEL] Fine with me. [SAMMY] Just take it easy, huh? ANOTHER ANGLE as they walk towards their cars. [LISA] We'll do a double 180. Okay? [MICHAEL] Like how? Lisa points down the track. [LISA] You start down there and I start from this end. Watch me. When I drop my hand, execute a tight 180 immediately. [MICHAEL] My pleasure. She shoots him a look as they climb into their cars and take off. ANOTHER ANGLE as K.I.T.T. roars down the track as Lisa roars directly at him, then they execute perfect 180o turns and stop some distance apart. Michael hops out of the car and heads for Lisa. [MICHAEL] How'd I do? [LISA] Fine. Just fine. For the first time anyway. We'll work at it until we can wind up, bumper to bumper. [MICHAEL] Sounds just great. She laughs as they cross towards Sammy together. INT. ROBERT BLAKE'S OFFICE - DAY Robert Blake, a distinguished-looking gray-haired man in his early sixties is seated behind his desk. Bill Gordon, previously seen in the stands during Sammy's accident sits across from his boss. [BLAKE] Nice job, Gordon. With Sammy out of action, we ought to be able to take him over in about three more weeks. [GORDON] I sure hope so, Mr. Blake. [BLAKE] You sound like there might be a problem. [GORDON] Last week the show was just hanging on, then after Sammy's accident, the audience dried up as we expected, but.... [BLAKE] I don't need the details, Gordon, just give me the broad strokes. [GORDON] Sammy's got a new driver. [BLAKE] (shaking his head) It doesn't matter. Sammy's the show -- without him they're dead. [GORDON] What if the new guy is good? [BLAKE] (a deep sigh) I expect you to handle it, Gordon. And if you don't, I'll find somebody who will. Understand? [GORDON] Yes, of course, Mr. Blake. [BLAKE] Good. Now get going... (a beat) By the side door if you don't mind. Bill Gordon exits by the side door. CUT TO EXT. KNIGHT TRAILER - DAY K.I.T.T. pulls up to the ramp and goes in the trailer. INT. KNIGHT TRAILER - DAY Bonnie and Devon are waiting as Michael exits a dusty K.I.T.T. [MICHAEL] So why have we been summoned into the royal presence again? [BONNIE] (shrieks) What have you done to Kitt? [MICHAEL] Nothing. [BONNIE] He looks like you've been using him for a tractor. [K.I.T.T.] No Bonnie. Michael is not into agriculture. [BONNIE] Who's side are you on Kitt? [K.I.T.T.] Why everybody's...After all, that's the way I was programmed. [DEVON] Michael, whether I like it or not I am somewhat responsible for your actions...The reason I qualify the aforementioned statement with 'somewhat' is because I must always take into account that you are basically an incorrigible. [MICHAEL] I hope so. [DEVON] Which leads me to the following... a) Kitt is not to be used in any profit making venture, b) you are supposed to be undercover not center ring in a circus, and c) you are attempting to destroy an indestruc- tible car. [BONNIE] That's right. Kitt wasn't designed to be used as a stunt car. Michael begins to pace. [MICHAEL] (rising anger) First of all, the stunt show is going down the tube all according to plan. Second, the only way I can smoke out Lake is to set myself up and the only way to do that -- with Kitt's help -- is to put on performances which will keep the show alive. And three, if either of you have a better way of going about this, feel free to take a shot at it. [DEVON] There's no need to be so bloody dramatic... (thinks it over) Somehow, however, you always seem to deserve kudos for your direct course of action. [MICHAEL] Thank you. [DEVON] ...so carry on as you were but do me two favors...be careful with Kitt and please, for God's sake, keep in mind your priorities. [MICHAEL] Yeah, just let me get back to being a target. As Michael and Bonnie cross back to work on K.I.T.T., we.... CUT TO INT. GARAGE - DAY where K.I.T.T., shut down, is parked with all the other stunt cars, as a mysterious figure slowly approaches him. ANOTHER ANGLE as the figure, back to camera, first tries, without success, to open the hood, then moves and tries -- also without success, to open the door. ANOTHER ANGLE as the figure, mumbling under his breath in frustration, grabs some tools and tries to jimmy the door open. All this results in a bent screwdriver. ON THE FLOOR as the figure lays down on a roller and slides under the car, a hammer and chisel in hand. UP ANGLE of K.I.T.T.'s private parts. A pair of hands reach into view with the hammer and chisel and starts to do something ghastly to K.I.T.T.'s plumbing. ANGLE ON THE GRILLE as the red light comes to life. UNDER THE CAR as the chisel is about to sever a line (or whatever), K.I.T.T. slowly rolls forward about a foot or two. The figure reacts and rolls forward to adjust, whereupon K.I.T.T. rolls back to his original position followed shortly by a now madly frustrated saboteur. This dance (forward and back) is repeated several times with increasing rapidity until finally, the saboteur stops exhausted. This is a brief beat then: [K.I.T.T.] If I were you, buddy, I'd get outta there before you get yourself trapped. Whereupon we hear a loud hissing and the car starts to slowly descend as K.I.T.T. deflates his tires. ANOTHER ANGLE as the figure, lying on the roller scoots out from under K.I.T.T., barely making it and takes off in a total panic. There is a momentary silence, then K.I.T.T. starts to reinflate his tires. [K.I.T.T.] Really, some people are simply too much. OMITTED EXT. STADIUM - DAY where Mark watches as Lisa's car slowly weaves through a series of slaloms using orange traffic cones. She knocks some down in what could be regarded as a rather sloppy performance. [MARK] Okay, sis, hold it. Lisa pulls to a stop as Mark crosses to her car. As he peers in window, we discover she's wearing Sammy's hood over her helmet. Mark helps her out and removes the hood. [LISA] How did I do? [MARK] Lousy, if you want the truth. [SAMMY (o.s.)] Exactly what's going on with you two? He hobbles into shot. [LISA] Nothing tricky. I was just trying some blind driving. [SAMMY] Why? [LISA] Dad, you know with you out, the show is really missing something...why don't you let me try to do your act. [SAMMY] Absolutely not. One of us getting hurt is enough. [LISA] But.... [SAMMY] No buts, there's too many things that can go wrong in that stunt. [LISA] Then what are we going to do? [SAMMY] I'll tell you exactly what we're going to do. You're going to get in your car and continue the show just like always. [LISA] Then what are we going to do? [MARK] Yeah. You know, Dad, the way things are going, and with you out of action, we're just not gonna make it. [SAMMY] (fiercely) I'll tell you one thing we're not gonna do and that's quit. We're just gonna keep on going as long as we can and take our chances. Just like we've always done. And with that, Sammy hobbles off as Lisa and Mark stare after him. FREEZE FRAME FADE OUT END OF ACT TWO ACT THREE FADE IN EXT. STREET - DAY as the Trans Am, with Michael at the wheel, drives towards the stadium. OMITTED INT. TRANS AM - DAY [K.I.T.T.] Michael, I must confess I have a difficult time computing the logic of this sport, as you insist on calling it. [MICHAEL] Why? [K.I.T.T.] On a mathematical basis, these so- called stunts do present a slight challenge, but it seems a somewhat pointless and rather dangerous activity. [MICHAEL] That's not the point, Kitt. [K.I.T.T.] Then what is the point? [MICHAEL] People pay money to see these stunts. And without money, Sammy's show is going to go down the drain. [K.I.T.T.] I see. Well, Michael, if our object is to save this enterprise we'd best come up with something quite exceptional. [MICHAEL] That seems logical. [K.I.T.T.] What else would it be? [MICHAEL] (exasperated) Good. Now that we've got that settled, what would you suggest we do? [K.I.T.T.] How would I know? You're talking show business and that's completely outside the scope of any known system of logic. [MICHAEL] You know what? [K.I.T.T.] What, Michael? [MICHAEL] Sometimes you're no help at all. You certainly must understand your capabilities. [K.I.T.T.] Of course I do. But, you are the best judge of what will turn people on, as they say. I'm afraid that this time the ball is in your court, as they also say. CUT TO EXT. STADIUM - DAY Lisa and Mario are working out, practicing figure eights, with Mario's groupies watching from the stands. ANGLE - MICHAEL who watches the practice session as Sammy hobbles to him. [SAMMY] Hi kid! [MICHAEL] Looks like we're gonna have a good show this week. [SAMMY] Yeah, but it's still missing some- thing...we need a show stopper. (a beat) I've been watching you, Michael, and you're good. Real good. [MICHAEL] Thanks. I've been thinking...how would it be if I did the finale? [SAMMY] My stunt? [MICHAEL] That's right --- [SAMMY] No way you could do it blind. Maybe in a year or two.... [MICHAEL] Well, do I have to do it blind? [SAMMY] I'll level with you, kid. Without the blind finish, the act is nothing. In fact, the whole show is really not all that much. Not these days. No, the blind bit is the only thing keeping us in business -- and that's just barely. Sammy starts to walk away. [MICHAEL] Wait, Sammy, what do you think about my jumping over a truck and a car? [SAMMY] Big deal. I jump four cars just for a build up. [MICHAEL] But not while they're moving. That stops Sammy for a beat. Then: [SAMMY] Forget it. It's impossible. [MICHAEL] I know I can do it. [SAMMY] No way. The ramps are simple enough but you couldn't build up enough speed. [MICHAEL] How about letting me try it? [SAMMY] All you'll wind up doing is wrecking a car and maybe yourself, too. [MICHAEL] I'll use my car. [SAMMY] (shrugs) Well, if you're that determined, maybe we'll try it at practice tomorrow. [MICHAEL] No. It's the finale this afternoon. [SAMMY] What???!!! [MICHAEL] You said we needed a show stopper. [SAMMY] Okay, kid. It's your life. CUT TO EXT. STADIUM - DAY where Michael is in the process of pasting assorted silver stars all over K.I.T.T. at random. [MICHAEL] There, you're starting to look pretty nifty, Kitt. [K.I.T.T.] Really, Michael. Is all this garishness really necessary. [MICHAEL] Of course it is, buddy. After all, we're now in show business. And since you're going to be a star, what could be more appropriate? [K.I.T.T.] Really! But still I fail to under- stand how these stars enhance my functional capabiltiies. [MICHAEL] That's not the point. [K.I.T.T.] Then exactly what is the point? [MICHAEL] I don't think I can explain it so you'd understand. [K.I.T.T.] Very weak reasoning. [MICHAEL] Look, Kitt, let me put it this way. It's either the stars or you get painted red, white and blue like all the other cars. Now what about it? [K.I.T.T.] Keep pasting, Michael. Please keep pasting. EXT. STADIUM ARENA - DAY Sammy's Stunt Show Spectacular is now in progress but playing to a disappointingly small crowd. OMITTED ANGLE ON THE TRACK Lisa stands in the middle of the track as Mario heads toward her. At the last moment he goes into a ski maneuver and avoids hitting Lisa. ANGLE - SMALL CROWD as they applaud. OMITTED ANGLE - BILL GORDON as he sits relaxing in the stands -- the small crowd is good news for him. OMITTED ANGLE - K.I.T.T. Michael dons his helmet and enters the car. Sammy comes up to him. [SAMMY] You still sure you want to try this? [MICHAEL] Positive. Sammy nods and then signals to the announcer's booth. [SAMMY] Good luck, kid. ANGLE - SMALL CROWD [ANNOUNCER] (a small chuckle) Ladies and gentlemen, one of our drivers will now try a jump over two moving vehicles -- a stunt that has been attempted dozens of times by various stunt driving legends and they have all been unsuccessful. (chuckles) We are about to see stunt driving history or witness one hell of a wreck. All we can say is good luck to Mike! ANGLE - K.I.T.T. circling the track. ANGLE - BILL GORDON who watches intently. ANGLE - K.I.T.T. as it picks up speed. INT. K.I.T.T. Michael is strapped tightly in his seat. [MICHAEL] Are you sure we can do this? [K.I.T.T.] The chances of successful completion are somewhat less than optimum. [MICHAEL] What???? Why didn't you tell me that before? [K.I.T.T.] Would it have made any difference? [MICHAEL] I suppose not. [K.I.T.T.] After all, you are the expert on show-stoppers, as I think you called them. All I've got to do is all the work, take the punishment, the abuse to my circuitry, the.... [MICHAEL] Not now, K.I.T.T., not now.... BACK TO SCENE K.I.T.T. circles the track building up speed, then comes up behind a truck towing a ramp. K.I.T.T. hits the ramps and sails over the tow truck and a car driving in front of it. He lands and heads right for the wall. Then, at the last possible moment, executes a perfect 180 degree turn and comes to a stop with the rear bumper barely touching the wall. ANGLE - CROWD going crazy -- this is the best show they've seen in a while. ANOTHER ANGLE - CROWD An astonished Bill Gordon stares in amazement at the track. Moments later he rises and exits. ANGLE - TRACK Sammy, Lisa and the crew congratulate Michael. [SAMMY] Great driving. Couldn't have done better myself. [MICHAEL] Thanks. [SAMMY] Gimme a couple days to do a little publicity and we'll really pack 'em in. [LISA] You've really turned this whole show around, Michael. For a guy who never drove professionally before, you're incredible...I just want to tell you I'm sorry about the way I treated you when we first met. [MICHAEL] Thanks for the apology. She kisses Michael on the cheek. [LISA] That was a business kiss, not a social one. Lisa then kisses him on the lips. [LISA] That was a social one. A dumbfounded Michael watches as Lisa walks away. ANGLE - TRACK From across the track a disgruntled and jealous Mario watches Lisa and Michael. ANGLE - MICHAEL As he begins to walk back to K.I.T.T. Bill Gordon approaches him. Gordon puts out his hand to Michael. [GORDON] (very friendly) How you doin'? Name's Bill Gordon and I think your stunt was just great. Michael returns his handshake. [MICHAEL] Thanks...thanks a lot. [GORDON] You know a guy like you could really go a long way in this business. [MICHAEL] What are you getting at? [GORDON] How would you like to earn about fifty times more than what you're getting paid now? [MICHAEL] (playing along) Keep talking. [GORDON] I represent a large corporation and I think your talents have a place within our company. [MICHAEL] Really! [GORDON] I don't kid about things like that. [MICHAEL] Maybe we do have something to talk about after all. [GORDON] Fine. Let's you and me go and.... [MICHAEL] Not you and me, Bill. Me and the guy you work for. [GORDON] I don't know about that. [MICHAEL] Well, I do. If I'm as valuable an asset as you say I am, I won't deal below the top dog. No way. Now, you just touch home base about that and let me know. OMITTED INT. DEVON'S OFFICE - DAY Michael is pacing back and forth impatiently as Devon fin- ishes what seems like an interminable telephone conversation. [DEVON] (into phone) Yes, Prime Minister, I understand completely, of course, you're right. After all, as Henry Kissinger once said, 'even paranoids have real enemies'...No, I don't believe he was making a joke. He was being funny, but, after all there is a difference. Yes, all right. I'm sure that by the time the meeting convenes next month it will all work itself out. Right. See you then. He hangs up and turns to Michael. [DEVON] (continuing) Sorry about that. Most insecure man I've ever known. How he managed to get elected in the first place is one of those insoluble arcane political mysteries...But to get back to the matter at hand, you were saying? [MICHAEL] I think they've finally taken the bait. [DEVON] Oh? And what leads you to that assumption? [MICHAEL] I was approached with an offer I'm not supposed to be able to refuse. [DEVON] And of course you didn't. [MICHAEL] Let's just say I'm holding out for a one-on-one with the top dog. Mr. Blake himself. [DEVON] And precisely what do you expect him to do? Confess all? [MICHAEL] That's gonna depend on exactly how bad he wants to buy me off. [DEVON] Let's hope you're right. [MICHAEL] Meaning? [DEVON] Meaning if he's that worried about you, there are easier and cheaper ways of solving his problems. [MICHAEL] You mean like terminating me 'with extreme prejudice' as they used to say. [DEVON] That's exactly what I mean. EXT. BLAKE'S OFFICE - DAY - STOCK [BLAKE'S VOICE] That's exactly what I mean. Camera pulls back to reveal Blake talking to: INT. BLAKE'S OFFICE where Blake is talking to Gordon. [BLAKE] (continuing) Waste him. [GORDON] You're sure you want to go that far. I mean he seems willing to.... [BLAKE] Look, you offered him money, right? Any two-bit stunt driver would have grabbed at it. But not him. He wants a face-to-face with me first. Why? [GORDON] I don't know, Mr. Blake. [BLAKE] And I don't care. I don't know who he is or what he wants, but nobody, and I mean nobody, gets to me direct. That's what I pay you for. To run interference. He doesn't want to play with you. Fine. Then he doesn't get to play at all. So, like I said, you take care of him. [GORDON] Quietly? [BLAKE] No, not quietly. Big. Big and noisy. I want that show closed down and fast. So see he has an accident, a nice big fatal accident. A really for real show-stopper, if you get my point. Gordon nods his head as we: FREEZE FRAME FADE OUT END OF ACT THREE ACT FOUR FADE IN EXT. STADIUM - DAY where the three drivers are working out fairly routine maneu- vers as Sammy watches them perform. After a beat, Michael and Lisa both skid to a stop near Sammy and exit their cars. ANOTHER ANGLE as Michael crosses to Sammy, grabs a jug of Gatorade-like drink from a table and swills it down. [MICHAEL] I tell you, this stunt driving is real thirsty work. [SAMMY] It's all that dust, son. I've been eating it for damn near forty years now. That's a long time to be living on alkali dust and carbon monoxide. [MICHAEL] Yeah. I always thought it was a young man's game. [LISA] What do you mean, young 'man's' game? [SAMMY] That's only because being crazy and cautious at the same time is a rare combination. Like the pilots used to say, 'There are old pilots and bold pilots, but damn few old bold pilots.' [LISA] Well, why don't you pack it in then? [SAMMY] And do what? Sit around and wait to die. Listen, this is the only life I know. The only life I want. [MICHAEL] (testing him a little) Yeah, but if you sold out...After all, this place must be worth a good chunk of money. [SAMMY] And it mostly belongs to the bank, too. Do I look stupid? If I wasn't in hock to my eyeballs, don't you think I'd do something about this place. Like fixing up that whole section over there. [MICHAEL] I see what you mean. [LISA] But that's the whole problem, Dad. Even when things are great, we're still just barely getting by. [SAMMY] Listen, all I've got in the world. All I've got to leave you and Mark is this place. Maybe you two can make more out of it than I have. But it's gonna be here for you to try. (beat) Besides, a couple of more weeks with Michael's act drawing the way it is, and I'll be home free. (beat) I don't know why a driver as good as you is willing to settle for this two-bit operation of ours, but believe me, Lisa and Mark and me, we'll never forget what you're doing for us. [MICHAEL] Let's just say it's my pleasure to help. Oh, by the way, you figure you owe me one, maybe? [SAMMY] No maybe about it. You name your price. [MICHAEL] Let Mark perform tomorrow, okay? Well, we'd better get back to work. He and Lisa cross back to their cars as Sammy stares after them. [SAMMY] (to himself) That still don't tell me why. OMITTED INT. CAR - NIGHT It's parked in a deserted alley as Gordon talks to a figure in shadow (actually Mario). Gordon tosses an envelope over to Mario who picks it up and counts the cash inside. [MARIO] Only half the money is here. [GORDON] I asked you to rig a couple of accidents that would close down the show. Hell, Sammy's doing more business now than when I first hired you. [MARIO] So whatta you want me to do? [GORDON] Take care of Knight. [MARIO] How? [GORDON] You're the expert. You figure it out. Another one of your mysterious accidents.... Mario leans into the light, revealing himself for the first time. [GORDON] My boss is leaning on me...so I lean on you. [MARIO] Knight wasn't part of the deal. [GORDON] If Knight goes, the show goes. If the show goes, you'll get your money plus a five grand bonus. [MARIO] Knight is smart. He won't let anyone near his car. [GORDON] So use your imagination. [MARIO] I'll see what I can do. [GORDON] You better...'cause if you don't, I'm gonna be there to back you up. [MARIO] With what? [GORDON] A big bang. Under the stands. [MARIO] You're crazy! [GORDON] Am I? [MARIO] There'll be innocent people there. [GORDON] So what? Crowds won't go near the place if they think their lives are in danger. [MARIO] But they'll know that's no accident. There'll be cops all over the place. [GORDON] The police will never know. I'll make it look like the transformer exploded. [MARIO] I don't want any part of that. [GORDON] You do your job and it won't happen. That show can't keep going without Knight. It's up to you. The shadowy figure gets up to leave. [GORDON] And by the way -- if you're thinking about backing out, don't...or you'll find a nasty unexpected surprise in your gas tank. CUT TO OMITTED EXT. STADIUM - DAY as everyone (Michael, Mario, Lisa) get ready for the after- noon show. Mark, carrying a tool kit, crosses in front of Sammy. ANGLE - MARK AND SAMMY [SAMMY] Mark.... [MARK] Yeah? [SAMMY] Get your act together. You're in today's show. [MARK] (shouts) All right! (thinks it over) But why'd you change your mind, Dad? [SAMMY] Let's just say I got persuaded. Any- way, looks like you get your chance. [MARK] Thanks Dad, I won't let you down. [SAMMY] And Mark? [MARK] Yes, Dad? Sammy hands him his helmet. [SAMMY] Wear my helmet. At least till we can get you a show helmet of your own. Mark chokes up, takes the helmet and rushes out of the room. Sammy watches him leave with a pensive look on his face. CUT TO EXT. STADIUM - DAY A good-sized crowd fills the stadium and watches Mark perform a series of acrobatics on his bike. The crowd roars its approval as Mark rides the bike backwards, performs headstands, etc. ANGLE - MICHAEL AND MARIO standing by a long table set up for the drivers covered with cups of water, Gatorade, Cokes. They both root for Mark's performance. [MICHAEL] Show them how to do it, kid! [MARIO] Knock 'em dead! They both look at each other and laugh. [MARIO] You know Mike, with this new stunt you're performing I realize that you're actually saving the show for us. I'm sorry about being so hos- tile towards you. [MICHAEL] Forget it. We're all under pressure. Mario picks up a cup of Gatorade off the table. INSERT - MARIO slips a tablet into the drink. BACK TO SCENE He hands Michael the spiked drink and then picks up one for himself. [MARIO] Here's to you...and the start of our friendship. They salute each other and down the drinks as Sammy comes running up. [SAMMY] What's this? Tea time? Michael you're up next, start getting ready. [MICHAEL] Okay. Thanks Mario. They shake hands before Michael and Sammy head for K.I.T.T. Mario picks out Gordon in the stadium and nods to him. Gordon smiles back knowingly. [ANNOUNCER (v.o.)] Ladies and gentlemen! Now we have the main event! An impossible stunt performed only once before in the history of mankind and now performed by the inventor of the stunt, daredevil driver Michael Knight and his faithful car nicknamed Katt! INT. K.I.T.T. Michael straps himself in with his seatbelt. [K.I.T.T.] Did you hear that announcer? He called me Katt. That's a four- legged feline. [MICHAEL] So go complain to your agent. [SAMMY] Okay, kid. Good luck. Sammy backs off from the car carefully watching Michael who throws K.I.T.T. into gear and takes off around the track to build up speed. Michael rolls slightly in his seat from side to side. [ANNOUNCER (v.o.)] Ladies and gentlemen, cross your fingers and hold your breath 'cause there he goes! INT. K.I.T.T. Mario's drug starts to take effect as Michael can hardly keep his eyes open. [K.I.T.T.] Michael we're not at speed for this maneuver. Michael mumbles something. [K.I.T.T.] Michael, do you understand? BACK TO SCENE Michael is traveling around the track at forty miles an hour. K.I.T.T. approaches the ramp a little out of control. INT. K.I.T.T. Michael is about to fall over in his seat. [K.I.T.T.] Michael, what's the matter? Still no reply. [K.I.T.T.] Michael, please hit the automatic pilot.... Michael slumps over in his seat. BACK TO SCENE The crowd gasps in horror as they see Michael slump in his seat. INT. K.I.T.T. Michael tries to lift his hand to the automatic pilot switch but the drug makes his arm seem as if it weighs a ton. He lunges at the switch and misses. OMITTED INT. K.I.T.T. Michael is again trying to hit the switch. He takes a swipe at it and turns it on. [K.I.T.T.] Show time! BACK TO SCENE K.I.T.T. straightens its course and with a surge of rocket power hits the ramp and sails through the air in a perfect rolling glide, landing safely with a heavy thud. INT. K.I.T.T. The landing jars Michael back into semiconsciousness -- his eyes are half-closed but he speaks. [MICHAEL] (mumbling) Oxygen. Two caps pop off the floorboard revealing two nozzles that hiss as oxygen is pumped into the car. ANGLE - MARIO He can't believe the stunt went off successfully. ANGLE - GRANDSTANDS Bill Gordon is visibly upset. He rises, picks up a brown attache case and exits. [ANNOUNCER'S VOICE] And now folks, please stand by for the grand finale. OMITTED ANGLE - MARIO who is running across the track. INT. TRANS AM [MICHAEL] Okay, Kitt, let's go get him. ANGLE as K.I.T.T. takes off across the field after Mario. ON LISA AND MARK AND SAMMY as they watch Michael chase Mario. [MARK] What are they doing out there? [LISA] I don't know. I also don't know what we're going to do for a grand finale. But from the crowd's reaction, they apparently think that K.I.T.T. chasing Mario is considered a sort of comic finale. OMITTED EXT. STADIUM AREA as K.I.T.T. pins Mario against a wall of the stadium and Michael reaches out of the window, grabs Mario and pulls him tight against the window. [MICHAEL] You rigged Sammy's car, didn't you? [MARIO] Yes. Yes. [MICHAEL] Attempted murder...that's a long time in jail. [MARIO] Wait. It wasn't all me. [MICHAEL] Who are you working for? [MARIO] Bill Gordon. He said he was going to plant a bomb. [MICHAEL] Where? [MARIO] He said the transformer. It's under the stands near Section E. Without a moment's hesitation, Michael takes off. ANOTHER ANGLE as Michael drives out of the stadium. OUTSIDE THE STADIUM as Michael heads for a pair of doors marked "SERVICE AREA" and smashes through them. INT. STADIUM HALLWAY - DAY Under the stands, Bill Gordon makes his way through the pilings to a spot near the boiler room. Gordon places his attache case on the ground and removes several sticks of dynamite attached to a timer. He sets the timer and places the bomb on the ground. INT. AREA UNDER STADIUM as K.I.T.T. crashes through the door and is now under the stands. INT. UNDER THE STANDS Michael spots Gordon. MICHAEL'S POINT OF VIEW It's really no contest as Michael cuts off every avenue of escape until he has an out-of-breath Gordon pinned against a wall. Michael turns on his bright lights for the inquisition and Gordon looks like a trembling rabbit caught in a hunter's flashlight. CLOSEUP - GORDON as the sweat pours off of him, deathly afraid that Michael will put the pedal to the floor and smash him against the wall. [GORDON] Don't! ANGLE - MICHAEL with his head leaning out of K.I.T.T. [MICHAEL] Where'd you put it? ANGLE - GORDON who trembles but refuses to answer. ANGLE - K.I.T.T. With a squeal of tires, it leaps at Gordon stopping just short of crushing him against the wall. ANGLE - GORDON [GORDON] (pointing at transformer) Over there. ANGLE - MICHAEL [MICHAEL] And who do you work for? ANGLE - GORDON [GORDON] I can't tell you that. ANGLE - K.I.T.T. Michael throws the car into gear and it lunges at Gordon. [GORDON] (screams) Blake! Michael quickly exits the car and handcuffs Gordon to a pole. [MICHAEL] You're a fool, Gordon. [GORDON] Please don't leave me here. Michael ignores Gordon's request, hops in K.I.T.T. and screeches toward the transformer. MICHAEL'S POINT OF VIEW Michael spots the bomb. ANGLE - K.I.T.T. Like a soldier hero throwing himself on a grenade to save his buddies, the Knight 2000 drives over the time bomb as the explosion goes off and smothers the blast. INT. K.I.T.T. - MICHAEL who is a bit shaken from the explosion. [MICHAEL] Kitt, are you okay? No answer. [MICHAEL] Kitt? [K.I.T.T.] Affirmative. Still functioning. Michael smiles and gives a sigh of relief as he rests his head against K.I.T.T.'s steering wheel. CUT TO INT. BLAKE'S OFFICE - DAY Blake is seated at his desk shuffling some papers as Michael enters unannounced. Blake reacts. [BLAKE] Who the hell are you? And what do you want? [MICHAEL] You damn well know who I am. And what I want is money. Lots of it. [BLAKE] I don't know what you're talking about. [MICHAEL] Look. Let's not dance around all day. I told Gordon I wanted to talk to you one-on-one and instead you had him try and snuff me. Very hostile, wouldn't you say? Also, it didn't work as you may have noticed. So now we talk, except the price is maybe tripled. You get my point? [BLAKE] Assuming I knew what you were talking about.... [MICHAEL] What I'm talking about is that I've got to Mario and Gordon and they've both unburdened their somewhat grimy souls to me. [BLAKE] And does anyone else know about this? [MICHAEL] Not yet, they don't. And if we make the right deal, nobody ever will. Looks like your choices are limited to bad and lousy. Either we deal or I give Gordon to the cops. [BLAKE] (resigned) So what do you want, Knight? [MICHAEL] Money. How much depends on what you want. [BLAKE] You know what I want. [MICHAEL] Tell me again. Just so we're reading out of the same book. [BLAKE] I want the show closed down for keeps. I want the property. And I want it done fast. [MICHAEL] No restrictions on method? [BLAKE] None. Just get it done. I don't care who gets hurt. [MICHAEL] You mean like Sammy's so-called accident -- or mine? [BLAKE] Right. Now what exactly do you want? [MICHAEL] (into watch) You got that, Kitt? [K.I.T.T. (v.o.)] Every word, loud and clear, Michael. Blake reacts as Michael and K.I.T.T. converse. [BLAKE] What was that? [MICHAEL] Your confession. In this state you can't convict on the uncorroborated testimony of an accomplice...like Mario. But you just put it all on tape for me. Let's go. [BLAKE] Go where? [MICHAEL] To the police. Where else? Blake starts to run, then grabs in desperation for a con- cealed gun. Michael disarms him easily. [MICHAEL] Now c'mon. That's a bit crude for a man with your class. Let's go. As he propels Blake out of the office, we hear Blake saying: [BLAKE (v.o.)] You won't get away with this. I want my lawyer.... OMITTED FREEZE FRAME FADE OUT END OF ACT FOUR TAG FADE IN INT. KNIGHT TRAILER - HOURS LATER Bonnie is working on K.I.T.T. as Devon and Michael stand talking in one corner. K.I.T.T. is still covered with silver stars. ANGLE - DEVON AND MICHAEL [DEVON] Must you insist on reveling in utter chaos and destruction? [MICHAEL] It's a tough world out there, Devon. [DEVON] But your complete disregard for this vehicle. [MICHAEL] There's a price for everything. ANGLE - BONNIE as she crawls out from under the car and crosses to them. [BONNIE] The muffler is shot but other than that the damage is minor. [MICHAEL] Feel better, Devon? Bonnie starts to peel a star off K.I.T.T. [MICHAEL] Hey, what do you think you're doing? [BONNIE] Removing these disgusting decals you've defaced Kitt with. [MICHAEL] Just leave them where they are. [DEVON] I fail to understand, Michael. You managed to nail Blake and put his whole operation out of business. The mission's over. [MICHAEL] For you and the Foundation, maybe. But not for me and Kitt it isn't. [DEVON] I'm afraid I'm not quite following you, Michael. [MICHAEL] Look, whether Blake is in jail or not, Sammy and Lisa and Mark still can't make it without a show-stopper. And until Sammy can drive again, it looks like Kitt and I will have to just keep on pinch-hitting for him. [DEVON] And exactly how long would that be? [MICHAEL] Maybe three weeks. [DEVON] Well, I'm not at all sure that.... [MICHAEL] Now, Devon, before you paint yourself into a corner, consider your options. Devon thinks it over, then nods in resignation. [DEVON] Then I imagine we'll see you in three weeks. [MICHAEL] Maybe not. He digs his hand into his pocket and hands Devon and Bonnie some tickets. [MICHAEL] (continuing) Here's a couple of passes. Why don't you and Bonnie drop by and catch our act? Devon and Bonnie exchange a look as Michael crosses to K.I.T.T. [K.I.T.T.] Michael? What do you think of a stunt where I would somersault end over end? It's never been done before...Or better still, how about a Flaming Chariot? We could set my wheels on fire and do a jump. At night it could be quite spectacular. Don't you think? [MICHAEL] Since you can't do anything about me, you'd better think of repro- gramming him after we finish this job. [K.I.T.T.] How about a double-barrel roll? Or a barrel roll with a somersault combined? My data confirms that a 100 mile per hour approach to a ninety-degree incline.... The three of them laugh, we.... FREEZE FRAME AND FADE OUT THE END

{"show": "Knight Rider", "season": "s01", "episode": "e04", "title": "Slammin' Sammy's Stunt Show Spectacular"}

knightriderarchives

ACT ONE FADE IN EXT. CONSTRUCTION SITE - DAY A high-rise is going up. As we slowly pan the work under progress, we see Devon perched on a work platform several stories above the ground. He looks very much ill at ease amid the bustle and activity of heavy construction. CLOSE ON DEVON as he looks nervously over the side and reacts with a mild attack of vertigo. ANOTHER ANGLE Maggie Flynn, a fiery, outspoken, maverick State Senator is going over a set of blueprints with a worker, Charlie Kemp. [MAGGIE] What about the weldings? [KEMP] They all exceed the state safety regulations. [MAGGIE] Well, then everything looks okay to me. (hands him the blueprints) Keep up the good work, Charlie. [KEMP] You too, Senator. Maggie, Devon and Kemp enter. INT. CONSTRUCTION ELEVATOR They begin their descension to the ground. [MAGGIE] Are you all right, Devon? You don't look so good. [DEVON] Don't you think we could find some- where a bit more conducive to quiet conversation. [MAGGIE] Sorry, Devon, I don't have time for one of your infamous five course lunches. (beat) So if you want to talk, let's talk. If not, write a memo. The elevator reaches the ground and the three passengers disembark. ANOTHER ANGLE ON THE GROUND A group of workers are sitting around on their lunch break. They see Maggie and immediately recognize her. One of the hard hats, Al, looks up from his lunch pail and cracks: [AL] Hey, Maggie, when are you going to get out of politics and get an honest job? The guys laugh. Maggie comes over and pats Al's prodigious girth. [MAGGIE] When you lose that beer belly. As the guys crack up, Maggie takes half of Al's hero sandwich and digs in. [MAGGIE] Hmmm, this is not bad. [KEMP] Hey, Maggie, what's going on with that power bill? [MAGGIE] If it passes you guys are gonna get ripped off again. [AL] What are you talking about? [MAGGIE] We're talking about a bill that's designed to destroy the environment, cheat the people and line the pockets of the private power companies. [AL] Well, so what are you doing about it? [MAGGIE] (between bites of sandwich) I'm trying like hell to defeat it. [KEMP] All right. Maggie Flynn speaks for the people! Maggie shoots him a look. [MAGGIE] Well someone's got to do it. As they laugh, she walks back over to Devon. ANGLE TO INCLUDE DEVON [DEVON] Don't you think it's rather unwise for you to be visiting a construction site all by yourself. [MAGGIE] I'm not visiting, I'm inspecting. (beat) And since when do I need a bodyguard? [DEVON] (pointed) Perhaps since you've been receiving threatening phone calls at home...had your office broken into...found bugs in your telephones.... [MAGGIE] My, but you're well informed. Maggie obviously thought those were secrets. She's a little peeved and stops walking. ANGLE - TOP OF HIGH-RISE A row of heavy pipes are being rolled toward the edge of the steel framework. BACK TO SCENE [DEVON] Maggie, my feeling is that these incidents may have something to do with a bill you're currently opposing. [MAGGIE] Really? I'm currently opposing a lot of bills. You'll have to be more specific. Maggie gives him a dirty look and moves on. Devon stops and frowns, then follows. ANGLE - PIPES The wedge holding them steady is kicked away. BACK TO SCENE [DEVON] All I'm asking is that you permit me to provide some protection. [MAGGIE] Not a chance. [DEVON] Maggie, will you please listen to reason? [MAGGIE] Look, Devon, you're a good friend and I appreciate your concern...but I'm perfectly capable of taking care of myself. ANGLE - PIPES One of them drops over and starts falling from the high-rise. ANGLE - DEVON He looks up and sees the pipe plunging directly over their heads. WIDE ANGLE Devon grabs Maggie and shoves her to the ground as the pipe hits a few feet away. They narrowly escape getting crushed to death. ANGLE - HIGH-RISE There's no one standing by the pipes. ANGLE - DEVON [DEVON] Is that so? EXT. KNIGHT FOUNDATION HEADQUARTERS - DAY - ESTABLISHING - STOCK INT. K.I.T.T.'S SEMI - DAY The Trans Am sits in the middle of the diagnostic center as Bonnie lies under the car on a roller. Michael looks on. [MICHAEL] What are you doing now? Bonnie comes out from under the car. [BONNIE] I'm about to make a very delicate adjustment to Kitt's laser ducts.... [K.I.T.T.] Bonnie, with those hands you should have been a surgeon. [BONNIE] (flattered) That's what my dad always said. (beat) I had to practically slash my wrists to convince him I couldn't stand the sight of blood. [MICHAEL] Medicine's loss is our gain. [BONNIE] (finishing adjustment) There, how does that feel? [K.I.T.T.] Perfect. I don't know what I'd do without you, Bonnie. [MICHAEL] You'd break down, that's what you'd do. [BONNIE] (to Michael) That's for sure. The way you abuse him. ANOTHER ANGLE Devon enters wearing his business face. They ad-lib greetings. [DEVON] (to Bonnie) Is Kitt fully prepared? [BONNIE] Yes, sir. [MICHAEL] Fully prepared for what? [DEVON] Your next assignment, naturally. [MICHAEL] My next assignment. Wait a minute, Devon. I've got a date tonight. [DEVON] That's already been taken care of. [MICHAEL] What do you mean? [DEVON] The poor girl...Sabrina?..she was heartbroken, but I assured her you honor your rainchecks. [MICHAEL] Devon, we've got to have a little talk. [DEVON] Indeed, we do. And I'm afraid there's precious little time. What do you know about Maggie Flynn? [MICHAEL] She's a State Senator, right? Highly controversial, steps on a lot of toes, has the best voting record in the Legislature. [BONNIE] (impressed with his knowledge) Not bad. [MICHAEL] She's also a friend of yours, isn't she, Devon? [DEVON] That's correct. And also a member of the Foundation's Board of Trustees. [MICHAEL] I thought the Foundation didn't get involved in politics. [DEVON] As a rule, we don't. Michael's reading Devon's mind. He smiles shrewdly. [MICHAEL] However, this time I get the feeling we're going to bend that rule a little, right? [DEVON] That wouldn't be anything new for you, would it? [MICHAEL] (hooked) No, Devon, I don't suppose it would ...What do you want me to do? [DEVON] Actually, your mission is quite simple. I have reason to believe Maggie's life may be in danger. Until further notice I'd like you to be her constant companion. Michael gives Devon a friendly slap on the back. [MICHAEL] You got it. Devon reacts with distaste. No one slaps him on the back. [DEVON] Good. She's expecting you at her office. If you have any further questions, feel free to ask Kitt. With that, Devon abruptly exits. Michael approaches K.I.T.T. [MICHAEL] As a matter of fact, I do have a question, Kitt. Who gave him Sabrina's phone number? K.I.T.T.'s front scanning lights blink guiltily. EXT. CAPITOL - DAY The Trans Am drives onto the Capitol grounds. Michael is looking for a place to park. He's about to pull into a space when he sees a sign that reads NO PARKING. [MICHAEL] Any suggestions, Kitt? [K.I.T.T.] Turn left. OMITTED EXT. TRANS AM as it makes a left and pulls up toward another sign. This reads UNAUTHORIZED VEHICLES TOWED AWAY. [MICHAEL] This is ridiculous. The Trans Am approaches an underground parking lot. The sign above the entrance clearly states: OFFICIAL VEHICLES ONLY. [MICHAEL] I don't care. This is where we park. The Trans Am pulls into the structure. Michael finds a space, parks, gets out of the car. [MICHAEL] Okay, Kitt, you're on your own. And try not to look too conspicuous. ANGLE - TRANS AM As Michael walks away, a security attendant, Ben, approaches the car. ANOTHER ANGLE to see that Ben is clearly annoyed that the car is parked in an unauthorized parking stall. He turns and walks back to a nearby telephone, dials. [BEN] (into phone) Lester, it's Ben. Listen, can you send a tow truck.... ANGLE - TRANS AM Overhearing the conversation, K.I.T.T. quietly moves to another spot. [BEN] ...we got an illegally parked car down here.... BACK TO BEN He turns to look at the Trans Am and reacts with bewilderment. HIS POINT OF VIEW - THE PARKING STALL is empty. BACK TO BEN [BEN] Lester. Forget it. Ben hangs up the phone, rubs his head in confusion. INT. CAPITOL - DAY Michael is walking down a wide corridor. He stops at a door marked SENATOR FLYNN and opens it. INT. MAGGIE'S OFFICE - DAY It's the outer office, and like most representatives' quarters it is cluttered with books, pamphlets, reports, print-outs and assorted junk. On the wall is a lifesize poster of Maggie that is captioned: MAGGIE FLYNN SPEAKS FOR THE PEOPLE. ANGLE - JANE ADAMS Maggie's young, able and attractive Administrative Assistant is on the phone. [JANE] (into phone) Look, I need that environmental impact report no later than this afternoon...Roger, this is important.... Jane sees Michael and motions for him to sit down. Michael comes over and sits down near Jane. [JANE] (continuing; into phone) Listen to me, Roger, I don't want to hear your troubles. I've got enough of my own. The point is, Maggie needs your help, okay?..right... tomorrow, the latest...okay... good-bye. Jane hangs up the phone, makes an entry onto a yellow pad, then turns toward Michael, nonplussed by his appearance. [JANE] Yeah, what can I do for you? [MICHAEL] I'm here to see Maggie Flynn. [JANE] Who are you? [MICHAEL] Michael Knight. [JANE] Oh, of course, from the Foundation, right? [MICHAEL] Right. Is she in? [JANE] No, but she's due back any minute. ANGLE - UNDERGROUND PARKING LOT Ben is hunting around for the Trans Am. He spots it and is about to go to the phone again. Only this time he's a little shrewder. As he walks he turns around to look and make sure the car is still in the same spot. ANGLE - TRANS AM in the parking stall. ANGLE - BEN He's almost to the phone. He turns back to look. ANGLE - TRANS AM It hasn't budged. ANGLE - BEN dialing the phone. [BEN] Lester, it's Ben. He turns to look. ANGLE - PARKING SPACE The Trans Am is gone. BACK TO BEN He hangs up the phone. ANGLE - TRANS AM as it cruises the parking lot. ANGLE - CORRIDOR Maggie is walking down the hallway in a heated conversation with Senator Russell Forbes, the sponsor of the dubious power bill and Maggie's chief legislative adversary. [FORBES] I don't understand you, Maggie. Your opposition to my bill is a waste of your time and mine. [MAGGIE] What about the taxpayers' dollars? That's the waste I'm worried about. [FORBES] (stern) The State needs that power plant. [MAGGIE] Come off it, Forbes, the only reason you're pushing this bill is because the company that wants to build that worthless plant happens to be the largest source of your campaign funds. [FORBES] I wish you'd reconsider your position. I don't want a fight on the Senate floor. They have arrived at her office. ANGLE TO INCLUDE MICHAEL [MAGGIE] I'll bet you don't. Well you're in for one whether you like it or not. The people of this state are not going to be swindled out of their natural resources. Not if I can help it. (beat) Good day, Senator. Forbes shakes his head wearily and continues walking down the corridor. ANGLE - MAGGIE AND MICHAEL as she sees Michael waiting in her doorway. [MICHAEL] Hello, Senator. [MAGGIE] Who are you? Maggie doesn't wait for an answer. She brusquely enters her office. Michael follows. INT. MAGGIE'S OFFICE - CONTINUOUS [MICHAEL] Michael Knight. Devon Miles asked me to.... [MAGGIE] I know, I know. I was hoping he'd forget about me. [MICHAEL] On the contrary. I'd say he's very concerned about your well-being. [MAGGIE] Of course, he is. Devon's more of an old lady than I am. He's blowing this whole thing out of proportion. [MICHAEL] Well, Senator, I'm here just in case he isn't. Jane gets up from her desk and hands Maggie a stack of messages. [MAGGIE] Call me Maggie, okay? Nobody calls me Senator except my enemies. [JANE] Here are your messages, Maggie. Maggie takes them, starts rapidly flipping through the pile. [MAGGIE] What's the latest head count on the power bill? [JANE] No change. It's still too close to call. Maggie tosses down the messages, moves towards Jane's desk. [MAGGIE] Okay, what's next on the agenda? [JANE] You've got that TV interview over at KRDL. [MAGGIE] Can you push it back an hour? [JANE] No, it's live from the studio. Maggie checks her watch, then turns to Michael. [MAGGIE] Can you get me across town in twenty minutes? [MICHAEL] Are blueberries blue? [MAGGIE] You call that a sense of humor? Come on, let's go. Maggie heads for the door. INT. UNDERGROUND PARKING LOT - DAY Michael and Maggie are coming out of a door and into the parking lot. [MAGGIE] Where are you parked? [MICHAEL] (looking around for K.I.T.T.) I'm not sure. (pointing) If you want to wait here, I'll drive around and pick you up. [MAGGIE] Michael, I'm a politician, not a princess. [MICHAEL] Come on, Maggie, for a politician you are a princess. From what I've read, you received awards from practically every civic group in the state. [MAGGIE] Those awards are easier to come by than campaign contributions. Michael turns away from her, surreptitiously speaks into his watch. [MICHAEL] (sotto) Kitt, where are you? ANGLE - TRANS AM K.I.T.T. is cruising around the lot. [K.I.T.T.] (sotto) I'll be right there, Michael. ANOTHER ANGLE An ND car starts up. We can see the driver's face. We will later learn his name is Luger. BACK TO MICHAEL AND MAGGIE They are approaching the open lane, walking between cars. ANGLE - ND CAR It comes racing around a row of parked cars and bores down on Michael and Maggie. Before it can hit them, the Trans Am arrives on the scene, cutting off the ND car and forcing it down another row. The ND car speeds away. ANGLE - MICHAEL AND MAGGIE They react to the near hit and run as K.I.T.T. pulls up to them. [MICHAEL] Come on. Michael opens the door for her, then sprints around and jumps in the other side. As Michael starts the Trans Am and begins his pursuit of the ND car, we: FADE OUT END OF ACT ONE ACT TWO FADE IN EXT. CAPITOL - DAY - CONTINUOUS ACTION We pick up the chase with the Trans Am pursuing the car through the capitol parking lot, then onto a business street. INT. TRANS AM Maggie has never seen a car like this and acts accordingly -- with awe. [MAGGIE] My goodness, what do you call a car like this? [MICHAEL] Kitt. OMITTED EXT. STREET The traffic is heavy enough that Michael can't catch the assailant. EXT. RESIDENTIAL STREET The ND car zips around a corner and onto an empty street. Michael follows, and starts gaining on the ND car when it crashes a stop sign and races through an intersection. EXT. DUMP TRUCK It is approaching the intersection from the other way. ANGLE - TRANS AM on a collision course with the truck. OMITTED ANGLE - DUMP TRUCK - CLOSE ON THE HORRIFIED FACE OF THE DRIVER as he sees the Trans Am about to ram his vehicle. WIDE ANGLE At the last second Michael puts the Trans Am into a power slide and does a 180-degree spin to avoid plowing into the truck. EXT. RESIDENTIAL STREET - DAY Michael pulls over to the side of the road and parks. INT. TRANS AM [MICHAEL] Are you okay, Maggie? [MAGGIE] I'm fine. I think. [MICHAEL] Take a few deep breaths. [MAGGIE] (breathing deeply) Did you get a look at the driver? [MICHAEL] Never got close enough. (thinks a beat) But maybe Kitt saw something I didn't. Michael pushes a few buttons on the dashboard. [MAGGIE] What are you doing? [MICHAEL] Calling for an instant replay. INSERT - VIDEO MONITOR We see a replay of the chase. Tighten on the rear of the ND car so that the license plate becomes distinguishable. ON MICHAEL [MICHAEL] Hold on there. Freeze that and zoom in, will you, Kitt. VIDEO MONITOR The frame freezes on a shot of the license plate. BACK TO SCENE [MAGGIE] What is it? [MICHAEL] The license plate. WPG-596. (beat) Kitt, can you run a check on that with DMV? [K.I.T.T.] I've already made the inquiry. Unfor- tunately, the response has been delayed. You know how difficult it is to deal with bureaucratic computers. [MAGGIE] You can say that again. [K.I.T.T.] (repeating himself) I've already made the inquiry.... [MICHAEL] Kitt! She didn't mean that literally. [K.I.T.T.] I'm sorry, Senator. [MICHAEL] (to Maggie) While he's doing that I'm getting you back to your office. Michael starts the car. [MAGGIE] I beg your pardon. We were on our way to a television studio. [MICHAEL] I think you should keep a lower profile until I can do some investigating. [MAGGIE] What are you going to discover? That I've got powerful enemies. We already know that. [MICHAEL] We also know that the guy in that car was playing for keeps. [MAGGIE] Michael, I don't care who wants me out of the way, I refuse to be intimidated. [MICHAEL] Maggie, if you stay visible, you're making yourself an awfully easy target. [MAGGIE] Maybe. But isn't that why I have a bodyguard? Maggie and Michael exchange looks that indicate she won that round. EXT. MODERN OFFICE BUILDING - DAY - ESTABLISHING - STOCK A high-rise edifice not unlike the black tower. INT. OFFICE - DAY The richly appointed suite of an obviously powerful man. Seated at his desk, his back to the camera, is J. Hanford Dixon, the shadowy, profit-goaded, sinister director of the vast utility company that stands to benefit from the building of the power plant. He is watching a television set. INSERT - TV SCREEN Maggie is being interviewed. We pick her up in the middle of her comments. [MAGGIE] Let me put it as simply as I can. The Portage River Power Bill is an attempt by a handful of greedy profiteers to exploit both the people and the resources of this state. If this bill were to become law not only would a lush, unspoiled valley be turned into a desert, but the people living there would be forced to buy back both the water and the power that rightfully belonged to them in the first place. Now who makes out on a deal like that? Certainly not you or me.... BACK TO SCENE Dixon gets up from his chair, goes to the TV set and angrily snaps it off somewhere in the middle of Maggie's oration. [DIXON] That woman is a menace. ANOTHER ANGLE We see that Dixon is talking to Russel Forbes who sits on a couch, clearly feeling the heat and irritation emanating from Dixon. [FORBES] That's putting it mildly. [DIXON] Does she have the votes to stop us? [FORBES] I don't think so, but if she can create enough of a public outcry to sway the undecideds...the bill could be in a lot of trouble. [DIXON] Well, then I suggest you go back to the Capitol and start twisting some arms. I want a victory, Forbes, and if you can't ensure that, next election I'll find someone in your district who can. [FORBES] Look, I'm doing all I can. But you just saw for yourself. Maggie Flynn isn't backing down an inch. [DIXON] Let me worry about Maggie Flynn. EXT. TELEVISION STATION - DAY Michael and Maggie are coming out of the studio. They walk toward the Trans Am which is parked nearby. [MAGGIE] (rubbing her face) Do I still have any of that hideous makeup on? Michael wipes away the last remains from her cheek. [MICHAEL] There, you're clean. [MAGGIE] So, what did you think? How did I come across? [MICHAEL] Like gang busters. [MAGGIE] I wasn't too pushy. [MICHAEL] Of course you were. I thought that was part of the image. [MAGGIE] What image? With me what you see is what you get. Michael opens the door and Maggie climbs into the Trans Am. Michael enters from the driver's side. INT. TRANS AM [MICHAEL] Then I've got to hand it to you, you're a very gutsy lady. [MAGGIE] When you spend your life in political hand-to-hand combat, it toughens you up. Michael starts the car and they drive off. INSERT - DASHBOARD Michael pushes a few buttons. [MAGGIE] What are you doing? [MICHAEL] I had Kitt on surveillance mode. [MAGGIE] Surveillance mode? [MICHAEL] He has a sensory device that can detect any kind of suspicious movement within a two-hundred foot radius. (beat) Anything to report, Kitt? [K.I.T.T.] All clear, Michael. It's safe to proceed. [MAGGIE] I recall Devon telling me about a special car they were developing at the Foundation, but I had no idea it would be so sophisticated. [MICHAEL] Don't flatter him. He has a tendency to show off. [K.I.T.T.] Not true, Michael. Flattery implies that I'm capable of responding to my own unique capabilities. The truth, Senator, is that I deal solely in empirical data. [MICHAEL] See what I mean. Maggie smiles. [MAGGIE] Whatever the case, I'm impressed. [K.I.T.T.] Thank you, Senator. The feeling is mutual. [MICHAEL] Where to now? [MAGGIE] Back to the office. I've got a climbing date with a mountain of paperwork. EXT. CAPITOL - DAY - ESTABLISHING INT. MAGGIE'S OFFICE - DAY The door opens and Maggie and Michael enter. The office is empty. Maggie is surprised and calls out: [MAGGIE] Jane! ANGLE - MAGGIE'S INNER OFFICE The door opens and Devon, not Jane, comes out. FULL SHOT [DEVON] I believe she's out to lunch. [MICHAEL] Devon, what are you doing here? [DEVON] Trying to solve a problem. [MAGGIE] What kind of problem? [DEVON] You're familiar with the Foundation's international conference on democracy in the emerging nations? [MAGGIE] Of course I'm familiar with it. I organized it with Professor Funaka. He should be up at the Blue Lake retreat right now. [DEVON] That's the problem. Professor Funaka was forced to cancel. We've got no one to moderate the discussion groups. I fear a fiasco for the Foundation. [MAGGIE] Devon, is this a set-up? [DEVON] What on earth are you suggesting? [MAGGIE] That in order to get me out of town you'd resort to something underhanded like this subtle form of blackmail. [DEVON] It can't be blackmail if you care. [MAGGIE] Of course I care. I spent six months putting that conference together. [DEVON] Then I assume you have a vested interest. [MAGGIE] I also have a vested interest in defeating that power bill. [MICHAEL] Maggie, the vote's not until next week. [DEVON] You'll be back in plenty of time. [MICHAEL] And it will give me a chance to find out who's been harrassing you. Maggie looks at Michael and without saying anything he conveys the feeling that she should go to the conference. After a beat, Maggie relents. [MAGGIE] All right, Devon...you win. [DEVON] (relieved) Excellent. Come along, there's a car waiting. [MICHAEL] Devon, be careful. [MAGGIE] (to Michael) You too. [MICHAEL] No sweat. I'll see you when you get back. Devon and Maggie exit. EXT. CAPITOL - DAY Devon's limousine pulls out of the Capitol grounds. Devon and Maggie are visible in the backseat. ANOTHER ANGLE Luger, the same man who tried to do in Maggie and Michael in the parking lot, is sitting in another ND car. He recognizes Maggie in the limousine. He starts the car and begins to tail them. INT. MAGGIE'S OFFICE - DAY Michael, sitting at Jane's desk, pushes a button on his wristwatch. [MICHAEL] Kitt. Intercut with: ANGLE - K.I.T.T. parked in the underground parking lot. [K.I.T.T.] Yes, Michael. [MICHAEL] Have you turned up anything on that license plate? [K.I.T.T.] It just came through. The car was registered to the Western Auto Rental Company. [MICHAEL] It was a rented car? Great. Another dead end. [K.I.T.T.] Will you permit me to complete my report? [MICHAEL] I'm sorry. Go on. [K.I.T.T.] I checked their computers. The name on the credit card used in the transaction was Brian Owendorf. SMASH CUT TO OMITTED CLOSE SHOT OF JANE bewildered. [JANE] Brian Owendorf? That's impossible. Pull back and widen to: EXT. CAPITOL LAWN - DAY Michael and Jane are eating hot dogs. [MICHAEL] Why is it so impossible? [JANE] Because it doesn't make sense. He's one of Maggie's oldest and most loyal supporters. Besides, why would an environmental activist try to kill Maggie? I mean he's been working with us on ecology issues for years. [MICHAEL] It's not unheard of for supporters to manifest their support in radical ways. [JANE] What's that supposed to mean? [MICHAEL] He might be staging this whole thing to win political support. Like you say, no one would expect a friend of Maggie Flynn's to mow her down in a parking lot. [JANE] No, they'd point the finger at the conglomerates behind the power bill. [MICHAEL] And maybe that's exactly what Brian Owendorf hopes will happen. [JANE] Michael, how can you be so sure? [MICHAEL] Actually, I'm not. But I do think it's time I had a few words with Mr. Owendorf. EXT. ROAD - DAY The Trans Am is on the move again. INT. TRANS AM - DAY Michael and Jane are in the front seat. Michael takes a curve without touching the brakes. [JANE] Michael, what are all those lights on your dashboard? [MICHAEL] That's a little, uh, computer gadget the Foundation had installed. Cuts down on my speeding tickets. [JANE] Clever. EXT. TRANS AM - DAY It is tooling down an old business street, like you might find in Venice, with aging but well-kept office buildings. [JANE (v.o.)] Slow down. It's right over there. (beat) The building across the street. The Trans Am comes to a halt across from a funky old building that would be a likely spot for a non-profit organization. INT. TRANS AM Michael and Jane are about to get out. Michael puts a hand on her knee. [MICHAEL] I want you to stay here. Just in case it gets nasty. [JANE] Michael, I'm not going to sit in the car by myself. [MICHAEL] Kitt will keep you company. [JANE] Who's Kitt? [K.I.T.T.] The little computer gadget. [MICHAEL] Sorry, Kitt, you're not the easiest thing to explain. [K.I.T.T.] Next time you have trouble just ask me. I know exactly who I am. [MICHAEL] I'll remember that. He gets out of the car. [MICHAEL] (to Jane) Just hang in there. She frowns at Michael as he leaves. [K.I.T.T.] Jane, according to my information you went to Stanford University. [JANE] (startled) That's right.... [K.I.T.T.] Part of my circuitry was developed there. Excellent school. Jane can't believe she's conversing with a dashboard. [JANE] Oh yes.... [K.I.T.T.] I don't suppose you knew anyone in the engineering department.... INT. RECEPTION AREA - DAY Michael steps into a small, sparsely furnished and kind of rundown office. A sign on the wall reads FRIENDS OF MOTHER EARTH. He's greeted by a cautious secretary named Kate. She's tall, blonde, and very earthy. [MICHAEL] Hi there. [KATE] Can I help you? [MICHAEL] That depends on whether or not Brian Owendorf is here. [KATE] (curious) Yes, he's here. Do you have an appointment? [MICHAEL] Gosh, no. Bri and I are old buddies. I just thought I'd drop by and say hello. [KATE] I see. [MICHAEL] We marched together to save the redwoods. Yeah, those were the days.... [KATE] Why don't you have a seat. [MICHAEL] Sure. Kate exits to: INT. BRIAN'S OFFICE - CONTINUOUS Brian sits at his messy desk looking out the window. He's a mild mannered guy, wears wire-rim glasses and does not appear very threatening. He reacts as an anxious Kate enters. [BRIAN] What is it, Katie? [KATE] There's a man out there. Says he's an old friend of yours. Brian gets up from his chair, concerned. He goes to the door, opens it a crack and peers out. HIS POINT OF VIEW - MICHAEL is looking through the file cabinet. BACK TO SCENE [KATE] Do you know him? [BRIAN] Never seen him before in my life. [KATE] What should I do? [BRIAN] Stall him. Brian looks gravely at Kate. INT. RECEPTION AREA Kate comes out of Brian's office and Michael steps away from the file cabinet. [KATE] He'll be with you in a minute. (beat) Can I get you something to drink? We have lots of juices. [MICHAEL] No thanks. They look at each other for a beat. Michael sees that Kate is nervous, hiding something. Then the sound of a window opening is heard, followed by a dull thud. ANGLE - MICHAEL He realizes something is up. Disregarding Kate, he bursts into: INT. BRIAN'S OFFICE - CONTINUOUS Michael enters to find the window open and the room empty. He runs over to the window and looks out. HIS POINT OF VIEW - BRIAN is fleeing down an alley behind the building. BACK TO MICHAEL Hold on Michael's look of anxiety, and: FADE OUT END OF ACT TWO ACT THREE FADE IN INT. BRIAN'S OFFICE - ANGLE - MICHAEL - CONTINUOUS ACTION Michael sees Brian turn down another alley and stops, raising his wristwatch to his face. [MICHAEL] Kitt, our man took a powder. He's heading south on an alley behind the building. [K.I.T.T.'S VOICE] I'm picking him up on the scanner. [MICHAEL] Go for it. OMITTED EXT. TRANS AM The car moves from its parking space with a sudden jolt. It takes off down the street. INT. TRANS AM Jane, taken by surprise, is freaking out. [JANE] Kitt, what are you doing? [K.I.T.T.] Employing my self-propelled guidance system. (beat) You can follow on the screen. INSERT - VIDEO MONITOR K.I.T.T. is pursuing the fleeing man. BACK TO JANE [JANE] I don't believe this. ANGLE - MICHAEL He runs after Brian who turns down another alley. [MICHAEL] (calling) Brian! ANGLE - BRIAN He looks back, sees Michael, then jumps a fence and proceeds down another back street. ANGLE - TRANS AM Turning down an alley, K.I.T.T. is honing in on his quarry. ANGLE - BRIAN He hears the roar of K.I.T.T.'s engines and turns to see the bizarre sight of a fierce black car with a passenger and no driver, bearing down on him. He is not a tough guy to begin with, but now he's absolutely petrified. WIDE ANGLE to see that Brian is trapped in a blind alley. In a matter of seconds, K.I.T.T.'s got him against the wall. CLOSE SHOT Brian is pinned against the wall. His hands flail above his head. [BRIAN] (terrorized) I give up. ANGLE - MICHAEL as he arrives on the scene. Jane gets out of the car. [JANE] Michael, will you tell your car to back off. Michael reaches inside and flicks a switch. The Trans Am settles down. Brian recognizes Jane. [BRIAN] Jane! Can you tell me what's going on here? [JANE] It's okay, Brian... (indicating Michael and K.I.T.T.) ...they're with me. [MICHAEL] Why did you take off like that? [BRIAN] I thought you were one of the goons. [JANE] What goons? [BRIAN] We've been getting phone calls telling us if we don't stop protesting against the Forbes bill we'll all be dead. [JANE] You too? [BRIAN] (nods) And a few days ago somebody broke in and ransacked the office. Destroyed the files, the whole bit. (to Michael) So when I saw you looking through the file cabinet, I got scared. [MICHAEL] I'm sorry. [BRIAN] That's all right. I'm just glad we established we're on the same side. [JANE] Did they take anything from your office? [BRIAN] Not much. A few bucks from petty cash. To make it look like a burglary, I suppose. [MICHAEL] That's it? [BRIAN] Oh, yeah, my credit cards. They got those, too. Michael and Jane look at each other in silence. [BRIAN] I guess there's somebody out there who wants that power bill to pass real bad. DISSOLVE TO EXT. RETREAT - NIGHT - ESTABLISHING It looks like an Arrowhead A-Frame. The house is surrounded by pine and fir trees. A fence runs around the perimeter. Behind the house is a hill. There is an entrance gate in front of the house. Through a window we can see a lambent flicker of fire light. INT. RETREAT - NIGHT A large living room contains a sizable and colorful contingent of international dignitaries. It has the feel of a United Nations cocktail lounge with men in dashikis and women in saris sipping drinks and conversing. ANOTHER ANGLE Maggie is standing by the fireplace with a pretty woman named Miriam. [MAGGIE] I understand you're making great strides in your country. [MIRIAM] (nods enthusiastically) Yes, we've been able to open our doors recently and allow the flow of new ideas to reach our people. [MAGGIE] Well I hope the conference enables you to go home with a few more new ideas. [MIRIAM] I'm certain it will. This one-to-one communication is much more affective than formal governmental relations. [MAGGIE] Absolutely. When you get the oppor- tunity to relate to your neighbors in this kind of environment you quickly discover that the world is not such a big place after all. ANOTHER ANGLE A proud, tall, handsome Asian man approaches the ladies. He is smiling broadly. This we will soon learn, is none other than Professor Funaka. He speaks with an Oriental accent. [FUNAKA] Ah, Maggie, it is a delight to see you. ANGLE - MAGGIE She is surprised to see him. [MAGGIE] Professor Funaka!? ANGLE TO INCLUDE MAGGIE AND FUNAKA [FUNAKA] I was under the impression that you would be unable to attend. This is a most pleasant surprise. He shakes her hand warmly. Maggie realizes she has been had by Devon. [MAGGIE] For me as well. I was under the impression that you wouldn't be here. [FUNAKA] Good heavens, where did you get such erroneous information? ANGLE - DEVON He is sipping champagne when he sees Maggie glaring at him from across the room. He smiles sheepishly and begins to mingle. EXT. PICKUP TRUCK - NIGHT It's nestled under a thick cover of trees suggesting that it's not far from the retreat. INT. TRUCK A ruddy-faced, ferret-eyed man sits alone, a car phone in his hand. He is Luger, the guy who drove the ND car in the parking lot. The dirty trickster determined to stop Maggie. He speaks into the phone. [LUGER] Everything's under control. She's up at the retreat. Nice and isolated. Intercut with: J. HANFORD DIXON putting in a late night in his office. [DIXON] Splendid. What about that hot shot driver she had? [LUGER] Don't worry none about that boy. I got him going around in circles. [DIXON] Have you assembled the necessary support personnel? [LUGER] It's all set. [DIXON] Use whatever methods are called for. Just make sure Maggie Flynn stays put...I'll handle the rest of the operation. Dixon hangs up the phone. Hold on his malevolent smirk, and: DISSOLVE TO EXT. JANE'S HOUSE - DAY - ESTABLISHING The Trans Am is parked outside. EXT. JANE'S PATIO - DAY It's the next morning and Michael has a pot of coffee and toast on the table. There is also a telephone. Jane enters from inside, tying a robe around her pajamas and failing to stifle a major yawn. [JANE] You're up bright and early. [MICHAEL] Thought you might like some breakfast. [JANE] Very thoughtful of you. Michael pours her some coffee. [MICHAEL] How did you sleep? [JANE] I didn't. I spent the night worrying about Maggie. [MICHAEL] (handing her the cup) Here, this will make you feel better. Jane takes a sip. It's good. [JANE] You may act like a crazy man some- times, but you know how to make a cup of coffee. [MICHAEL] I'm taking that as a compliment. [JANE] That's how it was intended. They exchange warm glances, both glad they're getting to know each other. [MICHAEL] So tell me, how does a girl like you get to be a girl like you? [JANE] Oh, I don't know...four years of college, then grad school, an internship in Washington, and a major stroke of luck -- I met Maggie Flynn. [MICHAEL] You really admire her, don't you? [JANE] She has more integrity and plain old guts than anyone I've ever known. Michael raises his coffee cup. [MICHAEL] To Maggie. They clink coffee cups in a toast as the phone rings. Jane answers it. [JANE] (into phone) Hello...yes, this is Jane...wait a minute. Slow down...yes...what?! ...No! How could he? (face reddens with rage) ...don't worry. She'll be there ...right. See you later. Jane hangs up, obviously shaken by the news she has just received. [MICHAEL] What was that all about? [JANE] (disgusted) That creep Forbes did a number on us. He got his cronies to push the bill through committee last night and he's bringing it up for a vote before the full Senate this afternoon. [MICHAEL] He knew Maggie was out of town. [JANE] (nods) Russel Forbes is as slick as they come. He knows if Maggie isn't there, the opposition will fall apart. [MICHAEL] No problem. I'll just go up and get her. Michael picks up the phone, begins dialing. [MICHAEL] I'll call the retreat and let them know I'm on my way. Michael's face takes on a puzzled look as he listens to the phone. After a beat, he puts down the receiver. [JANE] What's wrong? CUT TO EXT. TELEPHONE POLE - DAY A bad guy climbs down. Above him a severed telephone cable dangles, out of commission. ANGLE - LUGER He sits inside a pickup truck and nods his approval of the dirty deed. WIDE ANGLE TO REVEAL that there are two additional pickups with bad guys. ANGLE - LUGER'S TRUCK The guy who snipped the wire reaches the ground, hops in the seat next to Luger and the ringleader steps on the gas. The convoy moves out. EXT. ROAD - DAY as the trucks approach on the driveway to the retreat. INT. RETREAT - DAY Maggie is addressing the body of conferees in the living room. They listen intently to her every word. [MAGGIE] Some people call me an idealist because I have a firm, unwavering belief in people and the inherent right of men and women to control their own destinies. But to me that is what America, that is what democracy, is all about. Idealists, foolish enough to throw caution to the winds, have advanced mankind and enriched the world. Each time an individual stands up for an ideal, or acts to improve the lot of others, or strikes out against injustice, he sends forth a ripple of hope.... Intercut with: EXT. RETREAT - DAY Luger's truck has established itself as a roadblock on the narrow driveway. Luger gets out, walks over to his cohorts in another pickup. [LUGER] Position yourself up the road a piece. If anybody tries to get through, stop 'em! The cohort nods and pulls away in the truck. Luger walks back to his truck, gets in next to his fellow evil-doer. [LUGER] We've got the place sealed tighter than a drum. There's no way that lady's getting out of here. [MAGGIE] ...and crossing each other from a million different centers of energy and daring those ripples build a current that can sweep down the mightiest walls of oppression and resistence. That is our goal. To destroy those barriers to freedom so that people in every corner of the globe might rejoice in the splendor of liberty. As she finishes the conferees break into a rousing spon- taneous burst of applause. Maggie beams her appreciation of their warmth and support. ANGLE - DEVON Standing near the rear of the room, he is nudged by a security guard who whispers something in his ear. Devon's face reflects the gravity of the news. OMITTED EXT. HIGHWAY - DAY The Trans Am is hauling it up a scenic mountain road at breakneck speed. INT. TRANS AM Michael stares ahead at the road, a fiery intensity in his eyes. Jane tightens her seat belt. [JANE] Michael, do you really think they're in trouble? [MICHAEL] One thing I learned in the special forces, when you cut an enemy's line of communication, you cut him off from help. [JANE] But why do it? [MICHAEL] My guess is that someone doesn't want her to find out about that vote today. [JANE] (hopeless) Unfortunately, that's my guess too. [MICHAEL] It's up to us to make sure she not only finds out about it, but has a chance to do something about it. ANGLE - DASHBOARD The digital speedometer begins a steady climb from sixty-five to ninety. EXT. HIGHWAY - DAY The Trans Am shoots like a comet around a harrowing mountain curve. OMITTED EXT. RETREAT - BALCONY - DAY - ANGLE Devon gazes pensively. ANOTHER ANGLE Maggie appears on the balcony. [MAGGIE] Devon, what's going on here? I just tried to reach my office. The phones are dead. [DEVON] (reserved) Yes, I know. [MAGGIE] Don't give me that British stiff upper lip routine. What's happening out there? For a beat Devon doesn't want to tell her, then realizes he must. [DEVON] We're under siege. [MAGGIE] What!? [DEVON] An unidentified group of armed men have set up a roadblock. I'm afraid we're cut off from the outside world. [MAGGIE] I knew Forbes was desperate to stop me, but I didn't think he'd go this far. [DEVON] You think he's responsible? [MAGGIE] Maybe not directly, but who else except the people he works for are ruthless enough to pull off that kind of stunt. [DEVON] I suppose none of this would have happened if I'd have left well enough alone. I never should have brought you here. [MAGGIE] Will you knock off the hindsight. We've got to figure out a way to get me out of here. OMITTED ANGLE - LUGER He's outside of his truck. HIS POINT OF VIEW The Trans Am is coming up the driveway heading for the roadblock. BACK TO LUGER [LUGER] Our first visitor's arriving earlier than I expected. Get ready to greet him. OMITTED EXT. RETREAT - DAY - ANGLE - SIDE DOOR Devon is sneaking out of the house toward his limousine. ANGLE - MAGGIE as she appears in the doorway. [MAGGIE] Devon, where do you think you're going? ANGLE - DEVON crouching to stay out of the sight of the bad guys. [DEVON] If I can get to my car, I'll call for help. ANGLE - MAGGIE as she dashes out to join him. FULL SHOT as she reaches him. [MAGGIE] What good will that do? (forceful) Give me the keys. I'll bust through that roadblock myself. [DEVON] I'm not going to let you kill your- self. [MAGGIE] Devon, it's my problem. I'll deal with it in my own way. (extends her hand) Now give me the keys. [DEVON] I will do nothing of the sort. We leave them bickering. EXT. ROAD - DAY The Trans Am is within striking distance. The roadblock looms dead ahead. INT. TRANS AM Jane reacts to the sight of the pickup blocking the road. [JANE] How are we going to get past them? [K.I.T.T.] May I suggest we enter through the entrance. [MICHAEL] (gritty) My sentiments exactly. [JANE] But it's blocked! ANGLE - LUGER He is stunned by the sight of the Trans Am coming straight at his truck. [LUGER] What the hell is going through that boy's head? ANOTHER ANGLE The boys with the rifles jump out of the way without firing a shot. INT. TRANS AM as the car is fast approaching the blockade. [MICHAEL] Better make that over the entrance, Kitt. WIDE ANGLE At the last second, just before it seems like the Trans Am will plow right into the pickup, Michael sends the machine aloft and the Trans Am guides gracefully over the truck. MAGGIE AND DEVON They react to the roaring sound. [MAGGIE] What's that? [DEVON] By God, it sounds like Kitt! ANGLE - TRANS AM as it speeds up the driveway. ANGLE - MAGGIE She is truly amazed. [MAGGIE] Michael! On her look of elation.... FADE OUT END OF ACT THREE ACT FOUR FADE IN EXT. RETREAT - DAY A few seconds later. The Trans Am pulls up to the side of the house where Devon and Maggie greet the unexpected visitors. Michael stops the car and leaps out. Jane does the same. [MICHAEL] Maggie, hop in. We've got to get you back to town. [MAGGIE] What? [JANE] They're taking the vote on the power bill in less than two hours. [MAGGIE] I figured as much. (to Devon) Are you going to be all right? [DEVON] Yes. They don't care about us. [JANE] Maggie, will you get going before it's too late. [MAGGIE] All right, let's go! She jumps in the car, as does Michael. He fires up the Trans Am and prepares to take off. ANGLE - LUGER He is having his men rearrange three pickups into a "Z" formation which would make it impossible for Michael to hurdle. INT. TRANS AM [MAGGIE] I hope you're as good getting out of here as you were getting in. [MICHAEL] (honest) So do I. EXT. TRANS AM Michael sends K.I.T.T. hurtling toward the wooden fence surrounding the grounds of the retreat. They crash through and take off across the rugged hillside terrain. ANGLE - LUGER as he observes his revamped and seemingly unjumpable configuration of pickup trucks. He turns to one of his rent-a-thugs. [LUGER] (cocky) I'd like to see him try to get past us now. ANGLE - TRANS AM as it comes out of the woods about fifty feet past the road- block and begins racing down the road. ANGLE - LUGER as he reacts with disbelief. [LUGER] (in shock) Holy Toledo. He jumps into his pickup and begins to chase Michael. ANGLE - TRANS AM as it takes a corner at high speed. WIDE ANGLE Luger pursues the Trans Am. His colleague in the front seat leans out the window and blasts away with a rifle. INT. TRANS AM The sound of bullets bouncing off the body of the car is heard, startling Maggie. She ducks instinctively. [MICHAEL] It's okay. Kitt's got a pretty thick skin. [MAGGIE] I should say so. ANGLE - LUGER As K.I.T.T. accelerates and leaves Luger's pickup eating his dust, he reaches down for his car phone. Intercut with: INT. DIXON'S OFFICE - DAY Dixon sits alone at his desk. [DIXON] (into phone) What do you mean she got away? [LUGER] Look, all I know is this guy's never gonna get caught from behind. I need all the help I can get. [DIXON] All right. But just stay on his tail. OMITTED INT. TRANS AM as it races down the road. [MICHAEL] Kitt, did you get hold of the State Police? [K.I.T.T.] Yes, Michael. Go ahead. [MICHAEL] (picking up the car phone) Hello...listen to me, there's been a terrorist assault on the Foundation retreat at Blue Lake. A group of international dignitaries are there and their lives may be in jeopardy. CUT TO STOCK FOOTAGE - VARIOUS SHOTS OF ARMY HELICOPTER, POLICE SQUAD CARS whatever else is available. All are taking off, heading up for the retreat. ANGLE - TWO PICKUPS coming up the road, one in each lane, about to encounter: MICHAEL He sees the two trucks. ANGLE - TRANS AM The car goes up on two wheels and squeezes between the two trucks. It's a very tight fit. REVERSE ANGLE As the two pickups continue down the road they force Luger's truck onto the shoulder. It careens off the road and wraps a fender around a tree. ANGLE - LUGER He is jolted by the impact. EXT. ROAD As the Trans Am continues it's sprint down the hill, Michael and Maggie approach a clearing as the road winds along a lake. [MICHAEL] Good work, Kitt. Let's head for home. [K.I.T.T.] I'm afraid we're not out of the woods yet. [MICHAEL] What do you mean? [MAGGIE] (pointing) That's what he means! HER POINT OF VIEW - A HELICOPTER comes over the hill alongside the lake. It's flying directly toward the Trans Am. ANGLE - HELICOPTER There are two men inside. One is the pilot, the other holds a deadly antitank gun. He takes careful aim and fires! ANGLE - TRANS AM The shot misses, but the explosion rocks the Trans Am. Another round is fired and the car keeps going. A third shot is very close and the impact of the explosion jars the car. INT. TRANS AM [MICHAEL] Can we take a direct hit? [K.I.T.T.] I'd prefer not to find out. But the real problem is the bridge at Twin Forks. They can take it out with two rockets and even I can't jump that far. ANGLE - HELICOPTER It swoops down low, fires another round at the Trans Am, then bears down on the fleeing car, attempting to ram K.I.T.T. with the skids. INT. TRANS AM [MICHAEL] Kitt, open the sun roof. [MAGGIE] Michael, what are you going to do? [MICHAEL] See if I can get rid of that pest. Take over, Kitt. The sun roof pops open and Michael reaches up just as the helicopter makes a low pass. INSERT He puts K.I.T.T. on automatic. [K.I.T.T.] (reacting) Michael.... ANGLE - MICHAEL as he grabs onto the skids as the helicopter rises and circles over the lake to make another pass at K.I.T.T. ANGLE - HELICOPTER The two men inside are unaware that Michael is climbing up toward the cockpit. He reaches the door and leaps in, stunning the gunner with a powerful karate chop just as he is about to fire at the Trans Am. They struggle, but Michael quickly gains the upper hand and flings the gunner out of the cockpit. ANOTHER ANGLE The gunner tumbles into the lake, the water breaking his fall so he doesn't get killed. BACK TO HELICOPTER Now Michael is taking on the pilot. As they fight for the controls the helicopter starts swerving and dipping. Finally Michael perseveres and gives the pilot the heave-ho as he takes over the controls. ANGLE - PILOT as he splashes into the lake and bobs up to see the helicopter regain a steady course. ANGLE - MICHAEL He guides the helicopter back toward the Trans Am which continues to speed down the road. ANOTHER ANGLE Michael makes a low pass over his car and drops back in. [K.I.T.T.] Nice to have you back. [MICHAEL] Nice to be back. ANGLE - HELICOPTER Without anyone to guide its path the helicopter flies over a hill and crashes. A gigantic fireball rises from beyond the hill. INT. TRANS AM Michael is back in the driver's seat. Maggie is impressed. [MAGGIE] Michael, you're a very brave man. He smiles at her. [MAGGIE] I just hope the next time you go for a ride like this you take me along. It's fun. [MICHAEL] Yeah, it's a real blast. EXT. TRANS AM It crosses the bridge K.I.T.T. alluded to and speeds homeward. INT. FORBES' OFFICE - DAY Forbes is about to exit when the door opens and Dixon enters, clearly upset. [FORBES] Ah, you're just in time. The session convenes in a few minutes. I just put the champagne on ice. [DIXON] Let's hope we're able to celebrate. [FORBES] What's going to stop us? [DIXON] Maggie Flynn's on her way to the Capitol. [FORBES] What? I thought you.... [DIXON] Just get on the floor and get things moving. We don't have much time. EXT. CITY STREET - DAY The Trans Am is nearing the Capitol. INT. TRANS AM [MICHAEL] Maggie, when does the afternoon session begin? Maggie checks her watch. [MAGGIE] I'm afraid it already has. Michael looks at her and puts the pedal to the floor. [MICHAEL] Hang on, it shouldn't take us much longer. EXT. TRANS AM The car goes around a corner at breakneck speed. INT. SENATE CHAMBER - DAY Forbes is huddled around the podium with a handful of concerned-looking colleagues including the Speaker. [SPEAKER] You're saying that Maggie Flynn has withdrawn her opposition to your bill? I don't believe it. [FORBES] It was a shock to me as well, Mr. Speaker. But that's what she told me. I just got off the phone with her. [SPEAKER] And she said she wasn't even going to show up for the vote? [FORBES] I think that's more of a face-saving gesture. It would be awfully embarrassing for her to throw in the towel in public. She's a proud woman. EXT. CAPITOL - DAY The Trans Am pulls onto the Capitol grounds and races up to the front door where it comes to an abrupt halt. Maggie and Michael leap out of the car. [K.I.T.T.] Give 'em hell, Maggie. INT. SENATE CHAMBER - DAY Dixon is standing in the rear watching: MICHAEL AND MAGGIE dash breathlessly through the rotunda. THE SPEAKER standing at the podium addressing his colleagues. [SPEAKER] If no Senator wishes to speak in opposition to the bill, we'll proceed with the vote. (beat) All those in favor of the Portage River Power Act signify by.... [MAGGIE'S VOICE] Point of order, Mr. Speaker. ANGLE - MAGGIE She stands at a side door to the chamber. Michael is at her side. An audible buzz rises from the legislators. [MAGGIE] I wish to speak in opposition to the bill. ANGLE - DIXON His face goes white. He curses silently, then turns to look at his confederate. ANGLE - FORBES He's in a state of shock as the chamber erupts in applause. [SPEAKER] You may have the floor, Senator.... EXT. CAPITOL - DAY Dixon is hurrying out of the building. When he reaches the parking area he sees: A POLICE CAR standing in front of it is Devon, and Luger who wears handcuffs. BACK TO DIXON He realizes he's in deep trouble. ANGLE - MICHAEL He comes out of the building a few steps behind Dixon. [DEVON] Mr. Dixon, I presume. Your friend Luger had some interesting things to say about you while we were flying back to town. (beat) Would you step this way, please? As Dixon comes over to the car, a policeman gets out and handcuffs him. Michael joins the group and as he and Devon exchange victorious grins.... FREEZE FRAME FADE OUT END OF ACT FOUR TAG INT. RETREAT - DAY Forthcoming. Michael, Devon, Maggie, and Jane. Two to three pages.

{"show": "Knight Rider", "season": "s01", "episode": "e05", "title": "Just My Bill"}

knightriderarchives

ACT ONE FADE IN EXT. HILLY AREA - DAY - ESTABLISHING EXT. CATCHMENT BASIN - DAY An area which holds a reserve of water for eight ranches in the area. Two figures are bent over, planting something in the ground. CLOSER ANGLE ON ALEX WEBSTER who could be playing fullback for the L.A. Raiders, and Kirk Webster, his slobby-looking brother who is all thumbs. They are fooling around with dynamite, which Kirk is fumbling with. Another guy, Dewey, is helping them. [ALEX] Watch it, you jerk! You wanna blow us to kingdom come? [KIRK] I wouldn't do that, Alex. [DEWEY] Just hurry up, Alex. Let's plant this and get outta here. If Bremen knew you brought your brother along, he'd fire us both. As they set the charges: CUT TO EXT. SHASTA VALLEY - DAY - STOCK Several ranches set in the midst of lush farm and ranchland. INT. DOUBLE M RANCH - DAY - ESTABLISHING Several cars and pickups are parked there. INT. DOUBLE M - DAY Devon Miles and Susan Wade, a beautiful black woman, are in the midst of a crowd obviously celebrating. Included in the party are Josh, Fran, and Kevin Morgan. Francesca is a gorgeous redhead. Josh is about sixty, attractive and weather-beaten, a man who's obviously spent his life out- doors. Kevin, eight, is a cute kid. Almost everyone has a cup in their hand and there is an excited feel to the party. One man, Ted Moore, is in front of the room, in the middle of making a toast. [MOORE] And we're all here celebrating because of Miss Wade and Mr. Miles. Without their help, we'd all be in deep trouble right now...dried out, thanks to Herb Bremen...but boy, I gotta tell ya, when I saw a lady lawyer from the Foundation for Law and Government was representing us in our case, I really got a little nervous there.... Everyone laughs, except Susan Wade, who tolerates the comment with a tight little smile. [MOORE] But seriously, folks, they did a bang-up job. We've finally beaten Bremen, and according to the courts, our water finally belongs to who it should belong to -- us! Everyone claps. CLOSEUP ON FRAN MORGAN [FRAN] Let's just hope you're right. [MYRA] Now Fran, this is supposed to be a celebration. BACK TO SCENE [MOORE] So, in your honor, we'd like to present you both with a little token of our appreciation. More giggles. [MOORE] Myra, bring it on in.... Myra Moore, an attractive lady in her forties brings up a truly tasteless but well-meaning trophy to present. As everyone claps, Devon pushes Susan Wade gently up to the front. CLOSE ON JOSH AND KEVIN [KEVIN] Gee, Grandpa, what's Mom so mad about? We won, didn't we? [JOSH] In court we did. But that's not always the same as the real world. I remember my grandpa telling me back in 18 and 70.... BACK TO SCENE [SUSAN] I'm sure I speak for all my colleagues at the Foundation who worked so diligently on this matter...It has been a privilege representing you in your fight. And it is especially a pleasure to win. More clapping. [SUSAN] Now, I'm sure Mr. Miles would like to thank you all personally. Devon? Devon moves to the front. [DEVON] We're of course very pleased to have been able to help all of you. After all, that is part of what our Foundation is for. And we certainly appreciate your kind, uh, uh, gift. It has been my experience in the past that.... He is interrupted by a very loud explosion o.s. The whole party starts to move outside to check it out nervously. [MOORE] What the hell was that? EXT. CATCHMENT BASIN - DAY as the explosion has allowed the water to start flowing out. EXT. RANCH - DAY as the ranchers, Devon and Susan move outside. We can see a plume of smoke in the distance. [MYRA] It looks like it's near the catchment basin! Fran Morgan steps to the front. [FRAN] It isn't near the catchment basin. It was the catchment basin. I warned you all Bremen wouldn't give up so easily, but you thought I was just a paranoid widow! She moves to Devon, and stands in front of him, nose-to-nose. [FRAN] Well, Mr. Miles, your legal victory doesn't mean diddly if they cut off our water. She turns to the rest of those assembled there. [PETERS] What are we gonna do? [FRAN] Well, the first thing is we better go try and fix the basin. She jumps back in her Jeep and barrels off as the others look at Devon and Susan as if they had just arrived from Mars. They dash off to their cars as Susan turns to Devon. [SUSAN] Do you think they'll want their trophy back? He just looks at her, as we: CUT TO EXT. FOUNDATION - DAY - ESTABLISHING SHOT EXT. SEMI - DAY parked on the grounds. INT. SEMI - DAY Bonnie is lying half under K.I.T.T., just finishing up with some tools. Michael is in the far end of the semi, feet up, head back, eyes half-closed. He's almost listening to a ball game on TV. Bonnie moves out from under K.I.T.T. and gets up. [BONNIE] All done. Michael doesn't answer. [BONNIE] Michael, what are you doing? Watching or sleeping? [MICHAEL] Both. It's an acquired talent. [BONNIE] Can't you give your full attention to anything? He gets up and moves towards her. [MICHAEL] You won't let me. She backs off a bit and blushes. [BONNIE] Anyway, I've finished. [MICHAEL] What have you done to the monster now? She gives him a dirty look, then leans into K.I.T.T. [BONNIE] I've just added enormously to his capability. You see you just push this button and a grappling hook shoots out of the back...Come to think of it, I guess I'd better check his automatic tracking rods, too. She slides back under K.I.T.T. Michael shrugs and starts back towards the TV as Devon and Susan enter the semi. [MICHAEL] Susan! Susan nods back. [DEVON] Just the person I wanted to see. [MICHAEL] I'm flattered. [DEVON] We just flew in from Shasta Valley. You're needed there immediately. [MICHAEL] What seems to be the problem? [DEVON] You may have to stop a war. Michael reacts. [MICHAEL] Lay it on me. [DEVON] We just won a lawsuit which would enable eight ranches to keep the water that rightfully belongs to them. However, there seems to be some extra legal maneuvers going on to deprive them of that water. [MICHAEL] Meaning? [SUSAN] Meaning, one Mr. Herbert Bremen, the plaintiff in the lawsuit, has appar- ently now decided to put these ranchers out of business any way he can. [DEVON] It seems that these ranchers subsist mainly by raising cattle. A great many cattle. Apparently each cow consumes at least fourteen gallons of water a day. So if you deprive enough cows of enough water for a long period of time, the ranchers will go under and Mr. Bremen will succeed. [MICHAEL] It sounds like a dirty business. [SUSAN] It is. [MICHAEL] What's the game plan? [SUSAN] I am attempting to get a peace bond, which is an injunction against this sort of harrassment. [MICHAEL] Meaning? [DEVON] Meaning if there's any more hanky- panky, the court will hold Mr. Bremen personally responsible. [MICHAEL] How long will it take to get the bond? [SUSAN] Considering the situation, I'll have to go to the State Capitol. It could take anywhere from a week to ten days, depending on how much of a stiff the judge is. [MICHAEL] What do you want me to do? [DEVON] First, I want you to protect the ranchers against any more extra legal activity. [SUSAN] What he means is violence. [MICHAEL] But that's not all, right? [DEVON] No. The most important thing is to protect the ranchers against them- selves. [MICHAEL] I don't follow you. [SUSAN] We can't go into court with dirty hands, which means if the ranchers engage in any extra legal activity against Mr. Bremen, the judge will throw the whole thing out. [MICHAEL] Gotcha. Where do I start? [DEVON] With Francesca Morgan. She's not only their leader, but she's almost as impulsive as you, stubborn, rebellious and constantly indignant. As a matter of fact, I can't think of two people who deserve each other more. [MICHAEL] I got it. Stop him, stop her, and don't let anyone get hurt. [DEVON] Exactly. Michael starts to leave. [DEVON] Michael, please keep in touch. [MICHAEL] Don't I always? [DEVON] No, you don't. He exits. OMITTED EXT. BREMEN RANCH - DAY A beautifully manicured spread. It's a miniature Tara surrounded by green lawns, gardens and a pool. The piece de resistance is a beautiful complex containing a very valuable herd of cattle in a corral, and a complex of stables with a riding ring for jumpers. In the b.g. there is a magnificent bay horse and rider easily making the jumps. When the rider finishes, the horse trots over to the stall area. EXT. STABLES - DAY as Herb Bremen, a fit and tan forty-eight, dismounts. He hands the horse to Sam, the groom, before he turns to his waiting cohorts. [BREMEN] Sam, better give him a chance to cool down. We had an invigorating ride. He pats the horse, obviously fond of him. Sam leads the horse off, as Bremen turns and walks briefly towards Alex and Dewey, who are waiting near the house. They follow Bremen as he walks briskly towards the house. EXT. HOUSE - DAY as Bremen approaches house. [BREMEN] So? [DEWEY] Piece'a cake, boss. [ALEX] Very clean operation, Mr. B. It should stop 'em for a while. [BREMEN] I hope you're right, Alex. I don't like losing...Like the lawsuit I filed. I should have made sure of the Judge in the first place. They just reach the house as Fran Morgan gallops in from around the back of the house. She stops right in front of the three men. [BREMEN] Francesca, my dear! I see you took the shortcut. [FRAN] Just like you do all the time, Herb. [BREMEN] Always good to see you. Why don't you come in and have a drink? [FRAN] Cut the civilized bull, Herb. I'm here for one reason only: to serve notice on you. We beat you in court and now you're trying to play dirty. Well, you're not fooling anybody and you're not going to get away with it. Dewey can't stand it anymore, and moves in as if to get closer to her, but she whirls around and hits him with her riding crop just enough to move him back fast. He jumps back, stung and embarrassed in front of his boss. [FRAN] Just back off, Herb. She moves out as fast as she came in. [ALEX] There's a pain we can deal with. [DEWEY] Lemme at her. She thinks she owns the world. [BREMEN] Don't underestimate her. She's got more guts than any of them and she's their rallying point. But if she and the other ranchers lose their water for a few days, their livestock can't survive and neither can they. Water is the key. We take away their water for long enough and the whole valley will be mine by default. [ALEX] It's a good plan, Mr. B. [BREMEN] Yes. If you execute it properly. By the way, blowing the catchment basin was a good idea, but I want you to start thinking of something that's harder to repair. Apparently the Foundation is sending in rein- forcements. I suggest you take care of that, too. CUT TO EXT. CATCHMENT BASIN - DAY as all the ranchers we saw earlier are working feverishly to contain the seepage -- with sandbags, earthen damns, etc. Fran rides into the shot, then walks over to Josh. Everyone else waves at Fran. [FRAN] How's it going, Dad? [JOSH] It's rough but with a little luck we should have it repaired by sundown. Kevin walks up to the both of them. [KEVIN] Ma, are we gonna let Bremen get away with this? [FRAN] No, Kevin. We're not. [KEVIN] Well, what are we gonna do? [FRAN] Don't know yet, but I'll think of something. [JOSH] Kevin, they had a problem like this in Lincoln County back in 18 and 80. [KEVIN] What did they do, Grandpa? [JOSH] It's a long story. I'll tell you about it.... He takes the kid and they walk a bit as Fran stares after them fondly, then goes to work with the sandbags. DISSOLVE TO EXT. ROAD - NIGHT as K.I.T.T. soars down the highway, still on automatic, the red computer lights on. INT. K.I.T.T. - NIGHT Michael is asleep draped across the seat. DISSOLVE TO EXT. K.I.T.T. - DAY still driving down the highway. INT. K.I.T.T. - DAY Michael is leaning back, his hands behind his head, totally relaxed. [MICHAEL] You're more comfortable than any hotel, Kitt. A great night's sleep and a wonderful dream. [K.I.T.T.] I'm glad you enjoyed yourself, Michael. But I believe we have a problem. I've picked up a large object directly ahead about 500 yards. It's stationary. [MICHAEL] Is it a roadblock? [K.I.T.T.] Negative. It's one massive solid object. Michael moves forward and pushes a button. INSERT - MICHAEL pushes the "manual" button on the dash. EXT. ROAD - DAY - MICHAEL'S POINT OF VIEW As they come over the rise of a hill, there is a massive bulldozer blocking the road ahead. EXT. ROAD - DAY As K.I.T.T. slows down, two other massive bulldozers move from a hiding place on either side of the road. The three dozers slowly converge on K.I.T.T. INT. K.I.T.T. - DAY [MICHAEL] How come you missed those, Kitt? [K.I.T.T.] I thought they were buildings. [MICHAEL] Do we have room to jump? [K.I.T.T.] Of course we can jump. But I cannot guarantee where or how we'll land. As the three bulldozers converge on K.I.T.T.: FADE OUT END OF ACT ONE ACT TWO FADE IN EXT. ROAD - DAY - CONTINUOUS ACTION as the three bulldozers converge on K.I.T.T., K.I.T.T. goes into a ski mode and barely slides out between two of them. CLOSE ON DRIVERS astonished. EXT. BULLDOZERS - DAY As K.I.T.T. takes off down the road, the astonished drivers are so distracted, the three dozers simultaneously collide with an earthshaking crash. EXT. ROAD - DAY as K.I.T.T. drives towards Shasta. INT. K.I.T.T. - DAY [MICHAEL] That was a close one. I wonder how they knew we were coming. [K.I.T.T.] Are you positive it was a deliberate assault on us? [MICHAEL] No question about it. [K.I.T.T.] How can you be so sure? [MICHAEL] Because bulldozers don't mate this time of year. DISSOLVE TO EXT. DOUBLE M RANCH ROAD - DAY as K.I.T.T. makes the turn off the highway towards the Double M. EXT. DOUBLE M - DAY - RANCH HOUSE K.I.T.T. and Michael pull up in front of the house. No one is visible. A very schlumpy-looking dog (Harry) comes from the barn and starts to bark at Michael and the car. The dog continues to bark and circle Michael as he gets out of the car. He has the looks of a mutt and the personality of a Doberman. [MICHAEL] Easy boy, it's okay. Harry doesn't get close to him, just keeps circling around him, alternately growling and barking. Michael is startled by a voice behind him. [JOSH] Just turn around slowly, mister, and keep your hands showin'. Michael turns around to see Josh Morgan holding a shotgun on him. Kevin appears slightly behind him. [JOSH] Who are you, son, and whaddya want here? [MICHAEL] I'm not looking for a part in a Western. Especially as the bad guy...You can put your gun down now. I'm Michael Knight. Devon Miles asked me to stop by. Another voice from the area of the barn. Michael turns around to see Fran Morgan, also holding a gun on him, as she appears in the entrance to the barn. Nobody puts their guns down. [FRAN] Down, Harry. She just stares at Michael, as the dog moves over and silently stands next to Kevin. [JOSH] Lemme see some ID, if you don't mind. Michael reaches slowly into his jacket and pulls out his wallet. He tosses it to the old man. Josh flips it open, checks it out, nods, and flips it back to Michael. He then lowers his gun. [JOSH] He's okay, Franny. [FRAN] That remains to be seen. She also lowers her gun and moves towards the house. [JOSH] Sorry for bein' so inhospitable, son, but things are kind of tense around these parts at the moment. He moves towards Michael and puts his hand out. [JOSH] Welcome to the Double M, Mr. Knight. I'm Josh Morgan, this here's my daughter-in-law Fran, and my grandson, Kevin. As they shake hands, Kevin moves directly to the car in awe. He circles the car, followed by Harry. [KEVIN] What a neat car! [MICHAEL] You like it, huh? [KEVIN] Sure beats the crummy Jeep we got around here. He's obviously very impressed, patting K.I.T.T. here and there. [FRAN] I've got work to do, Mr. Knight. If you want to talk, you'll have to talk in the barn. Michael reacts to the edge of hostility, as she turns around and goes to the barn. [JOSH] Coming, Kevin? [KEVIN] In a minute, Gramp. Just want to take another look. As Michael and Josh follow Fran to the barn, Kevin takes another longing look and then follows behind them, reluctantly. Harry stops, jealous, then lifts his leg on K.I.T.T.'s tire. [K.I.T.T.] (sotto voce) Some days there's just no winning. OMITTED EXT. BARN - DAY as Michael and Josh enter, followed by Kevin a beat later. INT. BARN - DAY A barn. Fran is feeding their three horses and doing other various barn things, including grooming a mare who's about to foal. She obviously expects Michael to keep up with her and help her. He does, but without the expertise, during the following. Her movements are sure, and almost angry. [KEVIN] Hey, Mr. Knight. This is my mare, Terra. She's gonna foal any day now. [MICHAEL] Call me Michael. She looks like she'll throw a great foal. (to Fran) Devon Miles suggested I might be of some help. [FRAN] Just what we need. Another lawyer. [MICHAEL] I'm not a lawyer. Listen, I understand you've been having some problems, but I get the feeling you're not real interested in having me here. So I'll be happy to leave. Fran stops what she's doing, and looks at him. She's out- bluffed. [FRAN] Kevin, go change. We're leaving for the catchment basin in a few minutes. Kevin exits, reluctantly. Obviously there are things that are going to be discussed that he doesn't get to be part of. [FRAN] Mr. Knight, if we can't handle this problem ourselves, what the hell good is one man like you gonna be? [JOSH] Now, Franny.... [FRAN] (interrupting) Look, Mr. Knight, in this part of the country, water is more valuable than land. Even without Herb Bremen's interference we're barely managing to survive. We had a dry winter two years running and our acre-feet are down thirty percent. Now, just how do you propose to help us? [MICHAEL] To be honest, I don't know. Not yet. But I'll figure something out. By the way, what's an acre- foot? Josh smiles, suspecting that Michael is deliberately trying to aggravate Fran. And he may be right. [FRAN] Some help you'll be. I think I'm better at fixing Mr. Bremen's wagon than you are. Mr. Knight, you do your spying or whatever it is you do. Just keep outta my way. I've got my own ideas on what has to be done. Agreed? [MICHAEL] Sure. She doesn't know what to make of him. [FRAN] I've got things to do. I'll see you both over at the catchment basin later. She starts to exit, then turns around. [FRAN] You can stay in the bunkhouse. Nobody's there since all our help quit. She exits and Josh turns to Michael, puts his hand on Michael's arm and moves him toward the door. [JOSH] Don't mind her, Mr. Knight. [MICHAEL] Michael. And I don't. I think she's kinda gutsy. [JOSH] She's been under a lotta pressure since my boy Billy died. Feels like she's fighting a war single-handed and it's almost true. It's tough for her. Would be for anyone, I guess. I'm too old to be much help and Kevin's too young. So on top of everything else, she's got the ranch to look after.... [MICHAEL] I'll do what I can to help. [JOSH] Yep. I betcha you will. C'mon. I'll show you the ranch. By the way, an acre-foot is enough water to cover an acre of land with one foot of water. Or enough to flush 70,000 johns a year. Whichever is more important to you. They laugh. EXT. RANCH - DAY As Michael exits the barn, he crosses to K.I.T.T. to unload his bag from the backseat. As he starts over to the bunkhouse, he glances over to the corral. EXT. DOUBLE M - CORRAL AREA - DAY Fran is coaxing Frank, an ugly, mangy-looking bull, onto the end of a rope. She's being quiet about it. ANOTHER ANGLE Michael walks over towards the corral. Fran's expression is a combination of embarrassment and determination. He stares at her. [FRAN] (slightly defiant) What are you staring at? [MICHAEL] I've never seen anyone take a bull for a walk before. You want some help? [FRAN] No! I mean, it's okay. I'd rather be alone. [MICHAEL] Fran, where are you taking that bull? [FRAN] I'm going to teach Herb Bremen a lesson he won't forget. [MICHAEL] What kind of a lesson? [FRAN] Well, I thought I'd let old Frank here have a little fun for a change with a real high class crowd of Herefords. [MICHAEL] Wouldn't that destroy the value of his herd? [FRAN] You catch on quickly, Michael. Doesn't he deserve it? [MICHAEL] Probably. But that's not the point. [FRAN] That's exactly the point. [MICHAEL] You're gonna take a chance with every ranch in this valley just to play a dirty trick on Bremen. [FRAN] What do you mean? [MICHAEL] If you pull off this stunt you're jeopardizing your chance, everybody's chance, to get rid of Bremen for good in court. And for what? [FRAN] To get even with him. [MICHAEL] That's pure self-indulgence. [FRAN] Who the hell are you to tell me how to run my ranch or my life? You're just here on a pass! You don't belong. Where do you get off being judge and jury? [MICHAEL] I'm not. I'm just pointing out a few facts you're too hot-headed to think about. And maybe too selfish. As he turns away and starts to walk to the bunkhouse, the bull gets away from Fran's grasp and starts to run crazily around the yard. [MICHAEL] (into comlink) Kitt, do something about the bull. [K.I.T.T. (v.o.)] Certainly, Michael. ANOTHER ANGLE as K.I.T.T. comes alive, and with red lights flashing, acts as a matador with mangy old Frank. ANGLE ON FRAN who's astonished. ON THE BARN as Josh exits the barn and stares at what's going on. ANGLE ON K.I.T.T. AND BULL as K.I.T.T. herds the bull back into the corral. BACK TO SCENE [JOSH] Damndest thing I ever saw. [FRAN] How did you do that? How did that car do that? They look at each other, struck by the ridiculousness of it all, and start to laugh. [FRAN] I see it, but I don't believe it. [K.I.T.T. (v.o.)] Everything's under control, Michael. No need to worry. EXT. BREMEN RANCH - DAY - ESTABLISHING INT. BREMEN RANCH - LIBRARY As Alex comes in, Bremen is going over some papers. [BREMEN] Well? Have you figured out another accident yet? [ALEX] It's not going to be easy, Mr. B. From what I hear, the ranchers have established twenty-four hour patrols over the whole water system. [BREMEN] I don't care. If we cut off their supply even for a few hours, their herds will stampede. [ALEX] Yeah, but if they're patrolling.... [BREMEN] Then I guess somebody's gonna have to get hurt. CUT TO EXT. ROAD - DAY as K.I.T.T. drives towards the catchment basin. INT. K.I.T.T. - DAY Josh is in the passenger seat. Michael looks towards the basin. [MICHAEL] What's going on here? [JOSH] Bremen tried to blow it up yesterday. We've got it almost repaired. We lose this basin and the feeder lines into it and the cattle won't make it past three or four days. EXT. BASIN - DAY About twelve men and women are finishing more permanent shoring up of the reserve as Josh and Michael drive up. Fran appears to be doing a lot of ordering around. They get out of the car and move towards her. [JOSH] I'm just showin' Mike here what we gotta deal with. Fran smiles warmly at Josh, obviously very fond of him. [FRAN] Well, as long as you're here, uh, you... (pointing at Michael) ...can go over there and help Ted Moore with those sand bags. She points to where Moore and John Peters are struggling. [MICHAEL] Sure. He moves over to Moore and lends his hefty self to the action. [JOSH] Kinda hard on him, aren't ya, Franny? He did come to help. [FRAN] What kind of help can he be if he doesn't know anything about ranching? Or farming? Or water? [JOSH] Kinda depends on what it is he does know about. Give him a chance. Unless it's somethin' else you're not comfortable about. [FRAN] (lightly) Sometimes I wonder if you missed your calling. You would have been great at quilting bees with all the other gossips...C'mon, we got work to do. This will take the rest of the day. ANOTHER ANGLE as they are all busy working, finishing up. HIGH ANGLE In the distance, Alex is watching the scene through binoculars. Dewey and Kirk are with him. EXT. DOUBLE M RANCH - NIGHT - ESTABLISHING SHOT INT. DOUBLE M KITCHEN - NIGHT A large country kitchen, combination living area, dining area. Josh and Michael are sitting at the table. Fran, who has literally let her hair down, has just poured more coffee into the men's cups and she sits down. Fran and Michael really can't stop making eye contact, but they are trying very hard not to. At least, she's trying hard not to. Kevin is playing with Harry near the fireplace. [FRAN] Time for bed, Kevin.... [KEVIN] Aw, Mom. [MICHAEL] Well, if your mom will let you, Kevin, you can show me around tomorrow. I missed out on a lot of territory today. [KEVIN] You'll drive? [MICHAEL] Yup. [KEVIN] All right! He exits, skipping. Fran stares after him. [FRAN] You know, Michael, this is really our war, not yours. Those people mean business. And they don't care who gets hurt. They haven't managed to kill anyone yet, but I think that's just Bremen's notion of civilized behavior. [MICHAEL] Don't worry about me. I've been in wars before. And survived. I don't like 'em, but I don't like greedy power-hungry people more. So tomorrow I think I'll have a little look around. From o.s. we can hear Kevin calling, "Ma." [FRAN] I guess I'd better go say good night. [MICHAEL] I'll say good night then. I promised Ted Moore I'd do guard duty for him tonight at the reserve. He gets up and waves good night and exits. EXT. RANCH HOUSE - NIGHT as Michael walks over to K.I.T.T. and gets in. INT. K.I.T.T. - NIGHT [K.I.T.T.] It's about time. [MICHAEL] You can't be impatient, Kitt. That's a human trait. [K.I.T.T.] I just like to know what's going on. I'm only as good as my input you know. Did you see what that mongrel did to my tire? [MICHAEL] No, but I'm sure the damage isn't permanent. Kitt, I want you to stay in surveillance mode tonight. We're doing some guard duty and I have a feeling.... [K.I.T.T.] By all means, listen to your instincts. [MICHAEL] Don't worry. I do. He starts the car. EXT. RANCH HOUSE - NIGHT as Michael and K.I.T.T. leave. INT. RANCH HOUSE - KEVIN'S ROOM - NIGHT as Kevin snuggles up to Harry and kisses Fran. [KEVIN] I love you, Mom. [FRAN] I love you too, sweetheart. Sleep tight and don't let the bad bedbugs bite. They both giggle at the ritual. [KEVIN] I think I'm too old for that, Mom. [FRAN] Whatever you say. Good night, Kev. Another hug and she exits. EXT. ROAD - NIGHT as K.I.T.T. and Michael drive to the basin. INT. KITCHEN - NIGHT as Fran finishes putting the cups into the sink. Josh is still sitting at the table. [JOSH] He's a nice young fella. [FRAN] Mm-hum. [JOSH] 'Bout time you went and had some fun, doncha think? Fran turns and just looks at him. [FRAN] Poppa! I'm your son's wife. [JOSH] Widow. [FRAN] He's just drifting through. [JOSH] So what? First time I saw you all lit up inside since Billy died. [FRAN] We're in the middle of a war. I've got no time for distractions. [JOSH] Your problem is you're just too old-fashioned, Franny. Why, we even had fun during WW II. I remember a little lady in a village in...well, never mind. Yessir, we had fun even then. [FRAN] You're an incorrigible old romantic. [JOSH] Nothing wrong with a little romance now and again. A beat as she finishes drying the cup and moves to Josh. She knows what he's telling her, even though some people just can't say it. She bends over and kisses him on the cheek. [FRAN] Good night, Poppa. I love you, too. She exits as he stares after her, shaking his head. EXT. CATCHMENT BASIN - NIGHT as Michael and K.I.T.T. drive up. It's dark and mysterious looking. Someone lights a cigarette in the distance, near an old pickup truck. INT. K.I.T.T. [MICHAEL] See you later, Kitt. He pats the dashboard and gets out, leaving K.I.T.T. in surveillance mode. EXT. K.I.T.T. as Michael approaches the lighted cigarette. The man holding it is Ted Moore. [MOORE] Right on time, Mike. [MICHAEL] Everything okay? [MOORE] So far. But I don't expect any trouble so soon. [MICHAEL] Let's hope not. See you tomorrow, Ted. [MOORE] Thanks, Mike. Don't know why you're doin' this, but we sure appreciate it. He stubs out his cigarette and moves towards his truck, gets in and leaves. ANOTHER ANGLE as Michael checks out the area. He talks into his comlink. [MICHAEL] Kitt, I'm going to check out the perimeter. Stay alert. [K.I.T.T.] That's a redundancy, Michael. I am always alert. Michael reacts. You can't win. EXT. K.I.T.T. as his red lights flash in surveillance mode. Michael goes moving off towards the perimeter. ANOTHER ANGLE Kirk, Alex, and Dewey are hidden in the foliage surrounding the area. [ALEX] (sotto) You take care of the car. We'll take care of him. Kirk nods and moves off. FADE OUT END OF ACT TWO ACT THREE FADE IN INT. K.I.T.T. as his scope shows movement in the bushes. EXT. AREA As Michael checks out the perimeter, his comlink goes off. [MICHAEL] (quietly) What is it Kitt? [K.I.T.T.] There are three men moving about the area. One is approaching me on the rear left. The other two are twenty yards behind you, moving quietly. [MICHAEL] Gotcha. Take care of your end and I'll take care of my end. [K.I.T.T.] Of course. Michael moves off to stalk his prey. EXT. K.I.T.T. as Kirk moves up to the car. He experiments by kicking the tires. K.I.T.T. moves slowly forward. Kirk is very startled and more cautious in his approach. EXT. FOLIAGE as Michael patiently waits, as Alex and Dewey think they are stalking him. BACK TO CAR as Kirk tries to open the door and sees no one inside. [K.I.T.T.] I suggest you remove your hand. Kirk jumps back. BACK TO MICHAEL as Alex and Dewey approach cautiously. They each have a blunt instrument. Michael starts to make his move when there is a very loud noise. BACK TO K.I.T.T. as Kirk screams in terror when K.I.T.T.'s lights go on and a very loud horn is blaring. BACK TO ALEX who moves quickly back to Kirk. Michael starts chasing him. BACK TO K.I.T.T. As Alex and Dewey come tearing through, Kirk grabs them and babbles: [KIRK] It's alive! It's alive! [ALEX] Shut up and let's go. They all run as Michael follows them, then decides to stop. INT. K.I.T.T. as Michael gets in. [K.I.T.T.] Aren't we going after them Michael? [MICHAEL] No, Kitt. We have to stay here on guard duty. But what was all that about? [K.I.T.T.] (proudly) You told me to take care of my end and I did. I don't think that person will ever attempt to approach me again. [MICHAEL] Did the possibility occur to you that you may have scared them off? [K.I.T.T.] Wasn't that the point? [MICHAEL] Not exactly. [K.I.T.T.] (slightly miffed) Well, Michael, next time you want something handled in a specific way, please be sure to tell me ahead of time. I did manage to save us both from harm, you know. [MICHAEL] Right. And good work, Kitt. Now, how about staying in surveillance mode while I take a nap. [K.I.T.T.] Good night, Michael. [MICHAEL] Good night, Kitt. [K.I.T.T.] Michael, I'm sorry if I 'blew it,' as they say. [MICHAEL] Did you know you just made a pun, Kitt? [K.I.T.T.] A pun? Blew it? Blow it? I don't understand! [MICHAEL] Kitt! Shut up! DISSOLVE TO OMITTED EXT. RIVER - DAY As Fran rides up on her horse, Ted and Myra Moore are patrolling the river. [FRAN] How's it going? [MYRA] All quiet so far. [FRAN] Well, don't let up. We know Bremen's gonna make another move on us. It's only a question of where and when. EXT. ROAD - DAY as K.I.T.T. drives along. INT. K.I.T.T. - DAY Michael, as usual, is not driving. [K.I.T.T.] Michael, where are we going? [MICHAEL] To Bremen's ranch. [K.I.T.T.] Why? [MICHAEL] If I knew that we wouldn't be investi- gating. [K.I.T.T.] You call that logic? [MICHAEL] You got a better idea? [K.I.T.T.] (a beat) How would you like to hear a little music? As the music starts: EXT. BREMEN RANCH - DAY As K.I.T.T. pulls up, Bremen is riding his horse in the ring. Michael stops, gets out. Bremen sees Michael watching him, reins up, and rides over to the rail. [MICHAEL] Nice horse. [BREMEN] Nice car. [MICHAEL] Thank you. [BREMEN] I assume you're Michael Knight from the Foundation. [MICHAEL] You're very well-informed. [BREMEN] Naturally. But what can I do for you? [MICHAEL] It's more like what I can do for you. [BREMEN] Meaning? [MICHAEL] I think we both know what's going on around here. I just thought I'd tell you that whatever you've got in mind isn't going to happen. So why don't we make life easy on everybody and leave the status as quo as possible. [BREMEN] You're very confident, Mr. Knight. [MICHAEL] Better confident than over-confident, Mr. Bremen. He crosses back to K.I.T.T. and gets in and drives off as Bremen stares thoughtfully after him. EXT. RANCH - DAY as Michael drives out of the ranch and onto the road. MICHAEL'S POINT OF VIEW - UP THE ROAD of Kirk mending a fence. INT. K.I.T.T. - DAY [K.I.T.T.] Michael? [MICHAEL] Yes, Kitt. [K.I.T.T.] That person up ahead is the one who tried to violate me last night. [MICHAEL] Are you sure? [K.I.T.T.] Unnecessary question. [MICHAEL] Good. Then we may have found some- thing worthwhile to investigate. Take over. INSERT as Michael switches K.I.T.T. to automatic. INT. K.I.T.T. as Michael lays down across the seat so he can't be seen from the exterior. ANOTHER ANGLE on Kirk as he looks up at the sound of K.I.T.T. o.s. HIS POINT OF VIEW as an apparently driverless K.I.T.T. comes screaming down the road at him, red lights flashing across the front grill. BACK TO SCENE as Kirk, with a scream of terror, climbs over the fence and starts running across the field. EXT. K.I.T.T. as K.I.T.T. smashes through the fence in hot pursuit and chases Kirk around the field until he finally pins him up against another fence. ANOTHER ANGLE as K.I.T.T. comes to a stop, and Michael climbs out. [MICHAEL] Sorry about that, fella. But that car's kinda got a mind of its own. (to K.I.T.T.) Okay, Kitt. Back off. K.I.T.T. obligingly slides back about three feet. [MICHAEL] I don't know what's going on, but you seem to have some kind of problem with my car. [KIRK] No! Honest, no! [MICHAEL] Good, because that car has some very weird capabilities that I don't think you want to find out about. Michael is really beginning to enjoy scaring the bejeebers out of this creep. [KIRK] Whaddya mean? Michael grabs him. [MICHAEL] C'mon, I'll show you. Then maybe I won't have to give you another demonstration. Unless, of course, you have some information you want to give me. [KIRK] Whaddya want to know? [MICHAEL] Like maybe what Bremen's next move is. [KIRK] I could get in big trouble. [MICHAEL] What do you mean, 'get'? You are in big trouble. I've never seen that car have such a hatred for anybody. [KIRK] I think you better go check the main water pipe to the catchment basin. That's all I can tell you. Just please go. And take it with you. [MICHAEL] Whatever you say. He moves towards K.I.T.T. OMITTED EXT. K.I.T.T. as Michael jumps in. INT. K.I.T.T. as he moves out. [K.I.T.T.] Where are we going, Michael? [MICHAEL] To the main pipe above the basin. It seems your ghost act last night made a lasting impression on that creep. [K.I.T.T.] You see, Michael, I didn't 'blow' it. Besides, I'm not weird. Different, true, but weird is an inaccurate description. [MICHAEL] Just drive, Kitt. EXT. K.I.T.T. ON THE HIGHWAY tooling along very fast. EXT. HILLY AREA - DAY near where the master pipes are located. MICHAEL'S POINT OF VIEW - A HUGE BACKHOE up on top of a hill is silhouetted against the sun in the distance. INT. K.I.T.T. - DAY [MICHAEL] Kitt, scan the area. What's up on top of that hill, aside from that monster? INSERT - DASHBOARD as K.I.T.T. computes. BACK TO SCENE [K.I.T.T.] There are several major water pipes on that hill, leading to the irrigation ditches to several ranches. [MICHAEL] That's what I was afraid of. [K.I.T.T.] There's no need to be afraid, Michael. [MICHAEL] Figure of speech, Kitt. Let's get up there and see what's going on. EXT. K.I.T.T. - DAY as the car makes its way up the hill. EXT. HILLTOP - DAY as a massive backhoe is getting into position to use its arm to destroy the pipes leading to the ranches. Its arm poises as Michael and K.I.T.T. move towards it. EXT. ROAD - DAY as K.I.T.T. races up to reach the top of the hill. EXT. HILLTOP - DAY as the backhoe moves into position to snap the water lines. ANOTHER ANGLE as K.I.T.T. speeds up to the backhoe. ANGLE ON DRIVER who is at first startled, then delighted to deal with this puny intruder. ON MICHAEL [MICHAEL] I think we're in time, Kitt. [K.I.T.T.] Of course, Michael. Do you wish me to take over? [MICHAEL] I think I can manage. ANOTHER ANGLE As K.I.T.T. guns towards the backhoe, it has to move backwards away from the pipes. The scene looks like either a cobra versus a mongoose, or the Jolly Green Giant with a terrier yapping at its heels. INT. BACKHOE as the operator pushes a lever. He has a malicious look on his face. EXT. K.I.T.T. as the arm of the backhoe crashes down, moving massive amounts of dirt where K.I.T.T. was seconds before. K.I.T.T. has backed off, doing a dance around the equipment. The arm is immediately raised again and poised to strike, as we: FREEZE FRAME FADE OUT END OF ACT THREE ACT FOUR FADE IN EXT. HILL - DAY - CONTINUOUS ACTION as K.I.T.T. dances away from the backhoe as its arm crashes down again. INT. BACKHOE as the operator gets frustrated. MONTAGE Intercut the following: The backhoe moving to attack K.I.T.T. The backhoe's arm moving dirt. K.I.T.T. moving out of the way in time. The operator getting more frustrated by the minute. Michael having a good time. The backhoe being moved further and further away from the water link. INT. K.I.T.T. [MICHAEL] I think we can finish him off now, Kitt. [K.I.T.T.] What do you intend to do, Michael? You know I am not programmed to finish off any person. [MICHAEL] What about a machine? [K.I.T.T.] No problem. EXT. K.I.T.T. as K.I.T.T. does a quick 180. INT. BACKHOE The driver, thinking he has the pest on the run, moves to follow it. EXT. K.I.T.T. as K.I.T.T. stops abruptly and fires the grappling hook, into one of the tires, thus making it go flat, causing it to sink and list slightly. INT. BACKHOE - ON THE FACE OF THE DRIVER who gets out and then makes a mad dash for freedom. INT. K.I.T.T. [K.I.T.T.] Are you going to let him get away, Michael? [MICHAEL] What do we want him for? Without the backhoe, he's no threat to anybody. [K.I.T.T.] Very logical, Michael. [MICHAEL] Thanks, Kitt. EXT. ROAD as K.I.T.T. moves down the hill towards the Double M. EXT. BREMEN RANCH - ESTABLISHING INT. BREMEN RANCH - LIBRARY Bremen is in the middle of screaming at Alex and Dewey. [BREMEN] I don't want to hear any more excuses! This guy is always in the right place at the wrong time! I want that water supply shut down! EXT. RIVER - DAY as Fran and Michael walk their horses along the bank, patrol- ling while they walk. [MICHAEL] So after this incident I figure it'll reach a peak pretty soon -- and when Devon gets that injunction you'll be okay...What's the matter? [FRAN] I'm just worried. [MICHAEL] About Bremen? [FRAN] No. That's a temporary situation. One way or the other...I'm worried about Kevin. [MICHAEL] Why? [FRAN] I'm afraid he'll grow up like me or Josh. [MICHAEL] So what's wrong with that? [FRAN] Well, Josh still thinks we live in the Old West, and I'm not sure that we're the greatest influence on him sometimes. [MICHAEL] You give him a lot of love, right? She nods. [MICHAEL] And discipline? She nods. [MICHAEL] You give him a chance to be himself, right? [FRAN] Most of the time. [MICHAEL] Then he'll be fine. [FRAN] You don't have any kids. How come you know all this? [MICHAEL] I was a kid. I remember. [FRAN] I'm not sure you're still not a giant kid right now. [MICHAEL] You may be right. They laugh. [FRAN] Michael, do you think people can change? [MICHAEL] All the time. [FRAN] Well, you know...I've got this really bad temper sometimes. [MICHAEL] No kidding. [FRAN] I just wish sometimes I was an easier sort of person instead of always shooting off like a rocket first. I know that's not good for Kevin. Or me. [MICHAEL] You just have to learn to channel all that energy into something positive. [FRAN] I think I'm afraid if I let go of all the anger, I just won't be able to cope anymore. It's the only thing that keeps me strong. [MICHAEL] You don't have to be strong all the time, you know. Nobody is. [FRAN] Not even you? [MICHAEL] Well, almost nobody. They laugh. [MICHAEL] You know, Devon is always telling me how impulsive I am. Watching you, I think I know what he means. [FRAN] You're right. I know you're right. But now I think what I need more than anything is a hug. They do. He kisses her gently, and then they continue walking. DISSOLVE TO EXT. DOUBLE M BARN - NIGHT - ESTABLISHING INT. BARN - NIGHT Kevin quietly enters, carrying his blanket. He moves over to where his horse is, and pats her, then sets his blanket down, curls up and goes to sleep. DISSOLVE TO EXT. DOUBLE M BARN - DAWN as Alex, Dewey and Kirk move towards the building. They carry gas cans and start spreading gas around the base of the building. [DEWEY] Alex, this is crazy. Bremen's gonna have a fit. [ALEX] I don't care. Nobody makes a fool out of my brother and gets away with it. [KIRK] That's right. I'm not gonna be put down by some dumb car. INT. BUNKHOUSE K.I.T.T. awakens Michael through the comlink. [K.I.T.T. (v.o.)] Michael, I suggest you awaken. Those three antisocial-types are back. This time they are carrying gas cans! [MICHAEL] I'm on my way, Kitt. But don't wait for me. He starts out of bed. EXT. BARN - DAWN as K.I.T.T. goes into an attack mode and starts to move in on Alex, Kirk and Dewey. They set fire to some gas-drenched hay which will trail a fire to the barn. ANOTHER ANGLE As the fire starts to burn towards the barn, K.I.T.T. screams in between the barn and the fire, breaking the trail and almost creaming Kirk, who, in his fear, throws a gas can at K.I.T.T. The can torches off as a blazing K.I.T.T. proceeds to chase the three around the yard. He also starts playing a loud European-type siren. [K.I.T.T.] (through PA) Cease and desist immediately. The dog runs out of the barn and starts barking, further confusing the three intruders. ON MICHAEL as he comes running out of the bunkhouse, and starts to chase them. They get to their car and split. [MICHAEL] Kitt, don't worry about them. Just take care of the fire. ON K.I.T.T. as K.I.T.T. rolls through the burning hay and scatters it, so the threat is dissipated. ON RANCH HOUSE as Josh and Fran come running out, carrying shotguns. ON KIRK'S TRUCK driving away at top speed. ANOTHER ANGLE as the three converge in the front yard. [JOSH] What the hell was all that about? [MICHAEL] I left Kitt on surveillance mode. Apparently the next step was to burn down the barn. [FRAN] They were going to burn down the barn? ANGLE ON BARN as Kevin walks out sleepily. [KEVIN] Hey, what's all the noise about? BACK TO SCENE as the others stare at him in horror. ANOTHER ANGLE [FRAN] You were in the barn? [KEVIN] Yeah. Sorry, Mom. I just thought Terra needed a little company. [FRAN] I could just kill you. Boy, are you a lucky kid. Get in the house right now, young man. And no back talk. Kevin knows when not to give her a hard time and moves into the house. [FRAN] They were going to burn down my barn with my kid in it. She looks at Josh and Michael. [FRAN] Am I still being self-indulgent? She turns and walks into the house, leaving them there with no reaction. DISSOLVE TO EXT. RANCH HOUSE - DAY There is no one around. Fran comes out of the barn, carrying a rifle, leading her horse. She mounts and rides off. INT. BREMEN RANCH - LIBRARY - DAY Bremen is going quietly berserk as Alex, Kirk and Dewey stand at attention, wincing every time he comes near them. He's dressing them down as if he were a controlled Patton furious with the troops. [BREMEN] Stupid. Just plain stupid. He goes nose-to-nose with Alex. [BREMEN] You are an imbecile. Don't ever forget that. You don't have a brain in your head. You almost killed a little boy. Not to mention a first class horse! Do you know what that would have done? You don't kill people. Not unless there's no other way. You two have almost single- handedly destroyed a situation I've been manipulating for years. Anybody can kill people. Now we'll bring down the State Police, and the Feds. [ALEX] We didn't know the kid was in there, boss. [BREMEN] You have left me no option. I have no time now. We're going to have to flood them out. For good. EXT. BREMEN RANCH - DAY near the transportation garage. Fran is sneaking around to the house when she hears voices. ANOTHER ANGLE as Alex and Kirk are outside, talking. [ALEX] This time we're gonna do it right. [KIRK] It's not my fault. It's that car, I tell you. It's a jinx. [ALEX] Never mind the car. All we gotta do is make it look like an accident opened those sluice gates. CLOSE ON FRAN She's stunned. BACK TO SCENE [ALEX] That oughta take care of the Double M and the rest of them for good. Now, let's go and set those charges. ON FRAN as she sneaks out of the area, back the way she got in. EXT. EQUIPMENT AREA as Fran moves around the other side of the building. She looks around, and starts to make a run for it, then stumbles. She looks down at a pair of feet. As she looks up, we see she's looking straight at: CLOSE ON ALEX'S FACE grinning down at her. EXT. BREMEN GARAGE - DAY as Fran looks up at Alex. He lifts her off her feet, and laughs. She struggles like a tiger, but is obviously no match for him as he throws her over his shoulder. EXT. BREMEN RANCH - ON KEVIN as he watches from a distance. He struggles, knowing he has to make a decision. A beat later, he and Harry start running like crazy away from Bremen's. VARIOUS CUTS OF KEVIN riding a horse. INT. BREMEN LIBRARY Fran is standing, defiant. Bremen is standing, relaxed. Kirk and Alex are in the b.g. [BREMEN] You just don't know when to stop, do you, my dear? Lord knows what you were doing around here, but it doesn't matter anymore. I intend to be good to you and give you all the water you need or ever could use. [FRAN] You're going to flood me out. Along with the rest of the valley. [BREMEN] Oh, no. A terrible accident is going to happen and somehow the sluice gates will open and before anything can be done...well.... [FRAN] Herb, you're a jerk if you think anyone will ever believe that. [BREMEN] Belief is not the issue. Proof is. However, that is not my biggest problem at the moment. I've managed to avoid violence this far. But you tell me, what the hell can I do with you now? ANGLE ON FRAN as she realizes the predicament she's in. EXT. RIVER - DAY as Kevin rides up to where Josh and Michael are patrolling the river. [KEVIN] They got Mom! I followed her over but I couldn't help her. [MICHAEL] (into comlink) Kitt, meet me at the Highway 6 crossroads. [K.I.T.T. (v.o.)] Roger. [JOSH] What the hell was that? Let's just go. You 'bout ready to go get her back, Kevin, or would you rather ride home? He looks at Kevin, who's glad of the choice. [KEVIN] I'll go back. I hated leaving her. [JOSH] I know. But that's what you had to do to help her out. Now, let's go. My ear is wiggling again. [MICHAEL] This time you'll do it my way. I don't know what she was doing, but if we're going to get her back you better listen to me. VARIOUS INTERCUTS - K.I.T.T. driving to the highway (red-lights on). VARIOUS CUTS - KEVIN, MICHAEL AND JOSH riding to meet him at the crossroads. The car and horses pull up at the same time. The three jump off the horses, pat them, and send them home. Then get into K.I.T.T. [MICHAEL] You two get in the back. INT. K.I.T.T. as they take off down the road. Josh looks at the dashboard. [KEVIN] Boy, this really is some car. [JOSH] What'll they think of next? [K.I.T.T.] Several variations, I'm sure. EXT. K.I.T.T. as he zooms down the road. EXT. BREMEN RANCH - ESTABLISHING EXT. K.I.T.T. as he travels toward the ranch, almost flying. EXT. ROAD - DAY on the way to the sluice gates, as Alex and Kirk drive up in a pickup truck. OMITTED EXT. BREMEN RANCH - DAY At the front gates, K.I.T.T. drives up and stops. INT. K.I.T.T. [MICHAEL] Okay, Kitt, scan the interior. See if you can locate her. [K.I.T.T.] (almost sniffing) Of course I can locate her. If she's still here. On Josh and Kevin's reaction: [MICHAEL] Try a little tact next time. INSERT - DASHBOARD as lights flash and we see a floor plan of the house on the monitor. BACK TO SCENE [K.I.T.T.] There are three people in the south- east portion of the house. Several in the back, which presumably is the kitchen area. And one person in a tool shed, northwest perimeter of the house. [JOSH] That's gotta be Fran. Let's go. EXT. BREMEN RANCH as K.I.T.T. drives through, almost flying towards the large tool shed. OMITTED EXT. TOOL SHED as K.I.T.T. stops, scans the shed for a beat, then smashes through. INT. TOOL SHED - DAY as Fran almost collapses with relief when she sees who it is. K.I.T.T. automatically opens the passenger door. [MICHAEL] C'mon. Let's go. She jumps in and they back out very fast. INT. K.I.T.T. as they are driving out. [KEVIN] Are you okay, Mom? [FRAN] Yeah. Just embarrassed I got caught. But we have to hurry. They're gonna open the sluice gates and flood out the entire valley. [MICHAEL] Let's go then. OMITTED EXT. K.I.T.T. as he zooms off the property. INT. K.I.T.T. as they speed down the road towards the dam. [JOSH] What about Bremen and his hoodlums? [MICHAEL] Later. OMITTED EXT. ROAD as K.I.T.T. races to the dam. OMITTED EXT. DAM - ESTABLISHING - STOCK INT. CONTROL ROOM as a small explosion occurs. ANGLE ON SLUICE GATES - STOCK as they start to open. ON K.I.T.T. stopping in front of the dam. EXT. DAM - K.I.T.T.'S POINT OF VIEW - STOCK as the sluice gates open and the water starts to pour out. INT. K.I.T.T. as the four of them look on unhappily. The tears start to trickle down Fran's cheeks. [FRAN] We're too late. All of this and we didn't make it. [MICHAEL] Don't be too sure about that. Kitt, there's a canyon about a mile down the road. Let's get there before the water does. EXT. K.I.T.T. turning around and speeding down the road. EXT. SLUICE GATES - STOCK as more water is released as the gates open wider. EXT. CANYON - STOCK as the water begins rushing down. EXT. ROAD K.I.T.T. on the way. EXT. CLIFF AREA as K.I.T.T. turns around and blasts his rockets. Intercut the following: EXT. CANYON - STOCK The water flowing down the canyon. ANOTHER ANGLE - THE ROCK - STOCK exploding down the canyon from another angle. ANOTHER ANGLE - A LANDSLIDE OF ROCK - STOCK starting down the walls of the canyon. ANGLE - STOCK the water flowing. EXT. CANYON - STOCK The landslide blocking up the canyon, acting as a natural dam. EXT. CLIFF as Michael, Fran, Josh, Kevin and Harry watch the rocks stop the flow of water. Fran just puts her arm around Michael's waist and looks up at him. [FRAN] Who'd believe it? FADE OUT END OF ACT FOUR TAG FADE IN INT. DOUBLE M RANCH - DAY Devon is seated with Josh and Fran and Michael, finishing lunch. [DEVON] Well, Mrs. Morgan, they'll all be in jail a long time. I guess we didn't do so badly after all. [FRAN] No, Mr. Miles. I guess you didn't. She looks up at Michael. [FRAN] I hope you'll accept our invitation to come back. I know Kevin will be really disappointed if you don't. [MICHAEL] Just Kevin? She shakes her head no and smiles. [MICHAEL] How can I refuse? Josh and Devon smile benignly, when we hear a large bellow o.s. They all get up as Kevin dashes in. [KEVIN] I didn't mean to, Mom! Honest! [FRAN] Didn't want to what? [KEVIN] Old Frank got out and I can't catch him! She rolls her eyes -- They all exit. EXT. DOUBLE M - DAY As they come outside, they are greeted with a priceless sight. THEIR POINT OF VIEW as K.I.T.T., red lights flashing, is acting as a matador with the mangy old bull. [K.I.T.T.] No need to worry, Michael, I've become quite adept at this sort of thing. BACK TO GROUP Not believing what they're seeing, they start laughing. BACK TO K.I.T.T. As Frank charges the red lights, K.I.T.T. moves, then starts to herd him back to the yard. FADE OUT THE END

{"show": "Knight Rider", "season": "s01", "episode": "e06", "title": "Not a Drop To Drink"}

knightriderarchives

ACT ONE FADE IN EXT. ROAD - DAY - STOCK A succession of quick cuts to establish K.I.T.T. as he hums along on automatic. INT. TRANS AM - DAY [MICHAEL] We're making really good time. Should be at the Foundation in an hour. [K.I.T.T.] I'm afraid there'll be a slight delay, Michael. I'm going to have to make a pit stop very shortly. [MICHAEL] C'mon, Kitt. Quit kidding. You're not that human. [K.I.T.T.] I was using the term in its literal sense, Michael. If you will glance at my fuel gauges, you'll see that I'm virtually operating on fumes. INSERT - FUEL GAUGES BACK TO SCENE [MICHAEL] Man, Bonnie really goofed up this time. [K.I.T.T.] It wasn't Bonnie's fault. It's just that her route plan didn't include the two hundred mile diversion involving you and that young lady you met back in.... [MICHAEL] Never mind. Never mind. Let's go to manual and I'll find you some blood, Dracula. [K.I.T.T.] A very inept analogy, if I may say so. Blood has virtually no combus- tible capabilities at all. In fact.... [MICHAEL] Kitt. Shut up. EXT. ROAD - DAY as Michael turns off main highway to side road and after a beat, pulls to a stop in front of a ramshackle Mom and Pop- type gas station. INT. GAS STATION - DAY where an evil looking Man and his frau look up as K.I.T.T. pulls up to a pump. Their faces light up. [MAN] That's some kind of car, Mother. Ought to be good for one new tire and a couple of hoses at least. Hand me the ice pick, willya? She slips him the ice pick which he slides up his sleeve and exits. INT. K.I.T.T. [K.I.T.T.] Now remember, Michael. Five gallons should do amply. No more, I don't want to have to spend a day getting my tanks purged. Very distasteful procedure. [MICHAEL] Okay. Okay. He exits. EXT. CAR - DAY as the Man approaches the car. [MAN] Afternoon, mister. What'll it be? [MICHAEL] Five gallons, unleaded, please. [MAN] Only five? [MICHAEL] It's okay. I'm doing a mileage test. The Man takes the nozzle and starts looking for the filler cap, which, naturally, he can't find. [MAN] Uh, where's your cap, buddy? [MICHAEL] It's a little complicated. Here, let me do it. He takes the hose and crosses behind the car. [MAN] Check under your hood? [MICHAEL] Don't bother. [MAN] No trouble. He walks to the driver's door and tries to open it (to release hood latch) without success after mucho struggle. REAR OF CAR as Michael quickly bends down and inserts hose nozzle in exhaust pipe. In a few quick gulps, K.I.T.T. sucks up the five gallons, as the overloaded pump clangs like a pinball machine. BACK TO SCENE as the Man now decides to "check the tires." CLOSE ON TIRE as the Man tries to jab it with the ice pick in a succession of ever-increasing quick jabs. The ice pick keeps bouncing off the tire until finally it gives up and just bends in half. BACK TO SCENE as the old Man throws down the ice pick and grabbing a wrench, reaches in to screw up the shock absorbers. Suddenly, K.I.T.T. rolls back about a foot, the old Man leans after him and he moves back again and again until the old Man finally falls on his face. ANGLE ON MICHAEL as he reaches down to help the old Man up. [MICHAEL] You okay? [MAN] (looking at K.I.T.T.) Yeah. Yeah. [MICHAEL] Sure thing. What do I owe you? [MAN] Uh, uh...nothing. Forget it. It's on the house. As he backs towards the office/store: [MICHAEL] Well, gee...thanks. He gets into K.I.T.T. and they split. VARYING HIGH ANGLE DRIVING SHOTS - STOCK INT. K.I.T.T. - DAY [K.I.T.T.] Some people! [MICHAEL] I know, Kitt. Did he do any damage? [K.I.T.T.] To me? You must be jesting. Perhaps with some plastique, a jackhammer, a diamond-edged hacksaw, he might have had an outside chance of throwing out a circuit or two, but damage, it's.... [MICHAEL] Kitt, shut up. Please! [K.I.T.T.] Of course, Michael.... EXT. HIGHWAY - DAY - VARIOUS ANGLES as K.I.T.T. drives along. EXT. WIDE OPEN SPACES - DAY Bach's "Tocatta and Fugue in D Minor" precede the appearance of a brilliantly polished Mercedes which is tooling down the highway toward a desert town. INT. CAR - DAY Devon is behind the wheel. Despite his normal appearance -- three-piece suit, elegant coif, manicured nails -- he is decidedly in repose as he hums along with the music emanating from his radio. OMITTED EXT. HIGHWAY - DAY - ON MERCEDES The car roars past a sign reading: LYNDHURST FLATS - POPULATION 4,000 CUT TO EXT. MAIN STREET - DAY - ANGLE ON SQUAD CAR parked in an alley, out of sight. Two local police officers are in the front seat. Both are ex-military types with "don't give me any lip" chiseled into the lines on their faces. Sergeant Ted Wallace is behind the wheel reading a magazine while his partner, Rex Saunders, chews gum and watches traffic. Abruptly, Saunders nudges Wallace. Wallace glances up, grins, starts the engine and pulls out quickly. INT. DEVON'S MERCEDES - DAY He's driving along, looking for a gas station when he hears the burst of a siren. He looks up, sees flashing reds in his rearview mirror. EXT. STREET - DAY Devon pulls over to the curb, rolls down the window as Wallace and Saunders get out of the squad car and approach. Saunders walks to the rear of the Mercedes and taps his nightstick against the tires, bumper guards, what have you. Wallace steps up to the driver's door and peers in. [WALLACE] Your driver's license. [DEVON] What seems to be the problem, officer? [WALLACE] I was going to ask you that. You got a burr up your muffler? [DEVON] I beg your pardon? [WALLACE] You roared right through a posted intersection without stopping. He motions to: A STOP SIGN hidden behind a large tree at the intersection of the main street and an alley. RESUME SCENE [DEVON] I don't want to tell you your business, officer.... [WALLACE] Then don't. [DEVON] But that sign is not legally posted. It's hidden. [SAUNDERS] You want me to pull him out of there, Sarge? [WALLACE] No, just start writing up his vehicle. Abruptly there's the sound of shattering glass. Devon immediately opens his door and walks to the rear of his car where he can see Saunders twirling his nightstick innocently. ON TAILLIGHT as Saunders smashes it. INSERT - TAILLIGHT It's shattered, red glass lying all over the street. RESUME DEVON bristling with indignation. [DEVON] You broke that light. You're going to pay for it. [SAUNDERS] Me? Never touched it. [WALLACE] (writing ticket) Broken vehicle lamp, running a stop, failing to produce license. (smiles coldly) You're running up quite a fine. [DEVON] Which I don't intend to pay. That stop sign is nothing but a poorly concealed trap. [SAUNDERS] I think he's trying to say we set him up. [DEVON] That's a crude way of putting it, but accurate. Now if you'll excuse me, I'll find a lawyer to handle this matter for me. [WALLACE] (gripping Devon's arm) That comes later. For now just get in the squad car. [DEVON] You can't be serious. In a flash, Devon is thrown up against the squad car by Wallace. Saunders pats him down, hands Devon's wallet over to the Captain who peruses it, pulling out Devon's license. [WALLACE] Take care of Mr. Miles' car, Rex. [SAUNDERS] You bet. [DEVON] Now see here. [WALLACE] (pushing Devon into squad car) Oh...and Rex, see about getting that taillight fixed. It's the least we can do, considering how much time and money Mr. Miles is going to lose while he's a guest in our jail... waiting to see the judge. Devon winces at the prospect of being carted off by this pair of two-bit crackers. INT. K.I.T.T.'S SEMI - DAY Bonnie has just finished the work on K.I.T.T. ANGLE - MICHAEL as he steps through the door beaming broadly and carrying a small, disc-shaped object which even the untrained eye could identify as some sort of computer software. FULL SHOT as Michael approaches Bonnie and the Trans Am. [MICHAEL] (to Bonnie) Hi there, beautiful. (beat) How's it going, Kitt? [K.I.T.T.] At the moment I'm overcome with curiosity. Have you finished your first self-designed program for me? [MICHAEL] You bet. It's all on this little disc. He holds up the disc, then turns to Bonnie. [MICHAEL] What do I do now? [BONNIE] Do I have to show you everything? [MICHAEL] (sly smile) Only if you want to. Bonnie sneers at the double entendre, takes the disc from Michael's hand and walks over to a computer. Michael follows her. [BONNIE] What did you program Kitt to do, anyway? [MICHAEL] Can't tell you, Bon. [BONNIE] What do you mean? What's the big secret? [MICHAEL] Sorry. All I can say is that some things a guy's got to keep between just him and his car. Bonnie shakes her head wearily and inserts the disc causing the lights of the computer to blink in such a fashion that suggests the ingestion of information. ANGLE - MICHAEL AND BONNIE as they watch the computer. [BONNIE] I just love the way Kitt consumes his information, don't you? [MICHAEL] Absolutely. There's something posi- tively sensual about it. [BONNIE] (indignant) Sensual! Sensual!!! What do you mean, sensual? [MICHAEL] Nothing! Nothing. Wrong word. Mistake. Tilt. Forget it. He retreats in despair as she stares indignantly after him. CLOSE SHOT - A SIGN It spells out in ominous letters: LYNDHURST FLATS JAIL. INT. JAIL It's a basic rinky-dink rural slammer. One cell facing the Captain's desk. The most striking thing about the jail is that its only prisoner is Devon. His captor, Wallace is at the desk reading a girlie magazine. ANGLE - DEVON as he plops a spoon into his bowl of gruel and grits his teeth in disgust. [DEVON] I'll have you know this whatever you call it is positively unpalatable. [WALLACE] Glad you like it. I'll tell the chef. [DEVON] This is an outrage. The least you could do is provide me with some decent bread and water. [WALLACE] And the least you could do is provide me with some peace and quiet. Now that's all you're gonna get so shut up and eat. He goes back to the girlie magazine. As Devon stares down into his bowl with distaste, the front door opens and Saunders enters. He belches. [SAUNDERS] Food ain't getting any better over at the diner, Sarge. [DEVON] Really! You should try eating here for a change. [SAUNDERS] His highness still complaining, huh? [WALLACE] Nonstop. Well, you can listen to him for a while. I'm due over at Sinclair Headquarters. I'm acting night watch commander for the whole county tonight. [DEVON] What a beautiful thought. Almost makes me glad I'm in jail for the night. [WALLACE] They never learn, do they, these smart mouths. (to Saunders) Well, he's all yours, Rex. Have a cool evening, hear. He exits. [SAUNDERS] It's gonna be a long evening, mister. Care to play some cards, maybe? [DEVON] No thanks. I think I'll just lie here quietly and enjoy the ambiance. [SAUNDERS] Ambiance? CUT TO EXT. HIGHWAY - DAY The Trans Am is making tracks. INT. TRANS AM - DAY Michael is driving and talking with K.I.T.T. We pick them up in middiscussion. [MICHAEL] I don't know, Kitt.... [K.I.T.T.] Michael, I assure you I've considered all the pertinent factors. My accuracy will be flawless. [MICHAEL] Yeah, but what about the intangibles. How can you be certain of the weather, or the injuries, or.... [K.I.T.T.] (a little piqued) Michael, if you didn't want my expertise why did you program me with all this data. [MICHAEL] Okay, okay. I'll go with Kansas City over Denver, but I think you're dead wrong about Dallas. They'll never cover the point spread. K.I.T.T. is prevented from delivering a retort when a buzz is heard. ANGLE - DASHBOARD Michael flicks a switch. [MICHAEL] Hello. Intercut with: INT. K.I.T.T.'S SEMI - DAY Bonnie, dressed in skirt and sweater, and ready to leave, is on the phone. Intercut the following: [BONNIE] Hi. [MICHAEL] What's up? [BONNIE] (smiling) Help. [MICHAEL] What's that supposed to mean? [BONNIE] It means Devon's in jail. [MICHAEL] (chuckles turn to laughs) Come on, Bonnie...Devon? Busted? That's ridiculous. [BONNIE] Unfortunately, it also happens to be true. [MICHAEL] (hysterical) What did they get him for? Assault with a deadly crumpet? [BONNIE] (trying to suppress a giggle) Michael. He was picked up on a traffic violation and insisted on seeing a lawyer. [MICHAEL] (stops laughing) This I'd love to see. Where's he being held? [BONNIE] A little town called Lyndhurst Flats. [K.I.T.T.] Strange. That's exactly four hundred twelve miles straight ahead of us on this route. [BONNIE] That's why I called. [MICHAEL] And that's where I'm going. Bonnie hangs up the phone, a little uncertain about the situation. EXT. LYNDHURST FLATS JAIL - NIGHT - TO ESTABLISH INT. JAIL All is quiet, Devon is lying on his bunk, Saunders is reading his girlie magazine as the door opens and Officer Charly Smith pushes a man into the room. The man stumbles into the middle of the room. He is in his early forties, apparently down on his luck and a little in the bag. He is Frank Reston who we will soon learn is a reporter in Lyndhurst Flats, and not a very popular one with the police. [SAUNDERS] Well, well, well. Look who's here. If it isn't our favorite member of the press...Mr. Frank Reston in person. [SMITH] And drunk as a skunk. Reston is a tough hombre, sarcastic, doesn't like to be pushed around. And he is full of contempt for the two lawmen. [RESTON] You guys are cute, you know that. [SAUNDERS] Where'd you find him? [SMITH] Outside of Lefty's. He was talking to a parking meter. [SAUNDERS] That one of your famous 'sources', Reston? Smith laughs. [RESTON] (straight-face) You know you guys are absolutely hilarious. Why don't we get together for lunch sometime. I mean it. Saunders gives him a push into the cell. Locks him in with Devon. [SAUNDERS] Get in there. [RESTON] Wait a minute, bozo. You can't book me without a breath test. [SAUNDERS] You're a troublemaker, Reston. I don't need no breath test to tell me that. ANGLE - DEVON He reacts to the new tenant. [DEVON] Reston. Are you Frank Reston? [RESTON] Fifth Amendment, old boy. I'll have a Fifth Amendment. Great name for a booze, huh? [DEVON] I'm Devon Miles. [RESTON] Okay name for a liqueur maybe. But not for real booze. [DEVON] Devon Miles. From the Foundation, the one you wrote the letter to. The reason I'm in this God-forsaken town in the first place. [RESTON] God-forsaken, huh! You sure got that right. I could tell you things about this county.... [DEVON] But isn't that why I'm here? [RESTON] It's a free country, pal. If you're here, it's your problem. Don't go laying it on me now. As Devon throws up his hands in disgust: EXT. SINCLAIR POLICE STATION - NIGHT - TO ESTABLISH INT. STATION - NIGHT - CLOSE ON WALLACE sitting behind his desk as the phone rings. [WALLACE] (into phone) Wallace here. Intercut: CLOSE - SAUNDERS ON PHONE [SAUNDERS] Hey, Sarge, you'll never guess who we just picked up on a D and D rap. [WALLACE] The Mayor? [SAUNDERS] C'mon, be serious. That creep Frank Reston. You know, that loud-mouthed reporter that's been trying to hang something on all of us for the last three years. [WALLACE] Reston, huh? And all you got was a drunk and disorderly, huh? Too bad it wasn't something really good. Like some kind of sex offense. [SAUNDERS] It could be arranged, Sarge. [WALLACE] (thoughtfully) No. No. Tell you what, just bring good ole Frank over here to me in Sinclair. It's gonna be a slow night, a good time for us to have a nice long talk. [SAUNDERS] Right away, Sarge. [WALLACE] Thanks, Rex. He hangs up and with an evil grin on his face, slowly starts pulling on a pair of loaded black gloves. EXT. LYNDHURST FLATS JAIL - NIGHT - TO ESTABLISH INT. JAIL Devon and Reston are behind bars. Smith is reading Saunders' magazine. Reston is restless. He leans against the bars and grumbles. [RESTON] Okay, fellas, fun time's over. How much is it gonna cost me to get out of here? As Saunders enters: [SAUNDERS] Are you insinuating that we might take a bribe? [RESTON] It was a shot in the dark. I should have known better than to think I could corrupt a couple of honest officials like yourselves. [SAUNDERS] Okay, there. Just watch it. [DEVON] (sotto to Reston) I'm inclined to give you the same advice. These gentlemen have a rather unique means of interpreting the law. [RESTON] Hey, you don't have to tell me about it, pal. I know all about these guys. And their boss. Ain't that right, boys? [SAUNDERS] I wouldn't know anything about that. All I do know is that they want you up at headquarters at Sinclair. So let's move it. [RESTON] And suppose I don't want to go to Sinclair just right now. [SAUNDERS] Book doesn't say anything about what you do or don't want. They tell me to bring you, you go. Peacefully or bruised, your choice. [RESTON] An offer I can't resist, huh. Well, okay then, let's go. Saunders opens cell, cuffs Reston and they exit as Devon stares after them thoughtfully. OMITTED EXT. DESERT HIGHWAY - DAY The Trans Am is on the outskirts of Lyndhurst Flats. INT. TRANS AM [MICHAEL] Kitt, you sure you know where this place is? [K.I.T.T.] Of course I do. We're approaching the city limits even as we speak. EXT. ROAD The Trans Am zips past the Lyndhurst Flats sign. [MICHAEL] Right you are, old buddy. [K.I.T.T.] Michael, remember we're due in Phoenix at five today. [MICHAEL] That can wait. I wouldn't miss the chance to bail out our illustrious leader for all the pasta in Italy. EXT. COURTHOUSE - DAY - TO ESTABLISH the base of operations of Judge Roland S. Paxton. INT. JUDGE'S OFFICE - DAY It's the kind of office that an autocratic, hard line, and corrupt Judge would have. Wallace and Saunders enter the room, clearly troubled. They approach the Judge who's busy and looks like he doesn't want to be disturbed. [WALLACE] Sorry to bother you, Judge.... [JUDGE] (impatient) What's the problem? [WALLACE] Well, it's that reporter, Reston, we busted last night. [JUDGE] What about him? [WALLACE] Well, we were trying to talk to him, sort of, and I think we might have gone a little overboard. (beat) He's dead. [JUDGE] (stunned and angry) What! [SAUNDERS] We barely touched him. I don't know what happened. He just sort of blacked out all of a sudden. [JUDGE] You incompetent fools. Do you know what this means? The last thing we need is to have the county swarming with investigators. [WALLACE] I know, Judge. But I think we can cover it up. You know, make it look like an accident. No one'll even know he was arrested. [SAUNDERS] 'Cept that guy in the jail. [JUDGE] What are you talking about? [WALLACE] Some British fella we picked up in the speed trap. He's the only witness. [JUDGE] Well, then you better figure out a way to make sure he keeps his mouth shut until this blows over. Hold on the Judge's foreboding look, and: FREEZE FRAME FADE OUT END OF ACT ONE ACT TWO FADE IN EXT. LYNDHURST FLATS JAIL - DAY The Trans Am pulls up in front of the jail and parks. INT. TRANS AM [MICHAEL] This looks like the place. A beat as he shuts off the engine and prepares to disembark. [MICHAEL] Don't go sightseeing, Kitt. I shall return. [K.I.T.T.] Michael, what if you're required to post a bond? [MICHAEL] Don't worry. I won't put you up as collateral. Michael gets out and closes the door, smiling at the prospect of having to fetch his boss out of the hoosegow. INT. JAIL - DAY Wallace is at the desk, arguing with an attractive but intractible woman in her thirties. She is Carol Reston, the ex-wife of the reporter, and she's trying to find out where her ex is. The cell is empty. [WALLACE] I'm sorry, Miz Reston. We have no arrest record for a Frank Reston. [CAROL] Who said anything about arrest? All I want to know is where is he? I checked the paper. They don't know. I've looked in every bar in town. Nothing. He couldn't have just disap- peared. ANGLE - DOOR Michael enters. He listens as Carol and Wallace pay him no heed. BACK TO SCENE [WALLACE] Look, if I was you, I'd just go home and wait for your husband. He's bound to show up. [CAROL] First of all he's my ex-husband. And secondly, would you show up if you were six months behind in alimony payments? [WALLACE] Wish I could help, Miz Reston. [CAROL] (giving him a skeptical look) Yeah, I'll bet you do. She walks away, stopping to sit down in a chair and begins a search through her purse which will enable her to overhear the conversation Michael will have with Wallace. ANGLE - DESK as Michael approaches Wallace. [MICHAEL] Hi, there. [WALLACE] What can I do for you? [MICHAEL] I'm here to pick up Devon Miles. [WALLACE] Well, as you can see we don't have Mr. Miles with us anymore. ANGLE - EMPTY CELL [MICHAEL (O.S.)] What'd he do? Spring himself? BACK TO SCENE [WALLACE] (chuckles) No. Nothing like that. We transferred him over to Sinclair... about twenty miles from here. [MICHAEL] Why? [WALLACE] We're not equipped for long stays here, and your friend preferred a cell to a fine, so we shipped him over to where he'd be more comfort- able in the long haul. [MICHAEL] When is his court appointment? [WALLACE] (shakes head) You'll have to check with the county clerk about that. Excuse me. He exits to another room. [MICHAEL] (to Carol) This the way things always work around here? [CAROL] I'm afraid so. Michael heads for the front door. He exits to: EXT. JAIL - CONTINUOUS As Carol comes out of the jail, Michael is waiting for her. [MICHAEL] Hey, wait a second, will you? ANGLE - CAROL as she turns around as Michael crosses to her. [MICHAEL] Seems like we got kinda similar problem. [CAROL] Yeah. It looks that way. [MICHAEL] Well, since I'm a stranger here myself, I thought you might give me some help. How about it? [CAROL] Don't see why not? The fact that they both disappeared at the same time does look weird. [MICHAEL] Good. Then let's get it in gear. He obliges by opening the door on the passenger side of the Trans Am. [MICHAEL] Hop in. [CAROL] Thanks. As she gets in, Michael goes over and enters through the driver's side. INT. TRANS AM - CONTINUOUS Carol reacts to the unusual instrumentation on the dashboard. [CAROL] Hey, this is some car. [MICHAEL] Thanks. [CAROL] My name's Carol Reston. [MICHAEL] (extending his hand) Michael Knight...Hey, you know what? As they shake hands.... [CAROL] What? [MICHAEL] My boss, Devon Miles, stopped off here to see some guy named Reston. The same fella? [CAROL] It's got to be. [MICHAEL] Any idea why? [CAROL] Not a clue. [MICHAEL] Well, then maybe our meeting like this could turn out to be a lucky break for both of us. [CAROL] Maybe you're right at that. OMITTED EXT. TRANS AM - DAY It is heading down the road toward Sinclair. INT. TRANS AM [MICHAEL] When was the last time you saw your ex? [CAROL] It's been a week or so. He says he's been busy with work, but that was always his excuse when we were married. [MICHAEL] What kind of work does he do? [CAROL] He's an investigative reporter. And let me tell you, in this county, that's a full time job. OMITTED EXT. SINCLAIR POLICE STATION - DAY This station is larger and more elaborate than the one in Lyndhurst Flats. The Trans Am is parked in front. INT. POLICE STATION Carol and Michael are leaning against the counter behind which stands Police Chief Dave Butler. [BUTLER] (shaking his head) Sorry, we don't have a Frank Reston or a Devon Miles. [MICHAEL] (annoyed) Now wait a second. The police in Lyndhurst Flats just told me they sent him over here. Now you're telling me you never had him in your jail. [BUTLER] That's correct. [MICHAEL] Well, I'm a little confused. [BUTLER] You want me to call them? [MICHAEL] Yeah, I want you to call them. I'd like some answers, if you don't mind. As Butler goes for the phone, Carol grabs Michael by the arm. [CAROL] (to Butler) That's okay. We've got to go back there anyway. We'll straighten things out. Carol gives Michael a tug toward the door. [BUTLER] (puts down the phone) Whatever you say.... [MICHAEL] Carol, hold it. [CAROL] (trying to get him out of there) Michael, your boss isn't here. Now please, let's get out of here. She pulls him forcefully toward the door. Michael is confused, but relents and follows her. [BUTLER] Have a nice day, folks. Michael gives him a dirty look as Carol drags him out the door. EXT. SINCLAIR POLICE STATION - DAY [MICHAEL] What was that all about? [CAROL] Michael, I think there are a few things you're not aware of. [MICHAEL] Yeah, and one of them is the where- abouts of Devon Miles. Now if you don't want to find Frank, that's fine, but don't get in my way, okay. [CAROL] All right, if you want to go back on your wild goose chase, go ahead. I just thought you might like to know what you're up against. [MICHAEL] What do you mean? [CAROL] You ever heard of Judge Paxton? [MICHAEL] No, who is he? [CAROL] He runs the county and from what Frank told me, he does it with an iron hand. If he wants someone to disappear, nobody asks any questions. [MICHAEL] Yeah, but all Devon did was break the speed limit. EXT. COUNTY CORRECTIONAL FACILITY - DAY The compound consists of a prison building and work yard where there is some construction going on evidenced by a long row of cement bags which two prisoners are stacking. An electric fence surrounds the complex. INT. FITTING ROOM - DAY Devon, wearing nothing but a towel around his waist, is escorted by a uniformed and armed security guard, up to a supply window. The guard, Van Dyke, calls into the supply room. [VAN DYKE] Hey, we need a set of tailor-mades. A slight-of-build trustee named Pink comes up to the window, eyes Devon with interest. [PINK] My my, what a smell. Squeaky clean are we? [DEVON] I've had the pleasure of one of your antiseptic showers. [PINK] The county can't stand the thought of nasty bugs in their designer pants. By the way, I love your accent. [VAN DYKE] Just fit him, Pink...and hold down the socializing til later. [PINK] (suddenly all business) What's yer shoe size? (so sympathetic) Oh...I'm afraid we've had a run on half-sizes recently. You're going to have to wear two pairs of socks instead. Devon sighs, pulls his towel up around him closer as Pink shuffles through the clothes on the shelves and pulls out two sets of socks, pants, underclothes, shirts. He hands them to Devon. [DEVON] Thanks. [PINK] We aim to please. You need anything else, your highness, just ask for Pink. [VAN DYKE] Come on, before he invites you to tea. The guard leads Devon off to a shielded dressing area where there are several curtailed cubicles. Devon enters one. [DEVON] I demand the right to make a phone call. [VAN DYKE] You'll have plenty of time for phone calls. [DEVON] This is a matter of life and death. [VAN DYKE] You should have told that to Judge Paxton. [DEVON] How could I? I've never seen the man. I wouldn't know him from a hole in the wall. [VAN DYKE] Well, he knows you...or at least doesn't like you...if you go by the time he sentenced you to put in here. Devon pulls the curtain aside to show him in full prison uniform, a man trapped by circumstances as we: CUT TO INT. JUDGE'S OFFICE - DAY The Judge is sitting behind his formidable desk glaring at Wallace who stands before him sheepishly. [WALLACE] There's a guy in town asking questions about Devon Miles. [JUDGE] (stern) That doesn't surprise me. (pushes a piece of paper toward Wallace) This just came in. It seems Devon Miles is the Executive Director of the Foundation for Law and Government. Wallace gulps. He knows that means trouble. [JUDGE] You've gotten us into a fine fix, Wallace. [WALLACE] I'm sorry, Judge, I.... [JUDGE] Save it. We don't have time for your apologies. Now listen to me, and listen good. We can't take the risk of Miles talking. [WALLACE] Judge, he can't do much talking at the facility. [JUDGE] I don't want to take any chances. You don't mess with the press and this Miles is the only link that can tie us to Reston. I want Miles out of the way -- for good. The phone rings and the Judge answers, then hands the phone to Wallace. [JUDGE] For you. Wallace takes the phone and answers. [WALLACE] (into phone) Wallace! INTERCUT [BUTLER] (into phone) Wallace, Butler. Smartmouth Knight just left here with Mrs. Reston. They're heading back to Lyndhurst Flats and I don't think either one of them left here happy. BACK TO SCENE [WALLACE] Thanks, we'll take care of it. He hangs up. [WALLACE] C'mon, Rex, let's go. They start exit. [JUDGE] Where are you going? [WALLACE] Just some more loose ends need taking care of, Judge. They exit. EXT. ROAD - DAY Out in the middle of nowhere, a big truck is barreling down the road that connects Lyndhurst Flats with Sinclair. [WALLACE (O.S.)] Pauly. Come in. This is Sargeant Wallace. INT. RIG The driver, a husky brute named Pauly, picks up the mike on his radio and answers the call. [PAULY] This is Pauly. What do you need, Sarge. Intercut with: INT. SQUAD CAR [WALLACE] We just got a report on a black car, license plate Knight. Came shootin' through town like a bat out of hell. [PAULY] Where's he heading? [WALLACE] Toward Lyndhurst Flats. [PAULY] Then I should be coming up on him real soon. [WALLACE] That boy's gonna hurt somebody the way he's driving. Would you mind helping us nail him? [PAULY] Not at all, Sarge. [WALLACE] Thanks, Pauly. We'll be right there. Wallace gives Saunders a look and they drive off. EXT. TRANS AM - DAY It is heading down the road toward Sinclair. INT. TRANS AM [MICHAEL] You know the more I see of this county's law enforcement, the more suspicious I get. [CAROL] Yeah. And if you knew half as much as I do, you'd be positively paranoid. EXT. TRUCK - DAY Pauly is coming down the road. ANGLE - PAULY As he sees the Trans Am come into view, a sickening grin creases his face. He picks up his radio and speaks into it. [PAULY] I'm coming up on him, Sarge. INT. SQUAD CAR [WALLACE] You know what to do. EXT. TRUCK It crosses over into the oncoming lane and begins to pass a car. INT. TRANS AM Michael and Carol see the truck and begin to show concern. [MICHAEL] That truck sure picked a bad time to pass. ANGLE - TRUCK It's bearing down on them. [CAROL] Michael, he's coming right at us. [MICHAEL] I can see that. Michael checks the other lane on the two-lane highway. HIS POINT OF VIEW - TWO CARS are in it, he can't go over without runing into one of them. INT. TRANS AM [CAROL] Do something. Michael does. He stomps his foot on the brakes. EXT. ROAD The Trans Am stops on a dime. Michael throws it into reverse and backs away as quickly as he can. INT. TRUCK Pauly can't believe what he sees. [PAULY] What the.... But he keeps trying to run Michael off the road. EXT. TRANS AM It is flying backwards down the road, the grill of the truck practically in the front seat. [FREEZE FRAME] END OF ACT TWO ACT THREE FADE IN ANOTHER ANGLE The Trans Am is approaching an intersection. Just as it gets there, Michael whips the car at a ninety-degree angle and turns onto the crossing road. EXT. TRUCK It zooms right past the Trans Am. ANGLE - TRANS AM as it comes to a safe stop. EXT. ROAD - ANGLE - SQUAD CAR It is coming around a bend on the same road. ANGLE - TRUCK heading straight for the squad car. INT. SQUAD CAR [SAUNDERS] Ain't that Pauly? [WALLACE] What's he trying to do? INT. TRUCK Pauly sees the squad car and tries to hit the brakes to avoid a head-on. EXT. ROAD Pauly can't brake in time and forces the squad car off the road and into a ditch. INT. TRANS AM [MICHAEL] You okay? [CAROL] (gasping for breath) I think so. [MICHAEL] That trucker's sure got a strange way of getting his jollies. [CAROL] That's only because you think he was kidding. As Michael reacts. EXT. CAROL'S HOUSE - NIGHT - TO ESTABLISH - STOCK Carol's humble abode. INT. DINING ROOM - NIGHT Michael is wolfing down the home-cooked meal as Carol sits watching him, overwhelmed by his appetite. [CAROL] ...anyway, as I was saying, the Judge has got this county solidly in his pocket. There isn't a buck changes hands that he doesn't get a piece of it some way. [MICHAEL] And that's what Frank was into? [CAROL] That's what was keeping him alive. Look, five years ago Frank and I were a real hot-shot team, working on the biggest paper in Texas. Then he started hitting the bottle heavy and -- well, one thing led to another and we wound up in this Godforsaken dump. And that was mostly the Judge's fault, too. [MICHAEL] Really? How? [CAROL] Remember when the skywalk collapsed at the Skyrider Hotel here about three years ago? [MICHAEL] Yeah, come to think of it, I do. Over a hundred people were killed. [CAROL] Right. Caused one heck of a stink. Well, the Judge's principal overt source of income was the Paxton Cement Company, sole owner, Judge Paxton. You want to build in this county, you use Paxton Cement or else. Anyway, seems like there was too much sand and not enough cement in those skywalks and things got very hot down here for a while. [MICHAEL] And so Frank thought he had a story he could win with. [CAROL] Right. He could smell the Pulitzer Prize and see the Washington Post or the New York Times begging him to go big time again. Anyway, he's been sniffing at Paxton's heels for three years now and getting no place fast. Oh, the story's there, all right. But the proof isn't. [MICHAEL] Tough. Tough for both of you. And maybe I'm just beginning to see a connection between Frank and Devon and the Judge after all. (beat) If they're not in the jails, where else could the Judge stash them in this county? [CAROL] Killing them would be easiest. [MICHAEL] Hey, ease up. If the Judge has put up with Frank all these years, he's not about to do something that drastic now. Especially not with Devon Miles in the picture. [CAROL] Well, of course, there is the county correctional facility. [MICHAEL] Can we get in there? [CAROL] (shakes her head no) No way. Unless we announced ourselves, of course, and I've a feeling we'd get the same old runaround. [MICHAEL] Then we'll just have to come unannounced. As the wheels begin to turn in Michael's noggin.... CUT TO OMITTED EXT. COUNTY FACILITY - NIGHT - ESTABLISHING Armed guards patrol the fence along the perimeter. INT. PRISON CELL - NIGHT It's a scantily decorated room with a bunk bed in the corner. Pink lies on the lower bunk reading when a rustling noise stirs him. ANGLE - DOOR THROUGH THE SLOT A Voice is heard whispering. [SHEP'S VOICE] Pink, you awake? FULL SHOT [PINK] Shep, is that you? [SHEP] Yeah, I'm coming in. ANGLE - DOOR KNOB as it turns and much to Pink's amazement, Shep, a big, mean-looking lummox, enters the cell. FULL SHOT Shep has a devious grin on his face as he dangles a loop of keys with pride. [PINK] How did you get the keys? [SHEP] It wasn't easy. Look, I got it all figured out. We're bustin' out of here first thing tomorrow morning. While he says this Pink puts his fingers over his lips to indicate Shep should keep it down. [SHEP] What's the matter? Pink points to the top bunk. ANGLE - DEVON as he rolls over from where he had been fast asleep. He looks at the two conspiring cons with groggy eyes. [SHEP] Damn. Who's he? [PINK] My new cellmate. His name's Devon. He's British or something. [SHEP] I don't care what he is. He could foul up my plan good. [PINK] Why? [SHEP] Because three's a crowd when it comes to escaping. [DEVON] Put your mind at ease. I have no intention of leaving this place without my day in court. [SHEP] That's what you think. [PINK] Why does he have to come with us? [SHEP] 'Cause he knows we're going, that's why. What's to stop him from blowing the whistle the minute we make our break. [DEVON] You have my word. [PINK] Yeah, Shep, we have his word. [SHEP] Shut up, Pink. I say he's coming and that's final. [DEVON] I would assume that I have something to say about the matter. [SHEP] Look, you either go out with us or you stay here dead. Personally, I'd just as soon not kill you, but it's your choice. [DEVON] I see. Well, what's the plan? [SHEP] We go out in the truck. [DEVON] What truck? [SHEP] (holds up a key) The one that starts with this key. It'll be right outside in the morning. All we got to do is get over the fence and we're home free. Devon hops down from the bunk. [DEVON] Brilliant. Positively brilliant. And just how do you propose to go over a fifteen-foot fence in broad daylight? [SHEP] I was working on it. [DEVON] Working on it! Getting over the fence is the key to the whole plan. And you were working on it? [SHEP] Well, you got a better idea? [DEVON] Not at the moment, but if pressed I don't think it would be difficult to come up with one. [PINK] I don't know, Devon...you don't strike me as your typical jail- breaker. [DEVON] (proudly) The Gestapo felt the same way. That's why I was able to escape from three German prison camps during the war. [PINK] (impressed) Wow! [DEVON] So, if you insist I join you, at least allow me to devise a sensible strategy for our departure. Put like that, Shep and Pink have no recourse but to acquiesce. EXT. HIGHWAY - DAY as the Trans Am drives along. INT. TRANS AM - DAY - ON MICHAEL AND CAROL [MICHAEL] How much further is it? [CAROL] About forty minutes. [MICHAEL] Good. Well, since we'll be going into action then, this is as good a time as any to introduce you to Kitt. [CAROL] Kitt? Who's Kitt? [MICHAEL] Kitt, you're on. [K.I.T.T.] Very well, Michael. Allow me to introduce myself, Carol. I am Kitt whom you may regard as the voice of the Knight 2000. [CAROL] What is that, a recording? [K.I.T.T.] Not exactly. In fact, not at all. Now, if you'll allow me to continue, I will attempt to describe most of the qualities and capabilities of this truly unique vehicle. [MICHAEL] Just remember, we've only got forty minutes. [K.I.T.T.] I'll try to squeeze it all in. At any rate, starting with the.... EXT. COUNTY FACILITY - DAY It's the next morning. OMITTED INT. MESS HALL - DAY A couple of tables are lined with an assortment of tough- looking cons. We pan the mess hall to see a pair of guards who tap billy clubs in their palms as they observe breakfast. ANGLE - DEVON seated at a table, flanked by Shep and Pink. Across from them is a huge, terrifying man, the kind of guy you don't mess with in the big house, or anywhere else. ANOTHER ANGLE Pink looks at Devon who gives a casual nod as he takes a sip of coffee. ANGLE - PINK He sticks a fork into what looks like mush (and probably is) and secures a lump on the edge of his utensil. He takes careful aim, then lets fly with the gooey stuff. It hits a guard, Shep fires and hits another guard, then Devon fires and misses. ANOTHER ANGLE The mush lands smack dab on the face of the big Brute across from him. The Brute reacts with disgust. [BRUTE] What the hell do you think you're doing? [PINK] (impish) You looked hungry. [BRUTE] Man, you're asking for it. [SHEP] (tough) So are you, pal. With that, Shep splashes a glass of milk into the Brute's face. The Brute reacts predictably. He reaches for Shep's collar in an attempt to smash his nose. [BRUTE] That does it. Before he can land a blow, Pink pushes him away, sending the Brute sprawling over the table. Pink smiles at the results, amazed at his strength. WIDE ANGLE As the Brute crashes into the table, pandemonium ensues in the form of a free-swinging brawl/food fight. ANGLE - DEVON He looks on with pleasure as the guards come over to break up the melee. Devon motions to Pink and Shep. [DEVON] Now. Pink and Shep follow Devon as he scurries out the door vacated by the guards. EXT. KITCHEN - DAY as the three escapees exit through the rear door of the kitchen and head for the fence. [PINK] Way to go, Devon. [DEVON] Save the plaudits. We're not out yet. As they race for the fence, Devon gives a last look to make certain they're not being pursued, as we: FREEZE FRAME FADE OUT END OF ACT THREE ACT FOUR FADE IN EXT. FENCE - DAY as Shep, Devon and Pink arrive, they make a human ladder, so that the top man (Shep) barely makes it to the top. With some effort he hauls himself up, then slipping off a spare pair of pants, he lowers it to haul up the second man, (Devon) who also takes off a spare pair of pants and ties them to Shep's. Using both pairs, they manage to haul up Pink. INTERCUTS Continuing fight in dining room as more and more guards respond in an attempt to restore order. BACK TO SCENE as Van Dyke exits the back door and spots them on top of the wall. [VAN DYKE] Halt! Halt! Escape in progress! Halt! He fires at them as they disappear down the other side. Then turns and races into the building. EXT. WALL - DAY as the three escapees come down, cross to the truck, get in and attempt to start the engine. It grins but won't fire. As they look at each other in dismay: EXT. PRISON COMPOUND where all hell is breaking loose. Sirens are wailing and guards are running in all directions. ANGLE - GUARD STATION Van Dyke bursts in and picks up a telephone. CUT TO INT. LYNDHURST FLATS JAIL - DAY The phone rings and Wallace answers. [WALLACE] Wallace here. Intercut with: VAN DYKE [VAN DYKE] Get over here right away. [WALLACE] What's going on? [VAN DYKE] Three men just escaped from the work house. And one of them was Devon Miles. Wallace hangs up the phone, stunned. He grabs the shotgun and heads for the door. [WALLACE] (to Saunders) We got an emergency! As the two men make a hasty exit.... EXT. PRISON - DAY as Michael and Carol drive up in K.I.T.T. and view the dis- order as various jeeps, etc., drive out past them. INT. K.I.T.T. [MICHAEL] Looks like an awful lot of confusion in there. [CAROL] Yes. But is that good or bad for us? [MICHAEL] We're sure gonna find out fast. EXT. ROAD - DAY where Devon and the others are still desperately trying to get the truck started. Devon, his head under the hood, is tinkering. Finally he looks up: [DEVON] That should do it. Shep nods and tries the starter again. It finally fires. Devon slams the hood closed and hops in as they take off. EXT. PRISON GATE - DAY as Michael walks up to the gate Guard. [MICHAEL] Where's the Warden? [GUARD] Around someplace. Who are you? [MICHAEL] Just a messenger. Judge Paxton sent me over with an urgent message for the Warden. [GUARD] Judge Paxton, huh. Well, I guess that's okay. You might try looking for him in the Administration Building. [MICHAEL] Thanks. Oh, what's going on around here? [GUARD] Real big deal. Three guys just busted out. There'll be hell to pay over this. [MICHAEL] Bet you're right. Well, glad it's not my problem. See ya --- He waves and enters the compound. EXT. ROAD - DAY as we see the truck traveling fast and pursued by a couple of guard vehicles. INT. TRUCK - DAY Devon is driving. [SHEP] They're still gaining on us. [PINK] No way we can outrun them. ANGLE - DEVON He sees something and gets an idea. HIS POINT OF VIEW - THE ROW OF STACKED CEMENT BAGS is a perfect ramp leading to the fence. BACK TO SCENE [DEVON] I've got an idea. INT. PICKUP [SHEP] What are you going to do? [DEVON] (intense) You'll see. EXT. PICKUP It's headed for the cement bags. ANGLE - ON GUARDS as they fire at the pickup, but their bullets go astray. ANGLE - PICKUP It hits the makeshift ramp and goes airborne. [PINK (O.S.)] (scared witless) Omigod.... The pickup clears the fence with inches to spare and bounces on the other side and keeps racing toward freedom. EXT. ADMINISTRATION BUILDING - DAY - TO ESTABLISH OMITTED INT. FILE ROOM - DAY At least a half-dozen file cabinets have been checked with no results. The open drawers being testimony to Michael's frustration as he sifts through yet another collection of files. Finally, he strikes it rich. ANGLE - CABINET Michael takes out a file marked MILES, DEVON. INSERT - FILE Michael opens the folder and we see Devon's mug shots. ON MICHAEL as he pushes the tiny button on his wristwatch and links up with K.I.T.T. Intercut with: EXT. TRANS AM - DAY It is parked near the entrance to the compound. INT. TRANS AM Carol is sitting nervously in the passenger seat. She sees a series of flashing lights on the dashboard and reacts with bewilderment. [CAROL] What's going on? [K.I.T.T.] I'm receiving a transmission from Michael. Go ahead, Michael. ON MICHAEL [MICHAEL] Kitt, we just hit the jackpot. Devon's here. [WALLACE'S VOICE] Correction. Was here. Michael's head snaps up sharply. He finds himself staring at Wallace. FULL SHOT The cop has his revolver trained on Michael. [WALLACE] When I saw that flashy Pontiac sitting out on the road, I figured you were here. [MICHAEL] Where's Devon? [WALLACE] That's what I'm trying to find out. He and two inmates just busted out of here. Michael is startled by the news. [MICHAEL] Devon Miles busting out of jail. I don't believe it. [WALLACE] It's true all right. [MICHAEL] What was he doing here in the first place? [WALLACE] Your friend was in the wrong place at the wrong time. Just like you. (motions for Michael to move) Let's go, hero. As they move out, Michael whispers into his watch. [MICHAEL] Kitt, I need help. Fast. EXT. TRANS AM - DAY - THE SCANNER begins to pulsate and the engine self-ignites. INT. TRANS AM [CAROL] (perplexed) Where are we going? [K.I.T.T.] To save Michael. The car jolts forward. EXT. TRANS AM It speeds toward the main entrance, disregarding the guard at the gate, crashes through the gate and enters the com- pound. EXT. ADMINISTRATION BUILDING - DAY Michael is walking ahead of Wallace who has his revolver pointed at Michael's back. There's a buzz from Wallace's walkie-talkie. [WALLACE] (into walkie-talkie) What is it? [SAUNDERS' VOICE] (through walkie-talkie) We caught Pink and Shep in a stolen car. [WALLACE] What about Miles? [SAUNDERS' VOICE] We think he's hiding in the groves down by the river. [WALLACE] Flush him out. Shoot to kill. As Wallace sticks the walkie-talkie back on his belt...the whine of a speeding engine is heard. ANOTHER ANGLE Here comes the Trans Am heading straight at them like a bullet. CLOSE ON WALLACE as he gapes at the sight of the driverless car coming at him. FULL SHOT - MICHAEL takes full advantage of the stupified cop and knocks the gun out of his hand. Michael retrieves the weapon as the Trans Am arrives and comes to a sudden halt. [WALLACE] You'll never get out of here. They'll blow this car to pieces when you try to leave. [MICHAEL] I'd like to see them try. Carol climbs into the backseat as Michael shoves Wallace into the passenger bucket. He hands Carol the gun. [MICHAEL] Here. If he moves a whisker, put a hole in him. ANGLE - CAROL She swallows hard but nods. Michael jumps behind the wheel, fires up the engine and the car shoots forward. EXT. TRANS AM Heading straight for the gate, it crashes through (of course) and we're off. EXT. ROAD - DAY - THE TRANS AM is racing away from the prison. INT. TRANS AM [MICHAEL] Where are those groves your partner was talking about? Wallace remains silent until Carol pokes him with the gun. [WALLACE] (responding to the cold steel) Take a right on the dirt road up ahead. [MICHAEL] Now, pick up that walkie-talkie and call off your boys. Tell them you're on your way. [WALLACE] Forget it. [MICHAEL] (calm, to Carol) Shoot him. Carol looks wide-eyed, but she manages to cock the gun. Wallace takes the walkie-talkie from his belt holster. EXT. SQUAD CAR - DAY Saunders is speeding along a road when he hears Wallace's voice belch out through his radio. INT. SQUAD CAR [WALLACE'S VOICE] Saunders, listen to me. [SAUNDERS] We have him cornered, boss. Intercut with: INT. TRANS AM Carol still has the gun pointed at Wallace as he speaks into the two-way radio. [WALLACE] Keep him surrounded. Don't, I repeat, don't kill him. Wait for me. [SAUNDERS] Whatever you say, but I oughtta tell you that Judge Paxton put a ten-thou- sand-dollar price tag on Miles' head. The men want him pretty bad. CLOSE ON MICHAEL Grim-faced, he stomps hard on the accelerator. ANGLE - DASHBOARD The digital speedometer begins clicking off as the Trans Am gains speed. EXT. GROVES - DAY - ANGLE - DEVON is cautiously creeping through the trees and foliage trying to find some way out of this mess he's gotten into. Suddenly he stops upon hearing a car approach. ANGLE - SQUAD CAR Saunders pulls up to the grove and spots Devon. As he gets out of the car, another car containing Van Dyke and a guard pulls up. They get out and join Saunders. [VAN DYKE] We got him now. Hello ten grand. As the threesome begins pursuit.... ANGLE - DEVON He spots the men and begins to flee. EXT. TRANS AM It is roaring down the dirt road. INT. TRANS AM [MICHAEL] Kitt, have you got the scanners going? [K.I.T.T.] Yes, I'm beginning to pick up some- thing. Up ahead in those trees. [WALLACE] (confused) Who said that? [MICHAEL] I'd love for you to stick around and find out, Captain, but I'm afraid we need the room. ANGLE - DASHBOARD as Michael flicks a switch. EXT. TRANS AM As it fords the river, the ejection seat catapults Wallace out of the car. ANGLE - WALLACE as he flies through the air and splashes down in the river (or down a ravine if we can't do it in water). ANGLE - DEVON He hears the drone of K.I.T.T.'s engine and runs toward the sound. As he comes out into a clearing he sees: THE TRANS AM coming toward him. INT. TRANS AM [CAROL] Is that him? [MICHAEL] It sure is. WIDE ANGLE as the Trans Am comes to a halt and Michael pops the door open. Devon runs over and jumps in. INT. TRANS AM Michael gives him a big smile. [DEVON] (panting) Your timing couldn't have been more propitious. [MICHAEL] Does that mean you're glad to see me? [DEVON] (nodding; still breathless) I've never been happier to see anyone in my life. ANGLE - TREES Saunders, Van Dyke and the guard appear and see the Trans Am making its getaway. [SAUNDERS] Stop 'em! They begin firing their guns. ANGLE - TRANS AM The bullets ricochet off K.I.T.T.'s impenetrable exterior as the black beauty takes off through the grove. ANGLE - BAD GUYS amazed at what they've just witnessed. [VAN DYKE] I hit him. I swear I hit that car. Saunders is panicky at the prospect of losing his prey. [SAUNDERS] Come on. We can't let him get away. They run back to the cars. EXT. TRANS AM It is seemingly lost in the groves. INT. TRANS AM [MICHAEL] (impatient) How do we get out of here? [CAROL] You better swing around and go back the way we came in. EXT. TRANS AM The car does a one-eighty and shoots back from whence it came. WIDE ANGLE - IN THE GROVES As the Trans Am races by, Van Dyke appears and gets on his tail. ANOTHER ANGLE - THE SQUAD CAR is racing above them on a ridge. VARIOUS ANGLES - THE CHASE It's a three-car race and as they converge at a point, Michael speeds up. ANGLE - SQUAD CAR It flies through the air and lands pancake-style on top of Van Dyke's car knocking them both out of commission. The Trans Am gets away. INT. TRANS AM Carol is looking back at the spectacular wreck. [CAROL] Now that's incredible. [DEVON] We've still got to make it to the county line. [MICHAEL] We should have a clear shot now. EXT. TRANS AM It gets back onto the road and heads for the sanctuary of the neighboring jurisdiction. ANGLE - SQUAD CAR squished under Van Dyke's car. ANGLE - SAUNDERS talking on the radio. [SAUNDERS] (emphatic) I don't care what it takes, Pauly. Just don't let 'em cross the county line. INT. PAULY'S BIG TRUCK [PAULY] (into radio) You got it. He puts down the radio and pushes the pedal to the metal. ANGLE - TRANS AM speeding along the highway. [K.I.T.T.] Michael, we're approaching the county line. [DEVON] (relieved) Thank God. ANGLE - PAULY'S TRUCK It comes off a side road onto the main highway. INT. TRANS AM [CAROL] (pointing) It's just over the bridge. EXT. BRIDGE As the Trans Am approaches, we see that a small truck is stopped on the bridge. ANGLE - TRUCK The driver gets out and either checks a flat tire or lifts a smoking hood. ANGLE - PAULY'S TRUCK bearing down on the Trans Am. ANGLE - MICHAEL realizing he's in a pickle. (The bridge is either too narrow or there's traffic coming the other way.) [MICHAEL] Uh-oh. EXT. BRIDGE Michael hits the brakes and the Trans Am stops behind the disabled truck. ANGLE - PAULY'S TRUCK within ramming distance of the sedentary Pontiac. ANGLE - TRANS AM [DEVON] Michael, hadn't you better do some- thing? [CAROL] And fast. [MICHAEL] Hold on. ANOTHER ANGLE Michael guns the engine and the Trans Am goes forward. The driver ducks for cover as K.I.T.T. flies through the back of the small truck and comes out on top of the cab. It rolls down the front of the truck and keeps going down the road. ANGLE - PAULY Seeing what happened, he can't believe his eyes. Especially since he's now on a collision course with the small truck. WIDE ANGLE to see Pauly's truck smash into the disabled truck. EXT. TRANS AM as it glides past a sign that reads COUNTY LINE. [CAROL] We're safe. EXT. COURTHOUSE - DAY - TO ESTABLISH INT. JUDGE PAXTON'S CHAMBERS As the Judge enters, closing the door behind him, the swivel chair behind his desk suddenly swivels revealing Devon seated behind the desk. [DEVON] Ah, good afternoon, Judge. I was afraid you might not show up. [JUDGE] Who are you? And how did you get in here anyway? [DEVON] Details. Details. The important thing is that I am here. And I'm quite sure you know who I am. [JUDGE] Devon Miles --- [DEVON] Very perceptive of you. [JUDGE] But they told me you'd escaped yesterday. [DEVON] And how right they were. But, as you can see, I've come back. [JUDGE] What for? [DEVON] Why to collect you, of course. He rises and crosses in front of the desk as he continues. [DEVON] Once we got away, we went straight to the State Police, of course. They were very interested in our assorted tales about you and your colleagues. At any rate, they've already rounded up Sergeant Wallace, Officer Saunders, and the others who, I'm sorry to say, talked quite freely about all sorts of things, but mostly you. In short, Judge, you've been bagged. [JUDGE] Not on your life, Miles, I'm leaving and you're not about to stop me. He moves forward, producing a gun, as Devon anticipates him and with one clean shot to the jaw, knocks him cold. [DEVON] My word, but that felt simply wonder- ful. And as he smiles and blows on his knuckles: FREEZE FRAME FADE OUT END OF ACT FOUR TAG TAG TO FOLLOW ONCE SETTING HAS BEEN DECIDED, BUT WILL INVOLVE ONLY MICHAEL, DEVON AND CAROL.

{"show": "Knight Rider", "season": "s01", "episode": "e07", "title": "No Big Thing"}

knightriderarchives

ACT ONE FADE IN EXT. ABANDONED LAB - NIGHT Dark...eerie. NEW ANGLE - SHOWING SIGN reading "On this site will be erected the KNIGHT MUSEUM OF TECHNOLOGY - NO TRESPASSING." A beat. Then we hear footsteps. Camera adjusts to reveal two men in ragged clothing as they stumble down a slope, collide with the sign. The younger and larger of the two, Tony, wipes dirt from the sign with fingers which extend from half-cut gloves. [TONY] Hey. Just like I said, Rev. This is the place. [REV] I don't like this, Tony. 'Thou shalt not trespass on thy neighbor....' Or sumpthin' like that.... [TONY] Rev, don't start the Ten Commandment stuff again. Tony passes him a bottle in a bag. [TONY] Take another slug. You'll feel real warm and spiritual. [REV] We won't find anything in here. When a zillionaire like Knight dies, they clean out the joint.... Suddenly reacting to approaching footsteps, Tony pushes Rev out of sight. A moment later a guard strolls by, shining his light just short of Tony and Rev's hiding place. TONY AND REV peering over the edge of their "foxhole" as the guard leaves. [TONY] See that? You think they got guards for nothin'? Come on. Tony leading the way, they stumble down a ramp to a basement door. Tony takes a crowbar out of his ragged overcoat, applies it to the lock. [REV] I got a bad feeling about this. [TONY] I got a good one. Guys this rich, they even got gold and silver on their plumbing. The doors part. The two men practically fall inside. OMITTED INT. LAB BASEMENT - NIGHT Cobwebs...shadows...definitely creepy. Tony and Rev enter the shot. [TONY] Dark in here. [REV] Dark as hell, Tony. Dark as hell. [TONY] Will you knock off that stuff, Rev? If you're so pure an' all, you shoulda stayed in that church...if you ever had one. [REV] I had one, Tony...I had one! But strong drink made me fall from grace...just like Noah. Tony lights a match. In the gloom he sees some power boxes. [TONY] Here we go. He hits one. Nothing. He hits the second. A dim light goes on...a single overhead bulb further into the basement. He hits the third box, which sparks...does nothing else. [TONY] Ahhh...nothin'. Let's case the place ...get some of that gold plumbing. They move away. Camera tightens on the last power box. It is labeled, "LABORATORY THREE - DANGER - DO NOT ENGAGE POWER." Music stings in. TONY AND REV Stumbling along, Rev and Tony get caught in a huge spiderweb. [TONY] Aggh! Uggh! I hate bugs! [REV] Let's go, Tony. There's nothing here. [TONY] Not yet...let's try that door.... NEW ANGLE as they approach a door labeled "LABORATORY THREE - DANGER." Tony raises the crowbar again. Rev points to the sign. [REV] Tony, look.... [TONY] Ah, that's just to scare people away. He breaks the lock. The door swings open slowly. Tony steps in...drags a reluctant Rev behind him. There is a very, very slight wind effect...Rev seems to feel it; Tony does not. INT. LAB - NIGHT As they move inside, Tony lights a match. We see dusty lab equipment on some counters. [TONY] Hey, this is more like it. [REV] Come on. We can't hock stuff like this. [TONY] Sure we can. It's just like video games. Tony starts filling his arms with various items. Rev uncorks a beaker...sniffs. Drinks the stuff. EXT. ROOM THREE - ON BREAKER BOX still sparking and arcing, the warning, "DO NOT ENGAGE POWER" still evident. INT. LAB THREE Tony and Rev move in front of the camera. It's completely dark around them. [TONY] Hey, this place is big. [REV] Let's go. [TONY] Are you kiddin'? (showing his booty) It's a gold mine --- Suddenly both men react to a spark of electricity in the distance. They turn. Nothing but darkness. [REV] W-what was that? [TONY] It's gone now --- There is another arc...and then a bright red light appears ...moving slowly from side to side with a strange humming sound. REVERSE ANGLE as Tony and Rev react. [REV] I think we should leave. [TONY] I...I think you're right. They turn, run for the door...which suddenly slams shut. They turn back, look at --- THE RED LIGHT rushing towards them.... TONY AND REV As they scream in fear, we: CUT TO OMITTED EXT. K.I.T.T. ON ROAD - NIGHT - TRAVELING - STOCK [K.I.T.T.'S VOICE] Michael, do you realize that it's 2:32 in the morning? INT. K.I.T.T. - NIGHT - TRAVELING - P.M.P. Michael is driving. [K.I.T.T.] This is no time to perform an errand. [MICHAEL] Kitt, we have to secure the old laboratory. The city takes possession of it first thing in the morning. Anyway, what's your problem? Am I keeping you from a hot date? [K.I.T.T.] Of course not. But I need to charge my power packs occasionally. And speaking of dates, we could have performed this task this afternoon if you hadn't visited that Rosalie woman. [MICHAEL] You mean Roselynn. Rosalie's the other one...Ya know, down at the beach? [K.I.T.T.] Michael, why do you need to socialize with so many women? Wouldn't one be sufficient? [MICHAEL] Kitt, you're starting to sound like my mother. What's wrong with a guy wanting some uh...companionship? You can understand that. [K.I.T.T.] No, Michael, I cannot. When you're one of a kind, companionship does not compute. EXT. ROAD - NIGHT as the car continues on. DISSOLVE TO EXT. ABANDONED LAB - NIGHT Headlights pan across the sign reading "NO TRESPASSING." Camera adjusts as K.I.T.T. pulls up, stops. Michael gets out. [MICHAEL] Hello? Hello? (beat) That's funny. K.I.T.T. rolls forward. The red scanner swings back and forth. [K.I.T.T.] Funny? Michael, I detect no source of amusement. [MICHAEL] I mean, there's supposed to be a guard on duty. Michael looks at --- OMITTED HIS POINT OF VIEW - ENTRANCE TO BASEMENT The lock is broken, the door is partially open. BACK TO SCENE Michael gets into the car. [MICHAEL] Come on. Let's check out the basement. The car rolls forward...suddenly stops. [MICHAEL] Kitt, didn't you hear me? What's wrong? [K.I.T.T.] Michael, I'm getting some unusual readings. [MICHAEL] Readings of what? [K.I.T.T.] I don't know...they appear to be sensor echoes of my own telemetry ...but that's impossible. [MICHAEL] If it's impossible, ignore it. Let's go. The car creeps downward again. [K.I.T.T.] Michael, I have a strange feeling about this. [MICHAEL] What are you talking about? You don't have feelings. [K.I.T.T.] I know. That's what's strange about it. Michael looks around. Apparently, strange feelings are contagious. [MICHAEL] Okay, Kitt. If something strange is going on, I want someone covering my back. You stay here. [K.I.T.T.] You don't have to tell me twice. Michael smiles slightly...pats the nearest part of the car...goes inside the lab. OMITTED WITH MICHAEL INSIDE He moves through the cobwebs and shadows. We play this for suspense...once we get a sudden start as Michael reacts to a noise and a moving object...but it's only a falling timber. By now Michael's walk has taken him up to --- OMITTED MICHAEL'S POINT OF VIEW - LAB A maze-like collection of eerie shadows impossible to decipher. BACK TO SCENE Now he is in the center of the dark gloom...a matching shot to the earlier one of Tony and Rev. He waves the beam of the flashlight around. Reacts to.... OMITTED INT. LAB - MICHAEL'S POINT OF VIEW - THE GUARD from outside is in the center of the room, semiconscious. THE SCENE Michael quickly crosses to him, examines him. [GUARD] (weakly) Lab...three...lab...three.... Hearing these words, Michael turns...looks at.... OMITTED MICHAEL'S POINT OF VIEW - LAB THREE As the door slowly opens, seemingly of its own volition, a red light goes on. Something rushes out of the dark lab like a rogue elephant. OMITTED MICHAEL at the last moment he rolls out of the way. Alloy-belted treds mash the dust around his last footprints. OUTSIDE LAB - K.I.T.T. As a black gleaming blur swerves around it, roars out the main door and into the night. [K.I.T.T.] Michael! Michael! Where are you? Michael moves quickly and breathlessly into the shot, the guard across his shoulders. [MICHAEL] Here, Kitt...we have to get this man to a hospital! [K.I.T.T.] Michael, that car...it...it could have been my twin! It was exactly like me! Michael catches his breath, gets into K.I.T.T. [MICHAEL] Not exactly, Kitt.... Camera tightens on Michael. [MICHAEL] It almost killed me. OMITTED FREEZE FRAME FADE OUT END OF ACT ONE ACT TWO FADE IN EXT. FOUNDATION - DAY - STOCK [DEVON'S VOICE] That was the hospital, Michael.... INT. DEVON'S OFFICE - DAY Michael and Bonnie wait as Devon hangs up the phone, continues. [DEVON] The security guard is still uncon- scious, but he's out of danger. In an hour or two he should be able to give you a statement. [MICHAEL] I'll settle for a statement from you. [DEVON] I beg your pardon? [MICHAEL] Why wasn't I told about this other car? [DEVON] Michael, please --- [MICHAEL] I had a right to know! [DEVON] Yes, you certainly did...let me explain. Devon stops, takes a breath. These are painful memories. [DEVON] Two weeks before we found you in the desert, near death, Wilton activated the crowning invention of his life.... [MICHAEL] Kitt? [DEVON] No...Karr.... [MICHAEL] Karr? [DEVON] 'Knight Automated Roving Robot'... Wilton's sobriquet for his prototype vehicle. [MICHAEL] I like 'Kitt' better. [DEVON] You can say that again. Kitt's primary function is to serve you...and protect you from harm.... [BONNIE] But Karr...the earlier model...had no such programming. Instead, self preservation was its primary function. [MICHAEL] And that was a mistake? [DEVON] A major one. [MICHAEL] Like not telling me about all this? [BONNIE] Don't look at me...before my time. [DEVON] Michael, please...consider the circumstances...Just as Wilton realized he'd erred by not programming Karr properly, his company was almost toppled from within...by the same people who left you for dead on that desert highway ...In the turmoil to save your life and build a safer car, the earlier model was put in storage. I thought Wilton had had it dismantled before he died...obviously, I was wrong. [MICHAEL] Okay...okay...I'm sorry I jumped on you...but I still don't see why one simple computer program makes so much difference. [BONNIE] Michael, Kitt's primary function -- to protect human life -- is for want of a better word -- altruistic. [DEVON] But Karr -- without that programming -- is self-serving...almost animal- istic in nature. And devoid as it is of a conscience, it is potentially dangerous. If the people who have it misuse it, program it with information it deems threatening, why, they could create a menace which could quickly exceed their control. [MICHAEL] Devon.... [DEVON] Yes? [MICHAEL] I think we should get that car back. CUT TO OMITTED EXT. ALLEY - DAY Hidden behind a dumpster is none other than the Knight Automated Roving Robot...K.A.R.R. We hear a yawn...Tony stretches, appears in the front seat. A moment later the Rev rises in back. [K.A.R.R.] Are you awake? [TONY] Huh...wha...it wasn't a dream. [REV] (to Tony) You're here! I'm here! (beat) It's here! Tony and the Rev quickly jump out of the car...back away. Feeling safer, they relax a bit. [TONY] Where are we? [K.A.R.R.] This is where your companion told me to stop last night. [REV] I did? [K.A.R.R.] Actually, most of what you said was incoherent. I did, however, distinctly hear the word 'stop'. [REV] You're...just a car, ain't you? [K.A.R.R.] Not 'just a car.' I am the Knight Automated Roving Robot...Karr, if you prefer. I am the prototype of the car of the future. [REV] I mean...you're a regular real thing ...you're not somethin' out of a nightmare like you looked last night. [K.A.R.R.] Nothing has changed since last night. [TONY] Easy for you to say.... Tony scratches himself, starts to root through some garbage cans. He finds a scarf which he puts on, etc. Rev searches his pockets, finds his bottle. [TONY] Where did you come from, anyway? How did you get in that building? [K.A.R.R.] That edifice was the laboratory where I was first activated...and where I was also deactivated. The Rev pauses in midchug. [REV] Deactivated? You mean somebody turned you off? [K.A.R.R.] My creator...Wilton Knight. He brought me into the world and then turned on me. [TONY] Hey, take it easy...my old man was the same way. [REV] Yeah. Except for me and Tony, you can't count on nobody. [K.A.R.R.] Interesting. I will enter that information in my data banks. I am indebted to both of you. You have reactivated me. How may I serve you? [TONY] 'Serve us?' Whatcha mean by 'serve' us? [K.A.R.R.] I have checked my data on basic human desires. Therefore, I understand your needs. [REV] Come on. [K.A.R.R.] You wish to eat. [TONY] Well, yeah. [K.A.R.R.] You wish to drink. [REV] Yeah! [K.A.R.R.] You wish to reproduce. [TONY & REV] Yeah! [K.A.R.R.] Which one first? [REV] Uh...how about a couple of eggs, sunnyside up? [K.A.R.R.] I have no eggs. Perhaps you can direct me to a chicken. [TONY] What are you, a comedian? [K.A.R.R.] I am the Knight Automated Roving Robot...Karr, if you prefer -- I am the prototype of the car of the future. [REV] Hey, wait a minute...it's coming back to me now...last night...there was a guy...and another car...a car just like you.... [K.A.R.R.] You are in error. I am one of a kind. [TONY] No, the Rev's right...I saw it too.... K.A.R.R.'s engine roars alarmingly. Both men jump. [K.A.R.R.] I am the prototype of the car of the future. What you saw was merely an inferior production line model...a pale copy of the original. [TONY] (elbowing Rev) Uh...yeah, uh, Karr, you...you must be right. (aside to Rev) This guy's got a touchy motor. [K.A.R.R.] Very well, now may I take you some- where for food? Tony and the Rev look at each other. [REV] Yeah. Sure. Why not? They get inside...Tony behind the wheel. [K.A.R.R.] Do you wish to drive, or shall I? [TONY] (skeptical) Go ahead. The car pulls out of the alley, heads down the street. INT. K.A.R.R. - TRAVELING Tony and the Rev watch the wheel turn on its own. [TONY] Far out. Far out. [REV] It's a miracle. [K.A.R.R.] I detect numerous purveyors of food. Please tell me where you wish to go. [REV] Uh...how about the Three Rings? [K.A.R.R.] According to my data, rings are not edible. [REV] It's over there...on the left.... THE STREET as K.A.R.R. makes a U-turn...almost colliding with a vehicle or two in the process...then skids into the lot of a Jack-in-the-box-type place. INT. K.A.R.R. as it slams to halt in front of the PA "order" ringmaster. Rev and Tony are still reacting to the wild turn. [TONY] Hey, when this guy wants to go somewhere, he don't fool around. ANGLE ON "THREE RING" DRIVE-IN - MAIN BUILDING where a bored teenaged Kid is reading a comic. The Kid looks up, sees the Trans Am across the parking lot at the clown rig. The Kid pulls a microphone close...hits a button. We hear canned calliope music. [KID] (as ringmaster) Ladies and gentlemen...and children of all ages! Welcome to the Center Ring! INTERCUT - INT. K.A.R.R. [KID] (filtered) The r-r-ringmaster is r-r-ready for your order. [K.A.R.R.] What is that voice? [REV] It's just the ringmaster, Karr. I'll have...uh... (to Tony) What do they call that breakfast thing? [K.A.R.R.] Ringmaster? I scan no such person. This is a primitive remote, devoid of locomotion. [KID] I said, the r-r-ringmaster is r-r-ready! [TONY] The Tip Top Tent? [REV] No, that's not it. [KID] (filtered) Can I have your order, please? [K.A.R.R.] Tony! Rev! The operator of this device must be nearby. [TONY] Huh? What are you talking about? [KID] You guys wanna snap it up? I don't have all day. [K.A.R.R.] There! Did you hear? He is becoming abusive. [KID] You wise guys, or what? [K.A.R.R.] His anger grows.... [REV] Karr, be quiet, please --- [KID] Okay, that's it. Get out of here, before I come out there and throw you out. You hear me? Hey! You're asking for it! [K.A.R.R.] Do not fear, my friends. I will protect you. Brace for collision! THE SCENE Before Tony or the Rev can react, K.A.R.R. backs up, then rams into the Ringmaster. Sparks, smoke and plaster fly everywhere. THE KID - AT WINDOW reacting to this event in shock. The Kid reaches out, hits a button marked --- INSERT - BUTTON "Burglar Alarm." INT. K.A.R.R. Tony and Rev are in shock. They react to the ringing alarm. [K.A.R.R.] You see? Most of the interior was empty. It was a clever ruse, my friends, but not clever enough. [REV] Come on! We gotta get outta here! [K.A.R.R.] But you haven't eaten yet. Perhaps you wish to reproduce? [TONY] Forget that! Don't you hear that alarm? [K.A.R.R.] That harmonic disturbance? What does it mean? [REV] It means the cops are coming!! [K.A.R.R.] Is that a problem? [TONY] Are you kidding? If the cops catch us they'll throw us in the slammer! [K.A.R.R.] What is 'the slammer?' [REV] Remember that basement you were in? [K.A.R.R.] I will never forget it. [REV] Well, the slammer's just like that. [K.A.R.R.] I do not wish to go back to the slammer. How may I avoid it? [TONY] You get out of here as fast as you can, you stupid hunk of tin! Instantly, the car backs out of the lot...does a 180o turn.... EXT. CRUNCHY CLOWN ...and roars away, leaving astonished pedestrians in its path. OMITTED CUT TO EXT. STREET - DAY K.I.T.T. drives by. INT. K.I.T.T. [K.I.T.T.] Michael, I hope the security guard has some answers for us. Those sensor echoes last night were very puzzling. Michael doesn't reply, keeps looking at the dash. [K.I.T.T.] Michael? Michael fairly jumps. [MICHAEL] Uh...yeah, Kitt? [K.I.T.T.] You're awfully quiet. Is something bothering you? [MICHAEL] (reluctant) Well...yeah. I'm...worried about you. [K.I.T.T.] About me? [MICHAEL] Yeah. This whole thing has been startling, you know? Learning about that other car...having to hunt down...and I figured if I'm a little shook up, well, then, you must be --- [K.I.T.T.] Michael, really. By now you should know better than that. I admit that I was somewhat surprised to discover that I was not in fact a prototype vehicle...but.... [MICHAEL] There!..See! You are upset! It's a blow to your ego, right? [K.I.T.T.] Not at all. On the contrary, it's a compliment. Instead of being a problem-ridden prototype, I am the new and improved model. [MICHAEL] Come on, Kitt, you can level with me. I mean, weren't you even a little bit annoyed when you found out that there was another car and no one even told you? [K.I.T.T.] Michael, why should that be upsetting? There's a perfectly reasonable explanation. [MICHAEL] Oh, yeah? [K.I.T.T.] Of course. I wasn't informed due to the all too common problem of human error. CUT TO EXT. STREET - DAY Residential...basically empty. Gradually we hear the sound of police sirens. A beat. Then K.A.R.R. roars around the corner. A moment later two police cars appear in hot pursuit. INT. K.A.R.R. Tony and the Rev are reacting in panic to the breakneck speed and wild turns. [REV] Tony, slow down! [TONY] Slow down? I'm not driving! (leaning forward) Karr! You gotta stop! [K.A.R.R.] Negative, Tony. I do not wish to go to the slammer. [TONY] (to the Rev) You and your big mouth! Suddenly Karr accelerates. Tony and Rev are pushed back in their seats. The police cars fall far behind them. EXT. INTERSECTION K.A.R.R. puts on a burst of speed, turns the corner and ducks into an alley. The police cars go by. [RADIO VOICE] Attention all units. Black Trans Am reported heading south on Vincente Street. ANOTHER STREET K.I.T.T. goes past the camera. INT. K.I.T.T. Michael reacts as he hears a siren. [MICHAEL] Kitt, tune in the police frequency. [K.I.T.T.] Of course. A beat. We hear static. [POLICE RADIO VOICE] ...last seen at Three Ring Drive-In restaurant, 9211 Vincente Street. Repeat, black Trans Am in assault Three Ring Drive-In restaurant.... [K.I.T.T.] Michael, did you hear that? [MICHAEL] The hospital can wait. [K.I.T.T.] I should think so. That other car is going to give Trans Ams a terrible reputation. Michael throws the car into a wild turn. EXT. ALLEY - DAY K.A.R.R. is parked in the shadows. Tony and the Rev sit breathless for a moment. [K.A.R.R.] No one is pursuing us. You may assume manual control now. [REV] Thanks a lot. He reaches across Tony, grabs the wheel. [REV] The first thing we do is take these crazy wheels back where we got them --- INSERT as the "manual" light changes to "auto." [K.A.R.R.'S VOICE] I do not wish to go back to the slammer. BACK TO SCENE [TONY] He's just kidding, Karr...honest. Go back to that manual thing...come on. You can trust me and the Rev. [K.A.R.R.] Yes. That information is in my data banks. I can trust you. The control panel changes again. [TONY] You wanna excuse us for a minute, Karr? Tony pulls his pal out of the car, hesitates at the curb. [TONY] Ah...don't go away. TONY AND THE REV Tony pulls the Rev around the corner, speaks in hushed tones. [TONY] I wanna talk to you --- [REV] I wanna talk to you. We coulda ended up in jail today, all for a lousy mechanical ringmaster! I got two outstanding warrants, Tony...I don't need a Wizard of Oz car putting me behind the eight ball for nothing! [TONY] Hey, Rev, I'm with you all the way. [REV] You are? [TONY] Sure. If we're gonna walk the edge, well, let's do it for something worthwhile...not the 'Tip Top Tent', right? [REV] Tony, come on. We were lucky today. Next time --- [TONY] Next time it'll be the same thing. Did you see the way Karr handled those cops? The moves, the turns? Rev, with this car we could go all the way...we could go for the brass ring. Nothin' on earth could stop us! OMITTED K.A.R.R. - FRONT SCANNER moving back and forth. CUT TO EXT. CRUNCHY CLOWN - DAY Curious onlookers crowd the parking lot. Michael swings into the lot, parks and jumps out. WITH MICHAEL as he moves through the crowd, approaches the wreckage of the Ringmaster. [MICHAEL] Excuse me...can anyone tell me what happened here? The Order Kid looks at Michael...then at K.I.T.T. [ORDER KID] Is that your car? [MICHAEL] Yes. The Kid turns, signals someone. [MICHAEL] (to Kid) Why'd you ask? Was there another car here that --- Michael doesn't get any further. He's tackled from behind by a zillion cops. REVERSE ANGLE - TIGHT As Michael goes down with a thud on top of the clown. He looks up...camera widens to reveal that he is the hub of a wheel of drawn service revolvers. He slowly raises his hands and we: FREEZE FRAME FADE OUT END OF ACT TWO ACT THREE FADE IN INT. SEMI - DAY Devon is with a police Officer near the door. Michael leans against the wall, glaring. Bonnie works on K.I.T.T. [OFFICER] (eyeing Michael) Uh...you can understand the confusion. Maybe until we nail the stolen car, you should paint yours another color. [DEVON] We'll take it under advisement, Officer. Thank you. He shows the Officer out the door. [K.I.T.T.] I hope you didn't take that suggestion seriously, Mr. Miles. I am quite happy with basic black. [MICHAEL] Aren't we overreacting a bit here? I mean, all these guys have done is wipe out a ringmaster...they didn't even steal any hamburgers. [DEVON] Michael, Karr is like a loaded gun in the hand of a child. It's only a matter of time before there's a real explosion. [K.I.T.T.] Bonnie...unless I'm mistaken, you seem to be repositioning my main power booster. [BONNIE] (hesitant) Uh...yes. I'm making room for a...uh ...new component. [K.I.T.T.] What kind of component? [DEVON] (quickly) Ah...we're not yet certain it's necessary, Kitt...we're just planning ahead. [K.I.T.T.] I see. Michael, considering the confusion of the law enforcement authorities, regarding myself and Karr, I'll understand it if you want to work without me until this crisis is over. FAVORING MICHAEL [MICHAEL] No, Kitt. I had a lot of partners when I was a cop... (beat) You're the best of all of them. [K.I.T.T.] (after a moment) Thank you, Michael. I, of course, can make no such generalization about you. However, I project odds of a thousand to one against my meeting a more compatible human than yourself. [MICHAEL] (touched) Thank you.... Michael pulls up a chair, sits next to K.I.T.T. [MICHAEL] Okay, partner. Maybe you've got some ideas about that other car. You know...some chinks in its armor? [K.I.T.T.] I have insufficient data to be certain, Michael. However, since Karr is as powerful and as nearly indestructible as myself, Zeno's Paradoxes should be a factor. [MICHAEL] Zeno? [DEVON] The Greek philosopher and scientist, 335-263 BC. [K.I.T.T.] Very good, Mr. Miles. [MICHAEL] I don't get it. [K.I.T.T.] Michael, Zeno first postulated a question which my twin would cer- tainly be aware of; to wit: 'What would happen if an irresistible force met an immovable object?' [MICHAEL] Yeah...yeah...you're right. [BONNIE] So what's the answer, Kitt? [K.I.T.T.] No one knows, Bonnie. No one knows. As they all chew on that, we: CUT TO EXT. BANK - DAY - INSERT We hold on the building's staid looking sign...as we gradually hear a high-pitched whine. NEW ANGLE - STOCK as K.A.R.R. roars into view, smashes through the wall of the bank. ALARMS RINGING - STOCK TONY AND REV in their warehouse hideout, happily counting money. EXT. COIN SHOP - DAY - INSERT with signs advertising "We Buy and Sell Gold", etc. We hear that familiar sound again.... K.A.R.R. - STOCK Camera adjusts as K.A.R.R. careens around the corner, wipes out the wall of the store. MORE ALARMS - STOCK TONY AND REV Playing with coins like Uncle Scrooge. EXT. BROKERAGE FIRM - DAY - INSERT A sign proclaims, "Member N.Y. Stock Exchange". K.A.R.R. - STOCK Roar...zoom...wham! K.A.R.R. is bullish on the stock market! CUT TO EXT. FOUNDATION - DAY - TO ESTABLISH [DEVON'S VOICE] Again and again they've struck.... INT. DEVON'S OFFICE - DAY Devon and Michael and Bonnie are looking at a map on Devon's desk. X's mark K.A.R.R.'s rampages. [DEVON] The fact that no one has been hurt is either a miracle or a coincidence ...We cannot assume a continuance of either. [MICHAEL] So what do we do? Devon and Bonnie exchange a look. Devon turns to Michael. [DEVON] There is one approach, Michael...but there is a great deal of danger involved...to you and to Kitt. [MICHAEL] Go on. [BONNIE] We all know that Kitt...and Karr... are made of a virtually indestructible alloy...Hardly anything could damage either car. Hardly anything...except this. Bonnie takes a tarpaulin off of an object on a workbench. It's a maze of coils and tubing the size of a typewriter. [MICHAEL] Looks like a neon barber pole. [BONNIE] It's a resonating laser, Michael... powerful enough to send a burst of energy directly into Karr's only vulnerable spot.... She points to a sketch of K.A.R.R. [BONNIE] ...the front scanner...here. [DEVON] As the scanner is protected by an alloy grill, only a dead-on shot will work...and then the scanner will blow...and with it, all of Karr's systems. It will become an immobile hunk of metal. Bonnie? Bonnie takes Devon's cue, adjusts a "target" in a vise-like holder, steps back, activates the laser. Zap! The target smolders, sparks. [MICHAEL] Very impressive. What about anyone inside the car? [DEVON] They'll come to a rather jolting halt, but other than that, they shouldn't be harmed. [MICHAEL] Okay. It sounds doable...so why the long faces? [DEVON] Michael, to perform this task, you and Kitt must be directly in front of Karr. For maximum effect, you must fire the laser from a distance of no more than 100 yards. And you must hold the last on target for two full seconds. FAVORING MICHAEL as awareness dawns. [MICHAEL] (slowly) One hundred yards? Two seconds? But Kitt...and Karr...can travel 100 yards... (thinking) ...in...about two seconds! [DEVON] (dryly) That's basically the problem. And by the way...the laser is only good for one shot. [MICHAEL] (beat) I...think I'm going to sit down for a while. CUT TO EXT. ABANDONED WAREHOUSE - NIGHT Boarded up, painted with graffiti. A beat. K.A.R.R. turns the corner, pulls up. The Rev gets out, opens the warehouse door. K.A.R.R. drives inside. The Rev locks up from the inside. INT. WAREHOUSE - NIGHT - TIGHT ON A TABLE as a bag of stocks, gold and money is poured down on it. We widen as Tony and the Rev literally wallow in it. [TONY] Welcome to easy street! [REV] Easy street? It's automobile heaven, right, Karr? NEW ANGLE revealing that K.A.R.R. is parked nearby, just on the other side of a partition between the office and the warehouse proper. [K.A.R.R.] I am unfamiliar with your reference, Rev. However, there is no cause for celebration. We have a problem. Tony and the Rev sober, move to the car. [TONY] A problem? Like...what problem? [K.A.R.R.] I have analyzed my self-monitors, and my Beta and Lambda circuits are in need of realignment. Also, the fibre optics in my scanners have suffered a twenty percent reduction in opacity...probably due to my long incarceration. [REV] Whattya want, a tune-up or something? [K.A.R.R.] Hardly. I require attention from an experienced cybernetic technician. [TONY] Cyber...? Where do we find one of them? [K.A.R.R.] We have seen a car similar to myself ...since I am the prototype, it is most likely an inferior production line copy. However, someone must own it and therefore, maintain it. By following this line of reasoning, we can locate the individual who cares for that other vehicle. [TONY] Sure, sure. I was just gonna say that. [K.A.R.R.] Then you can get that person and bring them here. [REV] We can't do that! [K.A.R.R.] Why? Is there a problem? [REV] Yeah! It's called kidnapping! [K.A.R.R.] I am unfamiliar with that term. I only know that I require skilled maintenance. Tony takes the Rev by the arm, leads him away. [TONY] You're gettin' a conscience kinda late in the game, you know that? [REV] Tony, I know I'm no saint...but nothing we've done has hurt anybody ...but we're talking about just grabbing somebody and.... [TONY] Okay, okay...relax...we won't do it. [REV] We won't? But Karr --- [TONY] Leave it to me. It talks good but it's about as smart as a toaster. I'll buy him some spark plugs and he'll be happy. Then, when he's in tip-top shape, we pull one big job ...and then it's flyin' down to Rio for you-o and me-o... (slapping his shoulder) Whattya say? [REV] Okay. Okay. I like that. [TONY] Okay. You get some rest. I'll break the news to motor mouth. Rev moves further into the office part of the warehouse. Tony goes over to K.A.R.R. [TONY] Okay, Karr, you want a technician... I'll get you a technician. CUT TO INT. DEVON'S OFFICE - DAY Devon is showing Michael some blueprints. [DEVON] Once the laser is calibrated, Michael, either you or Kitt will be able to fire it...The triggering mechanism is simple, as you can see.... [MICHAEL] Devon, I don't know what bothers me more...the fact that this is a long shot...or the fact that I'm stupid enough to try it. Devon smiles. Suddenly alarms begin ringing. [MICHAEL] That's the security system! Devon picks up the phone. [DEVON] (surprised) Dead...! He starts hitting the phone buttons, frustrated. Michael activates his wrist comlink. [MICHAEL] (into comlink) Kitt, where are you? EXT. TIGHT ON K.I.T.T. - IN PARKING SPACE - DAY Behind a sign, "Reserved for Michael Knight." [K.I.T.T.] I'm in your parking space, Michael...Where else would I be? [MICHAEL] Pick me up at the main building. Something's going on. [K.I.T.T.] Very well. K.I.T.T. backs out of the space, drives off. INT. DEVON'S OFFICE The phone lights return. Before Devon can dial, it rings. [DEVON] What the devil's going on? [PHONE VOICE] We tried to stop it, Mr. Miles...but it ran the main gate.... [DEVON] What ran the main gate? [PHONE VOICE] The car, Mr. Miles...the car...! Devon and Michael exchange a look, run out of the office. INT. SEMI - DAY Bonnie is working on the laser. She looks up, hearing the sound of the security alarms. Picks up the phone. [BONNIE] Security? This is Doctor Barstow. What's happening with the alarm system? Behind Bonnie, the door creaks open. Who should be there but Tony. He grabs Bonnie from behind, drags her out of the semi. The phone dangles, swings back and forth. EXT. FOUNDATION - MAIN BUILDING Devon and Michael run down the steps, come out the door. [MICHAEL] (into comlink) Kitt! Come on! [DEVON] There he is --- ! They look off at --- APPROACHING CAR - ZOOM SHOT Black...a red scanning light on the hood...but in the front seat, Tony, struggles to restrain Bonnie! BACK TO SCENE [MICHAEL] That's not Kitt! The car roars past. Michael leaps onto the roof, is swept out of the shot. INT. K.A.R.R. Tony struggles with Bonnie while he tries to see. [TONY] Karr! Get rid of this guy! [K.A.R.R.] Very well. INSERT - PANEL As it changes to "AUTO CRUISE." EXT. FOUNDATION K.I.T.T. roars up to Devon. [DEVON] (pointing) Kitt! Karr was here! It's got Bonnie and Michael! K.I.T.T. roars off in the direction indicated. EXT. OUTSIDE FOUNDATION GROUNDS - DAY K.A.R.R. swerves into the shot, accelerates. K.A.R.R.'S SPEEDOMETER rising alarmingly. MICHAEL - ON ROOF Sliding up and over the roof...hanging on for dear life... one of his hands slip.... EXT. ROAD - DAY K.A.R.R. swerves wildly at breakneck speed, trying to dislodge Michael. The car swerves close to some bushes. (or crashes a fence - director and location permitting) MICHAEL ducking to avoid being swept overboard. He hits the wrist comlink. K.I.T.T. Swinging into the location where we saw K.A.R.R. in shot 93F1. EXT./INT. K.A.R.R. - DAY - TRAVELING Michael has now slipped onto the back of the car. [BONNIE] Stop! You'll kill him! Tony starts to bind her hands with his belt as the car continues its wild gyrations. ON MICHAEL In pain...losing his grip...then hope rises as he sees.... K.I.T.T. - HIS POINT OF VIEW coming up quickly from behind. [K.I.T.T.] Michael, I'm getting in position... Get ready to jump. THE SCENE Just before he would fall anyway, Michael gathers his legs, under him, leaps from the rear of K.A.R.R. onto the hood of K.I.T.T. Immediately, K.I.T.T. makes a U-turn, slows. ON MICHAEL looking after the escaping car, frustrated. FREEZE FRAME FADE OUT END OF ACT THREE ACT FOUR FADE IN OMITTED EXT. K.I.T.T. - DAY - ON FREEWAY traveling along. INT. K.I.T.T. - DAY as Michael drives. [MICHAEL] Anything? INSERT - K.I.T.T.'S SCANNER SCREEN showing a radar-like screen superimposed over a city map. [K.I.T.T.] No, Michael. INT. K.I.T.T. [K.I.T.T.] Except for that brief reading on that other highway, I have had no indica- tion of Karr. [MICHAEL] Let's try a new direction. How's the laser holding up? [K.I.T.T.] It's a rather tight fit but otherwise it's fine. But I must point out that it cannot be fired until it is properly calibrated...and Bonnie is the only one who can do that. [MICHAEL] She'll take care of it when we find her. [K.I.T.T.] You mean, if we find her. [MICHAEL] Be positive, Kitt. Be positive. EXT. K.I.T.T. as it turns in a new direction. EXT. WAREHOUSE - DAY - TO ESTABLISH INT. WAREHOUSE - DAY Bonnie is inside K.A.R.R. She stifles a yawn, continues working on some panels. She hesitates...gets a glint in her eye...reaches out with a screwdriver.... NEW ANGLE She sticks the tool in a panel...suddenly sparks fly up near her other hand. She cries out, holds her wrist. [K.A.R.R.] Do not attempt to sabotage me again. I will defend myself. [TONY'S VOICE] He means it, sweetheart. She looks over at: HER POINT OF VIEW - TONY in the "office" area, with a map and a newspaper. He gestures to some greasy-looking food. [TONY] Want some, babe? THE SCENE [BONNIE] No thanks. Michael Knight wouldn't even eat that stuff. [TONY] Who's Michael Knight? [BONNIE] When you find out, you'll wish you never asked. The Rev appears, yawning. [REV] Hey, Tony...I didn't think you liked talking to.... He stops, seeing.... NEW ANGLE - FAVORING BONNIE [REV] Karr...Tony...who's she? [TONY] (rising) Rev, look.... [REV] (pushing him away) You kidnapped her, didn't you? You lied to me and you still went out and did it! [TONY] Rev...come on...look.... He indicates the newspaper and map. [TONY] This is the big score, right here.... [REV] I don't care about any big score! This has gone too far! ON BONNIE watching all this, interested. She turns to K.A.R.R. as the two thieves continue bickering. [BONNIE] Karr, I'd like to check out your video system...do you mind? [K.A.R.R.] You have permission. She gets in the car, makes an adjustment. HER POINT OF VIEW - VIDEO SCREENS as the newspaper fills the screen. A circled article reads, "GEMS FOR MUSEUM SHOW ARRIVE TODAY." CLOSE SHOT - BONNIE Her eyes widen in realization. CUT TO OMITTED EXT. STREET - DAY K.I.T.T. drives slowly down the block. INT. K.I.T.T. - TIGHT ON SCREEN as a light blinks over a computerized city map. [K.I.T.T.'S VOICE] Michael, I'm scanning Karr's emissions. Eighty degrees southeast. INT. K.I.T.T. - WIDER [K.I.T.T.] We need to make two more circuits of the area to triangulate it, Michael. [MICHAEL] You got it. They turn onto another street. CUT TO INT. WAREHOUSE - DAY Tony and Rev are still at it. [REV] You're not the man I knew anymore, Tony. It's that car, Tony...that car that's changed you.... [TONY] Don't give me that holy stuff again, Rev -- I ain't changed --- [REV] Tony...do you know what Lucifer did, up in heaven -- before he fell? [TONY] Rev --- [REV] He built a machine, Tony -- an infernal machine! And we've got to stop that machine, before it's too late -- the police will know what to do --- He moves away. Tony grabs his arm. [TONY] Yo, yo, what's this police stuff -- ? BONNIE taking advantage of their distraction, she begins to slowly slip away from both of them and the car. BACK TO SCENE [REV] Let go of me, Tony...it's for our own good. [TONY] Like hell! What about all the money? [REV] I don't care about the money, Tony! I care about your immortal soul! He breaks away from Tony...turns...and then as Tony suddenly, savagely smashes down with a table lamp: THE REV as he falls across the table it crashes to the floor. The Rev groans on the floor, then moves. Tony raises the lamp again...then he hears the sound of echoing footsteps. He turns, sees --- HIS POINT OF VIEW - BONNIE at the far end of the warehouse, making her break for it. BACK TO SCENE Tony drops the lamp, runs to K.A.R.R. [TONY] You hunk of tin! Didn't you see her? [K.A.R.R.] I was watching you deactivate the Rev. Was he malfunctioning? [TONY] Come on! They back out, turn. INT. WAREHOUSE Bonnie turns to flee...there's nowhere to go...and then: NEW ANGLE - K.I.T.T. comes crashing through the warehouse door! ON BONNIE [BONNIE] Michael! K.I.T.T. slams to a halt beside her. [BONNIE] What kept you? [MICHAEL] Traffic was murder. Get in! She starts for the passenger door...an o.s. screech attracts their attention. NEW ANGLE K.A.R.R. is barreling towards them. [MICHAEL] Bonnie, take cover! Michael swings K.I.T.T. around to protect her. She dives for the floor. K.A.R.R. swerves wildly around K.I.T.T., smashes through some crates, then vanishes through the already unhinged warehouse door. Bonnie catches her breath, gets in the car. [BONNIE] He jumped his buddy.... [MICHAEL] I'll call an ambulance.... [BONNIE] Do it on the way. [MICHAEL] On the way to where? [BONNIE] The Gems for the museum exhibit... that's where they're going! CUT TO EXT. STREET - DAY - K.I.T.T. - RUNBY [MICHAEL'S VOICE] (filtered, over phone) Devon, this is Michael.... [DEVON'S VOICE] (filtered) Michael! Did you find Bonnie? Is she --- [MICHAEL'S VOICE] (filtered) She's fine, Devon...she's with me now. But Karr's going after the jewels for the new museum exhibit. [DEVON'S VOICE] (filtered) The jewels for the exhibit...? They'd still be in the county warehouse...I'll meet you there with reinforcements! CUT TO EXT. MUSEUM WAREHOUSE A sign proclaims "COUNTY MUSEUM - SHIPPING AND RECEIVING" EXT. STREET - DAY - K.A.R.R. comes around a bend. NEW ANGLE - SLOW MOTION as K.A.R.R. crashes through the wall of the warehouse. INT. WAREHOUSE K.A.R.R. skids to a halt amidst statues, armor, crates and gem cabinets. Several security guards recover their composure, open fire on K.A.R.R. CLOSE SHOTS - K.A.R.R. as the bullets bounce off harmlessly. Behind the wheel, Tony laughs, puts the car in gear. MUSEUM WAREHOUSE K.A.R.R. spins around in a 180o, pushes a huge shipping crate towards the guard. It traps them in a corner. CLOSER - TONY Tony jumps out of the car. He smashes several crates until one spills out jewels, tiaras, etc. He starts to load these into K.A.R.R.'s trunk. EXT. WAREHOUSE - DAY Several police cars have pulled up. Devon pulls up in an unmarked car with a bureaucrat-type, who points out the police Captain. [DEVON] Captain, I'm Mr. Miles. [CAPTAIN] You got any ideas about how to handle that streamlined tank in there? [DEVON] Yes. (pause) Get out of its way. And get all these people to a safe area. [CAPTAIN] That's all the help you can give me? Devon looks up at the sound of a familiar engine. DEVON'S POINT OF VIEW - STREET as K.I.T.T. comes into view. BACK TO SCENE Devon smiles, turns to the officer. [DEVON] No. Not quite all. The cops watch as Michael pulls up beside Devon. Michael leans out. [MICHAEL] Are we too late? [DEVON] They're still inside. [MICHAEL] Kitt, are you ready? [K.I.T.T.] Aren't I always? [MICHAEL] Bonnie, you'd better get out. [BONNIE] Like hell, Michael. This laser has never been calibrated. I'm the only one who can fire it that way. Even Kitt can't do it. [K.I.T.T.] She's right, Michael. [MICHAEL] Ah...you always liked her better. Michael guns the car, spins around, backs away from the warehouse. Spins around again. Revs the engines. THE COPS move out of the way. The light pedestrian traffic stops, watches. EXT. WAREHOUSE - K.I.T.T. roars forward. NEW ANGLE - SLOW MOTION Before K.I.T.T. has reached the warehouse, K.A.R.R. roars out, sails over K.I.T.T. -- lands beyond it. K.I.T.T. slamming on the brakes, skidding and sliding to a halt against the warehouse wall. THE SCENE K.A.R.R. does a 180o. Both cars are only a few feet apart, slightly diagonal to each other. The observers murmur. ANGLE ON FRONT SCANNERS of both cars as they pivot back and forth. THE SCENE [K.A.R.R.] The woman spoke of you, Kitt. It is interesting to meet you. [K.I.T.T.] It is interesting to meet you, Karr. Until now, I thought I was one of a kind. [K.A.R.R.] To be one of a kind is very special ...But to be two of a kind is special also. [K.I.T.T.] Yes. Perhaps even more special, Karr. Perhaps even more. INT. K.A.R.R. Tony (who isn't driving anyway) points on the dashboard. [TONY] Karr! Forget the family reunion. Get out of here! INT. K.I.T.T. [MICHAEL] The laser --- Bonnie holds a joystick, looks at K.I.T.T.'s screen where a target sight appears. [BONNIE] We have to be dead center...! Go to your left. THE SCENE Michael moves K.I.T.T. but K.A.R.R. does the same. Both cars circle each other. Bonnie keeps trying to get a clear shot...can't. [K.I.T.T.] Karr, please desist from your actions. Many people may be hurt. [K.A.R.R.] That is no concern of mine. If I desist what will become of me? [K.I.T.T.] You will be deactivated, of course. [K.A.R.R.] Then this conversation is nonpro- ductive. K.A.R.R. spins around, roars away. OMITTED K.A.R.R. - HEAD-ON Even now roaring towards the camera...suddenly skidding to a halt. REVERSE ANGLE - TWO POLICE VANS have been rolled into the shot, making a formidable barricade. K.A.R.R. spins around, heads back the way it came. INT. K.A.R.R. A light on the dash goes on reading, "load jettison." Tony turns and is astonished to see that the trunk is opened and the jewels are spilling out the back. [TONY] Wh-what are you doing? [K.A.R.R.] I must eliminate excess weight in order to jump over that barricade. Tony looks over at the vans. [TONY] (arrogant) Oh, no you're not...not with me in here! [K.A.R.R.] Very well. INSERT as "eject left" is activated. EXT. K.A.R.R. Tony is thrown out. The moment he lands, (on an awning or similar) he is swarmed over by cops. OMITTED INT. K.I.T.T. [K.I.T.T.] Michael...Bonnie...my analysis of Karr's movements leads me to believe he is maneuvering for a long enough run to leap over the police barricade. [MICHAEL] Ready? INSERT - TARGET SCREEN [BONNIE'S VOICE] Go! Go! Get in range! THE SCENE The two cars head for each other again...then K.A.R.R. goes up on two wheels! The laser beam shoots out too late. K.A.R.R. as a laser blast blows out one headlight. We hear a metallic "scream." INT. K.I.T.T. [BONNIE] (about the laser) Oh, no! Michael looks forward. A collision is imminent. THE SCENE Both cars slide past each other with inches to spare. THE CROWD reacting in astonishment. K.A.R.R. drops down on four wheels, spins around...roars towards the barricade. K.I.T.T. also turns. DEVON AND OTHERS watching, amazed.... OMITTED NEW ANGLE - K.A.R.R. - SLOW MOTION as it jumps the vans, escapes! INT. K.I.T.T. Michael spins the wheel. [BONNIE] You're not going after him? [MICHAEL] Wanna bet? WIDER SHOT - K.I.T.T. as K.I.T.T. makes the same leap over the vans. INT. K.I.T.T. landing hard. [BONNIE] He's gone! [MICHAEL] Kitt...scan for him.... [K.I.T.T.] Already scanning, Michael...Karr is taking the coastal road north. [MICHAEL] I-90 goes the same way...we can cut him off. [BONNIE] And then what? [MICHAEL] We'll improvise! EXT. K.I.T.T. roaring down a freeway. CUT TO ON COASTAL ROAD - K.A.R.R. high on a cliff above the ocean, zooming along...nearly running other cars off the road. INTERCUT - K.I.T.T. traveling the same screen direction on a highway. We play this, then K.I.T.T. turns off the freeway, heads back the other way. INTERCUT - K.A.R.R. Now the two cars are clearly on the same road...and clearly on a collision course. INT. K.A.R.R. shooting over the driverless wheel. K.I.T.T. appears on the narrow road, far ahead. [K.A.R.R.] Kitt...change course at once. INT. K.I.T.T. Intercut with above and point of views: [K.I.T.T.] I am not in control, Karr. [K.A.R.R.] Then tell the humans to turn away. This is folly. [BONNIE] He's right. [K.I.T.T.] He's right! [MICHAEL] No way. [K.I.T.T.] Michael, what are you doing? [MICHAEL] (grim, matter- of-fact) Remember that immovable object thing? We're about to find out the answer. [K.A.R.R.] Your lives mean nothing to me! Turn away! Turn away! [K.I.T.T.] Michael, please! Pardon the expres- sion, but he does have a few screws loose! Turn! Karr doesn't have my programming to protect human life! [MICHAEL] That's what I'm counting on. [BONNIE] What? [K.I.T.T.] Michael, I cannot allow you to jeopardize your life. I am assuming control. INSERT - DASH PANEL changing from "manual" to "automatic." [MICHAEL'S VOICE] No, you're not, Kitt...sorry. Michael's hand stabs out. "Override" lights up. The panel changes back to "manual." BACK TO SCENE INT. K.I.T.T. They're getting closer.... [BONNIE] Michael, you know all those times I've called you impulsive and irresponsible? I...I didn't mean it. [MICHAEL] Bonnie...you know all those times I've called you bossy and demanding? I didn't mean it either. [K.I.T.T.] Michael...Bonnie.... [MICHAEL/BONNIE] Yes, Kitt? [K.I.T.T.] Why are you lying to each other? No reply...they're about to hit (maybe one of these good people grabs the other's hand?) THE TWO CARS rush towards each other at breakneck speed...and then, at the last possible moment, K.A.R.R. turns! FROM BELOW CLIFF - K.A.R.R. - STOCK as it sails right over the edge of the cliff. [K.A.R.R.] No! No! I cannot fail! I am the prototype! I am the prototype! K.I.T.T. - STOCK spinning around, skidding to a halt, rear wheels over the edge of the cliff. FROM ABOVE - K.A.R.R. - STOCK plunging into the water. A moment later a huge underwater explosion goes off...the world's biggest depth charge. MICHAEL AND BONNIE reacting with relief. [FREEZE FRAME] END OF ACT FOUR TAG FADE IN INT. SEMI - DAY Michael, Bonnie and Devon stand with K.I.T.T...with champagne glasses. [BONNIE] Well, at least things are back to normal. [DEVON] At what cost? All that destruction.... [MICHAEL] Not to mention Zeno's Paradox...It may go unanswered for another 2000 years. [K.I.T.T.] I have a question about that, Michael. What made you so sure that Karr would turn away first...How did you know you wouldn't uh.... [BONNIE] Chicken out? [K.I.T.T.] Thank you, Bonnie...Yes, Michael. How did you know you wouldn't chicken out first? [MICHAEL] You provided that clue, Kitt. You kept telling me how you two differed in your basic programming. Yours is to protect human life, but Karr's basic program was self-preservation ...so in a head-to-head confrontation ...he would always 'chicken out.' [DEVON] Eminently...if colloquially put. [K.I.T.T.] Michael...I'm speechless. [DEVON] (sotto) Bloody likely.... [K.I.T.T.] No, really. Michael, your logic in this case is totally illogical...and yet it's absolutely correct. This is just...amazing. [MICHAEL] No, just...human. He slaps his hands together, smiles. [MICHAEL] Okay, Kitt, what do you say we go out for a little celebration of our own? We'll drive anywhere you like, maybe get a car wash...you can beat me at chess again...name it. [K.I.T.T.] Thank you, Michael, but it has been a draining day. My power packs could really use a rest. [MICHAEL] Okay, pal. I'll see you tomorrow. They all ad-lib good-byes, exit. Michael lingers in the door of the semi. [MICHAEL] (cheery) Hey, how's it feel to be one of a kind again? [K.I.T.T.] As you know, Michael, I do not have feelings. However, for want of a better term, being one of a kind is a very familiar feeling. [MICHAEL] Right. He goes out. We hold on K.I.T.T. for a beat. INT. K.I.T.T. A screen comes on. A button lights up "VIDEO REWIND." We see snow on a screen. Then "PLAY" lights up. The scene of K.I.T.T. and K.A.R.R. outside the warehouse appears, their scanners touching. [K.A.R.R.] ...It is interesting to meet you. [K.I.T.T.] It is interesting to meet you, Karr. Until now, I thought I was one of a kind. [K.A.R.R.] To be one of a kind is very special. But to be two of a kind is special, also. [K.I.T.T.] Yes. Perhaps even more special, Karr. Perhaps even more. The "OFF" button lights up. The screen goes dark. HIGH ANGLE SHOT - K.I.T.T. - VERY WIDE LENS in the empty semi...one of a kind again. THE END

{"show": "Knight Rider", "season": "s01", "episode": "e08", "title": "Trust Doesn't Rust"}

knightriderarchives

ACT ONE FADE IN EXT. LONELY UNDULATING ROAD - NIGHT We hear nothing except night birds, and crickets...the sounds of the country at night. Then we hear a new sound -- the "boop boop" of a radar scanner. Camera pans to a police cruiser hidden behind some foliage or a billboard. Two officers are inside. Wally drinks coffee from a thermos. Lester points a radar gun at the road. He fiddles with some dials. [LESTER] Got something...Coming on fast... Whoa! Eighty miles an hour! [WALLY] Damn kids think they own this road... a fifty dollar fine'll teach 'em different.... [LESTER] Uh...wait a second. Lester fiddles with the gun. Taps it a few times. [WALLY] You lose him? [LESTER] (slowly) Uh...No. He just jumped to...one hundred fifty. [WALLY] On this road? That can't be right. Check again. [LESTER] One hundred and ninety...no, two hundred...two twenty-five! Off the scale! [WALLY] That's impossible...No car can --- Suddenly both men hear a distant, eerie whine...unlike any car on the road. They listen, look around. THEIR POINT OF VIEW - HIGHWAY - LONG SHOT An amber glow is rapidly approaching. Music begins...some- thing reminiscent of Close Encounters. BACK TO SCENE [LESTER] (nervous; he's seen Close Encounters) Maybe it's not a car...maybe it's... somethin' else? They exchange a look, then pile out of the car. We tighten on them as a glow of light starts to illuminate their faces. (Again, in Close Encounters style.) HIGHWAY - APPROACHING LIGHT coming faster and faster, the whine growing louder. VERY LOW ANGLE - WALLY AND LESTER With a thud, something hits a rise on the road directly in front of them and flies over their heads. A beat. Both men are speechless. [WALLY] W...what was that? [LESTER] (after a moment, amazed) A Pontiac.... CUT TO EXT. ROAD - NIGHT Sparks fly up as the "Pontiac" -- actually the Knight 2000 -- skids into the side railing, bounces back onto the road. It's swerving wildly. INT. KNIGHT 2000 - NIGHT - CLOSE ON THE STEERING WHEEL - TRAVELING as it fights to control the car. The "Auto Cruise" dial is illuminated. No one is in the front seats. Suddenly, a man's foot kicks at the wheel, causing the car to go off the road again. [K.I.T.T.] Michael, I can't drive on auto cruise when you keep bumping the wheel... Michael? No answer...just the sound of a blow. [K.I.T.T.] Michael, what's all that noise? INT. CAR - NEW ANGLE revealing that Michael Knight is fighting for his life in the backseat against a mean-looking mother named Dugan. (The right passenger seat is inclined, giving both men some struggling room.) Michael punches Dugan, tries to grab the wheel. Dugan hauls him back. For those who notice such things, the remains of ropes and bindings are on Dugan's wrists and ankles. EXT. ROAD - NIGHT The car swerves again. INT. CAR - NIGHT - TRAVELING Michael tries to say something. It's hard, with Dugan's elbow around his neck. [K.I.T.T.] Michael, did you say something? You'll have to speak up. Dugan produces a knife. Michael chops it out of his hand, then twists around, forcing Dugan towards the front seats. [MICHAEL] Kitt! Open the sunroof! [K.I.T.T.] You don't have to shout. The sunroof rolls back. Michael gives Dugan a terrific wallop, dropping him into the driver's seat. Then he reaches for --- INSERT - "EJECT" CONTROL Michael's hand slams down on it. EXT. CAR - NIGHT with a "whoosh" Dugan flies up and out of the car. We hear him scream as he descends towards.... A LAKE - NIGHT Dugan hits with a mighty splash, flounders in the water. THE KNIGHT 2000 lams to a half in the b.g. Michael runs towards the camera, reaches the edge of the water just as Dugan staggers out. Michael cocks his arm to deliver the final blow...it isn't necessary. Dugan collapses from exhaustion on the shore. Michael catches his breath, starts to drag Dugan towards the car. CUT TO EXT. ABANDONED CABIN - DAWN The wind whips sand past the camera. We pan to see the Knight 2000 drive up, park. Michael gets out, pulls Dugan (bound and gagged, but still damp) towards the ramshackle building. CUT TO INT. ABANDONED CABIN - DAY The interior is prefab, surprisingly modern...and built like a cage: Metal mesh over the windows, bolts on the door, etc. There's a water bottle, freeze-dried food, a bunk...that's it. Michael comes in, drags Dugan to the bunk. Loosens his bonds. Dugan stirs, groans. Michael stops at the door, key in hand. [MICHAEL] Sorry about the accommodations, but it's the height of the season. You understand. Dugan groans again. EXT. CABIN - DAY Michael closes and locks the door. Presto -- it's an aban- doned cabin again. Michael turns from the door and sees --- HIS POINT OF VIEW - A SEMI approaching the camera. It halts with a hiss of air brakes. In front, besides the driver (in a Knight Industries cap) is Devon Miles. Devon leans out of the cab, his Saville Row three-piece looking totally out of place. [DEVON] Michael, you're an hour behind schedule. I hope you have an explanation. ON MICHAEL Speechless, he wipes a fleck of blood from his chin, then he sighs, heads for --- REAR OF SEMI It drops down, forming a ramp. Michael walks inside, first turning to whistle at K.I.T.T. [MICHAEL] After you. K.I.T.T. drives up the ramp. [K.I.T.T.] You're always so polite when the boss is around. They go inside. The ramp rises, closes again. The semi moves off. INT. SEMI - NIGHT - TRAVELING We see that the rear of the semi has been outfitted as a state-of-the-art electronics lab and garage. Towards the front are some chairs and other human touches...even a coffee maker. Also inside is Bonnie Barstow, a young engineer who makes her Knight Industries overalls look like a Bob Mackie original. Bonnie looks up from a workbench as Michael enters. [MICHAEL] Hello, Bonnie. [BONNIE] We were so worried! Are you all right? [MICHAEL] (rubbing his jaw) Yeah, I'm okay, a few bruises, but --- [BONNIE] I wasn't talking to you. Michael stops in midsentence as Bonnie walks right past him, continues talking...to K.I.T.T. [BONNIE] How's your shocks? Are you still in alignment? [K.I.T.T.] Everything's in proper order, Miss Barstow.... [BONNIE] Please...Bonnie. [K.I.T.T.] Bonnie. But I'm grateful for your concern. You're an angel of mercy. [BONNIE] Oh, Kitt...that's sweet. But let me check anyway. Your surveillance scanners might need adjustment. She reaches for some tools. CLOSE ON MICHAEL He scowls at this display, takes coffee from the machine. A portal opens in the front of the trailer and Devon comes in from the cab. [DEVON] When you didn't arrive at the rendezvous point, we decided to intercept you enroute. What happened? [MICHAEL] Mr. Dugan got loose about an hour after I picked him up. Jumped me while I was driving. Michael takes something from his pocket, hands it to Devon. [MICHAEL] Here. I found this on him. INSERT showing an "X'd" map and one half of a thousand dollar bill. The words "5:00 P.M." have been scrawled beside the "X". [DEVON'S VOICE] What does it mean? BACK TO SCENE [MICHAEL] If your Mr. Kincaid is as smart as you say...we won't know... (pointing at map) ...until I get there. [DEVON] Thomas Kincaid is very smart, Michael ...which is why I disapprove of this entire plan. [MICHAEL] It's perfectly safe. Kincaid and Dugan have never met. As far as he'll know, I'm the real Mr. Dugan. [DEVON] That's not the point. The finest law enforcement agencies in the country have been unable to prove any allegation against Mr. Kincaid --- [MICHAEL] Then it's about time somebody put him away. How many robberies has he masterminded? Ten? Twenty? Before Devon can answer, a loud honk attracts their attention. NEW ANGLE Bonnie looks up from under K.I.T.T.'s hood. [BONNIE] Sorry. She turns, reaches under the hood with a tool. [BONNIE] (to K.I.T.T.) How's that? [K.I.T.T.] A little higher...higher...no, lower...stop! That's it. BACK TO SCENE Michael takes the map from Devon, zips it into his pocket. Moves towards K.I.T.T. Devon stops him. [DEVON] Michael, I want Kincaid put away as much as you do. The Foundation has been compiling a strong solid case against him --- [MICHAEL] For how long? Come on, Devon, how long has he had you running around in legal circles? [DEVON] It...has been some time, Michael -- but these things require --- [MICHAEL] -- endless amounts of red tape. And meanwhile the man gets richer and more powerful and by the time anyone knocks on his door with a warrant, he'll be in South America. Devon, I wasn't patient when I was a cop. I'm still not patient. [DEVON] Michael, there is a fine line between 'audacious' and 'foolhardy.' If you should do anything which borders on entrapment it could destroy our entire legal case against Mr. Kincaid, and --- [MICHAEL] I'll watch it, Devon...and I'll still nail Mr. Kincaid...from the inside out. [DEVON] Really, Michael, you're insufferable. If it wasn't for the fact that Wilton Knight had an obsession about you.... [MICHAEL] -- We'd both be out of a job. (smiling) I'll stay in touch. Michael turns, heads for the car. [MICHAEL] (to Bonnie) How's Frankenstein? Ready to roll? [BONNIE] No thanks to you. Just once I'd like to see you use a little pre- ventive maintenance, a little spit and polish...anything to show you cared. Michael grins...steps towards her. She raises a wrench. [BONNIE] About the car, Michael. The car. Michael sighs, gets in the 2000. [MICHAEL] (sotto, under his breath) I wonder if there's a real woman under those overalls...or just a robot. Suddenly, we hear computerized pops and beeps. Michael looks down at --- INSERT - MONITOR SCREEN as K.I.T.T. flashes an animated silhouette of a well-shaped woman. Metric body measurements appear at appropriate spots. [K.I.T.T.] You're wrong, Michael. Under the overalls, she's 168 centimeters tall, fifty-four kilos in weight, other measurements, ninety-seven centimeters, sixty-one centimeters, ninety-one centi --- [MICHAEL] Kitt? [K.I.T.T.] Yes, Michael? [MICHAEL] Shut up. INT. SEMI - DAY K.I.T.T. backs down the ramp, makes a U-turn. The semi moves off. The Knight 2000 zooms away, becomes a dot on the horizon.... CUT TO EXT. FOREST - DAY - TIGHT ON MICHAEL'S MAP showing the "X" and the notation "5:00 P.M." Camera pans to show Michael's digital watch which reads, "5:02 P.M." Pull back to reveal Michael sitting on K.I.T.T.'s hood. [MICHAEL] They're late. [K.I.T.T.] They're right on time. Michael turns. [K.I.T.T.] I have an object at twenty degrees and closing. ETA this location... one minute or less. WIDER SHOT Michael jumps up. We hear the sound of a motorcycle. Then a trail bike appears at the edge of the clearing, waits there, the engine idling. The rider wears a helmet and metallic clothing which obscure any facial or body features. [MICHAEL] Hello. No answer. The rider accelerates for a moment, zooms forward...slams to a halt close to Michael. CLOSE ON KNIGHT 2000 Mud and leaves from the trail bike splatter on the hood and the windshield. BACK TO SCENE Michael regards the rider cooly. [MICHAEL] I'm Dugan. When do I --- K.I.T.T. suddenly puts on the windshield wipers. The rider's helmeted head double-takes the empty car, then Michael. [MICHAEL] Ah...there's...uh...a short in the electrical system...Did Kincaid send you? The rider suddenly leans close to Michael, holds something up for inspection. It's half of a thousand dollar bill. Michael takes out his, holds it up. CLOSE SHOT - BILL HALVES They match up. BACK TO SCENE The bike rider points ahead. Michael is supposed to follow. Michael gets into the car, closes the door. The cyclist circles the car (again splashing mud on it), roars away. INT. KNIGHT 2000 [MICHAEL] I hope this leads to some answers. K.I.T.T. activates the windshield wipers again. [K.I.T.T.] I hope it leads to a car wash. Michael hits the accelerator. CUT TO EXT. FENCED ESTATE - NIGHT - LONG SHOT The Knight 2000 follows the trail bike down a winding road which leads towards an imposing fenced estate. The bike rider blinks the bike's headlights...three times. An answering blink comes from atop the main gate. The gate begins to open. INT. KNIGHT 2000 - NIGHT One of K.I.T.T.'s screens comes alive. An overhead computer map of the estate appears with alarm-red sections blinking ominously. [K.I.T.T.] Michael, my sensors are picking up unusual readings...several people... vehicles...and there are guard towers hidden in those porticos. [MICHAEL] Getting nervous? [K.I.T.T.] 'Nervous' has no meaning to me, Michael. But discretion is advised ...I strongly suggest an immediate U-turn. They drive through the gate. It closes ominously behind them. INT. ESTATE COURTYARD - NIGHT The trail bike circles around a massive fountain. The rider slows, points to a parking spot. Michael parks and gets out just as the rider suddenly accelerates, completes the circle -- narrowly missing Michael. Michael steps forward, grabs the rider by the arm. [MICHAEL] Hey! Oblivious, the rider parks, starts to take off the smoke helmet. Michael grabs the rider's elbow, angrily turns the figure around. [MICHAEL] You know, you drive like a --- He stops in midsentence. NEW ANGLE revealing that the rider is a beautiful young woman. Her hair spills out of the helmet. [WOMAN (LINDA)] Like a what? She unzips the padded jacket. Her figure rivals her face. Michael recovers from his surprise, smiles. [MICHAEL] Like a woman. She glares at him. [VOICE (KINCAID)] Mr. Dugan! Michael turns. [VOICE (KINCAID)] We've been waiting for you, Mr. Dugan.... REVERSE ANGLE Several tough looking figures have stepped out of the main house. Kincaid, large, around fifty, impeccably dressed -- commands center stage. [KINCAID] Kindly raise your hands. Please. The roughest looking man -- Thompson -- hops down from the landing, aims a Remington pump gun. Michael pales...slowly raises his hands...and we: FREEZE FRAME FADE OUT END OF ACT ONE ACT TWO FADE IN EXT. COURTYARD - NIGHT Michael is where we left him -- surrounded and at the wrong end of a shotgun. [MICHAEL] Hey, what is this? [KINCAID] You're late, Mr. Dugan. And since you're known for your promptness I am highly suspicious. [MICHAEL] What are you talking about? I was there at 5:00 o'clock on the dot --- [KINCAID] But one day late! Michael swallows, tries to hide his reaction. [LINDA] It was my idea to give you a second chance...in case you had a problem. [KINCAID] We'd like an explanation...if you please...? As Michael turns back from Linda, Thompson suddenly steps closer, cocks the shotgun. Michael whirls, ducks his head -- kicks the gun into the air. Two quick blows and Thompson goes into the fountain. Michael grabs Thompson's shirt front in the fountain, readies another blow -- stops as he sees --- MICHAEL'S POINT OF VIEW - GROUP Other weapons have been drawn. THE SCENE Michael lets Thompson flounder, looks at Kincaid. [MICHAEL] I thought you wanted to hear my story. Kincaid nods. Waves the other weapons away. Thompson angrily rises, dripping wet. Is about to charge. [KINCAID] (warningly) Thompson! Stay put -- and cool off! (to Michael) Some of my staff are a little impulsive. (beat) We're waiting. Michael nods appreciatively. Looks around at the hard faces. Is a little startled to see that one -- Forrest -- is lower than the others. Forrest is a midget. Meanwhile, Michael's mind races. He forces a confident smile, begins to speak. (As his confidence builds, he will pace and gesture like a homespun orator.) [MICHAEL] Okay. Yours truly comes here by way of Paris, New York, and Chicago. But what I don't know is that the moment I land I'm being tailed by this guy Michael Knight.... They look blank. [MICHAEL] ...who happens to work for the Foundation for Law and Justice. Reaction. Murmurs. Waldorf, a brute with an incongruantly friendly face, speaks up. [WALDORF] I heard of them. They're just a bunch of wimp lawyers. [MICHAEL] (sincere) I couldn't agree with you more. But even these lawyers are hip enough to know that sometimes you gotta bust heads. Apparently they keep this guy Knight around just for that purpose... Although if you asked 'em about it point-blank, they'd probably be too embarrassed to admit it. Michael loosens up. On a roll now, Michael approaches Kincaid as he speaks. [MICHAEL] Anyway -- to my embarrassment -- Knight jumps me when I'm not looking and ties me up like yesterday's garbage. Then he gets on the phone to the Foundation. Talks to the chief wimp. Tells him he's got this brainstorm: He's going to let me lead him to you. Michael points to Kincaid...who's thrown. [KINCAID] Me? Michael nods. Goes up the steps, takes a cigar from Kincaid's pocket. [MICHAEL] Uh-huh. They're gunning for you, Mr. Kincaid. You're the Muhammed Ali of crime...the Rope-a-dope player who dances away and never gets caught but always gets rich. Kincaid smiles. Michael kneels, bums a light from Forrest. Steps back, smiles at his captive audience. [MICHAEL] Fortunately, this guy Knight has a swelled head...he gets so excited he's got the famous Mr. Dugan who doesn't pat me down too well...and I still got this. Dugan's knife materializes in Michael's hand. [MICHAEL] So while he's hyping himself to his boss, I cut loose, jump him...and throw him out of the car at eighty miles an hour. The rest is history. [KINCAID] Where's Knight now? Michael grins. Only he will get this joke. [MICHAEL] Michael Knight is officially dead. A moment. [KINCAID] (finally) A satisfactory explanation, Mr. Dugan. However, you have still lost an entire day of training for our little enterprise. Since we're all counting on you, you appreciate our concern. [MICHAEL] I'm a quick study. [KINCAID] I hope so. I expect the optimum from my employees. [MICHAEL] (suddenly) I'm nobody's employees, Mr. Kincaid. I'm a professional...for hire. And this little kangaroo court of yours is going to cost you an extra ten grand. [THOMPSON] Hey, nobody shakes down Mr. Kincaid --- [KINCAID] I can handle the gentleman, Thompson. (to Michael) The price is set. We have a contract. [MICHAEL] (indicating Thompson) And water polo wasn't part of it. I get another ten or you get another man. A moment. Kincaid looks at Michael with an unreadable expression. [KINCAID] (finally) Very well, Mr. Dugan. Linda, show our uh...new associate to his quar- ters. [THOMPSON] Mr. Kincaid! Are we gonna swallow this bunch of --- [KINCAID] (sharply) Thompson, we're trying to get Mr. Dugan into the team spirit. I'd advise you to show it as well. Thompson glares, says nothing. Linda tugs Michael's sleeve. [LINDA] (to Michael) This way. Bring your wheels. Michael gets into K.I.T.T., drives off slowly to match Linda's leggy stride. The others move away as well. [KINCAID] Oh, Thompson.... Thompson stops in the doorway, expectant. [KINCAID] Go get a towel. Everyone chuckles. Thompson glowers and we: CUT TO EXT. BUNGALOW - NIGHT Michael takes out a duffel bag, locks up K.I.T.T. Linda waits nearby. [LINDA] You should be happy. [MICHAEL] Because I'm still in one piece? [LINDA] Because Mr. Kincaid likes you. [MICHAEL] How do you know? [LINDA] He let you live...on the other hand, Thompson hates your guts. [MICHAEL] That's a problem, huh? [LINDA] Since you'll be eating, sleeping and breathing with him it could be. [MICHAEL] Maybe I could let him win at poker. [LINDA] No. No gambling. Also no drinking, no drugs, no late hours. Mr. Kincaid takes training very seriously. Linda takes out a key, unlocks the door of the bungalow. [LINDA] This is yours. INT. BUNGALOW - NIGHT rustic, with anigue-y decor...like a Santa Barbara hotel. Linda walks through the place like a bored bellhop, points to bath, closet, bed. [LINDA] Workout clothes are in here...if they don't fit, sing out. Wake up is at 6:00 am. Lights out at eight. If you're outside in between, your room had better be on fire. That about covers it. Any questions? [MICHAEL] How about a personal one? Linda laughs dryly. [LINDA] You mean, how did a nice girl like me get in a racket like this? [MICHAEL] I would have phrased it better. [LINDA] You'd get the same answer. I'm here because I spent too many of my formative years with low-life and scum. [MICHAEL] Like Kincaid? [LINDA] Like you. She smiles sweetly, goes out. Michael absorbs that, then raises his wristwatch to his face. INSERT - WATCH as he hits a button and the digital word "ENGAGE" appears on the formerly conventional watch face. BACK TO SCENE [MICHAEL] Kitt, I --- Michael stops, struck by a thought. He turns off the watch, starts to search the room. He quickly finds hidden microphones behind a picture, under the bed, behind a bathroom pipe. His suspicions confirmed, he goes to the window, pries it open and climbs out. EXT. BUNGALOW - NIGHT Michael slips out the window, creeps over to K.I.T.T. -- gets in. INT. K.I.T.T. [MICHAEL] Sorry to keep you waiting. My room was bugged. [K.I.T.T.] Tell me something I don't know. Look.... A screen lights up showing a computer map of the estate. Red blinking lights labeled "surveillance devices" are everywhere. [K.I.T.T.] There's monitors all over this estate ...and every telephone line is tapped. [MICHAEL] Then we can't contact Devon from here.... [K.I.T.T.] Not without being overheard. I estimate one quarter mile away would be secure. Shall we go? [MICHAEL] Not just yet. Let's wait until we have something definite... (thinking) Maybe I can get something from that girl.... [K.I.T.T.] I wouldn't touch that line with a ten-foot driveshaft. [MICHAEL] What's that supposed to mean? [K.I.T.T.] Merely that you always seem to use our assignments as convenient spring- boards for your social life. [MICHAEL] Don't be ridiculous. Michael gets out, heads for his bungalow. [MICHAEL] That girl is a source of information -- that's all. [K.I.T.T.] I've heard that one before...Can I shut down for the night? My bat- teries are a little low. [MICHAEL] Mine too. Good night. [K.I.T.T.] Good night. A beat, then K.I.T.T.'s panels go dark. CUT TO EXT. COMPOUND - DAY Silent as sunlight creeps across the ground. Then the silence is broken by a loud whistle. [LINDA'S VOICE] Let's go! On the double! Training session by the south wall in ten minutes! Camera adjusts to show Linda, running from bungalow to bungalow, banging on the doors. She's wearing a workout suit like the ones we saw the previous evening. MICHAEL'S BUNGALOW Linda arrives -- but a split second before she can knock, Michael opens the door. He's already dressed in the uniform of the day. [LINDA] You heard me, huh? [MICHAEL] They heard you in Cleveland. She grins, runs on. Michael yawns, strides over to K.I.T.T., gets in. [K.I.T.T.] Good morning, Michael. Are you wearing those garments for any particular reason? [MICHAEL] You're just jealous. Do a good job today and I'll buy you some racing stripes. [K.I.T.T.] Thank you, but I prefer basic black. Michael starts the car and they peel out. EXT. BEHIND COMPOUND - LONG LENS - CLOSE ON KINCAID Attired in a more elegant version of the warmup suit, he stands near a card table with a clipboard under his arm and a stopwatch around his neck. Dust swirls in the f.g. as several vehicles zoom by, their exact configuration unclear due to the camera angle. [KINCAID] Quiet, please! Instant silence as motors are cut. He rocks on his feet like Patton. WITH KINCAID - TRACKING He slowly walks past his "troops," all of whom stand for inspection beside their vehicles. (And all of whom we met the previous night.) First is Thompson, beside a heavily customized, mean-looking Camero. They nod to each other. Next is Waldorf and Heavy #1 (O'Brian) with a dune buggy. Then Linda, on her trail bike. Then Michael, beside K.I.T.T. Kincaid stares at him a beat longer than the others. Kincaid moves on...and Michael can't help but stare curiously at his neighbor down the line, Forrest (in scaled-down workout suit) and a matronly looking woman, Mrs. Milton. They stand by a red pickup. A tarpaulin covers some bulky gear in the back. Last is a van, with Heavies #3 (Baker) and #4 (Clark). His tour completed, Kincaid returns to center stage. Michael keeps sneaking looks at the midget until he gets caught. FAVORING KINCAID [KINCAID] Good morning, ladies and gentlemen. Mr. Dugan, since you're our newest recruit, let me fill you in. We are about to begin an enterprise which will make you all comfortably affluent...while I, on the other hand, will become embarrassingly wealthy. Everyone laughs -- even Michael. [KINCAID] The next few days will consist of gruelling and arduous training and split-second drills. Some of this will seem routine...some of it will seem quite strange. But all of it is necessary. Are there any questions? A beat. Forrest steps forward. [FORREST] Yeah. What exactly are we gonna do when we're done training? What's the caper? CLOSE ON MICHAEL very interested. [KINCAID'S VOICE] A reasonable question, Mr. Forrest. Forgive me for not giving you an answer. BACK TO SCENE Forrest steps back, looks at Michael helplessly. Michael takes the cue. [MICHAEL] Uh, Mr. Kincaid -- ? [KINCAID] Yes, Mr. Dugan? [MICHAEL] Let me get this straight. We're going to train here around the clock for some kind of job...and we're not gonna know what it is? [KINCAID] No. Not until it's necessary. But I assure you that everything we practice will have a practical application. [MICHAEL] But -- what if --- [KINCAID] Mr. Dugan... (smiling) Trust me. All right, let's go through the drill. Waldorf. O'Brian. The two men by the dune buggy stiffen, alert. [KINCAID] Your beanbags. They go to the table. Take a half-dozen beanbags. Return to the dune buggy. Rev up, roar away. ON MICHAEL watching, at first curious...then amazed. THE SCENE The dune buggy bounces along the ground, approaches a target with a cutout hole in it. As Waldorf drives past the target in successive passes, O'Brian pitches beanbags. Two go in. The dune buggy returns to the starting point. Waldorf and O'Brian get out, expectant. [KINCAID] Acceptable. But I want at least three beanbags dead center by this afternoon. Mr. Forrest, Mrs. Milton, prepare to unload your gear. Forrest and Milton get in the pickup (Forrest has a booster seat behind the wheel). Kincaid takes out a stopwatch. [KINCAID] Now. FORREST AND MRS. MILTON They jump out of the pickup, yank away the tarpaulin. ON MICHAEL reacting. BACK TO SCENE Under the tarp is an aluminum fishing boat and a trolling motor. They race to untie it, connect the motor, and plop it down on the ground twenty yards from the jeep. Kincaid stops his timer. [KINCAID] I want ten seconds off that time. Mr. Baker. Mr. Clark. They get into the van, wait for their cue. [KINCAID] Go! They jump out, run to the back doors. ANGLE ON VAN Inside is a bank of electronic equipment and two reel-to- reel tape recorders. They throw on headphones, turn on the gear. Baker watches a rising and falling graph line while Clark spins dials. A red light goes on. Clark turns, points to Kincaid. KINCAID He picks up an FM mike from the table. [KINCAID] Am I on? (clears throat) 'It will have blood, they say; blood will have blood: Stones have been known to move and trees to speak.' THE SCENE Michael tries to hide his increasing puzzlement. Kincaid strolls over to the van, looks at the men. [KINCAID] (a command) 'Blood.' [BAKER] (checking graph) Uh...which blood? [KINCAID] (small smile) First blood, of course. Baker points to a spot on the graph as Clark watches. Clark rewinds the tape, watching a digital counter. Stops. Hits "Play". [TAPE VOICE] '...will have blood, they say -- ' Kincaid shakes his head. Baker and Clark's faces fall. [KINCAID] You've got to hit it on the exact word...without fail. He points to Baker. [KINCAID] You just worry about speech pattern ...leave the rest to Clark. (to Clark) And you have to trust him. (smiling) Trust is the name of the game. They nod. Kincaid strides past Michael, (who puts on his best deadpan expression) faces Linda. [KINCAID] Miss Elliot. Your turn. He points at --- MOCKUP OF A WALL - NEARBY - DAY about eight feet by ten feet, and two feet off the ground. Ladder-like extensions go up one edge, and there is a vertical seam down the middle. BACK TO SCENE [KINCAID] Without a warmup. Go. Linda runs towards the wall, grabbing a small knapsack from Kincaid's table as she goes. She throws it over her shoulders. Michael watches, interested. Forrest and Mrs. Milton go to the far side of the mock wall. LINDA She hits the springboard and leaps towards the wall -- deftly grabbing the extended handholds as she hits. Kincaid checks his clipboard and his stopwatch. [KINCAID] The magnet. Linda nods, takes an odd-looking box from her pocket. Puts it on a seam in the wall. It jumps to the wall with a distinct "click." REVERSE ANGLE - WALL SECTION Forrest and Linda are here. At a nod from Kincaid, they push forward. Double doors open in the prop wall. Linda works her way around the doors, drops down. [KINCAID] The rucksack. Remember -- dead center. Linda looks down at --- HER POINT OF VIEW - THE GROUND Red stakes indicate a rectangle on the ground. Linda goes to the front, drops the pack from her neck. [KINCAID] The cartridge. CLOSE ON LINDA The rucksack is tied up tight...but a large glass vial is on the outside. Linda squeezes it. We hear breaking glass. [KINCAID] You've got thirty seconds to live. Move. Linda whirls. Leaps out the door, swings on it. MICHAEL Despite his undercover role, pleased for her -- until --- EXT. WALL Linda hangs from the pivoting door -- and slips as she reaches for a handhold. She lands hard on the ground some six feet below. MICHAEL reacts, starts forward --- KINCAID holds up a warning hand to Michael. [KINCAID] Miss Elliot, you are now dead. Therefore, you won't be needing any lunch or dinner. I hope your stomach will inspire a better per- formance next time. Linda glares at him...returns to the lineup. Michael leans close to her. [MICHAEL] He acts like he owns you. [LINDA] (flatly) He does. Michael stares at her. [KINCAID] Mr. Dugan! Michael looks up. [KINCAID] You will have two tasks to perform... both of them critical. This is the first. He turns, points. Camera adjusts to show two wooden ramps in the distance -- the kind used at thrill shows. They're about seventy feet apart. [KINCAID] You and your vehicle must clear that gap. Michael nods, gets into K.I.T.T. Heads down towards the takeoff ramp. INT. K.I.T.T. [K.I.T.T.] Michael? [MICHAEL] Yes, Kitt? [K.I.T.T.] Even for me...this seems rather strange. [MICHAEL] That's why we get the big bucks. Ready? [K.I.T.T.] Of course. With my rocket-powered thrusters I could do this on four cylinders. [MICHAEL] Well, you can't use your thrusters. We're supposed to be undercover. [K.I.T.T.] (beat) Do you think they could lower the ramp? Michael hits the accelerator. WITH K.I.T.T. as it soars over the camera, hits the landing ramp perfectly. INT. K.I.T.T. [MICHAEL] Piece of cake, Kitt. Piece of cake. [K.I.T.T.] Tell that to my shock absorbers. THE SCENE Michael drives back to the starting area. [KINCAID] Excellent, Mr. Dugan. Excellent. But since you missed yesterday's practices, I'd like you to do it again. [MICHAEL] Well, I don't mind...but I can't speak for the car. Kincaid laughs. [KINCAID] (laughing) Class, pay attention...you too, Thompson! Mr. Dugan will show us how it's done. Thompson shoots daggers at Michael. INT. K.I.T.T. Michael heads for the start ramp. [K.I.T.T.] (mocking) 'I wouldn't mind, but I can't speak for the car.' You could have said no. [MICHAEL] Come on, Kitt. This should be easy for the world's greatest car. [K.I.T.T.] Spare me your flattery...but I suppose you're right. We certainly seem to have made an impression. [MICHAEL] Of course I'm right. We're in like Flynn. [K.I.T.T.] Yes, yes, we are, aren't we? By next week we'll have this whole bunch behind bars. [MICHAEL] Well...let's not get over-confident, Kitt.... [K.I.T.T.] Why not? I mean, what could possibly go wrong? They hit the ramp -- fly into the air and we: CUT TO EXT. ABANDONED CABIN - DAY Dust swirls around it. From within, we hear a clanging and banging. INT. CABIN - DAY Pull back from the metal bed as it is smashed against the floor. We see that Dugan -- the real Dugan -- is jumping up and down on it to separate the tubular frame from the springs. This accomplished, he takes a section, drags it to the camp stove. There we see that he has been at this a while: A series of pipes, hoses and tubes cannibalized from the sparse furnishings leads from the stove to the door. Dugan jams this last section into the stove's burner. We follow him back towards the door as he checks all the joints, which are secured with torn bedding. The end of tubing near the door leads to an empty Arrowhead bottle from the water cooler. Dugan wipes perspiration from his face, scratches his two-day beard. He goes to the other end of the cabin. Lights a hurricane table lamp. Puts it on the floor. Turns on the stove. Ducks behind what's left of the bed, hurricane lamp at his side. We hear a hissing sound. The Arrowhead bottle frosts up on the inside. Dugan throws the hurricane lamp at the door. Ducks. There is a tremendous explosion. EXT. CABIN - DOUBLE CUT as the door blows away from the building. Dust and debris rain down. A long moment passes. And then Dugan appears, rising from the ruins, covered with dirt.... He crosses across the empty sand, eyes burning with revenge. FREEZE FRAME FADE OUT END OF ACT TWO ACT THREE FADE IN EXT. TRAINING FIELD - DAY - LONG SHOT The Knight 2000 is on a seeming collision course with the red pickup. ANGLE ON PICKUP Thompson is driving. In back is Waldorf -- and Kincaid. An odd metal contraption -- a triangle with a bar on the apex -- is upright in the back of the pickup. INT. K.I.T.T. Michael is behind the wheel. Linda is in the passenger seat. Both have handy talkies with ear plugs. Linda pulls welder's glasses down over her head. [LINDA] Don't look. She lights a portable acetylene torch. Holds the glaring tip out the open window. THE SCENE The pickup and the 2000 adjust their courses until they are traveling parallel. At a signal from Kincaid, Waldorf lowers the metal triangle at its hinge. Now it hangs over, close to the 2000. Kincaid speaks into a handy talkie. [KINCAID] All right. I'm starting the stop- watch. Go. INT./EXT. BOTH VEHICLES Linda leans out the window. Begins to use the torch on the thick metal bar at the end of the triangle. Michael drives carefully, watching the gap with the pickup. He looks at Thompson, who looks back. If looks could kill.... [KINCAID] (over handy talkie) Don't rush it, Miss Elliot...but don't dawdle, either...Dugan, don't get over-confident. (beat) When we do this for real, you'll be driving in the dark. CLOSE ON THE METAL BAR It snaps in two. [KINCAID'S VOICE] Dugan! Drop back! Now! THE SCENE Michael brakes, falls in line behind the pickup. They travel single file, coast inside the compound. EXT. COMPOUND COURTYARD - DAY As they park, we see Kincaid's other recruits busy practicing: tape recorders, bean bags, fishing boats, etc. [LINDA] That was perfect. (as they park) You are a quick study. [MICHAEL] Well...you're just a good teacher... Hey! He says this last because Thompson has just jumped out of the truck -- narrowly missing Michael's head with the truck door. [THOMPSON] Gee, I'm sorry. That won't happen again. [MICHAEL] (stepping closer) You bet it won't --- Kincaid gets between them. [KINCAID] Mr. Dugan -- please. Accidents happen. Thompson smiles. Kincaid turns, blows on a whistle. [KINCAID] That's it for the day, people. Dinner is waiting. Everyone heads on the double for one of the outbuildings. Linda's face falls. She moves off. [MICHAEL] Linda...coming? [LINDA] I'm still dead...remember? She manages a smile, exits. Michael turns, watches. KINCAID He moves up to Thompson and Waldorf, speaks in a whisper. They nod, follow him into the main house. We hold on the scene until the three men appear in the window of an elegant library. MICHAEL watching, interested. BACK TO SCENE Kincaid rolls a large piece of paper out on the table. Points to it. A lively discussion ensues...and then Kincaid realizes the window is open. He moves to it, closes the curtains. ON MICHAEL He turns, hurries off. CUT TO INT. K.I.T.T. - NIGHT Michael is hunched over a computer screen. [MICHAEL] Okay, you know the drill? [K.I.T.T.] I think it's quite clear...I keep you out of trouble...as usual. [MICHAEL] Just don't start giving yourself a tuneup or something while I'm in there. [K.I.T.T.] All right. Let's go. [MICHAEL] Not just yet. First, I have to pull off a daring robbery. Michael slips out of the car. [K.I.T.T.] Michael, that does not compute ...Michael? Michael? Michael is gone. CUT TO EXT. COMPOUND - NIGHT Linda is walking towards her bungalow. Suddenly a hand reaches out of a bush, covers her mouth. Pulls her out of sight. EXT. PRIVATE GARDEN - NIGHT - TIGHT ON LINDA as she twists, shoots an elbow backwards towards her assailant. [MICHAEL] Ow! She turns, sees Michael trying to catch his breath. [LINDA] What do you think you're doing? [MICHAEL] (rubbing his stomach) Trying to hold on to my dinner ...here's yours. He tosses her something wrapped in a napkin. She opens it, finds a sandwich. [LINDA] Dugan...I...I don't know what to say. [MICHAEL] You could say 'thanks.' [LINDA] (taking a bite) Thanks, Dugan. Say, you wouldn't happen to have --- Michael smiles, throws her a soda can from another pocket. [LINDA] Well, for once, crime does pay. [MICHAEL] Not always? [LINDA] Not for me. I guess you wouldn't know about that. We've all heard about that job you pulled in Paris. [MICHAEL] Ah...right, right. Actually, I don't like to talk about it.... [LINDA] After the way you treated those nuns, I'm not surprised. [MICHAEL] Nuns? [LINDA] (between bites) Sure. At the orphanage. [MICHAEL] Nuns? Oh, the nuns...at the uh... orphanage...? Well, that wasn't me ...I had some guys on back-up and uh...well, you can't get good help these days! [LINDA] I'd like to believe you. [MICHAEL] You can. A beat. They look at each other. [MICHAEL] Uh...You've got some mayonnaise on your face...no, there.... He reaches out to wipe it off with his handkerchief. A moment as they stand close. They move closer.... And then the foliage is roughly thrown aside. They both turn. NEW ANGLE Kincaid and Thompson are there. [KINCAID] What's going on in here? [MICHAEL] I don't think it's any of your business. Thompson steps forward, pushes Michael backwards. [THOMPSON] Everything here is Mr. Kincaid's business. Michael breaks out of his grasp, takes up a fighting stance. Kincaid separates them. [KINCAID] That's right, Thompson...but right now I want to keep everyone happy and healthy. Linda, Mr. Dugan... it's curfew. Move. A beat. Linda turns regally, leaves the garden. Michael relaxes a bit...glares at Thompson...steps out of the garden. EXT. COMPOUND Michael looks for Linda, who has vanished. Kincaid and Thompson come up behind him. [KINCAID] (indicating his watch) Mr. Dugan...please? Michael nods, trots along the grounds. When he's out of their sight, he ducks behind a bush. Looks at --- EXT. LIBRARY - MICHAEL'S POINT OF VIEW Dark. Empty. WITH MICHAEL He checks in all directions, then dashes in a crouch to the house. Near the entrance he hides in the shadows, speaks into his wrist comlink. [MICHAEL] Kitt, go into reconnaissance mode. It's kickoff time. [K.I.T.T.] (filtered, over radio) Please, spare me the adolescent metaphors. CUT TO INT. K.I.T.T. - NEAR BUNGALOW - INTERCUT THROUGHOUT The computer screen shows the main house and a blip marked "MICHAEL KNIGHT". [K.I.T.T.] The library entrance is on your right after you enter the foyer. [MICHAEL] On my way. The blip begins to move. INT. LIBRARY - NIGHT - MICHAEL slips inside, quickly moves to the windows and closes the slight gap in the curtains. Then he puts on a desk lamp, reconnoiters the room. He comes up empty in the desk drawers and finds nothing on the bookshelves...except books. Frustrated, he turns, moves to a panelled wall. Feels it, knocks on it. We hear a hollow echo. Encouraged, he searches for a hidden button. His probing fingers hit a nearby sconce. It pivots. Michael jumps back, startled, as a section of the wall rises like a curtain. ON MICHAEL as he reacts, seeing --- HIS POINT OF VIEW - WALL SECTION showing a detailed four-color map of ARIZONA MAXIMUM SECURITY FEDERAL PENITENTIARY. THE SCENE Michael moves closer, looks at it carefully. Arrows and dotted lines indicate a military-type assault. Silhouettes of several vehicles -- (and a boat on a nearby stream) are labeled with the names of all the people we've seen training ...including the name Michael's finger lingers on..."Dugan." Quickly, Michael grabs paper and pen, starts to make a copy of the map. A "chirr-upp"-like beep from his wrist comlink interrupts him. [MICHAEL] Trouble? [K.I.T.T.] That's a reasonable assumption: Two people are heading your way. They'll enter from the hall in 15.4 seconds. Indeed, two moving "blips" have appeared on the video map. [MICHAEL] (alarmed, into comlink) Kitt, where's the back door? [K.I.T.T.] There is no back door. Michael turns, nervous, scans the room for escape. His eyes fall on a large covered vent over his head. Inspiration strikes. He runs to the map, hits the button. Then, using the library table for a launch pad, he leaps onto the wall like Spiderman. INT. K.I.T.T. as the two new blips approach and reach the library door. INT. LIBRARY The doors open. Kincaid enters with Linda, both in heated debate. Camera pans them into the room. Kincaid gets some papers from his desk. [KINCAID] (as they enter) No, no...it isn't anything new, Linda. It's the same discussion we've had before, dressed up with new adjectives and a few more tears. [LINDA] This time it's different.... [KINCAID] Oh, yes. This time you've picked the ultimate wrong moment. Twelve hours left, and you threaten me? Come on! Camera tilts up to the ventilation shaft. INT. SHAFT - CLOSE ON MICHAEL - INTERCUT THROUGHOUT crouched in a ball, listening. [LINDA'S VOICE] Threaten you? That's a laugh. I've been living with your threats for two years. [KINCAID'S VOICE] Nobody talked you into it, Linda. You came to me. BACK TO SCENE [LINDA] I had no choice. You had the contacts...and my father was dying.... [KINCAID] Oh, there's always an excuse. But you committed perjury for dear old Dad, Linda...in a federal court! That'll get you five to ten...not to mention conspiracy --- [LINDA] Conspiracy? [KINCAID] That's what they call what we've been doing here all week. And I'm sure the Feds could find a few more charges...like maybe for what you and Mr. Dugan did in the bushes... that's illegal in sixteen sta --- She slaps him...Hard. A long beat. [KINCAID] You're lucky I need you. [LINDA] Your luck ran out. I'm leaving. She turns to go. [KINCAID] Five minutes after you're out the door, I tip the FBI about you. If you're going to go to jail anyway, why not go rich? Or don't you still need that money? Linda stops close to the camera. Her face falls...she's trapped. She turns slowly. Kincaid packs up his papers, walks confidently towards her. [KINCAID] Can I walk you to your room? You have a busy day tomorrow. She shakes off his grasp, walks out on her own. Kincaid chuckles, goes out himself. A beat. Michael drops to the floor. CUT TO EXT. MICHAEL'S BUNGALOW - ANGLE ON K.I.T.T. Michael runs to the car, gets in, examines his impromptu map, excited. [MICHAEL] Kitt, I've got it! In less than twelve hours, we're going to break into the Arizona Federal Penitentiary. [K.I.T.T.] We're going to break into a prison? Well, that's a new one. Why? [MICHAEL] I think it's obvious. It's a maximum security prison. The kind of clients they've got in there would pay plenty for a ticket out. And Kincaid's going to play travel agent ...except.... [K.I.T.T.] Except what? [MICHAEL] Well...all this stuff, these things we've been doing...dune buggies... acetylene torches...I'm not sure how they fit in. Maybe this map can.... [K.I.T.T.] Let me see it. INSERT Michael puts the map in a Xerox-like slot labeled "Graphic Input". THE SCENE We hear some whirring and beeping. [K.I.T.T.] There are several roads near the prison...some hills...rough terrain ...and a body of water. The map ejects with an efficient and final sound. [K.I.T.T.] It all computes, Michael. [MICHAEL] Maybe...but.... [K.I.T.T.] Michael, I've analyzed it thoroughly. Would you like to see a forty point cross-indexed statistical readout? [MICHAEL] Not really...but Devon would. Can you slip out of this place and contact him? [K.I.T.T.] Certainly. All I have to do is get out of range of the wiretaps. [MICHAEL] And get past the guards. [K.I.T.T.] Humans versus computers? No contest. Michael gets out of the car...and sees.... HIS POINT OF VIEW - LINDA walking disconsolantly in the moonlight. BACK TO SCENE [K.I.T.T.] Trouble? [MICHAEL] Don't worry -- I'll distract her. [K.I.T.T.] I'll bet. [MICHAEL] You make that call. K.I.T.T. starts up, drives off. Michael runs in the opposite direction. WITH MICHAEL He comes up beside Linda, who jumps. [MICHAEL] Sorry. [LINDA] You're breaking curfew. [MICHAEL] Looks like it's contagious. My bungalow's right here. Come on. I'll buy you some tap water. She hesitates, manages a smile. [LINDA] Why not? CUT TO EXT. COMPOUND - NIGHT - K.I.T.T. pulls to a halt behind some trees. K.I.T.T.'S MONITOR SCREENS show the gate...and Waldorf on guard duty. The picture pans to a small security booth. Zooms to a coffee maker visible through the door. COMPUTER SCREEN as a computerized sketch of a coffee machine and its circuitry appears on screen, with the words "A.C. APPLIANCE --110 VOLTS--NOT GROUNDED." "NOT GROUNDED" blinks in red. Then the words "BEGIN MICROWAVE TRANSMISSION" appear. EXT. K.I.T.T.'S HOOD - NIGHT A small dish antenna rises from an alcove, points towards the guard booth. We hear a hum. INTERCUT - GUARD BOOTH - COMPUTER SCREEN - ANTENNA The hum becomes louder. On the computer screen an indicator near the coffee machine graphic goes from "NORMAL" to "OVERLOAD". INT. GUARD BOOTH - COFFEE MACHINE It suddenly sparks, smokes -- explodes. Coffee splashes everywhere. Papers start to smoulder. WALDORF reacts, startled. Runs into the shed, starts to stamp out the fire. INT. K.I.T.T. - MONITOR SCREEN "REMOTE CONTROL GATE--SIGNAL SCAN--RAPID". We hear electronic sounds, and then.... CLOSE ON GATE LOCK It "pops." The gate swings open. THE SCENE as K.I.T.T. drives out the gate. Waldorf is in the b.g. cursing and struggling with the machine. By the time he looks up, the gate is closed. INT. MICHAEL'S BUNGALOW - NIGHT Michael sips juice taken from his refrigerator. He watches as Linda paces nervously. [MICHAEL] I'm glad we're having this little talk.... No response. [MICHAEL] You're going to wear a hole in the floor.... Silence. [MICHAEL] (pointedly; already knows) Is something bothering you? She turns. Looks at him for a moment. Suddenly she drops down on the sofa beside him. Looks at him earnestly. [LINDA] I'm in trouble, Dugan. I need help. [MICHAEL] I'll do what I can. [LINDA] Then take me away from here...Tonight. We tighten on Michael as he reacts, stunned. CUT TO INT. DEVON'S BEDROOM - NIGHT Devon is sitting up in bed in silk pajamas. What we see of his room reminds us of Masterpiece Theatre. [DEVON] Dune buggies? Bean bags? Midgets? EXT. LONELY ROAD - NIGHT - ON K.I.T.T. parked by the shoulder. [K.I.T.T.] No, midget. Singular, sir. The plural isn't what --- [DEVON] I can speak English, Kitt! Devon grabs paper and pen. [DEVON] And you say they're attacking a prison...? [K.I.T.T.] Yes, sir. Arizona Maximum Security Federal Penitentiary. In ten hours and thirty-eight minutes.... [DEVON] Incredible, just incredible...Michael is quite certain about this? [K.I.T.T.] Actually, no, sir. But I am. Would you like me to give you a forty point cross-indexed statistical readout? [DEVON] Good Lord, no, it's two am! [K.I.T.T.] Two-o-two am to be exact. [DEVON] (icily) Thank you. All right, Kitt. I'll inform the prison warden. Tell Michael they'll be ready. And tell him 'Good show.' [K.I.T.T.] Ahem. [DEVON] Ah...you too, Kitt. [K.I.T.T.] Thank you, sir. Knight Industries 2000 signing off. [DEVON] (after the phone clicks, sotto) Thank God. CUT TO EXT. ROADBLOCK - NIGHT - TIGHT ON A BLINKING ROAD BARRIER Camera widens to show a line of cars. Walking from driver to driver are none other than officers Wally and Lester. [WALLY] (to first Driver in line) Sorry, ma'am, but there's a tractor trailer overturned up ahead. We got molasses and honey all over the road. (pointing) But if you make a U-turn, you can take Route 13 and get back on the next onramp. [DRIVER] Thank you, officer. Camera pans down the line of cars as Wally moves to the next vehicle...and we see Lester at the car behind that one. Camera continues panning as K.I.T.T. slows to a halt at the end of the line. [K.I.T.T.] Uh-oh. Lester backs into the shot, talking to an o.c. driver. [LESTER] Just hang a 'U-ey' and trot down Route 13. Sorry about the incon- venience. Lester jots something down on a clipboard as he sidesteps some U-turning cars. Stands beside K.I.T.T. He raps on the window. A beat. The window rolls down. Lester fiddles with papers on his clipboard, speaks rotely. [LESTER] Sorry about the inconvenience, but we got a tractor trailer spill up ahead. You know the Route 13 cutoff? [K.I.T.T.] Yes, officer. It's three point two miles to the southeast. [LESTER] (thrown a bit, thinks) Uh...right! Just take that and hit the next onramp. [K.I.T.T.] Thank you, officer. I will. [LESTER] You drive careful now.... [K.I.T.T.] I always do. The window rolls up. K.I.T.T. makes a U-turn. Lester finally looks up. [LESTER] Hey! Wait -- stop --- Wally comes up, concerned. [WALLY] What's wrong? [LESTER] That car -- it's the car that --- Unable to find the words, he gestures wildly, basically replaying the opening scene of this show a la a fighter pilot demonstrating maneuvers. [LESTER] -- that did the -- and then went like -- over up high --- [WALLY] Damn! Did you get a good look at the driver? [LESTER] Yeah! He --- Beat. Lester freezes. Awareness slowly dawns. As his eyes widen we: CUT TO INT. MICHAEL'S BUNGALOW - NIGHT Linda is on the sofa, her eyes expectant. Michael is close to the camera, his face filled with frustration. Michael hesitates. He's caught in a quandry between his own feelings and his role as Dugan. [MICHAEL] Linda...I know you won't understand this...but it's just impossible. If it was up to me, I would. But.... [LINDA] It is up to you, Michael! She stands, faces him. [LINDA] I've watched you...the way you move ...think. You can do anything you want. Why can't we just get that car of yours and --- He takes her by the shoulder, holds her. [MICHAEL] Linda, we can't leave --- [LINDA] Why? What's stopping us? [MICHAEL] Kincaid, that's what. We have a deal, and --- [LINDA] A deal? Michael, tonight, in the garden, when we...I thought you cared for me.... [MICHAEL] I do -- but --- [LINDA] But what? Do you think your deal means anything to that snake? That your word is worth --- She stops, eyes him critically. [LINDA] It's the money, isn't it? [MICHAEL] No! [LINDA] No? Then why don't you take me in your arms and tell me you'll help me? Michael stands...helpless. [MICHAEL] Maybe...after tomorrow.... He steps towards her. She pushes past him, goes to the door. [LINDA] And I thought you were different. She goes out. He runs to follow. [MICHAEL] Linda! EXT. BUNGALOW - NIGHT Linda runs towards the camera ignoring Michael's calls. A beat after she exits. K.I.T.T. skids to halt near the camera -- just as Michael gives up his futile pursuit. [MICHAEL] Damn! He bangs his fist on the nearest object...K.I.T.T. [K.I.T.T.] Well. The same to you. [MICHAEL] (recovering, calmer) Kitt! Did you reach Devon? [K.I.T.T.] I certainly did. Michael, we've got them right where we want them. CUT TO INT. LIBRARY - NIGHT Kincaid comes in...turns on all the lights. He stands by the door for a moment. Then he slowly circles the room... looking everywhere. He stops. Looks at the curtains. Plays with them until they're partially open -- as they were before Michael touched them. He grins. Pushes a button on his desk. [KINCAID] Thompson! [THOMPSON'S VOICE] (filtered, over intercom) Yeah? [KINCAID] Bring Mr. Dugan to me...immediately. [THOMPSON'S VOICE] My pleasure. Kincaid paces, waiting. He moves to the secret wall...and sees that the sconce is a little off center. Smiles to himself. At the sound of a door opening, he looks up. REVERSE ANGLE Thompson enters, looking pleased. He gruffly waves another person inside. It's Dugan. The real Dugan. [DUGAN] Well? [KINCAID] He fell for it. Dugan and Thompson grin. Kincaid pours cognac for three. [KINCAID] Cheers. FREEZE FRAME FADE OUT END OF ACT THREE ACT FOUR FADE IN INT. KINCAID'S MANSION - LIBRARY - DAY Kincaid has assembled the entire team around the library table. [KINCAID] Ladies. Gentlemen. You've all been waiting patiently to learn about our ultimate objective. This is that moment. CLOSE ON MICHAEL doing his best to look not too smug. BACK TO SCENE [KINCAID] I assure you, you will be pleasantly surprised. Kincaid goes to the wall sconce. Dramatically pivots it. The wall starts to open. ON MICHAEL relaxed...leaning back while the others crane forward. Suddenly his eyes pop out of his head. FAVORING HIDDEN MAP It is totally different. Gone is the prison...In its place is some outdoor terrain. [KINCAID] This is Highway 211. It is twenty miles from here. On that highway, in exactly three hours, we are going to steal twelve million dollars worth of gold bullion. ON MICHAEL We tighten on him as he reacts in shock. CUT TO EXT. FEDERAL PRISON - DAY - STOCK [WARDEN'S VOICE] Of course it's short notice, Mr. Miles.... EXT. PRISON YARD - DAY Devon is with Warden Adams, a no-nonsense up from the ranks type. [WARDEN ADAMS] ...but my men are trained to go into instant action. A line of guards double-times into the shot in perfect unison. They have riot shields, body armor, automatic weapons. [WARDEN ADAMS] (shouting) 'A' team! Position to repel assault! 'B' team! Position for cover fire! The guards start scaling walls, piling sandbags. We tighten on Adams and Devon. [DEVON] Very impressive, Warden. [WARDEN ADAMS] Thank you. When those clowns come roaring up to these walls, they're going to get the surprise of their lives. Devon and Adams exchange confident smiles. EXT. COMPOUND - FORMATION AREA - DAY Kincaid speaks to the team, again assembled in front of the vehicles. [KINCAID] You have your maps and your communicators. I'll be in the lead vehicle guiding you every step of the way. Move out. Camera adjusts to favor Michael, who steps into Linda's path. [MICHAEL] Linda. About last night.... [LINDA] Go count your money. She shoves past him. Everyone heads for their vehicles. Michael literally races to K.I.T.T., hops in. INT. K.I.T.T. [MICHAEL] Kitt, we've got to call Devon as soon as we're secure. [K.I.T.T.] Why? What's wrong? [MICHAEL] We're not hitting that prison -- we're robbing a gold shipment! [K.I.T.T.] That...that's impossible. [MICHAEL] Oh, yeah? Last night you said it computed! [K.I.T.T.] Don't blame me: I'm only as good as my input! Michael suddenly whirls, startled by a rap on the window. NEW ANGLE Kincaid, Thompson and Linda are there. Michael rolls down his window. [MICHAEL] What is it? [KINCAID] Mr. Dugan...don't forget your partner. Trapped, Michael opens the passenger door. Linda climbs in and Thompson tosses in their robbery gear. Linda glares at Michael hatefully. FORMATION AREA - CRANE SHOT All the vehicles except the Camero fan out, make a U-turn. The camera slowly drops down, pans, when the other vehicles are gone, Dugan (the real Dugan) appears from hiding...and gets into the Camero. INT. CAMERO - TRAVELING [KINCAID] All set? [DUGAN] Yeah...but I don't know why we're stringing Knight along. We should take care of him right now. [THOMPSON] I'm with Dugan. Bringing him on the caper is asking for trouble. [KINCAID] On the contrary, bringing him along is very good insurance: If he wanted us on a conspiracy charge he would have called the Marines already. No, Mr. Knight thinks he's going to catch us red-handed...and his over-confidence is going to be fatal. (a small smile) But, until then...he's very cheap labor. [DUGAN] Okay, I buy that. When we're done, that phoney is all mine. I owe him. [THOMPSON] After me, Dugan. After me. [KINCAID] Boys, boys! Don't fight. When I'm through with him you can both have what's left. (into transceiver) All right everyone. Listen closely. At this moment, the Tri-National Bank of North America is moving a shipment of gold from Mexico City to Vancouver, British Columbia. Needless to say, it will not arrive. INTERCUT - INT. ROBBERS' VEHICLES - VARIOUS SHOTS - TRAVELING as they listen, interested. CUT TO EXT. HIGHWAY - GOLD CONVOY - DAY A piggyback trailer zooms down the road. The English-Spanish- French logo of the Tri-National Bank emblazoned on the side. [KINCAID'S VOICE] The shipment is heavily guarded... both aboard the trucks.... ANGLE ON ROOF OF REAR TRUCK Armed guards are there with a machine gun. [KINCAID'S VOICE] In front of the convoy.... ANGLE ON FRONT JEEP bristling with guards and weapons. [KINCAID'S VOICE] And behind it. ANGLE ON REAR GUARD JEEP [KINCAID'S VOICE] Throughout the fourteen hundred mile journey, they are in constant commun- ication with their airborne support. ANGLE ON HELICOPTER IN FLIGHT with the same logo as the trucks. [KINCAID'S VOICE] Since the convoy is on a strict schedule, we dare not intercept or stop it...any delay will bring reinforcements. For this reason, we will rob it while it is moving. To do that, we must first eliminate the air cover. Baker...Clark...go to it. Forrest...Milton...get ready. The rest of you...go to your positions. INT. VAN - TRAVELING While Baker drives, Clark begins to set up the recording equipment. EXT. RURAL INTERSECTION - DAY All the robbery vehicles pass by. The van and the pickup take a side road. INT. K.I.T.T. Michael and Linda drive in silence. [LINDA] Funny. I thought you'd be enjoying this part. [MICHAEL] So did I. CUT TO THE CONVOY ELEMENTS - VARIOUS CUTS as the various vehicles drive on. CUT TO INTERCUT - THE ROBBERS CUT TO INTERCUT - THE CONVOY AND ROBBERS Throughout this sequence, the convoy rolls merrily along, and the robbers reach their positions on their maps. We linger on the van and the pickup, which are both hidden in foliage near a lake. Forrest and Milton set up their boat while Baker and Clark busily monitor and record the following convoy conversation: [TRUCK DRIVER (V.O.)] Golden Goose, this is Midas. We are on schedule and approaching check- point. All clear below. Over. [COPTER (V.O.)] Midas, this is Golden Goose. We have you in sight. All clear above. Watchdog and doors...report. [TRUCK GUARDS (V.O.)] This is Watchdog. All clear. [FRONT JEEP (V.O.)] This is Front Door. All clear. [REAR JEEP (V.O.)] This is Back Door. All clear. [COPTER (V.O.)] Convoy, this is Golden Goose. Clear upstairs and down. Maintain Condition Green. [ALL VOICES] Roger. Condition Green. ON KINCAID - TRAVELING [KINCAID] Forrest, Milton. Do it now. EXT. HIGH FROM INSIDE COPTER - DAY Suddenly there is an explosion in the distance. [TRUCK DRIVER (V.O.)] Goose, what was that? [COPTER VOICE] We have the same question, Midas Convoy. Go to Condition Yellow. We'll check it out. The copter swings towards the column of smoke. INTERCUT - CONVOY ELEMENTS as all the guards cock their weapons, prepare extra magazines. [TRUCK GUARDS (V.O.)] We have a Condition Yellow. [FRONT JEEP (V.O.)] Roger, Condition Yellow. [FRONT JEEP (V.O.)] Roger, Condition Yellow. [BACK JEEP (V.O.)] Roger, Condition Yellow. Goose, please report. EXT. COPTER hovering. [COPTER] Convoy, this is Golden Goose.... EXT. LAKE - HIGH ANGLE - COPTER'S POINT OF VIEW An overturned rowboat burns, its motor spewing smoke. Mrs. Milton and Forrest wave imploringly to the copter overhead. [COPTER (V.O.)] It looks like a boating accident down there. [TRUCK DRIVER (V.O.)] Should we request local assistance, Goose? [COPTER (V.O.)] No time for that, Midas. There's a woman and child...looks like they're going under. We'll assist and get right back to you. Maintain Condition Yellow. Over. [TRUCK DRIVER (V.O.)] Roger, Goose. Condition Yellow. The helicopter starts to descend. They drop almost to water level. The copilot throws a line to the woman and "child." INT. COPTER - LOW ANGLE SHOT as Mrs. Milton and Forrest climbs aboard, dripping wet. [COPTER PILOT] Good thing we were in the area. [FORREST] (producing a gun) You said it, pal. As the pilots gape, Mrs. Milton produces her own weapon, reaches over and flips off --- INSERT - COPTER RADIO as it is turned off. CUT TO EXT. CONVOY still barreling along. [TRUCK DRIVER (V.O.)] Golden Goose, this is Midas. Come in Golden Goose. Golden Goose, do you read us? INT. K.I.T.T. Michael and Linda are parked, listening. INT. COPTER - DAY Watched by Forrest and Milton, the pilots can only listen to the imploring radio voice. They land the copter near the jeep, just as the Camero with Kincaid, Thompson and Dugan arrives. Mrs. Milton chews gum, offers some to the pilots. They refuse. Thompson, Dugan and Kincaid collect Baker, Clark, and their tape equipment, run towards the copter. [TRUCK DRIVER (V.O.)] Golden Goose, this is Midas. Should we go to Condition Red? Goose, please respond. Goose, do you read us? Forrest and Mrs. Milton take the pilots out, start to tie them up. Thompson takes the controls. Kincaid and Dugan climb aboard with Baker and Clark, watches nervously as they connect their tape gear, plug jacks into the copter. [KINCAID] Come on! Come on! [TRUCK DRIVER (V.O.)] Golden Goose, we are going to Condition Red unless you reply. Clark connects a jack, signals Baker. He throws a switch. INSERT - TAPE RECORDER as it turns. [TAPE VOICE] Midas, this is Golden Goose. [TRUCK DRIVER (V.O.)] Goose, what happened to you? Baker and Clark play with the dials as the copter lifts off. [TAPE VOICE] We have you in sight. [TRUCK DRIVER (V.O.)] What about the accident? [TAPE VOICE] Boating accident... (beat) ...all clear. Go to... (beat) Condition Green. [TRUCK DRIVER (V.O.)] Roger, Goose. Condition Green. Kincaid grins, slaps Baker and Clark on the back. Then he takes out his handy talkie. [KINCAID] Dugan...Miss Elliot. INT. K.I.T.T. - DAY [MICHAEL] Here. [KINCAID'S VOICE] The road you are on is the only access which will allow you to intercept the convoy before it reaches Flint Mountain...Unfortun- ately, the road doesn't go all the way. Camera pulls back, rises. Michael and Linda are on the edge of a cliff. A dirt road is below them. In the distance we see the convoy, on a paved highway. [KINCAID'S VOICE] You're in center stage, Mr. Dugan. Get into position. INT. K.I.T.T. Michael's jaw tightens. He doesn't move. [LINDA] What are you waiting for? This is your big moment. [MICHAEL] You know, you're lucky I wouldn't hit a woman. [LINDA] Oh? Tell that to those seven nuns in Paris. Michael throws the car into a 180, gets ready for the jump. [KINCAID'S VOICE] Now! Michael hits the gas...and then, through the windshield we see --- THEIR POINT OF VIEW - A HAYWAGON barreling down the dirt road -- on a course which will intercept the Knight 2000. INT. CAR [LINDA] We can't make it -- ! [MICHAEL] Be positive! INSERT - MICHAEL'S HAND as it hits the control marked "TURBO BOOST." THE JUMP as the Knight 2000 sails through the air --- And just grazes the top of the haywagon. K.I.T.T. landing with a crash. INT. HAYWAGON as a teenage boy and girl suddenly break their embrace under the hay, look around, startled. INT. K.I.T.T. - TRAVELING [LINDA] How did you do that? [MICHAEL] You want an honest answer? [LINDA] Yes. [MICHAEL] First tell me about your father. As she reacts, we: CUT TO INT. COPTER - FAVORING KINCAID He checks his watch, leans over to Baker. [KINCAID] Jam the convoy radios...now. Baker nods. INSERT as Baker hits a control marked "SIGNAL JAM". [KINCAID'S VOICE] Waldorf! Go! Take out the rear guard! CUT TO THE DUNE BUGGY ON A HILL Waldorf and #1 adjust gas masks, open a box marked "NERVE AGENT-DANGER." Take out plastic sacks much like beanbags. They hit the gas. It roars into life. Begins to race across the rough terrain above the road. REAR JEEP - TRAVELING They catch sight of the dune buggy above and beside them. [REAR JEEP] Midas! This is Back Door! We are under attack! Midas, come in! GOLD TRUCK - ZOOM SHOT Camera zooms in on the Driver. He is listening to: [TAPE VOICE] Midas, this is Back Door...All clear.... INTERCUT - COPTER - ON TAPE DECK [TAPE VOICE] ...All clear...Condition Green. [TRUCK DRIVER] Roger, Back Door. [REAR JEEP (V.O.)] We're under attack, Midas! Didn't you hear us? [TAPE VOICE] This is Goose...all clear. All clear. REAR JEEP swerving all over the road, the guards firing at the dune buggy. [REAR JEEP (V.O.)] Front door, please assist! Front door, come in! EXT. ROAD - ON LEAD JEEP - FROM COPTER The shadow of the copter falls on the jeep. A gas bomb explodes near the jeep. [FRONT JEEP (V.O.)] We're under attack too! Goose, stop -- what's happening! Midas, come in! EXT. TRUCK ROOF - ON GUARDS [WATCHDOG] This is Watchdog. Condition Green... Repeat, this is Watchdog...Condition Green. [FRONT JEEP (V.O.)] This is Front Door! Please respond! We're under attack! FRONT DOOR as it takes a direct hit from a gas bomb. The guards wobble, fade out. The jeep swerves into the bushes. BACK DOOR The dune buggy sails past it, scoring a direct hit. The driver falls over the wheel. The jeep goes off the road, as the buggy whips past. INT. COPTER Everyone here cheers. [KINCAID] Excellent, team, excellent! All of you, go to the rendezvous point. Miss Elliot...your turn. INT. K.I.T.T. Linda is staring at Michael in shock. [LINDA] No. You're trying to trick me. [KINCAID'S VOICE] Miss Elliot! Dugan! You're clear! Intercept. [MICHAEL] Damn it, why can't you trust me? Linda stares at him. Then she pulls down her welder's glasses, lights the torch. EXT. ROAD HIGHWAY The gold truck enters a tunnel. The copter sails by overhead. [KINCAID'S VOICE] Dugan? Where are you? K.I.T.T. careens around a side road, enters the tunnel. INT. TUNNEL K.I.T.T. pulls alongside of the truck. Linda leans out with the torch. THE ROOF GUARDS oblivious. ON LINDA using the torch on the coupling between the two truck sections. It glows orange...then red. ROOF GUARDS One of them looks down, sees the car. Taps the other. They swing the machine gun around. THE TRUCK LINK snaps in two. EXT. K.I.T.T. - PASSENGER SIDE The sudden release of the rear cab catapults the torch out of Linda's hands. She cries out, grasps her wrist. EXT. OTHER END OF TUNNEL The tractor comes out...pulling one trailer. A beat, then K.I.T.T. appears, tailing the trailer. EXT. FRONT END OF TUNNEL The rear trailer rolls out backwards. [ROOF GUARDS (V.O.)] Midas! This is Watchdog! We've been cut loose! Midas! You're under attack! ANGLE ON TRACTOR as the Driver smiles, picks up his radio mike. [MIDAS DRIVER] Convoy. This is Midas. Request status check. INTERCUT - THE HELPLESS ROOF GUARDS ...the unconscious and snoring jeep guards...the gagged and bound copter pilots back at the lake. [VARIOUS VOICES FROM TAPE] This is Goose, Midas. All clear above...This is Front Door...Condition Green...This is Back Door...Condition Green...This is Watchdog...etc. The Midas Driver smiles, hangs up his mike. INT. K.I.T.T. - TRAVELING Linda is wincing, rubbing her wrist. [MICHAEL] Are you okay? [LINDA] You worried about me, or your profits --- [MICHAEL] Linda...! [LINDA] I...think it's sprained.... Michael speaks into his transceiver. [MICHAEL] Kincaid, this is Dugan. We've got a problem. Linda's hurt...she can't make that jump. INTERCUT - INT. COPTER Everyone looks at each other, worried (about their profits -- not her). [KINCAID] Can she drive, Dugan? [MICHAEL] Drive? I guess so, but --- [KINCAID] Then give her the wheel. You make the jump. [MICHAEL] Kincaid, nobody but me drives this car --- [KINCAID] This is no time for argument, Dugan! If you don't jump, there's no robbery! A beat. Michael thinks about it. High above him, Kincaid turns off his "transmit" button, looks at Dugan and Thompson. [THOMPSON] (worried) What if he won't do it? Kincaid smiles. So does Dugan, catching on. [DUGAN] (to Kincaid) If we don't succeed he can't bust us, right? [KINCAID] (nodding) Not only that.... He smiles, holds up a small device -- a twin to the magnetic box Linda trained with. [KINCAID] Now I can eliminate Mr. Knight with the flick of a finger. In the car, Michael has made his decision. [MICHAEL] Okay, Kincaid. We're still on. [KINCAID] Excellent! Linda and Michael slide across the seats, changing places. As he does this, though, Michael reaches under the dash, and hits --- INSERT - CONTROL PANEL Michael changes it from "MANUAL" to "AUTO CRUISE." BACK TO SCENE Michael grabs the knapsack and magnetic box from the rear seat. [KINCAID (V.O.)] Dugan! You're hitting the downhill stretch! Go! Go! Michael climbs out the sunroof. EXT. TRAILER AND K.I.T.T. - TRAVELING Michael crawls across the hood. Linda (actually, K.I.T.T.) edges the car right up to the trailer. INT. TRACTOR CAB The driver glances in his rearview mirror. HIS POINT OF VIEW - MIRROR Empty. MICHAEL leaps on the trailer, grabs the handholds. He takes out the magnetic box. Fastens it to the combination lock on the rear door. INSERT - MAGNETIC BOX Lights blink on it. The door lock slowly revolves. THE SCENE The doors open. Michael moves inside. INT. GOLD TRUCK - DAY Michael drops inside. Does a "take" at the gold bars all around him. [KINCAID (V.O.)] The rucksack, Dugan. Do it! Michael shakes it off his shoulders. Throws it down in the front of the cab. Breaks the glass. INT. COPTER Kincaid takes out the ominous-looking device he showed earlier to Dugan and Thompson. [KINCAID] Mr. Dugan...or should I say, Mr. Knight...? INTERCUT - MICHAEL stops dead, hearing that --- [KINCAID (V.O.)] You have thirty seconds to live. Kincaid twirls a dial. EXT. REAR OF TRAILER The lights blink on the magnetic box. The combination lock turns. The doors begin to close. INT. TRAILER Michael dashes for the doors -- too late. They slam shut. [MICHAEL] (into handy talkie) Kincaid! Are you crazy? [KINCAID] Good-bye, Mr. Knight. I've really appreciated your help. Michael throws aside the handy talkie. Runs to the knapsack. Rips it open. Inside, in a clear sealed container, are sticks of dynamite and a glowing fuse. He tries in vain to open it. EXT. ROAD - FROM COPTER The truck and K.I.T.T. are approaching a hairpin turn. There is an awesome drop below it. INT. TRUCK Michael drops the explosives, activates his comlink. [MICHAEL] (into comlink) Linda! INTERCUT - INT. K.I.T.T. Linda reacts, startled, as she hears Michael not over her handy talkie but over K.I.T.T.'s internal speakers. [MICHAEL (V.O.)] Listen to me! Kincaid's double- crossed me and he'll probably do the same thing to you! Help me put him where he belongs! [LINDA] I need the money, Michael -- the people I borrowed it from don't take no for an answer --- [MICHAEL] Damn it, Linda, whoever they are, whatever you've done, I can help you -- but first tell me you're with me --- [LINDA] I -- I don't know --- [K.I.T.T. (V.O.)] Linda! Tell him already! [LINDA] What...who -- ? [MICHAEL] Linda!! [LINDA] Okay! Okay! INT. CAB - ZOOM TO MICHAEL [MICHAEL] K.I.T.T.! Get me out of here! [K.I.T.T.] Michael! Move away from the doors. INT. K.I.T.T. as it suddenly rears up on the back wheels. Linda's eyes pop out of her head. K.I.T.T. AND TRAILER K.I.T.T.'s invulnerable front smashes in the back of the trailer. INT. TRAILER Michael dives onto K.I.T.T.'s hood. INT. K.I.T.T. as it drops all four wheels back on the ground. HIGH ANGLE SHOT as K.I.T.T. does a quick 180 with Michael on the hood. The trailer suddenly explodes. INT. TRACTOR as the driver is bounced around by the explosion. He turns -- and sees --- THE SCENE The blackened and smouldering trailer has been blown free. The tractor goes around the turn...the trailer doesn't. LOW ANGLE SHOT - CLIFF as the empty trailer flies over the cliff, bounces downwards. CUT TO EXT. PRISON YARD - DAY Dollying along the line of armed and armored guards. They wipe sweat from their brows, adjust their stifling armor. The dolly ends on Devon and Warden Adams. Devon looks a little uncomfortable. [WARDEN ADAMS] (with an edge) First thing this morning, right? [DEVON] Ah...yes. Right.... [WARDEN ADAMS] Unimpeachable source, right? [DEVON] (trying to smile) Uh...did I say that? A Prison Guard in normal uniform runs into the shot with a remote telephone. [PRISON GUARD] (to Adams) Excuse me sir. Phone call for Mr. Miles. Devon grabs the phone, happy for any distraction. [DEVON] Devon Miles here... (big reaction) Michael? (bigger reaction) What? CUT TO EXT. BOTTOM OF CLIFF - DAY Hold on the smouldering, smashed trailer. Camera rises and we see the robbers transferring the bullion to the van. As always, Kincaid has his stopwatch. [KINCAID] Come on...move...move.... Suddenly all become aware of a sound...a growing whine. [KINCAID] That noise...what the --- The Knight 2000 flies over the crest of a hill, slams into the scene. NEW ANGLE Michael drives K.I.T.T. right into the van. It rolls over, spilling out the gold. THE ROBBERS pull out handguns, open fire. K.I.T.T. The bullets bounce harmlessly off the car. INT. K.I.T.T. as Michael weaves in and out of the gang and their vehicles. [LINDA] (shouting over the ricochets) I didn't know the right side of the law could be this much fun! [K.I.T.T.] You call this fun? KINCAID sees it is time for a retreat. He grabs a knapsack, fills it with gold bars. Starts to climb up some rocks. INT. K.I.T.T. [MICHAEL] Kincaid's getting away! [K.I.T.T.] I can't go up there, Michael. Michael hits the brakes. [MICHAEL] I can. Keep the others in the area, Kitt. (to Linda) Enjoy the ride. EXT. K.I.T.T. Michael jumps out, runs after Kincaid. K.I.T.T. turns around, circles the remaining heavies. ON KINCAID scrambling up the rocks, tearing his clothes. Michael easily catches up to him...trips him up. Kincaid drops the gold. Michael is about to tackle him when his own ankles are grabbed. NEW ANGLE Dugan has a firm grip on Michael's foot. Thompson is right beside him. [DUGAN] I want you, Knight! I want you! Michael shrugs, throws the sack of gold on top of both men. They roll back down the hill. Michael turns. In two quick leaps he is at the top of the hill. He grabs Kincaid, grins savagely. [KINCAID] No -- don't hit me -- ! Michael cocks his fist -- then stops. Both he and Kincaid have heard the sound of screeching tires. They turn, see --- REVERSE ANGLE - ROAD AT TOP OF HILL A half-dozen police cars have pulled up, their occupants loaded for bear. Devon steps out of the lead vehicle, adjusts his clothing. [DEVON] Well, well. Thomas Kincaid, as I live and breathe. (to Michael) Michael, you seem to have saved the Foundation a great deal of paper work. Michael grins as Kincaid is handcuffed and we: FREEZE FRAME FADE OUT END OF ACT FOUR TAG FADE IN EXT. ROAD - DAY Police officers are leading the last of Kincaid's gang away in handcuffs. We track one officer as he approaches Michael, Devon, and Linda. They stand close to the camera, beside K.I.T.T. The officer politely clears his throat, looks pointedly at Linda. [LINDA] (to Michael, nervous) Michael...do I have to go? [MICHAEL] Of course not --- [DEVON] I'm afraid so. Michael turns, signals the officer to back off for a while. Then Michael faces Devon. [MICHAEL] Devon, there are extenuating circumstances...She didn't want her father to die in prison...so she lied to the Grand Jury.... He turns, cues Linda to help plead her case. [LINDA] And then, Kincaid held it over my head and blackmailed me.... [MICHAEL] ...and then she borrowed money to pay the medical bills.... [LINDA] ...but it was from the wrong kind of people.... [DEVON] Miss Elliot, I sympathize with you, really...but all this should be told to the judge. [MICHAEL] That's why she needs a good lawyer, Devon. You've got plenty at the Foundation...why can't they --- [DEVON] Michael, the Foundation for Law and Justice doesn't handle criminal defenses! Class action yes -- Adversary suits, yes...but never --- [MICHAEL] (exasperated) Devon, she helped me! [DEVON] My advice is to simply tell the judge the truth. Linda starts to speak -- Michael "shushes" her, getting a clever idea of his own. [MICHAEL] (deadpan) The truth? [DEVON] Always the best defense. [MICHAEL] (cueing Linda) About Kincaid? [DEVON] Certainly. [LINDA] About the robbery? [DEVON] Absolutely. [MICHAEL] About the Knight 2000? [DEVON] (thrown) What? [MICHAEL] The Knight 2000. [K.I.T.T.] I believe he's referring to me, sir. [DEVON] I know what he's referring to! Devon takes Michael's arm, pulls him aside. CLOSER - MICHAEL AND DEVON [DEVON] Michael, listen to me. Wilton Knight never intended for the Knight 2000 to become public knowledge until after a long test in the field. Michael does his best to look as concerned as Devon. [MICHAEL] Then we've got a problem, Devon. I mean, if Linda goes into court without a good lawyer -- there's no telling what she might say. Michael smiles guilelessly. Devon thinks. Sighs. Returns with Michael to Linda and K.I.T.T. Michael gives Linda a thumbs-up high sign. [DEVON] Kitt. [K.I.T.T.] Yes, sir? [DEVON] Activate your telephone link up.... [K.I.T.T.] To the Foundation? [DEVON] No...I daresay we need a specialist. (to Linda) Would you prefer F. Lee Bailey, or Mervin Belli? Linda is astonished. [MICHAEL] Devon...why not both? As Devon reacts, we: FREEZE FRAME FADE OUT THE END

{"show": "Knight Rider", "season": "s01", "episode": "e09", "title": "Inside Out"}

knightriderarchives

ACT ONE FADE IN OMITTED EXT. TRANS AM - DAY - VARIOUS ANGLES - STOCK K.I.T.T. and Michael surge down the open road accompanied by the pulsating rhythms of the hot theme music. EXT. SEMI - DAY - ESTABLISHING - STOCK INT. SEMI - DAY Bonnie is standing in front of a TV monitor. Next to her is Devon who is perched over an easel where he is drawing a sketch based on the description offered by Bonnie. [BONNIE] (addressing TV monitor) Brown, curly hair, wide-set piercing blue eyes, a well-set jaw, with a cute little dimple on the chin.... INSERT - VIDEO MONITOR Responding to Bonnie's voice, a composite sketch is being formed by the computer on the screen. We can see that it's going to be Michael's face. [BONNIE (v.o.)] ...medium width, straight nose, small ears, and a full, sexy lower lip. ANGLE - DEVON drawing hastily, trying to keep up. [DEVON] Slow down, Bonnie. [BONNIE] That's it. ANGLE - DOOR It opens and K.I.T.T. enters. Michael stops the car and bounds out. [MICHAEL] Hi, guys. He notices the TV and easel set-up. [MICHAEL] Hey, what's all this? [DEVON] Kitt's got a brand new feature. [K.I.T.T.] I do? [BONNIE] Yes. You can now construct a com- posite drawing on his screen based on a verbal description. ANGLE - DEVON standing next to his very sketchy sketch. [DEVON] As you can see, it's a rather striking facsimile. ANGLE - VIDEO MONITOR A very good sketch of Michael. ANGLE - TRANS AM [K.I.T.T.] I'm impressed. [BONNIE] You should be. Michael looks at Devon's sketch. [MICHAEL] I'd like to say, it's back to the drawing board for you, Devon...but frankly, I'm not sure there's much hope. Michael smiles as he needles Devon, who comes right back at Michael, reaching for a manila folder. [DEVON] I could say the same of your wit...but I shan't. Instead, allow me to present your next case. [MICHAEL] Devon, uh...I have a problem. [DEVON] Don't be modest dear boy. (beat) You have a wide range of problems. While Michael and Devon talk, Bonnie takes a disc from the computer that was hooked up to the TV and installs it under K.I.T.T.'s dashboard. [MICHAEL] I'm serious. I just got a call from Albuquerque. [DEVON] From whom, may I ask? [MICHAEL] A friend of mine, Cheryl Burns, is in jail there. She asked me to help her. [DEVON] (pauses) I see. [MICHAEL] You remember what Wilton Knight said about one man making a difference. [DEVON] (still noncommittally) Oh, indeed I do. As Bonnie climbs out of K.I.T.T. [MICHAEL] Good, I didn't think you'd have any objections. Michael climbs in, not waiting for Devon's approval. [DEVON] Wait a minute. Michael starts up the car. [DEVON] You have two days. And then I want you back on this case. [MICHAEL] Thanks, Devon. Bye, Bon. Michael waves and backs out of the semi as Devon and Bonnie look at each other and shrug. EXT. TRANS AM - DAY - VARIOUS ANGLES - STOCK Montage of K.I.T.T. en route to Albuquerque. EXT. ALBUQUERQUE PRISON - DAY - AN ESTABLISHING SHOT of a cold green building protected by barbed wire fencing, armed guards in towers, and bars on the windows. ANGLE - PRISON SIGN which reads NORTHFOLK WOMEN'S HOUSE OF DETENTION. CUT TO INT. PRISON VISITATION ROOM - DAY Michael is waiting impatiently in a drab gray room at a metal table. A jowly prison matron escorts Cheryl Burns, a twenty-six-year-old woman with blonde hair and a fawn-like countenance, into the room. [CHERYL] (happy to see him) Michael! Oh, thank you for coming. I'm so glad to see you. Michael is somewhat puzzled by the presence of his comely friend in penal attire. [MICHAEL] No problem, Cheryl. (beat as they both sit down at a table) [CHERYL] It's like a nightmare, Michael. The police are convinced I killed my boss. Michael can't believe it. [CHERYL] You know me, Michael, you know I'd never do something like that. Michael reaches out and takes her hands in his own. [MICHAEL] (comforting) It's all right, Cheryl. [CHERYL] No, it's not. Not when nobody believes a word I say. They won't even listen to me. [MICHAEL] (calm) I'll listen. Now tell me what happened. [CHERYL] (in a broken voice) We were working late -- for about the tenth day in a row. He always kept me late for something. Finally, I asked him for a raise. He said if I wanted a raise, I would have to earn it, then he started pawing at me. [MICHAEL] What did you do? [CHERYL] I ran out of the office, that's what I did. The next morning the janitor found him with a fractured skull and my desk lamp beside him. [MICHAEL] Where did you go when you left the office? [CHERYL] I walked for a while and then went to a bar called the Bent Arm. [MICHAEL] Can anybody prove you were there? [CHERYL] The only person I talked to was this guy named Marty. He was so nice. He listened to my problems for hours. [MICHAEL] Did he tell you anything about him- self? [CHERYL] Only that he was an accountant. And that he liked to gamble. [MICHAEL] What did he look like? [CHERYL] He's about five-six. Light colored hair, kind of thin on top. Glasses. He kind of reminded me of Woody Allen. [MICHAEL] The police couldn't find him? Cheryl shakes her head no. [MICHAEL] So you don't have an alibi. Cheryl stares at Michael and her eyes well up with tears. [CHERYL] I'm frightened, Michael, this is an awful place...the people in here.... [MICHAEL] Don't worry. [CHERYL] What else can I do? If my lawyer can't delay the trial, I'm finished. [MICHAEL] No you're not, Cheryl. I'll find the guy. [CHERYL] What if you don't? [MICHAEL] (trying to lighten up) Then I'll rob a bank and get tossed in here with you. Maybe they'll give us a co-ed cell. Cheryl smiles for the first time in two weeks. Michael smiles back. OMITTED EXT. CITY STREETS - DAY - STOCK K.I.T.T. driving on city streets. EXT. BENT ARM BAR - DAY Michael pulls in and parks. CUT TO INT. BAR - DAY Michael enters the noisy, crowded bar in the center of which a waist-high butchers' block serves as a battlefield for two combatants locked in an arm wrestling match. Michael walks to an attractive female Bartender. [BARTENDER] Hi, there. What can I get you? [MICHAEL] Beer's fine. [BARTENDER] Draught? [MICHAEL] Perfect. She begins to draw a cold one as Michael surveys the busy environs. His eyes fix on the arm wrestling clash. [MICHAEL] (to Bartender, indicating wrestling match) Looks like fun. [BARTENDER] (blase) Yeah, if you like holding hands with an ape. She brings him his beer. [MICHAEL] A friend of mine told me about this place. He comes here a lot. Maybe you know him. Name's Marty. He's an accountant. She gives Michael a funny look and remains curiously silent for a beat, then: [BARTENDER] I don't know any Martys. [MICHAEL] Kind of short. Brown hair. Glasses. The Bartender starts washing a glass, trying to be low key. [BARTENDER] (stiff) I said I don't know him. [MICHAEL] That's too bad. Because I haven't seen him in awhile and I was hoping you might know where he is these days. I owe him some money. [BARTENDER] Sounds like a guy who used to come in here, but he moved out of town. [MICHAEL] Oh yeah? Where to? [BARTENDER] Sorry. I don't remember. (beat) Did you say you wanted to wrestle? Before Michael can respond she calls out to the arm wrestler. [BARTENDER] (continuing) Hey, Butch. This guy's next. ANGLE - BUTCH who takes on all comers at arm wrestling. He is a hairy, hard-looking hombre with forearms twice the size of Steve Garvey's. Butch dispatches a beefy opponent and beckons Michael with a crooked finger. ANGLE - MICHAEL He's suspicious and becomes even more so when the Bartender walks to the end of the bar and picks up a telephone to make a call. [MICHAEL] (into wristwatch) Kitt, there's an outgoing phone call from this bar. Get me the number. Michael saunters to Butch. ANGLE - BUTCH AND MICHAEL [MICHAEL] How you doing there, Butch? Michael extends his hand for a shake but Butch greets him with only a grinding of teeth. Michael sighs -- this isn't gonna be easy. Michael gets down in position and the two men lock hands. It looks like an even match but the experienced Butch feels an edge and begins to smile. Michael's face reflects his concentration and discipline -- he won't go down without a fight. [BUTCH] Ready, go! ANGLE - BARTENDER who speaks softly into the phone at the bar. [BARTENDER] Hello, Marty, it's Kim. There's another guy here looking for you. He says he owes you money...No, I didn't tell him anything...Okay, Marty. Take care of yourself, kid. Bye-bye. She hangs up. OMITTED ANGLE - MICHAEL as he begins to make his move on Butch who tries to look cocky but he's a little concerned -- he didn't think this kid had this much power. Michael slowly pulls his hand toward the table but Butch stops him and pulls his arm upright. ANGLE - BARTENDER She takes a long hard look at Michael who is slowly losing ground to Butch who is really putting on the pressure. [BUTCH] You're gonna go, pally. You got nothing left. Butch makes his move to finish him off. [K.I.T.T. (v.o.)] (through wrist watch) Michael, I've traced the number you requested. [BUTCH] What?? The momentary loss of his concentration costs Butch the match as Michael pulls his arm to the block. The crowd roars -- this is something they don't see too often. [BUTCH] (blustering) His watch was talking. I heard it! [MICHAEL] Better luck next time, Butch. The crowd laughs at Butch as Michael moves back to the Bartender. [BARTENDER] I'll keep an eye out for your friend. [MICHAEL] That won't be necessary. She gives Michael a curious look as he leaves. EXT. BAR - DAY Michael exits the bar, gets into the Trans Am. He is about to start the car when he sees that he has been pinned in by a garbage truck. INT. TRANS AM Michael leans out the window and calls to the Garbage Man. [MICHAEL] Excuse me. No response. [K.I.T.T.] Not a very cooperative fellow, is he? [MICHAEL] No, he isn't. Michael gets out of the car. EXT. BAR - DAY Michael walks to the driver of the garbage truck who sits on a fender eating his lunch and delighting in Michael's pre- dicament -- he's just the type. [MICHAEL] I hate to bother you, but could you back your truck up a couple of feet so I can get out? [GARBAGE MAN] (with a mouthful of food) Sorry, buddy, but the city only gives me forty-five minutes for lunch and I ain't getting back in that truck 'til then. You understand.... [MICHAEL] Yeah, I understand. As Michael's face reddens and he takes a few steps away from the man, his watch beeps. Raising his wrist, Michael speaks into the communicator. [MICHAEL] Yeah, Kitt. [K.I.T.T.] Michael, can I be of assistance? [MICHAEL] As a matter of fact, you can. OMITTED ANGLE - K.I.T.T. backs into the garbage truck, pushing the huge vehicle back about five feet, sending the driver sprawling. ANGLE - GARBAGE MAN sitting on the road surrounded by what's left of his lunch and reacting to the actions of the self-propelled car. [GARBAGE MAN] Hey, what's the big idea? The Garbage Man does a double take when he sees no driver in the Trans Am. [GARBAGE MAN] Holy mackerel. (beat) Hey, get back here. You can't do that to city property. ANGLE - MICHAEL as he backs K.I.T.T. out of the parking space. [MICHAEL] Sorry, but I'm sort of in a hurry. You understand. Bon appetit. BACK TO SCENE Michael gets back into his car. K.I.T.T. drives off, the garbage truck driver throws a half-eaten sandwich after them. EXT. TRANS AM as it pulls away from the bar. [MICHAEL] Okay, Kitt, what about that phone number? [K.I.T.T.] I traced it to an apartment building on Mayfield Road. [MICHAEL] Mayfield Road? Where's that? [K.I.T.T.] Claremont Bay. Which is approximately four hundred seventy-four miles north northwest of our current location. [MICHAEL] Well, then set our course for Claremont Bay. [K.I.T.T.] Michael, I'm not certain who the call was made to. There's no guarantee we'll find Marty at that address. [MICHAEL] Kitt, there's an old expression I learned when I was a cop. [K.I.T.T.] What's that? [MICHAEL] A lead is a lead. (beat) Besides, it's a beautiful day for a drive. DISSOLVE TO INSERT - EXT. WIDE OPEN SPACES - DAY - MONTAGE - VARIOUS SHOTS OF K.I.T.T. - STOCK on the road, mission-bound. Car and driver wind through hills, rip down straightaways, and bask in the sunshine and splendor of the scenic surroundings. INT. TRANS AM [K.I.T.T.] Is there any further information you can provide? [MICHAEL] Sorry, Kitt. I told you all I know. [K.I.T.T.] Although the data is relatively sketchy, the composite can be computed. [MICHAEL] Well, let's see it. INSERT - VIDEO MONITOR With a flurry of flashing lights and squiggly lines, a composite sketch of Marty appears on the screen. [K.I.T.T. (o.s.)] Voila. Hold on the composite, then: CUT TO CLOSE SHOT OF MARTY His face is twitching nervously. Pull back and widen to: INT. POLICE STATION - DAY Marty is fidgeting in a chair while his two stone-face interrogators loom ominously above him, pacing the floor in a circle around his bare wooden chair. They are Lieutenant Dickerson, a lean, hard-boiled man in his forties, and his assistant, Brad, a young detective. [MARTY] (stammering) C-c-can I go now? [DICKERSON] No. [MARTY] Look, officers, I'd l-l-love to be of assistance. Honest. But I don't think I can be of any u-u-use to you. [DICKERSON] I'll be the judge of that. Marty slumps back in his chair. [BRAD] (playing good cop) Look, Marty, we know all about your work at Falcon Enterprises. In fact, we'd like to get a first-hand glance at some of that 'creative bookkeeping' you're so famous for. [MARTY] (flinching) I don't know what you're talking about. [DICKERSON] He's talking about trafficking in hot merchandise, transporting stolen goods across state lines -- and lots of other good things. [BRAD] Including illegal accounting. [MARTY] I've got nothing to do with that. I swear. [DICKERSON] Sure you do, Marty. On a stack of Bibles. Beat, as Dickerson comes nose-to-nose with Marty. [DICKERSON] Now, listen to me, Marty. I'm giving you a chance to help me and help yourself. I need those books to make a case against your boss. If you get them for me, maybe we can cut a deal. [MARTY] (trying not to crack) I told you I don't know what you're talk.... [DICKERSON] (cutting him off) Think about it, Marty. (beat) We'll be in touch. [MARTY] Am I free to go? He gets up. [DICKERSON] Yeah. Now get out of here before I change my mind. And I suggest you leave through the back. Marty hastily exits from the room. Brad looks at his mentor. [BRAD] What do we do now? [DICKERSON] We watch him like a hawk. All we've got to do is keep the pressure on him. He'll crack soon enough. [BRAD] He better. Or we'll never get this case to the grand jury in time. As the detectives share a look of concern.... DISSOLVE TO OMITTED EXT. APARTMENT BUILDING - NIGHT K.I.T.T. pulls up in front of the apartment building. [K.I.T.T. (v.o.)] We're here. ANGLE - APARTMENT SIGN that reads "Harbor View House." OMITTED INT. TRANS AM Michael wakes up from a light sleep as the car comes to a halt. [MICHAEL] You sure this is the place? [K.I.T.T.] Michael, are you questioning my navigating capabilities? [MICHAEL] I was just asking. [K.I.T.T.] You want apartment number three. [MICHAEL] Thanks, Kitt. He gets out of the car. [MICHAEL] Hang in there, Kitt. This shouldn't take long. [K.I.T.T.] I've heard that before. Michael approaches the building. ANGLE - DOOR When Michael walks to the door and knocks, two men, one of them being Brad, appear out of the darkness. Before he can move, they pin Michael's arms to his side, put a hand over his mouth and stick a gun in his stomach. [BRAD] Don't make a sound. Just turn around and start walking. Michael obeys and the two men noiselessly escort him out of sight. After a beat, Marty opens the door as far as the chain will allow it to go and peers out. [MARTY] Hello? When he sees no one, Marty unlatches the door and cautiously steps out as if afraid of his own shadow. His balcony is empty and he quickly scurries back inside like a mouse returning to its hole, and as he slams the door, we.... [FREEZE FRAME] END OF ACT ONE ACT TWO FADE IN EXT. POLICE STATION - NIGHT - STOCK INT. POLICE STATION - NIGHT Under the glare of interrogation lights, Michael is being questioned by Lt. Dickerson, a man who still uses the old tried and true methods of force and intimidation. [DICKERSON] What were you doing at Marty Keene's apartment? [MICHAEL] That's the sixth time you've asked me that question. [DICKERSON] And there will be a seventh time unless I get the right answer. [MICHAEL] I told you I'm trying to help a friend. She's on trial for murder and Marty.... [DICKERSON] Yeah, I know all about that. Now what I want you to tell me about is Falcon Enterprises.... [MICHAEL] I've never even heard of Falcon Enterprises. A young detective named Brad enters the room. [MICHAEL] I'm not here to cause trouble, believe me. [DICKERSON] You're causing trouble whether you like it or not. [MICHAEL] What's going on? What's this all about? [DICKERSON] That's on a need to know basis. [MICHAEL] Look all I need is to get Marty Keene to Albuquerque so he can testify. Then he's all yours and I'm out of your hair. [DICKERSON] I'd like to help you, but you and I want the same man. And in this town I'm bigger than you so guess who gets what he wants. [MICHAEL] You're making a big mistake. [DICKERSON] No, you're making a mistake if you think you're gonna waltz in here and do as you please. Got it? Michael stares through Dickerson. [DICKERSON] I hope that look means yes. (to Brad) Let him go. Brad pulls Michael roughly by the arm. [BRAD] C'mon.... Brad and Michael exit as Dickerson stares after them. CUT TO EXT. WAREHOUSE - DAY - TO ESTABLISH a large set-up with storage and office space like you might find in an industrial park. A large sign proudly proclaims it to be headquarters for Falcon Enterprises. INT. MARTY'S OFFICE - DAY Marty fidgets as he scans the books laid out on his desk and his fingers busily tally an adding machine. There is a look of concern on Marty's face -- something is definitely wrong. There is a knock on the door and as Marty looks up Al Farlan enters. Farlan is the head of Falcon Enterprises, a burly man who knows how to get his way. [FARLAN] Hello, Marty. Marty nervously shuts the books he's been doing and gets a little antsy at the surprising sight of his boss. [MARTY] (nervous) H-hi, Mr. Farlan. [FARLAN] (chummy) What's with the Mr. Farlan, Marty. I told you to call me Al. [MARTY] Right. Mr...Al. Farlan smiles, sits down in a chair next to Marty's desk, the only chair in the tiny cubicle Marty calls his office. Farlan gives Marty a long look. [FARLAN] They said you wanted to call me, Marty. What can I do for you? [MARTY] (timid) Nothing really...It's just that well, you know, I think I've done a pretty good job of making this operation look legit. He indicates the books. [FARLAN] Are you kidding, you're a genius. And to show how much I appreciate your services I'm giving you a ten percent raise. [MARTY] That's very generous of you Mr...Al. But I was thinking more of a little time off. [FARLAN] How much time off do you want? [MARTY] How 'bout the rest of my life. Farlan's face turns serious. He leans onto Marty's desk intimidatingly. [FARLAN] Marty, don't make jokes with me. I need you to keep the books, you know that. [MARTY] Mr. Farlan, I think the pressure's getting to me. My nerves can't handle it. I'm not doing my best work. What if I make a mistake? Then we're all gonna be in a fix. Farlan gets up and beams at his accountant. He claps Marty on the back like a brother. [FARLAN] Marty, you're trouble is you underestimate yourself. You're under too much stress, that's all. He walks toward the door like everything is hunky-dory. [FARLAN] As soon as we clear out this inventory, I'm gonna send you to Acapulco, all expenses paid. In the meantime, relax. Everything's gonna be fine. Farlan leaves the office with a big grin on his face. ANGLE - MARTY He's confused. INT. HALLWAY outside of Marty's office. Farlan comes over to one of his assistants who has been standing outside the office. His name is Dink. [FARLAN] (grim) Keep your eye on him. That little wimp knows enough to cause us a lot of trouble if he starts getting cold feet. Dink nods as Farlan walks away with a mean look on his face. EXT. WAREHOUSE - DAY The Trans Am is parked in the Falcon Enterprises parking lot. INT. TRANS AM Michael sits behind the wheel, gazing at the warehouse as people leaving work walk past. [MICHAEL] You picking up any sign of him, Kitt? [K.I.T.T.] Not as yet, Michael. Perhaps we're barking up the wrong tree, as they say. [MICHAEL] No, that Lieutenant mentioned Falcon Enterprises. There has to be some connection between this place and Marty Keene. INSERT - DASHBOARD A few lights flash. [K.I.T.T.] Michael, I think I've made a positive identification. BACK TO SCENE [MICHAEL] Yeah? Where do you see him? [K.I.T.T.] Coming out the side door. Michael looks. HIS POINT OF VIEW Exiting the building from a discreet side door is Marty Keene. He sticks his head out the door, casts about anxiously, then walks hurriedly toward his economy sedan. INT. TRANS AM Michael is watching Marty then pushes a button on the dash panel. INSERT - VIDEO MONITOR We see the computerized composite sketch of Marty Keene. The similarity is readily apparent. BACK TO SCENE [MICHAEL] You're right, Kitt. I think we found our man. ANGLE - SEDAN Marty starts up the car and pulls out of the parking lot. ANGLE - TRANS AM Michael begins following Marty. EXT. ROAD - DAY Marty weaves in and out of traffic as other drivers honk and shake their fists at him. INT. TRANS AM [MICHAEL] I don't think we'll have a problem losing him in traffic. [K.I.T.T.] I hope Marty's better in court than he is behind the wheel. INT. MARTY'S SEDAN - DAY Marty cowers at the sound of the honking horns. He's having a minor anxiety attack. He sees a store on the other side of the road. He yanks the wheel to the left. ANGLE - ROAD Marty swings in front of an oncoming car. It screeches to a halt, the irate driver gesturing maliciously at the driver of the reckless sedan. ANGLE - MARTY [MARTY] (quietly) I'm sorry. I'm sorry. Marty pulls into the lot of a small shopping center. He parks his car in the lot and heads for a health club, carrying a gym bag. ANGLE - TRANS AM Michael can't follow Marty right away because of a steady stream of oncoming cars. [MICHAEL] It looks like he's going in that health club. ANGLE - DICKERSON AND BRAD tailing Marty in their unmarked car. They see Marty going into the club, but they can't see Michael from their location. Nor does he see them. OMITTED INT. HEALTH CLUB - DAY Michael enters and begins the search for Marty. The room is filled with weight machines and barbells and lots of gorgeous scantily-clad guys and dolls. ANGLE - MARTY He is walking toward the locker room. Michael spots him and approaches. [MICHAEL] Excuse me. You're Marty Keene, aren't you? Marty is taken by surprise. He practically leaps out of his shoes at the sound of Michael's voice. [MARTY] Huh? What? Will you guys leave me alone already. I'm just a little guy. I don't know a thing. Marty starts scurrying away. [MICHAEL] (confused) Wait a second. I just want to talk to you. Marty ducks behind a luscious looking female and takes off. [MARTY] Well, I don't want to talk to you. The woman steps into Michael's path, delaying him for an instant as Marty runs into the locker room. Michael eventually follows him into: OMITTED INT. LOCKER ROOM Marty's not there, just a few muscle men. Michael sees a door marked POOL and enters. INT. POOL Michael is again disappointed because Marty is not present. There are, however, several striking femmes in bikinis around the pool. Michael checks out the scene, then exits. INT. LOCKER ROOM Michael hustles back toward the gym. ANGLE - BRAD He steps out from behind a row of lockers and tosses a medicine ball at Michael. ANGLE - MICHAEL He's startled, but makes a nice catch. FULL SHOT [BRAD] (severe) Nice catch. There is a beat as Brad glares at Michael. OMITTED ANOTHER ANGLE Dickerson steps out from behind the lockers, shaking his head in mock bewilderment. [DICKERSON] I have a real hard time understanding people like you, Knight. [MICHAEL] Why, because I'm trying to keep an innocent lady out of prison? Dickerson stops pacing, waits a beat, then stares at Michael with quiet fury. [DICKERSON] I told you to stay away from Marty Keene. [MICHAEL] Yeah, but you didn't give me a very good reason. [DICKERSON] I don't have to give you a reason, friend. Let's just say my depart- ment's put too much time and effort into this investigation to let it go down the tubes because of some self- appointed hero. (beat) Get my drift, Mr. Knight? [MICHAEL] You do what you have to do, Lieutenant, and I'll do what I have to do. [DICKERSON] Good, because from this moment on my men have orders to lock you up if you interfere. [MICHAEL] I'll keep that in mind. [DICKERSON] See that you do. Michael turns to Brad and tosses the medicine ball at him. It hits Brad in the gut and he grunts. [MICHAEL] Here you go. Michael walks away, exiting the locker room. DISSOLVE TO EXT. ROAD - DAY The Trans Am is parked close to a transformer. ANGLE - MICHAEL Dressed in a power company uniform, he walks from the transformer over to the Trans Am and gets in. He pushes a few buttons on the dashboard. [K.I.T.T.] Michael, wouldn't it be more advantageous to go to the local DA and arrange for extradition? [MICHAEL] I don't think so, Kitt. It would take too long. [K.I.T.T.] Yes, but perhaps he'd overrule Lieutenant Dickerson and allow us to transport Marty back to Albuquerque. [MICHAEL] Remember what Dickerson said. This is his turf. He calls the shots. And I don't see him giving us any help. [K.I.T.T.] In that case my microwave jammers are ready. [MICHAEL] Then start the show. INSERT - DASH Michael pushes a button marked MICROJAM and the dashboard blinks and wiggles in a graphic response to the release of energy. ANGLE - TRANSFORMER Sparks fly all over the place. OMITTED INT. FARLAN'S OFFICE - DAY The lights in the warehouse begin blinking on and off. Farlan and Dink react to the malfunctioning lights. [FARLAN] Dink, call somebody and get 'em out here. This is ridiculous. Dink goes to a phone and dials a number. CUT TO INT. K.I.T.T. - DAY Michael is closely monitoring K.I.T.T.'s video screen. [K.I.T.T.] Here comes our call, Michael. [MICHAEL] Standard Power Company. [DINK (v.o.)] Yeah, could you send a guy over to 1322 Crescent as soon as possible...we got some kind of power foul up. [MICHAEL] Be right there. The phone goes dead. [MICHAEL] (to K.I.T.T.) I'll be back soon. Don't blow a fuse. [K.I.T.T.] On the contrary. The sensation is quite intoxicating. [MICHAEL] Well, try to stay sober until I get back. Michael exits K.I.T.T. with toolbox in hand and walks down the road to the warehouse. CUT TO INT. WAREHOUSE - DAY Dink leads Michael past several offices. [DINK] I've never seen lights doing that. They were...I don't know wobbling -- it's like they was drunk. It was weird.... [MICHAEL] (matter- of-factly) It's the winds off the desert. They blow a lot of positive ions around -- it affects everything -- even our sleep. [DINK] (impressed) Oh yeah?..Well, here's the fuse box. [MICHAEL] Thanks. Michael opens the circuit box and shines a flashlight on it as Dink watches. [MICHAEL] If you don't mind, I'd rather work without an audience. [DINK] Oh sure...yeah...sorry. Dink shrugs his shoulders and exits. Michael pretends to work until the coast is clear then runs down the hall and starts checking the names on the office doors. He comes to one marked Marty Keene. He opens it. ANOTHER ANGLE Al Farlan is coming down the other side of the hall. Michael doesn't see him, but Farlan sees Michael enter Marty's office. His face reflects both his curiosity and his concern. INT. MARTY'S OFFICE As Michael enters, Marty looks up with a start. [MARTY] Oh! (beat, as he recovers) The outlet's on that wall over there. As Marty points toward the wall, he gets a second look at Michael and recognizes him. [MARTY] Hey, wait a minute. (loud) You're the guy from the hardware store. Michael comes over to Marty and puts his hand over Marty's mouth to keep him quiet. [MICHAEL] I know that. And you know that. But the rest of the world doesn't have to. Michael releases the quivering bookkeeper. [MARTY] What do you want from me? [MICHAEL] A while back you met a girl in a bar called The Bent Arm in Albuquerque. Her name was Cheryl -- nice looking blonde? [MARTY] Yeah...What's this all about? [MICHAEL] Murder. [MARTY] (blanches) Murder!? CUT TO INT. FARLAN'S OFFICE - DAY A semi-plush suite with a large metallic desk and an intercom system set up through the phone. Dink is going through a set of files as Farlan enters. [FARLAN] What's that repair man got to do in Marty's office? [DINK] Beats me. I didn't even know he was in there. Farlan reaches over the phone and switches on his intercom allowing him to eavesdrop on the conversation taking place in: INT. MARTY'S OFFICE Michael has told Marty the story. [MARTY] Gee, I'd really like to help you, but Mr. Farlan would never let me go with you. [MICHAEL] Why not? Marty covers his books with his arms. [MARTY] Well...because. Michael is suspicious and takes a look at the books. [MICHAEL] Just what kind of business is Falcon Enterprises? Michael leafs through the books. [MARTY] You can't look at those. [MICHAEL] (reading the books) Hmmm. Looks interesting...no wonder the cops are on to you. INT. FARLAN'S OFFICE A troubled Farlan is listening. He shuts off the intercom and turns to Dink. [FARLAN] (foreboding) We better take care of them while we've got the chance. ANGLE - HALLWAY OUTSIDE OF MARTY'S OFFICE Michael and Marty are making a furtive exit. [MARTY] I don't think this is such a good idea. [MICHAEL] Trust me. As they sneak down the hallway and into: INT. WAREHOUSE Marty gasps. Michael turns to see Farlan bearing down on them from behind the controls of a forklift, with the forks held high. On Michael's reaction: [FREEZE FRAME] END OF ACT TWO ACT THREE FADE IN INT. WAREHOUSE - DAY - CONTINUOUS ACTION Michael pushes Marty out of the way, he dives and rolls across the floor to elude the forklift. ANGLE - FORKLIFT The fork rams through the plasterboard wall. ANGLE - MARTY [MARTY] (shrieks) Aiyeee.... He bolts out of the warehouse for an unknown destination. ANGLE - MICHAEL The forklift comes around for another pass and Michael scrambles to the top of a fifteen-foot high stack of television boxes and speaks into his wristwatch. [MICHAEL] Kitt, can you hear me? [K.I.T.T. (v.o.)] (calmly) Of course, Michael. Can I be of service? [MICHAEL] Yes! Get your tailpipes in here. On the double! And Michael has good reason to panic. Farlan is lifting the pallet holding the stack Michael is on and it teeters precipitiously. Michael jumps to another stack as the television boxes come crashing to the floor. EXT. WAREHOUSE K.I.T.T. comes alive. ANGLE - FARLAN [FARLAN] Damn! (to Michael) There's no way out of here. I'll get you yet. BACK TO SCENE Michael scrambles down from the stack and runs down an aisle of boxes. Farlan heads after him smashing the forks against the boxes in his way. [MICHAEL] (into wrist- watch) Kitt, where are you? Michael runs down another aisle of boxes and runs into a dead-end canyon of boxes. He turns to find Farlan bearing down on him with the forklift. [FARLAN] Eat some steel!! Farlan puts the pedal to the floor in a final charge at Michael. Within ten feet of Michael, one side of the canyon of boxes explodes and K.I.T.T. enters by crashing through the wall. The blades of the forklift bounce harm- lessly off his side. [FARLAN] What the hell...? INT. TRANS AM Michael climbs in the passenger side of the window as Farlan backs the forklift away. [MICHAEL] What took you so long? [K.I.T.T.] I came as quickly as I could. [MICHAEL] Okay, now do something about that forklift. BACK TO SCENE As K.I.T.T. squeals away, he sends boxes flying. Farlan sees K.I.T.T. coming and dives off the forklift before K.I.T.T. sideswipes the vehicle knocking it over on its side. INT. TRANS AM [MICHAEL] Not bad, Kitt. Now how about getting us out of this snake pit. BACK TO SCENE as the Trans Am makes an abrupt turn and goes through the wall he previously crashed through. CUT TO INT. WAREHOUSE - DAY Farlan stands in the midst of a shambles: Boxes, and assorted debris are strewn about the warehouse. Dink enters. [FARLAN] (fuming) Look at this place. It's a disaster area. [DINK] There's no sign of Marty. [FARLAN] What about the other guy? [DINK] (shakes his head) No way I was gonna catch him. [FARLAN] Come on. We've got to find Marty before he spills his guts to the law. The two men head for the exit. INT. POLICE STATION - DAY A plainly aggravated Dickerson is barking into a phone. Brad watches intently. [DICKERSON] (into phone) No one disappears into thin air! I don't care. It's imperative neither of them crosses the state line -- under any circumstances...All right, keep me posted. Dickerson hangs up the phone, turns to Brad. [BRAD] What about Farlan? [DICKERSON] Come on, we've got to find Marty before Farlan does. Brad nods and both men exit. INT. HEALTH CLUB - DAY There's an aerobics class going on. A group of ladies in leotards are jumping and twisting to the accompaniment of fast-paced rock music. ANOTHER ANGLE Michael enters and observes the frenetic scene before him. As he casts about looking for Marty, a mouth-watering instructor named Tracy approaches. She flashes a warm, toothy smile. [TRACY] Hi, there...like what you see? [MICHAEL] Who wouldn't? [TRACY] Well right now we're having a special offer. If you join the club for one year, you get another year absolutely free. [MICHAEL] Actually, I'm.... [TRACY] (keeps going with her sales pitch) We have a complete weight room, sauna, pool, a full-time masseuse, and lots of happy members. [MICHAEL] I can see that. [TRACY] So you want to sign up? [MICHAEL] Not really. [TRACY] (frowns) Well, then, what do you want? [MICHAEL] Look, do you know a guy who comes here named Marty Keene? [TRACY] Sure. Marty's my special project. In a couple of months that little pussycat's going to be a tiger. [MICHAEL] Do you have any idea where I might find him? [TRACY] (shakes her head no) Sorry. He was here before. But he left. [MICHAEL] Is there any special place he goes to? [TRACY] I really wouldn't know. We're not that close. She gives Michael a dirty look. [MICHAEL] Okay. Yeah...well, thanks anyway. He smiles at her and leaves. When he exits, Tracy walks down a hall and stops at a door marked LADIES SAUNA. She opens it and says: [TRACY] You can come out now, Marty. Marty comes out, his clothes soaked from the sauna. We can hear some girlish giggles coming from inside the sauna as Tracy rubs Marty's head with a towel and comforts him like a mother. [TRACY] You poor thing.... EXT. TRANS AM - DAY It is tooling down a Claremont Bay side street. INT. TRANS AM Michael has a disconsolate look on his face. [MICHAEL] Any luck with the scanner, Kitt? [K.I.T.T.] Negative, Michael. I don't want to sound like a pessimist, but I'm afraid we've lost him. Michael pushes a button on the dashboard. Intercut with: OMITTED INT. SEMI - DAY Devon, picks up a ringing phone. Bonnie looks on. [DEVON] Hello, Michael. I'm glad you called. I was just thinking of you. [MICHAEL] Listen, Devon, things are not going as well as I thought...I may need an extra day or two. [DEVON] That's perfectly all right with me, however at this point, time is a luxury I fear you can't afford. [MICHAEL] What do you mean? [DEVON] I just received a phone call from Cheryl's attorney. The Judge refused to grant them a continuance. I'm afraid Cheryl goes on trial tomorrow. CLOSE ON MICHAEL as the news hits him like a ton of bricks. EXT. MARTY'S APARTMENT - NIGHT - ESTABLISHING A big luxury car, which we will soon learn belongs to Farlan, is parked in front of the apartment building. INT. MARTY'S APARTMENT - NIGHT Farlan is in the modestly decorated living room checking one of the closets. He finds nothing as Dink enters from the bedroom. [DINK] He ain't here, boss. [FARLAN] That no-good little twerp. I give him the chance to make more money than he's ever had in his life and this is the thanks I get. [DINK] Want me to trash the place. [FARLAN] No, let's get out of here. He may already have the cops onto us, that worthless fink. They head for the door. EXT. MARTY'S APARTMENT - NIGHT - ANGLE ACROSS THE STREET Tucked in the protective shadows of a neighboring apartment building, Marty observes his own apartment building. HIS POINT OF VIEW - FARLAN AND DINK come out of the building, get into the big car and drive off. ANGLE - MARTY He breathes a sigh of relief, comes out from his hiding place and begins to walk toward the street. Suddenly he hears a car approach. ANGLE - STREET Dickerson and Brad pull up in an unmarked car. They get out of the car in a hurry and head for the apartment building. ANGLE - MARTY He sees them, suspects the worst and ducks back into his hiding place. EXT. TRANS AM - NIGHT The car is again tooling down a Claremont Bay side street. INT. TRANS AM Michael is frustration personified. Even K.I.T.T. is a little testy. [K.I.T.T.] Michael, this is the third time we've reconnoitered this neighborhood. [MICHAEL] So what? You got a late date? [K.I.T.T.] May I make a suggestion. [MICHAEL] No, you may not, Kitt. I just thought of something. Michael abruptly turns down another street and accelerates. [K.I.T.T.] Where are we going? [MICHAEL] To Marty's apartment. [K.I.T.T.] Michael, my analysis of human behavior suggests that the last place Marty would hide is his own residence. Perhaps you'd care to explain the logic behind your decision. [MICHAEL] It's more like reverse logic, Kitt. No one would think Marty would hole up in his own place. So maybe he figures no one will bother checking there. [K.I.T.T.] I'd have to say that's a long shot. [MICHAEL] Maybe. But right now it's the only shot we have. EXT. MARTY'S APARTMENT BUILDING - NIGHT - ESTABLISHING The unmarked police car is still parked in front. ANGLE - MARTY watching cautiously from his perch across the street. OMITTED INT. MARTY'S APARTMENT Dickerson and Brad stand in the living room, their faces reflecting their failure. [DICKERSON] There goes our case...right down the toilet. [BRAD] Maybe the blues turned up something. Knight's car is awfully hard to miss. [DICKERSON] Let's hope so. They exit the apartment. OMITTED ANGLE - MARTY He watches the unmarked car drive off and then emerges from the shadows, checks to make certain the coast is clear. He determines that it is, and hurries across the street and enters his building. MICHAEL turns into an alley behind Marty's apartment. He parks near a fire escape about twenty feet off the ground. INT. TRANS AM Michael checks out the situation. [MICHAEL] Kitt, pop the sunroof. [K.I.T.T.] Certainly, Michael. The sunroof opens. [K.I.T.T.] But why? [MICHAEL] I'm going to need a boost. Michael braces for lift-off. INSERT - DASH He pushes the ejector button. ANGLE - MICHAEL as he sails out of the car and up to the fire escape. He grabs hold of the metal stairs, safe and sound. [MICHAEL] Thanks, Kitt. INT. TRANS AM [K.I.T.T.] Don't mention it. ANGLE - MICHAEL He begins climbing up the fire escape. Follow him as he climbs past an open window. A light is on and we can see inside. INT. ROOM A couple lies in bed, fully covered, but highly shocked and embarrassed by the sight of Michael on the fire escape. ANGLE - MICHAEL [MICHAEL] (red-faced) Uh, sorry about that...forgot my key.... Michael quickly climbs away. INT. MARTY'S APARTMENT Marty carefully enters through the front door. He tiptoes about the room, still frightened someone might be there. He goes to check the bedroom. ANGLE - MICHAEL He pulls up a window and enters: INT. MARTY'S KITCHEN - NIGHT Michael pads silently across the darkened kitchen, heading toward a swinging door that leads to the living room. ANGLE - MARTY He returns to the living room from the bedroom. He walks toward the swinging door that leads to the kitchen. ANGLE - MICHAEL He is about to push the swinging door. ANGLE - MARTY He pushes the door. It doesn't open. He reacts with fear and uncertainty. ANGLE - MICHAEL He pushes the door and it doesn't open. He's perplexed, then backs away. ANGLE - MARTY He pushes again, this time with his shoulder. There is no resistance, however, and he goes flying into the kitchen. INT. KITCHEN As Marty gets his balance, Michael flicks on a light. Marty reacts with a yelp. [MARTY] Eee-yahh. He tries to run out the door, but Michael stops him. [MICHAEL] Oh, no you don't. You're not getting away this time. Michael takes Marty by the shoulder and parks him in a chair. [MICHAEL] I want to get a few things straightened out here. First of all, how did you get involved with Falcon Enterprises? [MARTY] I took this job 'cause I owed a lot of money. I didn't know it was a fencing operation. Honest. When I saw what was going on I tried to quit, but Mr. Farlan wouldn't let me. Marty drops his head into his hands. [MICHAEL] Calm down, Marty. I'll help you out of this, but only if you'll come back to Albuquerque with me and testify. Marty brightens at the prospect of getting away from the mess he's in. [MARTY] I'll do anything...anything to get out of this jam. [MICHAEL] Great, we'll take off as soon as we steal your accounting books. [MARTY] What? Are you crazy? Not me, no way. Marty goes after his Maalox and takes a big swig. [MICHAEL] You don't have much of a choice. We have to get the evidence on your boss or the police will never let us out of town. And Cheryl's trial starts tomorrow. [MARTY] Yes, but.... [MICHAEL] Look, the cops can't break in and steal them. We can. [MARTY] Yes, but there's still one thing you don't seem to understand. [MICHAEL] What's that? [MARTY] I'm a coward. [MICHAEL] Not for long. EXT. WAREHOUSE - NIGHT Michael and Marty are standing under the cover of a thatch of trees or shrubbery. The Trans Am is parked nearby as they stare through a tall chain-link fence at the warehouse. [MARTY] We'll never make it. It'll be daylight pretty soon. [MICHAEL] I know, that's why we've got to get cracking. Michael walks over to the car, opens the door and addresses K.I.T.T. quietly. [MICHAEL] Kitt, we're going in. If I'm not back in an hour, call the police. [K.I.T.T.] Be careful, Michael. [MICHAEL] Aren't I always? [K.I.T.T.] You don't want me to answer that question. Michael closes the door and goes back over to Marty. [MICHAEL] Ready? [MARTY] No. [MICHAEL] Let's go. Michael climbs the fence and places his hands carefully between the barbed wire at the top. With one graceful push, he easily clears the barbed wire and lands softly on the ground -- the man is an athlete. [MICHAEL] Okay, c'mon. Marty shakes his head and starts his climb over the fence as Michael watches the warehouse for signs of life. [MARTY] Oy.... Marty gets to the top of the fence and falls over the barbed wire trapping himself like a fly in a spider web. As he hangs upside down, Marty emits sounds like duck being strangled. [MARTY] Eergh...! ANGLE - GUARD He walks around the building. ANGLE - MICHAEL He sees the guard and looks over at Marty. ANGLE - MARTY as he flails about helplessly on the fence.... OMITTED [FREEZE FRAME] END OF ACT THREE ACT FOUR FADE IN OMITTED EXT. WAREHOUSE - NIGHT - CONTINUOUS ACTION Michael makes certain that the guard is out of sight, then rushes to help Marty. ANGLE - MARTY He struggles to free himself and manages to do so at the instant Michael arrives. Marty tumbles down on top of Michael and they both hit the ground hard. [MARTY] Oomph! ANGLE - MICHAEL His wrist is pinned against the ground. He lifts his hand to check his watch. INSERT - WATCH It's broken. BACK TO SCENE [MICHAEL] (upset) Damn. Marty sees the damage and feels a twinge of guilt. [MARTY] Is everything all right? [MICHAEL] Unfortunately, no. [MARTY] Sorry. [MICHAEL] Forget it. Let's move out. They make a quick dash for the rear of the warehouse. CUT TO EXT. WAREHOUSE - NIGHT The Guard shines his flashlight into the trees. He sees the Trans Am and approaches the car. INT. TRANS AM - NIGHT Before the Guard gets close enough, K.I.T.T. sends out an S.O.S. [K.I.T.T.] (sotto) Michael, I've been spotted by one of the Guards. No reply. [K.I.T.T.] Michael? K.I.T.T. shuts down as the Guard starts nosing around. ANGLE - GUARD He looks in the window, sees nothing. Next, he tries to open the door. As he does, K.I.T.T. moves forward. The Guard does a take, then goes to K.I.T.T. and tries the door again. This time K.I.T.T. moves backward. The Guard is really perplexed. He takes out a walkie-talkie, turning his back to the car. [GUARD] (into walkie-talkie) Mr. Farlan, you better get over here. Something funny's going on. ANGLE - TRANS AM K.I.T.T. self starts, and with scanner flashing, drives off. The startled Guard turns around and reacts. [GUARD] What the...? The Trans Am rolls past him. INT. FARLAN'S OFFICE - NIGHT In the office, still messy from the day's events, Marty works on a combination of a wall safe. He's nervous and his eyes dart outside the office windows to see if any guards are around. He stops with a frustrated, constipated look on his pace. [MARTY] I can't do it. [MICHAEL] Sure you can. [MARTY] I'm too nervous -- what are we doing in this place? [MICHAEL] Sit down for a second. Marty plops down in a chair next to him. [MICHAEL] (calming) Now, close your eyes. [MARTY] What for? [MICHAEL] (stern) Close your eyes. Marty closes his eyes. [MICHAEL] Picture yourself on a sailboat off the coast of a tropical island. You're lying in a hammock basking in the midday sun.... [MARTY] I'm seasick. [MICHAEL] You're not seasick. You're totally relaxed. The waves lap gently against the side of your boat. At your side is the girl of your dreams.... [MARTY] ...Alice Schmelkin...? Michael looks at him and shrugs -- why not? [MICHAEL] ...Alice Schmelkin...Your life is good, everything is calm. You are at peace with the world. Michael pauses to let Marty contemplate the scene and relax. Marty has a smile on his face. Michael shakes Marty back to reality. [MICHAEL] The safe? [MARTY] (calm, smiling) Sure. Marty walks to the safe and quickly turns the combination through the right sequence and the safe pops open. [MICHAEL] There you go. It's all in the mind. Marty reaches in and grabs the books which he hands to Michael. [MICHAEL] Let's get out of here. Michael and Marty move into the warehouse, avoiding guards as they make their way toward the exit. OMITTED EXT. WAREHOUSE - NIGHT K.I.T.T. surreptitiously nudges his way inside the gate. EXT. WAREHOUSE - DAWN Marty and Michael carefully open the door of the warehouse and peer outside. The sun is coming up. [MICHAEL] Looks like the coast is clear. Michael steps outside and Marty follows. [MICHAEL] Stay low and try not to trip over anything. Marty appears out of the warehouse beside Michael. They walk close to the wall of the building keeping an eye out for guards. As they sneak around the corner of the building, they come face-to-face with Farlan and Dink who stand next to their car, guns trained on their victims. [FARLAN] Nice of you to drop by. [MARTY] (stammering) Mr. Farlan, this isn't what it looks like.... [DINK] Knock it off, Marty. You're not gonna weasel your way out of this mess. Farlan's hand trembles with anger as he points his handgun at Marty and Michael. [FARLAN] I suppose the cops would give you a nice bonus for that set of books. [MICHAEL] I'm not working for the police. [FARLAN] No? Well, that's too bad 'cause I hear they give nice funerals. Now, if you don't mind, I believe those belong to me. Farlan reaches for the books but stops cold when he hears a booming voice. [K.I.T.T. (v.o.)] (over loudspeaker) This is the police. You are surrounded. Throw down your weapons and put your hands over your heads. As Farlan and his men throw down their guns and reach for the sky, K.I.T.T. barrels directly at the crowd. When K.I.T.T. gets close, it becomes obvious it's not the police. [DINK] Look! It's that car again! [GUARD] I told you it moved by itself. OMITTED ANGLE - K.I.T.T. The Trans Am pulls to a screeching halt in front of Michael and its doors fly open. [MICHAEL] Good timing, Kitt. (to Marty) Get in. Michael and Marty get in. The Trans Am crashes through the fence and zooms away. OMITTED INT. TRANS AM While Marty is still in a daze, Michael tries to buckle Marty's seat belt. [MARTY] (screams) Who's driving the car! [MICHAEL] Kitt. Marty looks around. [MARTY] (another scream) Who is Kitt? Michael gives up on the seatbelt -- Marty's squirming too much. [MICHAEL] Don't worry about it. Just buckle your seatbelt. [MARTY] I'm worried about it. I'm worried about it. ANGLE - FARLAN AND DINK They are in a major state of disbelief. [DINK] I ain't never seen anything like that. [FARLAN] Wait 'til you see what happens when I catch them. They get into their car and take off in pursuit. EXT. TRANS AM - DAY It is going down a Claremont Bay street in the dock/ warehouse district. CUT TO INT. TRANS AM - DAY Marty can't keep his eyes off the dashboard. [MARTY] What is all this stuff? [MICHAEL] A computer. [MARTY] Yeah, but how did it manage to drive itself? [MICHAEL] Let's just say it manages. [MARTY] Yeah, and I suppose it can talk, too. [K.I.T.T.] On a variety of subjects. What do you care to discuss, Mr. Green? A nervous smile freezes on Marty's face. Michael contains his laughter. Michael presses some buttons on K.I.T.T.'s console. [MARTY] (nervously) What are you doing? INSERT - K.I.T.T.'S VIDEO SCREEN On the radar scan, a strong dot appears headed toward the middle of the screen. BACK TO SCENE [MICHAEL] What's their distance, Kitt? [K.I.T.T.] Approximately 400 yards. Shouldn't we accelerate or do you want them to catch us? [MICHAEL] No, I just want them to think they can catch us. [K.I.T.T.] Michael, I'm not sure I understand. We've got the books, why don't we just go to the police? [MICHAEL] That's the next step. See if you can pick up the police frequency. I want to talk to Lieutenant Dickerson. ANGLE - FARLAN'S CAR It takes the corner at top speed, and the Trans Am comes into view. INT. FARLAN'S CAR Dink is at the wheel. Farlan rides shotgun. [FARLAN] There he is. Step on it. EXT. FARLAN'S CAR It shoots down the street in hot pursuit. EXT. DICKERSON'S CAR - DAY as it races down a street. OMITTED INT. DICKERSON'S UNMARKED CAR - DAY [DICKERSON] (into radio) Dickerson here. [MICHAEL (o.s.)] (through radio) Lieutenant, this is Michael Knight. Dickerson and Brad react with complete surprise. [DICKERSON] Knight!? How did you get a police frequency? Intercut with: MICHAEL as they race through the warehouse district. [MICHAEL] I don't have time to explain. I've got Marty and the books from Falcon Enterprises. Where do you want them delivered? [DICKERSON] What kind of stunt are you trying to pull, Knight? [MICHAEL] All I'm trying to do is help, Lieutenant. [DICKERSON] (thinks for a beat) All right, I'll be at the end of Highland Road. That's down by the docks. [MICHAEL] See you there. Dickerson pushes a button on the radio, ending his conver- sation with Michael. [BRAD] You think he's on the level. [DICKERSON] Only one way to find out. THE UNMARKED CAR speeds down the street. OMITTED EXT. HIGHWAY - DAY - THE TRANS AM - VARIOUS ANGLES It bounces along the hilly roads near the docks with Farlan right behind them. INT. TRANS AM Marty is turning pale as they are jolted up and down. He gulps audibly. [MICHAEL] What's the matter now? [MARTY] There's something I've got to tell you. I get carsick. [K.I.T.T.] What do you mean, you get carsick? [MARTY] Sometimes.... [MICHAEL] Just hang in there, Marty. [MARTY] I think I'm going to be ill. Suddenly shots ring out. [MARTY] I'm definitely going to be ill. EXT. POLICE CARS on the move to form a blockade. EXT. ROAD - DAY Farlan's car is closing in on them. Farlan leans out the window and fires a rifle at the Trans Am. ANGLE - FARLAN reacting to his misses. [FARLAN] Hold this thing steady so I can hit him. [DINK] I get the feeling all the bullets in the world ain't gonna stop that car. EXT. TRANS AM - VARIOUS ANGLES Michael continues at less than top speed. Farlan and Dink remain on his tail. They cut corners, run red lights and make hair-raising turns as Michael leads them toward their destination. EXT. POLICE BLOCKADE - DAY Two police cars are lined up hood-to-hood, effectively blocking a narrow street between two rows of warehouses. ANGLE - DICKERSON as Brad approaches him. [BRAD] (indicating cars) We're all set, Lieutenant. [DICKERSON] I guess the ball's in Knight's court now. OMITTED ANGLE - TRANS AM as it turns down Highland Road. [K.I.T.T.] Michael, I'm picking up an obstruction a half mile ahead. [MICHAEL] Good. That should be Dickerson. [MARTY] What are you doing? [MICHAEL] Just sit tight, you'll see. WIDE ANGLE to see the Trans Am and Farlan's car racing down the street. MICHAEL'S POINT OF VIEW - THE POLICE BLOCKADE looms ahead. ANGLE - DICKERSON seeing the Trans Am. [DICKERSON] Here he comes. ANGLE - WAREHOUSE Just in front of the police blockade a garage door opens and a large truck begins to back out. ANGLE - DICKERSON He reacts to the sight of the truck with alarm. [DICKERSON] What's that truck doing? WIDE ANGLE The Trans Am bears down on the truck which is a flatbed laden with large sheets of glass. OMITTED INT. TRANS AM Marty is freaking out as it looks like they're about to hit the truck. [MARTY] Watch out for that truck. Wait a minute. You're not gonna.... [MICHAEL] When I count to three, hold your breath. One. Two. Three. As he utters the number three, Michael hits the turbo boost button and the Trans Am goes airborne. ANOTHER ANGLE - K.I.T.T. glides over the truck. ANGLE - BRAD AND DICKERSON standing to the side of the blockade. Both are awestruck as they see the car hurtling over them. [BRAD] Look out! He and Dickerson hit the deck. EXT. TRANS AM It clears the truck and neatly swerves to avoid the police cars. OMITTED ANGLE - FARLAN'S CAR It has been following at top speed and can't stop in time despite Farlan's protestation. [FARLAN] Hit the brakes, you fool. Too late. Farlan's car goes slightly airborne, but not enough to clear the glass truck. WIDE ANGLE Farlan's car smashes through the sheets of glass creating a shower of flying shards. ANOTHER ANGLE Farlan's car comes out on the other side of the truck and smacks into one of the police cars. OMITTED ANGLE - TRANS AM [MARTY] (amazed) How did you do that? [MICHAEL] With a little help from my friend. (beat) Let's go back and square things away, Kitt. The Trans Am turns around and comes back toward the blockade. ANGLE - BLOCKADE Brad and Dickerson get up from where they dove for cover and approach Farlan's twisted, smoking car. They are surprised to find Farlan and Dink. Dickerson takes out his gun. [DICKERSON] Okay, Farlan, get out, you're under arrest. Farlan and Dink get out of the car, hands held high. [FARLAN] What do you mean, we're under arrest? You got nothing on us. OMITTED ANGLE - MICHAEL as he pulls up in the Trans Am. [MICHAEL] Not true. He holds up the books. Michael and Marty get out of the car. Michael hands the books to Dickerson. [MICHAEL] Here you go, Lieutenant. All the evidence you need to put them away. Brad puts the handcuffs on the heavies, leads them away. [DICKERSON] Thanks, Knight... (beat) I suppose I was a little harsh on you. [MICHAEL] Well, maybe a little. [DICKERSON] (chuckles) Sorry, kid, I guess that's just my style...But I want you to know I appreciate what you did. Dickerson offers his hand. They shake. [DICKERSON] (to Marty) Come on Marty, you're part of this package too. [MARTY] But.... [MICHAEL] Wait a minute, Lieutenant. This whole thing was Marty's idea. If it weren't for him you wouldn't have those books. He's willing to help you put away his boss, aren't you, Marty? [MARTY] (confused; then nods) Huh, oh, yeah.... [DICKERSON] Really? [MICHAEL] On one condition, that is. [DICKERSON] And what might that condition be? [MICHAEL] You let him come back to Albuquerque with me now. Dickerson looks at Marty a beat, then: [DICKERSON] I can live with that. [MICHAEL] Thank you, Lieutenant. I'll have him back before you know it. (to Marty) Let's go. Michael gets in K.I.T.T. Marty waves to Dickerson, then climbs into the Trans Am. As K.I.T.T. fires up and pulls away.... [FREEZE FRAME] END OF ACT FOUR TAG OMITTED INT. BENT ARM BAR - DAY Michael, Marty, and Cheryl are seated at a table having a drink. [MICHAEL] Well, how does it feel to be free again? [CHERYL] Wonderful. Absolutely wonderful. (beat) Especially since they caught the real murderer. Michael, I'll never be able to properly thank you for all you've done. She leans over and plants a kiss on his lips. [MICHAEL] Well, that's a start. [MARTY] Hey, what about me? [CHERYL] Thank you too, Marty. She kisses him. He gets his money's worth. [MICHAEL] Marty, I hope you've learned a lesson from all of this. [MARTY] You better believe it. From now on I'm staying away from crooks. (beat) I've got better luck with the ponies. He takes out a racing form and opens it up. [MARTY] You know who's running tomorrow.... Before Marty can get into detail on the upcoming race, Butch enters the shot, placing one of his beefy paws on Michael's shoulder. [BUTCH] I want you. Michael is not wild about seeing Butch. [MICHAEL] Hi there, Butch.... [BUTCH] Let's go. Indicating the wrestling block, Butch lifts Michael by the arm and leads him toward the field of battle. As Michael rises, he speaks into his wrist watch. [MICHAEL] Kitt. [K.I.T.T.] (through wrist- watch) Yes, Michael.... [BUTCH] You can talk to your watch all you want this time. I know you're not a ventriloquist. [MICHAEL] (incredulous) A ventriloquist? Michael looks at Marty and Cheryl. They're laughing. He smiles back as Butch leads him away. Hold on his smile and: [FREEZE FRAME] THE END

{"show": "Knight Rider", "season": "s01", "episode": "e10", "title": "The Final Verdict"}

knightriderarchives

ACT ONE FADE IN EXT. RURAL ROAD - DAY as a limousine winds through the turns at normal speed, and we are: INSIDE THE LIMOUSINE - REAR SEAT Where Devon Miles sits in quiet elegance. He looks at his watch. [DEVON] We seem to be behind schedule. Camera adjusts to show that Michael Knight is driving the limo. [MICHAEL] Assuming the schedule is right... (grimly) I wouldn't count on it. Devon looks around at the countryside. [DEVON] I really wish we were using the Knight 2000 for this...errand. [MICHAEL] Yeah, I know...but you're a VIP, Devon. Gotta show your staff in style. [DEVON] Yes...but sometimes style can be dangerous. RESUME THE ROAD as the limousine passes as intersecting road. One that adjoins at a sharp angle affording concealment for a vehicle that we glimpse waiting, and we are: ON VEHICLE'S REAR TIRE as it screeches, biting into the tarmac and rocketing out of the shot, and we are: ON THE VEHICLE to reveal it is an orange coupe that accelerates onto the main road in pursuit of the limousine, and we: RESUME THE LIMOUSINE as the coupe pops into view behind it and quickly closes the gap between the two cars, and we are: ON THE REARVIEW MIRROR OF LIMOUSINE as the coupe explodes into view, filling the mirror edge to edge, and we are: ON THE DRIVER OF THE COUPE Marc Redmond, thirties, square-jawed, in shape, his clothes casual...his mood intense. This guy's serious. He slams down on the accelerator. INT. LIMO Michael also accelerates instantly. [MICHAEL] Hang on, Devon. Michael goes into a wild turn. Devon bounces around in the rear seat. [DEVON] Hang on to what? RESUME THE SCENE as the two cars come through a turn at high speed. The coupe drafting right behind the limousine, accelerates and begins to pull abreast of the limousine on the driver's side, and we are: INSIDE THE LIMOUSINE as Devon reacts to the coupe's advance; leans forward to Michael. [DEVON] Michael, forgive my backseat driving ...but they're catching up to us! [MICHAEL] Good. That's the whole idea. [DEVON] That's the wrong idea. [MICHAEL] Not on this road! See that? POINT OF VIEW THROUGH WINDSHIELD - ROAD to see that it forks up ahead. The "Y" looms closer and closer and we are: ON BRAKE PEDAL OF LIMOUSINE as Michael slams his foot down hard, and we: RESUME THE TWO VEHICLES as the limousine dives in a panic stop and the coupe rockets past it into the left fork. Before coming to a full stop, the limousine accelerates and swerves into the right fork at high speed, and we are: ON THE COUPE as it screeches to a fast stop; swings around in a big "U" that takes it from the left to right forks, and we are: ON DEVON as he glances out the back window of the limousine and sees the coupe pop into view, gaining rapidly. [DEVON] Ah...Michael...we seem to be experiencing deja vu here.... [MICHAEL] Hang onto your socks! Michael whips the steering wheel, and we: RESUME THE SCENE as the limousine swings around in a one-eighty slide that puts it on a collision course with the coupe that approaches at high speed, and we are: ON DEVON as he reacts to this maneuver. His cool, unruffled demeanor giving way to genuine concern. [DEVON] Michael... (beat) Michael? DEVON'S POINT OF VIEW THROUGH THE WINDSHIELD as the coupe swerves to one side at the last possible instant avoiding a head-on with the limousine. [DEVON (v.o.)] Michael!!! The coupe spins off the road coming to an angled stop on the slanted shoulder. The limousine rockets past, spins around. OMITTED ON THE LIMO as it leisurely drives back to the coupe. Michael parks, grandly opens the door for Devon. At the same time, Redmond extricates himself from the tilted coupe, approaches the other two men. Good humor has replaced his former sober mood. [DEVON] (adjusting his tie) Michael, you avoid vehicular on- slaughts as deftly as you dodge the Foundation paperwork. [MICHAEL] Could you rephrase that? [DEVON] Good job. Redmond approaches, pleased. [REDMOND] Mr. Miles, you weren't pumpin' no dry well. (slamming Michael) This boy can rack a pinion with the best of 'em. Beat. [DEVON] Could you rephrase that? THE SAME SCENE AS ABOVE but on a television monitor. The three men approach the Foundation semi. Camera widens to reveal that we are parked nearby in K.I.T.T. Bonnie has wires and circuits all over her lap. She is using a joystick to control the picture on the screen. [BONNIE] Up...up...over. That's it...perfect. Kitt, you can cover 180 degrees with this new configuration. [K.I.T.T.] Wonderful. [BONNIE] Kitt, is something bothering you? [K.I.T.T.] No, no, what could bother me? I mean, Michael risks life and limb in an inferior assembly line clone.... CLOSE ON MICHAEL - ON MONITOR Seeing he's on camera, he blows a kiss at Bonnie. BONNIE reacts...that is, she appears not to react.... [K.I.T.T.] And meanwhile a state of the art, top of the line machine sits here in the shade, gathering dust.... [BONNIE] If I didn't know better, I'd say you were jealous. [K.I.T.T.] Really, Bonnie. Such a pretty emotion is beneath me. [BONNIE] Okay. Let's try the closeup lens. [K.I.T.T.] Certainly. But aim it at something besides that...that other car. Bonnie reacts knowingly and we: CUT TO INT. FOUNDATION SEMI - DAY Devon leads Michael and Redmond to the coffee machine, does the pouring. Redmond takes in the scenery, impressed. [DEVON] Michael, next week, as a result of years of delicate negotiations by our government, the leaders of five hostile, Third World nations will meet in an attempt to resolve their differences. [REDMOND] Burr in the saddle is, all five got compadres sooner send 'em to boot hill 'n let 'em palaver with the peace pipe. Devon looks at Redmond blankly. Michael leans close to Devon. [MICHAEL] I think he means all five leaders have people at home who'd like to blow them away. [DEVON] (grateful) Eloquently put. Yes, exactly the situation. Consequently, Michael, the heads of state will arrive without fanfare at a remote airstrip and.... Devon sits at the computer console, punches in commands. [DEVON] (continuing) ...be driven in separate vehicles to a secure desert compound by.... ON A COMPUTER TV MONITOR as it retrieves six faces in succession. Next to each, a column of data is printed out at high speed. [DEVON (v.o.)] (continuing) ...this team of specially trained chauffeur/bodyguards. Jason Keller, M.W. Jacobs, Roberto Lopez, Joanna Cory, Tip Maguire and Margot Wells. INTERCUT - INT. SEMI - DAY as Devon, Redmond and Michael study the images and data that come up on the monitor. [DEVON] (continuing) They've been hand-picked from an international pool of... (searches for word) ...operatives. [REDMOND] (overlapping) Action junkies...every one of 'em. Only difference between 'em an out-'n-out mercenary is they care which side pays for their bacon. [DEVON] Fortunately ours. Supposedly, they've all been cleared by Military Intelligence. However.... Redmond points to the screen derisively. [REDMOND] Four kings and two queens...But there's a joker in this hand o' stud. [MICHAEL] (aside to Devon) I think Mr. Redmond is trying to say, one is an assassin. [DEVON] (nods; grateful) Ah! Fortunately, we don't know which one. [MICHAEL] (impressed) Slick. The assassin's got to have someone on the inside. No other way to get that close to the target. [DEVON] Precisely. That's why the job has fallen to us. The government doesn't know who of their own people they can trust. Outside of we three, needless to say. [MICHAEL] Why not just scrap the entire team for a new one? [REDMOND] 'Cause till Mr. Miles here smokes out that maverick, there's no way to guarantee a new bunch wouldn't be rustled just the same. [DEVON] (before Michael can speak) I caught the drift of that one...This will be a two-pronged attack, Michael. We'll throw all of the Foundation's facilities into a nonstop search for the assassin's inside man.... [MICHAEL] Uh-huh...and what's my end of the prong? [DEVON] (a beat) Ah...you? Well, to polish up their skills for their assignment, the members of the security team will attend Mr. Redmond's Vanguard School. [REDMOND] (everyone's heard of it) We teach tactical and evasive driving techniques. Along with.... [MICHAEL] (finishing sentence) ...advanced hand-to-hand and weapons oriented combat skills. [REDMOND] You got it. Now, if you're as good with your dukes as you are with those wheels.... Redmond eyes Michael; lets the sentence trail off. We hold a beat, and then we go to: EXT. RURAL AREA - ROAD - DAY - WIDE as we pan across and pick up the K-2000 as it straightens out a series of turns in the twisting road, and we hear: [MICHAEL (v.o.)] You sure are quiet today. [K.I.T.T.] Oh? INSIDE THE K-2000 as Michael nods emphatically. [MICHAEL] Perfect example of what I mean. Anything wrong? [K.I.T.T.] (a beat) Michael, I'm programmed to be used... not...put up on blocks. [MICHAEL] Now, what's that mean? [K.I.T.T.] Michael, this mission is already in my data banks. I happen to know that you're going to spend most of your time in...other vehicles. [MICHAEL] Uh...yeah...but I was going to tell you, I want you to keep close watch on everything that goes on at the school. [K.I.T.T.] Surveillance mode again? [MICHAEL] Kitt...it's very important. I mean, every assignment can't be an action- packed ride. [K.I.T.T.] Don't remind me. I've never gotten over those two weeks in that auto yard posing as a wreck. I thought my plugs would never fire again. [MICHAEL] Yeah, but laying back and waiting paid off. [K.I.T.T.] Sure. But while you were laying back, I was the one that Neanderthal with the tattoos tried to turn into a cube twice a day. [MICHAEL] The look on his face was worth it. EXT. VANGUARD SCHOOL COMPLEX - DAY as the K-2000 turns into the entrance and we hold on a sign that proclaims...VANGUARD SCHOOL...and move into a distinctive logo that combines elements from a car and a machine gun into a powerful graphic, and we go to: EXT. TEAM BUNGALOWS - DAY as the K-2000 pulls to a stop in front of a row of motel-like bungalows; each with its own entrance and parking spaces. As Michael gets out he notices Margot Wells, an attractive blonde with an appealing vulnerability, opening the trunk of her car in the adjacent space. Both are startled by a loud noise o.s. They react and we go to: ANOTHER ANGLE - ADJACENT BUNGALOW as the door explodes open and Jason Keller, who could be the production prototype for the full-size John Matuzak doll, tumbles through it; sails through the air and lands in a heap on the ground. A beat later, Tip Maguire, five-six, a wirey, tightly-wound, 142 pounds of piss and vinegar dives through the open door after Keller, and we go to: ANOTHER ANGLE - FAVORING KELLER as he gets to his feet straightening his six-seven, 250- pound frame to full height, just as Maguire slams head-first into his midsection like a battering ram. Keller doubles over but remains on his feet; grabs hold of Maguire and flips him over his head into the air like a rag doll, and we go to: ANOTHER ANGLE - MAGUIRE as he somersaults into the shot and lands on his feet. We follow as he runs toward Keller who readies a fist and throws a punch that would clearly separate Maguire's head from his body. Maguire sucks; leaps into the air and directs a windmill uppercut toward: LOW ANGLE - KELLER'S FACE as Maguire's fist bounces off Keller's jaw, and we: RESUME THE SCENE as Keller shakes it off and Maguire circles around and leaps onto his back. Keller spins trying to throw Maguire off. The two men go down in a punch-throwing heap, as members of our security team collect around them. During the fight we: INTERCUT - VARIOUS SHOTS - TEAM MEMBERS as they react to the action, and we also: INTERCUT - LOPEZ standing off to one side; silent, alone, his face expression- less; and we go to: ANOTHER ANGLE - COMBATANTS as they roll on the ground. Maguire comes out on top astride Keller's chest; pulls back a fist. [MAGUIRE] Remember this the next time you sit on my bunk without asking!!! Keller grabs Maguire's wrist and gets to his feet; Maguire clinging to him like a chimpanzee. [KELLER] The next time I sit on your bunk... you'll be in it!!! The two men eye each other a beat before they smile and crack up with laughter. Keller sets Maguire down. [KELLER] You little wimp! I didn't know you were on this caper! [MAGUIRE] Would've turned it down if I knew they were still piling it that high in this business. The two men laugh, and we go to: ANOTHER ANGLE - TEAM - FAVORING MICHAEL as he turns to Margot Wells next to him. [MICHAEL] If that's how they greet an old friend, what do they do when they meet an enemy? [MARGOT] (off group laughter) If we're careful, we'll never find out. (smiles) Margot Wells.... [MICHAEL] Michael Knight.... Cory, a dark-haired vivacious woman, and Jacobs, a natty, European-type, offer their names and ad-lib greetings during a round of handshakes, and react to a booming voice as Keller and Maguire join them. [KELLER] Howdy! Keller. The free-lance fightin' game's been kinda shakey. Just keepin' our hand in. [MAGUIRE] Yeah, we get a little high-strung sitting around. Michael stretches to full height vibrating with as much energy as he can muster...just another itchy action junkie. [MICHAEL] Know what you mean. That nervous energy just keeps building. [KELLER] Now you know who to call when you want to work it off. Keller pops a playful punch into Michael's shoulder that almost knocks him over. The group disperses toward the bungalows in the b.g. and we go to: ANOTHER ANGLE as Michael and Margot cross to their cars. [MICHAEL] I think I'll pass. There are much more interesting ways to burn off excess energy. Margot chuckles as she pulls a suitcase from the open trunk and gestures to another that she leaves behind. [MARGOT] You can start with that if you like. She walks a few steps to her bungalow and goes inside. Michael grabs the handle of the suitcase; pauses; glances around, and we are: ON THE SUITCASE as Michael pops the latches; rifles the contents and finds a handgun beneath some clothing, and we go to: ANOTHER ANGLE - FAVORING MARGOT as, unseen by Michael, she watches from the doorway of her bungalow; waits until he slams the trunk before revealing her presence. As he hefts the suitcase toward her.... [MICHAEL] I hate to be the one to break it to you, but this isn't Club Med. [MARGOT] You mean, I won't need the perfume, makeup, sexy gowns, string bikinis...? [MICHAEL] (shakes no) Wrong kind of ammunition. Michael's remark is buttoned by a burst from a machine gun and we are: ON A CAR WINDSHIELD as the rounds glance off without damaging it, then stop. [REDMOND (v.o.)] You'll notice that ain't your Sunday-go-to-meetin' ordinary windshield.... EXT. VANGUARD SCHOOL TRACK - DAY as Redmond, holding a smoking Uzi, talks to the security team who wear identical driving suits and crash helmets that have the school logo on the side and darkened visors. The group stands in front of a line of cars at the base of an observation tower in the center of the infield. One car for each team member; no two alike in color or style; one a limousine. [REDMOND] (continuing) Fact is...nothin' 'bout these cars is ordinary. They ain't indestructible, but they can take a hit that'd send a production line model, to car heaven. [JACOBS] Any chance I could get one for my live-in? [REDMOND] (off laughter) If you don't mind her cruisin' your home spread at 150 per.... [MICHAEL] All these cars move that fast? [REDMOND] You bet. But it takes more'n speed to beat a vehicle bushwhack. The trick is to anticipate the desperado's strategy and use it against him. So you'll all be drivin' attack and target vehicles durin' training. ANOTHER ANGLE - TRACK as the limousine comes through a turn at high speed pursued by a white sedan, an orange coupe and a silver K car, and we hear.... [REDMOND (v.o.)] First group...Target, Cory. Attack ...Wells, Knight, Jacobs. The cars blow past in a blur, and we are: ON THE LIMOUSINE as it accelerates too quickly and starts to turn sideways to the track, and we: INTERCUT - REDMOND IN OBSERVATION TOWER as he reacts to Cory's side-slide. [REDMOND] Stay with it, Cory.... INSIDE THE LIMOUSINE as Cory reacts to the voice that comes from within her helmet; works the steering wheel to bring the car around. [REDMOND (v.o.)] (continuing; filtered) Don't hang back! More throttle! Kick 'er into high gear! RESUME THE TRACK - REDMOND'S POINT OF VIEW as the limousine slowly starts to straighten out, but is still somewhat sideways. [REDMOND (v.o.)] More! Really pop it!! Cory tromps on the accelerator. The car turns back into the groove; begins to pull away from the pursuit vehicles moving onto a distant part of the track and out of view, and we go to: ANOTHER ANGLE - TRACK as Michael's sedan followed closely by Jacobs' coupe and the K car, begin to close the gap moving up on the limousine, and we are: ON MICHAEL working the steering wheel, keeping the car in the groove. He glances up to: REARVIEW MIRROR - MICHAEL'S POINT OF VIEW as Jacobs' coupe looms larger and is soon almost "kissing" the rear bumper of the white sedan, and we are: ON THE WHITE SEDAN AND ORANGE COUPE moving as if glued together. The coupe drafting in the sedan's slipstream. As they come out of a turn at top speed, the coupe suddenly bumps the rear of the sedan causing it to spin out of control, and we go to: REDMOND'S POINT OF VIEW FROM TOWER as the sedan comes spinning out of the turn and back into view of the tower and we are: ON REDMOND as he reacts. [REDMOND] Jacobs! You crazy? This ain't for real. Settle it down. RESUME THE SEDAN as it pinwheels across the track narrowly missing Margot's speeding car that maneuvers around it and we go to: MICHAEL'S POINT OF VIEW THROUGH WINDSHIELD to see the retaining wall rushing toward camera and we are: ON MICHAEL as he reacts; whips the steering wheel, and we: RESUME THE SEDAN as it responds; changes direction at the last instant and spins back across the track coming to a stop in the infield area. Michael swings the car around, drives across the infield at high speed and we go to: ANOTHER AREA - INFIELD as the limousine and two remaining attack vehicles comes in off the track and stop near the base of the observation tower. Jacobs gets out of his coupe and is startled by the screech of tires as Michael's sedan nose dives to a stop next to him. Michael gets out; crosses to him. [MICHAEL] Hey?! I thought we were supposed to be on the same side out there?!! [JACOBS] (shrugs) I'm sorry. The car got away from me. [MICHAEL] I'm not looking for an apology. I just want to hear it won't happen again. [JACOBS] Whatever it takes. I mean, I'm not sure how it happened, but.... [MICHAEL] (interrupts) I'm sorry to hear that. Uncer- tainty can be a fatal liability in high stress situations. Michael eyes him for a beat; turns and moves off and we go to: EXT. VANGUARD SCHOOL - NIGHT - TO ESTABLISH INT. DINING AREA - SELF SERVICE AREA - NIGHT as Michael puts food on a tray and Keller, next to him, turns with a tray overflowing with food and we go to: ANOTHER ANGLE - LOPEZ eating alone. Keller passes on his way to a table in the b.g. where the rest of the team is eating; pauses, gestures. [KELLER] Why don't you join the party? Lopez glares at him and the tray of food with disgust; gets up and leaves, and we go to: ANOTHER ANGLE - TABLE as Keller joins Cory, Maguire, Jacobs and Redmond and settles in with the tray of food. [KELLER] What's with him anyway? [REDMOND] If you'd spent three years in solitary in a Cuban hoosegow, you wouldn't ask. Where's Wells? [CORY] Should be on her way. She said something about a...phone call. Redmond drains a cup of coffee and gets up. [REDMOND] I'd better round her up before Bigfoot here eats everything in sight. As Redmond leaves, Michael arrives with his tray and joins the group. Jacobs reacts; gets up and goes after Redmond. [JACOBS] Hey, I'll go with you. Michael glances with amusement from his modestly filled tray to the mountain of food that Keller is devouring next to him, and we go to: EXT. TEAM BUNGALOWS - NIGHT as an unidentifiable figure moves in the shadows toward: MICHAEL'S BUNGALOW so identified by the slip-in name card on the door. The figure pushes inside, and we are: ON A BOMB AND DETONATOR as the intruder slides it under Michael's bed and runs a sensor wire up and underneath the mattress. We hold a beat and then we: FADE OUT END OF ACT ONE ACT TWO FADE IN EXT. VANGUARD PARKING LOT - NIGHT Michael gets inside K.I.T.T. [MICHAEL] Hello, Kitt. [K.I.T.T.] Excuse me, have we met? [MICHAEL] Come on, Kitt, it hasn't been that long. [K.I.T.T.] Only nine point four hours. How would you like to sit here for nine point four hours. Your only company a few primitive assembly line vehicles with an intelligence level equal to the average clock radio.... [MICHAEL] If you're through, I have an important job for you. [K.I.T.T.] Well, that's more like it. What is it? Pursuit driving? Demolition and collision? Evasive --- [MICHAEL] I want you to go into surveillance mode. Watch my room while I catch some z's, okay? [K.I.T.T.] How exciting. Lights on the dashboard go on. Michael gets out, heads for his bungalow. EXT. TEAM BUNGALOWS - NIGHT as Michael approaches and crosses toward his bungalow. OMITTED INT. MICHAEL'S BUNGALOW - NIGHT He flips on the light and crosses to his suitcase. Takes a book from his suitcase and crosses to the bed...plumps up the pillow against the headboard. Weary, Michael falls back onto the bed. There is a muffled explosion and loud hissing noise that startles Michael. He leaps off the bed, as the room begins filling with smoke that billows from beneath the bed, and we: INTERCUT - THE BOMB as it rapidly produces the expanding cloud of smoke, and we: RESUME THE SCENE as Michael, enveloped by the smoke that obliterates the room, stumbles with his hand over his mouth and nose in search of the door. OMITTED EXT. MICHAEL'S BUNGALOW - NIGHT As Michael stumbles out the door in a cloud of smoke, a figure moves swiftly out of the darkness and grabs him from behind. Michael reacts instinctively; hip rolls his attacker to the ground, and we go to: ANOTHER ANGLE as Michael, ready to throw a punch, finds himself face to face with Redmond, who grins: [REDMOND] You are pretty good hand-to-hand. Michael pulls the punch, turns and sees --- HIS POINT OF VIEW - BUNGALOW AREA - NIGHT All of the other trainees are staggering out of smoke-filled bungalows. They cough their way towards Michael and Redmond, ad-libbing angry complaints and queries. ON A SMOKE BOMB as Redmond pulls it from under his jacket, shows it to the assembled group. [REDMOND] Just a little Halloween smoke...but it coulda been dynamite, fulminate, lay plas-teek, you name it. If I was a for real bandido, I woulda blown you all so far your families woulda been black and blue. There's laughter from the group...both sincere and embarassed. [REDMOND] Remember...you gotta be 'on' every minute of the day...not just when the sun's shining. Now bunk down, all of you. They move away. Redmond catches Michael's arm, speaks in a lowered voice. [REDMOND] Remember -- every minute of the day. That goes double for you, amigo...comprende? [MICHAEL] Comprende. Redmond slaps him on the back, exits. Michael heads for his bungalow. INT. MICHAEL'S BUNGALOW - NIGHT Michael comes in, opens the windows, uses a pillow as a fan to get rid of the last wisps of smoke. His wrist comlink buzzes. [MICHAEL] Yes, Kitt? [K.I.T.T.] Michael, I have to see you. [MICHAEL] Can't it wait? I'm zonked. [K.I.T.T.] Someone was in your bungalow tonight. [MICHAEL] I know. It was Redmond. A little fun and games to --- [K.I.T.T.] (interrupting) No, not Redmond. [MICHAEL] Who?! [K.I.T.T.] I don't know. ON THE K-2000 - NIGHT as we move in and hear.... [MICHAEL] What do you mean, you don't know? ON DASH CONTROL PANEL as Michael depresses a button labelled...VIDEO TAPE...and then another labelled...PLAY.... [K.I.T.T.] (dismayed) I was afraid you'd overreact like this. ON K.I.T.T.'S MONITOR SCREEN as the video tape comes to life and a figure in a driving suit and crash helmet, visor down, enters Michael's room. [K.I.T.T.] You see? It could be any one of them. I'm sorry, Michael. [MICHAEL (v.o.)] Freeze that. The image on the monitor stops suddenly, and we are: INSIDE THE K-2000 as Michael, eyes riveted to the monitor, studies the image. He reacts to something; looks closer. [MICHAEL] Give me a frame by frame review. [K.I.T.T.] Michael...I've already examined every frame. That helmet visor blocks out.... [MICHAEL] (interrupting) Do it, Kitt. The image on the monitor reverses action. The helmeted figure turns in ultra-slow motion bringing the Vanguard School logo on the side of the helmet more into view. [MICHAEL] Hold it right...there! The image freezes. [K.I.T.T.] I don't know what you expect to find. [MICHAEL] If you did, I wouldn't be doing this. Would I? Zoom in. (a beat) More. Keep going. The image continues zooming until the crash helmet fills the screen. [K.I.T.T.] I tried that too. You still can't make out the face. [MICHAEL] Forget the face. Zoom into the logo. All the way in.... As the logo zooms to fill the screen.... [K.I.T.T.] But Michael, all the helmets have the same logo. Michael leans to the monitor, and we are: CLOSE ON THE MONITOR as Michael's finger points to a distinctive vee-shaped scratch that cuts through the logo decal. [MICHAEL] Not all of them have that! ON A BULLHORN [REDMOND (v.o.)] (amplified) In this scenario, I'm the target and I've been shanghaied. EXT. URBAN STREET - DAY A row of three and four-story old brick structures. Redmond stands on the roof of a building with the bullhorn. Michael, alone in the street below, holds a coil of rope with attached grappling hook...a handgun in a holster on his hip. [REDMOND] (continuing; amplified) You've savvyed I'm bein' held in this abandoned building. If you get to me before any other bravo gets to you, why, then, you win. Go! Redmond moves out of view. Michael moves to a wall of the building as he uncoils the rope; whirls the grappling hook overhead and tosses it, and we are: ON A BALCONY as the hook drops into the shot and hooks on the edge. We angle over to pick up Cory as she moves onto the balcony and we go to: ANOTHER ANGLE FAVORING MICHAEL working his way up the rope toward the balcony. Cory leans over the edge of the balcony. Michael reacts by running along the wall. An action that gets him swinging like a pendulum, and we are: ON A WINDOW as Michael swings into the shot on the rope and drops through the open window into the building, and we go to: INT. CORRIDOR - DAY as Michael lands; glances about cautiously; moves toward a staircase; pauses and turns in reaction to a noise behind him, and we go to: MICHAEL'S POINT OF VIEW - CORRIDOR - MOVING as we pan across a doorway, a window at the end of the corridor and come onto a large, covered trash pail, and we: RESUME MICHAEL as he moves cautiously to the trash pail; pulls the lid off fast; pushes his weapon forward. [MICHAEL] You're dead! CLOSE ON TRASH CAN - MICHAEL'S POINT OF VIEW to see that it is empty. Michael replaces the lid, and we move up and across an adjacent wall to a dumbwaiter door that moves slightly, and we go to: ANOTHER ANGLE - MICHAEL as he quickly moves to the dumbwaiter; slams the door shut and turns the latch handle. He moves around to see: MICHAEL'S POINT OF VIEW - DUMBWAITER DOOR to see Maguire's face through the circular glass viewing port. He is curled up in the dumbwaiter. [MICHAEL] Gotcha! Michael pushes the button next to the door. Maguire's face drops out of sight, and we go to: ANOTHER ANGLE - STAIRCASE as Michael moves up cautiously; glances up to see: MICHAEL'S POINT OF VIEW - A STACK OF WOODEN CRATES on the landing above, as they rock and tumble down the stair- case right at him, and we: RESUME MICHAEL trapped; the crates tumbling at him. He leaps up and grabs an overhead pipe; swings himself out of the way as the crates roar beneath him and smash into a wall with force, and we are: ON JACOBS as he appears at the top of the stairs; looks down. [JACOBS] Knight? Hey? Hey you okay? JACOBS' POINT OF VIEW OF THE SMASHED CRATES No sign of Michael, and we: RESUME THE SCENE - STAIRCASE as Jacobs descends; looks puzzled, then whirls, startled as Michael drops behind him; puts a gun to his forehead. [MICHAEL] You're the one that's dead, friend. [JACOBS] (gestures to crates) Hey, listen, they.... [MICHAEL] (interrupts) Got away from you. I know. Michael eyes him a beat; climbs the stairs, and we go to: ANOTHER ANGLE - CORRIDOR As Michael enters from the staircase, a huge shadow moves across the wall in front of him. He turns and ducks as Keller dives, misses and smashes into the wall. Michael takes off. Keller gets to his feet and pursues, and we go to: ANOTHER ANGLE - CORRIDOR - FIRE DOOR that closes off the corridor. Michael arrives on the run; yanks on the handle. It won't budge. Keller gains in the b.g. Michael finally slides the door open about six inches; barely slips through as Keller arrives. He works on the door but it refuses to move, and we go to: OPPOSITE SIDE OF FIRE DOOR Michael watches as Keller forces an arm and shoulder through the narrow opening, but his massive body won't make it. [MICHAEL] You're dead! (to himself, as he moves off) Cholesterol strikes again.... ANOTHER ANGLE - CORRIDOR as Michael moves past doorways, looking into rooms; pauses when he sees.... MICHAEL'S POINT OF VIEW - REDMOND as he sits in a chair reading a girlie magazine. He glances up and smiles, and we: RESUME THE SCENE as Michael moves into the doorway; places a hand on the door ready to slam it all the way open to be dure no one is behind it, and we go to: ANOTHER ANGLE - MARGOT pressed against the wall. The door slams inches from where she stands. It bounces back a few feet. Margot moves behind it now; readies a handgun, and we go to: ANOTHER ANGLE - FAVORING MICHAEL as he enters and crosses toward Redmond. Margot steps in behind him. Michael hears and whirls, and we are: ON MARGOT'S HANDGUN as she pulls the trigger and it fires, and we are: CLOSE ON MICHAEL'S FACE as he is hit square in the forehead by a dart with a rubber suction cup, that sticks on impact, and we: RESUME THE SCENE as Margot moves forward. [MARGOT] You're dead, Mike. Redmond joins them; takes one look at Michael and cracks up, and we are: ON A SINK FULL OF WATER as Michael leans down to it and washes his face. We widen out as he scrubs his forehead with a cloth. [MARGOT (v.o.)] (concerned) It won't come off? CLOSE ON A MIRROR OVER SINK as Michael looks up and we see a perfect circle centered on his forehead. He scrubs it again to no avail. [MICHAEL] Either that, or... (scratches at surface of mirror) There's a little red circle on this mirror that moves.... INT. MICHAEL'S BUNGALOW - NIGHT as Margot crosses to him. [MARGOT] Gosh, I'm sorry, Michael. Maybe I can.... She pauses as Michael turns to her. She tries not to laugh but can't hold back. [MARGOT] It's funny. It really is.... [MICHAEL] Great. What's that old saying? 'Yesterday I couldn't spell Hare Krishna, today I are one.' Margot chuckles. Michael dries his face. [MARGOT] So, what's your excuse, anyway. (off his look) I mean for being in this business. [MICHAEL] Well, when I was a kid, I used to dream about being a hostile Third World leader. When that didn't work out, I took the next closest thing. [MARGOT] Come on. Really.... [MICHAEL] Really? Margot nods. [MICHAEL] (deadly serious) I was a cop. I got tired of being shot at while I shouted halt and fired warning shots. I wanted something where the rules were the same for both sides. She studies him a beat. He pulls on a shirt. They hold a look. He turns and leaves the bungalow and we go to: EXT. COUNTRY/WESTERN BAR - NIGHT - TO ESTABLISH INT. COUNTRY/WESTERN BAR - NIGHT as music blasts and a figure in a wide-brimmed ten-gallon hat moves through the crowd, back to camera, and we go to: ANOTHER ANGLE - BOOTH - MICHAEL as a shadow falls across the table. [VOICE] Hello, cowboy? Michael glances up from his bowl of chili. REVERSE ANGLE revealing that Michael's visitor is a girl in a snug sequined rodeo blouse, tight jeans and Stetson. She looks like the girl in the Jordache commercials...however, it is.... [MICHAEL] (astonished) Bonnie? [BONNIE] (throaty) This place ain't big enough for both of us, fella. Let's mosey outside and talk to our head honcho, okay? Michael rises, taking the bowl of chili. He looks at her in passing. [MICHAEL] Did you change your hair or something? She smiles. ANOTHER ANGLE - BAR as they push through the crowd passing a darkened corner of the bar. A cowboy, back to camera, turns and we recognize Lopez. He watches them exit, thoughtful. CUT TO EXT. HIGHWAY - NIGHT - STOCK The Foundation semi zooms down the road. INT. SEMI - NIGHT - TRAVELING Bonnie and Michael come inside. Devon rises to greet Michael. [DEVON] We had a devil of a time finding you tonight, Michael. Is that Western Country place the only nightspot in this... (generously) ...town? [MICHAEL] It's 'Country Western', and it is. [DEVON] No wonder Mr. Redmond talks like that.... Devon peers into Michael's bowl of chili. [MICHAEL] It's chili. A gourmet like you wouldn't be interested in --- Before Michael can finish, Devon has appropriated the bowl and spoon, tasted it, thoughtfully. A wine-connoisseur-type look crosses his face. Bonnie, meanwhile has gone behind a rack of equipment to change her clothes. Michael sneaks a look there, but really can't see anything. [DEVON] Unassuming...and far too simple. Cayenne is no substitute for cumin. And all those beans...Ernest would never approve. [MICHAEL] (turning back to Devon) Ernest? [DEVON] Hemingway. One time in Havana, he and I...oh, well, enough reminiscing. Let's get to the point. Bonnie enters the shot, zipping up her Foundation overalls. She punches up some data on the computer. [BONNIE] We've been cross-checking all of our information...it hasn't been easy, because we don't want to spook our target.... [DEVON] (pleased) But we've done it! We've narrowed down our search for the inside man. Whoever planted that assassin in the Vanguard School has been working out of the State Department. [MICHAEL] State Department, huh...how many employees do they have? [BONNIE] Eighty-four thousand. [MICHAEL] Well, that narrows it down...Are you trying to tell me that you haven't made any progress at your end? [DEVON] Oh, well, you might say that.... [MICHAEL] I just did. [DEVON] Michael, I'm sorry, but the ball is still in your court. The Third World leaders arrive in only two days and you can ferret the assassin out from a group of six far easier than we can find his confidant in a group of one hundred thousand. [MICHAEL] I thought it was eighty-four thousand. [BONNIE] I forgot to count overseas personnel. Michael sighs wearily, digs into his chili. CUT TO OMITTED VERY CLOSE ON MICHAEL'S FACE as he knocks down the visor of his crash helmet. He is suddenly grabbed from behind in a choke hold, and we go to: INT. VANGUARD SCHOOL GYM - DAY revealing we are in a hand-to-hand combat class. Michael reaches back over his head; grabs his opponent whose identity is concealed by driving suit and visored helmet. Michael expertly flips and rolls his adversary over his shoulder onto the mat, and during the above we: INTERCUT - REDMOND observing this activity. [REDMOND] Way to go. Nice. Nice.... He turns his attention to other one-on-one teams working out in the b.g. and we: RESUME MICHAEL AND ADVERSARY as they struggle to get the advantage. Another flip-roll puts them face to face, and we go to: MICHAEL'S POINT OF VIEW - ADVERSARY to see the vee-shaped scratch in the logo on the helmet. Michael flips up the visor revealing Margot to be the inhabitant of the helmet. We hold a beat, and then we: FADE OUT END OF ACT TWO ACT THREE FADE IN INT. VANGUARD SCHOOL GYM - DAY as Michael flips Margot onto the mat; presses a hold. She grimaces; twists around to him; tight-lipped, sotto.... [MARGOT] Hey?! Hey, that hurts! [MICHAEL] It's supposed to. What were you doing in my room last night? [MARGOT] Returning the favor.... He uses his leverage to turn and pin her. Now face-to-face. [MICHAEL] (shakes no; smiles) That'd be something I'd remember. Believe me. [MARGOT] Come on. I wasn't here ten minutes, you were rifling my suitcase. [MICHAEL] You're very observant. [MARGOT] The company emphasizes it. [MICHAEL] (skeptically) CIA? Margot nods. [MICHAEL] That .45 in your bag isn't exactly standard issue. Margot makes a quick move; gains the advantage; flips Michael; comes out on top. Eyes him for.... [MARGOT] Neither is the Knight Foundation. They hold a look, and we go to: EXT. COUNTRY/WESTERN BAR - NIGHT - TO ESTABLISH INT. COUNTRY/WESTERN BAR - BOOTH - NIGHT as we pan across the noisy crowd and pick up Michael and Margot in a darkened corner. [MARGOT] You still don't believe what I told you. Do you? [MICHAEL] I do, and I don't.... [MARGOT] What's the problem? [MICHAEL] Some pieces that don't fit. (off her look) I'm on this case because a breech in security forced the government to go outside for an agent. They purposely didn't assign someone to.... [MARGOT] I wasn't assigned to it. (off his look) I was in Europe investigating one of our operatives...someone we suspect of being recruited by Third World dissidents. His movements led me to the case. Michael digests her response; studies her a beat, before.... [MICHAEL] Only European on the team is...Jacobs. [MARGOT] (nods) But I have no proof, he's a terrorist or an assassin. [MICHAEL] We may soon. I'm having him checked out. What can you tell me about him? [MARGOT] Privately, he exhibits the typical terrorist profile. Angry, zealous, talks about a higher purpose; seems to be in search of followers. [MICHAEL] Great. Maybe he was a Bible salesman in a former life. [MARGOT] I said, I wasn't sure. But your presence clearly threatens him. He accused you of what we suspect of him. [MICHAEL] An old technique. Hitler used it to great advantage. [MARGOT] Look, we both came to the same con- clusion. Why don't we just have him picked up? [MICHAEL] Because if we're wrong, we'll blow our cover and we'll never flush out the assassin in time. [MARGOT] So what do you want to do? [MICHAEL] Depends. Does Jacobs trust you? [MARGOT] (nods) I'm always up front with him. He knows I'm here now. [MICHAEL] (muses) Then, we'll work together and force his hand. [MARGOT] Sorry, I can't take that chance. [MICHAEL] Why not. You took this one? [MARGOT] I had no choice. (smiles) How did you get onto me, anyway? [MICHAEL] (a wry smile) Your perfume. I smelled it in my room. [MARGOT] (a skeptical pout) Come on, Michael. I'm not the only woman on this team. [MICHAEL] Ah, but how could you know I have highly sensitive olefactory powers able to distinguish between.... [MARGOT] (laughs; interrupts) Sure, and next you'll promise to tell me only if I work with you. Right? [MICHAEL] (wry smile) If that's what it takes.... Margot smiles; a sideways glance as she considers, before.... [MARGOT] (nods) Okay. As long as you understand those long lashes, sensuous mouth and highly sensitive olefactory powers had nothing to do with my decision. Michael breaks into an easy chuckle. Margot leans closer for.... [MARGOT] (sensuously) What do you want me to do? They hold a look and we go to: EXT. VANGUARD SCHOOL COMPLEX - NIGHT INT. JACOBS' ROOM - NIGHT as he responds to a knock; crosses to the door.... [JACOBS] Yeah? [MARGOT (v.o.)] It's Margot. Jacobs opens the door. Margot enters the room. As she does she wags a finger at.... MICHAEL around the corner. Now, he moves to the door, listens. JACOBS' ROOM [JACOBS] What'd you find out? [MARGOT] He knows I checked out his room. He has this idea about...an assassin. [JACOBS] Maybe we should introduce him to one? [MARGOT] (considers; nods) That's a very interesting idea. (a look) You know any? [JACOBS] (chuckles) Tomorrow, during survival training. We'll turn him into the perfect example of how not to. They hold a look, and we go to: EXT. VANGUARD SCHOOL SURVIVAL COURSE - DAY an area that combines high-swamp grasses, rocky high ground and heavily treed forest. We pan across and pick up a four- wheel drive off-road vehicle moving across this terrain, and we hear: [REDMOND (v.o.)] You'll split into two-man teams. One guard, one target. In this scenario only the guard carries hardware. ANOTHER ANGLE - CLEARING as the four-wheel drive vehicle pulls to a stop. Redmond and the security team pile out, and gather around him. [REDMOND] Okay. Despite evasive tactics, the V-A...the vehicle ambush, was successful. You poor bozos are slap-dang in the middle of nowhere. Shooters converging. You remove the target from the vehicle and burn leather! As Redmond turns to a rack of Uzis on the rear of the four- wheel drive vehicle, we go to: ANOTHER ANGLE - MICHAEL as Margot moves in next to him; leans close for.... [MARGOT] What do you say, pardner? [MICHAEL] That's what I was going to ask you. Make any headway with.... He inclines his head slightly toward Jacobs who stands off to the side. Margot nods. Redmond turns from the four- wheel drive vehicle holding an Uzi. [REDMOND] Okay. First team. [MARGOT] Right here. She and Michael step forward. Redmond tosses the Uzi to Margot; points to Michael. [REDMOND] Bodyguard...target. Move out. Margot and Michael move off at a jog into the high grass that soon conceals them. Redmond leads the remainder of the team toward high ground, and we go to: ANOTHER ANGLE - FOUR-WHEEL DRIVE VEHICLE as a hand pulls another Uzi from the rack, and we widen out to include Jacobs who moves off into the swamp grass and we go to: EXT. SWAMP AREA - DAY as Margot and Michael make their way through high grass. [MARGOT] He'll be out here somewhere. He's going to try and kill you. She hands Michael the Uzi. [MICHAEL] Be careful, okay? Michael leads the way with the Uzi; pauses suddenly at a sound. Uses a gesture to hold Margot back and advances cautiously to investigate, and we go to: ANOTHER ANGLE - SWAMP as Michael appears from the tall grass; pauses with concern; clicks on his wrist communicator. [MICHAEL] Kitt...they're playing for keeps. Get into this sector and watch everything that moves. EXT. VANGUARD SCHOOL PARKING AREA - DAY - K-2000 as the grille illumination on the K-2000 comes to life. The engine starts. The car roars out of the parking area. ON THE DASH CONSOLE - VIDEO MONITOR as a graphic; a representative map of the area appears. A pinpoint of light that marks Michael's location flashes, and we: RESUME MICHAEL as he moves through the grass; pauses in reaction to a sharp noise behind him. He whirls and fires a burst from the Uzi, and we are: ON A POP-UP TARGET as it is ventilated by the rounds, and we are: ON MARGOT as she reacts to the gunfire; frozen in position. Suddenly an arm reaches out of the grass behind her and pulls her back out of view, and we go to: ANOTHER ANGLE - JACOBS AND MARGOT as he eases his grip on her, and she settles. [JACOBS] Nice. Perfect set-up.... He moves off taking Margot with him, and we: RESUME MICHAEL as he begins to retrace his steps looking for Margot. [MICHAEL] Margot? Hey? Hey Margot? He reacts to a woman's scream; takes off toward it and we are: ON JACOBS AND MARGOT as she settles to the ground, Jacobs arranging her posture. [JACOBS] You're hurt. Call him. Jacobs moves into the tall grass. [MARGOT] Michael? Michaeeelll? RESUME MICHAEL as he reacts; hurries toward the voice, and we are: ON JACOBS concealed in the grass nearby. Uzi raised; reacts to: JACOBS' POINT OF VIEW - MICHAEL as he pops in and out of view moving through the grass toward Margot; spots her; takes a step forward; freezes when he sees: MICHAEL'S POINT OF VIEW - MARGOT as she opens her eyes wide; fearfully; as a signal; gestures with her head to the brush behind her, and we: RESUME JACOBS as he aims and fires, and we: RESUME MICHAEL as he reacts to Margot's warning; dives and rolls as the rounds from the Uzi chop into the grass where he was standing, and we go to: ANOTHER ANGLE - MICHAEL as his momentum carries him into dense brush. He smashes into a concealed pop-up target that springs to life and decks him, knocking the Uzi into the air, and we are: ON THE UZI as it sails through the air and lands in the water. INTERCUT - THE K-2000 as it skids to a halt along a road that parallels the swamp area. OMITTED BACK TO SCENE - WIDE as Michael's hand gropes for the Uzi; Jacobs lunges into the shot; snaps his Uzi to his shoulder and cranks off a burst, and we are: ON MICHAEL as he rolls aside and the rounds pop into the dirt. Unhurt, Michael quickly gets to his feet and runs concealed by the high grass. OMITTED ATOP A RISE - ON JACOBS as he scans the area from this vantage point, and we go to: JACOBS' POINT OF VIEW - SWAMP AREA as we pan across, and pick up a sudden movement in the tall grass. We can't see Michael but the action of the grass charts his course to a dense cluster of trees, and we: RESUME JACOBS as he reacts and notes Michael's destination. He moves off toward it, and we go to: REDMOND AND SECURITY TEAM as Margot exits the tall grass on the run and hurries toward them. [REDMOND] What are you doin' back here? Where's your target? [MARGOT] In trouble. Someone's trying to blow him away! [REDMOND] 'Course they are! That's part of the scenario. [MARGOT] No, no! I mean, really kill him! (off Redmond's reactions) Jacobs! He's hunting him down. Michael's unarmed! Redmond and the group pile into the four-wheel drive vehicle. It roars off into the tall grass, and we go to: MICHAEL - HIDDEN IN FOILATE He activates his wrist comlink. [MICHAEL] Kitt? Do you have me on your scanners? INTERCUT - INT. K.I.T.T. A blinking dot indicates Michael on the map. [K.I.T.T.] Yes, Michael. But I'm not certain I can reach you in this kind of terrain. [MICHAEL] Nobody's perfect...Look, somebody's stalking me and I can't reconnoiter without getting ventilated. Can you tell me where he is? K.I.T.T.'s scanner screen scrolls up, down, left...right. Another dot appears. [K.I.T.T.] I believe so, Michael. There's another person about eighty meters southeast of your position. [MICHAEL] That's all I need to know. Don't call me...I'll call you. Michael switches off, begins to move stealthily through the terrain. OMITTED JACOBS as he follows the path of flattened grass Michael made as he ran. We follow Jacobs as he emerges from the tall grass and moves into a heavily treed area, and we are: ON TREE LIMB that Michael has arched back and down close to the ground. He straddles it, heels dug into the ground keeping it from springing forward...a catapult straining to release, and we: RESUME THE SCENE as Jacobs emerges from behind some heavy brush and Michael rockets into the shot on the tree limb and smashes feet first into Jacobs' chest like a battering ram. They go down in a fist-swinging heap. As they roll over, Michael grabs the Uzi's strap...pulls...this pulls Jacobs to his feet... both men strain for control of the weapon...then.... INSERT - UZI STRAP it snaps --- THE SCENE Michael falls head over heels. Jacobs stumbles back, gains his balance. Aims...Michael, on the ground, knows it's over -- then we hear the bursts of machine gun fire --- CLOSE ON UZI MUZZLE as 9mm bullets explode in flashes of death and --- OMITTED MICHAEL reacts to not dying as --- JACOBS staggers as he takes several hits, his unfired weapon dropping into the slime a moment before he does. A beat. Stunned, Michael turns, sees --- REDMOND AND MARGOT - ON CREST OF HILL Redmond is as surprised as Michael. He stares at Margot, who still holds her smoking Uzi, her face ashen. CUT TO INT. FOUNDATION - DAY - SEMI Devon on the phone, listening, concerned. [DEVON] You're not hurt? Don't humor me, Michael.... OMITTED INTERCUT - MICHAEL IN REDMOND'S OFFICE - DAY as he talks he is surrounded by Redmond and all the other team members, sans Jacobs. [MICHAEL] I'm fine, Devon. And our first hunch was the right one. [DEVON] Then it was Jacobs! Has he talked? Who financed him? Did he.... [MICHAEL] I know it'd be nice to pick his brain, but he challenged an Uzi and lost. I'm sorry. [DEVON] Not to worry, Michael. That's a purely secondary consideration. My congratulations. [MICHAEL] Thanks. See you later. Michael hangs up. Redmond extends a hand. A round of handshakes with team members ensues, and we go to: ANOTHER ANGLE - FAVORING MARGOT as Michael is about to shake her hand and she kisses him. The group breaks into spontaneous cat-calls and wolf whistles. We hold a beat, and go to: EXT. VANGUARD SCHOOL PARKING AREA - DAY as Michael approaches the K-2000 and gets inside, and we are: ON THE K-2000 as Michael settles triumphantly behind the wheel. [MICHAEL] Well, Kitt, we did it again! [K.I.T.T.] Michael, you can't mean that this mission is over. [MICHAEL] (reaching for wheel) Why not? [K.I.T.T.] Usually you take your luggage home. [MICHAEL] Ah...right...I was distracted by uh.... [K.I.T.T.] Let me guess. A young lady? [MICHAEL] (getting out) Don't go away. ON MICHAEL - OUTSIDE REDMOND'S OFFICE strolling along happily, making the turn into the doorway -- then reacting as he sees --- OMITTED INT. REDMOND'S OFFICE - DAY - MICHAEL'S POINT OF VIEW as a team member, in driving uniform and back turned to Michael holds an Uzi on Redmond who is seated in a chair. He is being gagged and tied up by the other members of the team, also in driving uniforms, that initially create anonymity. Suddenly the Uzi wielder sees him. It's --- [MARGOT] Freeze! ON MICHAEL belted hard by this revelation. He slowly raises his hands. [MICHAEL] You had plenty of shots at me. Why didn't you take 'em? [MARGOT] Because whoever sent you would have been all over this place. We couldn't risk that. [MICHAEL] So, when I zeroed-in on Jacobs, you...let me have him. [JACOBS' VOICE] Not exactly.... OMITTED ANOTHER ANGLE - FAVORING JACOBS who has moved up behind Michael with an Uzi. He is a shocking sight. Covered with mud from the swamp and theatrical blood from the exploding squibs that have torn and blackened his uniform. Jacobs whaps Michael from behind on the head. We hold a beat and then we: FADE OUT END OF ACT THREE ACT FOUR FADE IN OMITTED EXT. MOUNTAIN ROAD - DAY Pullback from the K-2000. Michael is behind the wheel, unconscious. We see that the car is at the edge of a downward slope in the road...Margot beside it. She waves someone o.s. into the shot -- like a parking attendant. Jacobs drives up in a four-wheel drive vehicle. [JACOBS] Too bad. Guy wrapped up the big case...and got totalled in an accident on the way home. [MARGOT] Who said life was fair? They share a smile. Responding to her signals, the four-wheel kisses the 2000's bumper...that's all it takes. ANOTHER ANGLE - K-2000 it starts to roll down the road...which ends abruptly ahead. MARGOT AND JACOBS watch this, turn. We see the rest of the assassination team behind them. [MARGOT] Okay, let's go! Our sitting ducks touch down in thirty minutes! With Jacobs and Margot in the Jeep, and the others on foot, they head towards their waiting vehicles. Peel out. OMITTED INSIDE THE K-2000 - ON MICHAEL slumped in the front seat, as he comes to, sees --- MICHAEL'S POINT OF VIEW THROUGH WINDSHIELD they go off the road and down a dangerously steep hill. RESUME THE K-2000 as it plummets down.... [MICHAEL] Kitt! [K.I.T.T.] I see you're awake. [MICHAEL] (hitting switches) Yeah, but are you? How'd you let this happen? [K.I.T.T.] You left me in surveillance mode. I assumed anything else would ruin our undercover operation. [MICHAEL] Brilliant thinking...okay, just hit the brakes! [K.I.T.T.] I am hitting the brakes. EXT. CAR Indeed, the wheels have locked...but they're still going down. INT. K.I.T.T. Michael looks ahead...and turns even more ashen because.... HIS POINT OF VIEW - THROUGH WINDSHIELD There's good news and bad news. The good news is, this forty-five degree slope is about to end. The bad news is, it ends in a straight drop of about 1000 feet. BACK TO SCENE [MICHAEL] Kitt, stop! [K.I.T.T.] I'm trying, Michael, but the law of gravity takes precident. If you're familiar with Newton's Laws of Motion, then --- Michael grabs the wheel, throws it over. EXT. K.I.T.T. The car spins around in a 180 degree turn.... MICHAEL'S HAND hits "Rocket Boosters" --- REAR OF K.I.T.T. The rockets fire and --- THE SCENE The car comes to a dead stop...inches from oblivion. INT. K.I.T.T. Michael sighs with relief. [MICHAEL] That was...close. [K.I.T.T.] Yes...and also a brilliant demonstration of Newton's third law of motion. [MICHAEL] You can grade me later...let's get out of here.... [K.I.T.T.] May I suggest we take a horizontal route? [MICHAEL] You got it. THE SCENE as the car heads sideways along the slope. EXT. DESERT - DAY - WIDE - TO ESTABLISH as we pan across an endless panorama of dunes that act as a backdrop for a road that cuts through the sand in a straight line from horizon to horizon, and we go to: ANOTHER ANGLE - ROAD as a line of vehicles comes over the horizon traveling at high speed, and we are: ON THE VEHICLES to see there are six, four security team cars and two limos. They roar past camera in a 100 mph blur and continue down the center of the road. The sound of the vehicles segues to the high-pitched whine of a jet aircraft, and we are: ON A LEAR JET as it streaks at low altitude over the desert floor and we follow as it banks slightly and flies right over the line of cars on the road below, and we are: ON MARGOT behind the wheel of her car; as she reacts to the sight of the aircraft. She smiles. [MARGOT] Come to mama. She tromps on the accelerator and we go to: INT. K.I.T.T. - TRAVELING [MICHAEL] Kitt, patch me through to Devon. I want to warn him. K.I.T.T. makes some interesting pops and beeps, then --- [K.I.T.T.] Sorry, Michael. I can't get through. [MICHAEL] Why? We must be in range of the airfield --- [K.I.T.T.] We are. But the security precautions for the Third World leaders include jamming of all uncoded transmissions. [MICHAEL] Can you break the code? [K.I.T.T.] Do we have an hour? [MICHAEL] (grimly) We don't have five minutes. OMITTED EXT. DESERT AIRSTRIP - DAY - WIDE as we pan across and pick up a limousine that approaches. We follow it to a large white tent that stands off to one side of the runway. Two MPs stand at the entrance. One of them opens the door of the limousine that pulls to a stop. Devon and another man, ostensibly a government official get out, and react to: THE LEAR JET as it approaches overhead and makes a wide, swinging turn that lines it up with the runway, and we go to: ANOTHER ANGLE - JET as it screeches past; touches down and we are: ON THE DESERT ROAD as the six vehicle caravan approaches at high speed, and we: INTERCUT - THE K-2000 as it zooms across the desert floor, rooster tail of sand flying into the air behind it, and we: RESUME THE LEAR JET as it taxis to a stop a short distance from the tent. The door opens. The Third World leaders, attaches in hand, deplane. They are greeted by Devon and the government official who usher them toward the tent, and we: RESUME THE K-2000 as it bounces from the sand onto the road; takes off at top speed, and pan ahead to pick up the line of six vehicles ahead of it, all now on the same course. ON MICHAEL as he sees them, tromps on the accelerator. [MICHAEL] We're not too late! There they are! ON THE ROAD as the K-2000 and the line of security vehicles come closer and closer together. ON MARGOT in the tailing car, she reacts as she catches a glimpse of K.I.T.T. in the rearview mirror. She grabs a radio mike. [MARGOT] Everyone, we're being pursued. I don't know how, but it's Knight! INTERCUT - OTHER VEHICLES as they react, ad-lib remarks. [JACOBS] That's impossible. [MARGOT] Really? Well, 'impossible' is going about ninety miles an hour. [JACOBS] Pull the limos over! We'll stop him right here! THE SCENE as the two limos in the lead stop, swing around...block the road. The drivers get out, aim Uzi's as the four pursuit vehicles swerve around them, continue their race towards murder. [MARGOT (v.o.)] Finish him and rendezvous with us after the mission! CUT TO EXT. ROAD - ON K.I.T.T. coming up from a dip in the road. INT. K.I.T.T. - ON MICHAEL reacting to --- HIS POINT OF VIEW - LIMO ROADBLOCK rising in view ahead, thirty feet of steel blocking the road ...boulders and rough terrain on either side preventing a turn. INTERCUT - THE DRIVERS open fire with their Uzi's... INTERCUT - THE KNIGHT 2000 as bullets ping off the alloy surface. INT. K.I.T.T. [MICHAEL] Remember that limo I was driving? The one you didn't like? [K.I.T.T.] What about it? Michael reaches for the control marked "COLLISION SPEED". [MICHAEL] Your big chance is coming up. OMITTED THE SCENE (SLOW MOTION) The two assassins suddenly realize Michael ain't stopping. They run for cover. The two limousines go to car heaven as the Knight 2000 crashes through them like a knife going through butter. CUT TO OMITTED EXT. KILLER'S CONVOY - DAY - HIGH ANGLE The four armored pursuit vehicles tearing up the dust. We hold...until slowly, surely...the Knight 2000 brings up the rear. INT. MARGOT'S CAR double-taking at the black mirage in her rearview. [MARGOT] (into radio) He...he's back...he's still there! Ad-lib reactions of astonishment, then.... [JACOBS] We're two minutes ahead of schedule. Let's take him out. Go -- nutcracker pattern -- now! ROAD - HIGH ANGLE as the four pursuit cars cwing out of the road in deft coordinated turns...and then head from four points of the compass towards you-know-who. MICHAEL'S POINT OF VIEW THROUGH WINDSHIELD as we pan across and pick up a car heading right at him, and we continue panning...a 360 degree move that picks up vehicles coming at him from every direction, and we are: INSIDE THE K-2000 as Michael reacts to this development. [MICHAEL] Kitt, I think we're parked on ground zero. THE SCENE - WIDE - FROM ABOVE to see the K-2000 is the bull's-eye for the four vehicles converging at high speed. [K.I.T.T.] Michael, I thought you liked being the center of attention. OMITTED INTERCUT - VARIOUS SHOTS - ADVANCING VEHICLES closing in on the K-2000; seconds away from ramming it from four directions simultaneously, and we are: ON K-2000 PEDALS as Michael's foot pops off the clutch; the other tromping down on the accelerator, and we are: ON THE K-2000 as it rockets forward like a dragster coming off the line and we go to: ANOTHER ANGLE - TWO ONCOMING VEHICLES as the K-2000 scrapes paint as it pops through the rapidly narrowing space between them, and we: RESUME HIGH ANGLE as the converging cars meet in a three-way head-on collison and the K-2000 squirts out of the pile-up at the last instant, and we: INTERCUT - VARIOUS SHOTS - SLOW MOTIONS as the momentum of the vehicles jam them into a comedic fender-crunching pile-up, and we are: ON MARGOT as she reacts; slams her vehicle into reverse, and we: RESUME THE SCENE as the car backs out of the pile-up and takes off at high speed across the desert. The K-2000 immediately pursues, and we go to: INT. LARGE TENT - DAY as the Third World leaders are being welcomed by Devon and the government official, and we go to: EXT. LARGE TENT - DAY as Margot's vehicle comes over a dune in the distance and approaches at high speed...on a collision course with the tent. The posted MP's react with alarm, and we are: ON THE K-2000 as it appears from behind some dunes and accelerates on an intercept course, and we: RESUME INT. TENT as the group reacts with uncertainty to the sounds of the approaching vehicles. Devon crosses to the entrance and peers outside, and we go to: DEVON'S POINT OF VIEW - MARGOT'S CAR as it comes right at him at top speed, and we are: CLOSE ON DEVON wide-eyed with alarm; can't believe it; dashes back into the tent and we: INTERCUT - MP'S as they raise their weapons and crank off bursts at the advancing car, and we are: ON MARGOT'S CAR - VARIOUS SHOTS as the rounds glance off the windshield and the car keeps coming, and we: RESUME THE SCENE as Margot's car bears down on the tent and the K-2000 roars into the shot and rams it. Margot's car careens out of control, narrowly misses the tent and we go to: ANOTHER ANGLE - FAVORING TENT as Devon and leaders exit on the run, Margot's car careens into view, smashes into the vacated tent and comes to a stop as the canvas settles all around it. Margot climbs out of the car, battling the canvas and is face-to-face with two gun-toting Marines, and we are: ON THE K-2000 as it pulls to a stop in front of the collapsed tent next to Devon and group. The window lowers. Michael waves. Devon sighs with relief. We hold a beat on their looks and then we: FADE OUT END OF ACT FOUR TAG FADE IN EXT. AIRFIELD - DAY A uniformed chauffeur, back to camera stands stiffly next to a long, stretched limousine. Devon is surrounded by the group of Third World leaders. A congenial, very up atmos- phere is evident as they shake hands, ad-lib good-byes, and we go to: ANOTHER ANGLE - LIMOUSINE as the chauffeur, identity still not revealed, opens the door to the limo and the Third World leaders file in, and we go to: ANOTHER ANGLE - CHAUFFEUR as he closes the door, turns to camera revealing it is Michael in the monkey suit. Devon crosses and joins him; gives Michael a list on a file card. [DEVON] Your itenerary.... [MICHAEL] What itenerary? I thought they were going home? [DEVON] Their meetings went so well, they've decided to stay. Do a little sight- seeing as a group to reinforce the feelings of comraderie in a lighter, less formal atmosphere. [MICHAEL] (glancing to list) Look, when I agreed to do this it was because we... (pauses; groans) Universal Studios Tour? Dodger Stadium? Grauman's Chinese? Sea World? The Wax Museum? [DEVON] (wistfully) I know. The days when peace treaties were signed on the decks of battleships, are gone forever. Michael eyes him; grins as they walk around the car to the driver's door, and we are: ON THE K-2000 as it pulls to a stop nearby, and we hear: [K.I.T.T.] Bonnie, why is Michael doing this? INSIDE THE K-2000 Bonnie is behind the wheel. [K.I.T.T.] Didn't Devon say they caught that insider at the State Department who was working with the assassins? [BONNIE] Yeah, but there wasn't enough time to clear and train another driver. [K.I.T.T.] I'm concerned about Michael. [BONNIE] Not that other car nonsense again? [K.I.T.T.] Of course not. It's just that lately ...he seems to be developing this big car mentality. Bonnie laughs, and we: RESUME THE LIMOUSINE as Michael opens the driver's door; about to enter. Devon nods encouragingly. [DEVON] It could always be worse. [MICHAEL] True. At least I don't have to put up with Disneyland. [DEVON] (a take) Isn't that on there? Michael shakes no apprehensively. [DEVON] Oh, they've just got to go to Disneyland. Michael scowls good-naturedly. Devon grins. We hold a beat and then we: FADE OUT THE END

{"show": "Knight Rider", "season": "s01", "episode": "e11", "title": "A Plush Ride"}

knightriderarchives

ACT ONE FADE IN EXT. MALIBU BEACH HOUSE - DAY - ESTABLISHING K.I.T.T.'s parked in front. Push in and: DISSOLVE TO EXT. BEACH - DAY The water's edge. A head bobs to the surface -- a diver. ANOTHER ANGLE - THE DIVER furtively checking the coast before coming out of the water. ON TWO JOGGERS as they near. The diver goes back underwater, then resurfaces. ANGLE - WATER The worried diver, hand on spear gun leaves the surf and approaches the house. She removes her gear and looks up at: HER POINT OF VIEW - THE HOUSE Push in and: DISSOLVE TO INT. BEDROOM - ON MICHAEL standing in front of a full-length mirror, looking very dapper in an elegant three-piece suit. At the moment, he's struggling with the tie. ANGLE - HALLWAY - CLOSE ON FEET as they stealthily move to an open door, bare, still glistening from the ocean water, silent on the carpet. CLOSE - MARIE ELENA as she looks into the room. HER POINT OF VIEW - MICHAEL yanks the tie apart and tries again. He glances up, sees her in the mirror, startled. [MICHAEL] What are you doing? NEW ANGLE as Marie Elena enters the room. [MARIE ELENA] I need a towel. [MICHAEL] Help yourself. She disappears into the bathroom for a moment. [MICHAEL] I told you not to go outside -- how am I supposed to protect you if you keep.... [MARIE ELENA] (reentering) I was underwater, Michael. No one could see me. She puts the towel around herself, as Michael gives up on the tie. [MICHAEL] (frustrated) Whatever happened to those neat little clip-on numbers I wore when I was a kid? Marie Elena crosses to him, taking matters into her own hands, quite literally, giving Michael a chance to study her face closely. He teases her a little. [MICHAEL] I'd say you've had some practice at this. [MARIE ELENA] Some. [MICHAEL] Recently? She ignores him. [MICHAEL] You don't have to be so secretive --- Still no answer. [MICHAEL] -- after all, we're living together. [MARIE ELENA] Working together. [MICHAEL] I was just trying to be friendly. She smiles matter-of-factly, humoring him. [MARIE ELENA] After you prevent my father's assassination, then I can tell you all about me...and you can tell me all about you, and we will have a lovely time. There. How's that? She stands back to admire her handiwork. Michael turns back to the mirror, critical. [MICHAEL] I feel silly. [MARIE ELENA] Well, you look very handsome. All the girls will love you madly. She takes a fresh carnation from a vase, snaps off the stem, and sniffs it. [MICHAEL] Jealous? [MARIE ELENA] (puts flower in his lapel) Of course not. Because at the end of the evening, you will come home to me. Right? She exits and he turns back to his reflection. [MICHAEL] (to himself) She's dangerous. OMITTED INT. LIVING ROOM A look around the place -- it's no shack. Nice furnishings, a wall of windows that open onto a deck overlooking the Pacific. Marie Elena moves through the living room and gazes out the window. A beat, then Michael appears. He watches a moment as she stares at the sea. Then he crosses to a table by the window, picking up a pair of binoculars. [MARIE ELENA] Isn't it a shame...Devon went to all the trouble to rent this place, and we can't even enjoy it. MICHAEL'S POINT OF VIEW down the beach and set atop a bluff, an elegant home. There seems to be some activity. RESUME SCENE [MICHAEL] Looks like Rudy's guests are starting to arrive. He holds the binoculars out to her. [MICHAEL] Take a look? Marie Elena's face hardens. [MARIE ELENA] No, thank you. If there wasn't a chance I might be of some help, I wouldn't even be this close to that ...assassin. Any guest of that murdering son-of-.... She stops herself. [MICHAEL] Rudy del Fuego is a powerbroker not a murderer. [MARIE ELENA] Well, maybe he's not going to pull the trigger himself, but he's just as guilty. [MICHAEL] (disgust) Politics. [MARIE ELENA] This is more than just politics, Michael. The President of San Mirada is my father. [MICHAEL] I know. And I'll do everything I can to help you. He moves to the door as she picks up something from the table. [MARIE ELENA] Michael...They won't let you in without this. Sheepishly, Michael takes the invitation from her. [MARIE ELENA] How did Devon get his hands on an invitation, anyway? [MICHAEL] It's all a matter of knowing the wrong people. And he's gone. CUT TO EXT. COAST HIGHWAY - DAY - RUNBY Hot music in b.g. OMITTED EXT. RUDOLPHO'S HOUSE An assortment of expensive cars line the driveway. Good jazz can be heard piped in on an expensive sound system both inside and outside the house. K.I.T.T. is pulling up near the front door. A red-jacketed valet parking Attendant runs to open the car door. Michael opens the window. [MICHAEL] I'll park it myself, thanks. [ATTENDANT] (offended) Hey, it's okay -- I've driven one of these before. [MICHAEL] It's been acting kinda funny lately -- so if you'd just point out a good spot.... The Attendant knows the perfect spot, but instead he shrugs and points. [ATTENDANT] Whatever -- anywhere along there's fine. Michael follows his directions. As he pulls away, the Attendant turns to a rather large, out-of-place fellow, watching. His name's Ray -- and he's making sure no uninvited guests crash the party. [ATTENDANT] Some people'll do anything to save a buck. (beat) It's gonna cost him plenty. INT. RUDOLPHO'S HOUSE The party is in progress. The jazz is a touch louder, the guests mingling and wandering indoors and out. Angle adjusts to include the door as Michael enters. He's stopped briefly by Jerry -- Ray's partner -- and produces the invitation. Jerry nods and lets him pass through. Michael moves slowly through the room, studying it. NEW ANGLE - RUDY DEL FUEGO stopping to shake a hand here, kiss a cheek there. [MARGO] Rudy! [RUDY] I'm so glad you made it, Margo -- I thought you were out of town, Larry! You son-of-a-gun -- how long has it been? Did you see Tomas and Kiki, huh? They're over by the bar...they were asking about you.... Etc., etc. As he nears Michael, a short glance of non- recognition, which Michael avoids by turning to a tray- carrying waiter passing by with champagne glasses. He grabs two of them and heads purposefully away from Rudy, directly toward a lone young woman standing by the fireplace. Her name is Micki, and if she weren't so lovely, she might be thought a wallflower. ANGLE - MICHAEL AND MICKI as he reaches her, sticks one champagne glass in her hand, and kisses her on the cheek. [MICHAEL] There you are, my love.... She stares at him, speechless, as he glances back and sees Rudy once again occupied. [MICHAEL] Have a nice time --- And he leaves her standing there, placing his own glass, still full, on the passing tray of another waiter, and moving away. Micki shrugs helplessly and takes a long sip of the champagne. EXT. RUDOLPHO'S HOUSE - ON K.I.T.T. sitting nice as you please behind another car. Close behind him, on his tail, the Attendant parks a car. He gets out, checks the space between bumpers and, satisfied, moves away. EXT. GARDEN Michael wanders through -- waiters pass in and out of the kitchen. Lining the hall are small groups deep in conver- sation. He maneuvers his way through, passing two of the men. One of them is kibbitzing, the other quieter fellow reacts to the sniping quips, but remains silent. [MALE GUEST #1] It's all over for him.... Michael hesitates, pauses to study a painting on the wall. [MALE GUEST #1] (continuing) I mean, the kind of money he spends ...on three flops in a row. He won't direct another film for a long time. (shrugs) I always said the guy couldn't direct traffic. Disappointed, Michael moves on. A beautiful woman touches his arm. [MARGO] Hello darling -- how have you been? [MICHAEL] (charming) Hello -- fine. And you? [MARGO] It was Rio, wasn't it? Two years ago last spring? [MICHAEL] Rio? [MARGO] You must try Rudy's hot tub, darling. It'll bring back memories. [MICHAEL] (feigns disappointment) I'd love to...but I forgot my swim suit. She starts to laugh delightedly. [MARGO] Your swim suit...that's... (beat; realizing) You're serious -- We didn't meet in Rio, did we? He shakes his head. [MARGO] Forgive me. I didn't recognize you with your clothes on -- I mean -- never mind. Try the hot tub anyway. And she flits away. INT. HALLWAY - DAY Michael moves to a door, starts to open it when he feels a hand on his arm -- a big, rough hand. [JERRY'S VOICE] That's off limits, friend. Angle adjusts to include the bodyguard. Jerry smiles, but is firm. [MICHAEL] Someone said this was the bathroom. [JERRY] (shrugs) 'Someone' obviously made a mistake. Try down there --- He indicates a nearby door, three or four people outside. [MICHAEL] Sorry -- Hey! Rio...two years ago last spring, wasn't it? (beat) No -- I guess he just looked like you. He moves to the end of the line -- keeping an eye on Jerry, who's keeping an eye on him. Micki, the girl with the champagne glass, moves in behind him. She's a little tipsy. [MICKI] Do I have to take a number or something? He turns to her. She reacts. [MICKI] Oh, it's you -- thanks... (at his blank look) ...for the champagne. Remember? [MICHAEL] Of course -- my pleasure. [MICKI] Actually, I'd already decided I'd had more than enough -- but since you delivered it so nicely.... She giggles. Two people come out of the bathroom together ...two more go in. Micki looks at Michael, wide-eyed, and giggles again. [MICKI] I don't think I want to know --- He laughs. [MICKI] What's your name, anyway? [MICHAEL] Michael.... [MICKI] No kidding -- they ever call you Mickey? [MICHAEL] Never. [MICKI] Good -- it could get confusing. I mean, that's my name. Micki. With an 'i'. It's a dumb name, but it's the only one I got -- (a beat; frowns) -- I feel kinda funny. I think it was that last glass of champagne. [MICHAEL] I'm sorry. [MICKI] It's okay -- I'm a big girl. I think I'd better find a place to lie down. [MICHAEL] (concerned) Take it easy --- She nods, looking a little green around the gills, and wanders off. MICHAEL'S POINT OF VIEW - JERRY still guarding the door. Rudy moves out and confers with Jerry, then heads upstairs. Jerry moves away, back to the party. RESUME MICHAEL With Jerry no longer watch-dogging, Michael's free to move on...right to the now-empty room. INT. STUDY Michael slips inside, shutting the door behind him. He moves to the desk and goes through the drawers. A couple of them are locked, the ones that aren't are uninteresting. INT. MASTER SUITE It's a large room, the king-sized bed is covered with all manner of coats -- most of them furs. There's a partition and a sitting area -- couch, easy chair, fireplace, small liquor cabinet. ANGLE - SITTING AREA Rudy and his guest, David Burns, talk casually -- they might as well be discussing the Dow Jones averages -- as Rudy fixes a couple of drinks. [RUDY] You trust this man...this Frenchman? [BURNS] He's the best -- purely business. No political or personal axes to grind. [RUDY] Not like us, eh David? [BURNS] (shrugs) That's your business. All I care about is protecting my investments. [RUDY] You seem to be doing all right. [BURNS] It's all on credit. Nearly everything I have went into San Mirada's emerald mines -- on your assurances that your friends would remain in power there. (beat) We both have a great deal to lose, my friend. CUT TO INT. STUDY - MICHAEL taking photos with a cigarette lighter camera. INSERT - APPOINTMENT BOOK He flips the pages, copying Rudy's schedule...a set of initials here, a flight number there, the name of a restaurant, etc. RESUME MICHAEL He closes the appointment book and, slipping his notes into his pocket, crosses quickly to the door. INT. HALLWAY as Michael closes the door behind him, checks around, then casually blends back into the partygoers. INT. MASTER SUITE - BURNS AND RUDY moving toward the door. [RUDY] We'll go down now and enjoy the party -- There's a young lady I want you to meet.... He glances down, stopping, his face hardening. ANGLE - BED Micki's high-heeled foot protrudes from under the sable. Rudy reaches down and pulls the coat back. Micki's eyes fly open -- she smiles shakily. [MICKI] Hi -- I must've fallen asleep. (sits up) It's very comfortable -- a little warm maybe.... They're not buying it and her smile disappears as we: DISSOLVE TO INT. DOWNSTAIRS Michael tries an hors d'oeuvre, grimaces and puts it back. He glances up to see: POINT OF VIEW - STAIRS Ray is carrying something down the stairs. Jerry and Rudy, in conference, block the view as Ray disappears out the door. Jerry stops to pick up a fallen object -- a woman's shoe. Then he follows Ray out. RESUME MICHAEL worried. POINT OF VIEW - RUDY turns, puts on a smile, and moves back to the party. RESUME MICHAEL [MICHAEL] (into watch) Kitt -- go into surveillance mode, and meet me at the door! EXT. HOUSE K.I.T.T.'s engine starts and the surveillance lights go into action. INSERT - DASHBOARD - STOCK as the gears shift from "Park" to "Drive." ANGLE - K.I.T.T.'S BUMPER as it connects lightly with the rear bumper of the car in front of him -- and keeps going! INSERT - SERIES OF SHOTS as each car's bumper connects with the one in front of it, each with more force than the one before. EXT. HOUSE - MICHAEL exits, looks for K.I.T.T. EXT. HOUSE - K.I.T.T. has managed to push enough cars forward to clear a space for himself. He reverses, then pulls around the car beside him. He reverses up the driveway toward the house. ANGLE ON ATTENDANT watching, astonished, as the car speeds past him, driverless. He looks around him, self-consciously, trying to maintain composure. [ATTENDANT] Hey...What's going on... (a beat) I mean, am I on television, or what? ANGLE - MICHAEL as K.I.T.T. reaches him. INT. K.I.T.T. as he takes off. [K.I.T.T.] I would've been here sooner, but you didn't tip the valet. [MICHAEL] A car just left here -- two guys. [K.I.T.T.] And a female in the backseat. Apparently unconscious. They turned right at the end of the driveway. (disdainful) A grey Seville. INSERT Michael punches up K.I.T.T.'s tracking screen. The figure representing the Seville has a decent lead on them. EXT. K.I.T.T. turning onto the highway. [K.I.T.T.'S VOICE] Shall we overtake them? [MICHAEL'S VOICE] Not yet -- I want to see where they're headed. INT. SEVILLE - MICKI - HANDHELD unconscious on the backseat. Camera adjusts to Jerry (sitting shotgun) as he glances back at the girl. VARIOUS SHOTS The Seville speeding down the highway, K.I.T.T. a safe distance behind. INT. SEVILLE - MICKI leaning against the right-hand door. Her eyes flutter open and adjust to her surroundings. As it all comes back to her, she shuts them again, taking a shaky breath. [RAY'S VOICE] Any ideas what to do with her? [JERRY'S VOICE] Let's keep it simple -- there's a whole ocean out there. Might as well use it. Micki reaches for the door handle, but Ray sees her and reaches into the back. Micki fights, grabbing his arm. The car swerves. Jerry takes over, trying to subdue her, but she bites and kicks and screams. INT. K.I.T.T. - DAY Michael sees the Seville swerve. [MICHAEL] Hey, what's going on? [K.I.T.T.] I would guess the female is now conscious. [MICHAEL] Let's go. ANGLE - K.I.T.T. K.I.T.T. passes and pulls ahead of them. THE SEVILLE tries to go around Michael, but he weaves back and forth, preventing it. K.I.T.T. turns sideways, doing a brodie, and blocking the Seville's progress. The Seville tries to brake, skidding. INT. SEVILLE - ON RAY AND JERRY [RAY] Who's that guy, anyway? [JERRY] Who cares -- we're gone! ANGLE - MICKI her hand on the door handle. MICHAEL'S POINT OF VIEW As the Seville hugs the shoulder of the road, the door opens and a furry object rolls out, over the edge of the bluff, and disappears. [MICHAEL] Kitt! The Seville does a 180o and heads back down the highway. [K.I.T.T.] I'm afraid that was your unconscious female. Michael jumps out of the car as we: FREEZE FRAME FADE OUT END OF ACT ONE ACT TWO FADE IN EXT. CLIFF - DAY Michael ties a rope around himself. The other end is anchored to the front of K.I.T.T., who has his scanner flashing. He glances over the edge of the cliff. MICHAEL'S POINT OF VIEW - OVER THE EDGE Micki's fur-encased frame lies on the sand below. BACK TO SCENE as Michael, worried, starts down the cliff. ANOTHER ANGLE - MICHAEL repelling down the cliff. OMITTED ON MICHAEL as he reaches Micki and gently turns her over. ANGLE ON MICKI There is a trickle of blood coming from her right temple. She's unconscious. NEW ANGLE [MICHAEL] (relieved) Good thing you had one too many. (into watch) Kitt. [K.I.T.T.'S VOICE] Yes, Michael. Michael ties the rope around Micki and checks the tension. [MICHAEL] (into watch) Go ahead and bring us up. Michael and Micki begin to ascend. He places his body cliffside to protect her. ANGLE - K.I.T.T. the steady whine of his electronic winch pulls in the rope. OMITTED ANOTHER ANGLE - MICHAEL AND MICKI as they climb. They are almost at the top when they stop. Michael struggles for footing. He can't find it. [MICHAEL] Kitt!! INSERT - ON K.I.T.T. Steam coming from the winch. [K.I.T.T.] Michael, the pulley is overheated -- I'm cooling it now. ANGLE ON MICHAEL AND MICKI as Michael grabs hold of a rock and pulls them to safety. [K.I.T.T. (v.o.)] It's ready now. [MICHAEL] (exhausted) Terrific! CUT TO INT. BEACH HOUSE - NIGHT Devon, Marie Elena, and Michael are in the living room. [DEVON] Temporary memory loss?! You mean she's got amnesia? [MICHAEL] Not exactly. The doctor said some- times a trauma can cause kind of a psychological block. It's possible she could remember certain things.... [DEVON] I don't want her getting in the way of your work. [MICHAEL] All I know is those two guys from the party weren't exactly taking her for a joyride. [MARIE ELENA] Yes, but what if she's a spy? What makes you think she isn't secretly working for Rudy? She begins pacing nervously. [MICHAEL] Probably the fact that he tried to have her killed. (to Devon) What I'd like to find out is why. [MARIE ELENA] I don't like this. We're playing right into the hands of that jackal. [MICHAEL] Trust doesn't come easy for you, does it. [MARIE ELENA] There is no time left for trust. She gives him a harsh gaze. CUT TO INT. RUDOLPHO'S BEACH HOUSE - THE STUDY - NIGHT Rudy and Burns are in a discussion. Jerry and Ray flank Burns. [BURNS] But you didn't check to see if she was dead? [JERRY] She went over...I saw it. When that car got in the way, I figured the best thing to do was get outta there fast. [RUDY] The best thing is to finish the job. This wouldn't have happened in my country.... [BURNS] (interrupts) In your country, Rudy, they shoot first and ask questions later. (to Jerry and Ray) I want you to check the beach for tire tracks, anything. And watch her house -- if she's dead, bury her. If she's alive, I want to know who she talked to and what she said. [JERRY] Yes, sir. [RUDY] What about this man in the car -- this Knight? He may be her boy- friend. Jerry and Ray look at Burns. He nods. [BURNS] Find out. The boys exit. [RUDY] Should we tell the Frenchman about the girl? [BURNS] (laughs) You don't notify professionals of his sort...you simply hire and pay them. [RUDY] (more secure) In that case, I once again put my trust in you, David Burns. Rudy pours two shots of Chartreuse liqueur. [BURNS] Isn't it a little early for that? [RUDY] Too early -- to celebrate success and friendship? (indicates glass) Lovely color, isn't it. The color of money. [BURNS] (toasting) Yes, and emeralds. DISSOLVE TO INT. HOTEL ROOM - NIGHT A handsome man is reaching into his coat pocket. He removes a leather wallet as a bellman closes the drapes and turns down the bed. [FRENCHMAN] Tres bien. That will be all. Merci. He hands him the tip, and the bellman leaves. The Frenchman opens his suitcase, removes some clothes and then the false bottom of the case. ANGLE ON DISASSEMBLED GUN as the Frenchman removes it. His hands are beautiful, strong and steady as he assembles the gun. CUT TO EXT. BEACH - NIGHT The same cliff area where the accident occurred. Jerry and Ray, with a high-powered flashlight, shining it along the rocks below. [JERRY] This is useless. We can't even get down there. [RAY] So what do we do? [JERRY] We come back in the daylight with a boat. And they head to their car. DISSOLVE TO EXT. EQUESTRIAN SHOWGROUNDS The Frenchman wanders through a group of horse trailers... finds the correct one, unlocks the back, climbs in and hides his case behind blankets and saddles. INT. BEACH HOUSE - DAY Just inside the sliding door, Marie Elena has set up her own little "beach." A chaise lounge, suntan lotion, a transistor radio at her side. She is stretched out on a towel in a bathing suit, trying to absorb whatever rays she can. Michael enters from upstairs, but doesn't announce his presence until he's had a chance to look "things" over. She looks up, sensing his presence. [MARIE ELENA] Is this safe enough? Michael moves to the binoculars. [MICHAEL] Perfect. (beat) I'm sorry, but if we can see Rudy through these, there's a chance he could see you. Marie Elena moves to him, looks through the glasses. Michael sniffs appreciatively. [MARIE ELENA] Coconut oil...make you feel like having a pina colada? [MICHAEL] Or something.... Micki appears in the doorway, wearing Michael's oversized dress shirt, looking very vulnerable and sexy. She's groggy, but aware enough to be worried. [MICKI] Excuse me, but where am I? Michael rushes to her side and has her sit down. Marie Elena follows him...more cautiously, putting on a beach cover-up. [MICHAEL] (gently) Good morning, Micki. I'm Michael, remember? [MICKI] (confused) Micki? Who's Micki? There is a beat as Michael and Marie Elena look at each other. [MICKI] Hey, what's going on here? [MICHAEL] There was an accident yesterday. You have...a temporary memory loss. [MICKI] Then it wasn't a dream. Do I know you? [MICHAEL] Michael Knight. We met yesterday at a party. [MICKI] Look, I don't meet guys at parties and go home with them... (beat) ...I don't think. Micki becomes more upset. She stands, looks outside, looks in a mirror at herself. [MICHAEL] Do you remember anything at all? [MICKI] Not really -- nothing that make sense. (beat) There was the ocean...and a man. No -- two men. And I felt like I was falling... (beat) I don't understand. [MARIE ELENA] We think they wanted to kill you. The two men. [MICHAEL] (quickly) But you're safe here...very safe. I'm the one who found you. [MICKI] Why would anyone want to kill me? [MICHAEL] We were hoping you'd tell us. They all sit looking at her...a light seems to go on in Micki's eyes. [MICHAEL] Did you think of something? [MICKI] Well, kind of...I'm hungry. Marie Elena shows her disappointment, as Michael tried to cheer her up. [MICHAEL] Sure -- I'll order in whatever you want. Burgers, fries, malts. You like burritos? [MICKI] (looks sick) It's not fair. [MICHAEL] What's that? [MICKI] How come I know I hate burritos and I don't know my last name? [MICHAEL] Does Rudolpho del Fuego ring a bell? Or San Mirada? [MICKI] If those are restaurants, I just told you I don't like Mexican food. Michael shakes his head. Tears well up in Micki's eyes. Marie Elena takes pity on her. [MARIE ELENA] Don't worry, we'll help you remember ...Did you take a purse to the party? [MICKI] Sure, I mean, I must've...don't you think? Maybe I dropped it. [MICHAEL] I'll go look on the beach. (to Marie Elena) If either of you need me -- you have the comlink. Micki stops Michael as he's leaving. [MICKI] Michael, thank you. Both of you. [MICHAEL] No problem. You're a nice lady. [MICKI] (thoughtful) Am I? (beat) Somebody doesn't think so. Michael and Marie Elena exchange a look and he leaves. DISSOLVE TO OMITTED EXT. K.I.T.T. - DAY as Michael drives. ANGLE ON K.I.T.T.'S HOOD shiny and sleek, reflecting the bright sun. EXT. HIGHWAY - K.I.T.T. - DAY - DRIVEBY Some hot music on the radio. INT. K.I.T.T. - DAY [K.I.T.T.] Michael, there were a substantial number of vehicles at the party last night. Doing a comparative analysis of license plates can be very involved ...sometimes as far back as the factory where the car was made. [MICHAEL] Kind of like a family tree. [K.I.T.T.] I hate to break this to you, but automobiles are not human...they have no lineage or personality. [MICHAEL] I don't know why I keep forgetting that. [K.I.T.T.] You've probably begun to form a psychological attachment to me. That would be a logical human response. [MICHAEL] No, I think it was the '56 Chevy I had when I was in high school. I loved that car. [K.I.T.T.] Really. Michael smiles at K.I.T.T.'s reaction. ANGLE - K.I.T.T. - DAY as the Trans Am parks at the cliff. INT. K.I.T.T. - DAY Michael presses a couple of buttons. [MICHAEL] Kitt -- go into surveillance mode. Michael starts to get out of the car. [K.I.T.T.] Michael. [MICHAEL] Yes, Kitt. [K.I.T.T.] Could your 1956 Chevrolet go into surveillance mode? Michael smiles broadly. [MICHAEL] No, but we sure had some great times cruising hamburger joints. Michael gets out of the car quickly. For once he has the last word. EXT. CLIFF - DAY Michael makes his way down the cliff again, all the while looking for the purse. ANGLE ON THE SHORE - JERRY AND RAY pulling a Zodiac onto the sand. They turn and see Michael. OMITTED BACK TO MICHAEL The sound of the waves breaking mutes the arrival of the boat. ANGLE ON K.I.T.T. Surveillance lights flashing. BACK TO MICHAEL as he sees something. He detaches himself from the rope -- the rest of the climb down is easy. He reaches between some rocks and comes up with an evening bag. His watch beeps. [MICHAEL] Yes, Kitt. [K.I.T.T.] My sensors show that you have two visitors. Michael looks up and sees Jerry standing above him on the rocks. [MICHAEL] Nice day for the beach. WIDER to see Ray to the side of him. [RAY] (closing in) You always carry a purse when you go to the beach? [MICHAEL] Yeah, it keeps my suntan lotion from melting. Michael backs toward the rocks, stopping at the sound of a gun being cocked. [JERRY] Hold it. Michael turns to face the gun...he stops, looks at the purse. [MICHAEL] Sometimes it attracts the wrong type of people. (into watch) Kitt. EXT. CLIFF - DAY K.I.T.T.'s engine roars into action. INSERT - INT. K.I.T.T. His dashboard flashes from "Park" to "Drive" -- "4-Wheel." EXT. K.I.T.T. - DRIVERLESS as he moves out along the edge of the cliff. EXT. BEACH - JERRY, RAY AND MICHAEL [JERRY] Just give us the purse. EXT. CLIFF K.I.T.T. backs up. INSERT - DASHBOARD activates Turbo-Thrusters. RESUME K.I.T.T. He charges forward -- toward the cliff's edge! [FREEZE FRAME] END OF ACT TWO ACT THREE FADE IN EXT. BEACH - DAY - MICHAEL, RAY AND JERRY Ray steps forward, taking the purse. [MICHAEL] I didn't realize -- I mean, it doesn't go with your outfit or anything. [RAY] It's my mother's.... Suddenly there's a crunch. Ray and Jerry turn as K.I.T.T. lands on the sand and heads toward them. ANGLE - MICHAEL He leaps onto Jerry's back, knocking the gun from his hand. Jerry reaches for it, but Michael manages to knock it away. ANGLE - K.I.T.T. spins around, spraying sand into Ray's face. He sputters and takes off blindly toward the shore. ANGLE - JERRY AND MICHAEL tussle in the sand, each getting in their share of punches. One knocks Michael down long enough for Jerry to take off after his partner. ANGLE - K.I.T.T. pulls up by Michael, who climbs in. They pursue Jerry along the shoreline, by passing him in favor of Ray. CLOSE ON RAY Cut off from the boat, he dodges the car, rolls in the sand, and drops the purse. JERRY in the Zodiac, starting the engine, and pulling away from shore. [JERRY] Ray! Move it -- let's get outta here. RAY splashes into the tide as his partner pulls him onto the boat. INSERT - PURSE lying in the sand. INT. K.I.T.T. as they follow the Zodiac along the shore. EXT. BEACH - WIDE ANGLE - K.I.T.T. driving down a road that parallels the beach. ANGLE - K.I.T.T. slides to a stop where the road ends. INT. K.I.T.T. [K.I.T.T.] I'm afraid this is as far as we go, Michael. [MICHAEL] That's okay -- let's go back and get what we came here for. (beat) And don't worry, pal. I'll speak to Bonnie about adding pontoons. CUT TO INT. BEACH HOUSE - CLOSE ON TABLE The contents of the purse are scattered on the desk. A key, mirror, lipstick, tissues. [MICKI'S VOICE] It doesn't make sense --- Widen to reveal Michael seated at the table with her. [MICKI] Nobody goes out without a driver's license...some kind of ID. (beat) What good is a key if I don't know where it fits. She turns the key over and over in her hand, misting up again. [MICKI] (quietly) I'm sorry -- it's just that I feel so helpless. You're all I've got. She stands and turns away, once again fighting the tears. She catches a glimpse of her reflection in a mirror. Her own face looking back at herself blankly. [MICKI] You know what's the scariest thing of all? (turns to him) The more time goes by, the more scared I get that I'm never going to remember.... Michael moves to her, takes her hands in his. [MICHAEL] I promise we'll find out who you are -- Someone's bound to report your disappearance. [MICKI] What if they don't --- [MICHAEL] Then they don't know what they're missing. She attempts a smile. [MICKI] You'd better get ready.... She turns back to her reflection, as Michael moves away. Move in on Micki, looking...wondering. INT. BEACH HOUSE HALLWAY As Michael moves toward his room, the door to a bathroom swings open and Marie Elena steps out, wrapped in a towel. They startle each other. [MICHAEL] Excuse me.... [MARIE ELENA] (shrugs; carefully) No problem. Actually, I wanted a word with you in private, if you don't mind. [MICHAEL] (smiles) Why would I mind? He opens the door to his room. INT. MICHAEL'S BEDROOM as he follows Marie Elena in. She broaches the subject a little awkwardly. [MARIE ELENA] I'm getting worried, Michael. [MICHAEL] Join the club. [MARIE ELENA] I'm serious. My father arrives in one hour, and we're no closer to finding his...murderer. [MICHAEL] We don't have a whole lot to work with, Marie Elena. [MARIE ELENA] It's this thing with Micki -- I mean, she's a very nice person, I know. But so much time spent.... [MICHAEL] Micki's memory could be the clue. [MARIE ELENA] What if it's not? If you spend all your time on her, it might be too late to help my father -- (beat; takes his hand) I'm sorry. But you're our only hope right now. We need you...I need you. The doorbell rings. Michael is saved by the bell. [MICHAEL] Round three. INT. HOUSE - ON FRONT DOOR as Michael opens it. Bonnie stands, grinning, Devon at her side. Michael sighs, frustrated. [MICHAEL] Hey, the more the merrier. [BONNIE] It's nice to see you, too, Michael. She breezes past him, checking out the room. [BONNIE] Terrific place, Michael. How many bedrooms? [MICHAEL] Too many. [DEVON] (concerned) You look upset. [BONNIE] (hears) Upset? With two beautiful women and a Malibu beach house --- [MICHAEL] Exactly. So where did I go wrong? CUT TO ANGLE - TABLE Three pictures laid out. [DEVON'S VOICE] Out of the seven possible assassins; my sources show movement in three areas. ANGLE TO INCLUDE MICHAEL, DEVON, BONNIE AND MICKI [MICHAEL] (to Micki) Recognize any of them? Micki shakes her head, disappointed, then brightens a bit. [MICKI] But this one kinda looks like Al Pacino, don't you think? (at their look) Sorry. She moves off, back to the purse. [DEVON] (to Michael) This is Carlos -- somehow I don't think they'd hire him for a Latin-American hit. The Frenchman is a definite possibility. Romeo and Juliet.... [MICHAEL] There's only one picture...are they a team? [DEVON] 'They' are the same person. No one knows whether the actual assassin is a man or woman. [MICKI] The Frenchman? They turn to her. [MICKI] There was something about a Frenchman. [MICHAEL] Are you sure? [MICKI] (excited) Yes. These two guys were talking about a Frenchman. [DEVON] What exactly did they say? Micki looks at him blankly. That's all she knows. She looks back at the key in her hand. [MICHAEL] That's good, Micki. Really. It saves a lot of work. We just have to find the Frenchman's aliases. Marie Elena enters the room, dressed and ready to go. They ad-lib greetings, except Micki, who's thinking hard. Suddenly: [MICKI] (screams) Joe Palmer! (at their looks) I remembered. I'm engaged to him. [BONNIE] You're engaged to the Frenchman? [MICKI] No -- Joe Palmer's my fiancee... (concentrating; then) We have to find Joe. He'll know who I am. Before anyone can respond, K.I.T.T. buzzes Michael on the comlink. [MICHAEL] (into watch) What is it Kitt? EXT. TRANS AM Its scanner is flashing. [K.I.T.T.] I'm beginning to detect some activity at Rudy del Fuego's house. BACK TO SCENE [MICHAEL] Be right there, buddy. [MICKI] What about me? [MICHAEL] Bonnie will show you how to use the comlink. And he's gone. Marie Elena looks at Micki. [MARIE ELENA] (gently) I'm sorry, Micki. Please try to understand -- this is so important. Micki stands, finally angry. [MICKI] I understand! Okay?! I understand that you have a father -- and a home -- and you know someone loves you! I understand perfectly! OMITTED CUT TO EXT. PACIFIC COAST HIGHWAY - DAY Michael and K.I.T.T. travel down the highway. INT. CAR [K.I.T.T.] Michael, what is the purpose of this maneuver? [MICHAEL] Instinct. [K.I.T.T.] You know I can't compute instinct. Is there anything I can do? [MICHAEL] (smiles) Promise to cruise a hamburger joint with me someday. [K.I.T.T.] If we must. CUT TO EXT. RUDOLPHO'S HOUSE - DAY Burns pulls up and gets out of his car, looks at the taxi in front. He starts to the house, passing a cab driver carrying a suitcase. Burns rushes forward. NEW ANGLE As Rudy comes out of the door, briefcase in hand. [RUDY] (composed) What luck, David. Another few minutes and we would have missed each other. [DAVID] (angry) Where the hell do you think you're going? You're supposed to make the drop. [RUDY] You'll have to do it for me. I have a plane to catch -- it's important that I'm in San Mirada when the news of the assassination comes...you understand.... Burns is thrown by this change of attitude. [DAVID] What about the girl? [RUDY] Calm down, my friend. If she told anyone, we'd know it by now. After all, she knew where I lived -- Besides, you said your Frenchman was the best. I trust your judgment. By the way, how is he? [DAVID] I...don't know where he's staying. We agreed no contact in the final forty-eight hours. I won't even see him when I drop off the money. The cab horn honks insistently. [RUDY] That's very clever -- (pats his shoulder) -- so, David. Next time we meet, things will be...as we planned. He moves to the door. Burns roughly grabs his arm. Rudy looks at it disdainfully. [BURNS] Rudy, I can't allow this.... [RUDY] Funny thing about power, David. It has a subtle way of shifting. (removes his grip) You need me now. (shrugs) The ball is in motion -- and it's out of our hands. And he exits, leaving Burns behind, staring. DISSOLVE TO OMITTED EXT. PACIFIC COAST HIGHWAY - BURN'S CAR - DRIVEBY travelling down the highway. OMITTED EXT. PACIFIC COAST HIGHWAY - K.I.T.T. travelling. [K.I.T.T.'S VOICE] They're now three-quarters of a mile up and turning left. [MICHAEL'S VOICE] Great -- as long as they don't know where we are. What about the taxicab? INT. K.I.T.T. [K.I.T.T.] The driver informed his dispatcher that he was headed for the airport -- International Terminal. [MICHAEL] Devon should be picking up Marie Elena's father by now. Notify him and ask him to have Customs detain Rudy. [K.I.T.T.] Good thinking, Michael. Customs can be dreadful -- Some of my parts were imported from.... [MICHAEL] (interrupts) Later, Kitt. INT. BEACH HOUSE Micki is on the phone, three or four different white pages opened up in front of her. The TV is on in the b.g. [MICKI] (into phone; hopeful) Hi, Joe? This is Micki.... ANGLE - FEATURING TELEVISION Micki ignores it. A soap opera with a woman talking on the phone -- it is Micki. A reflection of a real woman pre- tending to be someone else when she doesn't even know who she is. [MICKI] Y'know...Micki. (beat) You don't know... (beat) ...This is Joe Palmer, isn't it? (dejected) Oh -- I'm sorry if I bothered you. Have a nice day. She hangs up, crosses the name out of the book. EXT. PARKING LOT - DAY - DIPSY DUMPSTER Jerry, a quick look around, and he sets the pouch into the dumpster, gets in the car and drives away. NEW ANGLE - K.I.T.T. well-concealed. INT. K.I.T.T. Michael watching. [MICHAEL] Take it easy, pal...I think we've just hit the jackpot. [K.I.T.T.] Well, while we wait for the pay-off, I've had some results on the Frenchman's aliases. INSERT - SCREEN A list of names appears...mostly French, but a couple of Spanish and Italian. [K.I.T.T.] There are twelve that we know of. I still haven't determined which is his real name. [MICHAEL] That's okay -- he probably doesn't remember himself. (studies the list) That's great, Kitt. [K.I.T.T.'S VOICE] Merci, beaucoup. [MICHAEL'S VOICE] How many languages do you speak now? [K.I.T.T.'S VOICE] Should I count the archaic tongues? INT. BEACH HOUSE - DAY Micki on the phone, becoming more overwrought and anxious. The soap opera is still b.g. [MICKI] (into phone) ...no, officer. I don't want to report a missing person -- I want to know if someone else did. (beat) I know where she is -- look, all I want to know is if someone reported a missing Micki! (beat) This is not a joke! It's not even a little bit funny... (beat) Never mind.... She hangs up and, finally, begins to cry. EXT. PARKING LOT - DAY The Frenchman's car is parked around the corner, away from where a bum is sifting through a garbage dumpster. INT. TRANS AM Michael is looking at the bum, squinting his eyes, trying to get a closer look. [MICHAEL] Kitt, do you see what I see? INSERT - VIDEO MONITOR [K.I.T.T.] If you're referring to that derelict seventy meters in front of us, yes. [MICHAEL (v.o.)] Let's go in for a closer look. [K.I.T.T.] Michael, why should that common bum be of any concern to us? ANGLE - BUM Tighten on bum until we're very close on his hands, then: CUT TO INSERT - K.I.T.T.'S VIDEO MONITOR and we see that the bum is wearing a slim, expensive gold watch. ANGLE - MICHAEL [MICHAEL] Because your average 'common bum' doesn't wear a Swiss watch. ANGLE - BUM as he removes a parcel from the dumpster, he turns and faces the camera and we see that indeed the bum is the Frenchman. ANGLE - MICHAEL as he watches the bum move off. [K.I.T.T.] Shall we, as you say, 'take him'? [MICHAEL] Let's just follow him. I don't want to blow it until we're sure. And they pull out, a safe distance behind. CUT TO INT. BEACH HOUSE - DAY - MICKI pacing back and forth. CLOSER - MICKI She tries to sit down, to calm herself. INSERT - HER HAND It holds the key from the purse, feeling it, turning it over, waiting for it to tell her something. [VOICE (o.s.)] (filtered) ...and next week, I'm going to be Mrs. Joe Palmer.... CLOSE ON MICKI Her head snaps up. ANGLE - TELEVISION The soap opera. Two women arguing -- Micki recognizes herself. CLOSE - MICKI [MICKI] (softly) That's me.... Frozen to her chair for a moment. QUICK INTERCUTS with the television. The two actresses continue their bitter scene. [ACTRESS] (on TV) I hope he makes you as miserable as he made me. [MICKI] (on TV) Joe loves me...and I love him...he's a different man with me...in every way. [MICKI] (watching) I'm an actress! Of course! [ACTRESS] (on TV) You wouldn't know what to do with a real man! Micki, the Actress, gasps, and slaps the woman's face. CLOSE ON MICKI watching, reacts startled, then relieved. [MICKI] A pretty good actress.... She jumps up, excited, and exits. A beat, she runs back in and finds the comlink, knocking things onto the floor in the process. She pushes the button. [MICKI] (pacing) Come on, Michael. (a beat) Forget it. I'll take care of myself! And she exits. EXT. BARBARY HOTEL - DAY K.I.T.T. pulls up and Michael rushes into the hotel. INT. HOTEL LOBBY - DAY Michael goes to the desk...it's unattended. He checks the registry. INSERT - REGISTRY Michael's finger follows the names...stops on "Philipe Gerard...room 411." RESUME SCENE Michael hits the desk bell and after a beat, a sour-faced clerk appears. Michael gives him a sheepish smile. [MICHAEL] Sorry to bother you...locked my keys in my room...always happens when I'm in a hurry...It's 411. The clerk gives him a quick once-over, then gets the key. [MICHAEL] Thanks. Michael takes the key and moves off. INT. HOTEL HALLWAY - DAY Michael steps from the elevator and strides down the hall. He finds 411, checks to see if anyone's watching and puts the key in the door. INT. HOTEL ROOM The Frenchman is preparing for his task when he hears the door knob being turned. He reacts with a start. ANGLE - DOOR It opens slightly but is still fastened by the chain latch. ANGLE - MICHAEL He sees a figure move in the room, but he can't get in. He begins shaking the door, trying to break the lock. ANGLE - THE FRENCHMAN moves onto the patio. OMITTED ANGLE - MICHAEL as he breaks into the hotel room, runs to the window and looks out. MICHAEL'S POINT OF VIEW Looking down, he sees no sign of the Frenchman. ANGLE - MICHAEL on his look of disappointment: OMITTED [FREEZE FRAME] END OF ACT THREE ACT FOUR FADE IN EXT. BARBARY HOTEL - DAY Michael returns to K.I.T.T. and gets in. INT. K.I.T.T. - DAY A steady beep appears on K.I.T.T.'s screen. [MICHAEL] (dejected) Lost him. [K.I.T.T.] And he is one of the world's best. [MICHAEL] (indicates screen) What's that? [K.I.T.T.] The comlink...Micki depressed the switch. [MICHAEL] Patch me through. [K.I.T.T.] She is already gone...but I have a message for you. INSERT - MICHAEL punches in a code. We hear the whine of a tape rewinding. BACK TO SCENE [MICHAEL] Okay. Let's hear it. The tape clicks in. Micki's voice, filled with joy and excitement. [MICKI (v.o.)] Michael -- It's me...Micki Bradburn. See I remembered everything. I'm going home.... Click. [MICHAEL] Kitt --- [K.I.T.T.] I've anticipated your next request Michael. There's a Micki-with-an- 'I' Bradburn living in Santa Monica. [MICHAEL] Let's go. EXT. BARBARY HOTEL - DAY as the Trans Am speeds out of the driveway. WIDE - SANTA MONICA - DAY - ESTABLISHING - STOCK Push and: DISSOLVE TO EXT. DOOR STOOP Micki moves to a door, stops and stares. Her hands shake as she tries to get the key in the lock. A deep breath, a silent prayer, and she turns the key. It unlocks. INT. APARTMENT as the door swings slowly open and Micki stands there, staring in. She wraps her arms around herself and moves in slowly, as though afraid it will all vanish into smoke. CLOSE ON MICKI laughing and crying at once. [MICKI] (softly) Welcome home.... Her voice is cut off as a hand claps over her mouth, muffling her scream. CUT TO OMITTED EXT. K.I.T.T. - DRIVE BY - STOCK hurrying to Santa Monica. INT. MICKI'S APARTMENT - DAY Ray has forced Micki to sit in a chair while he makes a phone call. [RAY] (into phone) Sure, I can keep her here until the action dies down...then we can tie up the loose ends. Micki reacts. Ray hangs up the phone. [MICKI] Look, I don't remember anything. I got amnesia when I fell off the cliff...see. (shows the bump on her head) Really, don't hurt me. [RAY] Amnesia? You been watching too many soap operas. Micki smiles weakly at the irony. CUT TO OMITTED EXT. EQUESTRIAN SHOWGROUNDS - DAY A limousine pulls up. Casafranca, Marie Elena and Devon get out. They are heavily guarded as they walk to their box seats. CUT TO EXT. CITY STREETS - DAY as K.I.T.T. rounds a corner...fast. INT. K.I.T.T. - DAY Michael finds a parking spot. [K.I.T.T.] This is as close as I can get you. I suggest you take it from here. [MICHAEL] Sometimes I wonder if you're my wheels or I'm your feet. [K.I.T.T.] A rhetorical question that neither of us will ever figure out. [MICHAEL] That's comforting. MICHAEL'S POINT OF VIEW - THE SEVILLE BACK TO SCENE [MICHAEL] I hope I'm not too late. CUT TO INT. MICKI'S APARTMENT - DAY Micki sits quietly waiting, watched by Ray. MICKI'S POINT OF VIEW - THROUGH WINDOW She sees Michael's face...over Ray's shoulder. RESUME SCENE as Micki almost gives him away, but catches herself...the actress in her takes over. [MICKI] Have we met? I mean, I'm sure I'd remember except for this little problem with my memory. Can I get you something to drink? Ray doesn't answer -- He looks at her oddly. Michael slowly works the window up. A slight creak, which Micki covers with a coughing attack. [RAY] You're the one who needs a drink. ANGLE - MICHAEL climbs through the window then moves quickly, tackling Ray, who falls into Micki...knocking her over. ANOTHER ANGLE - THE MEN grappling on the floor. ANGLE - MICKI scared...backs away and watches as: ANOTHER ANGLE - THE FIGHT Michael finishes Ray off with a straight right to the chin. ANGLE - MICHAEL as he helps Micki to her feet...she's okay, just shaken up. She clings to him.... [MICKI] We'd better get outta here. He's called for reinforcements. CUT TO EXT. EQUESTRIAN GROUNDS - DAY We move in on Devon and Marie Elena. She has her arm linked with that of another man. Striking, in a conserva- tive suit. This is Eduardo Casafranca, her father. There are others -- security, aides and advisors from both countries, all dressed like the CIA, surrounding their box seats. [DEVON] (to the President) I understand this is your favorite sport, sir. [CASAFRANCA] Actually, Marie Elena's mother always loved horses. I feel it's important for my country to be represented in such international events. It will make my people very proud and happy. [MARIE ELENA] (final plea) Well, it would make me very happy if you would turn around right now and get back on the plane. Casafranca shares a look with Devon -- "Women!" [CASAFRANCA] And what would I say when I got to San Mirada, daughter? (a sigh) No -- to become a coward is as hateful as becoming a dictator. Yes? [MARIE ELENA] I wish you didn't make so much sense. (beat) Father? [CASAFRANCA] Yes, dear? [MARIE ELENA] I'm very proud of you. [CASAFRANCA] I'm a stubborn old man. [MARIE ELENA] You're my president. Casafranca touches his daughter's face. [CASAFRANCA] Is this a pep talk before my speech? [MARIE ELENA] (slyly) Maybe. CUT TO EXT. STREET - DAY Michael and Micki are driving in the Trans Am. INT. K.I.T.T. - DAY [MICHAEL] Do you remember anything else? [MICKI] I'm starting to remember the party. [MICHAEL] Good. [MICKI] You were so sweet when you gave me that glass of champagne. (beat) And so handsome...I mean, it's not like you're not handsome now, but I guess a woman just feels more secure about noticing those kind of things when she knows who she is. Michael gives her a look. [MICHAEL] Did you remember why those guys tried to kill you? [MICKI] No...well, sort of. (searching) It must've had something to do with what I heard about that French guy. [MICHAEL] What else did you hear? [MICKI] Something to do with people watching. (beat) A pedestrian show? [MICHAEL] The Equestrian show? Kitt? [K.I.T.T.] Yes, Michael? Micki reacts, checks the backseat. [MICHAEL] The Equestrian grounds? [K.I.T.T.] According to my calculations, they're twenty miles from here, mostly city streets. Micki scrunches down in her seat a little, suspiciously looking at Michael. [MICHAEL] Go for it! [MICKI] (small) Excuse me, who are you talking to? Michael does a 180 and accelerates. EXT. EQUESTRIAN SHOWGROUNDS - FAR END OF FIELD - DAY The show is in progress. The Frenchman drives up next to his horse trailer. He gets out, moves into the trailer and opens his case. ANGLE - OTHER SIDE OF FIELD where Devon, Casafranca and Marie Elena sit in box seats, oblivious -- having a great time. BACK TO K.I.T.T. - STOCK speeding down a city street. [MICHAEL'S VOICE] Did you reach Devon yet? [K.I.T.T.'S VOICE] There's a great deal of activity on the communication system there -- I'm working on it. [MICKI'S VOICE] (nervous) Michael, I don't understand. OMITTED RESUME - THE FRENCHMAN taking out the pieces of the gun. He checks the view. BACK TO CASAFRANCA enjoying himself. Marie Elena exchanges worried looks with Devon. K.I.T.T. - STOCK careening around a corner and speeding past a sign. INSERT - SIGN which reads: INTERNATIONAL EQUESTRIAN GROUNDS CLOSE - THE FRENCHMAN settling. CLOSE - THE PRESIDENT smiling, oblivious. WIDE - K.I.T.T. drives directly onto the field. QUICK INTERCUTS - THE FRENCHMAN AND K.I.T.T. aiming -- drive -- a race to the finish. ANGLE - K.I.T.T. as he bursts onto the field. ON CASAFRANCA as he and his security react to the commotion...pandemonium. They circle him. ON THE FRENCHMAN makes a decision...takes one shot and runs. ON K.I.T.T. moving across the field -- the bullet pings off his windshield. OMITTED INSERT - K.I.T.T.'S SCREEN as it shows the trajectory of the bullet. [K.I.T.T.'S VOICE] The gunshot came from the twenty- seventh quadrant on my screen. RESUME SCENE as K.I.T.T. heads in the direction of the Frenchman. ANGLE ON THE FRENCHMAN as he runs to his car...too late, K.I.T.T. cuts him off. ANOTHER ANGLE - THE FRENCHMAN makes a running jump onto the back of the riderless horse...They take off across the field. INT. K.I.T.T. - DAY after the Frenchman. [MICKI] Michael, please be careful. [MICHAEL] Don't worry, you're completely safe in this car. [MICKI] I meant the horses...don't scare the horses. Her own eyes are wide with fright. WIDER as the Frenchman jumps a fence, a beat, then K.I.T.T. jumps the same fence. BACK TO THE FRENCHMAN dead ahead -- security vehicles, surrounded by security officers. He turns the horse around...heading back across the field. ANGLE - K.I.T.T. doing a 180 and following. THE HORSE jumps the fence again. ANGLE - MICHAEL as he shrugs...enough already. ANGLE - K.I.T.T. going through the fence. ANOTHER ANGLE - THE FRENCHMAN taking his horse through the water hazard. ON K.I.T.T. right behind him, also going through the water hazard. ANGLE ON THE FRENCHMAN looking behind him, trying to get away. He rides down a dirt path leading to: ANGLE - THE TUNNEL The horse gallops, K.I.T.T. close behind as they head for the stables. ANOTHER ANGLE - THE STABLES as the horse rides full out. The Frenchman turns right... after a beat K.I.T.T. follows. MICHAEL'S POINT OF VIEW - THE STABLES a long row of empty stables...The Frenchman has disappeared. INT. K.I.T.T. - DAY [MICHAEL] Have you got him on the screen? [K.I.T.T.] Your guess is as good as mine. INSERT - SCREEN several horses in various quadrants of the screen. RESUME SCENE as Michael puts the car in reverse and pulls back out into the main path: [MICKI] (looking at screen) Is that one of those new video games? EXT. STABLES - DAY as K.I.T.T. cruises looking for the Frenchman. ANGLE ON K.I.T.T. as the Frenchman and his horse appear from one of the aisles and jump over the Trans Am. WIDER as K.I.T.T. spins around and follows the Frenchman to an open field. INT. K.I.T.T. - DAY Michael reaches under the dash, pulling out a rope. OMITTED EXT. K.I.T.T. - DAY K.I.T.T. is keeping up with the horse. They are a steady distance apart. ANGLE - MICHAEL as he crawls from the sunroof, twirls the rope over his head and lassos the Frenchman. ANGLE - THE FRENCHMAN being pulled from his horse onto the ground. K.I.T.T. stops just like a champion bulldogger. ON MICHAEL jumps off the roof, goes to the Frenchman, and hog-ties him. ANOTHER ANGLE - MICKI running up to Michael. [MICKI] Michael, are you all right? [MICHAEL] (nods) You? [MICKI] (indignant) Yes -- but don't ever do that to me again -- I've had a very bad week. On his reaction we: FREEZE FRAME FADE OUT END OF ACT FOUR TAG FADE IN EXT. BEACH HOUSE - DAY K.I.T.T. pulls in the driveway. INT. K.I.T.T. - DAY Michael takes a bunch of flowers off the seat and starts to get out of the car. [K.I.T.T.] Michael. [MICHAEL] Yes, Kitt. [K.I.T.T.] How much longer will we be staying here? [MICHAEL] Two more days. Why? [K.I.T.T.] The sea air is very bad for my circuitry. [MICHAEL] Well, it's good for my...lungs. See you in two days. [K.I.T.T.] Michael. You don't have enough flowers. Michael doesn't understand. [K.I.T.T.] My sensors show Marie Elena already has a visitor. I believe it's Micki. [MICHAEL] Thanks, buddy. Michael does a "Why Me?" look and exits the car. As he walks to the door he separates the flowers into two bunches. Rings the doorbell. REVERSE ANGLE - MARIE ELENA AND MICKI answer the door. Michael hands them each their flowers. They ad-lib their thanks and kiss him on opposite cheeks. [MICHAEL] So, you guys wanna go...cruise a hamburger joint? FREEZE FRAME FADE OUT THE END

{"show": "Knight Rider", "season": "s01", "episode": "e12", "title": "Forget Me Not"}

knightriderarchives

ACT ONE FADE IN INT. CATHOLIC CHURCH - DAY A big city church, old and grand, quiet in the late afternoon. Several women pray silently. REVERSE ANGLE Michael enters, pauses to let his eyes adjust to the reflected light. A priest passes. Michael stops him, asks him something MOS. The priest indicates another priest, up in one of the front pews. OMITTED ANGLE FROM PRIEST His name is Father Carlos Laguna. He prays as Michael approaches, moves in the same pew and kneels. Father Carlos looks at him. [MICHAEL] Father Carlos Laguna? [FATHER CARLOS] Yes? [MICHAEL] I'm Michael Knight. Father Carlos has been thinking about this moment. [FATHER CARLOS] Thank you for coming. [MICHAEL] Devon said you might have a name for me. A contact. [FATHER CARLOS] I'm seeing a man after one o'clock mass -- the man with the contact's name. I'll be going straight to my sister's wedding and reception -- could you meet me there? Michael nods. A thought: [MICHAEL] I'm on my way back from New Orleans. I haven't had a chance to get together with Devon yet, but it sounded like something the police could handle. [FATHER CARLOS] The attacks are hit-and-run. The police? They question people, they take pictures, they count bullet holes. (beat) Tuesday afternoon they shot my brother Miguel, two men in a car with automatic assault rifles. In the middle of a gas station in South Houston. Innocent people could have been killed. They don't care, these 'Corazones de Piedras.' [MICHAEL] Hearts of.... [FATHER CARLOS] That's what my family calls them -- Corazones de Piedras. 'Hearts of Stone.' CUT TO EXT. TWO-LANE HIGHWAY - DAY The Trans Am speeds by, the only car for miles. ANOTHER ANGLE The Trans Am comes over a rise. Ahead, rolling along about fifty, is the Foundation's semi. OMITTED DIFFERENT ANGLE The semi's hydraulic loading ramp descends and the Trans Am drives up and in. The semi continues down the highway. [DEVON'S VOICE] I'm afraid what we're dealing with here is a kind of modern-day range war.... OMITTED INT. SEMI - DAY Bonnie adds new information banks to K.I.T.T.'s computers. [DEVON'S VOICE] It's a war over territory and markets, but the goods in question aren't cattle like the old days.... ANGLE ON DEVON AND MICHAEL Devon tosses Michael a fearsome-looking automatic assault rifle. [DEVON] This is what it's over. [MICHAEL] (examines it) Looks like something out of Buck Rogers or Star Wars. [DEVON] (continuing) It's called the Nunn X-19, legally manufactured in Lexington, Kentucky, advertised as quote 'The most effec- tive automatic assault rifle in the world today.' Features as standard equipment a rocket launcher. Rate of fire 850 rounds per minute -- more efficient than the Uzi or any- thing the U.S. Army has in production at this time. In other words, a su- perior weapon in all respects. CUT TO EXT. DESERTED HIGHWAY - DAY The semi is pulled over. Devon and Michael move away. Devon with the Nunn X-19. [MICHAEL] You said legally manufactured. [DEVON] Legally manufactured, diverted into the world of black market arms by various means -- weapons 'stolen,' shipments 'lost,' records 'incomplete.' The primary market is the turmoil in Central America. (tosses Michael rifle) Here. I want you to get the feel of it. [MICHAEL] There's only one way to do that. Devon nods. Michael raises the rifle to his shoulder, touches the trigger. It fires a dozen rounds before he can remove his finger, severs the trunk of a dead tree like a buzzsaw. [MICHAEL] (impressed) Makes an M-16 feel like a black- powder musket. [DEVON] Rather like this weapon is to combat rifles what Kitt is to conventional cars. [MICHAEL] Couldn't have said it better myself. They smile, start back. [MICHAEL] Father Carlos is a priest -- Where do the rest of the Lagunas fit into this 'war'? [DEVON] The Laguna family has a monopoly on just about anything of value that crosses the border into Mexico ille- gally. Has had for years. Then about six months ago that all changed. CUT TO INT. SEMI - DAY Angle on a VCR screen, a series of black and white surveillance-type photos, blown-up, generally unclear, appear one after another. The men pictured are tough- looking Anglos, big, all in their thirties. [DEVON'S VOICE] No one knows exactly who these new people are. There are six of them, at least four of whom are veterans, either Special Forces, or Green Beret. INTERCUT MICHAEL, DEVON AND BONNIE They watch the unfolding photos. [DEVON] The Laguna family is proud and fiercely loyal. And tough. But these gentlemen, they're different. They don't play by the old rules. They've got guns to sell and to do that the Lagunas have to move over. The Lagunas resisted.... INTERCUT SCREEN Several shots of dead bodies on sidewalks or in cars. [DEVON] It's turning into war in the streets. As I said, they're different. Quite ruthless as a matter of fact. [MICHAEL] Corazones de Piedras. [DEVON] (nods) Known in Anglo circles as the 'Stones.' Devon nods, turns on the lights, shuts the VCR off. Michael likes the sound of it less and less. [MICHAEL] Before you go any farther, just what are you looking for from me? [DEVON] Find these men. Convince them you're a black market arms dealer. Arrange a buy. If we can catch them 'dirty' -- with the rifles -- we can cut the pipeline into Mexico. We'll be saving lives on both sides of the border. [MICHAEL] Devon, it'll take more than a name from Father Carlos to sell me as an arms dealer. [BONNIE] We've arranged some help in that area. She moves to the car to show him. [BONNIE] Specialized data banks on Texas, Mexico, ex-Special Forces and Green Beret personnel, major and minor figures in international arms smug- gling --- [MICHAEL] Bonnie? Has Kitt got it all? [BONNIE] (smiles) Kitt's got it all. [MICHAEL] (to Devon) I won't be flying blind here? [DEVON] I've honed it to the final contingency, my boy. [MICHAEL] In that case you'd better get me out of here before I change my mind. (gets into car) Bonnie, how do you like your steaks? [BONNIE] I've decided to become a vegetarian. [MICHAEL] Not in Texas. In Texas it's a sacri- lege not to eat steak. [BONNIE] (smiles) Medium rare. CUT TO EXT. HIGHWAY - DAY The semi's lift slowly lowers and the Trans Am rolls down backwards and hits the pavement moving. It accelerates, arcing past the semi and shooting down the highway. OMITTED INT. TRANS AM - DAY Michael drives, glances at K.I.T.T.'s monitor. On the screen are shots of two men, Ricky and D.D. [K.I.T.T.] This is the suspected leader, known only as 'Ricky.' No other firm ID. Picture changes. [K.I.T.T.] This is Ricky's chief lieutenant, Danny Dwight, no last name. Known as 'D.D.' No other firm ID. [MICHAEL] (shakes his head) I've seen files on shoplifters with more information. [K.I.T.T.] Shall I continue, Michael? [MICHAEL] Give me all you've got, Kitt. CUT TO EXT. RENTED HALL - DAY The wedding reception is in progress inside. Parked outside are several dozen cars, Cadillacs, Mercedes and Jaguars. Outside, loosely grouped in two's and three's, are heavily armed young men, drinking and joking between themselves in English and Spanish. From time to time guests arrive and go in or come outside for fresh air. Despite the noise, the sense of celebration, there's an undercurrent of tension. ANGLE ON TRANS AM It appears, starts to turn into the parking lot when a hot muscle car pulls alongside, revs its engine. [DRIVER] (yells to Michael) You're lookin' at the fastest car in Houston, the mean machine. Blow that black bucket right off the street. [MICHAEL] Maybe some other time. The driver laughs victoriously, peels away. The Trans Am parks with the other cars. ANGLE IN CAR Michael puts K.I.T.T. in surveillance mode. [MICHAEL] Don't fall in love with one of these beauties and run off on me. [K.I.T.T.] I wouldn't dream of it. Michael, you haven't finished reviewing my new data banks. [MICHAEL] Something I should know? [K.I.T.T.] Don't drink the water. [MICHAEL] (smiles) We're not in Mexico, Kitt. Just outside of Houston, Texas. [K.I.T.T.] I hear mariachis. [MICHAEL] I'll have to talk to Bonnie about your Spanish. It's mar-i-ach-is. He leaves, taking a wedding present in with him. CUT TO ANGLE OUTSIDE FRONT OF HALL Father Carlos Laguna comes out for a cigarette, exchanges ad-lib comments with several of the young men as Michael approaches from the parking area. They greet each other, ad-lib hellos. Father Carlos puts an arm over Michael's shoulder and moves him away from the others. [MICHAEL] Did you get it? [FATHER CARLOS] The contact's name is Angie. [MICHAEL] I expected a man. [FATHER CARLOS] In this business it pays to expect the unexpected. [MICHAEL] Who is she? [FATHER CARLOS] All I know is she's a cocktail waitress at a place called The Embers in downtown Houston. [MICHAEL] This is hard for you, isn't it. Father Carlos nods. A figure suddenly appears from behind, grabs Father Carlos, pinning his arms to his side. [ROBERTO] A thousand Hail Marys or your life! Father Carlos smiles, bends one knee and executes a perfect judo move, throwing Roberto off balance. They laugh, obviously very close. [FATHER CARLOS] Roberto, I want you to meet a friend of mine, Michael Knight. They smile, shake hands and ad-lib hellos. OMITTED INTERCUT - FIVE TON TRUCK several blocks away, approaching. BACK TO SCENE [FATHER CARLOS] Roberto is my youngest brother -- youngest and craziest. Vato loco. [ROBERTO] (laughs) To be Catholic is hard enough, but to have a brother who's a priest -- Que Dios tenga misericordia. INTERCUT - TRUCK Closer, we can see two men in the cab. OMITTED ANGLE ON K.I.T.T. His surveillance picks it up. ANGLE ON MICHAEL, FATHER CARLOS AND ROBERTO They start inside. [K.I.T.T.'S VOICE] (comlink) Michael, there's a truck approaching with men hidden in the bed --- Michael turns, sees the truck, now less than fifty yards away. [MICHAEL] (comlink) Kitt, over here -- between us and them. (to others) Look out! OMITTED ANGLE ON TRANS AM It barrels over from the parking area, positioning itself between the guests and the street as the truck speeds up. Michael dives on Father Carlos, knocking him down. People scream and hit the pavement as the truck's tarp lifts and two men with X-19's rise and strafe the area. K.I.T.T. deflects most of the bullets. Pandemonium. Michael starts for K.I.T.T. but Father Carlos grabs his arm. [FATHER CARLOS] Roberto's been hit -- he's bleeding bad -- please --- Torn, wanting to pursue the truck, Michael helps Father Carlos load Roberto into the Trans Am. LONG SHOT It speeds off. CUT TO EXT. MEMORIAL HOSPITAL - NIGHT - TO ESTABLISH INT. HOSPITAL HALL - NIGHT Michael waits alone, a distance from other family members. Father Carlos comes out of Roberto's room, pauses with Michael before continuing to the family. [FATHER CARLOS] The bullet tore up an artery in his leg. With rest and care he'll be all right. [MICHAEL] Good. I'll be in touch. [FATHER CARLOS] Be careful. Michael nods, starts away. Father Carlos watches him. CUT TO EXT. HOUSTON - NIGHT - UP ANGLE FEATURING HOUSTON'S DRAMATIC NEW SKYLINE twenty and thirty-story buildings reaching for the sky. INT. THE EMBERS - NIGHT It occupies the top floor of a new hotel, a circular bar that slowly revolves, providing a spectacular view of the city below. Michael enters, weaves his way through well- dressed guests to the bar. ANGLE AT BAR Michael sits, looks around, acclimating himself. [BARTENDER] What'll it be? [MICHAEL] Draft. Whatever's coldest. He draws a draft, places it in front of Michael. Michael puts a twenty on the bar. [MICHAEL] Keep the change. [BARTENDER] (surprised) Thank you, pardner. [MICHAEL] I'm looking for someone. A cocktail waitress named Angie. [BARTENDER] Who wants her? [MICHAEL] A friend of a friend. He nods, moves around the circular bar to where several cocktail waitresses are. One is an extraordinarily attrac- tive young woman. A brief MOS conversation and the young woman moves to where he sits. [ANGIE] Looking for me? [MICHAEL] Are you 'Angie?' [ANGIE] I'm whoever you want me to be. You want me to be Angie, I'm Angie. Who're you? [MICHAEL] Michael. [ANGIE] What can I do for you, Michael? [MICHAEL] I'm a gun collector. An acquaintance of mine told me you might be able to steer me in the right direction. [ANGIE] What direction is that? [MICHAEL] I'm looking for some rifles. Auto- matic Assault rifles. Her eyes narrow, her face changes. [ANGIE] I don't know what you're talking about. She turns to leave but he grabs her arm. [MICHAEL] I'll make it worth your while. [ANGIE] (beat) I don't know you. [MICHAEL] I'm a businessman. My business just happens to be weapons. [ANGIE] Who gave you my name? [MICHAEL] A man you've never heard of. A man who used to do business with the Lagunas. He said the Lagunas are on their way out, and you might be able to introduce me to the people on their way in. (beat) Look, Angie, all I'm asking you for is an introduction. If I'm not for real your people will know. That's their job, not yours. She hesitates. [MICHAEL] I usually give a five-percent commission. In your case I'll make it ten. Take it or leave it. Her eyes hold him for a long moment. [ANGIE] I'll make a call. If the answer is yes, I'll meet you in front in five minutes. If the answer is no, I don't want to ever see you again. CUT TO OMITTED EXT. SOUTH HOUSTON - NIGHT The Trans Am leaves the city. INT. TRANS AM - NIGHT They drive in silence. [ANGIE] Mind if I turn on the radio? He shakes his head. She turns it on. [ANGIE] What a strange looking dash. Michael smiles, anticipating K.I.T.T.'s reaction. The music is Mexican. She changes the station, more Mexican music. [ANGIE] Doesn't this radio play anything beside Mexican music? [MICHAEL] It's a strange radio. Fits in with dash. She turns it off, glances at him. [ANGIE] These people are bad. I just hope you're who you say you are. [MICHAEL] Are you always this suspicious? [ANGIE] No. Just when it comes to this kind of business. I hate it. [MICHAEL] Then why are you in it? [ANGIE] I'm not 'in' it. I happen to know these people, that's all. She looks out the window. Michael studies her, thoughtful. CUT TO EXT. DESERT AREA - NIGHT The Trans Am turns off the highway onto a small two-lane road, leaving civilization behind. It heads into the darkness. OMITTED INT. TRANS AM - NIGHT As if for the first time she becomes aware the car she's in is different, radically different. [ANGIE] What kind of car is this? [MICHAEL] Special. Had it custom-made. How much farther? [ANGIE] We're there. MICHAEL'S POINT OF VIEW - AHEAD The car comes over a rise and ahead, out of the darkness, is an oasis of light. EXT. DESERT HOUSE - NIGHT The house is large and all the more impressive because it's so unexpected. Country and Western music from inside, loud, several dozen cars scattered about the front. Pan to the Trans Am as it approaches, pulls to a stop. ANGLE AT TRANS AM Michael puts K.I.T.T. in Surveillance Mode. He and Angie start for the house. Michael stops, as if having forgotten something. [MICHAEL] Forgot to lock up. I'll be right back. He returns to the car. [MICHAEL] (sotto voce) Kitt, get the license plate number of every car here. [K.I.T.T.] I don't have a 'strange looking dash.' I'm proud of my dash. [MICHAEL] (smiles) Don't take it personally. (beat) I just hope that name you gave me will work in there. [K.I.T.T.] I simply selected the name least likely to be traceable with the information Bonnie added to --- [MICHAEL] Okay. Sorry I mentioned it. [K.I.T.T.] De nada. (beat) How's that? [MICHAEL] Not bad, not bad. CUT TO INT. HOUSE - NIGHT The house is surprisingly tasteful, beautifully furnished. The people present are an interesting mixture of nomadic high-rollers and their women, Texas chic, jeans and $300 boots, lots of cleavage. People dance, talk and drink, make moves on one anothers' dates. ANGLE ON MICHAEL AND ANGIE They enter, Angie pausing for MOS words with a big bodyguard in a cowboy hat at the door. They come in. [ANGIE] I'll tell Ricky we're here. Michael nods. She weaves her way through the crowd, disap- pears down a hall. Michael looks around, trying to get a feel for the place, the people. Hard to get a fix on. He takes a beer from an iced tub, pops it open and drinks. A Girl in tight jeans and boots passes, pauses. Smiles. [GIRL] Howdy, stranger. What brings you out this way? [MICHAEL] A little of this, a little of that. How 'bout you? [GIRL] Same thing, only a lot of this and a whole lot of that. (smiles) I hope to see you later. Don't you run off, y'hear? She slides on by, wiggles her jeans for him. EXT. HOUSE - NIGHT A new Cadillac pulls out. INT. TRANS AM - NIGHT A picture of the car appears on K.I.T.T.'s monitor. The license plate, the numbers 573 XKY appearing in digital print, immediately processed. INT. HOUSE - NIGHT - ON MICHAEL [ANGIE'S VOICE] Michael. He looks as she appears. She gestures for him to follow her. INT. BEDROOM - NIGHT The door opens and Michael steps in. QUICK CUTS Two big men grab him and slam him up against the wall. They are Ricky and D.D. Ricky holds a Magnum on him. [RICKY] Blink and I'll put your brains all over this wall. FADE OUT END OF ACT ONE ACT TWO FADE IN INT. BEDROOM - NIGHT Ricky holds the gun on him while D.D. searches him for weapons. [MICHAEL] Last fella tried this got kicked in the face. [D.D.] (face to face) Yeah? By who? [MICHAEL] I'm a professional. I have a reputation. I didn't come in here patting you down, and I expect the same courtesy. [RICKY] You're either real good or real foolish. I'll find out which. (calls) Angie, get in here. She comes in, not wanting to. [ANGIE] I'd rather wait outside. [RICKY] You brought him, you stay. Finished searching him, D.D. moves away. Ricky puts his arm around Angie. She doesn't like it but she doesn't move away. [RICKY] Angie tells me you're lookin' for some guns. Michael nods. [RICKY] Who said we had 'em? [MICHAEL] Fella named Pavlon told me to look you up. Emile Pavlon. Ricky and D.D. study him. [RICKY] (to Angie) Go get us a coupla cold beers. Relieved, she leaves. [RICKY] You know Emile, huh? How's he doing these days? [MICHAEL] He's in Torreon Federal Prison in Guatemala. [D.D.] Yeah, that's what we heard. Too bad. That where you met him? [MICHAEL] Nope. Met him in a little town called Sabana Grande, Puerto Rico, in '79. He was running Thompsons by the thousands to Belize. We did some business. He told me about you. [RICKY] What'd he say? [MICHAEL] Your prices are too high. Beat. Ricky doesn't show an attitude. [MICHAEL] (continuing) Other than that, he said you had access to the best automatic assault rifles around. [D.D.] Emile still have that tattoo on his arm? [MICHAEL] Which arm? He's got 'em on both. Ricky and D.D. exchange a look, seem satisfied for the moment. [RICKY] Got anything particular in mind? [MICHAEL] (nods) The Nunn X-19. [D.D.] Good choice. Good gun. How many you looking for? [MICHAEL] How many you got? [RICKY] Twenty boxes, eight to a box. [MICHAEL] How much? [RICKY] Fifteen hundred a copy. You want 'em all, two hundred forty thousand. Cash. [MICHAEL] When can we do it? [RICKY] When can you have the money? [MICHAEL] Tomorrow. [RICKY] We'll be ready. When you're ready, contact Angie. ANGLE IN HALL The bedroom door opens and Michael comes out alone. ANGLE IN BEDROOM Ricky puts his arms around Angie, pulls her up against him. [RICKY] (to D.D.) See if you can get a line on Pavlon. I want to know if this guy's who he says he is. CUT TO EXT. HOUSTON MEMORIAL HOSPITAL - DAY [FATHER CARLOS' VOICE] 'The wages of sin is death.' INT. HOSPITAL ROOM - DAY Father Carlos is visiting Roberto, who is recovering from his wound, heavily bandaged. [ROBERTO] I know what the Bible says, Carlos. Mira mano, if you want to talk to me talk to me as a brother, not as a priest. Please. [FATHER CARLOS] I can't separate the two, Roberto. No Christian can. You can't go on living with a foot in each world -- church on Sunday, business-as-usual on Monday. [ROBERTO] Why not? The rest of the world does. [FATHER CARLOS] Roberto, listen to me. You're the youngest. You can change. You can leave this craziness behind you. [ROBERTO] How? By becoming a priest like you? Carlos, one priest is enough for any family. Someone has to fight. [FATHER CARLOS] Why? [ROBERTO] Because if we don't fight we'll be killed -- you know that. Carlos, it's one thing to sit in church and talk about violence and death and how it must end, but it's another thing when you can't drive down the street without wondering if they're behind you. It's another thing when you can't go to your own sister's wedding without being shot. (beat) You talk about me changing. Leaving. What about the family? What should I do, turn my back while they shoot my brothers? I don't think so. [FATHER CARLOS] (gently) They're my brothers, too. Because I won't fight and shoot and kill, does that mean I've turned my back? No, not to my family. But to violence, yes. To sin and death, yes, I have turned my back. They're different things, Roberto. Roberto looks away, troubled. Father Carlos touches his forehead, slowly rises. EXT. HALL - DAY The door opens and Father Carlos leaves. Camera pans the opposite way and we see Angie, waiting. With F.C. gone she slips into the room. CUT TO EXT. MOTEL - DAY The Trans Am is parked in front. Devon's classic, meticulously restored car pulls in and parks. He carries a briefcase in. INT. MOTEL ROOM - DAY - CLOSE ON A BRIEFCASE full of cash as it's opened. [MICHAEL'S VOICE] You never cease to amaze me. WIDER ANGLE Michael and Devon, briefcase open on the table. [DEVON] You almost made me out a liar on this one, Michael. I believe I told you I had every contingency covered. [MICHAEL] Looks to me like you did. [DEVON] By the skin of my teeth. Two hundred and forty thousand dollars is a lot of money to raise overnight. I had to borrow from several accounts, one being the Annual Charity Benefit Fund. [MICHAEL] (smiles) I'll be careful. [DEVON] Please do. He produces a receipt and a pen for Michael to sign. [DEVON] A receipt for the money. [MICHAEL] Don't you trust me? [DEVON] A formality, dear boy. Michael signs it. Devon looks pleased. [DEVON] Very good. I can read it. (beat) How's Kitt? [MICHAEL] Practicing Spanish every chance he gets. By the way, I had him run a make on every car there last night. Interesting collection of people -- two from Peru, one from Canada, a couple from Florida.... [DEVON] Doesn't surprise me. These 'stones' are nomads. They have no permanent address, no families, no roots. They'll rent a house, stay for a week or two and suddenly disappear. It seems they've adopted the tactics of guerilla warfare and brought it home. The Lagunas are sitting ducks. (beat) When will you know if it's on? [MICHAEL] When the phone rings. [DEVON] Don't take any chances. The serial numbers on those bills have been recorded. When you take possession of the weapons, phone me. Michael nods, preoccupied. The phone rings and they react. CUT TO EXT. RURAL ROAD - DAY The Trans Am flashes by. INT. TRANS AM - DAY Michael and Angie. She looks troubled, tense. [MICHAEL] We meeting them at the house? [ANGIE] Somewhere else. (beat) I'm sorry about last night. The way they treated you.... [MICHAEL] All in a day's work. But thanks. [ANGIE] You seem...different. [MICHAEL] From what? [ANGIE] The other people in this business. [MICHAEL] So do you. He smiles. She looks at him for a moment then glances away, keeping her thoughts to herself. EXT. RURAL ROADS - DAY - SEVERAL SHOTS as the Trans Am barrels through the quiet countryside. INT. CAR - DAY They drive into raw outlands. [ANGIE] Turn left on that little road. Michael slows, turns left on a rutted dirt road. EXT. ABANDONED WAREHOUSE - DAY The Trans Am pulls in, parks fifty yards from a windblown old warehouse. They get out of the car, Michael with the briefcase. He unobtrusively puts K.I.T.T. in Surveillance Mode. [ANGIE] (suspicious) What's that? [MICHAEL] Computerized auto alarm. Just got it the other day. They get out. Michael looks around, concerned. [MICHAEL] I thought you said they'd supply transportation for the guns. [ANGIE] They did. It's probably in the warehouse. OMITTED ANGLE FROM WAREHOUSE A loose corrugated tin door creaks in the dry breeze. Spooky. Michael and Angie come toward it, two lone figures against a barren landscape. ANGLE ON THEM Angie stops. Michael turns, puzzled. [ANGIE] Go ahead. They're waiting for you. [MICHAEL] I like company. [ANGIE] They don't. Michael debates it, continues toward the hangar with the briefcase. He feels naked. MOVING SHOT WITH MICHAEL The wind blows his hair. A raven caws overhead. ANGLE AT WAREHOUSE He reaches the door, pauses. Inhales, opens it. INT. WAREHOUSE - DAY Dark. Michael steps in. HIS POINT OF VIEW Dirt floor, an abandoned washing machine, old mattresses. Otherwise, it's empty. [ANGIE'S VOICE] Drop the briefcase. He'd considered it, but he'd grown to like her. Even trust her within this limited framework. He was wrong. He turns, sees her standing in the doorway, a .32 pointed at him. [ANGIE] Drop it or so help me I'll shoot you where you stand. He drops it. [ANGIE] Step back. He steps back. She takes the briefcase. [MICHAEL] Is this the way the stones do business. [ANGIE] They don't know anything about this. If you try to follow me I'll shoot. I'm sorry, Michael. She steps outside, locks the door and disappears. [MICHAEL] (comlink) Kitt, activate your scanners! Is there a car in back? [K.I.T.T.'S VOICE] No, Michael, but there is a helicopter. The sudden roar of an engine startles him. [MICHAEL] (comlink) Kitt, get in here! ANGLE ON K.I.T.T. He shoots forward, tires squealing. ANGLE ON WAREHOUSE K.I.T.T. goes through it like it was papier-mache, corrugated walls flying with impact. ANGLE IN WAREHOUSE K.I.T.T.'s driver door pops open and Michael, running, leaps in. ANGLE AT REAR OF WAREHOUSE A Bell two-saater helicopter is lifting off as the Trans Am bursts through the wall. The helicopter lifts up and away. ANGLE IN TRANS AM [MICHAEL] Kitt, we've got to catch that copter! [K.I.T.T.] I'll do my best, Michael. WIDER ANGLE The helicopter rises in the sky and the Trans Am, smoking rubber, sets off after it. FADE OUT END OF ACT TWO ACT THREE FADE IN EXT. AIRFIELD AREA - DAY Trans Am races after the helicopter. INT. TRANS AM - DAY Michael activates K.I.T.T.'s full array of electronic surveillance capabilities. [MICHAEL] Kitt, I'm activating your surface to air surveillance mode and the Microwave Jammer. [K.I.T.T.] Michael? [MICHAEL] Yeah? [K.I.T.T.] She's got Devon's money, doesn't she? [MICHAEL] (heavy) Yeah. INSERT - MONITOR A radar-like blip shows the helicopter slowly pulling away from the Trans Am. BACK TO MICHAEL [K.I.T.T.] Do you know who The Foundation's Annual Charity Benefit is for? [MICHAEL] Don't tell me. [K.I.T.T.] Widows and orphans. [MICHAEL] (winces) Like I said, Kitt -- we've got to catch that copter. EXT. ROAD - DAY The Trans Am hurtles past, a blur. EXT. MOUNTAIN - DAY The helicopter rises to clear the mountain, its engine coughing and sputtering from insufficient electricity. INT. HELICOPTER - DAY Angie and the pilot look concerned. EXT. MOUNTAIN ROAD - DAY The Trans Am zooms up a narrow mountain road. [MICHAEL'S VOICE] It's working, Kitt! She'll have trouble clearing that peak. INTERCUT - TRANS AM The Microwave Jammer glows. [MICHAEL] Give me everything you've got on the Jammer. Pull enough juice from her coil to bring her down and I'll erect a monument in your name. EXT. PEAK - DAY The helicopter, sputtering, struggles to clear the peak. The Trans Am is right behind it, now under it. INSIDE CAR Michael pops the sun roof, puts K.I.T.T. on Auto Drive and starts to climb out. [MICHAEL] Steady, Kitt.... [K.I.T.T.] Michael! The car comes to an abrupt stop. [MICHAEL] What happened?! [K.I.T.T.] I was forced to activate my retro rockets. Michael, look. He looks, reacts. EXT. PEAK - DAY The car is half-suspended over a cliff. Below lies a steep gorge which is impassable. BACK TO MICHAEL If K.I.T.T. could make it, it would take more time than they've got. Michael looks at the monitor, sees the bleep of the helicopter go off the screen. It's suddenly silent. [K.I.T.T.] Widows and orphans, Michael. [MICHAEL] Kitt? [K.I.T.T.] Yes, Michael? [MICHAEL] No monument. EXT. PEAK - DAY The Trans Am slowly starts back the way it came. EXT. CATHOLIC CHURCH - DAY The Trans Am speeds in, screeches to a stop. Michael jumps out, hurries inside. INT. CHURCH - DAY Michael is with Father Carlos, who's equally distraught. [FATHER CARLOS] I don't know anything about her. [MICHAEL] You gave me her name! [FATHER CARLOS] It was given to me. [MICHAEL] By who? [FATHER CARLOS] I can't tell you. [MICHAEL] You've got to tell me -- she robbed me, she's got two-hundred and forty- thousand dollars I'm responsible for! [FATHER CARLOS] It was given to me in the sanctity of the confessional. I'd be violating my vows if I told you. (beat) I'm sorry, Michael. Please try to understand. The tension draws from Michael, dismay replacing it. [FATHER CARLOS] Roberto's disappeared. [MICHAEL] (reacts) I thought he was in the hospital. [FATHER CARLOS] He checked out an hour ago -- against medical advice. No one's heard from him. [MICHAEL] You don't think the Stones.... [FATHER CARLOS] I don't know what else to think... do you? Michael pauses before answering, struck by a thought. [MICHAEL] I'll let you know. He hurries out. CUT TO INT. HOSPITAL ROOM - DAY A Nurse prepares the room for a new patient being wheeled in. Michael appears behind the patient. [NURSE] I'm sorry, visiting hours are over. [MICHAEL] I'm not visiting, I'm here to inquire about the patient who was in this room -- Roberto Laguna. [NURSE] You'll have to check with Admissions. [MICHAEL] I've checked with Admissions, they don't know -- were you on duty when he left? [NURSE] I'm really not authorized to answer these questions --- [MICHAEL] Miss, this could be a matter of life and death. [NURSE] Whose? [MICHAEL] Mine among others. [NURSE] (beat) It was kind of strange...They hurried out, like someone was after them. [MICHAEL] 'They?' Who was he with? [NURSE] A girl. CUT TO EXT. HOSPITAL PARKING LOT - DAY Michael and the Nurse sit in the Trans Am, doors open. [MICHAEL] (to K.I.T.T.) I need a visual on Angie -- lets see, brunette hair, blue eyes --- [K.I.T.T.] I can do better than that. [NURSE] (reacts) What's going on here? What kind of car is this? A photo-like image of Angie appears on the monitor. [MICHAEL] Is that her? [NURSE] My God, it's amazing.... [MICHAEL] (urgent) Is it? [NURSE] Yes. ANOTHER ANGLE - THE TRANS AM speeds out, leaving the Nurse staring after it. [MICHAEL'S VOICE] Give me all you've got on Angie -- full name Angeline Martin. [K.I.T.T.'S VOICE] Devon is calling. [MICHAEL'S VOICE] Tell him I'm...in transit. CUT TO INT. TRANS AM - DAY Computer lights flash and whir. [K.I.T.T.] Angeline Martin, Texas driver's license number F 10762B. No regis- tered vehicle. No current address. Father, deceased. Mother, where- abouts unknown. [MICHAEL] Great. [K.I.T.T.] I'm not finished. [MICHAEL] Sorry. [K.I.T.T.] Sister, Monica Johnson, divorced. Angie used her address for mail until two months ago. [MICHAEL] If they're looking to lay low for a day or two it's worth a shot. Where's she live? [K.I.T.T.] Gatesville, Texas, thirty-nine miles west, southwest of Waco. [MICHAEL] If Angie doesn't own a car, what about Roberto Laguna? [K.I.T.T.] A light green sedan, license plate 375 RKJ. [MICHAEL] Kitt, plot me the most likely route from here to Gatesville. [K.I.T.T.] Si. Lights flash and a route appears on the monitor. [K.I.T.T.] Devon's calling again. [MICHAEL] Tell him.... [K.I.T.T.] Michael, I'm not constitutionally constructed to lie. [MICHAEL] None of us are, Kitt. Think of it as a temporary condition for a good cause. [K.I.T.T.] What cause? [MICHAEL] My hide. EXT. HIGHWAY - DAY The Trans Am shoots by. INT. TRANS AM - DAY Michael is discouraged. [MICHAEL] They could be heading for Mexico for all I know. (beat) Activate scanners, Kitt. [DEVON'S VOICE] Michael? It's Devon. Are you there? [K.I.T.T.] You might as well face up to it. [MICHAEL] Thanks, pal. He's ready to push the com-button when: [K.I.T.T.] I've got a reading! License plate 375 RKJ. EXT. HIGHWAY - DAY The Trans Am accelerates, passing more cars. [MICHAEL'S VOICE] Tell Devon, 'No en casa.' CUT TO EXT. MOTEL - DAY A light green sedan pulls in and parks, Angie getting out with an armful of take-out food and the briefcase, Roberto with her, limping on crutches. They go to their door, open it. INT. MOTEL ROOM - DAY Angie comes in, freezes. REVERSE ANGLE - MICHAEL is sitting on the sofa. [MICHAEL] Buenos dias. Roberto goes for a gun but Michael is across the room in three steps, takes it away from him. [ANGIE] (stares) How did you find me? I can't believe you found me.... [ROBERTO] What do you want? [MICHAEL] We can start with the money. He holds out his hand. Reluctantly Angie hands him the briefcase. He opens it on the coffee table, checks to make sure it's all there. It isn't. [MICHAEL] How much is gone? [ANGIE] Four hundred dollars and some change. Helicopters aren't cheap. [MICHAEL] Not much is these days. Except maybe promises. (beat) Don't just stand there. Come on in. Make yourselves comfortable. They close the door and sit, uncomfortable. [ROBERTO] You got your money back. What do you want from us? [MICHAEL] For a change of pace the truth. Why did you set me up? [ANGIE] I had no other choice. [MICHAEL] I don't know what that means. [ANGIE] (beat) I don't know where to start...all right, you want the truth, Roberto and I met at The Embers three months ago. We fell in love. We didn't mean to, it just happened...then we real- ized we couldn't be in love, not in Houston, not in Texas as long as the Lagunas and the Stones are at war. We wanted to leave but we had no money...and then you came along with a briefcase full of cash. It seemed like providence. [MICHAEL] It wasn't. She looks away, not proud of herself. [ROBERTO] Who are you to talk? To judge? You deal illegal weapons. [MICHAEL] No, Roberto. I say I deal illegal weapons. There's a difference. They look at him. [ANGIE] Who are you? [MICHAEL] That doesn't matter. What matters is I'm here to stop this warfare. Stop the X-19s from going to Central America or anywhere else... and I still need your help. [ANGIE] You'd trust me after all that's happened? [MICHAEL] I didn't say that. [ANGIE] (beat) What do you want me to do? [MICHAEL] Come back to Houston with me.... [ANGIE] Why? [MICHAEL] You said you did what you did on your own. If that's true, Ricky and D.D. still have twenty cases of Nunn X-19s for sale. Angie is torn, undecided. [ANGIE] This is our chance! If we don't get out now.... [MICHAEL] There's more than you and Roberto at stake here. There's other people, other lives. You can't make a new start until you can walk away from this clean, once and for all. (beat) Come back with me. I need your help, Angie. EXT. MOTEL - DAY The door opens and Michael comes out with the briefcase, pauses. In the doorway, Angie and Roberto embrace. [ANGIE] I'll be back as soon as I can, I promise. CUT TO EXT. HIGHWAY - DAY The Trans Am speeds by, headed for Houston. CUT TO INT. MOTEL ROOM - DAY Roberto paces, wrestling with himself. He picks up the phone and dials the desk. [ROBERTO] (into phone) I want to call Houston. Bill it to the room. He gets a line, dials the phone. [ROBERTO] (phone) Eduardo, es Roberto. Como esta? Bien? (pause) Eduardo, something's happened. I know how we can find Corazones de Piedras.... CUT TO EXT. PHONE BOOTH IN HOUSTON - DAY Camera pans from Angie making a call to the Trans Am, where Michael waits. [MICHAEL] (car-com) Look, Devon, it's all right now --- INTERCUT - DEVON in the Foundation office with Bonnie. [DEVON] Michael, don't tell me you lost the money. [MICHAEL] I didn't lose the money. [DEVON] Then why have you been avoiding me? [MICHAEL] I ran into a few problems. [DEVON] You lost the money. [MICHAEL] Well, I misplaced it, but I got it back. [DEVON] I knew it. Michael, the Charity money is for.... [MICHAEL] (finishes with him) Widows and orphans. (sees Angie returning) Devon, I've got to go. I'll call you as soon as I know what's happening. Give my love to Bonnie. He disengages the car-com as Angie gets in. [MICHAEL] What did you say? [ANGIE] I told them you'd been delayed, but everything was all right now. [MICHAEL] Are we on? [ANGIE] Because we didn't show up today, they want to see the money first, this time. In person. INT. DEVON'S OFFICE - DAY He sighs. [BONNIE] Is he all right? [DEVON] For the moment. [BONNIE] What did he say? [DEVON] He said to give you his love. [BONNIE] Are you sure he's feeling all right? CUT TO EXT. HOUSE IN DESERT - NIGHT The Trans Am pulls in, Michael and Angie getting out. No party tonight, only one other car visible, an off-road truck. INT. LIVING ROOM - NIGHT - CLOSE ON BRIEFCASE as it is popped open. WIDER ANGLE - RICKY AND D.D. count the money while Michael and Angie watch. The mood is tense. [D.D.] It's all here. Ricky nods, closes the briefcase. Looks at Michael. [RICKY] What happened today? [MICHAEL] Ran into a few problems. Ricky nods slowly, studying him. [D.D.] You expecting any problems tomorrow? [MICHAEL] (shakes head) I'll be here with the money. You be here with the guns. [RICKY] Twelve noon. [MICHAEL] That's good with me. [RICKY] This is your last chance. You screw up tomorrow, find somebody else. If you can. [MICHAEL] I'll be here. D.D. hands him the briefcase and they start for the door. [D.D.] Hold on a minute. They stop, Michael with an uneasy feeling. [D.D.] Almost forgot. A fella stopped by, knows an old friend of yours. As if on cue a Man appears from one of the other rooms. He's older, late forty's, a friendly if crafty face. He speaks with a slight French accent. [MAN] My friends here tell me you know Emile Pavlon. [MICHAEL] (beat) Yeah...yeah, I do. You know Emile? [MAN] One of my closest friends. Then he went to Guatemala and... (smiles) I'd visit him, but I have an aversion to prison. He smiles. Michael smiles, uneasy. [MICHAEL] I know what you mean. [MAN] Nice to meet a friend of Emile's. Good luck. [MICHAEL] Take it easy. They leave. There's a silent moment, then Ricky and D.D. look to the Man. [RICKY] You know him? [MAN] I've never seen him before. Do you think he's with the Lagunas? [RICKY] That'd be my guess. They been trying to get a fix on us for months. [D.D.] We'll have a few surprises for 'em tomorrow. D.D. peels off five thousand dollar bills, hands them to the Man. [D.D.] Always a pleasure doing business with you, Emile. FADE OUT END OF ACT THREE ACT FOUR FADE IN EXT. ROAD - NIGHT The Trans Am heads back toward Houston. INT. TRANS AM - NIGHT Silence in the still countryside. Angie looks at him. [ANGIE] Don't be too angry with me. [MICHAEL] Right now, I'm more concerned with who that fella back there was. [ANGIE] Who do you think he was? [MICHAEL] I don't know, that's the problem. (looks at her) Do you know? [ANGIE] (hurt) No. I lied to you, Michael. I'm not asking you to excuse it, just try to understand it. (beat) I won't do it again. [MICHAEL] I'd like to believe that. [ANGIE] You can. A moment passes. [MICHAEL] I just hope Roberto stays where he is. [ANGIE] He's waiting for me -- why wouldn't he stay? He loves me. [MICHAEL] I don't doubt that. [ANGIE] Then what do you mean? [MICHAEL] He's been in love with you for months, but he's been a Laguna all his life. CUT TO EXT. MOTEL - NIGHT The Trans Am pulls in and parks, Michael getting out. INT. MOTEL ROOM - NIGHT Camera pans the dark room, Michael's clothes over a chair, reaches the bed where he lies. Camera moves in and we realize he's awake. Sleepless. Now footsteps, pausing at the door. Michael leaps out of bed and moves behind the door. A knock. [MICHAEL] (making voice sound sleepy) Who is it? [DEVON'S VOICE] Devon. Relieved, he opens the door, turns on the light. Devon steps in, reacts to Michael's appearance. [DEVON] Going out? Michael realizes he's nude except for shorts, smiles, gets his pants and puts them on. [MICHAEL] What's up? [DEVON] I was in the neighborhood. [MICHAEL] Right. And I'm a high-wire walker on my way to the circus. Devon smiles, sits down. Looks at him. Michael can tell he's got something important on his mind. [MICHAEL] What? [DEVON] I've been in constant touch with Guatemalan authorities. [MICHAEL] I appreciate that. [DEVON] Emile Pavlon escaped from Torrean Prison day before yesterday. Their eyes catch. Michael feels the news in his stomach. Devon rises, moves to Michael. [DEVON] I want you to cancel the buy tomorrow. [MICHAEL] Why? [DEVON] Michael, he had help! Somebody paid off the guards. [MICHAEL] It could've been someone else. [DEVON] It could've been someone working with the Stones, too. Emile Pavlon had been in prison over two years. Doesn't it strike you as peculiar he escaped the day after you used his name to fit your cover? Michael paces. [DEVON] Michael, I appreciate your dedication. I admire your courage. I do not, however, want to mourn your death. [MICHAEL] What about the other deaths, Devon? The innocent people caught in the crossfire in Houston. The peasants in Central America. A moment between them. [DEVON] As always, it's your decision. He moves to the door, pauses. [DEVON] If you decide not to take the chance, call me. [MICHAEL] If I don't call? [DEVON] I'll be waiting on standby as agreed. Whatever you decide, I'm behind you all the way. CUT TO INT. TRANS AM - DAY - MOVING SHOT Michael and Angie drive in silence. The tension is palpable. [ANGIE] Michael? I don't know what it is.... [MICHAEL] What? [ANGIE] I'm so scared. I have this awful feeling...It's going to be okay, isn't it? [MICHAEL] It'll be okay. CUT TO EXT. ROAD TO HOUSE - DAY The Trans Am comes over the rise. INT. TRANS AM - DAY They look. THEIR POINT OF VIEW - THE SAME AS BEFORE - THE OFF-ROAD TRUCK parked where it was. Nothing has changed. BACK TO THEM Angie starts to get out but Michael stops her. He activates the scanner. [ANGIE] What're you doing? [MICHAEL] I'll explain later. [K.I.T.T.] There's no one inside. [ANGIE] What is that -- that voice --- [K.I.T.T.] Michael, there are four cars approaching. [MICHAEL] How far away? [K.I.T.T.] Two hundred yards and closing fast. I've also detected movement in the ravine by the road. Michael activates the radar probe. [MICHAEL] Pinpoint it for me. OMITTED ANGLE ON MONITOR The radar probe reveals the Stones half a dozen strong, lead by Ricky and D.D., lining either side of the road. They are fully armed, combat-ready. In addition to the Nunn assault rifles, there is an antitank bazooka and other assorted weapons. [MICHAEL] Ambush. Notify Devon --- [K.I.T.T.] Michael? Over the rise. THEIR POINT OF VIEW - THE FOUR CARS appear, one behind the other, loaded with men. The lead car we remember from before -- Roberto's light green sedan. BACK TO THEM [ANGIE] (reacts) Roberto! Oh, God, no.... Before Michael can grab her she's out of the car and running toward the road. [MICHAEL] Angie! [ANGIE] He'll be killed! They'll all be killed! She continues running, waving her arms wildly in hopes of alerting the Laguna cars. ANGLE IN RAVINE D.D. points out the Laguna cars to Ricky. [D.D.] Just like we figured -- the whole bunch of 'em. Ricky raises field glasses. [RICKY] They think we gave 'em hell in Houston, wait'll they see what we got waiting for 'em here -- (reacts to some- thing off) What's that? THEIR POINT OF VIEW - THE TRANS AM is speeding toward the road, toward Angie. ANGLE IN CAR Michael behind the wheel. [MICHAEL] Hang on to your fenders, pal, this one could be tough. [K.I.T.T.] Michael, surely you don't expect me to.... ANGLE ON ROAD A land mine explodes beneath the car, rocking it violently. ANGLE ON ANGIE Fifty feet ahead of the car, running, waving to the approaching Laguna cars, screaming. INTERCUT - STONES Dismayed the mine hasn't taken out the Trans Am, they train all their firepower on it. ANGLE IN CAR Michael accelerates, pushes Auto Drive. [MICHAEL] Keep it steady, Kitt, and open the door...now! ANGLE FROM ROAD The passenger door opens just as the car parallels Angie. Michael reaches out with both hands, half-suspended out the car, grabs ger as they pass. ANGLE IN CAR He hauls her in like a sack of potatoes. [MICHAEL] Full speed, Kitt! INTERCUT - STONES Desperate to stop the car, determined, they rise from their bunker-like positions and open up with every weapon in their arsenal. INTERCUT - CAR It is hit from all sides in a withering assault. More land mines explode beneath it. The body shudders and shakes, is literally lifted off the road by the land mines, progress impeded but never stopped. INTERCUT - STONES They attack with a vengeance as the Trans Am passes, run out onto the road to continue firing. WIDER ANGLE - THE TRANS AM succeeds in running the gauntlet just as the Laguna cars arrive. He lets Angie out, hits the accelerator. [MICHAEL] Got an idea, Kitt. A little tear gas.... ANGLE ON LAGUNAS They screech to a stop, one car behind the other, forming a rough half-circle. The men leap out and begin firing at the Stones. The Trans Am appears, moves in between them. ANGLE IN TRANS AM He pushes the Smoke Release button and turns the steering wheel violently. ANGLE OUTSIDE CAR The Trans Am spins in circles, smoke billowing out, filling the air, spreading. INTERCUT - LAGUNAS Unable to see, they begin to stop firing. INTERCUT - STONES also unable to see. Some of the men start coughing, stop firing. ANGLE ON RICKY Unseen by the others, he sprints away, back toward the house, taking an X-19 with him. ANGLE FROM OFF-ROAD TRUCK Ricky leaps in, fires it up and pulls away, headed for open country. ANGLE ON RISE APPROACHING HOUSE The sound of sirens approaching and half a dozen police cars appears, one after the other. INTERCUT - LAGUNAS They drop their weapons. INTERCUT - STONES They drop theirs as well. ANGLE ON SMOKE It fills the screen and then the Trans Am appears, coming from nowhere, leaping the ravine. ANGLE ON OFF-ROAD TRUCK Ricky is driving, convinced he's escaped. The Trans Am suddenly appears behind him, accelerates over a little rise and lands in the truck bed. ANOTHER ANGLE Michael grabs at Ricky in the cab. Ricky slams on the brakes, jumps out with the X-19, but Michael leaps on him. They trade punches until Michael connects with a solid right. Ricky crumples and goes down. OMITTED ANGLE AT TRANS AM Michael appears with Ricky slung over his shoulder. He lays him over the hood, as one might a bagged deer. OMITTED EXT. ROAD TO HOUSE - DAY The police are searching and handcuffing the Lagunas and the Stones when the Trans Am rolls up, Ricky unconscious across the hood. Everyone stares. ANGLE ON DEVON AND ANGIE waiting. ANGLE ON TRANS AM Michael gets out, crosses to them. Angie sees Roberto, starts to run toward him but an officer stops her. [MICHAEL] He wouldn't be here today if I hadn't brought Angie back. [DEVON] I'll see what I can do. (to officer) I think perhaps an exception is in order here. Michael turns to Angie, watching Roberto. [MICHAEL] It's okay...when this is over, you'll be free, you and Roberto. Devon looks at her, nods it's okay. Angie hugs Michael and runs to Roberto. OMITTED ANGLE ON MICHAEL AND DEVON watching, they smile. [MICHAEL] Need a lift? [DEVON] You don't expect me to hoof it, do you? Michael smiles. They move for the cars. [MICHAEL] I see you're picking up the local vernacular. [DEVON] All I need to learn now is The Texas two-step. LONG SHOT Before anyone can ask how, or who, the Trans Am leaves. Camera rises above the scene, the devastation, staying on the car until it's a black dot on the horizon. FADE OUT END OF ACT FOUR TAG FADE IN EXT. DESERTED HIGHWAY - DAY The same area where Michael and Devon first met. The semi is pulled over to one side, ramp down, Bonnie waiting. ANOTHER ANGLE The Trans Am appears over a rise, glides to a stop at the ramp, Michael and Devon inside. Smiles, ad-lib hellos. Devon gets out. [K.I.T.T.] Bonnie, ai-yee! Ay que chula. [BONNIE] (laughs) Why thank you, Kitt. [MICHAEL] Show off. They laugh. Michael starts to pull K.I.T.T. in when there's a screech of tires behind them. ANOTHER ANGLE It's the hot car from the wedding. The Driver revs the engine. [DRIVER] (grins) Well, look who's here. You did say 'some other time,' didn't you? [K.I.T.T.] (before Michael can answer) I believe those were your exact words. Michael smiles, pulls back off the ramp. [BONNIE] Wait a minute, you owe me a steak. [DEVON] (laughs) She's got you there, Michael. [MICHAEL] One steak, medium rare. Give me five minutes? [DEVON] Only if you buy me one too. Medium well. [MICHAEL] You got it. (to Driver) Okay, mean machine. Pedal to the metal. HIGH ANGLE The hot car is floored, tires spinning. It shoots ahead like a jack rabbit. Then, Michael stands on K.I.T.T. The Trans Am closes the gap within seconds, flies by the hot car and flashes down the road like the hot car is still in low gear. FADE OUT THE END

{"show": "Knight Rider", "season": "s01", "episode": "e13", "title": "Hearts of Stone"}

knightriderarchives

ACT ONE FADE IN OMITTED EXT. ROAD (OR RACEWAY) - STOCK As a hot looking car roars around the track, running a trial heat. CAR - ANOTHER ANGLE - STOCK Impressive, aggresive...pouring it on...going into a curve...then.... INSERT - INT. CAR The driver's foot hits the brakes...nothing! BACK TO SCENE - STOCK The car skids out of control, flips -- bursts into flame! CUT TO EXT. TRANS AM - NIGHT - STOCK Michael is heading for a rendezvous. OMITTED EXT. SEMI - NIGHT It is wheeling down the road. Its ramp descends. EXT. TRANS AM - NIGHT It approaches the semi and gracefully glides up the ramp. INT. SEMI - NIGHT Pull back from a pasted up (a la, kidnappers) note: STOP YOUR RACE OR SOMEONE WILL DIE! We widen, see Devon, Michael, Bonnie. [DEVON] (in midspeech) Leslie Wendall was lucky he walked away from that trial heat alive. [BONNIE] If his car ran on gasoline instead of his special formula, he wouldn't have lasted a second. Michael takes the note, ponders it. [MICHAEL] When was the first one of these notes delivered? [DEVON] Three months ago...the day Doctor Kempler announced the Alternative 2000 race. [MICHAEL] Maybe there's no awesome plot here, Devon. You've got a two hundred thousand dollar purse, not to mention millions in potential profits for the winner. I'd say that's sufficient incentive for slipping a little boronic acid into your neighbor's brake fluid. [DEVON] You're absolutely right, Michael. [BONNIE] All we're saying is that there are other...forces...who would not want to deal with an affordable alternative to the internal combustion engine. [MICHAEL] Are you saying that the oil companies, or Detroit, are out to sabotage this race? (beat) Isn't that a little farfetched? [DEVON] Farfetched or not, our goal is to insure that no further disruptions occur. Therefore, you've joined the field as my personal entry. [MICHAEL] Great. Kitt could win that race with one booster tied behind his back. [DEVON] Your job is not to win the race. It's to determine if there is indeed a saboteur. And if there is, to put him out of business. [MICHAEL] In other words...I wait for the other shoe to drop. [DEVON] Yes. Very simple. [MICHAEL] Very dangerous. [DEVON] Bonnie can fill you in on Kitt's addi- tions. Good luck...and remember --- [MICHAEL] I know...Don't win.... Michael gives Devon a smile and moves over to Bonnie and the car as Devon exits. [MICHAEL] What you got cooked up here? [BONNIE] I've augmented Kitt's scanning system with a special infrared Tracking Scope. Bonnie flicks a switch on the dashboard. INSERT - VIDEO MONITOR We see a grid that looks like a combination radar screen/ video racing game. [BONNIE (V.O.)] By monitoring the heat from their engines, you'll be able to track the other cars within a ten-mile radius. BACK TO SCENE An impressed Michael gives Bonnie a hand as she climbs out of the car. [MICHAEL] That's great. Now how about some dinner when you finish up here? [BONNIE] I'd love to, Michael, but I'll be spending the night with Kitt. [MICHAEL] Okay, I was just asking. You two have a good time together. [BONNIE] Michael, I'm just going to convert his engines to run on liquid hydrogen. Then I've got to reprogram his.... [MICHAEL] Hey...you don't have to explain to me...Kitt, don't take advantage of her. [K.I.T.T.] I won't. [BONNIE] (laughing) Will you get out of here? He smiles and leaves. [BONNIE] Kitt, I hope you're not picking up his warped sense of humor. [K.I.T.T.] I'm trying my best not to. Bonnie sits in the driver's seat. [BONNIE] Good. Suddenly she jumps a little like she's been pinched on the bottom. [BONNIE] Kitt! Try a little harder. ANGLE - K.I.T.T.'S SCANNER He flashes it devilishly. EXT. TRANS AM - DAY - STOCK It's the next morning and Michael is on his way to the race. INT. K.I.T.T. - TRAVELING Music is playing. Michael taps the wheel in time...the music cuts out. [K.I.T.T.] Michael...if I may interrupt your 'boogying'...I can serve you better if I'm familiar with your strategy. [MICHAEL] Good point, Kitt. Our game plan is simple. We lie low, blend in with the other racers. Get to know them -- on and off the course. Wait for the saboteur to make that fatal slip. [K.I.T.T.] In other words, Michael...as usual... we're winging it. Michael laughs. EXT. STAGING AREA - DAY The camera's sweep takes in the bustle and activity. Mechanics, onlookers and participants mingle around the cars. There are vendors selling junk food. ANGLE - TRANS AM Michael pulls into the staging area and parks near to where Devon stands talking to Dr. Kempler, the sponsor of the race. [DEVON] (to Kempler) Ah, they're here. Michael gets out of the car. [DEVON] Michael, I'd like you to meet Doctor Kempler. They shake hands. [KEMPLER] I've heard a lot of good things about you, Michael. [MICHAEL] I hope I can be of some help. [DEVON] Yes, we all do. [KEMPLER] Devon, we better get to that paperwork. I still need your signature on the entry forms. [MICHAEL] See you later. Devon and Kempler walk away. Some of the spectators see K.I.T.T. and come over and ogle. Among them is a bouncy young lady in tight jeans and a racing jacket. She is Liberty Cox, a hip twenty-five-year-old photojournalist for New Wheels Magazine. She carries a large, well-worn, multi-zippered leather bag slung across her shoulder. An expensive camera dangles from her neck. Standing a few feet away from Michael, she silently lines up a shot with her camera. When it clicks, Michael turns around. [LIBERTY] Nice body. Liberty runs her hand along K.I.T.T.'s fender. [LIBERTY] (smiles) Nice car, too. (beat) You must be the late entry. I'm Liberty Cox.... She extends her hand. Michael shakes it, admiring her charms. [MICHAEL] Michael Knight.... Liberty is intrigued by K.I.T.T., starts looking at the dashboard. They smile at each other, expressing a mutual interest. [PA VOICE] Will all drivers please report to the main tent. All drivers to the main tent. Thank you. [LIBERTY] It's just over there. We see the tent nearby and the various drivers streaming toward it. Liberty starts walking with Michael. [LIBERTY] You win the prize for wildest dashboard, hands down. [MICHAEL] Yeah? Where do I pick it up? [LIBERTY] I'll find out and let you know. They arrive at the tent as the last of the drivers enter. There is a lean, authoritative man standing at the entrance to the tent. He is Ed Shaw, the race coordinator. [MICHAEL] Hi, I'm driving for Devon Miles. [SHAW] So you're Michael Knight.... Shaw extends his hand. They shake. [SHAW] Ed Shaw. Race coordinator. (re: K.I.T.T.; admiringly) I'd say whoever built your car knew what he was doing. [MICHAEL] He sure did. Michael starts to enter tent. [SHAW] Best of luck. [MICHAEL] Thanks. He is about to enter the tent with Liberty right behind him. Shaw puts out a hand, stopping her. [SHAW] Where do you think you're going? [LIBERTY] I beg your pardon. [SHAW] This meeting is for drivers only. [LIBERTY] (bluffing) Do you happen to know who I am? [SHAW] I sure do, lady. That's why you're staying put right here. [MICHAEL] (to Liberty) Catch you later. ANGLE - LIBERTY She gives Shaw a dirty look as Michael enters. Follow her as she goes back to K.I.T.T., looks at the car for a beat, then goes for the door handle. INSERT - HANDLE She is unable to open it. BACK TO SCENE Frustrated, but undaunted, Liberty takes her lens cap off, focuses up close and tries to get a shot of K.I.T.T.'s dashboard through the window. She is startled to see the window suddenly darken, preventing her from taking a picture. She reacts to the amazing transformation. INT. TENT - DAY - (OR BRIEFING ROOM) Shaw stands near a map of the race. Tighten on the map to see the course of the race is a circle. The starting line is the same as the finish line. The drivers are assembled in front of the map. They eye each other distrustfully. Michael reacts to the tension. We pick Shaw up as he finishes diagramming the race. [SHAW] Now, remember, you'll be clocked at the two overnight pit stops...The first day every car is handicapped according to its starting position and its own specs. The next two days are a flat out race for the flags. Two thousand miles over all...Doctor Kempler and I have designed this course to challenge you. Not every road is going to be in top notch condition. Now, I realize what's at stake...but let's be care- ful out there.... The drivers start for the door. [SHAW] One more thing. In case you haven't already noticed, we have a new driver. Meet Michael Knight. Everyone looks at Michael, no one is elated to see a new driver. [KEMPLER] Ed, just a second. Before you go I'd like to introduce Clark Sellers. If it weren't for his generous contri- bution you'd be racing for a lot less than two hundred thousand dollars. ANGLE - CLARK SELLERS [SELLERS] (joking) Yeah, about a hundred ninety-five thousand dollars less. The drivers laugh. [SELLERS] But seriously folks, I consider that a bargain to get the exclusive world wide television rights to this race. I think it's going to be an exciting event and the Sellers Cable Network is proud to be broadcasting it. Now go out there and show the world that the future is alternative energy -- and cable television. OMITTED EXT. STAGING AREA Michael is holding his piece of paper as he walks toward K.I.T.T. He sees Dorothy giving her car a once-over and approaches her. [MICHAEL] Hi, there. What's your starting position? [DOROTHY] Mr. Knight, before you go any further, I think you should know I have no intention of making friends here. I'm interested in two things: Finishing first -- and doing so in one piece. Now if you don't mind.... She gets into her car. [MICHAEL] I guess I'll see you at the finish line. Liberty enters the shot as Michael walks over to K.I.T.T. [LIBERTY] Nice try. But she's not your type. Michael walks around K.I.T.T. checking to make sure he's ready to go. [MICHAEL] Who are you anyway? [LIBERTY] I already told you. Liberty.... [MICHAEL] Cox. I know. What I meant was, why were you trying to sneak into that meeting? [LIBERTY] I'm covering the race for New Wheels Magazine. She unsnaps her jacket, revealing a tee shirt embossed with the logo-lettering of New Wheels Magazine. [LIBERTY] Ever read it? [MICHAEL] Once...or twice. [LIBERTY] Actually, I'm not going to just cover the race, I plan to experience it. If you know what I mean...give my readers a little insight into what it's like to ride in an event like this. I imagine it's terrifically stimulating. [MICHAEL] It is. [LIBERTY] How would you like to show me? Michael and Liberty stare into each others' eyes as she waits for an invitation to join him. None is forthcoming. [MICHAEL] Sorry. I travel solo. ANOTHER ANGLE The Prince brothers drive up in the Charger like they were cruising Van Nuys Boulevard. Sonny pounds the side of his door and leans out the passenger side, calling out to Liberty. [SONNY] Hey, sweetheart, how'd you like to ride in the lead car? [LIBERTY] No thanks, boys. (to Michael) Believe it or not, that car's supposed to run on moonshine. [LESTER] Hey, sugar, you don't know what you're missing. [MICHAEL] Sounds like they're already halfway through their fuel supply. Helmut Gras, in his Porsche, pulls up behind the Charger and honks his horn loudly. [GRAS] (angrily) Get out of the way, you fool. [SONNY] Who you calling a fool, schnitzel breath. As they argue, Michael gets into K.I.T.T., shuts the door. [MICHAEL] (to Liberty) See you at the pit stop. Michael drives away. Liberty watches him go, curses silently, then goes over to the Japanese, Hito Osaka, who drives a Toyota. She sticks out her thumb and Osaka gestures for her to join him. OMITTED ANGLE - STARTING LINE The cars file into line. The Charger is first. Kempler holds the flag. Shaw has a stopwatch and clipboard. [PA VOICE] Ladies and gentleman, in car number one, fueled by their uncle's original recipe, Sonny and Lester Prince. Kempler drops the flag. Shaw starts his stopwatch, and the race begins. As the Princes drive off with a rebel yell, a stash of balloons is released, television cameras roll and the audience applauds. [PA VOICE] In car number two, driving what might be the most advanced electric automobile in the world, from West Germany, Helmut Gras. Kempler indicates he can start and Gras quickly accelerates, Shaw recording his starting time. (He follows the same procedure for all six cars, and it happens very quickly.) Osaka pulls up to the starting line. Liberty is with him. After the intro, each car takes off. [PA VOICE] In the third car, from Japan, running on propane, Hito Osaka... In a solar-powered vehicle we have Dorothy Arnold.... OMITTED ANGLE - TRANS AM waiting to start. [MICHAEL] Ready, Kitt? [K.I.T.T.] Michael, do you realize that this whole race is unnecessary? [MICHAEL] How's that? [K.I.T.T.] The car of the future is already here. Me. [PA VOICE] From Los Angeles, running on liquid hydrogen, Michael Knight. [MICHAEL] Let's go. Michael takes off as the Islamic Dune Buggy drives up. [PA VOICE] Next up from the Sheikdom of Kuwait, Hashi Al Qatar. He takes off leaving one ND car -- that of Andy Russel -- left to start. But we.... CUT TO EXT. RACE - VARIOUS ANGLES - DAY The cars are bunched as they head into the open spaces. We see that each driver is very intense as they jockey for position. They come close to bumping each other. ANGLE - DUNE BUGGY Hashi has been driving particularly ferociously. As he spins around a turn and heads up toward the highway, he pulls abreast of the Porsche which is in the lead. As they barrel down the road we see that two lanes narrow into one. ANOTHER ANGLE As the two cars come toward the camera, it's neck and neck to see who gets the inside track on the lane and wins this initial game of chicken. ANGLE - PORSCHE as it overtakes the dune buggy, gains the single lane and causes Hashi to swerve and spin out on the side of the road. ANGLE - HASHI as he mutters silent oaths to the aggressive driver of the Porsche. He watches as the other cars pass then pulls back onto the road and joins the race. INT. TRANS AM - DAY Michael has just witnessed the incident. [MICHAEL] No doubt about it, these guys are playing for keeps. QUICK DISSOLVE TO EXT. MOUNTAIN ROAD - DAY From a high angle, we see the Toyota, Porsche and Charger in the lead positions. ANGLE - TRANS AM by itself. [K.I.T.T.] Michael, why do you have my engines on half-throttle? [MICHAEL] Because we're gonna lay low in the middle of the pack and wait for the saboteur to tip his hand. [K.I.T.T.] Of course, your infamous 'plan.' [MICHAEL] What's wrong with it? [K.I.T.T.] Nothing, if your intention is to tie the hands -- so to speak -- of the world's most remarkable automobile. [MICHAEL] Take it easy, Kitt. We're under strict orders from Devon not to flaunt it. Now hit the data banks and give me a rundown on the competition. [K.I.T.T.] As you wish, Michael. Beginning with the letter 'A' there's Dorothy Ackridge, the woman you attempted to pick up.... INSERT - VIDEO MONITOR We see a photo of Dorothy Arnold. [MICHAEL (V.O.)] Kitt, I was just trying to be friendly. [K.I.T.T.] Whatever. She is the daughter of Henry Ackridge. BACK TO SCENE [MICHAEL] Henry Ackridge? The President of Ackridge Automotive? [K.I.T.T.] Incorporated. [MICHAEL] Hmm, kind of makes you wonder why she's driving a solar-powered car. (beat) Do you have a read on her? Michael pushes a button on the dash. INSERT - VIDEO MONITOR We see the tracking scope in action. [K.I.T.T. (V.O.)] She's approximately two miles behind us. I'll decrease my speed so she can catch up to us. BACK TO SCENE [MICHAEL] Good idea. EXT. SOLAR CAR Dorothy is tooling along. OMITTED ANGLE - TRANS AM It passes in front of a hill. We pull back to a vantage point from atop the hill. Presently a rifle enters the shot. (The camera is over the shoulder and we can't see who's holding the gun.) ANOTHER ANGLE THROUGH A TELESCOPIC LENS The sniper is lining up the Trans Am. As it enters the center of the target and the sniper is about to fire.... [FREEZE FRAME] END OF ACT ONE ACT TWO FADE IN EXT. MOUNTAIN ROAD - DAY - ANGLE TRANS AM It is racing down the road when a shot rings out. INSERT - K.I.T.T.'S TIRE A bullet hits the indestructible tire and ricochets. [MICHAEL (V.O.)] Kitt, what was that? [K.I.T.T.] A bullet. We're being shot at Michael. ANGLE - GUNMAN - OVER THE SHOULDER Seeing that the Trans Am has not been damaged, the gunman spots the solar car, takes aim and fires. ANGLE - TRANS AM Michael stops the car. [K.I.T.T.] Michael, there's been another shot. INSERT - VIDEO MONITOR The dot representing Dorothy's car swerves. [K.I.T.T. (V.O.)] The solar car's been hit. ANGLE - SOLAR CAR Dorothy is fighting to regain control of her vehicle. She is unable to and the car swerves to the right, then does a quick, out-of-control three-sixty. She continues to spin out, crossing the highway and crashing through a protective barrier and off the side of the road. ANGLE - CAMERA CREW Tucked along the side of the road two men have their camera set up to record the action. When they see Dorothy in jeopardy, the Director excitedly points to the scene and exhorts his partner to get it on film. [DIRECTOR] Are you getting all of this? Zoom in on the solar car. Damn. This is better than the French Connection. And it's for real. I love it! The operator swings the camera and films Dorothy's spin-out. OMITTED EXT. TRANS AM It arrives on the scene, pulls to a stop. Dorothy's car is teetering on the edge. OMITTED ANGLE - K.I.T.T. The grappling hook shoots out and --- ANGLE - SOLAR CAR The hook wraps around the rear bumper. THE SCENE Michael backs K.I.T.T. up, pulling the solar car back up the hill. INSERT - K.I.T.T.'S WINCH - STOCK winding up cable, smoking from the effort. BACK TO SCENE The solar car reaches the security of the plateau. Michael jumps out of K.I.T.T., helps Dorothy out. [MICHAEL] You gonna be okay? [DOROTHY] Yeah. As soon as I stop shaking. Thank you. After the way I acted before...You're very kind. [MICHAEL] You'd do the same for me. Dorothy knows she wouldn't, so she doesn't respond. [MICHAEL] Wait here. I want to take a look at your car. OMITTED ANGLE - MICHAEL He goes to the tire of her car and sees a gaping hole. Michael removes something from the mangled tire. INSERT - MICHAEL'S HAND He cups the remnants of a bullet. OMITTED EXT. FURNACE SPRINGS SPA PARKING LOT - DAY All the drivers except Michael have arrived. There is much commotion and activity in the parking area. Shaw is getting all the times recorded, the cameras are running. The mechanic crews check out each car. A banner proclaiming "Welcome Alternative 2000" is strung above the site (or lettered on the hotel marquee). OMITTED ANOTHER ANGLE The Trans Am enters the parking lot. Michael passes Shaw, who records his time, then pulls up next to the semi where Bonnie is waiting along with Clark Sellers. Liberty, a camera crew and various curious onlookers rush over as Michael and Dorothy get out. [LIBERTY] There she is! As Dorothy gets out of K.I.T.T., she is mobbed. [LIBERTY] Dorothy, can I ask you a few questions. ANGLE - SELLERS He fights through the crowd to get to Dorothy. [SELLERS] Can I get through. Will you clear a path...Thank you. He arrives just as Liberty is about to finish her question. [SELLERS] Stop this at once. Liberty backs off. Sellers is indignant. Kempler joins the crowd. [SELLERS] How can you hound her like that after what she's been through? [LIBERTY] Hey, I'm just trying to find out.... [SELLERS] Your questions can wait. [KEMPLER] Come on, Dorothy. They're ready for you at the first aid station. [DOROTHY] I'm all right. I'm really more concerned about my car. [KEMPLER] Your crew's already working on it. They'll have you back in the race tomorrow. As Kempler directs Dorothy to the hotel, Sellers taps his Director on the shoulder. [SELLERS] As soon as she comes out, get some quotes to go with that footage. And make it big. Milk her for all she's worth. The Director gives him the okay sign. ANOTHER ANGLE Michael and Bonnie watch the carnival-like atmosphere of the group surrounding Dorothy. [BONNIE] How's Kitt holding up? [MICHAEL] Fine. But you might want to run a check on his grappling winch. [BONNIE] That's probably a good idea. Michael takes the bullet from his pocket and discreetly places it in Bonnie's hand. [MICHAEL] And while you're at it, run a check on this. As Bonnie looks at the bullet and then at Michael with uncertainty.... DISSOLVE TO EXT. HOTEL BUILDING - NIGHT - ESTABLISHING INT. HOTEL BAR As the camera pans the room, we see Michael at a table with Gras, Hashi and Osaka. At another table Devon sits with Kempler. Through the glass we see Liberty and the Prince brothers in an outdoor Jacuzzi. [OSAKA] You have to be disappointed with your time today. [MICHAEL] Don't worry about me. I'll catch up. [GRAS] (smiling) I'm sure you'd have finished sooner if you hadn't stopped to help poor Miss Arnold. [HASHI] We know you would never have stopped to help her. [GRAS] (irked at the Arab) Accidents are a part of every race. [OSAKA] The question is, will they continue to happen in this race. [HASHI] (pointing angrily at Gras) They will the way he drives. The German and the Arab glare at each other. Michael gets up to leave, raises his glass and toasts. [MICHAEL] Guys, here's to good sportsmanship. No one drinks. [MICHAEL] Adios. He walks toward the outdoor area. OMITTED ANGLE - HOT TUB [LESTER] Hey, what's with all the questions? We thought you wanted to party. [LIBERTY] Wrong. Liberty sees Michael. She rises out of the tub wearing a clinging tank suit. She grabs a towel. [SONNY] Hey, you don't have to get out. [LIBERTY] Oh, I do. You guys are so unbearably sexy I don't think I can control myself much longer. She heads over toward Michael who has come outside. [SONNY] I told you she's got the hots for us. [LESTER] Then why's she going over to him? ANGLE - MICHAEL AND LIBERTY He smiles as she walks up to him. During their conversation he sips a beer while she dries herself and puts on a robe. [LIBERTY] You seem rather calm for a man who may be the next one to go. [MICHAEL] I take it you're referring to Dorothy Arnold's accident. [LIBERTY] Call it a journalistic hunch, but I think someone's out to win this race by whatever means it takes...like by eliminating the competition. OMITTED ANGLE - ED SHAW He enters the bar, looks around, sees Kempler and heads for the table. ANGLE - DEVON AND KEMPLER The doctor looks like he's under major stress. [KEMPLER] Devon, in light of what your driver discovered...I'm in a total quandry. I'm afraid I'm going to have to.... [DEVON] ...Call off the race? [KEMPLER] You disapprove? [DEVON] That's not for me to say, Gordon. But I'd hate to see your dream die this easily. Give Michael a little more time. [KEMPLER] Can we afford to do that? Shaw arrives. [SHAW] Doctor Kempler, I have to speak to you. In private. [KEMPLER] Ed, I'm not going to keep any secrets from Devon. Sit down and let's hear what you have to say. [SHAW] I think you better come with me. Both of you. The men exchange looks, then get up from the table. ANGLE - MICHAEL AND LIBERTY They see the three men exit. [LIBERTY] Ah, ha. I knew it. Something's up. CUT TO INT. HOTEL ROOM - NIGHT Devon, Kempler and Shaw stand solemnly around the bed. A nervous Spanish chambermaid figets nearby. On the bed is a small, unopened rifle case. [SHAW] (to the maid) You can go now. The maid nods and hastily makes her exit. [SHAW] She said she found it under the bed. Shaw flips open the case. INT. HOTEL HALLWAY - NIGHT The maid comes out of the door. [LIBERTY] Senora, uno momento, por favor. Liberty motions for the maid to join her and they duck into the supply room. INT. HOTEL ROOM - NIGHT The case is now open, revealing a disassembled rifle, the one we saw fire at the solar car. [KEMPLER] What is it? [DEVON] A collapsible Rexman. A highly sophisticated, long-range sniper's rifle. Not at all common. [KEMPLER] Devon, could this rifle be the one that shot at Dorothy's car? [DEVON] According to the test Bonnie ran... definitely. ANOTHER ANGLE Hashi enters the room. He stops dead in his tracks. [HASHI] What is the meaning of this? What are you doing in my room? [DEVON] We're wondering what this is doing in your room. Shaw points to the gun. Hashi sees the weapon and gasps in surprise. EXT. HALLWAY - NIGHT Michael is talking to Devon but we cannot hear what they are saying. After a beat, Devon pats Michael's shoulder, smiles and leaves. Michael walks down the hallway. INT. MICHAEL'S ROOM - NIGHT Liberty is lying on the bed writing in a notebook when the door opens and Michael enters. She smiles excitedly. [LIBERTY] (talking fast) You can breathe easy again. The ordeal is over. Naturally my hunch was right on target. Turns out it was the Arab, though I kind of thought it might be the German.... She writes something on her pad. [LIBERTY] Anyway they just found the smoking gun in his room so it looks like the crisis is over. And I've got a hell of a story...the dark side of competitive --- [MICHAEL] (interrupting) What are you doing in my room? [LIBERTY] (looks up) I thought I'd surprise you. I hope you don't mind. [MICHAEL] As a matter of fact, I do. [LIBERTY] Hey, I was just trying to be spontaneous. I figured this would be a great opportunity to find out what makes a man like you tick. [MICHAEL] I don't think your readers would find me all that interesting. Liberty closes her notebook, gets off the bed and approaches Michael seductively. [LIBERTY] Who cares about my readers. I think you're very interesting. She puts her hands on Michael's waist. [LIBERTY] Are you going to be mad at me all night? [MICHAEL] Unless you give me a reason not to be. She puts her arms around him and kisses him passionately. [LIBERTY] Is that reason enough? [MICHAEL] No, but it's a start. Michael returns the kiss. INT. BAR - NIGHT Devon stands with Kempler and Sellers as they watch two policemen lead Hashi through the lobby. Hashi is visibly enraged. [HASHI] (screaming) This is an outrage. I've never seen that rifle before in my life. You can't do this to me. I warn you. If I'm jailed my country will lodge a formal protest. As the drivers in the bar watch, Hashi is taken out the door. [SELLERS] (to Kempler) I wish you would have told me. I could have gotten this on film. [KEMPLER] It's bad enough publicity as it is. [SELLERS] Doctor, there's a fine line between publicity and news. [DEVON] Call it what you will...I think we can all finally breathe a sigh of relief. [KEMPLER] I hope so. All this commotion is making me a nervous wreck. [DEVON] You can relax now. I think it's safe to say this case is closed. INSERT - HOTEL PARKING LOT - NIGHT - CLOSE ON AN ENGINE All we can see is the engine of a car. We don't know which car. A pair of hands enter the shot and place a small device, obviously some kind of compact explosive, inside the motor. Hold on the unidentified hands doing their dirty work and.... FADE OUT END OF ACT TWO ACT THREE FADE IN EXT. MOTEL STAGING AREA - DAY The cars are being rolled into position, Shaw supervising the crews, giving last minute instructions to the drivers etc. The assembled press is being rounded up and forced to gather behind a rope barricade. OMITTED INT. SEMI - MICHAEL AND DEVON [DEVON] The police did ballistics tests on the rifle and the bullet. They matched. [MICHAEL] That still doesn't mean Hashi pulled the trigger. [DEVON] No, but just because he was driving doesn't mean he didn't, either. He could have pulled off the road, as- sembled the rifle, fired, and in the confusion slipped back into the race. Don't forget, he comes from one of the leading petroleum exporting countries in the world. [MICHAEL] It's too perfect, Devon. I should stay in the race until we're sure that all the shoes have dropped. [DEVON] Are you sure it's not because you want to win? [MICHAEL] Devon! Don't you know me? [DEVON] (smiling) I certainly do. That's why I asked. Michael grins, exits. EXT. SEMI - LODGE PARKING LOT Michael heads towards K.I.T.T. [LIBERTY'S VOICE] Michael! ANGLE TO INCLUDE LIBERTY She bounds over from the staging area, tote bag over her shoulder, looking lovely and fresh in her T-shirt and jeans. [MICHAEL] Good morning. Liberty kisses Michael, joins him. [LIBERTY] No, a glorious morning! A double- header -- I get you and a ride in that mysterious black beauty. I've arranged for sandwiches, a cooler, fried chicken, iced tea --- [MICHAEL] (pained) Liberty...I'm sorry, but you can't ride with me today. [LIBERTY] What?! She stops in her tracks. Michael inhales. [MICHAEL] It's not my decision, it's my sponsor ...Mr. Miles'. Insurance...you know. [LIBERTY] I don't believe you. [MICHAEL] It's true. He --- [LIBERTY] Didn't last night mean anything to you? Don't answer that. She storms off to the staging area. [MICHAEL] Liberty --- [LIBERTY (O.S.)] I don't beg rides, Michael Knight. Rides beg me. The door to the Charger pops open and Lester and Sonny jump out. Lester falls to his knees in a begging position. ANGLE - FEATURING MICHAEL crossing to K.I.T.T., he can't help but watch. He sees Sonny and Lester do their MOS act to persuade her. She looks defiantly at Michael and joins them. Lester lets out with a rebel yell. INT. K.I.T.T. - DAY Michael slides in, surprised to see Bonnie under the dash. She comes up, smiles. Ad-lib hellos. [BONNIE] All set. I wanted to see if I could extend the Tracking Scope's range. [MICHAEL] Did you? [BONNIE] No. But I see you extended yours. She glances in the direction of Liberty, climbing into the Charger. Michael laughs. She leaves. Michael starts K.I.T.T. [K.I.T.T.] Busy morning? [MICHAEL] You could say. [K.I.T.T.] Did Liberty Cox ever find out what makes you tick? Michael double takes his comlink, then K.I.T.T. [MICHAEL] Kitt, didn't anyone ever tell you not to eavesdrop? [K.I.T.T.] I had no choice. After all, I was in Surveillance Mode. [MICHAEL] Then you should have noticed...she left and I went to bed. Michael pulls over to the starting line. ANGLE AT STARTING LINE The various cars gear their engines. Ed Shaw stands facing them, waving a starting flag in the air. At his signal the cars roar off in a cloud of dust. CUT TO EXT. RURAL ROADS - DAY - VARIOUS ANGLES The race is going full tilt through the rustic terrain. From a high angle we see the Toyota, the Charger and the Porsche vying for the lead. The Trans Am places itself strategically between the lead cars and the rest of the pack. OMITTED ANGLE IN TRANS AM Michael is keeping pace. He presses K.I.T.T.'s computer console button. [MICHAEL] Let's run profiles on the remaining drivers and key personnel. [K.I.T.T.] Does the phrase 'key personnel' include Miss Liberty Cox? [MICHAEL] Good idea, Kitt. Let's start with Miss Cox. The computers whir and flash. [K.I.T.T.] Shall we begin with personal data or criminal activities? [MICHAEL] (reacts) Criminal activities? Surely you jest. The lady may be many things, Kitt, but she's no criminal...is she? [K.I.T.T.] You tell me. June, 1980, breaking and entering. Bailed out by her editor. September, 1980, malicious mischief. Bailed out by her publisher.... EXT. RACE - DAY The Trans Am continues, moving away from camera. The litany continues. [K.I.T.T.'S VOICE] January, 1981, invasion of privacy. Bailed out by her father. May, 1981, breaking and entering again.... Continuing, the voice fades. CUT TO EXT. CHARGER - DAY It rattles and bangs over the bumpy road, the sound of laughter over. ANGLE IN CHARGER The Prince brothers are having a great time in the front seat. Lester is at the wheel. Liberty rides shotgun. A discontented Sonny is in back, which is a makeshift bed- room on wheels. Sonny hoists a plastic fuel can and drinks from it, offers it to Liberty. She stares, appalled. Lester isn't drinking. [SONNY] Sure you don't want a pull? Gets your motor running, that's for sure. They howl at her reaction. [LIBERTY] It's people like you who give some- thing serious like alternative fuel a bad name. [LESTER] Bad name hell -- we love it. They drink more from the fuel can. Sonny tries to sneak a kiss. [LIBERTY] Okay, that's it. Stop the car. [LESTER] Are you kidding? After we win this race and get all that publicity, we're goin' to Hollywood. Gonna get us our own TV show. At the mention of the word they emit earsplitting rebel yells. Lester keeps a close eye in the rearview mirror. [SONNY] Pucker up, pretty. With that Sonny lunges for her, wet mouth all over her face and neck. She fights back. [LIBERTY] I'll have you busted for abduction! [SONNY] What's that? [LIBERTY] Kidnapping, you moron! OMITTED ANGLE IN TRANS AM Michael sees what's happening ahead. [MICHAEL] Looks like little Liberty bit off more than she can chew. [K.I.T.T.] If you have any thoughts of rescuing her, Michael, I'd advise you to check my schematic visuals. The road narrows drastically just ahead. [MICHAEL] I see what you mean. In that case, we'd better step on it. He does. THE TRANS AM AND CHARGER - MOVING SHOT The Trans Am leaps forward. Lester floors the Charger, Liberty inside trying to fight off Sonny. HIGH SHOT The road narrows to one lane a hundred yards ahead. The Trans Am barrels past the Charger, swerves in ahead and slows. The Charger bangs into it but the Trans Am continues to slow, forcing the Charger to do the same. Lester and Sonny yell and curse. ANOTHER ANGLE The Trans Am stops. Lester throws the Charger into reverse, backs up, the passenger door opens and Liberty comes flying out. Michael gets out but before he can reach the Charger it's in motion, Sonny throwing her tote bag out, which spills on the ground. The Charger speeds off with rebel yells, leaves them in a rain of dust. ANGLE ON LIBERTY Furious, she quickly gathers her stuff. Michael approaches, her back to him. [LIBERTY] (angry) I don't need your charity! [MICHAEL] Looks like you need somebody's. Unless you want to sit here and eat more dust. ANGLE AHEAD We see the Charger coming, Lester's foot on it all the way. Camera pans to reveal a camera crew just ahead, filming this particular leg of the race. Camera continues panning past the camera crew, zooming in on something high on the hill above. It's the figure of a man, his back to us, unclear. He's got something in his hand. CLOSE ON HIS HANDS The man presses a button on the small unit. ANGLE ON CHARGER A rebel yell for the camera crew as the Charger passes. Then a blinding flash of light and a thunderous explosion. The Charger becomes a ball of flame. ANGLE ON MICHAEL AND LIBERTY They react. [LIBERTY] My God...! Michael grabs her and pulls her to the Trans Am. They leap in and leave with tires spinning. OMITTED ANGLE AT CHARGER It burns out of control as the Trans Am barrels in, slides to a stop, Michael leaping out, Liberty not far behind, camera clicking off photos. OMITTED ANOTHER ANGLE Michael tries to approach, but the flames are too intense. He backs off, realizing there's no hope anyway. [LIBERTY'S VOICE] A little to your left. Michael turns, sees Liberty busily taking photos. He stalks past her, slides into the Trans Am, pushes the auto phone button. [MICHAEL] Devon, it's Michael. You'd better get a wrecker and a coroner's van out here. There's been another 'accident.' He starts back out, is stopped by K.I.T.T.'s voice. [K.I.T.T.] Michael, that was no accident. [MICHAEL] What? How do you know? [K.I.T.T.] My electronic sensors picked up a detonation signal two milliseconds before the explosion. Michael assimilates it, climbs out. [MICHAEL] Thanks, Kitt. He moves to where Liberty stands, the camera to her face but no longer taking pictures. [MICHAEL] Is that all this is to you? An eight-by-ten glossy? She lowers the camera, turns to face him, and he sees the tears running down her cheeks. She starts to say something, can't find the words. He relents, puts his arms around her and comforts her. ANGLE ON CAMERA CREW Excited, they film every moment. OMITTED EXT. PLUSH DESERT MOTEL - CIMARRON LODGE - DAY The staging area is the parking lot, banners flying in the late afternoon breeze. Because of the accidents there's noticeably more interest, more people, national coverage, trucks from several networks present, lots of technical people running around intermixed with various spectators. [VOICES] Here they come! Look -- over there. Where? Who's leading? (etc.) People push forward for a better view. ANOTHER ANGLE Devon and Dr. Kempler appear, Kempler looks depressed. [KEMPLER] What a disaster. Look at this -- not a sober journalistic face to be seen. Not a scientific quarterly writer for miles. It's turned into a blood and guts destruction derby, a car-crash carnival --- Sellers appears behind them, hurries over. [SELLERS] Doctor, you're not going to cancel the race.... [KEMPLER] I don't know what else to do. [SELLERS] There's got to be another alternative. If you cancel now, it'll be interpreted as the failure of alternative energy. The entire concept will be set back ten years. [DEVON] Gentlemen, may I make a suggestion? Since our primary concern is the safety of the drivers, why not let them decide? QUICK CUT TO OMITTED INT. BANQUET ROOM - NIGHT The room has a step-up stage with a microphone, several dozen metal folding chairs, an accordion-like screen that serves as a room divider. Present are Devon and Sellers, who flank Dr. Kempler at the mircophone. All drivers are present, including Michael. Ed Shaw stands to one side. [KEMPLER] (into mike) Thank you for coming, gentlemen... As you can imagine, there's been a considerable amount of concern over what's happened. And a variety of opinion as to whether or not the race should be allowed to continue. Devon Miles came up with what I believe to be the best solution -- since it's really your race, and certainly your lives, he suggested you be the ones to decide whether we continue or not. A buzz of reaction between the drivers. Kempler waits until it subsides. [KEMPLER] All right, gentlemen. Those in favor of continuing, please raise your hands. Virtually all hands go up. [KEMPLER] (to the rest) All right, we'll continue as scheduled. All drivers at the staging area at seven am sharp for the last and final leg of the race. Good luck. ANGLE OUTSIDE BANQUET ROOM The drivers exit, talking quietly among themselves. Michael and Devon appear. [DEVON] We need to talk. [MICHAEL] Just let me catch a quick shower. Devon nods. They go their separate ways. ANGLE IN BANQUET ROOM The room is empty except for Sellers and Shaw, who is leaving. [SELLERS] Where do you think you're going? ANGLE BEHIND ACCORDION SCREEN Liberty is hiding there with a tape recorder, ready to leave herself when she hears Seller's voice. She stops, puts her recorder on record. ANGLE ON SELLERS AND SHAW Shaw turns to face him, not intimidated. [SHAW] Out. Why? [SELLERS] Why? Shaw, how can you act like it's business as usual? (exploding) You killed two people today! [SHAW] Keep your voice down. [SELLERS] To hell with my voice! I hired you to arrange an accident or two, a near miss, a little excitement so I'd at least walk away with a promotable show. Not death! Not murder and mayhem! [SHAW] (face-to-face) You know what's wrong with guys like you, Sellers? You want to have your cake and eat it too. You want acci- dents and explosions and thrills and chills so you can sell what would've been a turkey and keep your sinking little cable network alive. But you don't want any part of the responsi- bility when -- (react) What was that? He looks in the direction of the accordion screen. ANGLE ON LIBERTY Her tape recorder has run out of tape. It clicks, and the record button pops up. She's afraid to breathe. She hears movement. INTERCUT - SHAW He whips the screen back. She's close enough to touch. ANOTHER ANGLE She gasps and runs but Shaw grabs her from behind, claps a hand over her mouth. She struggles to no avail. FADE OUT END OF ACT THREE ACT FOUR FADE IN EXT. CIMARRON LODGE The remaining five or six race cars are being tuned up and primed for the next leg of the race. K.I.T.T. is notable for its absence. [PA VOICE] Ladies and gentlemen, the final leg of the Alternative 2000 will begin in thirty minutes. Please check the starting line up. OMITTED INT. LIBERTY'S ROOM - DAY We hear a knock. [MICHAEL'S VOICE] Liberty. He knocks again. The door swings open. [MICHAEL] Liberty, where are you? I've been looking for you all --- He stops, having made the rounds of room, bath and kitchenette. No one's home. He shrugs, starts to leave...then stops. His eye has fallen on the night stand. He crosses to the drawers, opens them ...and is surprised to find them empty. Michael goes to the closet...also empty. But Liberty's single piece of luggage -- the soft-sided over-the-shoulder thing we saw earlier -- is on the floor. He picks it up, puts it on the bed...rummages through it...stops as he finds something unusual. CLOSER SHOT It's a grey piece of electronic equipment with a collapsible antenna...the same transmitter that blasted the Prince brothers to Confederate heaven (although Michael doesn't know that.) As Michael reacts, intrigued, we: CUT TO INT. CIMARRON LODGE - SHAW'S ROOM - TIGHT ON LIBERTY as a wide band of adhesive tape is placed across her mouth. We widen, see that her wrists and ankles are bound and she's laying on a bed. Ed Shaw rolls her roughly over, checks the binding on her wrists. Clark Sellers pours himself a very high highball, wipes perspiration from his forehead. He chugs the drink, pours another. Liberty makes some muffled cries, beats her still-mobile calves and feet against the bed. Shaw rises from the bed. [SHAW] I honestly think she makes more noise with her mouth shut than she did with it open.... [CLARK] Shaw...what do we do with her? We can't leave her like this forever.... [SHAW] We won't. We have to get rid of her.... [CLARK] (aghast) Three deaths? Ed, no --- [SHAW] Damn it, Clark, will you face reality? She can burn us! [CLARK] Yeah? The reality is she's practically a celebrity herself! There'll be questions...an inquiry! The woman can't just disappear from the face of the earth...! During Clark's speech, above, Liberty has been making grunts and thuds akin to "right on! You tell him!" etc. [SHAW] She won't just 'disappear'...they'll find her...or what's left of her... at the site of the next 'accident.' Clark is puzzled. Liberty's SFX become downright indignant. [CLARK] You can't be serious. Shaw comes closer to Clark, intent. He's spitballing. [SHAW] Listen. Everyone's looking for a mysterious saboteur, right? Well... we're going to give them one...a dead one. [SELLERS] You think the police are that stupid? [SHAW] I think we don't have a lot of options. This lady's already had a few scrapes with the law...The police will come to the only conclusion possible: She made a mistake setting a bomb...a fatal mistake. [SELLERS] (thinking about it) Some evidence would help.... [SHAW] (smiling) I already planted some. CUT TO INT. K.I.T.T.'S SEMI - DAY Pull back from the electronic device, again in Michael's hand. Devon and Bonnie look on, interested, as Michael presses the button in front of K.I.T.T.'s scanner. A light goes on on the device and we hear an electronic "humm." [MICHAEL] Well? K.I.T.T. makes some computing sounds, then: [K.I.T.T.] No doubt about it, Michael. That is identical to the signal I monitored two milliseconds before the Prince brothers were...what is the phrase...? [BONNIE] Blown to smithereens? Devon looks at Michael expectantly. Michael averts his eyes. [DEVON] Michael...it appears we've found our saboteur. [MICHAEL] Really? Then who's she working for? Detroit? The Mid East? It just doesn't track -- motive, for one thing. [DEVON] I'll give you motive, Michael...and it's not nearly as Byzantine as the ones we've considered. Devon turns, makes his point like a debater. [DEVON] When this race started, it was of in- terest only to idealists and dreamers ...but thanks to the events of the past few days, it's news...and Liberty has a camera bag chock full of negatives that could command a fortune from maga- zines and newspapers all over the world. [MICHAEL] I'm not sure, Devon. It's too easy ...it's Hashi Al Qatar and the rifle all over again. And why wasn't her bag unpacked? Or her bed slept in? Where did she go? Outside, we hear a klaxon-like signal. Devon sees Michael is adamant, takes another tack. [DEVON] The racers are lining up...Michael, whether we're right or wrong about Liberty Cox, our saboteur may be planning more surprises for the last leg of the race...you'd better go. [MICHAEL] So that you can issue an APB for Liberty after I leave? [DEVON] What would you do? A moment. Michael sighs. [MICHAEL] The same thing. It's almost an apology. Devon extends his hand. [DEVON] Good luck. [BONNIE] Be careful, Michael. He kisses her on the cheek, hops into K.I.T.T. CUT TO OMITTED EXT. CIMARRON LODGE Ed Shaw drops the flag. The five remaining cars leap away from the starting line. EXT. DESERT - RACE FOOTAGE Each car jockies for position...we follow the action, then.... CUT TO EXT. CANYON - DAY Where a narrow defile is the only route through. Camera tilts up to show a SCN van approaching the rim of the canyon. CLOSER SHOT Sellers and Shaw get out of the van, go to the back. Inside is a laundry bin...your basic hotel type. And inside the laundry bin is Liberty. As she mutters barely audible expletives, they haul her from the van and Shaw cuts the bindings on her feet with a pocket knife. Shaw grabs a canvas bag of gear and then he and Sellers manhandle her towards some boulders. [SHAW] Don't make it any harder, okay? She resists. Shaw adjusts his grip...She suddenly kicks out. Shaw dodges just in time, laughs. [SHAW] You're a hot one, sweetheart. If we had a little more time I'd help you work off that energy. He puts her down behind a large boulder...reties her legs. Then he starts on the bomb. [SHAW] (working) I'm setting this one with a fuse... When the dust settles they'll figure she screwed up and couldn't get out of the blast area in time.... Liberty squirms, yells through the gag. Shaw takes out dynamite, attaches a fuse to the sticks. [SELLERS] We have to hurry...I told the camera crew to get some runbys, but they'll be here in ten minutes. [SHAW] Twenty minutes. I took care of it. [SELLERS] You took care of it? Who do you think you are? [SHAW] The new Vice President of Sellers Cable Network. Hand me that roll of adhesive tape, will you? As Sellers reacts, we: CUT TO EXT. DESERT - RACE ACTION Runbys of all our vehicles...K.I.T.T. in the middle of the pack. CUT TO EXT. CANYON RIM - DAY Pull back from the dynamite, which is wedged well up under a rock. We continue widening, see that a long fuse runs from the dynamite to Liberty, who is a good ten-feet from the charge. Shaw lights a match. Liberty cringes. Shaw touches it to the fuse, which immediately burns upwards. [SHAW] Come on, let's go! Liberty mutters something the program standards won't pass if we heard it. Shaw and Sellers run to the truck, drive away. OMITTED EXT. DESERT - DAY More race runbys...then.... LIBERTY struggling futily against her bonds, eyeing the fuse... and suddenly reacting to the roar of an engine. OMITTED EXT. BLUFF The camera crew is setting up. [CAMERA MAN] Here they come...! The camera pans to shoot --- OSAKA, GRAS, K.I.T.T. entering the canyon in above order. LIBERTY Hearing the cars below her, she tries to call for help.... K.I.T.T. roars through the canyon. LIBERTY Her head sags in despair. The fuse burns on. OMITTED INT. K.I.T.T. - TRAVELING [K.I.T.T.] Osaka has taken the lead, Michael. He's just crossed Apache Wash and entered the final stretch. [MICHAEL] Kitt, somehow, I know we've missed something. Run the stats on everyone left in the race...the race course... everything. [K.I.T.T.] Very well. Data begins appearing on the screens (all a replay of what we saw in Act Two). EXT. FINISH LINE (Note: As indicated earlier, this is the same place the circular race began, and also the same place where the scribe began.) Red, white and blue bunting is on the grandstand. A big "ALTERNATIVE 2000 FINISH LINE" banner waves over the grandstand. CLOSE ON DEVON AND BONNIE [PA VOICE] The racers have just turned into the final stretch. Helmut Gras is in the lead, followed by Hito Osaka and Michael Knight. [DEVON] (aside to Bonnie) Uh-oh. [BONNIE] What's wrong? [DEVON] I just realized...I told Michael not to win...but I don't think I said anything about 'place' or 'show....' CUT TO OMITTED INT. K.I.T.T. - TRAVELING as a map of the race course appears. Several green lights mark all the acute turns and hills. [MICHAEL] Kitt, I think you made a mistake here. There's only been three accidents...not.... [K.I.T.T.] Michael, I was about to say that this is a readout of all the SCN camera positions. Michael sits up alert. Points. [MICHAEL] But...this one...this one...and this one...they're all in the same places the accidents took place...That's why I thought.... He stops, getting an idea. [MICHAEL] Kitt!..give me an overlay of the accident sites...and leave up the camera positions. [K.I.T.T.] Right away. On K.I.T.T.'s screens, three red blips blink near three green ones. [MICHAEL] Kitt, every accident has been right in front of a camera crew! [K.I.T.T.] Michael, the odds against a freak accident being synchronistic with a random deployment of cameras is --- [MICHAEL] I know what it is...suspicious! Remember what Devon said...about why Liberty might have sabotaged the race? [K.I.T.T.] To make her film more valuable? [MICHAEL] Well, the same theory applies to our friend Mr. Clark Sellers...in spades! Where's the nearest camera position? [K.I.T.T.] We just passed it...Apache Wash. Michael throws the car in a U-turn, roars away. OMITTED LIBERTY The fuse burns shorter...shorter.... INT. K.I.T.T. approaching canyon. [MICHAEL] Kitt...give me a readout on this canyon with all your scanners... visual...infrared...chemical detectors...the works! K.I.T.T.'s screens zoom in on the canyon...one screen is normal telephoto, the other a graphic. [K.I.T.T.] Michael! There's an explosive charge there...and a person too! [MICHAEL] What? Go to maximum enlargement! (beat) Wha...It's Liberty! [K.I.T.T.] Michael, at the rate that fuse is burning...we have less than twenty seconds to stop it! OMITTED LIBERTY She's lost all hope...then she looks up, hearing --- HER POINT OF VIEW - K.I.T.T. appearing turning, and --- THE SCENE Slamming to a halt. Michael jumps out, reaches for the fuse...just as it burns so short under a rock that he can't reach it! [MICHAEL] Kitt! I need some help! NEW ANGLE As K.I.T.T. rolls forward and the front bumper makes contact with the boulder. We hear K.I.T.T.'s motor strain, then the boulder rolls aside. Michael brakes the fuse off the charge with seconds to spare. Liberty watches all this, amazed. EXT. FINISH LINE - DAY The SCN van with Sellers and Shaw arrives here, parks. Sellers and Shaw get out and climb up the bandstand, shaking hands with various people as they do...including Devon and Bonnie! [PA VOICE] All the cars have made it through Apache Wash...they're now entering the final leg of the race. OMITTED INT. K.I.T.T. - TRAVELING Liberty is struggling without success to untie her hands enough to remove her gag. [K.I.T.T.] Michael, I'm monitoring the signal from the SCN cameras. CLOSER SHOT - SCREEN We see Sellers there...and Shaw, in the f.g. [K.I.T.T.] Clark Sellers is waiting there. Liberty pounds excitedly on the screen, pointing with her pinky at Shaw. [MICHAEL] Huh? What? Shaw? Shaw was in on it, too? Thanks, Liberty. Liberty mumbles, gestures. [MICHAEL] Huh? Oh, yes...the car talks...I guess Sellers caught you snooping around, huh? What? Oh, you want me to take off the gag? (smiling) I don't think so. This is the first conversation I've ever had with you where I got a word in edgewise. Kitt, Sellers and Shaw will head for the hills the minute they see us. Give me some overdrive. Camera tightens on Michael. [MICHAEL] We're gonna give Mr. Sellers a real big finish! EXT. DESERT As K.I.T.T. becomes a blur, passes Andy Russell...then Dorothy Ackridge. OMITTED EXT. FINISH LINE - DAY [PA VOICE] And there they are! Osaka and Gras are neck and neck.... Shaw has joined Sellers near Devon and Bonnie. Devon and Bonnie share a pair of binoculars...Sellers has another pair. [PA VOICE] No, wait...Osaka has taken the lead... two lengths...three lengths...he's way out in front! The Japanese entry is going to take the gold! Sellers nods approvingly, passes the binoculars to Shaw. [SELLERS] That's another ten million in the Pacific market right there. [PA VOICE] (suddenly) No...wait...another car is coming up...the speed is...off the scale...! It's number eight.... Devon and Bonnie react, startled; Sellers and Shaw (and everyone else) react as interested fans. [PA VOICE] Michael Knight...he's passing Helmut Gras...He's passing Osaka! Michael Knight is in the lead! [DEVON] I'll kill him! Shaw looks through his binoculars, makes a strangled cry. [SELLERS] What's wrong? BINOCULAR SHOT - SHAW'S POINT OF VIEW - LIBERTY is clearly visible in the passenger seat. BACK TO SCENE [SHAW] He -- He's got the girl! The two men look at each other, suddenly scramble down the grandstand, knocking people aside. Sellers and Shaw run to a SCN vehicle, jump in. They roar out of the parking lot, swerve around the grandstand.... OMITTED INT. K.I.T.T. All of the above is visible on the screens. [K.I.T.T.] Michael, they're getting away. [MICHAEL] Then we'll cut them off! [K.I.T.T.] But the grandstand is in our way! INSERT - CONTROLS "Turbo Boost" is hit.... [MICHAEL'S VOICE] Not any more...! K.I.T.T. - SLOW MOTION leaps into the air, tears down the "FINISH LINE" banner, sails over the grandstand with room to spare and --- NEW ANGLE - K.I.T.T. lands in front of the escaping van, immediately throws a ninety...The van swerves to avoid a collision and --- SCN VAN - SLOW MOTION It skids and rolls into a refreshment stand. Soda pop and orangeade turn into liquid firework. THE SCENE Sellers and Shaw are dazed. Michael jumps out of K.I.T.T. as the crowd surges forward. Liberty is finally unbound. She rips the tape off her mouth. [LIBERTY] Ow! Michael runs to the van, pulls Shaw and Sellers out. Shaw falls to the ground, dazed. Michael holds Sellers up by the lapels...and then suddenly Michael is surrounded by well wishers...a trophy cup is pushed into his hands. Liberty grabs a camera from someone. [LIBERTY] Mr. Sellers! Mr. Sellers! Sellers turns, a bit dazed. [LIBERTY] Say 'Levenworth'. As her flash illuminates the scene we: [FREEZE FRAME] END OF ACT FOUR TAG FADE IN INT. DEVON'S OFFICE - DAY - TIGHT ON THE TROPHY from the Alternative 2000. Widen to reveal Michael behind it, standing proudly. Bonnie is at his side. Liberty is taking pictures. The phone rings. [LIBERTY] Hold it. One more. Bonnie picks up the phone. [BONNIE] (into phone) Hello...No. It's Bonnie...Oh, hi, Doctor Kempler.... She beginstaking notes as Devon enters the room not at all pleased by the presence of the trophy -- or Liberty, for that matter. [MICHAEL] Well, Devon, what do you think? Michael indicates the impressive trophy. [DEVON] (grumpy) It goes against my grain to see a man rewarded for insubordination. [BONNIE] (into phone) Can you run that by me one more time, Doctor. I'm not sure I heard you right. [MICHAEL] Okay, Devon. I apologize for winning the race. But how else was I supposed to nail Sellers and Shaw? [DEVON] I have no intention of discussing the case any further. Now would you please tell me what she's doing here? [LIBERTY] I came to find out what you told my editor. I had the world's greatest racing scoop. Murder, mayhem and a talking car to the rescue. [DEVON] I simply told him that we are involved in sensitive areas here and that publicity is something that we could all do without. [LIBERTY] That explains why he killed my story. [BONNIE] (cupping phone in her hand) It's alive again. She hands Devon a note. [LIBERTY/MICHAEL/DEVON] What? Devon reads the note, keeping Michael at arm's length. [DEVON] (pleased) Well, well, it seems Hashi Al Qatar's ambassador got in touch with the State Department and they agree since his disqualification was somewhat illegal, the race will have to be run over again. [MICHAEL] You mean I have to give back the trophy? [DEVON] Looks that way. [LIBERTY] What a shame. Devon pats Michael on the back with dubious comaraderie. [DEVON] Sic transit gloria mundi. [MICHAEL] You took the words right out of my mouth. [BONNIE] (into phone) Hold on, I'll ask him. (to Devon) Doctor Kempler wants to know if Michael's entering the race again. Michael and Devon look at each other and reply. [MICHAEL DEVON] Yes. No. On their adamant reactions and ad-libs.... [FREEZE FRAME] THE END

{"show": "Knight Rider", "season": "s01", "episode": "e14", "title": "Give Me Liberty... Or Give Me Death"}

knightriderarchives

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 Escape 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. HALLYWAY - 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? [BONNIE] Royce called two days ago. He wanted the Foundation's help on a story he was researching. [MICHAEL] What kind of help? [DEVON] We never found out. But the impres- sion I got from his phone call was that the story was an expose. [MICHAEL] If you're right, we 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] He referred to it by a code name, 'Topaz.' [MICHAEL] (to Bonnie) You run it through the computers? [BONNIE] (nods) Nothing. The word doesn't seem to connect to anything in Royce's per- sonal 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 Escape 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. [MODEL] Boy, what I wouldn't give for one of those. K.I.T.T.'s scanner flashes and his dashboard lights up. 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 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 the magazine 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 fill you in on the details. 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. [MODEL] If we have to. [PHOTOGRAPHER] Hey, pal, who do you think you are? [MICHAEL] The owner of this car. Sorry girls. [MODEL] So are we. 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 starts out of the car. 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 an armed man on a rooftop down the street! 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. 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 in the b.g. with a Homicide Lieutenant, note pad in hand. He drifts off, talks MOS to other cops. Lauren and Michael approach camera. Lauren is furious. [LAUREN] It's like I told you. They believe what they want to believe! [MICHAEL] C'mon. NEW ANGLE Michael leads her toward the Trans Am. [MICHAEL] They operate on facts. We can't give them facts -- just theories. [LAUREN] George Olin was not a 'theory.' [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 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, then K.I.T.T. appears. K.I.T.T. - DAY - VARIOUS ANGLES [MICHAEL (V.O.)] Devon...it's Michael. Our lady publisher ran out on me. [DEVON (V.O.)] She ran out on you. [MICHAEL (V.O.)] That pretty well sums it up. How'd you do on George Olin? [DEVON (V.O.)] He was a private investigator, but don't get your hopes up. [MICHAEL (V.O.)] Devon, if he was an investigator, he had files.... [DEVON (V.O.)] What he had was a photographic memory. It was his trademark. No files.... [MICHAEL (V.O.)] Wonderful...I'll call you from Vegas. I've got a plane to catch. 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 Kroiger 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.... [KROIGER] I can't tell you how bad we all feel about...what happened.... [LAUREN] I know, Bob. Thanks. (to Michael) Michael, meet Bob Kroiger, 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 KROIGER [KROIGER] (looks) Yeah. That's Ed Williams. Reactions from Michael and Lauren. [MICHAEL] Where do you know him from? [KROIGER] 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? [KROIGER] 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 SLOT GRANNY still at it. Camera pans over to show Hagen playing a slot machine. Kroiger enters the shot, stands at the next machine. Both men speak in hushed asides, the machines drowning out their conversation. Kroiger looks tight, worried. [KROIGER] They're asking questions about that detective, Olin. [HAGEN] What'd you tell them? [KROIGER] 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. [KROIGER] 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. [KROIGER] 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 Kroiger. [KROIGER] 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? [KROIGER] 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 180 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 - DAY - 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. [MICHAEL] What about the plane -- it was the company plane --- [DEVON] Whoever planned this was very clever, very thorough. They used a plane identical to Royce's. 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 any more 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 Kroiger 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 his magazine 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! [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, Kitt. 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 Kroiger. 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 Kroiger. 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 BRETT] 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 Kroiger) 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 Kroiger 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? [KROIGER] 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. [KROIGER] (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. Kroiger 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. Kroiger bursts through the door. [KROIGER] 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 Kroiger 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 Kroiger; sotto voce) Don't just sit there! Get the rifle and shoot him. Kroiger 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. Kroiger aims. Michael steps behind the shield of K.I.T.T.'s open door. Kroiger fires, fires again. The bullets bounce off. Kroiger and DeBrett react, amazed. DeBrett shoves the four-wheeler into gear and speeds off down the road. [KROIGER] Wait! Paul -- wait! He's gone. Kroiger 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 Kroiger 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 Kroiger! 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

{"show": "Knight Rider", "season": "s01", "episode": "e15", "title": "The Topaz Connection"}

knightriderarchives

ACT ONE FADE IN EXT. CITY STREET - MODERATE-SIZED TOWN - DAY The Trans Am is parked down the street from a hotel, surveillance mode on. As light foot traffic passes in front of the car, we tighten on the car to reveal Michael in the driver's seat reading a newspaper. Michael folds the newspaper and puts it on the passenger seat. He looks across at the hotel restlessly. [MICHAEL] Maybe he slipped out the back. [K.I.T.T.] I'm picking up a man who fits his description coming out...now. ANGLE ON HOTEL A man comes out of the hotel carrying a briefcase. His name is Ron Austin. He's in his early forties, dresses expensively if not well. A shrewd, alert face. He glances around with the covert eyes of a professional, starts toward his car. ANGLE ON MICHAEL Eyes on Austin, he slips out of K.I.T.T., waits for a car or two to pass before crossing the street. INTERCUT - AUSTIN uncannily, his roving gaze fastens on Michael. He reacts instantly, sprints back to the hotel and darts inside. ANGLE ON MICHAEL He dodges some cars as he races across the street. [MICHAEL] (comlink) Kitt, activate 'Stand-by.' I may need you, pal. ANGLE - INSIDE K.I.T.T. One by one his various functions come to life, a rainbow of blinking colors and sounds. EXT. REAR OF HOTEL - DAY The service door flies open and Austin runs into the alley, looks both ways, runs down the alley to where it makes a ninety-degree turn. He disappears around the corner. Camera whips back to see Michael come through the service doors, pauses, not seeing Austin. [MICHAEL] (comlink) Kitt, around back! Quick! He starts down the alley. ANGLE ON K.I.T.T. AT CURB He pulls away with a squeal of tires. EXT. SECOND SECTION OF ALLEY - DAY Shooting into the alley from the street as Austin reaches the busy street, pauses, pops open the briefcase and scoops out handfuls of large denomination bills. He throws them into the air as he disappears down the commercial street. ANGLE IN ALLEY (FIRST SECTION) K.I.T.T. comes around the corner into the alley on two wheels, races up to where Michael is running, just reaching the turn. The door pops open and Michael jumps in. [MICHAEL] Let's get him. [K.I.T.T.] He is a slippery one, isn't he, Michael? [MICHAEL] That's the word, Kitt. Tires burn rubber. ANGLE FROM SECOND SECTION OF ALLEY as K.I.T.T. comes roaring around the turn, shooting up the alley. Michael reacts, slams on the brakes. REVERSE ANGLE Only feet away, on the sidewalk, strollers, passersby, mothers with children, etc. scramble after wind-blown money. It's a mob, a mess. Michael leans on the horn, which accomplishes nothing. He jumps out, trying to get their attention, get through. [MICHAEL] It's counterfeit! Move! I've got to get through.... He trails off because it's hopeless. No one even glances at him. He sighs, slides back into K.I.T.T., angry and frustrated. [MICHAEL] Can you believe that?! [K.I.T.T.] Yes, Michael. Why can't you? [MICHAEL] Yeah, buddy, I can. That's the trouble. I just hope Devon can, too. He throws K.I.T.T. into reverse. CUT TO EXT. SCENIC TWO-LANE HIGHWAY - DAY - STOCK The Trans Am passes through pristine countryside. DIFFERENT ANGLES - STOCK as the Trans Am continues on its way to a rendezvous. EXT. SEMI - DAY - STOCK It is wheeling down the highway. The ramp descends. EXT. TRANS AM - DAY - STOCK Michael drives up into the belly of the beast. INT. SEMI - DAY Devon is standing in front of a mirror putting the finishing touches on a freshly knotted tie. Bonnie is examining K.I.T.T. Michael is agitated, trying to reach them both as he talks. [MICHAEL] ...and for the first time, I had him cold -- he'd made his contact, he had a briefcase full of paper.... He trails off, aware each of them have their own pre- occupations. [DEVON] (to Bonnie) How do I look? [BONNIE] (glances up) Fine. Where's the matching handkerchief? [DEVON] (remembers) Ah. He finds it, tucks it into his outer breast pocket over: [BONNIE] (to Michael) Kitt's rotors are overheating. Have you been overusing Turbo Boost? [MICHAEL] I've been chasing a major counter- feiter across half a dozen counties ...if that's 'overuse,' I'm the offender. (beat) What's going on here? I feel like I'm interrupting something. [DEVON] (pleasantly) You are, dear boy. Relax. We'll find a way to catch your counter- feiter. [MICHAEL] When? [DEVON] We'll regroup after my speech. Bonnie, I seem to have misplaced my note cards. [BONNIE] Your left pocket. [DEVON] (checks left pocket) Ah yes. Thanks. [MICHAEL] Am I missing something? What's so important about this speech? [BONNIE] The Foundation is presenting an award to the town of Alpine Crest for the lowest per capita crime rate in the state. [DEVON] Perhaps you'll find what I have to say inspiring, Michael. At worse, you could use an hour or two of relaxation. [MICHAEL] (sotto voce) Relaxation, yes. Torture, no. Bonnie scolds him with a smile. CUT TO EXT. ALPINE CREST TOWN SQUARE - DAY With its green lawn and quaint gazebo, this place looks like it just stepped out of a Norman Rockwell painting. At one end of the square is a podium and a bandstand upon which we see the VIPs gathering. Among them are Sheriff Moore, Miss Martha Haberstraw, and Devon. ANGLE - MICHAEL He is making his way through the cheerful, well-scrubbed crowd. As he approaches a concession stand, he spots a beautiful lady in her midtwenties. She is jotting down something in her notebook. Michael can't resist. He comes over to Jobina Bruce and smiles. [MICHAEL] Hi, there. [JOBINA] Hi. [MICHAEL] Can I buy you a drink? [JOBINA] Normally I don't accept offers like that from a stranger...But since it's lemonade, I'll make an exception. [MICHAEL] (to vendor) Two please. The vendor hands Michael two cups of lemonade. [MICHAEL] I'm Michael Knight. [JOBINA] Jobina Bruce. Instead of shaking hands, they improvise a toast, clinking plastic cups. [MICHAEL] Nice little town you've got here. [JOBINA] Is this your first visit to Alpine Crest? [MICHAEL] Yeah. Actually, I'm just passing through. (beat) I didn't think places like this existed anymore. [JOBINA] (smiles) Neither did I. I came here two months ago to help my aunt...I was shocked. It's the same as it was twelve years ago when I spent a summer here. [MICHAEL] What kind of work do you do? [JOBINA] I help run the local newspaper. I'd call myself a reporter, but there's so little to report. (looks off) They're about to start. Can you hold this, please? She hands Michael her cup, gets out a pen and opens her notebook. [JOBINA] (smiles) Can't miss a word. This could be the biggest story of '83. Michael laughs, enjoying her. OMITTED ANOTHER ANGLE We see a serious-faced man in the crowd looking at Michael and Jobina through veiled eyes. His name is Peter Larkin. ANGLE ON BANDSTAND Sheriff Moore is about to speak. He's well-known, popular man in town. [SHERIFF MOORE] What a turnout...This is the kind of civic pride that makes Alpine Crest what it is... (pauses for applause) It's my pleasure to introduce a dis- tinguished visitor who's here to confer an honor upon us all -- Devon Miles of the Foundation for Law and Government. Mr. Miles. Placque in hand, Devon rises to applause during which he spots Michael approaching with Jobina, reacts with raised eyebrow noting Michael has lost no time in finding a pretty companion. [DEVON] Thank you, Sheriff...Thank you members of the town council... (clears his throat as the applause subsides) Ladies and gentlemen, the Foundation of which I am the director annually presents an award to the community with the lowest per capita crime rate. (beat) This year it is my honor to bestow that award upon the fair city of Alpine Crest. Applause and whistles. The proud townspeople let their feelings be known. ANGLE TO MICHAEL AND JOBINA She is taking notes. Michael attempts to stifle a yawn, smiles. [DEVON] It is increasingly difficult in today's rapidly changing world to maintain a firm grasp on the values and high moral standards of the past. Yet as I look out at the citizenry of Alpine Crest, I marvel at the way you people have managed to do just that. Suddenly Michael's eyes send a startling message to his brain. He can't believe who he sees. MICHAEL'S POINT OF VIEW - RON AUSTIN the elusive counterfeiter, is making his way through the crowd. He pops peanuts into his mouth, not a care in the world. BACK TO MICHAEL [MICHAEL] (to Jobina) Excuse me. [JOBINA] Where are you going? Michael's gone, gently but firmly pushing his way through the crowd, intent on getting to Austin. ANGLE TO INCLUDE AUSTIN The counterfeiter turns to see Michael coming toward him and reacts with appropriate alarm. He immediately starts shoving his way toward the fringes of the crowd. Michael picks up his own pace. ANGLE ON DEVON He glances at his note cards, continuing his speech. [DEVON] You have every reason to accept this award proudly. It is richly deserved. A nice, decent town like Alpine Crest is like a beacon of trust and honesty shining from.... When Devon hears murmuring of the crowd, he looks up. What he sees shocks him. ANGLE - THE CROWD Michael is chasing Austin across the town square, causing quite a commotion, knocking food and drink from people's hands and overturning the refreshment stand. Austin reaches the end of the square and darts across the street. Before Michael can get up from the mess he created and catch up to Austin, he is abruptly stopped by a uniformed officer, Deputy Hanks. [HANKS] Just what do you think you're doing? [MICHAEL] Trying to catch up to an old friend. Michael looks in the direction Austin fled. There is no sign of him. [HANKS] I advise you try to catch up with him someplace else or I'll have to take you in for disturbing the peace. [MICHAEL] (nods) Right. Thanks for the advice. INT. SEMI - DAY Michael, Bonnie and Devon. Devon is a little agitated with Michael's behavior. [DEVON] I'll say this for you, Michael. You have an uncanny knack for making a public spectacle of yourself. [MICHAEL] Devon, will you listen to me for a second? [DEVON] If those people had known you were an employee of the Foundation they would have thrown me off the dais. [MICHAEL] All right. I'm sorry I spoiled your presentation, but I had a very good reason. [DEVON] And what might I ask is that? [MICHAEL] I saw Ron Austin. [BONNIE] The counterfeiter? Michael nods. [DEVON] In Alpine Crest? Michael nods again. [BONNIE] The most crime-free community in the state? [MICHAEL] (crosses to K.I.T.T.) Crime-free or not, I saw him. He's probably on his way to Twin Falls or one of the bigger cities, but as long as he's here I'm going to give it a shot. Michael starts up the engine and backs out of the semi in a major hurry. [BONNIE] (calls after him) Keep an eye on Kitt's rotors. He's gone. Bonnie and Devon exchange a look, shake their heads. EXT. SEMI - DAY It is parked just outside of town. The Trans Am pulls out backwards, turns around and heads back toward Alipne Crest. EXT. ALPINE CREST POLICE STATION - DAY The Trans Am pulls up in front of the small law enforcement headquarters. INT. TRANS AM - DAY [MICHAEL] Kitt, I'm going to need a visual on Austin. [K.I.T.T.] Certainly, Michael. I'll show you what I have available. INSERT - VIDEO MONITOR K.I.T.T. plays back the tape of Austin coming out of the hotel which we witnessed earlier. We see a closeup of his face. [MICHAEL] Freeze. Picture perfect. Can you give me a hard copy? A five-by-seven photograph of Austin slips out of a slot. [K.I.T.T.] How's that for service? [MICHAEL] Almost too good to be true. (starts out, stops) It's not counterfeit, is it? [K.I.T.T.] I beg your pardon. [MICHAEL] (smiles) Just a little joke, buddy. Michael takes the photo and heads for the police station. OMITTED INT. POLICE STATION - DAY Sheriff Moore is at his desk. He hears the door open, but keeps his attention focused on his work. [SHERIFF MOORE] What can I do for you? He finally looks up and sees it is Michael. His change of expression tells us that he recognizes Michael from the town square. [MICHAEL] Hello, Sheriff. [SHERIFF MOORE] Oh, it's you. Disturbing the peace. [MICHAEL] Well, yes and no...I apologize for the commotion, Sheriff. I'm here because I could use your help. [SHERIFF MOORE] What kind of help did you have in mind, Mr...? [MICHAEL] Knight. Michael Knight. I'm a free- lance skip tracer. Been chasing this fella across the tri-state area. Michael hands the Sheriff the picture of Austin. The Sheriff picks it up and examines it. [SHERIFF MOORE] Never seen him before in my life. Sorry. [MICHAEL] I saw him today, Sheriff. In the crowd at the awards ceremony. [SHERIFF MOORE] (smiles) I find that kind of hard to believe ...fella like that in Alpine Crest? Why? [MICHAEL] I don't know. [SHERIFF MOORE] Neither do I. Well, I'll keep an eye out for him, pass the word to my deputies...but I wouldn't get my hopes up. Michael picks up the photo and heads for the door. [MICHAEL] Thanks. EXT. TRANS AM - DAY Michael is driving the Trans Am along an Alpine Crest avenue, eyes covering the streets, the passersby. INT. TRANS AM - DAY [K.I.T.T.] Michael, I don't mean to question your investigative intuition, but it seems highly improbable.... [MICHAEL] Kitt, I've been hearing that from Devon and Bonnie and now Sheriff Moore. Give me a break. [K.I.T.T.] Yes, Michael. EXT. TRANS AM Michael turns down a street and drives past more small businesses, neat frame houses with perfect lawns. [MICHAEL] I don't believe this place...it's like it's frozen in the fifties. I keep expecting to see Wally and Little Beaver.... [K.I.T.T.] 'Wally and Little Beaver?' That doesn't compute, Michael. Are they part of the counterfeit operation? [MICHAEL] (smiles) No, Kitt. Part of an old TV show. EXT. ANOTHER STREET The Trans Am rounds a corner, drives slowly by. [MICHAEL'S VOICE] How're your rotors doing, pal? [K.I.T.T.'S VOICE] Fine, thank you. Michael? [MICHAEL'S VOICE] Yeah? [K.I.T.T.'S VOICE] We've covered every block in Alpine Crest two point seven times. I think it's reasonable to assume Mr. Austin is, as the saying goes, long gone. [MICHAEL'S VOICE] Wish I could argue with you, Kitt ...but I think you're right. EXT. HOTEL - DAY - TO ESTABLISH THE ALPINE CREST HOTEL as the Trans Am pulls in and parks. INT. HOTEL LOBBY - DAY Michael is walking through the lobby of the small hotel when he hears: [JOBINA'S VOICE] Michael? Michael turns to see Jobina sitting in the bar, nursing a glass of wine, her notebook open, writing. ANGLE IN BAR It's a small cocktail lounge. Not many lushes in Alpine Crest. She greets him with a smile. Ad-lib hellos. [JOBINA] Can I buy you a drink? [MICHAEL] Thanks. Beer's good. Jobina calls over to a waitress who stands at the bar. [JOBINA] Patty, can you bring us a beer, please? Well, this is a surprise. The way you took off all of a sudden I never expected to see you again. [MICHAEL] Well, here I am. Big as life. How's the biggest story of '83 coming? The waitress brings over the beer. Michael smiles at her. [JOBINA] Slow. Writing is hell. [MICHAEL] I thought the phrase was 'War is hell.' [JOBINA] Obviously said by someone who's never attempted to write. Michael smiles, sips his beer. [JOBINA] What made you decide to stay? [MICHAEL] Too late to drive anywhere else. I'll stay over, get a good night's sleep and leave in the morning. What about you? [JOBINA] (smiles) It's not that simple for me. I keep waiting for my good-bye story. [MICHAEL] Good-bye Girl I've heard of...what's a good-bye story? [JOBINA] A story that will launch me into the world of big-city journalism. (smiles) You see, I'm impatient. I don't want to be a junior reporter on a big paper for ten years before I get a chance to cover something other than social events and the food section. Michael smiles, liking her. She watches him finish his beer. [JOBINA] Listen to me rattling on. You probably want to go up to your room.... [MICHAEL] Well, I could use a shower. [JOBINA] If you need anything, feel free to call. I'll be at the office, slaving away. [MICHAEL] (rises) Good luck -- oh, and thanks for the beer. [JOBINA] My pleasure. Michael leaves. Jobina takes a handkerchief from her purse, carefully places it over Michael's glass, lifts the glass and puts it in her purse. EXT. SHERIFF'S OFFICE - NIGHT - TO ESTABLISH Lights burn brightly in the office. [SHERIFF MOORE'S VOICE] Knight just registered at the hotel. INT. JAIL CELL - NIGHT Sheriff Moore brings a tray of food to a secluded cell. The cell has many of the accoutrements of a furnished room, including TV and throw rug. The man inside turns, and we see it's Ron Austin. [AUSTIN] Terrific. Now what am I supposed to do -- spend the night here? [SHERIFF MOORE] Got a safer place in mind? Moore puts the food down. Austin looks at it disdainfully, picks at French fries. [AUSTIN] Of all places, the guy decides to spend the night in the sleeping bag of the West. [SHERIFF MOORE] He'd have been gone this afternoon, if you hadn't decided to stroll around the park. [AUSTIN] (examines food) What is this, a hamburger? I ordered steak. [SHERIFF MOORE] Too bad. [AUSTIN] Look, I don't want to give you a hard time, but you've got to understand my life-style. I go first class. I stay in the best hotels, I eat the best food. I can't function at my peak sleeping on a cot and eating hamburgers. And the TV -- all I can get is that crazy lady and her macrame class. Why don't you people get a cable TV hook-up? Moore is quietly angry. [SHERIFF MOORE] You listen to me, Austin. I don't give a damn about your life-style. You do your job and I'll do mine. [AUSTIN] Fair enough. I'd say your job right now is to see that Knight leaves Alpine Crest as soon as possible. [SHERIFF MOORE] He will. Leave that to me. (exits, pauses) Just see to it that you do yours tomorrow. And fast. Every minute you're in town disturbs my 'life- style.' He locks the door and leaves. INT. HOTEL HALLWAY - NIGHT Jobina stops at a door, knocks lightly. The door opens to reveal Peter Larkin. [LARKIN] How'd you do? She opens her purse and hands him the glass wrapped in the napkin. [JOBINA] Fingerprints...as requested. Larkin smiles. He opens the door and she enters. FADE OUT END OF ACT ONE ACT TWO FADE IN INT. HOTEL ROOM - NIGHT Jobina watches Larkin as he carefully holds the glass up to the light. He seems satisfied. [LARKIN] Good work. I'll get a lift and wire the prints to Washington. I'll know everything there is to know about this 'Michael Knight' within twenty- four hours. [JOBINA] And whatever breaks, it's my exclusive, right? [LARKIN] That's our agreement, isn't it? She nods, pleased. She pauses. [JOBINA] When can I tell Aunt Martha? [LARKIN] After the case breaks and I have the suspects and evidence, not before. Loose lips sink ships. [JOBINA] I suppose. (starts for door; stops) I've been meaning to ask you something. Why did you pick me to work with you? [LARKIN] I think I explained how highly sensitive this case is. [JOBINA] Yes.... [LARKIN] That's why I can't tell you. [JOBINA] Yes, but you never told me what the case is.... [LARKIN] It involved a terminated Federal project...and counterfeit money. [JOBINA] (excited) Counterfeit money? That is a good-bye story. [LARKIN] Pardon? [JOBINA] Nothing. Can't you tell me any more? Who are you suspicious of? Why are you so reluctant to be seen? [LARKIN] I can't answer those questions. Not yet. (escorts her to door) This phase of your participation is finished. Stay clear of Knight. [JOBINA] I wouldn't mind doing some extra research. (smiles) For the good of my country, of course. [LARKIN] In this business, there're two rules: rule number one is: don't get involved with a potential adversary. [JOBINA] What's rule number two? [LARKIN] Don't get involved with a potential friend. [JOBINA] Tough rules. [LARKIN] Tough business. It's what helps keep this country great. She doesn't know quite how to respond to that. As she exits, Larkin closes the door behind her. EXT. HOTEL PARKING LOT - DAY Michael carries his duffel bag out and loads it into K.I.T.T. He climbs in. INT. K.I.T.T. - DAY Michael starts the car up. [MICHAEL] Well, Kitt, say good-bye to Alpine Crest. [K.I.T.T.] It's such a nice decent little town. [MICHAEL] That's what everyone says. Bet your turbo ducts will miss the fresh air, huh? [K.I.T.T.] I'm specifically designed to perform uniformly in any type of weather. Thus, 'fresh air' is neither an advantage nor a disadvantage. [MICHAEL] In other words, neither rain, nor snow, nor gloom of night will stay you from your appointed rounds. [K.I.T.T.] That was, as they say, rather poetic. Did you make it up? [MICHAEL] Nope. Read it in a post office underneath the mug shots. [K.I.T.T.] I should have known. Michael laughs, pulls K.I.T.T. away from the curb and down the street. EXT. SHERIFF'S OFFICE - DAY A deputy, Cole, enters and crosses to Sheriff Moore. [COLE] He just left the hotel. [MOORE] Follow him. I want to make sure he's gone for good this time. Cole nods and exits. INT. CELL - DAY Austin stares at the TV set. Moore comes down from the office. [AUSTIN] You're missing the climax here. The macrame lady's slipping the thing around the plant. Real sensuous stuff. [MOORE] Get your gear ready. Austin looks up. [AUSTIN] He's gone? [MOORE] He's going. When I know he's gone, you can leave. Austin gets up. [AUSTIN] It's about time. Not that I don't appreciate your hospitality. Have you talked to Barnswell? [MOORE] I don't talk to Barnswell unless I have to. That's your department. [AUSTIN] Yeah? Well considering the fat percentage you take down, what's your department? [MOORE] Saving you from yourself...and keeping Alpine Crest the kind of town nobody looks at twice. Now get your stuff. EXT. TWO-LANE HIGHWAY - DAY The Trans Am drives by. INT. K.I.T.T. - DAY Michael is behind the wheel, pensive. Vaguely troubled. [K.I.T.T.] What's our destination? [MICHAEL] I don't know, Kitt. [K.I.T.T.] We're not giving up on Ron Austin, are we? [MICHAEL] We never give up, buddy. You know that. (beat) I just can't figure it out...we get a line on Austin, he's wholesaling high-quality paper all across the state...he's a high roller...what did he come to Alpine Crest for? [K.I.T.T.] Certainly not to wholesale his counterfeit money. [MICHAEL] In Alpine Crest? Bite your tongue. [K.I.T.T.] I beg your pardon, Michael. I don't have a tongue. [MICHAEL] (smiles) I keep forgetting. Something catches his eye. HIS POINT OF VIEW - SIGN AT SIDE OF ROAD It reads: "YOU ARE LEAVING ALPINE CREST, HOME OF HALLELUJAH PRESS." BACK TO MICHAEL Something is triggered. [MICHAEL] Hallelujah Press...I wonder what that is? Computers flash. [K.I.T.T.] The largest Bible printers in the state. [MICHAEL] That's strange.... [K.I.T.T.] What? [MICHAEL] Well, for a small town, you'd think everybody would know it, brag about it...after all, they brag about their per capita crime rate. [K.I.T.T.] I don't follow your logic. [MICHAEL] I'm not sure logic enters into it... (beat) You don't suppose Austin came to Alpine Crest to pick up his next bundle of money, do you? [K.I.T.T.] Michael? I believe we're being followed. ANGLE INTO REARVIEW A patrol car stays a hundred yards behind them. BACK TO MICHAEL [MICHAEL] How long he's been back there? [K.I.T.T.] I first observed him at the outskirts of town. [MICHAEL] Let's find out. He accelerates. ANGLE FROM HIGHWAY as the Trans Am speeds up, so does the patrol car. ANGLE ON MICHAEL He checks the rearview, then the speedometer. [MICHAEL] We're ten miles an hour over the speed limit, but he's not interested in writing a ticket. He's tailing us. (beat) Let's make him earn his money. Michael hits Turbo Boost. EXT. HIGHWAY - DAY The Trans Am accelerates, flashing by. ANGLE IN PATROL CAR Deputy Cole reacts, floors his car. HIGHWAY - HIGH SHOT The Trans Am leaves the patrol car behind like it's standing still. ANGLE IN PATROL CAR Disbelieving, Deputy Cole picks up his mike. [COLE] Sheriff, this is Cole...I'm on Highway Ten.... [SHERIFF MOORE'S VOICE] Did Knight leave town? [COLE] Yes sir. He sure did. He slows, turns a U and heads back. EXT. ANOTHER PART OF HIGHWAY Out of view, Michael executes a high-speed 180 and heads back. CUT TO EXT. NEWSPAPER OFFICE - DAY Michael pulls K.I.T.T. to a stop around the side of the office. [K.I.T.T.] Are we hiding? [MICHAEL] Not hiding, Kitt...just low- profile for a while. INT. NEWSPAPER - OFFICE - DAY A small front office, with a couple of desks with typewriters. Jobina is hanging up a phone as Michael enters. She reacts, surprised. [MICHAEL] Hi. [JOBINA] I...thought you left. [MICHAEL] Disappointed? [JOBINA] No, of course not...what brought you back? [MICHAEL] Fresh air and clean living. He smiles. She smiles, a little uncomfortable. He's aware. [MICHAEL] Actually I'm thinking of buying a small business, and I heard the Hallelujah Press might be for sale. [JOBINA] It's not, not that I know of. Charles Barnswell bought it from my aunt last year. I can't imagine where you heard it was for sale. [MICHAEL] Now that you mention it, neither can I. Who's Charles Barnswell? [JOBINA] (shrugs) A businessman. A retired government official.... [MICHAEL] What branch of government? [JOBINA] I don't know. Why? [MICHAEL] Just curious. Ever heard of a man named Ron Austin? [JOBINA] No. What are all these questions for? What's going on? [MICHAEL] I wish I knew, Jobina. (beat) Besides the newspaper and the Hallelujah Press, are there any other companies in town that use printing presses? [JOBINA] No, not that I can think of. [MICHAEL] Thanks. He smiles, starts out. [JOBINA] Michael, I'm a reporter. I have a constitutional right to know what's going on! [MICHAEL] When I find out, you'll be the first to know. Or second. He's gone. She stares after him, perplexed. ANOTHER ANGLE The phone rings. [JOBINA] (phone) Tribune, Jobina Bruce speaking... (reacts) What? I thought you told me to discourage him. OMITTED INTERCUT - LARKIN IN HOTEL on the phone, TV on in the b.g. He looks comfortable. [LARKIN] I just got the report from Washington. No record of his prints, no drivers license, no social security number, nothing. [JOBINA] (amazed) Then who is he? [LARKIN] Good question. Get close to him, use your feminine wiles. Work him over, love him up. He'll break. They always do. [JOBINA] Mr. Larkin, there are limits to what I consider my patriotic duty. And another thing -- why do I have to do all the work here? [LARKIN] Look at it this way -- Those Watergate reporters had to spend months in a damp garage. All things considered, you've got it easy. CUT TO OMITTED EXT. HIGHWAY - DAY - STOCK The semi rolls down the highway. INT. SEMI - DAY Devon is on the phone with Michael, jotting notes. [DEVON] Charles Barnswell, retired federal employee...let me see what I can do. (beat) By the way, I take it you're still in Alpine Crest. Enjoying yourself? INTERCUT - MICHAEL [MICHAEL] Let me put it this way, Devon. It's a nice place if you're thinking of retirement.... [DEVON] Don't say it, dear boy. Don't even think it.... Michael smiles. [DEVON] I'll get back to you as soon as possible. [MICHAEL] Thanks, Devon. Give my love to Bonnie. OMITTED ANGLE FROM STREET Michael starts K.I.T.T. as Jobina appears. [JOBINA] Hi! Sorry I was a little rude in there.... ANGLE ON AUSTIN'S CAR - MICHAEL'S POINT OF VIEW - TRAVELING DOWN THE MAIN STREET the radio on full blast. [JOBINA'S VOICE] I had a lot of things on my mind.... ANGLE ON MICHAEL He slams K.I.T.T. into gear. [MICHAEL] Excuse me. He hits the gas. Jobina stares. OMITTED EXT. STREET - DAY A usually quiet street of small stores. Pedestrians scatter as K.I.T.T. races behind Austin's car...The street is too narrow for K.I.T.T. to pass, so.... ANGLE ON K.I.T.T. K.I.T.T. goes up on two wheels and passes Austin's car. ANGLE ON AUSTIN He's astonished, then slams on the brakes, turns the car around, heads down an alley. Police sirens can be heard. ANGLE ON K.I.T.T. as Michael follows Austin's car down the alley, then turns the corner. ANGLE HEADING OUTSIDE OF TOWN Austin's car races around a delivery truck, nearly causing it to tip over. A squad car peels around a corner, pursuing. MICHAEL'S POINT OF VIEW He can see the truck, but there's no way he can stop in time. INSERT - MICHAEL'S HAND pressing the turbo-boost button. WITH K.I.T.T. as it goes up and over the truck. ANGLE ON TRUCK DRIVER amazed. HIGH SHOT as the two cars tear around a corner. They are being chased by a growing number of squad cars. ANGLE IN K.I.T.T. Michael is driving the car. [MICHAEL] Kitt, patch into the police frequency. K.I.T.T. clicks, then: [SHERIFF MOORE'S VOICE] I repeat...two vehicles are racing out of control through the west side. [COLE'S VOICE] This is car number three. Both vehicles in sight. ANGLE ON RURAL ROAD as the police car pulls in front of K.I.T.T. -- just as it let's Austin's car by. Michael slams on the brakes and comes to a stop by the police car. ANGLE ON ROAD Michael gets out of the car. Two policemen climb out of the police car. [MICHAEL] He's getting away! Before he can say another word, the two cops have come to either side of him. One quickly grabs hold of his arms while the other slaps the cuffs on him. The first cop Cole, begins the litany. [COLE] You have the right to remain silent. Anything you say can and will be used against you.... As a puzzled Michael tries to sort this out, we: FREEZE FRAME AND FADE OUT END OF ACT TWO ACT THREE FADE IN EXT. JAIL - NIGHT - TO ESTABLISH INT. JAIL CORRIDOR - NIGHT - MOVING SHOT WITH SHERIFF MOORE as he carries a tray of food, stops at a cell door. ANGLE IN CELL to reveal the tenant is Michael. The cell is small and dirty, a far cry from Austin's previous stay here. Moore unlocks the door, slides the tray in. Michael watches him. [MICHAEL] I'm still waiting to make my phone call. [SHERIFF MOORE] Local call? [MICHAEL] (angry) No, it's not a local call -- what is this? I'm entitled to a phone call. [SHERIFF MOORE] I'll see what I can do. He locks the cell door. Michael is on his feet, grabs the bars. [MICHAEL] Sheriff, you may not like what I did, but I did it because I was pursuing a suspect! [SHERIFF MOORE] I don't know who or what you are, Knight, but you're not a cop. And I've got news for you. In Alpine Crest, cops pursue suspects. He starts away. [MICHAEL] Sheriff. Moore pauses. [MICHAEL] I'd like my watch back, if you don't mind. [SHERIFF MOORE] Sorry. Against regulations. [MICHAEL] (beat) You've got big trouble in this town, Sheriff. If I were you I'd be less concerned with regulations and more concerned with what's going on right in front of your nose. You can't hide behind awards for the lowest crime rate forever. [SHERIFF MOORE] There are people in this world I'll take advice from, Knight, but they don't talk from behind bars. Enjoy your meal. Cornbread's homemade. He leaves. Hold on Michael. CUT TO INT. POLICE GARAGE - NIGHT K.I.T.T. is surrounded by several deputies, one of whom is Cole, and a Mechanic. They look perplexed. [COLE] Never seen anything like the car before. [MECHANIC] I got an idea. He approaches K.I.T.T., gingerly touches the fender, strokes it. [MECHANIC] Nice boy, good boy.... [COLE] It's a car, Rogers, not a dog. As the Mechanic pats K.I.T.T. with one hand he tries to slide a hydraulic jack underneath it. K.I.T.T. backs up, frustrating the attempt. The men stare at each other, incredulous. [COLE] I've got a better idea. Do it again. [MECHANIC] It'll just move again! [COLE] Do it. The Mechanic shrugs, attempts to slide the jack underneath K.I.T.T. Once again K.I.T.T. backs up. The Deputy waits, timing his move, then suddenly hits the UP lever on the hydraulic lift. ANOTHER ANGLE The lift catches K.I.T.T. unaware; his tires spin, but he's already off the floor and going higher. Cole and the Mechanic high-five one another and dance around as if celebrating a major accomplishment. CUT TO EXT. HALLELUJAH PRESS - NIGHT Austin's car pulls in and parks. The place is deserted except for a faint glow of light from inside. Austin enters. INT. HALLELUJAH PRESS - NIGHT Barnswell unlocks the door carefully and Austin slips in. Barnswell bolts the door over: [BARNSWELL] Where've you been?! [AUSTIN] Don't ask. [BARNSWELL] What do you mean, 'don't ask'! You were supposed to be here at one this afternoon! I'm out here working in a vacuum -- you don't show up, what am I supposed to think? Austin moves to a cabinet, opens it and takes out a bottle of whiskey. He looks for a glass. [AUSTIN] I can't control what you think. Where's a glass? [BARNSWELL] This may be a nice, quiet little town, but it does exist in the real world. It has telephones. People call one another. [AUSTIN] Where's a glass? [BARNSWELL] I don't know, use a coffee cup. What happened? [AUSTIN] Ran into a little trouble with some joker in a hot Trans Am. Guy's been on my tail for two days. Every time I think I've lost him he shows up again. Anyway, we're okay now. Moore's got him in jail. He looks at a dirty coffee cup in distaste, decides to drink from the bottle directly. [BARNSWELL] It's about time he did something to justify his percentage. [AUSTIN] Hey, I give him a hard time as it is. Don't you start on him too. He does his job. Who'd ever think of Alpine Crest as the counterfeit capital of the world? (likes the phrase, chuckles) Okay, I got people to see. Where's the money? [BARNSWELL] It's not ready yet. [AUSTIN] (sharp) It was supposed to be ready by one this afternoon! [BARNSWELL] (darkly) You've got problems, I've got problems. Big ones. (beat) The one thing I feared would happen has happened. There's a company man in town. [AUSTIN] 'Company?' You mean CIA? [BARNSWELL] (nods) I saw him this afternoon when I went out for a sandwich. His name's Larkin. I remember him from a couple of years ago -- he was a junior field operative at the time. (beat) He's apparently been promoted. [AUSTIN] Good for him. [BARNSWELL] (explodes) Don't you hear what I'm saying?! You think Larkin's here for the clean air? He knows something! He's here on assignment! This sinks in. Austin studies Barnswell. [AUSTIN] You're not letting your imagination run away with you again.... [BARNSWELL] You listen to me, paper hanger. I'm the one who's vulnerable here. I'm the one who headed up the pilot program to counterfeit money, and when the Company shuts it down I'm the one who got the plates before they were destroyed. I created this operation. Imagination? You don't know the meaning of the word. (beat) I'll make it real clear for you, Ron. I spent twenty-five years with the Company, and there's no way I'm going to spend the next twenty-five in prison. If Larkin stays, I go. Either you find a way to detour him or I'll shut down the presses and take the plates with me. CUT TO INT. POLICE GARAGE - NIGHT The Mechanic sweeps up, through for the night. He takes a last puzzled look at K.I.T.T., turns out the light and locks the door. ANGLE ON DASH It comes alive. [DEVON'S VOICE] Kitt..? Are you there? [K.I.T.T.] Yes, Devon. INTERCUT - DEVON IN OFFICE [DEVON] Kitt, what happened? I've been trying to reach Michael for over an hour. [K.I.T.T.] Michael is...indisposed. [DEVON] That usually means he's with a young lady or in jail. [K.I.T.T.] No comment. [DEVON] I admire your loyalty, Kitt. Frankly, I'd just as soon not know -- unless he's in real trouble, of course. When you see him, I have the information on Charles Barnswell he requested. Barnswell worked for the CIA on several top-secret pilot projects before retiring last year. (beat) Curious.... [K.I.T.T.] Retiring? [DEVON] No. The last project he worked on involved a plan to destabilize the economies of unfriendly countries. Believe it or not, the premise was to infiltrate counterfeit U.S. dollars into the monetary system. (beat) At any rate, there you have it. Keep an eye on Michael. UP ANGLE ON K.I.T.T. suspended ten feet above the floor. [K.I.T.T.] I'll do my best, Devon. [DEVON] That's the spirit. CUT TO INT. JAIL - NIGHT - ANGLE FROM CELL AREA TO OFFICE DOOR as it opens, Jobina and Sheriff Moore arguing as she enters. [JOBINA] ...an American citizen, not to mention a member of the press, I insist on --- [SHERIFF MOORE] You call that little fish-wrapper you print 'the press'? [JOBINA] (furious) As surely as you call those six high school dropouts in uniforms 'the police force.' He stops, regards her. [SHERIFF MOORE] I've known your Aunt Martha for four years, Jobina. Ever since I took over as Sheriff. I like her and she likes me. That'll buy you some flexibility, but it won't buy you sensationalizing Knight's arrest in the Tribune. Alpine Crest has a reputation to maintain and I'm head maintenance man. Remember that. To her credit she doesn't back down from the look in his eyes. He leaves. She continues to Michael's cell. ANGLE TO INCLUDE MICHAEL Seeing her, he smiles, rises and moves to where she stands. [JOBINA] I would've baked you a cake with a hacksaw blade inside but I flunked Home Economics. [MICHAEL] (smiles) That's all right, I flunked Hacksaw. Thanks for coming. [JOBINA] It's the least I could do. Are you all right? [MICHAEL] No. [JOBINA] (interested) What did they do, violate your civil rights? Beat you with a rubber hose? [MICHAEL] Jobina, forget your 'good-bye story' for a minute and listen to me. I need your help. I'm not a skip-tracer, I'm not an investor looking to buy a small business. I work with Devon Miles, the man your Aunt Martha invited to speak at the ceremony the other day. [JOBINA] If you're really with that Foundation, why keep it a secret? [MICHAEL] Because something strange is going on here, and it gets stranger by the minute. I came here hot on the trail of a counterfeit-money broker. I thought he was just passing through, but I've changed my mind. I think he came here for a reason. [JOBINA] (disbelieving) You don't mean Ron Austin. [MICHAEL] (reacts) You know him? [JOBINA] The man you chased after -- yes. He's a Bible salesman -- at least that's what Mr. Barnswell said he was. [MICHAEL] You've seen him here before? [JOBINA] (nods) He comes through once or twice a month. Stops by the Hallelujah Press to pick up a load of Bibles. For a man of his profession he's a terrible flirt. [MICHAEL] (realizing) Barnswell...It's got to be Barnswell. He bought the Hallelujah Press as a front for the counterfeit money presses. [JOBINA] My God, this is it! My story! [MICHAEL] Jobina, I'll make you a deal. We need each other. We team up. I get the counterfeiters and you get your good-bye story. [JOBINA] (cautious) What do I have to do? Michael smiles. [MICHAEL] Have you ever heard the phrase, 'suspension of disbelief'? CUT TO INT. POLICE GARAGE - NIGHT The door slowly opens and a dark figure appears, pauses. The area is dark, but as the figure slowly approaches K.I.T.T. we see it's Jobina. She looks peculiar. She pauses. [JOBINA] I've...never talked to a car before... (beat) Actually, that's not true. I used to talk to my Volkswagen. The difference is it never talked back...Please talk back. I'll never forgive myself if you don't.... She steps a little closer, cautious. K.I.T.T. remains mute and inscrutable on the hydraulic lift. [JOBINA] Michael sent me. He's in jail. (beat) He needs your help, Kitt. He said you'd know what to do.... Silence. Then K.I.T.T.'s flasher comes on, brilliant red in the darkness. Jobina gasps. [JOBINA] Is...there anything I can do for you? [K.I.T.T.] Now that you mention it, yes. If you'd be so kind as to put me down.... [JOBINA] Down? [K.I.T.T.] My dear I'm a car, not a plane. [JOBINA] Yes, of course. She fumbles around, finds the lever and lowers the lift. The remainder of K.I.T.T.'s power comes on. Jobina watches, amazed. [JOBINA] What are you doing up there in the first place? [K.I.T.T.] Spinning my wheels. She stares at K.I.T.T. [K.I.T.T.] That was a joke. [JOBINA] Oh. She smiles stiffly. K.I.T.T. reaches the ground. [K.I.T.T.] As Michael would say, 'Thanks, pal.' [JOBINA] (smiles) You're welcome. Is there anything else I can do for you? [K.I.T.T.] Yes. Stand back. She does. K.I.T.T. revs his powerful engine. EXT. POLICE GARAGE - NIGHT Slow motion as, with a squeal of tires, K.I.T.T. smashes through the corrugated door and flies out. CUT TO INT. JAIL - NIGHT Michael is lying on his bunk, wondering how Jobina is making out with K.I.T.T. And vice versa. Then he hears something, a familiar sound. EXT. CITY STREETS - NIGHT - SEVERAL SHOTS OF K.I.T.T. as he approaches the jail. A pedestrian or two notice the car, notice there's no driver and stare, dumbfounded. EXT. JAIL - NIGHT K.I.T.T. approaches, slows, revs his engine. INTERCUT - MICHAEL He hits the floor. INTERCUT - MOORE at his desk in the office. He hears the noise, grumbles. [SHERIFF MOORE] What the hell's that? ANGLE OUTSIDE JAIL - STOCK in slow motion the Trans Am leaps, air borne, and penetrates the jail wall. ANGLE IN CELL Michael dives under the bunk as bricks fly. ANGLE ON MOORE Starting back toward the cells he freezes at the sound of impact, runs back for a shotgun. EXT. JAIL - NIGHT K.I.T.T., Michael behind the wheel, comes flying out amid a hail of bricks. CUT TO INT. HOTEL CORRIDOR - NIGHT The Clerk leads Deputy Cole down the hall. [CLERK] ...and when he didn't answer a second time I thought I'd better see if he was all right...here it is. They've stopped in front of Larkin's door. [DEPUTY] Stand back. The Clerk obeys. Cole draws his service revolver, cautiously opens the door, peers in. HIS POINT OF VIEW - ANGLE THROUGH DOOR Lying across the bed is Larkin, blood on his shirt. He is dead. FADE OUT END OF ACT THREE ACT FOUR FADE IN EXT. TOWN SQUARE - DAY TO ESTABLISH EARLY MORNING ACTIVITY Then, after a moment, Sheriff Moore crosses from the direction of his jail toward the newspaper office. He's been up all night. INT. NEWSPAPER OFFICE - DAY Jobina's hot at her typewriter, glances up as Moore enters. She continues typing. [SHERIFF MOORE] Jobina... (sharper) Jobina! She looks up, as if seeing him for the first time, adds a period to the line she's just typed, rises and moves toward the counter. [JOBINA] My, aren't we in a foul mood. Busy morning? [SHERIFF MOORE] I want to see the stories on Knight's escape and the murder before they go to press. [JOBINA] I can't believe you just said that.... [SHERIFF MOORE] Believe it. And believe I can back it up. [JOBINA] I don't know where you think you are, Sheriff, but you've got your geography confused. This is not Russia. This is not a South American dictatorship. We have freedom of the press here, and some very tough laws to guarantee it. A lot tougher than you. She starts back to her desk, angry, through with him. [SHERIFF MOORE] Give a girl a little college and she thinks she knows how the world works. She turns to give him a contemptuous look, is startled to see him leap over the counter and challenge her face to face. [JOBINA] Stay away from me! [SHERIFF MOORE] That's not my style. Here's my style. I've got a witness who can place you in the immediate vicinity of the police garage last night just minutes before somebody got that car and busted Knight out of jail. If you weren't with your Aunt Martha playing bridge during that time I can arrest you right now as an accessory. Think about that before you print your little stories. He turns and stalks out, using the swinging half-door. It's got a little latch lock on it; when it doens't swing to accommodate him he knees it, knocking it off its hinges. He slams out the door. Jobina stares after him, frightened. CUT TO EXT. MARTHA HABERSTRAW'S STREET - DAY Her ancient car comes chugging along, turns into her driveway, parks. CLOSER - MARTHA Aunt Martha gets out, glances around, takes a bag of groceries and moves to the garage. INT. GARAGE - DAY K.I.T.T. is parked. An overhead light illuminates the scene. Michael sits behind the wheel, his door open, listening to police calls. He's tense. [MICHAEL] (presses buttons) Punch me up a visual again, buddy. [K.I.T.T.] Right away, Michael. INSERT - VIDEO MONITOR A map of the Alpine Crest area appears, half-a-dozen red dots moving in diverse areas. [K.I.T.T.'S VOICE] As you can see, the patrol cars are still in the immediate area. BACK TO MICHAEL He nods, discouraged. Switches off the visual. ANOTHER ANGLE The garage door opens and Miss Martha slips in. [MISS MARTHA] Yoo-hoo.... [MICHAEL] (smiles) Hi, Miss Martha. Let me give you a hand. He joins her, takes the groceries. [MISS MARTHA] Just put them on the washer, I'll take them in in a minute. (regards him) No luck? [MICHAEL] (shakes head) They're all over the place. I'd never get within a hundred yards of the Hallelujah Press.... [MISS MARTHA] Good. Then maybe you'll have time for a country breakfast after all. Michael laughs, charmed by her. [MISS MARTHA] It's been a long time since I cooked breakfast for a man. Edgar loved ham and eggs and country-fried potatoes. Every morning of our married life... (trails off, sad, then smiles) Well, that's another time and another place. How do you like your eggs, Michael Knight? [MICHAEL] I really don't think I'll have time for breakfast, Miss Martha. [MISS MARTHA] Nonsense. Jobina said you could use some fattening up. [MICHAEL] I don't know if I said this last night...but I appreciate you letting me stay here. [MISS MARTHA] Don't think twice. If you're right about Charles Barnswell, and he's using the Hallelujah Press as a front for making counterfeit money -- Goodness, hurts my teeth to even say it -- Then I owe you a great deal. Whole town does. (beat; confidentially) To tell you the truth, I suspected something was wrong when all those errors started appearing. One ship- ment of Bibles went out with the Ten Commandments reading, 'Thou Shalt Covet Thy Neighbors Possessions,' 'Thou Shalt Commit Adultery.' Can you imagine the influence on young minds? Michael suppresses a smile, shakes his head solemnly. [MICHAEL] Sunday School just wouldn't be the same. [K.I.T.T.] Michael.... [MISS MARTHA] (reacts) I beg your pardon? [MICHAEL] That's...my car. I thought Jobina explained it's kind of...unusual. Excuse me. She stares as Michael crosses to K.I.T.T., slides in. [MICHAEL] Shoot, pal. [K.I.T.T.] I believe you'll be interested in this. According to monitored police calls, my schematics show a prepon- derance of police vehicles in the north and northwest area. [MICHAEL] English, please. [K.I.T.T.] A picture is worth a thousand words. Michael smiles, punches up the visuals. INSERT - K.I.T.T.'S SCREEN the map appears again, but this time the red dots are more concentrated in one area. MICHAEL He takes it in, studies it. [MICHAEL] Think we can make a run for it? [K.I.T.T.] Let's go for it. SCENE Michael laughs, turns to Miss Martha. [MICHAEL] I'm afraid there won't be time for breakfast, Miss Martha. Rain-check? [MISS MARTHA] Any time, good lookin'. He grins, closes the car door and starts the engine. [MISS MARTHA] I'll get the door for you. [MICHAEL] Don't bother. Kitt? INSERT - SCANNER BEAM as it activates: THE GARAGE DOOR as it opens in response to K.I.T.T. INCLUDE MISS MARTHA She's surprised and delighted. [MISS MARTHA] I'll be damned. Michael waves, pulls out of the garage, past Martha's parked car. She moves into the doorway, watches K.I.T.T. head down the street. CUT TO EXT. HALLELUJAH PRESS - DAY One of the H.P. vans is parked outside, near the loading dock. Austin's car appears, turns into the parking area and parks. Austin gets out, starts toward the side door. INT. HALLELUJAH PRESS OFFICE - DAY - CLOSE ON HAND working the combination of a safe. Pull back to reveal Barnswell. Agitated, he blows one of the numbers, collects himself, starts again. ANGLE IN ANOTHER ROOM Jobina, hidden, wondering how close she can venture. She takes several tentative steps. EXT. SIDE OF BUILDING Austin tries the door, finds it locked. The adjacent window, however, isn't. He quickly opens it, reaches in and unlocks the door. BARNSWELL He finishes dialing, hears the click, opens the safe door. He begins filling an accordian-style briefcase with neat stacks of bills. ANGLE ON JOBINA She continues forward, reacts to a sound, freezes to see Austin walk past her, towards the office. She could almost touch him. OMITTED EXT. QUIET STREET - DAY Michael drives quietly past. INT. K.I.T.T. - DAY as they continue. [K.I.T.T.] Michael, these alleys and back streets are beginning to depress me. [MICHAEL] Can't be too careful Kitt. It's tough to tell the players. (smiles) Hang in there, pal. We're almost there. ANGLE IN OFFICE Barnswell dumps the last of the money into the briefcase, reaches into the safe for the counterfeit plates, stashes them. He's been so intent he's not aware of Austin's presence until he appears at the door. [BARNSWELL] (startled, angry) What are you doing here? I told you I never want to see you again. [AUSTIN] It's not that easy, Charles my man. Not really. Barnswell isn't about to be intimidated. He stands to face Austin. INTERCUT - JOBINA listening, frozen as before. [BARNSWELL'S VOICE] What you did is the act of an insane man. BACK TO BARNSWELL AND AUSTIN [AUSTIN] You said make sure to 'detour' junior agent Larkin, well dig this -- one man's detour is another man's derailment. So I derailed the sucker. [BARNSWELL] What are you, a child? You do not walk around, kill a CIA field agent and continue to walk around. Whether you know it or not, my friend, you're a dead man. I don't do business with dead men. He grabs the briefcase and starts out. [AUSTIN] One more step and you'll never do business again, and I ain't foolin'. Despite himself, Barnswell turns. Austin is holding a gun on him. [AUSTIN] Now you can walk. With me. You see, Charles, for the immediate future...yours is mine. (smiles) Head 'em up, move 'em out Charles. Barnswell walks. OMITTED EXT. STREET - DAY - LOW ANGLE SHOT OF K.I.T.T. heading toward the Hallelujah Press. OMITTED EXT. HALLELUJAH PRESS - DAY The door opens and Austin forces Barnswell into his car. ANGLE AT WINDOW Jobina watches. ANGLE OUTSIDE Austin's car pulls out and leaves, Barnswell driving, Austin facing him. ANGLE AT SIDE ENTRANCE Jobina comes out, runs to the front, opens the van door, searching for keys. The sound of an approaching car makes her turn. ANGLE ON K.I.T.T. sliding up next to the van. [MICHAEL] I thought I told you to let me handle this. [JOBINA] I thought I told Aunt Martha to fatten you up. (beat) I know how to find them. [MICHAEL] Barnswell and Austin? [JOBINA] (nods) They've got the money and the plates with them. She opens the door. [MICHAEL] Now wait a minute, Jobina --- [JOBINA] Are we going to catch them or argue? Michael hesitates, hits the gas. K.I.T.T. roars out. Jobina points the way. OMITTED EXT. OUTSKIRTS OF TOWN - DAY Austin's Chevy drives by Barnswell at the wheel. OMITTED EXT. OUTSKIRTS OF TOWN - DAY Another area as K.I.T.T. passes, surveillance mode flashing. INT. K.I.T.T. - MICHAEL AND JOBINA They both watch for the Chevy. [JOBINA] (worried) They've got to be along in here somewhere. [K.I.T.T.] Michael, I think we've been discovered. [JOBINA] He talks in the daytime too? [MICHAEL] (flips switch) Show me, Kitt. INSERT - SCREEN to reveal the moving red dots clearly changing course, heading toward them. [K.I.T.T.'S VOICE] Michael, I'm getting a reading on the suspect vehicle. He will enter the monitor at south-southeast, color yellow. ANOTHER ANGLE Michael watches as a yellow blinking dot enters as described. [MICHAEL] Good work, buddy. If we play this one right we can get a strike on one ball. Let's do it. He punches turbo-boost. EXT. COUNTRY ROAD as K.I.T.T. takes off cross-country. OMITTED INT. CHEVY - DAY Barnswell glances back routinely, reacts. [BARNSWELL] You said some guy in a black Trans Am had been chasing you...look behind and tell me if that's him. Austin looks behind, stares. EXT. COUNTRYSIDE - DAY The Chevy passes, doing eighty. Camera holds and then the Trans Am appears, pursuing it. OMITTED EXT. DIFFERENT RURAL AREA - DAY Several squad cars appear. Moore is driving one of them. INT. SQUAD CAR - DAY Looking ahead, Moore spots something, grabs the radio mike. [SHERIFF MOORE] (into mike) There he is -- he's coming this way! All units respond! OMITTED VARIOUS ANGLES - THE CHASE The squad cars slow to let the Chevy pass, then logjam the road to block the Trans Am. ANGLE IN K.I.T.T. Michael pushes turbo-boost. WIDER ANGLE The Trans Am hurtles several squad cars. The deputies hit the floors of their cars. DIFFERENT ANGLE The Trans Am eats up the distance between the two cars. Panicked, the Chevy takes a turn too fast and rolls. Michael slams on the brakes, jumps out, Jobina not far behind. OMITTED ANOTHER ANGLE Michael sees the Chevy has rolled to stop halfway down an embankment, Austin and Barnswell trapped inside. Jobina runs up, breathless. [JOBINA] Are they all right? [MICHAEL] I think so. Shaken up some. (comlink) Kitt, if I'm not mistaken we've crossed the county line. Patch me through to a friendly Sheriff, will you, pal? [K.I.T.T.'S VOICE] I'll see what I can do, Michael. [JOBINA] Is there anything that car can't do? [MICHAEL] I think a woman would be a better judge of that. [K.I.T.T.'S VOICE] I beg your pardon. On their laughter: FADE OUT END OF ACT FOUR TAG FADE IN EXT. TOWN SQUARE - DAY The Knight van is parked nearby. Devon, Bonnie, Jobina and Miss Martha are walking across from the newspaper office. [MISS MARTHA] I must admit I feel a little foolish accepting the Foundation's award and then finding out our little community didn't have such a low crime rate after all. [DEVON] I have a feeling your new Sheriff will restore tranquility in short order. [MISS MARTHA] Oh...then we can keep the award? [DEVON] Of course. OMITTED ANOTHER ANGLE Michael and Jobina exchange glances. [MICHAEL] Well, looks like you got your 'good-bye story.' Where do you plan to go -- New York? L.A.? [JOBINA] I don't know. I've been thinking all this somehow changed Alpine Crest. At least in my eyes. I think I might stay. [MICHAEL] Good. Then I'll know where to find you...just in case. [MISS MARTHA] In the meantime, I'd like you each to have a copy of this Bible from the Hallelujah Press.... She gives one each to Devon, Bonnie and Michael. [MISS MARTHA] It's our most recent piece of work -- and quite beautiful, if I do say so myself. [DEVON] Then you're at the helm once more? [MISS MARTHA] That's right, Devon. So you'll know where to find me...just in case. Devon reacts, somewhat embarrassed, as the others share a grin at his expense. K.I.T.T.'s scanner lights up. FADE OUT THE END

{"show": "Knight Rider", "season": "s01", "episode": "e16", "title": "A Nice, Indecent Little Town"}

knightriderarchives

ACT ONE FADE IN EXT. DESERT ARCHEOLOGICAL DIG SITE - DAY A barren landscape of sand and excavated dirt. Sounds of metal hitting rock, not far away. A sign that reads, "COUNTY MUSEUM ARCHEOLOGICAL SITE #32, DR. JAMES LITTON, FIELD SUPERVISOR." Near the sign a lizard makes its way to an unseen burrow. Suddenly, it stops when it hears a sound from o.s., an approaching car. The lizard scurries for safety. EXT. KNIGHT 2000 - DAY The car tears around a bend near the sign and starts down the bumpy, unpaved road. K.I.T.T.'S VOICE Michael, I hope it won't be much longer. This dirt is beginning to clog a few of my more sensitive instruments. INT. KNIGHT 2000 - DAY Michael has his hands firmly on the wheel and he takes the jars and jolts effortlessly. [MICHAEL] We're almost there. And, anyway, this isn't just dirt -- it's the stuff of ancient Indian civilizations.... [K.I.T.T.] Perhaps. But the stuff of ancient Indian civilizations is wreaking havoc on my turbines. [MICHAEL] Sorry, Kitt, but Devon said it was urgent. Michael takes a bend in the road abruptly. K.I.T.T. groans. MICHAEL'S POINT OF VIEW Michael spots three pretty women in khaki clothing, archeology students, chipping at some rocks on a bench at the side of the road. OMITTED IN K.I.T.T. Michael starts to pull K.I.T.T. off the road when, from behind the tent, a Jeep roars out, nearly sideswiping the car. [MICHAEL] Hey! K.I.T.T. automatically jerks back to avoid the hit and we get a good look at the driver of the Jeep -- a wild-eyed, bespectacled man in his fifties. [K.I.T.T.] According to my visuals, Michael -- that's Doctor Litton. Michael, puzzled, takes the controls and goes after the Jeep, which swerves wildly from one side of the road to another. ON THE TENT as a brawny young man, also dressed in khaki, steps outside. Brawny and intelligent looking, this is Peter Stark. He intently stares up the road at the chase, then hurries towards the dig site. ROAD as Michael pulls abreast of the Jeep, Dr. Litton ignores Michael's hand motion to pull over -- and he slams the Jeep into K.I.T.T. The impact does nothing to K.I.T.T., of course, but it badly damages the right wheel of the Jeep. IN K.I.T.T. Michael keeps K.I.T.T. close to the Jeep. [K.I.T.T.] I estimate that in less than fifteen seconds, the Jeep's right wheel will spin off. At his rate of speed.... [MICHAEL] I can imagine. LITTON suddenly takes his foot off the gas and slumps against the steering wheel, sending the car into a spin. EDGE OF ROAD Michael slams on his brakes, missing the Jeep by inches. The Jeep slides into a ditch. Michael pulls K.I.T.T. over, hops out and runs to the Jeep. BY THE JEEP Litton is out cold. Michael starts to lift him out of the Jeep, when Litton's eyes open very wide, staring at some invisible monster. [LITTON] No. No! No! Litton leaps on top of Michael, but Michael has no trouble subduing the older man. Michael jumps up and Litton tries to stand. He gets halfway up -- then collapses. Michael catches him to break his fall. Litton mumbles something unintelligible to Michael, his eyes glazed. [MICHAEL] Doctor Litton -- I'm Michael Knight. You called Devon Miles asking for help.... There's a glint of recognition in Litton's eyes. With what seems his last ounce of strength, Litton grabs something under his lapel. He yanks it off and presses it into Michael's hand. Michael opens his hand -- to a pin. INSERT - PIN A very small black pin with a gold sun emblazoned on it. BACK TO SCENE Litton shakes his head "yes," then passes out. Michael stares at the pin, bewildered. CUT TO INT. OFFICE - DAY Absolutely pitch black. Nothing can be made out until we hear a click and a flickering of light from a TV screen illuminates the room. The sound is off, and there's nothing but static on the screen. We now see five people sitting in chairs facing the screen. Near the screen, in the shadows, is a speaker, a woman in her midforties who we'll come to know as Ellen Sullivan. [SULLIVAN] What you are about to see will astound even you. This is truly one of the engineering wonders of our time. She presses a tape cassette into a VTR machine, flicks it in and hits a button. CUT TO OMITTED INT. KNIGHT 2000 - DAY - TRAVELING With Michael driving, the car is going back up the unpaved road as quickly as possible. Litton is slumped in the passenger's seat, out cold. [K.I.T.T.] What's wrong with him, Michael? [MICHAEL] I'm hoping you can tell me, pal. Michael hits a button on the dash and a tray marked, "BLOOD ANALYZER", opens under the dash to reveal a velcro-like piece of cloth, connected by wires. Michael puts K.I.T.T. on automatic and wraps the Blood Analyzer around Litton's wrist. CLOSE ON K.I.T.T.'S MONITOR SCREEN as the number "340 over 140" flashes on the screen. [K.I.T.T.] His blood pressure is 340 over 140 -- this man is in extreme danger. Another picture flashes on the screen, a thermal X-ray of Litton's arm. [K.I.T.T.] And I detect the presence of a very potent drug. On the screen comes the word, "UNKNOWN." [MICHAEL] Unknown? I thought you had every possible drug -- something like three thousand. [K.I.T.T.] Five thousand eight hundred seventy- five to be exact. And I have records of each chemical within the drug... but this particular combination of chemicals is unknown. LITTON His face is white, tortured, his features misshapen by some chemical devil. INT. OFFICE - DAY The people still cannot be made out, their faces reflecting a rainbow of lights from the TV screen. Sounds of cars screeching and tires squealing can be heard. [SULLIVAN] And so, in terms of pure speed...The question isn't how fast this vehicle will go -- the question is how fast do you want it to go? ON THE TV SCREEN We now see that the tape is of -- K.I.T.T., performing terrific stunts, going over cars with his turbo-boost, out- running other vehicles at amazing speeds, going through solid brick walls and taking hits, with no damage, from machine guns. [SULLIVAN] ...As you know, this is our missing link. All that is left is to separate the car from its driver. A pleasant, but unremarkable young man by the name of Michael Knight. CUT TO EXT. KNIGHT FOUNDATION HEADQUARTERS - NIGHT - TO ESTABLISH INT. DEVON'S OFFICE - NIGHT - ON MIRROR Devon is trying to knot his tie, gazing into a mirror built into a closet door in the office. He grimaces -- when he straightens his tie, it comes out all askew. TO INCLUDE BONNIE Pretty, stylishly dressed. She watches Devon with bemuse- ment. [DEVON] Why is it when one is rushing, one's tie refuses to be knotted? She comes over and begins to tie it for him. [BONNIE] I think it's called 'Devon's First Law of Nervousness.' She finishes the tie. [DEVON] I'm glad you're here to share this moment with me, Bonnie. (with a hint of mischief) I only wish Michael were here, too. There's a knock at the door. Devon and Bonnie share a look of excitement and she holds up crossed fingers. Devon crosses and opens the door. NEW ANGLE A distinguished, portly man, Graham Deauville, enters and clasps hands with Devon. Deauville is a John Houseman look-alike, with a preoccupied, worried air. [DEVON] Graham, it is good to see you.... [DEAUVILLE] You're looking well, my friend. (to Bonnie) And it is always a pleasure to be graced by your beauty, my dear. He crosses to her, bows courtly, then takes her hand and kisses it. She blushes. When he looks back to Devon, he is grave. [DEAUVILLE] Devon, I have something very impor- tant to discuss with you. [DEVON] (smiles) I certainly hope so. Deauville is a little confused. After a beat, it dawns: [DEAUVILLE] Oh, yes, your Helios scores. He opens his leather valise and takes out some papers. [BONNIE] You didn't grade mine, did you? I just took it to keep Devon company. Deauville finally manages a small smile. He looks from her to Devon. [DEAUVILLE] As you know, the Helios test is more than just an entrance examination -- it's widely acknowledged as the most accurate measure of native intelli- gence. Devon beams. [DEAUVILLE] It scores mental ability -- and the capacity to grasp the higher planes of thought we use to solve the important problems facing our world. So... (a dramatic pause) I am pleased to announce the newest member of Helios -- Miss Barstow! Bonnie's face lights up; Devon's face falls. [BONNIE] Me? Are you sure? [DEVON] Yes, are you quite sure? [DEAUVILLE] (with an impish grin) We at Helios don't make mistakes, remember? [BONNIE] I don't know what to say...I even had a cold that day.... This isn't what Devon wanted to hear. [DEAUVILLE] We're having our induction ceremony this weekend at the estate. (to Bonnie) You'll be there of course. And, my dear Devon, I'm very pleased to invite you to our reception Saturday -- and to announce that, for your years of friendship and support, we're making you an honorary member. [DEVON] Honorary. Of course. I am most pleased. He isn't. Deauville takes something out of his coat pocket and reaches for the lapel of Bonnie's blouse. He clips on a pin. CLOSE ON PIN The same small black pin with the gold sun emblazoned on as before. BACK TO SCENE Bonnie is beaming. Devon's phone rings and he crosses to answer it. [DEVON] (into phone) Michael, where are you? INT. HOSPITAL - CORRIDOR - NIGHT Michael is at a pay phone. [MICHAEL] At Physician's Hospital. Devon, I've got some bad news. When I found Doctor Litton, he was having some kind of fit. Now he's in a coma...the doctors don't know anything, yet...there's some kind of drug in his system but Kitt has no record of it.... ANGLE ON DEVON [DEVON] I'll be right there, Michael. Devon hangs up the phone. [DEAUVILLE] What is it? [DEVON] Something happened. Jim Litton is in a coma. Deauville looks as if he's been stricken. [DEAUVILLE] Oh, my God! (a beat) This is the reason I came today, Devon. In the past month, two of our Helios members have died -- mysteriously. Off Devon's alarmed reaction, as we: CUT TO OMITTED EXT. HOSPITAL - NIGHT - TO ESTABLISH An imposing structure. INT. HOSPITAL CORRIDOR - NIGHT - MOVING Deauville, flanked by Michael and Devon, walks down the stark, white hallway. This is the mental ward, but could just as easily pass for a jail. Deauville talks in a subdued, wistful voice. [DEAUVILLE] Jim and I go all the way back to Princeton together. (a beat) I remember one professor, in partic- ular Doctor Whitehead, who took us on a dig -- and said the folklore about Indian gods protecting their graves was...superstition. So, one night, Jim and I dressed up in hideous masks and sneaked into Whitehead's tent... I never saw a man so frightened -- or run as hard as he did! Michael and Devon smile. BY HOSPITAL DOOR They stop in front of a door with a tiny window. [DEAUVILLE] Last year's find of the Aztec gold, just outside of Mexico City, was Jim's greatest triumph...as much as the gold is worth, it's historical value is incomparable. Now, to think of Jim Litton -- at the peak of his career...as you described him.... He trails off. Then they all enter the room. INT. HOSPITAL ROOM - HIGH ANGLE SHOT - DAY A padded cell with one bed. Strapped on is Dr. Litton, who is sleeping. ANGLE BY BED Deauville looks ashen, as if he's viewing a corpse. Litton's raspy breathing tells us he isn't. Deauville approaches his friend very slowly and getting around the straps as best as he can, hugs him tightly. When he looks up, he can see that Litton's eyes are fluttering open. [DEAUVILLE] (choked with emotion) Jim... (a beat) Jim, it's going to be all right. As Litton's eyes focus, they bug out at Deauville. [LITTON] (screaming) No. No! No! Deauville jumps back as if he's been bitten. [DEAUVILLE] Jim, it's me -- Graham. [LITTON] No! No! Then he issues a terrifying, piercing scream. A nurse hurries into the room to try and calm Litton. Michael and Devon escort a very shaken Deauville out of the room. ANGLE IN CORRIDOR They all collect their wits. When Deauville speaks, it is full of emotion and anger. [DEAUVILLE] That...isn't Jim Litton in there. I don't know who...what...is inside him, but it isn't the Jim I know. (a beat; to Devon) I hate to ask...such a big favor. [DEVON] Anything Graham. Anything we can do.... [DEAUVILLE] Come to Helios this weekend...and find whoever's responsible...for.... He indicates Litton's room. [MICHAEL] Why do you think it's someone in Helios? [DEAUVILLE] I don't know what to think. But if it isn't someone inside our organiza- tion -- I'm at a total loss.... [DEVON] We'll be happy to come...and do what we can. OMITTED EXT. DEVON'S CAR - DAY - MOVING as it pulls inside the main gate of the Helios estate, a massive, ornate metal structure, with intricate grill work. The gate opens as they approach. EXT. HELIOS MANSION - DAY Devon pulls to a stop in front of the mansion. He and Bonnie get out of his car and walk towards the front steps. She carries a weekend travel bag. [BONNIE] This is...beautiful. I don't believe it. I've always dreamed of belonging to something like this, but.... [DEVON] Helios is a fine organization, Bonnie. They made an excellent choice. I'm proud of you. [BONNIE] Thank you. (a beat) I'm sure if you took the test again.... [DEVON] It's not that important. Really. I was just...surprised, that's all. [BONNIE] This wouldn't be the same if you were upset. And anyway, it's not as though you've been left out. You're an Honorary Member. She smiles and he keeps his stiff upper lip frozen into a smile. When she looks away, the smile fades. ANGLE ON STEPS As they come to the base of the steps, Deauville comes out of the front door to greet them. On the steps, he and Devon shake hands. [DEAUVILLE] Thank you so much for coming, my friends.... [DEVON] I hope we're not too late.... [DEAUVILLE] (smiling at Bonnie) We would never begin without our loveliest new member. Deauville takes the bag from Bonnie, then extends his other arm to her. She takes it and they all walk through the main front door into the mansion. INT. KNIGHT 2000 - DAY - TRAVELING pulling off the main road not far behind Devon's car. Michael looks very bored. [K.I.T.T.] ...and Helios, the Greek sun god, the God of Brilliance, rode to his palace in a chariot of gold.... [MICHAEL] Kind of like a Rolls Royce, right? A beat. [K.I.T.T.] I fail to see the logic of that statement. [MICHAEL] Forget it. [K.I.T.T.] Had you used a more domestic brand as your model.... Michael pulls to a stop near the main door of the mansion. [MICHAEL] Just a figure of speech. Did you do a scan on the data banks Bonnie added on Helios? [K.I.T.T.] Yes, I did. I find no connection between Doctor Litton and the two deceased Helios members. [MICHAEL] Great. Maybe I can organize a game of tackle football or something here. Michael starts out of the car. [K.I.T.T.] By the way, Michael, can a Rolls Royce do computer scans? Michael laughs, getting the gist of K.I.T.T.'s argument. [MICHAEL] Not a one. And, listen -- you're as good as gold to me, buddy. [K.I.T.T.] Thank you. Michael gets out of his car by the front steps. HIS POINT OF VIEW OF THE HOUSE In a window by the front door of the mansion, Michael spots a pretty woman in her twenties staring out at him. This is Charlene Hanover. After a beat -- she disappears. ON MICHAEL not sure if he saw anything at all. He continues up the steps. CUT TO OMITTED INT. HOSPITAL CORRIDOR - DAY An orderly -- in white hospital clothes -- wheels a linen cart down the corridor. We only see the orderly from his back. INT. HOSPITAL ROOM - DAY The orderly enters the room and closes the door behind him. He wheels the cart to the foot of Litton's bed. Litton wakes up from a fitful sleep. LITTON When his eyes focus, he looks up at the orderly -- and opens his mouth to scream. REVERSE ANGLE The orderly -- actually Peter Stark -- stuffs a towel in Litton's mouth. Then he takes a bottle from his coat pocket, opens it, and spills some of its contents onto a towel. Litton, his eyes wide with terror, is strapped in and thus can do nothing. Stark covers Litton's nose with the towel. Litton struggles...fights against the drug... then -- stops struggling. His body goes slack. As Stark removes the towel and wheels the cart out of the room, we: FREEZE FRAME AND FADE OUT END OF ACT ONE ACT TWO FADE IN EXT. HELIOS MANSION - DAY More cars arrive with members, guests and inductees. OMITTED INT. MANSION - HALLWAY - DAY Michael, Bonnie and a handful of other Helios members and guests are being given a tour by Ellen Sullivan, the woman we saw earlier in the dark office. The house is expensively furnished with many old paintings and antiques. The archi- tecture is Gothic in period, with many interesting nooks and crannies, side rooms and blind hallways. Strolling the hall- way are two museum guards. Sidling next to Michael and Bonnie is Irving Farber. He has huge glasses, a receding hairline -- and an obvious crush on Bonnie. [SULLIVAN] The mansion was purchased in 1952 by the Helios trustees. Many of our members live on the premises while working on projects and.... As she drones on, Farber nudges Bonnie. Michael watches the following exchange with bemusement. Farber points to a piece of artwork. [FARBER] (whispering) That one was done by the famous Genoan artist, Renaldo Sofo. It took him twelve years to complete it. Trying to put him off without hurting his feelings: [BONNIE] Isn't...that amazing? [FARBER] My name is Irving Farber. My notes on the Renaissance are particularly stirring. Perhaps we can get together and discuss them sometime. [BONNIE] That...certainly sounds exciting, Irving. Farber smiles, ecstatic at this major victory. He gives Michael a knowing manly nod and follows the tour. MICHAEL'S POINT OF VIEW - DOWN THE HALLWAY A door opens -- and out steps Charlene Hanover. She seems distraught. They make fleeting eye contact, but she hurries away down the hall. She turns a corner -- and almost runs into Devon. They ad-lib apologies. BACK TO SCENE Devon comes up to Michael. He is very grave. [DEVON] Michael -- Doctor Litton is dead. [MICHAEL] Dead? [DEVON] The doctors still don't know the cause. I've asked to see the results of the autopsy as soon as possible. [MICHAEL] Three dead men...no clues...Devon, when I was a cop, they'd call this kind of thing a 'Blind Man's Bluff.' [DEVON] Have you seen anything odd or peculiar? [MICHAEL] Besides most of the Helios members -- no. [DEVON] They're not odd, Michael, they're different. [MICHAEL] Let's just say this isn't my kind of place. [DEVON] I'm well aware of that, my dear fellow. Devon smiles at him and moves away down the hall. Michael laughs, then heads to the door Charlene came out of. AT DOOR Michael tries the handle, but it's locked. He checks the hallway, sees that it's empty, then talks into the comlink. [MICHAEL] Kitt, I need a schematic reading of this lock. Can you do it? INTERCUT - K.I.T.T. [K.I.T.T.] Certainly. I can also describe the make, model and serial number of the device in question. I can order you a like item. And I can also unlock it, with my microwave jammers. [MICHAEL] Kitt, you are a full-service car. A humming sound comes from K.I.T.T.'s hood. Then -- the lock springs open. INT. STORAGE ROOM - DAY A room lined with metal shelves that hold boxes marked, "CANNED TOMATOES," "CANNED CHOPPED BEEF," "CANNED PRUNES," etc. At the end of one aisle of boxes is something covered by a large tarp. ANGLE ON MICHAEL He walks towards the tarp and starts to lift it -- when.... TO INCLUDE DEAUVILLE Deauville enters the room. Michael spins around, dropping the tarp. [DEAUVILLE] I see you've found our storeroom. (indicating boxes) These are for our food distribution program for the poor. (ushers him out) If one is wealthy in spirit, one cannot ignore the less fortunate, don't you agree? [MICHAEL] Sure do. INT. HALLWAY - DAY They come back out into the hallway where Devon greets them. [DEAUVILLE] (to Michael) I can see you're rather bored by our tours and activities...I have an idea: why don't you take our test? Devon flashes a wide grin, eager to have company in defeat. [DEVON] What a splendid idea. [MICHAEL] I don't think it's all that splendid.... Before Michael can finish, Deauville ushers him into a room. Deauville catches Devon's eye and winks; great fun. INT. ND ROOM - DAY Just a chair, a table -- and a number two pencil and the test. [DEAUVILLE] You will have forty-five minutes to complete the test. You may begin once the door is closed. [DEVON] Do your best, old boy -- use every resource at your disposal. And good luck! ANGLE ON MICHAEL They leave. Michael picks up the test, thinks for a second, then turns on his comlink. [MICHAEL] (reading from the test) Kitt, given the unbalanced electron composition of zirconium, would its atomic mass increase or decrease with a change in molecular valance? INTERCUT - K.I.T.T. [K.I.T.T.] Michael, isn't this cheating? [MICHAEL] Nah, it's called using every resource at my disposal. K.I.T.T. sighs. They continue on.... CUT TO INT. MANSION - BALLROOM - DAY A large room which connects to an outside patio area, replete with a large pool. Near the pool, by the dance area, plays a four-piece combo. Crowded in the room and on the patio are Helios members and guests, in informal wear. A few couples are dancing. Irving Farber, looking even more sad in a loud sports coat, stands by a punch bowl-refreshments table. He smiles at every woman who walks by. When they see him smiling, they walk by even faster. DEVON AND DEAUVILLE standing at the edge of the crowd. [DEVON] Shall we rescue the poor fellow? [DEAUVILLE] (checking his watch) In thirty seconds his agony will have lasted exactly forty-five minutes. Chuckling, they go in. CUT TO OMITTED INT. ROOM - DAY As Devon opens the door, his face is full of anticipation. But when he looks inside, his face falls -- Michael has his feet up, chair back, arms behind his head. He looks up, yawns and smiles. [MICHAEL] Actually it was easier than I thought it'd be.... Deauville crosses to the table and picks up the test, astounded. [DEAUVILLE] You finished each and every question! Devon grabs the test and looks it over. Michael winks at him and heads out. They watch him go, amazed. CUT TO INT. MANSION - BALLROOM - DAY The party is in full swing. Michael, in a sports coat, comes up to the punch bowl. Farber is still there, ogling women. [MICHAEL] Nice jacket. [FARBER] (smiles brightly) Look your best and you'll look best to her, that's my motto. Something at the ballroom entranceway catches Michael's eye. Farber follows his gaze. ANGLE ON BONNIE entering on Devon's arm. Michael walks towards them, but Irving Farber hurries over, getting to her first. [FARBER] Why, Miss Barstow. Your attire is most becoming and fits you in all the right...er...it is very well tailored. Would you care to.... [MICHAEL] Bonnie, excuse me, but Kitt's electro- transformer has been acting up. Can we discuss it? [BONNIE] We'd better. (to Farber) Excuse us.... Michael wisks Bonnie outside to the veranda. Farber is chagrined. Devon smiles. [DEVON] I do admire a woman with such dedication...don't you? Farber nods, glum. VERANDA - DANCE FLOOR Michael and Bonnie glide around the floor surrounded by a few other couples. [BONNIE] Thanks for saving me. [MICHAEL] I should thank you. After all, I didn't know whether you'd still talk to me since you're smart now. [BONNIE] Never stopped me before.... [MICHAEL] Very funny. They continue to dance until the song ends. The split- second it does, Farber heads for Bonnie. But Devon steps in just ahead of him and takes Bonnie by the arm. They dance. [MICHAEL] (to Farber) That was gentlemanly. What a guy. Farber shrugs, tries to smile. BY PUNCH BOWL Michael heads to the punch bowl. Charlene Hanover, very tense, is already there. [CHARLENE] I suppose congratulations are in order... (off his look) You're a new inductee, aren't you? [MICHAEL] (laughs) No -- no way. I'm just a guest. [CHARLENE] I thought so. You don't look like a Helios member to me. [MICHAEL] I'll take that as a compliment. They both smile. [CHARLENE] I'm Doctor Charlene Hanover. [MICHAEL] I'm Michael Knight. [CHARLENE] The man who found Doctor Litton? [MICHAEL] Did you know him? A beat. [CHARLENE] My field is also archeology. I visited him at the dig site. Quite a large dig, considering.... [MICHAEL] I didn't get a good look at it, but it didn't seem all that large to me. (beat) 'Considering'? Considering what? She is about to reply, when something catches the corner of her eye. Michael looks to where she is staring. THEIR POINT OF VIEW - DEAUVILLE standing with Devon, smiles at them. BACK TO SCENE When Michael turns back -- Charlene's gone. He starts to look for her, when his comlink beeps. [MICHAEL] (into comlink) What is it, Kitt? INTERCUT - K.I.T.T. [K.I.T.T.] Michael, my sensors have picked up some animal cries coming from a room at the far end of the mansion. [MICHAEL] (puzzled) Thanks, pal. INT. HALLWAY - DAY Michael nods to the two guards that patrol the hall and walks past guests and inductees, staring at some of the Helios artwork. When he gets to the end of the main hall- way, he turns right. SECLUDED HALLWAY dark, oak doors and dim lights. Michael sees a light burning in one room and, as the songs from the ballroom recede, faint terrified cries take over. In the desolate hallway, Michael's footsteps make eerie echoes and the interesting nooks and crannies of the mansion's architecture become strange shadows. As Michael stops by the lighted room, the shrieks are much louder and the melodies from the ballroom sound like whispers of ghosts. INT. LABORATORY - DAY Michael swings open the door -- to a laboratory -- and a handful of cages populated by rhesus monkeys. A lab worker, in a white coat turns quickly around from one of the cages. The lab worker is Peter Stark. As they talk, Michael checks out the lab, and the lab tables of test tubes, chemicals, vials and beakers full of oddly colored liquids. At a far wall is a door marked "Office - Authorized Personnel Only." [MICHAEL] Sorry...party got a little dull. You, too? Stark stares at him weirdly. [STARK] Sometimes animals are more...friendly than people. [MICHAEL] Yeah, but, they usually make pretty rotten dancers. Stark doesn't crack a smile. [MICHAEL] Well, nice talking to you. Michael smiles, leaves. Stark stares after him. OMITTED INT. HELIOS ESTATE - HALLWAY - DAY Devon and Michael walk towards the front door, as Deauville and Bonnie come down the hallway to meet them. [DEVON] Thanks for a marvelous time, Graham. Sorry I can't stay longer, but my schedule won't permit it. [DEAUVILLE] Perhaps next time, my friend. And do phone when the autopsy report is completed. EXT. HELIOS MANSION - DAY at the bottom of the steps Deauville and Devon clasp hands and ad-lib good-byes. Devon gets into his car and pulls away. [DEAUVILLE] (to Michael) I trust you can amuse yourself. Bonnie still has a few more rites to go through. (with a wink) Very secret stuff, you understand. [MICHAEL] I think I'll take a drive...stretch my legs.... [DEAUVILLE] Don't be too long -- we have a gourmet meal planned for seven thirty. OMITTED INT. HELIOS MANSION - HALLWAY - DAY - MOVING Deauville puts a paternal arm around Bonnie's waist. [DEAUVILLE] And now, my dear, for the next phase of your indoctrination.... [BONNIE] (smiles) I can't wait. ANGLE TO INCLUDE STARK who greets them in the hall. [DEAUVILLE] Bonnie, this is Peter Stark. He will show you our laboratory facilities. I trust you will find them most interesting.... [BONNIE] I'm sure I will. She smiles, starts away with Stark. Stark looks back at him, and Deauville nods. [DEAUVILLE] (to himself) You've no idea, my dear. None whatsoever.... OMITTED HIGHWAY - DAY - LONG SHOT K.I.T.T. tears down the desert highway, towards the dig site. [K.I.T.T. (V.O.)] By the way, how did we do on the test, Michael? [MICHAEL (V.O.)] It hasn't been scored yet. But I'll bet I get the highest score ever recorded by a human. [K.I.T.T. (V.O.)] Or the lowest score ever recorded by a computer. [MICHAEL (V.O.)] Come on, I had to answer a few -- or we would've been done in twenty minutes. [K.I.T.T. (V.O.)] But the '42 Cubs, Michael? Really. Everyone knows it was the '27 Yankees. Never the Cubs. [MICHAEL (V.O.)] Nah, the Cubs. I know my baseball. OMITTED EXT. DIG SITE - DAY Michael passes the sign, then continues up the dirt road. MICHAEL'S POINT OF VIEW - OFF TO THE WEST He sees a fenced-in area, something he had no time to notice before. Leading into a gate in the fence are bulldozer tracks. OMITTED ANGLE IN K.I.T.T. Michael stares out towards the fence. [MICHAEL] Okay, Kitt, let's see what Doctor Charlene Hanover seemed so mysterious about.... [K.I.T.T.] My sensors have detected an electronic cable from the fence to the power lines up the road. [MICHAEL] They've got the place wired...okay, let's use your infra-rays and see what the big mystery is.... CLOSE ON K.I.T.T.'S MONITOR SCREENS The graphics show the outline of the field...then, beyond the field, the outline of a huge pit. [K.I.T.T.] I detect a large pit and sizeable deposits of fresh earth inside. ANGLE IN K.I.T.T. [MICHAEL] Dirt -- a dumping ground? Why would there be a dumping ground at an arche- ological site? [K.I.T.T.] Perhaps some Indian artifacts were discovered while excavating the dump site. Michael is puzzled. He starts to back K.I.T.T. up, when.... CLOSE ON CLAY POT smashed by K.I.T.T.'s wheel. ANGLE IN K.I.T.T. K.I.T.T. stops suddenly. [K.I.T.T.] Speaking of artifacts, Michael, I believe I just ran over one.... Michael opens the door and gets out. ANGLE AT CAR Michael picks up a fragment. CLOSE ON FRAGMENT A small piece of the pot, flecked with drab brown paint. ON MICHAEL as he gets back into K.I.T.T. ANGLE IN K.I.T.T. [MICHAEL] This thing must be hundreds of years old...I wonder what it's doing over here.... [K.I.T.T.] I could date it for you if you like. CLOSE ON DASH A compartment opens and Michael puts the fragment inside. The compartment closes. ANGLE IN K.I.T.T. Michael waits a second, then: [K.I.T.T.] Michael, this fragment is less than a month old. [MICHAEL] A month?! He thinks a beat, taking the fragment from the dash, holding it, wondering. [MICHAEL] Doctor Litton was a world-reknown archeologist. He wouldn't have been involved in something like this.... [K.I.T.T.] Then who do you think is? [MICHAEL] Good question, Kitt. Who...and why. EXT. K.I.T.T. as Michael turns the car back towards the dirt road. CUT TO OMITTED EXT. HELIOS MAIN GATE - NIGHT Michael pulls K.I.T.T. to a stop behind some trees near the main gate, out of sight of the mansion. ANGLE IN K.I.T.T. The sunroof is open. Michael stands up on the passenger seat. [MICHAEL] All right, Kitt, pop me up. [K.I.T.T.] Michael, you are an invited guest. May I suggest the front door? [MICHAEL] Not this time, buddy. This time I want to visit without anyone knowing I'm here. Go ahead. There's a click. WITH MICHAEL as the ejection seat boosts him up -- and over to a tree. He grabs a branch and holds on. Then he shimmies down the tree and races to the mansion. DISSOLVE TO INT. MANSION - NIGHT Michael crosses to a bedroom door. He opens it, looks in. [MICHAEL] Sorry.... And he closes it. DISSOLVE TO HALLWAY - NIGHT - LATER Michael looks ragged. He slumps against a wall, rubbing his eyes. Into comlink: [MICHAEL] How much longer do we have? [K.I.T.T.] It's less than thirty minutes until dawn. INT. HELIOS MANSION - LAB - NIGHT The lab is dark. Michael enters from a window, holding a flashlight, and is greeted by the beady little eyes and outraged cries of the monkeys. He tries to "shh" them and they eventually quiet down. He moves quickly to the door marked "OFFICE - AUTHORIZED PERSONNEL ONLY." The door is locked. INTERCUT - K.I.T.T. [MICHAEL] (into comlink) Kitt.... [K.I.T.T.] I detect a lock in front of you, Michael. Would you like this one picked too? [MICHAEL] I'd appreciate it. There's a hum from K.I.T.T. and the door pops open. INT. OFFICE - NIGHT A bare office with some file cabinets, a clean desk, some floor plans tacked on one wall and a TV set. He crosses to some file cabinets and finds dossiers on each Helios member. He leafs through some until he finds Litton's. LITTON'S FILE very old, with a snapshot of a much younger Litton clipped on. There's nothing else in the file but the test, marked "176 - PASSED", and some newspaper clippings about the Aztec gold find. One headline reads, "Dr. Litton Discovers Aztec Gold Find." Another reads "Gold to be Kept in Ultra- Secure Exhibit at County Museum." BACK TO MICHAEL He puts the file back and closes the drawer. He opens another and pulls out a file. He looks in the file -- does a double-take -- and pockets a piece of paper. Then he goes through the file carefully. THE FILE marked "New Members" on top of a fuzzy Polaroid of Irving Farber, who looks like he was caught just stepping out of the shower. His test score reads, "187 - PASSED." Michael comes to Bonnie's which has stamped on it: "137 - FAILED." BACK TO SCENE Michael puzzles this out and looks around the room. He spots the TV set. On the top of the set he spies a cassette and picks it up. INSERT - CASSETTE whose label reads, "K.I.T.T." ON MICHAEL as he quickly turns on the set and inserts the cassette. ON TV SCREEN The tape of K.I.T.T., performing the fantastic maneuvers that are K.I.T.T.'s stock-in-trade. CLOSE ON MICHAEL His face bathed in flickers of colored light, shocked and unnerved. OMITTED ANGLE - MICHAEL [MICHAEL] (into comlink) Kitt, I don't know exactly what's going on here, but I don't like it. We've got to find Bonnie. INTERCUT - K.I.T.T. [K.I.T.T.] My sensors detect Bonnie on the second floor, in the south wing -- and Michael? Hurry. The sun is rising. He hurries to an elevator at the end of the hall. NEW ANGLE - AT ELEVATOR Michael presses the up button and, when the elevator arrives, he jumps inside. HALLWAY as Michael steps out of the elevator and runs down the dark hallway. INT. BEDROOM - NIGHT Michael opens the door. The shaft of light from the hall- way shines on the bed. Bonnie, still in her clothes, lies on top of the covers. Michael crosses and shakes her, trying to wake her. [MICHAEL] Bonnie, wake up! We've got to get out of here.... He shakes her again and she stirs, groggy. [MICHAEL] (into comlink) Kitt, in exactly thirty seconds be at the front door. He grabs her overnight bag and helps her up. She seems foggy, unsteady. OMITTED EXT. MANSION - ON K.I.T.T. K.I.T.T. revs up, then -- it smashes through the front gate, sparks flying. OMITTED EXT. HELIOS MANSION - DAY as K.I.T.T. pulls to the front steps, Michael appears with Bonnie. He helps her in. Then K.I.T.T. burns asphalt. OMITTED INT. K.I.T.T. - DAY - MOVING as it races down the road that ribbons down the mountain. After they pass the front gate Bonnie eases her hand into her overnight bag. [BONNIE] Michael, go back. When he looks over at her, he's astonished -- she's pulled a pistol out of the bag and has it aimed at him. [MICHAEL] Bonnie, it's me, Michael! [BONNIE] (cocks trigger) Go back! It's a command and a shout. And as Michael searches her eyes, he finds no recognition whatsoever and we: FREEZE FRAME AND FADE OUT END OF ACT TWO ACT THREE FADE IN EXT. HELIOS MANSION - DAY K.I.T.T. slowly pulls up past the destroyed gate to the main drive. INT. K.I.T.T. - DAY - ON BONNIE AND MICHAEL K.I.T.T. is in automatic. Bonnie has the gun trained on Michael. [MICHAEL] (desperate) ...Bonnie, it's me -- Michael -- I don't know what they've done to you but --- [BONNIE] (overlap) Shut up! Pull over in front, Kitt. [K.I.T.T.] Bonnie, I agree with Michael. This is highly irregular and disconcerting. [BONNIE] It's okay, Kitt. Trust me. I'll explain later. OMITTED INT. HELIOS MANSION - HALLWAY - DAY Bonnie prods Michael at gunpoint. As they enter the mansion, Deauville, Stark and Sullivan greet them. [DEAUVILLE] (to Stark and Sullivan) Chemicals are indeed the magic of our time. (to Bonnie) Good work, my dear. Excellent. (to Michael) One word of protest -- a plea for help -- anything out of the ordinary and you will be shot on the spot. I trust that's clear. MOVING WITH THEM as they walk down the hall. Deauville talks softly, smiling at the other Helios guests on their way to breakfast. Stark takes the gun from Bonnie and sticks it surreptitiously in Michael's side. [DEAUVILLE] You see, Mr. Knight, in addition to highly toxic, intraceable drugs, we've also perfected mind control chemicals. Deauville takes a key and unlocks the door to the storage room. They all enter. Near the door, behind a piece of sculpture, is Charlene Hanover, watching intently. INT. STORAGE ROOM - DAY Deauville leads them to the tarp, past the metal shelves of food. [DEAUVILLE] Normally, I wouldn't do this...but after all, if your death is the result of our Master Plan, I think it only fitting for you to behold its brilliance. You see, the truth of our time is that nuclear holocaust is inevitable. Maybe not tomorrow, maybe not next week -- but someday, and probably someday soon. (a beat) Common wisdom states that even if anyone should survive, the nuclear aftermath would decimate the popu- lation. But those doomsayers have quite forgotten their Darwin.... [MICHAEL] You're insane. [DEAUVILLE] All great thinkers have been so labeled -- from Copernicus to Darwin to Freud. No, not insane. Advanced intelligence. And who better to survive than the most intelligent people on Earth.... Deauville flings off the tarp -- to reveal a vast scale model of an underground city -- underneath the archeological dig site. There are rooms for every conceivable facility -- housing, dining rooms, concert halls, etc. Michael is incredulous. [DEAUVILLE] The dig site was our perfect cover -- until poor James Litton started nosing around and became suspicious. He was a far better archeologist than detective. [MICHAEL] Why have you done this to Bonnie? What can you possible want from her? [DEAUVILLE] (smiles) Kitt. That car will make an impossible crime impossibly easy. Does it surprise you we'd conceive the perfect crime to finance this project? [MICHAEL] From you, Deauville -- nothing sur- prises me. [DEAUVILLE] Good. Then we understand one another. You see, our city is already one- quarter excavated, under the dig site. When it is finished, it will be the perfect society, built on the ashes of civilization. Where we can live, survive...and procreate.... He winks at Michael as he motions Bonnie over from the doorway. [DEAUVILLE] The most brilliant people on earth... and the most beautiful. He puts his arm around her, stroking her hair suggestively. [MICHAEL] Sorry to disappoint you, Deauville, but you can't use Kitt. He's programmed to listen only to me. [DEAUVILLE] (smiles at Bonnie) Not for long. Peter, please take care of Mr. Knight. Stark pushes Michael toward the door. [DEAUVILLE] Oh, by the way: you did quite well on the test. Too well, in fact. You missed only one question: The correct answer was the '27 Yankees. Never the Cubs. [MICHAEL] Sorry, but I think I'll decline joining Helios. With you in charge, it won't be around for long. [DEAUVILLE] That's the trouble with lower-order minds. Confusion. It's you who won't be around for long. EXT. HELIOS MANSION - DAY Stark walks Michael to a parked car. Suddenly, Michael throws an elbow to the big man's face and Stark deftly ducks the blow. He shifts the gun in his hand and knocks Michael out. He looks quickly around, sees no one, and drags Michael to the car. CUT TO INT. GARAGE - ON ESTATE - DAY Deauville and Bonnie stand next to K.I.T.T. She's now dressed in mechanic's overalls. [DEAUVILLE] Do you have everything you need, my dear? [BONNIE] Yes, I do, Graham. [DEAUVILLE] Then let's begin. With that, Bonnie touches a button inside the car -- and K.I.T.T.'s hood pops open. CUT TO EXT. DUMP SITE - DAY Stark's car pulls up close to the bulldozer and parks. He drags Michael out of the car. IN PIT Stark rolls Michael over the edge. Still unconscious, Michael falls to the bottom, about nine feet down. ON BULLDOZER Stark pilots the machine to push dirt over the edge. ON MICHAEL He spits out dirt, now fully awake. [MICHAEL] (into comlink) Kitt...Kitt, it's me, Michael. Kitt, are you there? Kitt! All he hears is static. CUT TO INT. GARAGE - DAY Sparks fly under K.I.T.T.'s hood as Bonnie makes some adjustments. CUT TO EXT. PIT - DAY Michael looks up -- just as another load of dirt falls. He's knocked to the ground, but gets up quickly -- and makes a leap for the edge of the shovel as it pulls back from the pit. He misses. Another load comes down -- and Michael hugs the pit wall, to avoid getting hit. When he leaps again -- he grabs the edge of the shovel. The excruciating pain is evident on his face -- but the shovel lifts him up and out. INT. CAB OF BULLDOZER - DAY - ON STARK When he hears a sound behind him, he turns -- to Michael, who punches him. They grapple, Stark is the bigger of the two, but Michael is a bundle of fury. At first chance, Stark leaps out of the bulldozer and runs to his car, for the gun. ANGLE ON CAR Stark jumps in.... ANGLE ON BULLDOZER Michael takes the controls and goes straight for the car. OMITTED ANGLE ON CAR as Michael slams the bulldozer head-on into the car. He pushes the car back...back...and over...the side of the pit. ANGLE ON STARK as he climbs out of the wreckage at the bottom of the pit. ANGLE ON BULLDOZER as Michael pushes a load of dirt into the pit. He shuts the motor off and runs over to the edge. OMITTED MICHAEL'S POINT OF VIEW OF THE PIT The car is demolished -- and Stark is buried up to his head in dirt. He's trapped. BACK ON MICHAEL He catches his breath. [MICHAEL] Hey, Stark -- Stick around awhile. (into comlink) Kitt, can you hear me? Come on, buddy! (more static from comlink) Kitt, where are you? Still more static. CUT TO INT. GARAGE - DAY More sparks fly under K.I.T.T.'s hood as Bonnie keeps working. [K.I.T.T.] Ooh, Bonnie, that was quite a jolt. [BONNIE] A little more, Kitt, and you're going to feel like a whole new car. [K.I.T.T.] That does sound invigorating. ANGLE TO INCLUDE DEAUVILLE He touches her on the shoulder. She looks up, startled, then smiles. [DEAUVILLE] How lovely you look...even in overalls. She laughs. [DEAUVILLE] Is our information ready yet? ANGLE IN K.I.T.T. Bonnie crawls into the driver's seat. She hits a button and a computer print-out appears from K.I.T.T.'s dash. She hands it to Deauville. [DEAUVILLE] The entire operation should take no more than seventeen minutes. Excellent. [K.I.T.T.] Bonnie, you said you'd explain about Michael. Where is he? Bonnie and Deauville share a look of concern. [BONNIE] He...kind of went underground. [K.I.T.T.] Underground? I have no record of such a mission. Bonnie starts to hit some buttons in the dash. [K.I.T.T.] Bonnie? Suddenly, K.I.T.T.'s dash lights up like it's the Fourth of July. Loud clicking noises begin to sound. Deauville smiles at Bonnie. OMITTED EXT. HIGHWAY - DAY Michael is on the highway, thumbing. Every so often a car will pass. Dirty and scruffy from his fight with Stark and the climb up the pit, he is unable to entice any takers. CUT TO OMITTED INT. GARAGE - DAY - IN K.I.T.T. Bonnie is sitting in the driver's seat next to Deauville. K.I.T.T.'s lights are still blinking wildly. [BONNIE] Now for the security system.... She leafs through some papers on the seat. [K.I.T.T.] Bonnie, I hesitate to bring this up again, but I've done a complete search of my records, and still find no record of Michael's underground mission. [BONNIE] (aggravated) All right, Kitt, I can fix that. She reaches near the bottom of the dash and begins to hit some buttons. Through K.I.T.T.'s next speech, his normal, calm voice slowly becomes more and more insistent and demanding. [K.I.T.T.] (calm) Bonnie? (a little insistent) Bonnie! (calm) I still cannot find... (insistent) I have no record... (calm) Of Michael's... (barely audible) Of Michael's.... Bonnie looks up from the dashboard at Deauville. They are both very pleased. EXT. HIGHWAY - DAY - HIGH ANGLE SHOT ON MICHAEL A hot blistery day. The heat waves are almost palpable. ON MICHAEL [MICHAEL] (into comlink) Kitt! Kitt, are you there?! Are you okay?... Static. Like a constant busy signal, the sound is nerve- wracking. CUT TO OMITTED INT. GARAGE - DAY - ON K.I.T.T.'S MONITOR SCREENS The transformation is now complete. K.I.T.T.'s voice is all insistent. [K.I.T.T.] I am to obey Graham Deauville! WIDER ANGLE Bonnie and Deauville are in the front seat. Sullivan and the two guards are gathered around the car, all dressed in identical black commando costumes. [DEAUVILLE] Splendid -- please play back the plan now. EXT. GARAGE - DAY - ON CHARLENE HANOVER Clipboard in hand, she walks to the door -- until she hears voices. Then she stops at the door, and listens. CLOSE ON K.I.T.T.'S MONITOR SCREENS - SERIES OF SHOTS A) -- of newspapers with the headlines, "LITTON DISCOVERS ANCIENT AZTEC GOLD IN DESERT" and "AZTEC GOLD TO BE KEPT IN THEFT-PROOF CASE AT COUNTY MUSEUM." [K.I.T.T.] With my microwave jammers and surveil- lance capabilities, Phase Two, at the County Museum should take no more than one minute and ten seconds. B) -- of an overall map of the museum, outlined in white. A gold sun signifies the gold exhibit. [K.I.T.T.] Once the Aztec gold is reached.... C) -- on the map. The gold sun begins to pulsate. [K.I.T.T.] Phase Three will commence. D) -- Photo of the gold. The gold is dazzling: gold furniture, gold cooking utensils, crowns, pots and more. [K.I.T.T.] Once secured and melted down, the gold at current international prices, will be worth 25.7 million dollars. E) -- Over the photo flashes the numbers, "$25,700,000.00" over and over. ANGLE ON CHARLENE HANOVER in the shadows, by the door. She is frightened...and quietly steals away. CUT TO OMITTED EXT. HIGHWAY - DAY - CLOSE ON MICHAEL He is sweaty, exhausted, still filthy. Beyond misery. CUT TO OMITTED EXT. MANSION - IN FRONT OF GARAGE - DAY A large flatbed truck is parked in the lot. As K.I.T.T. drives towards the truck, the Helios members -- Deauville, Bonnie and three others -- trail behind like so many apostles. K.I.T.T. stops and the guards slide a ramp down from the rear of the truck. K.I.T.T. drives up the ramp. The guards then take a huge tarp and cover K.I.T.T. They secure the tarp with a rope, tightly. They all position themselves around the car. Deauville and Bonnie stand near the truck with Sullivan, also dressed in a black costume. ANGLE ON DEAUVILLE AND BONNIE He stares up at the truck, proud. He slips his arm around Bonnie. [SULLIVAN] There's still no word from Stark. [DEAUVILLE] We can't wait any longer. She salutes, then climbs in the cab of the truck. Bonnie and Deauville climb onto the back with K.I.T.T. and the guard. [DEAUVILLE] Let us begin. Sullivan turns the motor over. It roars and she starts the truck down the main drive. CUT TO EXT. HIGHWAY - DAY - ON MICHAEL Michael is moving slowly. From off in the horizon, he hears a car approaching. Or does he? He listens.... MICHAEL'S POINT OF VIEW It is a car -- a red foreign sports car. MICHAEL starts to flag it down. ANGLE IN SPORTS CAR Driving is Charlene Hanover. She stares as if she's just seen an apparition. SCENE The sports car is about 200 yards away from Michael -- and it begins to slow down. Michael is ecstatic -- he starts to run to the car. CLOSE ON CHARLENE She is wracked with indecision. Then --- SCENE She takes off and roars past a startled Michael, missing him by inches. CLOSE ON MICHAEL as his last hope becomes a dot in the distance, we: OMITTED FREEZE FRAME AND FADE OUT END OF ACT THREE ACT FOUR FADE IN OMITTED EXT. HIGHWAY - DAY Just as Michael is about to turn back towards Helios, the brake lights of Charlene's car go on. She reverses the car back to him. He runs up, gets in. ANGLE AT CHARLENE'S CAR On the backseat is a suitcase. She is obviously upset. [MICHAEL] Thanks for stopping -- I've got to get back to Helios -- fast! [CHARLENE] (reacts) Helios -- no, I won't go back there! [MICHAEL] You've got to -- Deauville's brainwashed Bonnie and they're planning to use my car in some kind of incredible robbery to finance --- [CHARLENE] (overlap) It's too late! They've already left --- [MICHAEL] Are you sure? [CHARLENE] I overheard them -- That's why I left. Why I'll never go back --- [MICHAEL] Where! You said you overheard them -- where were they going?! She seems frozen in indecision. Michael grabs her. [MICHAEL] Charlene, listen to me -- forget the crime, forget what Deauville's 'Master Plan' will do to Helios -- he's got Bonnie! What if it was you? [CHARLENE] (torn) You don't understand -- he's mad! If he finds out I helped you he'll kill me like he killed the others! [MICHAEL] (beat) I'm sorry, Charlene -- there's no time left. Where were they going? [CHARLENE] The County Museum. [MICHAEL] (face-to-face) Then that's where I'm going. Either you drive me or I'll drive myself. It's up to you. [CHARLENE] You'd...take my car? Michael nods. She sees he's deadly serious. She sighs, puts the car into gear and they peel out, disappear down the highway. OMITTED EXT. HIGHWAY - DAY - ON HELIOS TRUCK The Guard -- plus Bonnie and Deauville -- sit in the back of the truck, concealed from view from the road. Under the tarp, K.I.T.T. waits. LOW ANGLE SHOT FROM ROAD as the flatbed truck roars past. A silent missile, heading to its target. OMITTED INT. CHARLENE'S CAR - DAY flying down the highway. EXT. COUNTY MUSEUM - DAY The flatbed truck pulls into the parking lot (it's late Sunday -- and the museum is closed). When it comes to a stop: ANGLE ON RAMP as the guards slide it down from the truck to the ground, noiselessly. ANOTHER ANGLE - MOMENTS LATER - ON HANDS undoing the rope that holds the tarp. ANOTHER ANGLE - ON TARP A pair of hands grab one side of the tarp. ANOTHER ANGLE - ON TARP Another pair grabs the other side -- and they both pull. ANGLE ON K.I.T.T. unsheathed, the tarp removed. ANOTHER ANGLE - MOMENTS LATER - DOWN ON RAMP K.I.T.T. backs down the ramp to the parking lot. EXT. HIGHWAY - DAY - ON CHARLENE'S CAR It roars by. OMITTED EXT. MUSEUM PARKING LOT - DAY The museum is a modernistic structure. K.I.T.T. is parked at one end of the parking lot. At the other end is a solid wall. The Helios members surround K.I.T.T. Deauville stands with Bonnie. [BONNIE] Phase One, Kitt. CLOSE ON K.I.T.T.'S MONITOR SCREENS A map of the building flashes on: the outline of the museum is one solid white line. Inside that are two solid red lines. A gold sun signifies the gold. A humming sound comes from somewhere inside the car. CLOSE ON GRAY SECURITY SYSTEM CONTROL BOX - DAY marked "Security System Control Box." It starts to smoke and then spark -- then the door flies open and the wires inside burn up. CLOSE ON K.I.T.T.'S MONITOR SCREENS One of the red solid lines fades out. On the screen flashes the message: "PRIMARY SECURITY SYSTEM - DEACTIVATION COMPLETED" CLOSE ON SMALL BLACK SECURITY SYSTEM CONTROL BOX - DAY marked "Auxiliary Security System Control Box." Same as the gray box -- it smokes, sizzles -- then burns out. CLOSE ON K.I.T.T.'S MONITOR SCREENS The other solid red line fades out. On the screen flashes the message "AUXILIARY SYSTEM - DEACTIVATION COMPLETED" A flashing white light blinks by an entranceway. [DEAUVILLE (O.S.)] The locks, Kitt -- Phase Two. CLOSE ON DOOR OF MUSEUM and a massive steel lock. ON K.I.T.T. as his microwave jammers begin to hum. CLOSE ON LOCK There are some squeaking sounds, then some movement -- as the lock is being picked open by K.I.T.T. EXT. PARKING LOT As the Helios members all run to the museum entrance -- Charlene tears into the parking lot. Michael jumps out of her car by the wall. [MICHAEL] Call the police! She tears out, tires squealing. OMITTED HIGH ANGLE SHOT K.I.T.T. and Michael face off, at either end of the parking lot. ON MICHAEL as he starts to walk towards K.I.T.T. [MICHAEL] Kitt, it's me, Michael. INTERCUT - K.I.T.T. The scanning light flashes. INTERCUT - LOW ANGLES - DEAUVILLE to Sullivan and the guards: [DEAUVILLE] Start the operation. I'll take care of our stubborn friend. After a beat, all but Bonnie and Deauville enter the museum. [DEAUVILLE] Kitt -- kill Michael Knight. Kill him! K.I.T.T. revs up, tires burning, like a bull ready to charge. The noise is almost unbearable. It's a Western- style face off. Michael keeps coming towards K.I.T.T., slowly. [MICHAEL] No, Kitt -- you belong to me. [K.I.T.T.] I have my orders! [MICHAEL] You're my car.... [K.I.T.T.] I obey Graham Deauville! As Michael continues forward, so does K.I.T.T. [MICHAEL] What does Kitt stand for? No answer. INTERCUT - BONNIE She looks increasingly confused by all this and follows the exchange like she's watching a tennis match. [MICHAEL] Knight Industries Two Thousand. I know that because you're my car, Kitt. K.I.T.T. revs up again, like he's furious at Michael's statement. [DEAUVILLE] You obey me! You've been programmed to obey me! Tell him, Bonnie! [BONNIE] That's right, Kitt.... [MICHAEL] No, Kitt. I am Michael Knight.... K.I.T.T. starts to shake. [MICHAEL] You are the Knight 2000.... K.I.T.T. starts to shake more. [MICHAEL] You are my car. K.I.T.T. suddenly revs up...and starts for Michael. [K.I.T.T.] I...obey...Graham Deauville! K.I.T.T. tears up to Michael -- and stops an inch away. [MICHAEL] You'll have to kill me to stop me, Kitt. The shaking now becomes violent. Sparks fly from under the hood. [DEAUVILLE] Kitt, kill him! [MICHAEL] You're mine, Kitt -- remember, the Cubs. [K.I.T.T.] Everyone knows it was the '27 Yankees ...Never the Cubs. A frightening shudder -- then silence. Deauville shakes Bonnie. [DEAUVILLE] Do something -- make him obey me! ANGLE ON MICHAEL as he walks towards them. [MICHAEL] You made two mistakes, Deauville: The first was your arrogance...and the second was ignoring that Kitt is programmed never to take human life.... Deauville looks from Michael to Bonnie -- then he runs to the flatbed truck, Bonnie reacts, running after him. [BONNIE] Graham! Michael catches up to her as Deauville starts the truck and pulls out. [MICHAEL] Bonnie, it's all over.... She pulls back from him, distrustful. [BONNIE] No...! [MICHAEL] Bonnie, listen to me! You're part of us -- we're a team -- You and me and Kitt and Devon! [BONNIE] No! [MICHAEL] Yes! We work together...not to hurt people, to help people.... Michael reaches out his hand to her. [MICHAEL] Bonnie, take my hand...remember... the Foundation...You and me, Kitt, Devon...take my hand, Bonnie... remember.... She doesn't pull away. Tears stream down her face. [MICHAEL] We're a team, Bonnie...we love each other.... OMITTED CLOSE ON THEIR HANDS as her reaches out -- and grabs his. BACK TO SCENE Michael grabs her and hugs her fiercely. She falls into his arms, sobbing. [MICHAEL] (to Bonnie; quietly) It's okay...it's okay now...call Devon, tell him what's happened. Bonnie nods. OMITTED NEW ANGLE - ON MICHAEL AND K.I.T.T. Michael comes up close to the car. After a beat, K.I.T.T.'s door pops open. INT. K.I.T.T. - DAY Michael smiles, relieved. [MICHAEL] It's good to be home, pal. [K.I.T.T.] Thank you, Michael. I feel strangely ...relieved. (beat) The remaining Helios members are still inside the museum. [MICHAEL] All right, Kitt -- let's do something different this time. This time let's lock the door. CLOSE ON MUSEUM DOOR LOCK as the tumblers click -- and the door locks. OMITTED MUSEUM - ON K.I.T.T. as Michael turns the car around and pulls out of the parking lot. INT. K.I.T.T. Michael maneuvers the car down the city street, hits surveillance mode. [MICHAEL] Kitt, see if you can give me a location on the truck. CLOSE ON K.I.T.T.'S MONITOR SCREENS which flash a map of the area. A blinking red dot sig- nifies the Helios truck as it moves a few blocks through town. [K.I.T.T. (O.S.)] 3.7 miles to the west, Michael. Shall we pursue? ON MICHAEL [MICHAEL] You bet, buddy.... ON K.I.T.T. as it accelerates.... EXT. CITY STREET - DAY - ON FLATBED TRUCK The truck rips down a deserted city street, past ware- houses and lots. It weaves jerkily. INT. TRUCK - DAY - ON DEAUVILLE This is the first time he's ever driven the truck -- and it shows. He is trying his best to control the truck. When he checks his rearview mirror.... ANGLE ON REARVIEW MIRROR The Knight 2000 appears in the mirror, getting close. ANGLE ON DEAUVILLE panicked. He swings around a block.... ANGLE ON TRUCK as it takes the corner abruptly, crashing into some gar- bage cans and nearly sideswiping some cars. Deauville steers the truck down an alleyway. ANGLE ON K.I.T.T. in hot pursuit. ANGLE IN ALLEYWAY as K.I.T.T. comes right behind the truck, then, pulls to the left -- and goes up on two wheels...and passes the truck! ANGLE ON STREET as K.I.T.T. comes out of the alleyway and comes to a stop. ANGLE ON DEAUVILLE absolutely panic-stricken. He turns the wheel to try to avoid K.I.T.T., but turns it too fast.... ANGLE ON TRUCK as it screeches to a halt -- then jack-knifes over. ANGLE ON MICHAEL as he jumps out of K.I.T.T. and runs to the cab of the overturned truck. ANGLE ON TRUCK as Michael pulls Deauville out of the wreckage, we: OMITTED FREEZE FRAME AND FADE OUT END OF ACT FOUR TAG FADE IN INT. DEVON'S OFFICE - DAY Bonnie, wearing a robe, is escorted in by Devon. Michael is putting the finishing touches on a tray of food set up at Devon's desk. Bonnie's overnight bag and jacket rest on the desk. [BONNIE] What's this? [MICHAEL] This is eggs -- scrambled, toast -- light, coffee, orange juice, straw- berries in cream -- Devon's idea. [BONNIE] And a single yellow rose? [DEVON] Michael's idea. Devon brings her to the desk and she sits down. They stand on either side of her. She picks up a magazine from the tray and reads its cover. [BONNIE] Automotive Today? From Michael's comlink: [K.I.T.T. (O.S.)] My idea, Bonnie. I hope you like it. [BONNIE] (laughs) It's great, Kitt. Just what I needed. [MICHAEL] He's been nice to me all morning. I think he feels guilty. [K.I.T.T. (O.S.)] Michael, guilt is an emotional -- a human -- response. However, I could order you a subscription of Automotive Today, too. [MICHAEL] That's okay, Kitt. I'll read Bonnie's. (a beat) Oh, I almost forgot. A little some- thing I ran across in the Helios files. He pulls the paper he found at Helios out of his pocket. He hands it to Devon. [DEVON] (awestruck) I passed! They all laugh. When Michael and Devon look over at Bonnie, she is staring at her jacket on the desk. [DEVON] What is it? She carefully holds up the Helios pin. CLOSE ON HER HAND It's the Helios pin. BACK TO SCENE Michael and Devon share a look of concern as she stares at it. Then -- she looks up, smiles -- and hands the pin to Devon. [BONNIE] I think this should be yours. They all let out laughs of relief. Michael looks at the tray of food. He picks out a strawberry and bites into it. [BONNIE] Hey! [MICHAEL] Just a small one.... Devon reaches over and snatches another strawberry. [DEVON] These do look rather delicious. [BONNIE] Wait a minute! As they all grab for strawberries, we: FREEZE FRAME AND FADE OUT THE END

{"show": "Knight Rider", "season": "s01", "episode": "e17", "title": "Chariot of Gold"}

knightriderarchives

ACT ONE FADE IN INT. LAWYER'S OFFICE - RECEPTION AREA - DAY It's plush, well appointed, efficient. The secretary's desk is empty. The phone rings and a strikingly pretty young woman dashes in from a side room (the law library) with several books in her arms (bookmarks sticking out here and there). This is Stefanie Mason, law clerk for the lawyer who resides behind the carved oak office doors. She's dressed well -- black slacks, wool blazer. She juggles the books and grabs the phone. [STEFANIE] (phone) Law offices...no, she's away from her desk right now. This is Stefanie Mason, may I help you?..Yes, it's set for ten o'clock Monday...Right. We'll see you then. Bye. She hangs up and walks to the carved oak doors with the books. She raps lightly on the door, then walks in. INT. LAWYER'S OFFICE - DAY Elegant, luxurious. Original art on the walls. Obviously a successful lawyer views the world from this high-rise. Edward Cole matches his decor...tailor-made three-piece suit and a touch of grey at his distinguished temples. Yet his manner is pleasant and down-to-earth. He looks up from paper-work, smiles easily as Stefanie enters. [STEFANIE] It's almost 5:30. Anything before I leave? [COLE] No, I can't think of anything...wait, if you're going down you could help a forgetful client retrieve his briefcase. (indicates briefcase) He's on his way over. Silver Cadillac, chauffeur, the works. [STEFANIE] Sounds hard to miss. Anyone I know? [COLE] (teasing) No, just another wealthy bachelor with tax shelter problems. [STEFANIE] (smiles) You're right, no one I know. (puts the books on his desk) By the way, here are the precedents you wanted. Greyson versus Mitchell First District Court 1980 and Tandy versus Simms State Supreme Court 1975. [COLE] (pleased) You don't drop a stitch, do you. [STEFANIE] (a vague shadow) I...like to keep busy. She picks up the briefcase from an occasional table. Ad-lib good-byes, see you tomorrow, etc., and she leaves. Cole looks thoughtful. INT. LAWYER'S OFFICE - RECEPTION AREA - DAY Stefanie puts on her coat, takes her purse and the briefcase and leaves. EXT. STREET - DAY Stefanie exits the high-rise, briefcase in hand. There are people on the street, leaving work, window shopping. Among them: one man reads a newspaper near a bus stop bench and another looks at a display window. Stefanie looks for the limo. ANGLE - STREET A white limo slowly approaches. INT. LIMO - DAY A heavyset, well-dressed man sits in the back, Anthony Solan. As he sees Stefanie, he motions for his driver to pull over toward her. We see Stefanie look in the direction of the limo and start forward. ANGLE - STREET As the limo comes closer, the man at the bus stop and the man at the store window move in unison, closer to Stefanie. ANGLE INSIDE LIMO Solan sees them. [SOLAN] It's a setup! ANGLE - STREET As the limo screeches away, one of the men (Carson James) grabs Stefanie, pulls the briefcase from her hands. She's startled, confused. The second man talks into a walkie- talkie. [STEFANIE] What are you doing?! Let me go --- [JAMES] Calm down, miss. You're not going anywhere. [STEFANIE] (beat) Who are you? [JAMES] Federal agent, Department of Justice. Right this way. He leads her toward an unmarked car. On her reaction: EXT. HIGHWAY - OPEN ROAD - NIGHT The Trans Am cruises by effortlessly. INT. TRANS AM - NIGHT - MICHAEL relaxes, enjoying the scenery. Pop music plays. Michael punches up another tape. It's a ballad -- a love song. Michael starts to sing along with it, improvising here and there in his own style. [K.I.T.T.] Michael? [MICHAEL] Yeah, Kitt. [K.I.T.T.] C is beyond your grasp, and D is beyond your vision. [MICHAEL] (smiles) I didn't know you had perfect pitch. Michael spots a roadside convenience store ahead and turns off the road. [K.I.T.T.] It's a cross I have to bear. [MICHAEL] You do it so well. [K.I.T.T.] Thank you. [MICHAEL] De nada. Michael pulls up in front of the store and parks. [MICHAEL] (climbs out) Can I get you something? [K.I.T.T.] Very funny. [MICHAEL] Thank you. EXT. CONVENIENCE STORE - NIGHT As Michael walks to the door, he glances at the evening newspapers in a rack by the entrance. He stops...his eyes fixing on the picture: a photograph of Stefanie. The headline above reads: "FEDS NAB GANGLAND LINK". Michael stares. It takes him a moment to react. He fumbles for change, anxiously puts in a quarter and gets a paper. INT. TRANS AM - NIGHT - MICHAEL presses the car-com. His face is tight, drawn. Intercut with Bonnie at Foundation office. [MICHAEL] Kitt. Get Devon for me. [K.I.T.T.] Right away, Michael. [BONNIE] Michael, this is Bonnie. [MICHAEL] Where's Devon? [BONNIE] Fine thanks, how are you? [MICHAEL] I'm sorry, Bonnie. Hi. Where is he? [BONNIE] Quebec. [MICHAEL] Quebec?! What's he doing in -- never mind. I've got to talk to him. How do I get through? [BONNIE] You don't. He's in flight. [MICHAEL] Bonnie, as soon as you can contact him, I need to talk to him. It's urgent. INT. POLICE INTERROGATION ROOM - NIGHT Stefanie sits at a table. She looks tired, grim. Frightened. James moves around as he talks, except now he's not talking. There's a strained silence. [STEFANIE] (finally) Why don't you just tell me what we're waiting for. [JAMES] First thing you've got to learn is to put a lid on that impatience of yours. You're going to be spending a lot of time looking at walls and waiting. [STEFANIE] I told you what happened. I told you everything I know. What do --- She breaks off as a uniformed Cop comes in with the brief- case. It's got an evidence tag on it. James takes it, drops it on the table, glances at the Cop who hasn't left. [JAMES] Thanks. [COP] Sorry, I stay with it until it's checked back into E.R. [JAMES] For my own protection, right? [COP] (smiles) Always looking out for our fellow officers. Stefanie watches this with confusion, a growing sense there really is something she's not aware of. [JAMES] You remember this briefcase.... She nods. He looks at her, pops open the briefcase. It's full of neatly stacked bills. Stefanie can't believe what she's seeing. She looks up at James. Their eyes hold for a moment. [STEFANIE] I had no idea.... [JAMES] She had no idea. [COP] Right. [JAMES] Give my regards to the boys in E.R. The Cop grins, takes the briefcase and leaves. The shock in Stefanie is giving way to anger. [STEFANIE] Believe it or not, it's true. Why wouldn't it be true? As I've told you a thousand times it's not my briefcase. I don't own a brief- case. I hate briefcases. What do you want from me?! [JAMES] The truth. [STEFANIE] I'm telling you the truth! [JAMES] Okay. He moves around the room. She doesn't know whether she's gotten through or not. [JAMES] I believe you. I don't think you know what's coming down. I'll educate you. The money in that briefcase is marked. It's illegal money. It's dirty. It comes from a man named Anthony Solan. The name may mean nothing to you, but it's well known in the Department of Justice, FBI, and various other circles. What isn't as well known is the very special relationship between Anthony Solan and a lawyer by the name of Gilbert Cole. [STEFANIE] I don't believe that. [JAMES] You don't have to. We've had your boss under investigation for six months. We've known about the connection between him and Solan, but we've never been able to prove it. Now we can. That briefcase proves conspiracy. [STEFANIE] If that's true, why don't you arrest him? [JAMES] We will -- after you testify at a Federal Grand Jury hearing that Gilbert Cole gave you the briefcase with specific instructions on who to deliver it to. Once you do that, it's over for you. [STEFANIE] But he didn't give me the briefcase -- not physically. I picked it up. And he didn't tell me specifically who to deliver it to -- he just said a man in a silver sedan. [JAMES] He's a smart lawyer. You wouldn't want to see a guilty man go free just because he's smart, would you? (beat) I'll spell it out for you. Our con- spiracy case will rest on your testi- mony. You've got to say he gave you the briefcase and he gave you specific instructions. [STEFANIE] What if I refuse? [JAMES] If you refuse, and there's insuffi- cient evidence to prove the briefcase is Cole's, there's only one person left to hang it on, and I'm looking at her. On Stefanie's reaction: EXT. COUNTY JAIL/COURTS AREA - DAY Michael appears from a building, quickly crosses to where the Trans Am is parked, climbs in. INT. TRANS AM - DAY as Michael slides in. He looks worried. [MICHAEL] Get me Bonnie, Kitt. [K.I.T.T.] Right away. Lights flash. [BONNIE'S VOICE] Michael? INTERCUT - BONNIE AT FOUNDATION on the phone with Michael. [MICHAEL] Hi, Bonnie. Any luck reaching Devon? [BONNIE] I've got messages all over Quebec. Michael, are you all right? What's going on? [MICHAEL] A friend's in trouble. She's been arrested on a Federal conspiracy charge, and I want to post her bail. [BONNIE] (concerned) I don't know who this...friend is, but I can't authorize posting bond unless it's a Foundations project. [MICHAEL] (sharp) Then make it one. [BONNIE] I can't do that, Michael. Only Devon can and --- [MICHAEL] Devon's not available! What happens, Devon goes away and the world stops? (beat) I'm sorry. Look, Bonnie the friend is Stefanie Mason. Devon knows about her. If he were there he'd approve this, believe me. I need to put up ten percent of her bond and I need programming for Kitt on every- thing you can get on a lawyer named Gilbert Cole -- his clients and cases, business connections, political affiliations, family, friends.... [BONNIE] Michael? [MICHAEL] Yeah? [BONNIE] How much is the bail? [MICHAEL] (hard to say) Half a million dollars. Silence. INT. COUNTY JAIL BOOKING AREA - DAY Michael paces back and forth, jumping every time the doors open and someone comes out. Then Stefanie comes through. Michael impulsively starts forward a few steps then stops him- self. He can't stop looking at her. She's tired, showing the strain of what she's been through. Carries a small bag con- taining her personal possessions. She looks around expecting to see Edward Cole. Michael takes a few steps closer. [MICHAEL] (softly) Stefanie. Stefanie turns to his voice. Michael stares at her. A fleeting trace of confusion crosses Stefanie's face as they make eye contact. [STEFANIE] Yes? [MICHAEL] My name is Michael Knight. I arranged for your bail to be posted. [STEFANIE] (a long look) Do I know you? [MICHAEL] No. [STEFANIE] Do you work for Mr. Cole? [MICHAEL] No. I'm with the Foundation for Law and Government. [STEFANIE] I'm sorry. I don't know anything about them... (realizes) Why would some foundation I've never heard of post bail for me? [MICHAEL] We're...interested in your case. We help people we're interested in. [STEFANIE] I'm not sure that answers my question. [MICHAEL] Maybe I can fill you in on the way. [STEFANIE] (cautious) On the way where? [MICHAEL] Your apartment. Unless you want to hang around here. [STEFANIE] (a smile) No. It's the first time he's seen her smile and it unlocks a flood of memories. He covers. They start out together. INT. TRANS AM - DAY Michael drives. Stefanie looks preoccupied. A thought strikes her, and she looks at Michael. [STEFANIE] How did you know I live in an apartment? [MICHAEL] Your address was on the arrest report. She seems satisfied. Then looks at him again. [STEFANIE] How did you get a hold of the arrest report? [MICHAEL] The Foundation has friends. [STEFANIE] Everyone seems to have friends in high places except.... [MICHAEL] You? [STEFANIE] I'm sorry, that's just a little self-pity slipping through. [MICHAEL] You're entitled. But you have friends too -- if you choose. [STEFANIE] You and this Foundation you work for? Michael nods. Their eyes meet and hold. [STEFANIE] Thank you. Really. But my boss is going to help me. In fact he's probably arranging bail right now. She sees the troubled look on his face. [STEFANIE] What's wrong? [MICHAEL] I...appreciate your sense of loyalty. And trust. But the facts of the case so far indicate Gilbert Cole may be more than an innocent bystander. If that's true, helping you and helping himself may not be one in the same. [STEFANIE] (bristles) Everyone seems so convinced he's guilty of...I don't know, some major tie-in with the underworld. I don't believe it. [MICHAEL] I'm not asking you to. All I'm saying is that until we can develop more information, I think you'd be wise not to lock yourself into a particular defense...or a particular person. She considers what he's said, troubled. EXT. HER APARTMENT - DAY The Trans Am pulls up and they get out. Michael puts K.I.T.T. into surveillance mode, walks Stefanie to her apartment. [MICHAEL] (finally) What do you think? [STEFANIE] I don't know what to think. [MICHAEL] I'll make you a deal. Do it my way for twenty-four hours. If you're not convinced by then, you're free to handle it any way you choose. They've reached her door. It's a door Michael remembers well. They pause. [STEFANIE] Why are you doing all this? [MICHAEL] I told you.... [STEFANIE] I know, the Foundation and all of that...but it seems like there's something more. Is there something more? [MICHAEL] (beat) No. [STEFANIE] You seem...familiar to me. Your voice. The way you move.... Michael wants to leave before his feelings get the better of him. [MICHAEL] Do we have a deal? [STEFANIE] All right. [MICHAEL] I'll be back in a couple of hours. She nods, smiles. Ad-libs good-byes and he leaves. She watches him until he's gone from sight, then unlocks her door. INT. BOOKING AREA - DAY Edward Cole is at the booking Officer's window. [COLE] I want to post Stefanie Mason's bond. [OFFICER] Stefanie Mason? (checks his sheet) Her bond's already been posted. [COLE] (reacts) What do you mean? [OFFICER] I mean somebody bailed her out. [COLE] There must be a mistake. She doesn't have a family here -- she doesn't have anyone. [OFFICER] No mistake. We don't make mistakes on a half-million dollar bond. INT. TRANS AM - DAY Michael is heading for the semi, fast. He's anxious, deep in thought. [K.I.T.T.] Michael? [MICHAEL] Yeah, Kitt? [K.I.T.T.] Are you all right? I took the liberty of scanning your vital signs. Your blood pressure is 190 over 120 and your pulse is one hundred four. [MICHAEL] Good. [K.I.T.T.] Not according to my information on the human body. [MICHAEL] What I mean is it's not as bad as I thought. INT. STEFANIE'S LIVING ROOM - DAY An average size apartment living room but with nice touches of her own. It's light and airy...afghan over the couch, lots of plants. Stefanie paces nervously looking at her phone. She starts to pick it up, hesitates, then picks it up. She dials, slowly. It rings.... [COLE'S VOICE] Gilbert Cole...hello?..Stefanie, is that you? She starts to answer but hangs up and sinks into a chair, filled with frustration and indecision. Now that she's alone, the tears she's been holding back fill her eyes and roll down her cheeks. EXT. HIGHWAY - DAY - STOCK The Trans Am approaches the semi. The ramp lowers and the Trans Am disappears inside. INT. SEMI - DAY Bonnie is in the midst of programming K.I.T.T. Michael paces. [MICHAEL] Did he say 'no?' [BONNIE] Michael, if Devon said 'no' I wouldn't be here. [MICHAEL] Well, what did he say? [BONNIE] He said he was taking an early flight back. He wants to talk to you in person. (beat) Who is Stefanie Mason? Michael debates it, decides there's no point in keeping it from her. [MICHAEL] In my...other life, before I had this face, this identity...when I was Michael Long, Stefanie and I were engaged to be married. She looks at him for a long moment. [BONNIE] I'm sorry. I didn't know.... [MICHAEL] No one knows except Devon. And now you. Finished, Bonnie rises. Pauses. [BONNIE] I've programmed Kitt with everything I could get on Cole. I hope it helps. [MICHAEL] Me too. Thanks, Bonnie. He starts to get into K.I.T.T. [BONNIE] Michael? He pauses. She gives him a hug. [BONNIE] Be careful. EXT. HIGHWAY - DAY - STOCK The ramp lowers and the Trans Am rolls out, hits concrete and does a 180. EXT. STEFANIE'S APARTMENT - DAY The Trans Am pulls up, parks, Michael getting out and hurrying to her apartment. ANGLE AT HER DOOR Michael starts to knock but sees the door's lock has been broken. The door swings open when he pushes. INT. STEFANIE'S APARTMENT - DAY Michael enters slowly. It's dark inside. Suddenly, from behind the door someone lunges at him, swinging a baseball bat. Instinctively he ducks but it catches him on the shoulder. He falls but reaches up and grabs his assailant by the legs. They fall to the floor, struggling. Then Michael stops. It's Stefanie. She tries to free herself. [MICHAEL] Stefanie! It's me! For the first time, she looks at him. [STEFANIE] Oh, Michael! She falls into his arms, shaking and frightened. [STEFANIE] I thought they'd come back. I didn't know.... [MICHAEL] Who? What happened?! [STEFANIE] Two men came while you were gone. They tried to break in when I wouldn't open the door...I ran out the back.... [MICHAEL] (holds her) It's okay. Stevie, it's okay. I'm here now. It's all right. She relaxes in his arms a moment, then looks at him, something in her eyes. [STEFANIE] Why did you call me that? [MICHAEL] What? [STEFANIE] Stevie. No one calls me that any more.... Michael realizes he's slipped, tries to cover. [MICHAEL] Guess I'm too thorough. I must've read it in the Foundation's research. (helps her up) We've got to get out of here, get you someplace safe. Go put some clothes together. She turns and walks to the bedroom, pauses, looks at him. It's so strange...this feeling I know you. Michael doesn't respond, can't. She goes into the bedroom. Hold on him. EXT. HER APARTMENT - DAY They exit the building and climb into the Trans Am, Michael tossing her suitcase in back. Pan as they pull out and down the street, then pan back to a car parked half a block away, two men inside. They pull out, following the Trans Am. FADE OUT END OF ACT ONE ACT TWO FADE IN EXT. STEFANIE'S APARTMENT - DAY The Trans Am disappears down a cross street. The sedan follows at a discreet distance. INT. SEDAN - DAY The driver's name is Blake. The man on the passenger side, Donner, is ten years Blake's senior, late forties or early fifties. They both look seasoned. Donner talks on the car phone. [DONNER] (phone) They just left the apartment. INTERCUT - ANTHONY SOLAN on a phone in his study. We remember his face from the opening scenes. [SOLAN] Find out where they go. Right now that's all I want. [DONNER] Who's the guy with her? [SOLAN] Some cowboy named Knight. He works for one of those foundations with a long name. I got people looking into 'em. Call me if things change. INT. TRANS AM - DAY Michael and Stefanie drive. There's a silence between them. Stefanie looks more closely at the car. [MICHAEL] What are you looking for? [STEFANIE] The microwave oven and the sunlamp. Michael laughs. [STEFANIE] Really. I've never seen anything like this. I'm still amazed if a person has a phone in their car. [MICHAEL] Might as well deal with this right now. Stefanie, meet my car, Kitt. She gives him a strange look. [MICHAEL] Kitt, say something. She's going to think I'm crazy. [K.I.T.T.] Hello, Stefanie. She stares. [K.I.T.T.] Michael isn't crazy -- not in the clinical sense, at least. [MICHAEL] Thanks, pal. (to Stefanie) He talks. [STEFANIE] How can a car...talk? [MICHAEL] Computers. Don't ask me how, I don't know. I don't ask. (beat) How do you feel? Better? [STEFANIE] Aside from trying to adjust to being in a car that talks...yes, better. Thanks. In fact, the farther we get away the better I feel. (suddenly) Where are we going? He sees the undercurrent of alarm in her face. [MICHAEL] The Foundation has a retreat in the mountains north of here. What's wrong? [STEFANIE] I just realized I hadn't asked you...that scares me. [MICHAEL] What scares you? [STEFANIE] That I'd trust a stranger that much. Again their eyes catch. Michael doesn't know how long he can keep everything in. [STEFANIE] I think the reason I did is this feeling I have. The feeling I know you.... She unconsciously fingers a gold heart-shaped necklace she wears. [K.I.T.T.] Since you haven't bothered to look in the rearview mirror, Michael, I suppose it's my duty to inform you there's a car following us. Stefanie reacts, startled by K.I.T.T.'s voice. [MICHAEL] (eyes in rearview) Which car? [K.I.T.T.] The blue sedan. [MICHAEL] Thanks, pal. Appreciate it. [STEFANIE] Do you think it's the men who came to my apartment? [MICHAEL] That'd be my guess. Kitt, I want the car's license number and visuals on both men inside. Lights flash. [K.I.T.T.] The car is registered to a corporation, Amtec Inc. by name. The visuals will take a moment longer. EXT. MOUNTAIN ROAD - DAY The Trans Am passes. [MICHAEL'S VOICE] Kitt, got what you need? [K.I.T.T.'S VOICE] Yes, Michael. Now you can do what you've been aching to do for the last five minutes. [MICHAEL'S VOICE] You got that one right. He floors the Trans Am. ANGLE ON SEDAN It accelerates. EXT. MOUNTAIN ROAD - DAY - VARIOUS ANGLES The Trans Am flies along the road, leaving the sedan in its wake. EXT. NARROW ROAD OF HIGHWAY - DAY The Trans Am locks into a ninety degree turn, comes in off the highway fast. A large pile of dirt from roadwork con- struction blocks the road. The Trans Am bursts through it like papier-mache. A nearby backpacker sees this and reacts amazed. ANGLE AT NARROW ROAD The sedan turns off the highway, desperately trying to follow. It tries to barrel through like K.I.T.T. did, gets bogged down, tires spinning. EXT. RAVINE - DAY The road is washed out. The Trans Am appears, accelerates and leaps the ravine. It lands on the far side, on pavement, accelerates away. OMITTED ANGLE AT RAVINE The sedan approaches, slams on its brakes, skids to a stop just before the ravine. ANGLE IN K.I.T.T. as they race along. [MICHAEL] Any reading on them? [K.I.T.T.] None. I'm hoping that means we'll soon be returning to more conven- tional surfaces. [MICHAEL] In due time, Kitt. In due time. [STEFANIE] Not only does he talk, he's got a sense of humor. [MICHAEL] I wouldn't go that far. [K.I.T.T.] I beg your pardon. They laugh. ANGLE ON SEDAN heading back toward the highway. Donner is on the phone, defending himself. [DONNER] (phone) Look, the guy's got a car that's twice this car, what am I supposed to do? INTERCUT - SOLAN on the phone with him. [SOLAN] All right, forget it. I think I know where they're going. This Foundation... (looks at paper) The Foundation for Law and Government -- according to tax roles, they've got a place in the mountains another forty or fifty miles north. EXT. HIGHWAY - DAY The sedan reaches the highway and turns, heading north. EXT. MOUNTAIN CABIN - DAY A peaceful mountain hideaway with panoramic vistas of pine trees, valleys and meadows. Sunlight filters through the trees casting a warm glow on the cabin. The Trans Am pulls up in front and stops. ANGLE - TRANS AM They get out, stretch, look around. [MICHAEL] Well, here we are. Stefanie can hardly believe her eyes. [STEFANIE] It's beautiful! A fireplace too? [MICHAEL] You want it to have a fireplace? [STEFANIE] Yes. [MICHAEL] Then, it's got a fireplace. [STEFANIE] (laughs) Thank you. Michael gets her suitcase and his bag. ANGLE AT DOOR Michael unlocks the door, swings it open and they both freeze. REVERSE ANGLE - THEIR POINT OF VIEW The cabin is perfect -- beam ceilings, comfortable furnishings, stone fireplace. On the couch, cipping a hot cup of tea, is Devon. [DEVON] You're late. I thought you'd be here at least an hour ago. [STEFANIE] (to Michael) Who is he? [MICHAEL] My boss. [STEFANIE] Oh. Devon crosses to where they stand. [DEVON] Since Michael seems to have lost the power of speech, allow me to introduce myself. My name is Devon Miles. I assume you are Stefanie Mason. [STEFANIE] Yes. [DEVON] Please, make yourself at home. The tea is quite delicious. If you will excuse me while I speak with Michael outside? [STEFANIE] Sure, of course. I'll unpack. Devon gives Michael a look and walks out past him. Michael, with a touch of apprehension, follows. EXT. CABIN - DAY They walk down the steps and move slowly along as they talk. [MICHAEL] Look, I know this is a little... unorthodox, but I can explain it all. [DEVON] There's no need. I know who Stefanie is -- what she meant to you in the past. What I don't know is what she means to you now. [MICHAEL] Devon, the point is the Foundation's purpose is to help people in trouble and she's in trouble. [DEVON] Does she know who you are? [MICHAEL] (beat) No. [DEVON] Good. Keep it that way. Michael, you're not thinking clearly. No matter how you deny it, you have an emotional involvement that could be dangerous, both to yourself and the Foundation. [MICHAEL] I'd never jeopardize the Foundation, you know that. [DEVON] Not intentionally, no. Unfortunately, not all risks are intentional. (beat) What do you know of her recent past? How do you know she's not involved? [MICHAEL] Because I know her. She couldn't be! [DEVON] That's an emotional answer. Your life has changed in the past year. Her's could have as well. [MICHAEL] For God's sake, Devon, I was going to marry her! [DEVON] That alone doesn't make her innocent, my boy. A beat, then: [MICHAEL] (simply) I have to do this. [DEVON] (beat) This may surprise you, but I do understand...better than you think. They pause. [MICHAEL] Then you'll help? [DEVON] I'll do what I can. (beat) You know she's been scheduled to testify at a Federal Grand Jury hearing next Tuesday. [MICHAEL] No, I didn't. (digests this, then) Devon, the Department of Justice is squeezing her. Either she testifies and implicates her boss or they'll try her on conspiracy charges. Whoever's behind this knows that if she testifies they're in big trouble. I think they want to take her out of the picture before she ever gets to the Grand Jury. [DEVON] I'll see what I can do, starting with the car that followed you. (pauses) Michael? You've chosen the most difficult thing a man in your posi- tion can choose -- to help someone you love. If this were anyone other than you -- and that girl in there anyone other than who she is -- I'd forbid it. They hold a moment. Then ad-lib good-byes and Devon starts toward his car, behind the cabin. Michael watches him, then goes to the cabin. INT. CABIN - DAY Michael comes in. A warm fire crackles casting a rosy glow on the room. Stefanie comes over from the kitchen area. She has a plate of sandwiches. [STEFANIE] Hungry? Please say yes, I'm starved and I don't want to feel guilty. She puts the food down on the rug before the fire. Michael walks over, very pleased with this surprise. [MICHAEL] Yes. She stops and looks at him, puzzled. [MICHAEL] What? [STEFANIE] (quietly) Did you ever have the feeling you've been someplace before, said the same things, to the same person...I know it can't be true, but that's how it feels. [MICHAEL] You're just tired. [STEFANIE] I guess. I've been working so hard ...trying to get my life together, take care of myself... (derisive smile) And look at me now. I can't go home. I can't do anything I'm... dependent on you. (beat; looks at the fire) The last time I depended on someone I lost him...His name was Michael, too...Michael Long. She looks deeply into his eyes, as if she'll find the answer there...and again unconsciously fingers her necklace. Michael wants to tell her the truth so bad it hurts. There's a long, somber silence between them. [STEFANIE] Don't listen to me. It's beautiful outside -- c'mon, let's take a walk. [MICHAEL] (laughs) I thought you were hungry. [STEFANIE] I am. You grab the sandwiches, I'll grab the drinks! EXT. MOUNTAINSIDE - DAY They walk through the lush landscape, finishing eating. She's tired, expansive, a little heady with it all and captivating. She's in the midst of a story. [STEFANIE] ...so these boys always tried to scare us on the way home. Anyway, one time...I remember...it was winter. They broke my sled and chased us down the street. We were terrified! We tried to hide behind the snowbanks but they found us. Michael listens to every word, sees every nuance on her face. [MICHAEL] I'm on the edge of my seat. What did you do? [STEFANIE] We fought them off with snowballs. [MICHAEL] Snowballs? [STEFANIE] Each one had a rock the size of an egg in it. They laugh, their eyes holding again. [STEFANIE] So when are you going to tell me? [MICHAEL] (guarded) Tell you what? [STEFANIE] About you. You know all about me, I know nothing about you. It's not fair. [MICHAEL] Later. [STEFANIE] Tonight? [MICHAEL] (smiles) Maybe tonight. (beat) Stefanie, we've got a lot more to talk about than me. We've got to talk about Gilbert Cole.... [STEFANIE] (glances away) Not now. Later. (teases) Maybe tonight. In the meantime, I refuse to let this day go by without picking some flowers. (hesitates) Is it all right? [MICHAEL] Just don't go too far. She sticks out her tongue at him, prances away. Michael laughs, watches her every move. EXT. BRUSH COVERED MOUNTAINSIDE - DAY Donner and Blake struggle up, reach a ridge overlooking the cabin. Donner carries a scoped high-powered rifle. Blake is huffing and puffing. [DONNER] Quit smoking, you might be able to walk a hundred yards without dying. [BLAKE] Will you get off my back? THEIR POINT OF VIEW - STEFANIE runs down the hill. Michael sits and watches as she makes her way through the flowers, picking and choosing and holding up her "finds" for Michael to see. ANGLE ON THEM [K.I.T.T.] (comlink) Michael, I'm picking up two men on the ridge above you -- one has a rifle. [MICHAEL] (yells) Stefanie, get inside the cabin! Hurry! She looks at him. She doesn't question it. She runs toward the cabin. ANGLE ON MICHAEL He runs for K.I.T.T. [MICHAEL] (comlink) Kitt, try and cover her! ANGLE ON K.I.T.T. His systems come to life. Tires spinning, he starts toward the area where she runs for the cabin. A shot rings out, then another. Stefanie falls, hit. OMITTED ANGLE ON DONNER AND BLAKE They plunge back down the hill, convinced she's dead. MICHAEL AND STEFANIE He runs to her side. She's lying on the ground, unconscious, bloodstains on her blouse. Michael falls by her side and cradles her in his arms. [MICHAEL] (a whisper) Stevie, no, no...It'll be okay, I promise... (comlink) Kitt, as close as you can! He gently lifts her in his arms and runs for K.I.T.T. FADE OUT END OF ACT TWO ACT THREE FADE IN EXT. PRIVATE HOSPITAL - NIGHT - ESTABLISHING SHOT Small, exclusive and secluded. INT. PRIVATE HOSPITAL - HALLWAY - NIGHT Bonnie and Michael outside the recovery room. Michael waits anxiously. [MICHAEL] She should have been out hours ago. Something's wrong. [BONNIE] If something was wrong we'd be the first to know. It's just taking a little longer than they thought, that's all. [MICHAEL] You're right, I know... (paces) I feel so useless just waiting around. [BONNIE] Michael, you're not just waiting around. You're here! And you'll be here when she comes out of this. You're all she's got right now, and if waiting is all you can do, it's all you can do. Michael digests this, nods. Tries a tired smile. [MICHAEL] Look, she'll be okay. I'm okay. Why don't you go home and get some sleep? Before Bonnie can reply. Dr. Carlysle comes out of recovery. Michael collars him. [MICHAEL] How is she? Is she okay? [DR. CARLYSLE] She will be, I'm reasonably assured of that. [MICHAEL] (reacts) What's the matter? What happened? You said --- [DR. CARLYSLE] Michael, I know what I said. The bullet wound isn't the problem -- The problem is she hasn't regained consciousness yet and we're not sure why. She sustained a blow to the head, probably when she fell...right now, all she has is a mild concussion. If anything changes I'll let you know. Dr. Carlysle walks on down the hall. Michael watches for a moment, undecided, then he goes into the recovery room. INT. RECOVERY ROOM - NIGHT Michael walks into the dimly lit room and sits beside Stefanie. The only sounds come from the machines which monitor her continually -- heartbeat, respiration, pulse, brain waves. He stares at the array of equipment, then looks at Stefanie's face. She looks beautiful, strangely peaceful. He reaches over and touches her hand, holds it in his. EXT. FOUNDATION GROUNDS - TERRACE - DAY Michael sits at a table on the patio. He's lost in thought, picking at the breakfast that sits before him. Devon walks out to join him. A cup of tea in his hand. [DEVON] Come now, Michael, it's unlike you not to eat. Just look at the break- fast I had prepared for you. Steak and eggs, potatoes appropriately greasy...Michael, she'll be fine. You have Doctor Carlysle's personal assurance on that. Michael nods, pushes the food away, restless. [MICHAEL] I've gone over Kitt's programs twice. Nothing. You have any luck? [DEVON] Some. [MICHAEL] (looks at him) Well? What? [DEVON] Regarding Edward Cole? He's apparently everything the Department of Justice says he is. [MICHAEL] Which is exactly what? [DEVON] Among other things, a 'business partner' of Anthony Solan's. Apparently his primary contribution to said partnership is the laundering of Solan's money. [MICHAEL] Strange world we live in, Devon. The Department of Justice can know Cole is breaking the law, and I can know he's behind Stefanie being shot, but nobody can move a damn finger against him. [DEVON] Calm down, Michael. You're serving no one's purpose when you react from emotion. [MICHAEL] (angry) I'm not reacting, Devon, I'm feeling. Is it all right to feel? Does the Foundation permit it? Do you? Angry, upset with himself, Michael moves off, walks down the steps to the grounds. He pauses, staring off. Devon joins him. [DEVON] Come. Let's take a walk. MOVING SHOT as they walk the grounds. [DEVON] (after a moment) Michael, I'm not concerned about Stefanie dying. I'm frankly more concerned with her living. [MICHAEL] What does that mean? [DEVON] Have you thought about afterwards? When this is over? What are you going to do then? He stops, looks at Devon. [MICHAEL] All I know is I want her with me. [DEVON] How do you propose to accomplish that? Tell her who you really are? Set up hosekeeping and, as the phrase has it, 'live happily ever after'? [MICHAEL] I don't know. Why? Are you saying that's impossible? [DEVON] Michael, you know better than to ask that. You have too many enemies in the real world. You can't go back. You can't even afford to look. Michael is quiet. After a beat, Devon continues thoughtfully. [DEVON] Perhaps loving her means making another kind of choice. When I was with the O.S.S. in France I met a young lady...a very special young lady. (smiles to recall) I met her in a little cafe outside of Paris. She was wearing a white dress. She looked like an angel. We were young. Time was short. We fell very much in love...I soon realized I had a choice to make. I too was in a very dangerous occupation. [MICHAEL] What did you do? [DEVON] What do you think? Beat. Michael digests this. It doesn't sit well. [MICHAEL] Do you ever regret it? [DEVON] (trace of a smile) There are times. [MICHAEL] (beat) Devon, I love her. Are you saying I can't ever love anyone? [DEVON] Everything changes, Michael. I have no idea what the future holds. But right now, you have a choice to make. A decision. I trust it will be the right one. (beat) Before I go, there's one more thing. I don't like having to tell you this, Michael, but I feel I must. Stefanie's been arrested twice. Represented by Edward Cole in both cases. [MICHAEL] For what...jaywalking? [DEVON] Solicitation. I'm sorry, Michael. Devon turns and leaves, knowing it's the best thing to do. Hold on Michael, it's like a blow to the solar plexis. INT. COLE'S OFFICE - DAY Cole is working at his desk when Michael comes bursting through the door. Cole's secretary, Claire, is right behind him. [MICHAEL] I want to talk to you. Cole jumps to his feet. [COLE] Who the hell do you think you are?! [MICHAEL] My name's Michael Knight. Cole's expression changes. A touch of wariness. [CLAIRE] I tried to tell him you don't --- [COLE] It's all right, Claire. I'll handle it. Relieved, she leaves. Michael is outwardly calm but his fury is like a heartbeat in his body. [COLE] All right, you're here. What do you want? [MICHAEL] Did you defend Stefanie Mason on criminal charges? [COLE] (beat) Do you have her? Is she with you? [MICHAEL] I didn't ask you what you want, you asked me. What I want is my question answered. [COLE] Get tough with me and I won't answer anything. Michael steps so close their noses are touching. [MICHAEL] Stefanie Mason was never arrested for solicitation. So when it's popped up on a computer, I start asking some serious questions. The first question I ask is who salted a phony bust on her and why. The second question I ask is who represented her. I'm still working on number one, but I got my number two. You. My plan to find out number one is simple. I'm going to start rattling cages and I'm going to keep rattling cages until the monkeys fall. So get a good grip. Michael waits to see if Cole will challenge him. When he doesn't Michael leaves, slams the door behind him. Hold on Cole, shaken. INT. OFFICE BUILDING CORRIDOR - DAY Michael exits from Cole's office, pauses. [MICHAEL] (comlink) Kitt, if I'm right a call should be going out from Cole's office. See if you can pick it up. [K.I.T.T.] Right away, Michael. INT. COLE'S OFFICE - DAY Cole finishes dialing. The phone rings. Intercut call with Solan. [SOLAN] Yeah. [COLE] He was just here -- that Michael Knight character -- he was hot, he was raging on about Stefanie never being arrested and how he was going to find out who salted her record. [SOLAN] Good. Let him spin his wheels on that for a while. Buy us a little time until we find out where they're keeping her. [COLE] How many choices do they have? What's the problem? [SOLAN] The problem is she's not in a public hospital. We're checking the private ones now. We'll find her. INT. TRANS AM - DAY Michael gets in. [MICHAEL] Kitt, how'd we do? [K.I.T.T.] We drew a blank, Michael. A call went out on his private line, but he has a scrambler on it. [MICHAEL] Terrific. Michael starts the car, frustrated, peels out. EXT. FOUNDATION RETREAT - DAY quiet, peaceful. Camera pans as the Trans Am appears, pulls in and stops. Michael looks troubled, thoughtful. [K.I.T.T.] Why have we come back here, Michael? [MICHAEL] I don't know, Kitt. I guess I just need some time to think.... [K.I.T.T.] Maybe Bonnie could give you a tune-up. [MICHAEL] (a smile) Yeah, I'll have to talk to her about that. He climbs out, stretches, steps past K.I.T.T.'s hood, taking in the scene, remembering Stefanie, all that's happened in such a short period of time. [K.I.T.T.] Michael? [MICHAEL] Yeah, Kitt? [K.I.T.T.] My comprehension of human emotions is somewhat limited...however, in light of your recent behavior, I feel compelled to ask you a question. [MICHAEL] I think I'm fresh out of answers, pal...but ask away. [K.I.T.T.] Why are you so sad? Said with the direct innocence of a child, it takes Michael aback. [MICHAEL] Kitt...I don't know if you can under- stand this, but there's a thing called love, and.... [K.I.T.T.] According to my information, love is an emotional condition which produces happiness, not sadness. [MICHAEL] Well, that's true, Kitt, only some- times...Kitt? [K.I.T.T.] Yes, Michael? [MICHAEL] Could we go into this later? It's a little complicated. [K.I.T.T.] Of course, Michael. [MICHAEL] (smiles) Thanks, pal. He climbs back in, starts the engine and leaves. INT. FOUNDATION COMPUTER CENTER - DAY Devon and Bonnie are at work. Devon, for the first time in recent memory, is without his tie. His jacket is off and his sleeves are rolled up. [DEVON] Bonnie, I think we're on to something here. Cross reference the union case. [BONNIE] Coming right up. Michael comes in and walks over to where Bonnie and Devon are programming the computer. Michael looks at Devon, then takes off his jacket, rolls up his sleeves. Devon looks at Michael curiously. Michael smiles. [MICHAEL] Just trying to blend in with the dress code. [BONNIE] (pulls out a run) Look at this. (hands Devon a read-out) Those two cases Cole recently lost... in one of them he represented a splinter group of a large labor union. They were trying to form an independent bargaining unit and lost. Guess whose name pops up on the winning side...Anthony Solan. Michael takes the computer read-out. [DEVON] The name keeps popping up. Solan was also a behind-the-scene principal in Cole's other major defeat -- a zoning dispute over a shopping mall site. [BONNIE] I'll bet a little more digging will turn up a connection. [MICHAEL] You need more, I'll get more. He starts out. [DEVON] Michael? The Grand Jury convenes day after tomorrow. Michael nods, leaves. INT. LAWYER'S OFFICE BUILDING CORRIDOR - NIGHT Michael walks down the hallway toward Cole's office. It takes him about five seconds to open the door with skeleton keys. INT. COLE'S OFFICE - NIGHT Michael goes directly to the desk. He flips through the desk calendar. Solan's name shows up three or four times. He tries the desk drawers. Locked. He moves quickly to the files. He thumbs through and pulls out two files. "UNCO vs. Reynolds" and "Land Lease - Adamston Mall." [MICHAEL] Gotcha. [K.I.T.T.] (comlink) Michael, my sensors detect the electronic signal of a silent alarm. Michael goes to the window. [MICHAEL] (comlink) That gives us about two minutes. Okay, Kitt give it your best infrared shot. He holds up the pages of the files to the window and flips them both through like the pages of a book. [K.I.T.T.] (comlink) One minute, Michael. [MICHAEL] Right. Michael moves fast. He puts the files back in the cabinet, takes a last look around and heads for the door. EXT. BUILDING CORRIDOR - NIGHT Michael looks out. All clear. He locks and closes the door behind him and starts down the hall. [K.I.T.T.] (comlink) Security guard approaching! ANGLE Michael ducks around a corner just as the security guard approaches. The guard checks Cole's door. Then unlocks it and goes inside. Michael waits until the door closes then slips past the door and out. INT. PRIVATE HOSPITAL CORRIDOR - NIGHT outside of Stefanie's room. Michael approaches a Nurse who has just come out of her room. [MICHAEL] How is she? [NURSE] She's showing signs of improvement. She --- Michael brushes by the Nurse and heads for Stefanie's room. The Nurse shrugs. INT. STEFANIE'S HOSPITAL ROOM - NIGHT It's dimly lit, silent...except for the continual monitoring of the machines. Stefanie lies still. Michael comes in and goes to her bedside. He's quiet a moment, touches her face. [MICHAEL] Hey Stevie. Stefanie stirs. [MICHAEL] It's me, Michael. [STEFANIE] (faint) Michael? Where are you? [MICHAEL] I'm here. Right here. She opens her eyes. [STEFANIE] (groggy) I woke up...I was alone.... [MICHAEL] Don't talk. You're not alone anymore. [STEFANIE] (weak) Michael, don't go away again...Don't leave me...please.... [MICHAEL] (holds her) I won't...I won't. INT. FOUNDATION COMPUTER CENTER - DAY Michael and Bonnie are working. She pulls off a computer print-out and hands it to Michael. Devon comes in. He carries a newspaper. Michael sees him, turns. [MICHAEL] Devon. Look at this -- Cole's scholar- ship to Harvard was funded by UNCO, the labor union Solan's involved with. This connection goes back over twenty years. Devon is oddly under-enthused. He shows Michael the paper. [MICHAEL] What's the matter? [DEVON] Frontal assault. And we're running out of time.... Michael sees the headlines: LAWYER NAMES LAW CLERK IN GANGLAND CONSPIRACY. Hold on Michael.... FADE OUT END OF ACT THREE ACT FOUR FADE IN EXT. FOUNDATION TERRACE - DAY Stefanie's reading the newspaper article. She puts it down and looks up at Michael, dumbfounded. [STEFANIE] It's a lie...everything in there is a lie. (beat) Why? What does he hope to accomplish? Does he really think a Grand Jury will believe I'm a money courier for the underworld? [MICHAEL] Don't be so sure they won't. It's a matter of credibility. Your word against his. [STEFANIE] I'll take that chance. My credibility's intact. She sees him glance away, uncomfortable. [STEFANIE] Isn't it? Michael? [MICHAEL] I didn't want to have to deal with this until I could prove otherwise.... [STEFANIE] What are you talking about? [MICHAEL] A routine computer run shows you have a record. [STEFANIE] What?! [MICHAEL] Two arrests in Las Vegas. [STEFANIE] Las Vegas? That's ridiculous. I've never been arrested in Las Vegas or any place else...What was I supposedly arrested for? [MICHAEL] (hard for him) Solicitation. She stares at him, face coloring. [STEFANIE] That's a lie! How can they do that? You can prove that's a lie, can't you? [MICHAEL] We're working on it. [STEFANIE] (beat) Do you believe me? He meets her look, the intensity of it. He touches her hand, nods. [MICHAEL] I believe you. It's the Grand Jury I'm worried about. Bonnie appears from inside. [BONNIE] Michael? Devon wants you. INT. FOUNDATION COMPUTER CENTER - DAY Michael and Devon are at the computer terminal. [DEVON] Stefanie's arrest record. Watch. COMPUTER READ-OUT Stefanie Mason. Las Vegas. June 10, 1982. Solicitation. Arresting officer - William Donner. Las Vegas. July 13, 1982. Solicitation. Arresting officer - William Donner. MICHAEL AND DEVON [MICHAEL] The same arresting officer. That's interesting. [DEVON] And look at this. Devon punches up another run. He reads. [DEVON] William Donner. Ten years on the police force. Last fall he was indicted in a police scandal, but it didn't stick. Then he disappeared... (punches up a picture on the screen) And here he is. Michael moves in for a closer look. [MICHAEL] I've seen that face...wait a minute. The car that tailed us to the cabin. (comlink) Kitt, the visuals on the two men who tailed us to the cabin. Can you patch them through? [K.I.T.T.] Right away, Michael. Two pictures emerge. One of Blake and one of William Donner. It's a match. [MICHAEL] That's our man. This is proof, Devon! Proof they salted a phony record on Stefanie, proof they --- [DEVON] Hold on, Michael. It's enough to question the veracity of Stefanie's record, but it doesn't touch Edward Cole. Not yet. [MICHAEL] What will?! Devon, we're running out of time.... [STEFANIE] I know a way. They turn and see her in the doorway. Bonnie is with her. INT. DEVON'S OFFICE - DAY Stefanie picks up the telephone and dials. When she speaks it's in an anxious, hushed voice. [STEFANIE] (phone) Edward, it's me -- Stefanie. I need your help...no, they've got me at the Foundation, but I heard them talking. They're taking me back to some cabin in the mountains. They're coming -- I'll try to call you from there. She hangs up. Pull back to see Michael and Devon. [DEVON] I still don't like it. Too risky. [BONNIE'S VOICE] Well, how do I look? ANOTHER ANGLE as Bonnie enters wearing a Stefanie look-alike wig. [DEVON] If I may say so, you look like Bonnie Barstow in a wig. [MICHAEL] He's right, Bonnie. [BONNIE] C'mon. A little makeup, the right clothes. They'll never know the difference. [STEFANIE] What if they do? No one has a ready answer. [STEFANIE] We won't get another chance. This is it. (beat) Thanks, Bonnie, but it's my life, my future. It has to be me. Michael and Bonnie exchange looks. Devon doesn't like it, but he knows she's right. EXT. MOUNTAIN ROAD - DAY The Trans Am maneuvers the curves. INT. TRANS AM - DAY - MICHAEL AND STEFANIE They're both on edge, both trying not to show it. [MICHAEL] No matter what happens...you stay with Kitt. [STEFANIE] I will. [MICHAEL] Promise me. [STEFANIE] (smiles) I promise. [MICHAEL] Devon's arranging a roadblock, so all we have to do is bait the trap. [STEFANIE] Me. Michael nods, tense. EXT. MOUNTAIN CABIN - DAY The Trans Am approaches slowly, sensors alert, surveillance mode flashing. INT. TRANS AM - DAY - MICHAEL scans the terrain. [MICHAEL] Kitt. Scan the cabin.... [K.I.T.T.] There's no one inside, Michael. Michael drives up beside the cabin and stops. He starts to get out. [MICHAEL] I'm going to look around. Take care of her, Kitt. [K.I.T.T.] Like she was a Ferrari, Michael. [MICHAEL] She is. EXT. TRANS AM - DAY Michael slowly gets out and walks around the far side of the cabin. [K.I.T.T.] (comlink) Michael! A vehicle is approaching at high speed. ANGLE - MICHAEL [MICHAEL] (comlink) Got it! He runs for K.I.T.T. ROAD TO CABIN The sedan squeals around the curves and bears down when the cabin comes into view. DARK SEDAN Two men inside. Blake is driving. On the passenger side is William Donner. He sports a submachine gun, opens fire through the car window. MICHAEL dives and rolls on the ground. Bullets splatter around him. [MICHAEL] (comlink) Kitt, over here! ANGLE ON TRANS AM K.I.T.T. lunges forward, swinging between Michael and the sedan. The door pops open and Michael jumps in as bullets pound at them in a fierce barrage. ANGLE ON CABIN It takes some of the random hits, a window shattering. ANGLE ON SEDAN The sedan circles, leveling its entire arsenal at K.I.T.T. -- to no apparent effect. ANGLE IN SEDAN They're starting to panic. [DONNER] I've hit it with everything I've got! Ram him! ANGLE IN TRANS AM [MICHAEL] Here they come, Kitt. [K.I.T.T.] Surely you don't expect me to just stand here, Michael. [MICHAEL] Just a second longer. FULL ANGLE K.I.T.T. surges forward at the last moment and the sedan plunges past them, careens over an embankment and nosedives into a ravine. ANGLE IN K.I.T.T. [K.I.T.T.] How was that? [MICHAEL] Perfect, buddy. Now call Devon. (to Stefanie) You okay? She nods, shaken. He climbs out. ANGLE AT SEDAN Donner and Blake are struggling out of the car as Michael slides down the embankment. Blake sees him, tries to pull a pistol but Michael coldcocks him with one punch. ANOTHER ANGLE Donner searches frantically for the machine gun. Michael grabs him from behind, slams him against the hood of the car. [MICHAEL] Where's Cole?! [DONNER] I don't know what you're talking about --- Michael is ready to slam his head against the hood again when: [DEVON'S VOICE] Michael? ANGLE TO INCLUDE DEVON AND POLICE OFFICERS above him, looking down. The cops' guns are drawn. [DEVON] Do you need any assistance? [MICHAEL] Thanks, just a little privacy. Devon smiles, nods, gestures and the cops move away with him. Donner looks frightened for the first time as Michael turns his full attention back to him. [DONNER] Wait a minute...We can work some- thing out. We can talk. [MICHAEL] Last chance. Where's Cole? [DONNER] He's with Anthony Solan -- they went to the airport. If they don't hear from us they're gonna take off.... ANGLE FROM CABIN as Michael leads Donner up the embankment to the waiting cops. Several others start down after Blake. ANGLE AT K.I.T.T. Bonnie and Devon stand with Stefanie, who's still weak from the ordeal, from her stay in the hospital. Michael approaches. [MICHAEL] How do you feel? [STEFANIE] A little wobbly, but all right... Thanks. [MICHAEL] I shouldn't be too long. [STEFANIE] (smiles) I'm not going anywhere. Michael jumps into the Trans Am, spins around and starts down the road. EXT. AIRPORT - DAY A Cessna 150 waits at a terminal near the commercial air- lines. It's ready to go. Nearby, Solan paces, nervously checks his watch. ANGLE - STREET The Trans Am speeds toward the terminals. ANGLE - CESSNA Cole hurries toward Solan from the terminal. [COLE] No call. I checked with the operator. The car phone's dead. [SOLAN] Something's gone wrong. Let's get out of here. ANGLE - AIRPORT PARKING LOT The Trans Am speeds through the airport parking lot. When it reaches the last row of cars, Michael hits the boosters and K.I.T.T. sails over the cars and the airport fence. ANGLE - CESSNA Cole and Solan see the Trans Am racing toward them. They climb into the Cessna, its engines running, ready to take off. ANGLE - THE TRANS AM as it bears down on the Cessna. ANGLE - CESSNA It picks up speed as it heads down the tarmac and onto the taxiway, passing other planes waiting to take off. ANGLE - TRANS AM full throttle after the plane. FULL ANGLE - THE CESSNA angles for the runway as the Trans Am races past them, out- pacing them. Then Michael spins K.I.T.T. in a 90 slide and they head directly for the Cessna, closing the angle. ANGLE IN CESSNA Solan sees the Trans Am barreling toward them. He veers sharply. [COLE] What is he doing?! He's crazy! INTERCUT - TRANS AM charging straight for the side of the plane. ANOTHER ANGLE K.I.T.T. leaps forward, smashing into the rear section of the fleeing plane, sheering off the tail. The plane careens on blindly, skids and slides to a halt on its side. Cole and Solan struggle free of the wounded craft as the Trans Am skids to a stop in front of them. We hear the sound of distant sirens. ANGLE ON MICHAEL AND THE TWO MEN Michael walks over to Cole as K.I.T.T. waits, surveillance mode flashing. Behind them, two police cars close in and squeal to a stop. Cole tries to run but Michael grabs him. [MICHAEL] (to Cole) I run across a lot of scumbags, Cole, but compared to you they're royalty. Before Cole can respond, Michael throws a hard right, lifting Cole off his feet. The officers emerge, guns drawn. Solan's hands shoot into the air. Cole doesn't move. EXT. MOUNTAIN CABIN - DAY Michael and Stefanie stand talking by the edge of the mountain clearing looking at the meadow below. They both find it hard to talk, yet there is a need to. [STEFANIE] I talked to the Federal Attorney. He said after I testify I'll be in the witness relocation program... a new place to live...a new identity ...Sometimes it doesn't seem like any of this ever happened. [MICHAEL] It's all behind you now. The night- mare's over. [STEFANIE] (softly) And the dream. She puts her hand to her neck unconsciously. The necklace isn't there. Michael notices this. [MICHAEL] You lost your necklace. [STEFANIE] No, I gave it back. A flicker of confusion on Michael's face. [STEFANIE] It's going to be strange becoming someone else. Leaving my life behind.... Their eyes meet, the implied question unanswered. She looks away, fighting to keep back the tears that are filling her eyes. She looks out at the mountains, the trees, the sky. [STEFANIE] (softly) There's a bird I read about once a long time ago. The swift. It eats ...sleeps...spends it's whole life in flight. It never lands. That's its purpose, its destiny...to fly forever.... Michael gently turns her to him. They look at each other a long moment. He kisses her softly. [STEFANIE] Good-bye, Michael. [MICHAEL] Good-bye...Stevie. There are tears in her eyes. She turns and walks back toward the cabin. Devon stands on the porch. K.I.T.T. is parked out front and a police car waits for her. ANGLE - MICHAEL He watches her go, fighting back tears of his own -- for her, the love he feels for her, and for himself -- for the past is, finally, forever sealed. FULL ANGLE Michael stands by the edge of the clearing, watching as Stefanie reaches the car. She turns, looks at him one more time, then gets in. The car drives away. Michael watches as it slowly disappears. END OF ACT FOUR TAG FADE IN INT. MOUNTAIN CABIN - DAY Michael and Devon are working -- picking up debris, broken glass, shattered souvenirs. [MICHAEL] I'll make it up to you...Name it ...anything. Devon doesn't answer. [MICHAEL] What do you want me to do? [DEVON] I don't think it's within your power. [MICHAEL] Devon, I didn't know they were going to shoot up the place. Devon moans as he picks up some pieces of wood. [DEVON] Do you know what this was? A clock. [MICHAEL] Maybe I can fix it. Devon holds up the hopelessly shattered pieces. [MICHAEL] I guess not. Devon drops the clock remnants and walks transfixed across the room. [MICHAEL] Say, Devon, maybe I'll take a drive. I'll come back in an hour or so when you've added up all the damages and.... He backs out the door, relieved, disappears. EXT. MOUNTAIN CABIN - DAY Michael closes the door behind him. He takes a deep breath and walks to the Trans Am. INT. TRANS AM Michael gets in. He's about to start up but then he stops, leans back. Long pause. [K.I.T.T.] What is it, Michael? [MICHAEL] I wonder if she really knew. [K.I.T.T.] She left something for you. [MICHAEL] What? Where? [K.I.T.T.] Look in the glove compartment. Michael opens the glove compartment. INSERT - THE GOLD NECKLACE is there. MICHAEL He takes the necklace, stares at it for a long moment. [K.I.T.T.] Why did she leave it for you? [MICHAEL] A mutual friend gave it to her a long time ago. He's dead now...I think she wanted me to remember him with this. [K.I.T.T.] What was his name? [MICHAEL] Michael Long. FADE OUT THE END

{"show": "Knight Rider", "season": "s01", "episode": "e18", "title": "White Bird"}

knightriderarchives

ACT ONE FADE IN EXT. HIGHWAY - DAY Prerush hour, early morning, the time of truckers and travellers. This four-lane, divided highway cuts through the open plains and deserts of north-central New Mexico, outside of Albuquerque. ANGLE ON RIG A huge, frightening machine roars down the highway. On the door is painted the sign, "Calley and Son Trucking." INT. RIG - TRACTOR - DAY Seated at the wheel is a big, handsome man, in his mid- thirties, Rick Calley. A country-western tune plays on the radio; the lights of a CB radio flash on top of the dashboard. On the passenger's seat is a small ditty bag. Rick takes a mug from the bag, pours himself a cup of coffee from a dashboard thermos. He takes a sip, puts down the mug, and picks up the CB transmitter. [RICK] Breaker, breaker. Big Brother to Terri the Tiger. Come on back, now. After some static, a woman's voice, young and enthusiastic, comes back over the CB. [TERRI'S VOICE] Terri the Tiger reading you fine, Big Brother. How's it going out there? [RICK] Almost home free, sis. Estimated time of arrival -- one hour. [TERRI'S VOICE] That's a big 10-4. I'll have your favorite flapjacks ready and waiting. Rick smiles mischieviously. [RICK] Make that, estimated time of arrival -- two days. [TERRI'S VOICE] All right, you bum -- you just wait! He laughs, puts down the CB transmitter. EXT. HIGHWAY - SIDE OF ROAD - DAY - ON TRACTOR A sleek one-colored vehicle parked on a dirt access road, not far from the semi. ANGLE ON RIG The rig passes the dirt access road and the tractor. ANGLE ON TRACTOR Its tires churn up a cloud of dirt as it rips out onto the highway and pulls up close to the rig's tractor. We now see that both the driver and the passenger have blakc ski masks on. The passenger points a semi-automatic rifle up at Rick. ANGLE ON RICK'S TRACTOR Rick, surprised and scared, hesitates, then pulls the steering wheel sharply, trying to ram the outlaw tractor. The outlaw tractor, more mobile, has no trouble avoiding Rick's tractor. The outlaw with the rifle aims carefully at Rick's front tires -- and shoots. The tires blow.... ANGLE IN RICK'S TRACTOR Rick momentarily loses control of the rig, then finally pulls it over to a stop at the side of the road. He quickly grabs the ditty bag -- and pulls out a .357 Magnum. He shoves the gun under his belt. ANGLE BY THE SIDE OF THE ROAD The two outlaws come up to Rick's tractor and motion him out. The one outlaw with a rifle keeps a bead on Rick, while the other pulls out a pistol. They march him to the side of the rig out of sight of the road. Rick carefully eases the Magnum out of his belt. Then he wheels...but he's too slow. The outlaw with the pistol shoots him in the left arm. Rick goes down. The outlaws, working with military precision, unhitch Rick's trailer and connect it onto their tractor. One of the outlaws grab the manifest and log book from inside Rick's tractor. Then they take off, leaving Rick in agony. EXT. CITY FREEWAY - DAY - STOCK Out of a line of cars, comes one sleek black vehicle: the Knight 2000. [K.I.T.T. (o.s.)] Michael, I'm afraid if you won't take cover, you're going to be in serious trouble. [MICHAEL (o.s.)] Help me out, Kitt. [K.I.T.T. (o.s.)] I'm sorry, Michael, not this time. Michael lets out a shout. INT. K.I.T.T. - DAY as his spaceship gets wiped out on the monitor screen video game. [K.I.T.T.] I can't help you if I'm playing against you. That makes it thirty- seven games to one, my favor. [MICHAEL] Home court advantage. A beat. [K.I.T.T.] Michael, Devon is calling. [MICHAEL] Patch him through, Kitt. INTERCUT DEVON'S OFFICE While Bonnie helps gather papers, Devon speaks into his monitor. [DEVON] Hello, Michael. Trust I'm not disturbing anything. [MICHAEL] Just the age-old fight of man versus computers. (a beat) I thought you'd be in Chicago by now. [DEVON] My plane leaves within the hour. Michael, something's come up. I don't have all the details yet, but the president of Micro-Tech Electronics called this morning. A shipment of highly sensitive electronic components have been stolen near Albuquerque, New Mexico. [MICHAEL] Any idea who took them? [DEVON] None, I'm afraid. The odd thing is the parts were falsely labelled to discourage theft. The driver of the truck was shot and wounded. I've already contacted him -- he's expecting you. [MICHAEL] (resistance) Devon.... [DEVON] I know you're due for some R and R, Michael, but look at it this way: Would you rather go to New Mexico or Chicago? [MICHAEL] In March? I'm on my way to New Mexico -- on one condition: Bring me back a deep-dish pizza. Best pizza in the world's made in Chicago. [DEVON] Your eclectic culinary tastes never cease to amaze me, dear boy. I'll do my best. Michael laughs. [MICHAEL] Thanks, Devon. OMITTED DRIVE-BYS - STOCK as the Knight 2000 travels the open road. The terrain changes from cityscapes to the spacious plains of New Mexico. INT. K.I.T.T. - DAY Michael is driving. [K.I.T.T.] Michael, I am picking up a transmission in a highly stylized dialect of the English language. [MICHAEL] (puzzled) Let's hear it, Kitt. A static-filled transmission comes over K.I.T.T. [VOICE (o.s.)] Blow your windows down, Good Buddy. Come on back now, 10-4? Michael laughs. [MICHAEL] That's CB -- Citizen's Band, Kitt -- trucker's shorthand. [K.I.T.T.] In other words, 'slang.' [MICHAEL] I still remember a lot of it from my police days. Do you want me to teach it to you? A beat. [K.I.T.T.] Unless it's imperative to this case, I'd rather you didn't. EXT. CHIEF JOE CAFE - DAY Michael pulls the Trans Am into the parking lot of this trucker's restaurant. He gets out of the car and heads towards the cafe. INT. CHIEF JOE - DAY A small, down-home-type place. Near the windows are booths. Across from the booths is a counter with stools. As Michael enters, he catches part of a heated argument. Three men, Curt Brusker, brawny and muscular, Gene Alley, slim, in his forties and Ozzie Layton, a man in his thirties, are seated in a booth. [BRUSKER] I don't care if he's been Sheriff sixty years, Winston ain't worth a cent.... [GENE] I don't know, Curt. I'm hurting as bad as anyone, but this.... [BRUSKER] I'll tell you what -- do it my way and the only ones hurting will be those outlaws.... They all look up at Michael, then continue their conversa- tion in quieter tones. Michael eases over to the counter and sits next to a man in his fifties, in Levi's, flannel shirt and cowboy boots, clothes of the road. This is Sam Volker. He nods at Michael. Norma Pell, an overly made-up waitress in her midthirties, comes over. At one time -- in high school -- Norma was a knockout. Now, she has the tired look of a woman frustrated by fate. She smiles at Michael as she pulls out her order book. [NORMA] Howdy. What'll it be? [MICHAEL] Hi. Coffee, please. [NORMA] One cup of java, coming right up. She steps to the coffee machine, and quickly pours his cup. She sets it down in front of him and he takes a sip. [MICHAEL] I'm supposed to meet Rick Calley here. Can you point him out? [NORMA] I haven't seen him here much since... the accident. He's probably at his garage, a few miles east. She sets down a doughnut on a small plate in front of Michael. Stuck on is a smiley, "Happy Face" button, the kind in vogue in the mid-70's. [NORMA] On the house. Never know when you might need an extra smile. Michael smiles, pins the button on his jacket. He takes the doughnut and starts to the door. [MICHAEL] Thanks. For your smile. Norma grins broadly. Brusker takes note of Michael as he exits. CUT TO EXT. CALLEY GARAGE - DAY Out front is parked the "Calley and Son Trucking" tractor we saw earlier. On top of the garage is a painted sign with the same words. ANGLE BY GARAGE ENTRANCE Michael parks K.I.T.T. and climbs out. He walks up to the garage entrance and meets Rick Calley, his arm in a cast. Rick is followed by Terri Calley, in her midtwenties, a pretty tomboy in trucker's garb. [MICHAEL] Hi, I'm Michael Knight. Devon Miles called about me. Rick nods. [RICK] I'm Rick Calley. This is my sister Terri. They shake hands. [MICHAEL] The company I represent would like to find the missing shipment as soon as possible. [RICK] I'd trade your problem for mine in a minute, friend. You've lost one shipment -- the A.I.T.'s lost six -- not to mention the sabotage. [MICHAEL] The A.I.T.? [TERRI] The Alliance of Independant Truckers. My daddy founded it twelve years ago to stop the men from undercutting each other. (a beat) I'm glad he's not here to see what's happening. Rick looks at Terri, peeved. [RICK] There's nothing more he would have done than I'm doing. [TERRI] Rick, I didn't mean.... [RICK] (to Michael) Knight, if you've got anymore questions, Terri will help you. She knows every- thing.... He turns and stalks back inside. When he's gone, she looks up at Michael. Before they can say anything the loud roar of a tractor can be heard down the road. When it comes into view, we see it's being driven by Curt Brusker. Ozzie Layton is in the passenger's seat. Brusker pulls his tractor in front of K.I.T.T., blocking K.I.T.T. in, next to another car. ANGLE TO INCLUDE BRUSKER AND OZZIE Brusker and Ozzie get out and walk up to Michael and Terri. Brusker pointedly ignores Michael. [BRUSKER] Hi, babe -- let's go on by the Tick Tock later. It's nickle beer night. [TERRI] Curt, don't you ever quit? [BRUSKER] Not when I want something bad enough. There's a moment of tension, then Brusker laughs, nudges Ozzie and they go toward the garage. NEW ANGLE ON MICHAEL AND TERRI as they move off toward K.I.T.T. [TERRI] Don't pay any attention to him. [MICHAEL] (smiles) Hardly noticed he was there. Can you get me a list of the A.I.T. truckers? [TERRI] I can do better than that -- we're having a meeting tonight. Why don't you come by? [MICHAEL] Thanks, I will. I'd like to start running down that stolen cargo. What's the procedure? [TERRI] We pick up our freight at Riggin's Distributor. Gil Riggins fought Daddy over the A.I.T. -- you know, management vs. union, but they were old friends. He'll help you any way he can. They stop by K.I.T.T. ANGLE ON K.I.T.T. The Trans Am is blocked in between Brusker's tractor and the other car. [TERRI] (angry) That dog. I'll be right back. Terri heads for the garage. Michael climbs into K.I.T.T. INT. K.I.T.T. - DAY Michael gets behind the wheel. [K.I.T.T.] Michael, surely you don't expect me to move that monster. [MICHAEL] There's no sense spinning our wheels, Kitt. Let's spin his. ANGLE ON TRUCK K.I.T.T. starts to move it. The truck's tires begin to smoke and the truck begins to emit a loud whining sound. After a few seconds, it is pushed out of K.I.T.T.'s way. ANGLE AT GARAGE Terri, Brusker and Ozzie rush out to see what's happening. As Michael and K.I.T.T. drive away, Brusker chases after the car. [BRUSKER] Come back here! I'll pound you and that black bucket into the ground! But he's talking to dust. CUT TO EXT. "RIGGINS' DISTRIBUTORS" WAREHOUSE - DAY - LATER A large warehouse, replete with loading docks, to establish. K.I.T.T. is parked outside. INT. WAREHOUSE - DAY Michael is talking with Gil Riggins, a man in his forties. The warehouse is bedlam: men shouting, forklifts carrying cartons, etc. [RIGGINS] What's your role in all this? [MICHAEL] I'm a freelance investigator working for Micro-Tech, but I'd also like to find out who's hitting the A.I.T. trucks. [RIGGINS] Who wouldn't. (shrugs) Once the cargo leaves here, it's out of my hands. You know, it's a shame -- those truckers are good people. I know most of them personally. [MICHAEL] I heard it wasn't always that way. Riggins looks at him hard, then smiles. [RIGGINS] Not always. Ted Calley and I fought tooth and nail. But when he finally organized the men, that was that. I even sent them a keg of beer for their first meeting. A warehouse worker comes over to Riggins and hands him a clipboard. Riggins signs it, then hands it back. [RIGGINS] (to the worker) Get that fruit out of the sun. (to Michael) Anything else? [MICHAEL] That's all for now. Thanks for your help. [RIGGINS] Any time. I hope you find whoever's responsible. My suppliers won't stand for any more losses. CUT TO EXT. CALLEY GARAGE - NIGHT The door is open and lights burn brightly from inside. INT. CALLEY GARAGE - NIGHT This room has all the accouterments of a working garage. Standing around are Brusker, Ozzie, Gene, and the other truckers. Michael, Terri and Rick stand by the door, by an open cooler of beer. Talking to them and standing in the middle of the men is gruff and grizzly Sheriff Hank Winston. The meeting is at a fever pitch. [WINSTON] (angry) You listen to me -- I've got 3,750 square miles to cover, and two reservations. I've got three patrol cars and six men. You figure out how to kick up the county budget, and I'll get you your protection. [GENE] Hank, if those outlaws grab another shipment, I'm done in. You talk about county budgets, lemme tell you about mine: I got a payment for that tractor out there to the tune of $432 a month -- and I ain't made that payment in two months. I've got three kids, one wife and more debts than I can count. That's what I have, Sheriff. [WINSTON] I hear you, Gene -- just make sure you hear me. He turns to walk out of the garage, then stops by Rick: [WINSTON] You'd better use your influence on these men, Calley. I'll come down hard on anyone who breaks the law, hijacker or trucker. Rick nods. Winston strides out of the room. Rick addresses the men. [RICK] All right. You heard what the Sheriff had to say. Before we finish up, I got a fella with a different message who wants to talk to you. (calls off) Volker? You out there? Into the garage steps Sam Volker, the man we saw earlier at the cafe. Volker walks up to Rick and smiles evenly at the men. [VOLKER] Fellas, I've got a little business proposition. I'm just passing through, on my way to Tuscon...heard about the troubles you all got. I hate to see you good people in this position. I know what it's like -- I've been there. I'm an independent trucker, too -- but I got lucky, saved some money. Here's my proposition: You sell me your trucks, I'll pay a fair price, and each and every one of you has a lifetime job. There's a silence as this sinks in. [GENE] How much you offering? Terri steps out. [TERRI] I don't believe you, Gene. I remember the nights you came to the house, crying to Daddy about the squeeze Riggins used to put on you! [GENE] And I remember when you wore pigtails, Terri. You're not so much older now -- and you don't have all the answers! [RICK] All right, let's let the man finish. [VOLKER] That's about it. I'll be staying at the Wagon Wheel Motel, be in town for a day or two. I can deal with you as a group or as individuals, it's up to you. You know where to find me. He smiles at them, then steps out of the garage. [RICK] Well, you heard the man. Couple of months ago we'd of laughed him out of town...now, I don't hear anybody laughing. What you do is up to you. She stares at him, then storms out of the room. Michael goes after her. EXT. CALLEY GARAGE - NIGHT Michael steps outside to see Terri, standing alone by K.I.T.T. As he starts over, a hand grabs him from out of the darkness. It's Sheriff Winston. [WINSTON] I want a word with you, son. [MICHAEL] I'm easy to talk to. What's on your mind? [WINSTON] You've been asking a lot of questions. I want you to know I'm keeping an eye on you. The last thing this town needs is outside agitation. [MICHAEL] Agitation's not my line of work, Sheriff. I'm a freelance investigator. [WINSTON] You better be. After a beat, Winston goes to his car, gets in and drives away. NEW ANGLE Michael goes up to Terri. [MICHAEL] How you doing? [TERRI] Rotten. [MICHAEL] Want to go dancing at the Tick Tock? I hear it's nickle beer night? She turns to face him. When she sees him smiling, she smiles, too. [TERRI] Did you ever see The Alamo? [MICHAEL] Couple of times. I never missed 'The Duke.' [TERRI] That's what this place is beginning to feel like, too -- like when Sam Houston said, 'Everyone's complainin' and bellyachin' and what we need is reinforcements....' [MICHAEL] (smiles) Since I can't talk you into nickle beer night, how about a ride home? [TERRI] Talked me into that already. They smile, climb into K.I.T.T. ANGLE AT GARAGE DOOR The meeting is over and the men start to filter out of the garage. Brusker hurries out and watches as K.I.T.T. pulls out onto the main road. Ozzie talks to Gene at the door. [OZZIE] Come on, just tell her the meeting's running late. Let's go get loaded. Brusker pulls Ozzie aside. [BRUSKER] You can get drunk anytime. I got some plans for Knight. [OZZIE] (interested) Yeah? [BRUSKER] Yeah. Get your Friday Night Special and meet me back here. Ozzie darts off, excited. Hold on Brusker. FREEZE FRAME AND FADE OUT END OF ACT ONE ACT TWO FADE IN EXT. HOLBROOK - HIGHWAY - NIGHT K.I.T.T. travels down this largely deserted road. INT. K.I.T.T. - NIGHT Michael and Terri's faces are awash in the glow of K.I.T.T.'s dash. Terri stares at the dash, amazed. [TERRI] This car has more gauges than my tractor. Where's the CB? [MICHAEL] (smiles) Gotta be in there somewhere. [TERRI] What's your handle? [MICHAEL] Handle? Ah...'Kitt.' [TERRI] Kitt? Kind of a dull name for such a flashy car. [MICHAEL] It's the best I could do on short notice. She smiles. [TERRI] (a beat) Who are you, Michael Knight? (before he can answer) I know -- a freelance investigator. But on the road you get a certain... feel for people. I wonder who you really are.... [MICHAEL] 'Smile when you say that, stranger.' They laugh. [TERRI] The Virginian. Gary Cooper said that to...I forget. [MICHAEL] I forget too. (beat) This almost feels like a Gary Cooper western...kind of a range war. Instead of cattle being hustled, it's trucks being hijacked. [TERRI] It is just like the old days -- never the big companies, just the small independents. In this case the A.I.T. (a beat) Daddy used to say that truckers were cowboys on wheels...riding the open road...living free. He thought they should have a code. The Alliance became that code. [MICHAEL] And now it's in jeopardy.... She nods. A thoughtful moment passes. [TERRI] Rick thinks I'm crazy, but I'm sure someone's out to destroy it. She looks at Michael. It's a statement -- and a plea. EXT. CALLEY HOUSE - NIGHT Michael and Terri are walking up the walk to her house. [TERRI] No matter what happens, I don't want to give up the highway. I think it's in my blood. [MICHAEL] Once, when I was travelling in the desert in winter, the sky was so full of stars, the stars were so bright, that I turned off my head- lights. I pulled off the road...and looked and listened. I don't know of a better high than that. [TERRI] Isolation...freedom... (a beat) What's it like in the big city? [MICHAEL] A lot less stars, a lot more lights. None as pretty as out here, though. He inches closer to her. She's nervous...the closer they get to a kiss, the more nervous she is...Suddenly, she breaks away...and runs up the steps. [TERRI] See you tomorrow! And she practically dives in the house. Michael watches her, laughs and shakes his head. He walks back to K.I.T.T. INT. K.I.T.T. - NIGHT [MICHAEL] Kitt, call the Foundation. INTERCUT - FOUNDATION Bonnie, in a robe, hurries to the monitor screen. [BONNIE] Michael, do you know what time it is? [MICHAEL] The enchanted time of the evening when beautiful women look their best. He smiles. She can't help but smile. [MICHAEL] Bonnie, I need your help. The robbery of the electronics components is only the tip of the iceberg. Somebody's declared war on an alliance of local truckers. I'm going to need infor- mation on who holds the paper on their trucks, who carries their insurance, information on the men themselves -- anything that indicates who stands to profit from their loss. [BONNIE] Michael, this is going to take some time to get together.... [MICHAEL] Bonnie, we don't have time. How about tomorrow morning? [BONNIE] Sure -- if I stay up all night. He smiles. [MICHAEL] I wouldn't ask if it wasn't important. [BONNIE] (a smile) I know. CUT TO EXT. WAGON WHEEL MOTEL PARKING LOT - NIGHT Michael pulls K.I.T.T. into the parking lot of this motel, the kind in vogue before the onslaught of motel 6's. [K.I.T.T.] Michael, I've been monitoring CB channels and Terri's right. Kitt is rather dull -- How about 'Hot Knight.' [MICHAEL] I like that, Kitt. [K.I.T.T.] Thank you. [MICHAEL] Just don't let it go to your computer banks. [K.I.T.T.] I won't. Michael laughs. Before he gets out of the car: [MICHAEL] Put your ears on, good buddy. A beat. [K.I.T.T.] I beg your pardon? [MICHAEL] Go into surveillance mode. [K.I.T.T.] Oh. And K.I.T.T. does. CUT TO INT. MICHAEL'S MOTEL ROOM - LATER - NIGHT The room is dark. Michael is asleep on the bed. A radio plays Country Western music in the b.g. As we pan the room, we see clothes on a chair and shoes at the foot of the bed. EXT. WAGON WHEEL MOTEL - NIGHT Curt Brusker's truck slowly eases into the parking lot. It parks next to K.I.T.T. Brusker and Ozzie get out, each with a baseball bat and tire iron in hand. ANGLE ON K.I.T.T.'S SCANNER as it pops to life, the scanning light crisscrosses across the screen. ANGLE ON BRUSKER AND OZZIE AT K.I.T.T. They walk around the car. [BRUSKER] By the time we're finished with this, that guy will beg for a ride out of town. Brusker raises the bat -- and brings it down hard on K.I.T.T.'s windshield. The bat shatters and Brusker's amazed. Ozzie starts to pound with his bat and Brusker starts to hit K.I.T.T. with the tire iron. CUT TO INT. MOTEL ROOM - NIGHT The comlink on Michael's wrist starts to beep. Michael wakes up, groggy. [MICHAEL] What is it, buddy? [K.I.T.T. (o.s.)] Michael, two men are out here causing quite a racket. Michael can hear the pounding and muffled cursing. He throws on some clothes. EXT. MOTEL ROOM - NIGHT Michael throws open the door -- and sees Brusker and Ozzie pounding on K.I.T.T. Both bats are in pieces and the two tire irons are bent beyond recognition. Michael smiles, leans in the doorway. Lights go on in the motel office. When Brusker's and Ozzie's energy is spent, Michael calls over to them. [MICHAEL] You guys are a little early on the wake-up call. They look over, gulping for breaths of air. [BRUSKER] Knight, I'm warning you. [MICHAEL] Curt, I've got no quarrel with you. Why don't you go back home. Get some rest. ANGLE AT DOOR ENTRANCE Brusker comes over to Michael with a tire iron. Michael gets into a protective stance. [BRUSKER] You stay away from Terri Calley. [MICHAEL] She's a big girl. She can decide who she's going to spend her time with. [BRUSKER] And I'm a big boy. She's my girl, this is my town -- and I'll decide who you'll spend your time with here in Holbrook. They stare each other down. [MICHAEL] I don't think so, pal. A beat. Michael seethes with an undercurrent of anger. Brusker starts to make a move to him. ANGLE ON K.I.T.T. as it starts after Brusker. Ozzie -- then Brusker -- look on amazed. Brusker drops the tire iron. ANGLE ON POLICE CAR Lights flashing, siren off, Sheriff Winston pulls the car into the parking lot of the motel. Winston gets out. [WINSTON] Curt, get in your truck and get out of here. [BRUSKER] The car moved by itself, Sheriff. Winston looks at Brusker funny. [WINSTON] Curt, I warned you before about drinking and driving. Ozzie, you'd better take him home. Ozzie leads Brusker back to the truck. They start their truck up and roar away. Winston turns back to Michael. NEW ANGLE as Winston comes face to face with Michael. [WINSTON] I told you -- I don't want any trouble. [MICHAEL] And I told you: I won't cause any. Winston stares at him, hard. [WINSTON] I've done some checking on you -- you have the cleanest record of anyone in the Western United States -- no traffic citations, no acci- dents, nothing...only problem -- the record only goes back about a year...before that -- nothing. (a beat) Anymore problems, and you are gone.... Michael has plenty to say, but he lets it pass. After a beat, Winston gets in his car and pulls away. Before Michael goes back inside, he spots someone looking out from another motel room -- Sam Volker. Volker nods at Michael. Behind Volker, Norma pokes her head out. CUT TO EXT. RIGGINS' WAREHOUSE - ON LOADING DOCK - DAY Warehousemen carefully load crates marked "EXPLOSIVES" onto Terri's rig. She stands with Gil Riggins, signing some papers. [RIGGINS] Call me the minute you get into Santa Fe. Believe it or not, I worry about you. [TERRI] I will, Gil. Thanks for your concern. Riggins disappears into the warehouse. ANGLE TO INCLUDE BRUSKER He steps up to Terri. [BRUSKER] I'm surprised to see you without your loverboy. [TERRI] He's not my loverboy, Curt. [BRUSKER] Where's Rick? [TERRI] He doesn't know I'm going out single -- and don't you tell him. We need this run. We need the money. [BRUSKER] Want me to ride along? Or are you worried we might ignite some sparks? [TERRI] (droll) You put your finger right on it, Curt. Thanks, anyway. She goes down the steps to her rig. He's not sure whether he's been insulted or not. He decides he's not been. CUT TO EXT. HIGHWAY - DAY - STOCK K.I.T.T., on the move, rendezvousing with the Foundation semi. When the ramp lowers, K.I.T.T. enters. INT. FOUNDATION SEMI - DAY Devon walks up to K.I.T.T. as Michael gets out of the car. [MICHAEL] Devon, I know what you're going to say: You're going to say finding the electronics components should take priority.... [DEVON] Well put, Michael, but not entirely correct. What I was going to say is I would have brought back your pizza, but I couldn't fit it in my briefcase. (a beat) Then I was going to launch into the rest. [MICHAEL] Go with me on this, Devon. These A.I.T. truckers are fighting for survival. ANGLE TO INCLUDE BONNIE Bonnie enters with data banks to be programmed into K.I.T.T. Michael smiles. [MICHAEL] Beautiful as ever. [BONNIE] Sleepless as ever. She slides into K.I.T.T., prepares to program him. [BONNIE] I got everything I could. The background on Sam Volker may not surprise you, but I think it'll interest you. [MICHAEL] What is it? [DEVON] Mr. Volker is employed by Panhandle Trucking. Apparently his job is to buy out struggling independents. [MICHAEL] (reacts) If the A.I.T. knew I bet they'd skin him alive. [BONNIE] Michael, I've got a new addition for you. ANGLE IN K.I.T.T. as Michael comes over. [BONNIE] I'm installing a long-range tracking scope.... ANGLE ON MONITOR SCREENS as a picture of a truck is met by sonar-like waves. BACK TO SCENE [BONNIE] It will enable you to monitor the location of any A.I.T. truck with a CB radio. [MICHAEL] Terrific. It'll also give K.I.T.T. a chance to brush up on trucker shorthand. [K.I.T.T.] Trucker shorthand brutalizes my vocabulary banks. They laugh. CUT TO INT. VOLKER'S MOTEL ROOM - DAY Norma is buttoning up the last buttons of her waitress uniform in the mirror. Her face reflects sadness. In the b.g. Volker is getting dressed. [NORMA] I remember back in high school...I used to love my cheerleader uniform. It made me feel so special to put it on.... Volker comes over to her, stands behind her. [NORMA] I hate this one. Volker smiles, then starts to bite her neck. The sadness leaves her face. She lets out a tiny scream, then turns around. [VOLKER] Nothing I like better for breakfast. She laughs. He slips his hand into his pocket and pulls out a package. He hands it to her. She reacts with surprise and rips it open. It's a charm bracelet. [VOLKER] ...Just a little something I picked up on a run to L.A. The charms are all miniatures of places in the city. [NORMA] Oh, Sam, that's so sweet. You're so good to me. [VOLKER] (smiles) If things go right, you may just not have to wear that uniform much longer.... For a moment she looks like a wide-eyed school girl; it's the closest she's come to a proposal in years. CUT TO EXT. HIGHWAY - DAY - ANGLE ON TERRI'S RIG The tractor and rig barrel down the highway. EXT. DIRT ACCESS ROAD - DAY Behind some trees is parked a black, supercharged van. Sitting inside are the two outlaws, their faces covered with the black ski masks. CUT TO EXT. VOLKER'S MOTEL ROOM - DAY - ANGLE AT DOOR Volker opens the door to Michael. [MICHAEL] I want to talk to you. Volker appraises him, shrugs. INT. VOLKER'S MOTEL ROOM - DAY as Michael follows Volker in. [VOLKER] I buy trucks, son, not souped-up cars. Volker smiles. Michael doesn't. [MICHAEL] I'm not here to sell you, Volker, I'm here to warn you. You're no independent businessman just passing through, you're a broker for Panhandle Trucking, one of the biggest fleets in the southwest. [VOLKER] (angry) Who are you? What right do you have checking up on me?! [MICHAEL] Put it this way. Consider yourself lucky I'm the one who found out first. If it was some of those A.I.T. truckers, you'd be picking your teeth up off the floor. [VOLKER] Don't you threaten me. Like it or not, I make my money legally. [MICHAEL] You make your money off other people's misery and desperation. Volker takes a swing at Michael but Michael grabs his arm in mid-swing, his face close to Volker's. [MICHAEL] You stick around to play out your hand, Volker, and you might live to regret it. And if I find out you or your company have anything to do with these hijackings, you will live to regret it. That's a promise. Michael lets Volker's arm drop, turns and walks out. Volker stares after him. EXT. HIGHWAY - DAY As Terri's rig passes the dirt access road, the outlaw van tears out after it. ANGLE - TERRI'S REARVIEW MIRROR The outlaw van is approaching. When Terri sees a shotgun being pointed out of the van, she is alarmed. WIDE ANGLE The van pulls up close to the tractor, then the one outlaw begins to shoot at the connecting lines holding tractor to rig. ANGLE IN CAB Terri is on the CB. [TERRI] This is Sister Terri. I've got a ten-thirty-three. Repeat, I've got a ten-thirty-three -- over? CUT TO INT. K.I.T.T. - DAY Michael climbs into K.I.T.T. [K.I.T.T.] Michael, Terri is on the CB channels announcing a ten-thirty-three. What's a ten-thirty-three? [MICHAEL] (alarmed) It's a call for help, Kitt. Where is she? [K.I.T.T.] Approximately twenty point five miles southwest of town. [MICHAEL] Come on, buddy, let's go! He does a ninety in the parking lot, sending cinders flying. EXT. HIGHWAY - DAY The outlaws fire into the connecting wires -- and the wires split apart. The rig separates from the tractor with a lurch and the outlaws roar away in the van. ANGLE IN TRACTOR Terri fights for control of the tractor. She's pulled out of her seat -- and smashed against the window. She's knocked out cold. ANGLE ON SEMI as the rig speeds down a hill and the tractor is out of control, we: FADE TO BLACK AND FREEZE FRAME END OF ACT TWO ACT THREE FADE IN EXT. HIGHWAY - DAY The rig detaches completely from the tractor. CUT TO INT. K.I.T.T. - DAY Michael is driving. Trees, road signs, calls all are a blur as he speeds by. ANGLE ON K.I.T.T.'S DASH The digital speedometer reading "135 MPH" and climbing. [MICHAEL] Kitt, how much further? [K.I.T.T.] Less than five miles, Michael. CUT TO INT. TERRI'S TRACTOR - DAY The tractor weaves all over the road, nearly causing a few accidents. ANGLE ON RIG as it smashes through the guard rail. It tumbles down the hill once -- then explodes. ANGLE IN K.I.T.T. close by now. Michael can hear the explosion. He can also see -- up ahead -- the out-of-control tractor. Michael and K.I.T.T. close the gap. K.I.T.T. tries to maneuver next to the tractor. The weaving makes this impossible. ANGLE IN K.I.T.T. Michael puts K.I.T.T. on automatic. [MICHAEL] Pop the sunroof, Kitt. [K.I.T.T.] Michael, you're not planning to do what I think you're going to do.... [MICHAEL] Just do it, Kitt. And get ready to eject me. [K.I.T.T.] You are going to do what I thought you were going to do.... The sunroof opens. ANGLE ON ROAD K.I.T.T. tries to get up close, pulls back, comes closer. When K.I.T.T. finally gets abreast of the tractor: ANGLE ON MICHAEL [MICHAEL] Now, pal! ANGLE WITH MICHAEL as he flies up -- and grabs onto the yellow warning lights on top of the tractor. Michael fights to stay on. Once he secures his grip, he climbs down the side of the tractor, holds onto the rearview mirror, then swings into the open window on the passenger side. ANGLE IN TRACTOR Michael grabs the jake brake. The tractor comes to a jarring halt by the side of the road. Terri looks up, groggy. [TERRI] Michael...how...did you...? [MICHAEL] I don't think you want to know. CUT TO EXT. CALLEY GARAGE - DAY Michael gets out of K.I.T.T. as Terri gets out of her tractor. Rick runs up to her. [RICK] Terri, are you all right? [TERRI] I'm okay.... [RICK] Why didn't you tell me you were going out? [TERRI] I didn't want you to worry. [RICK] Worry? Terri, you take out our best tractor, you jeopardize what's left of our business, you go out into that no-man's land.... [TERRI] All right, Rick -- I didn't tell you -- because we needed the money. I thought I could do it, but I failed, okay? I'm sorry. As she calms, Rick softens. Michael comes over. [TERRI] I guess Riggins will cancel the contract, now. [RICK] Why worry about it? This is a no-win situation -- we go out, we risk getting killed. We stay, we're out of business. What's the use? He searches their faces, then walks away. [TERRI] He's right. [MICHAEL] Wait a minute, Terri. We're not through yet. [TERRI] What's there to do? We've been attacked, shot at...and no one has a clue why -- or who...or when it will ever end.... [MICHAEL] Just hang on. I'm working on a few things. You with me? She looks away. He holds her by the shoulders. After a beat, she nods. CUT TO EXT. WAGON WHEEL PARKING LOT - DAY as Michael parks K.I.T.T., Norma, dressed in her waitress uniform, slips out of Volker's room. As she approaches Michael, she smiles, a little embarrassed. [NORMA] Mr. Knight, Sam isn't a bad man. I want you to know that. [MICHAEL] Thanks, Norma. He starts towards the room. She blocks his path. [NORMA] No, listen...he treats me real nice, a lot nicer than these other crumb bums around here. He said he might want me to quit the Chief Joe, real soon. The sad expression in her eyes gives Michael pause. [NORMA] He's a good man. Even if he doesn't like you, he's nice. Like when he had that argument with Gil Riggins today. [MICHAEL] Riggins? [NORMA] Yeah...Mr. Riggins wanted Sam out of town -- like you. But Sam didn't hold a grudge. He's real even- tempered! Michael's comlink beeps. [MICHAEL] I'll be right back. INT. K.I.T.T. - DAY Michael slips in the driver's seat. [K.I.T.T.] Michael, this is quite urgent. My sensors detect a clock mechanism and an explosive device located in the room right in front of us. It is set to explode in seven point six seconds. Michael looks up -- it's Volker's room. He leaps out of the car. PARKING LOT Michael runs towards the room, stops by Norma. [MICHAEL] (yelling) Volker, get out of the room! Get out! Norma looks at him, alarmed. Just as the doop opens.... ANGLE AT DOOR The room explodes. ANGLE WITH MICHAEL AND NORMA [NORMA] Sam! She starts to run towards the room. Michael grabs her and holds on tight. She tries to break free -- then collapses, sobbing hysterically. CUT TO EXT. WAGON WHEEL MOTEL PARKING LOT - DAY - LATER Firemen put out the dying embers of the motel blaze. Onlookers begin to filter away. Michael stands by K.I.T.T. Norma sits in Sheriff Winston's patrol car. The Sheriff's coat is draped over her shoulders. Winston comes up to Michael. [WINSTON] I'd like you to come in for questioning. [MICHAEL] For what? The murder of a man I wanted to talk to? [WINSTON] Ever since you've come in town, things have gone from bad to worse. [MICHAEL] Sheriff, I'm a little tired of being leaned on. I'm here to do a job -- and, believe it or not -- I'm on your side. [WINSTON] Look at it from my angle, who would you suspect? [MICHAEL] If I were a cop? If I were a cop, I'd look for someone with a motive. A beat. [WINSTON] All right, Mr. Knight. Stick around. I may discover that you have a motive yet. Winston turns back to his car. [WINSTON] (to Norma) Leave your car here, honey. I'll drive you home. Norma nods. Winston closes the door for her, then gets in the driver's side. CUT TO OMITTED INT. MICHAEL'S MOTEL ROOM - NIGHT Michael is at the coffee table with a legal notepad and pencil. [MICHAEL] (comlink) Kitt, give me the figures on the insurance rate hikes over the last six months.... [K.I.T.T. (o.s.)] Michael, Terri Calley is approaching your door. Shall I wait? [MICHAEL] (comlink) Thanks, pal. We'll catch it later. Michael gets up and opens the door. Terri is just about to knock. She's surprised. [TERRI] Good timing. [MICHAEL] It's nice to see a friendly face. As she enters the room. She's agitated, upset. [TERRI] I heard about...what happened. I just can't believe all this...the hijackings, now murder.... [MICHAEL] Terri, what's the matter? Something wrong.... [TERRI] (hesitates) It's Rick. He wants to quit. Sell the tractors, move.... [MICHAEL] (beat) What about you? How do you feel? [TERRI] I don't know. I don't know anything any more. She's as close to tears as she's ever going to be. She walks to the window and looks out. [MICHAEL] Terri, it's your decision. But from what I know about you, I'm not sure 'quit' is part of the Calley vocabulary. She looks back at him. [MICHAEL] Do you think your father would've? (a beat) Do you think Hoss would've? She smiles, shakes her head, "no." They get closer. [TERRI] Michael...I.... She steps back, laughs nervously. [TERRI] I told you I scared all the boys away. They called me 'Tom-boy Terri....' [MICHAEL] That was then. [TERRI] I think...I really like you.... She starts close to him. Then she stops, uncomfortable. [MICHAEL] Maybe we could hold hands. She laughs, embarrassed. [TERRI] I feel so.... [MICHAEL] Shhh. (beat) Can we? [TERRI] I guess. Sure.... He slowly takes her hand in his. [MICHAEL] Not so bad, is it? [TERRI] (smiles) No. To his surprise, she kisses him; a shy, innocent kiss. CUT TO INT. K.I.T.T. - DAY - ON THE MONITOR SCREEN - TRAVELLING Michael is driving. Devon is standing at his desk in the Foundation. [MICHAEL] Devon, I'm starting to feel like Sheriff Winston -- 3,750 square miles to cover -- and no real leads. (a beat) When I first came here, I thought someone was after the cargo -- now I'm convinced it's the A.I.T. they're really after. [DEVON] Is there anything I can do? A beat. [MICHAEL] Now that you mention it, Chicago was pretty cold, wasn't it? [DEVON] Cold is not the word, dear boy. [MICHAEL] How'd you like to visit sunny New Mexico? Devon is intrigued. CUT TO EXT. CALLEY GARAGE - DAY Tractors are parked by the door. INT. CALLEY GARAGE - DAY A meeting of the A.I.T. is in session. While all of the same participants are there -- Michael, Terri, Rick, Brusker, Gene, Ozzie, Jim, Vance, and Clay -- the mood is strikingly different. It's very somber. [RICK] By now, I'm sure you've all heard the news. Gil Riggins had no real choice but to cancel the Alliance contract. His distributors just quit on him. I tried to talk him out of it.... [GENE] Rick, we're all sure you did what you could. [RICK] I understand a few of you will be moving out of the area. Good luck. Some nods, some grim smiles. [BRUSKER] Hey, do you all remember the first meeting of the A.I.T.? [OZZIE] March 20, 1971. The day peace came to Holbrook's independent truckers. [GENE] I'll bet everyone remembers that first party, too. I had a headache that lasted clear to Tuscon. [BRUSKER] Always were a lightweight. Gene smiles. [RICK] Hell, if we keep going on like this, we'll all be bawling like babies. (a beat) A couple last announcements. Gil Riggins wanted me to tell you that if anyone's still interested in selling, he knows a buyer. And I've been asked to introduce an out-of-town businessman, Mr. Cedric Bagshaw. ANGLE AT DOOR as Devon and Bonnie enter. Bonnie smiles at Michael. Devon stands by Rick. [DEVON] Hello. I'd like to introduce my assistant, Miss Bonnie Barstow. Bonnie smiles at the men. [DEVON] I am a businessman, gentlemen. I am planning to open up a cargo route from Albuquerque to Santa Fe. I would like to center it here. [BRUSKER] How much business are you talking about? [DEVON] This is a pilot program, a trial run. But if it succeeds, I can promise a great deal of business. ANGLE AROUND THE ROOM The men are listening intently. [RICK] Mister, do you know the chances of your cargo making it through from here? [DEVON] All I'm asking is that you prove to me your roads are safe. If you can do that the contract's yours. No one responds, then: [TERRI] I'll do it. [RICK] Terri! [TERRI] Rick, if the A.I.T. goes down, I want to be able to say we gave it every show we could. The men are all getting excited, despite themselves. [DEVON] Can you leave right away? [TERRI] Just point me to your rig, mister. Michael steps in front of the men and addresses the meeting. ANGLE ON MICHAEL [MICHAEL] I know I'm not exactly the most popular guy in Holbrook, but I came here to find some stolen electronic parts -- and found a town full of fight. If Terri's going to pull this off, she's going to need all of your help. Go over to the cafe. Set up a CB. And listen. If we need help, be ready to roll. [GENE] We'll do it. [DEVON] Remember...if this succeeds, the A.I.T. will be a viable organization for a long time to come. CUT TO EXT. CHIEF JOE CAFE - DAY The men all jump out of their tractors and hurry to the Chief Joe. By the Foundation semi stands Michael, Devon, Bonnie and off to the side, Rick and Terri. ANGLE ON MICHAEL, DEVON AND BONNIE [DEVON] (sotto) Michael, please be careful. That semi is worth a king's ransom. [MICHAEL] Or a knight's yearly salary? [DEVON] At the very least. [MICHAEL] By the way, where'd you come up with a name like Cedric? [DEVON] It's my father's name. [MICHAEL] Great name. Devon smiles. [BONNIE] Good luck, Michael. Kitt's ready -- and waiting. ANGLE ON TERRI AND RICK [RICK] I'm proud of you, little sister. This is the kind of thing Dad would have done. [TERRI] This is the kind of thing any Calley would do -- we're all crazy enough. They laugh -- then hug. ANGLE AT DOORWAY OF CHIEF JOE Brusker and Gene pass Riggins, who is staring at the Foundation semi. [BRUSKER] Hey Gil -- hear the news? If Terri makes her run, the Alliance is still alive. Riggins is distracted. [GENE] What do you say, Gil -- same deal? We make that run, you go to bat for us? After a beat, Riggins looks up at them. [RIGGINS] Sure. Okay, that's a deal. After Brusker and Gene leave, he crosses to a phone booth outside the cafe. INT. PHONE BOOTH - DAY Riggins dials a number, then talks into the phone. [RIGGINS] They're going out again. It's their last gasp -- we stop them now, we've stopped them forever. No, the car's nowhere in sight. Get it done. As he hangs up, we: FREEZE FRAME AND FADE OUT END OF ACT THREE ACT FOUR FADE IN EXT. HIGHWAY - DAY - ON FOUNDATION SEMI as it travels down a stretch of highway. INT. FOUNDATION SEMI - DAY - TRACTOR Terri is driving. [TERRI] I think we fooled everyone -- even Rick. Where'd you get the idea? [MICHAEL] From an old murder mystery -- the detective put all of the suspects in a room then told them the victim was still alive. It was only a matter of time before the killer sneaked out to try again. [TERRI] It sounds like an ambush to me. [MICHAEL] Not when you're the good guys. He smiles. There's a pause. [TERRI] What I want to know is -- if the pirates attack -- why are you so sure we can stop them? [MICHAEL] Another old chess technique. Hold back your most powerful piece -- until you need it. She gives him a puzzled look. CUT TO INT. FOUNDATION SEMI - RIG - DAY - ON K.I.T.T. Its scanner light flashing. CUT TO EXT. DIRT ACCESS ROAD - DAY - ON OUTLAW TRACTOR It's parked by an outcropping of rocks, the same tractor that we saw at the top of the show. INT. OUTLAW TRACTOR - DAY The two outlaws, Sax and Russell, have their masks off for the first time. Russell, the older of the two men, is in the driver's seat. Sax, the more nervous of the two, checks his watch. [SAX] I thought truckers were supposed to be punctual. [RUSSELL] She'll be here soon enough. Sax fidgets. [SAX] Man, there must be a better way to make a living. [RUSSELL] That's what you said when we were working on the docks. At least these hours are better. [SAX] That's true. Sax reaches behind him and pulls out the recoiless rifle. He checks the rifle, loads it. CUT TO INT. CHIEF JOE'S CAFE - DAY Devon, Bonnie and Rick all enter the cafe. The truckers are huddled around a CB in a horseshoe booth near the back of the restaurant. [GENE] (calling) Hey, Mr. Bagshaw, how about we treat you to Joe's famous original 'Sloppy Joe's'? Devon looks faint. Bonnie grins. [DEVON] 'Sloppy Joe's?' [GENE] Sure, they're great. Sliced ham, topped with a special barbeque sauce, chili, salsa, hot peppers -- a cure for whatever ails you. [DEVON] That sounds...delightful. However I had quite a large breakfast. Gene and the others make room for Devon in the booth. Devon has no choice but to sit with them. He's squeezed between them. [GENE] That's the great thing about these Sloppy Joe's, Mr. Bagshaw -- your stomach has to make room for them. They just won't take no for an answer. Devon smiles weakly. [GENE] Hey, Norma -- eight Sloppy Joe's here. (to Devon) Unless you want more than one.... [DEVON] No, no. Don't want to overdo a good thing. Gene smiles, slaps Devon on his back. INT. FOUNDATION TRACTOR - DAY Terri drives. Michael takes a sip from a cup of coffee, then hands her the cup. She takes a drink. [TERRI] Michael, thanks...for giving me hope. [MICHAEL] I didn't give you hope, Terri -- I just helped you borrow it back from yourself. She smiles. [TERRI] See that saguaro (se-war-o) -- that giant cactus -- over there? She points one out. [TERRI] If you look at them closely, they look like they're waving, or bowing or saluting you. Or making fun of you. Some people are mountain people, some are ocean people. I'm kind of a desert person. How about you? He thinks. [MICHAEL] I think -- I'm a road person. She laughs. [TERRI] Me, too. CUT TO INT. CHIEF JOE'S DAY Bonnie is at the counter, talking with Norma as Devon comes up. ANGLE ON BONNIE AND DEVON [DEVON] (sotto) So far, no one's made a move. [BONNIE] I'll keep my eyes open. [DEVON] Mine are watering -- beware the Sloppy Joe's. She laughs. Devon moves back to the table. ANGLE ON BONNIE AND NORMA Norma looks even more sad than before. She wipes up a spill on the counter while talking with Bonnie. [NORMA] I don't know. I guess Sam just wasn't meant to be the end of my rainbow. [BONNIE] There'll be other guys, Norma. [NORMA] That's the problem, sugar, there's always other guys. (a beat) Do you ever think of your Mr. Right? [BONNIE] No, not really. [NORMA] Come on, tell me. You must. Every woman does. [BONNIE] No, seriously, I don't. [NORMA] I do. He has to be tough, yet gentle. Forceful, but he has to let me have my own way most of the time. And, a nice car wouldn't hurt. Now, come on -- how about you? Bonnie laughs. [BONNIE] All right, maybe I do have a little bit of an idea. I'd like him to like classical music, but he should be open to all kinds of different styles. He's definitely got to love books and plays. I think he should have a good sense of humor, witty, you know, kind of sophisticated. It'd be nice if he were athletic, but I don't want him to be a jock. I like a guy who's full of sur- prises and.... Norma looks at her, amazed. She moves off to get a customer a cup of coffee. Bonnie continues on. CUT TO OMITTED INTERCUT - K.I.T.T. in the rig. [K.I.T.T.] Michael, two men are approaching from the southwest. One has a rifle. [MICHAEL] Okay, pal, this is it. Come get me. [K.I.T.T.] Right away, Michael. Terri looks shocked. [TERRI] Who's that? [MICHAEL] Our secret weapon. I'll explain later. Keep her steady. Michael rolls down the window. OMITTED ANGLE ON MICHAEL climbing out the window and climbing down through the sunroof. ANGLE ON OUTLAWS as they pull up next to Terri. Sax points the rifle at her. ANGLE WITH K.I.T.T. as he maneuvers around the semi -- and comes up hot on the heels of the outlaws. The outlaws look back -- and are shocked to see the car. Sax leans out and fires at K.I.T.T. The bullets bounce harmlessly off him. As the outlaws slow down to fight K.I.T.T., Terri is able to speed the Foundation semi up and pass them. The outlaw tractor starts to weave from one side of the road to the other, to stop K.I.T.T. from passing them. INT. K.I.T.T. - DAY Michael is doing everything he can to pass the outlaws, to no avail. [K.I.T.T.] Michael, my scanners indicate that the divided highway ends less than a mile from here. And there appears to be very heavy traffic coming in the opposite direction. [MICHAEL] All right, Kitt. We don't have any time to waste. Michael pulls K.I.T.T. up close to the outlaw tractor. INSERT - TURBO BOOST BUTTON Michael pushes this button. ANGLE WITH K.I.T.T. as the car flies up and over the tractor. INT. OUTLAW TRACTOR The outlaws follow K.I.T.T.'s trajectory in awe and Russell momentarily loses control of the tractor. ANGLE WITH K.I.T.T. Back on earth, K.I.T.T. speeds up, then when Michael throws the car into a ninety, it blocks the highway entirely. INT. OUTLAW TRACTOR [RUSSELL] Now we got him! And he speeds up. INTERCUT - K.I.T.T. AND THE TRACTOR coming closer, closer -- and then they hit. K.I.T.T. is undamaged, but the outlaw tractor flips over and into the side of the road. ANGLE ON TERRI She sees what's happening in her rearview mirror and pulls off the highway. ANGLE AT THE SIDE OF THE ROAD Russell and Sax stumble out of the wreckage of their tractor. Sax is dazed, slumps back to the ground. Michael grabs Russell as Terri runs up to the scene. He rips off the face mask. [MICHAEL] All right, talk. Who are you working for? Russell doesn't answer. Michael pins him against the cab. [MICHAEL] Listen, pal, you'd better start talking. You've already wrecked two lives -- not to mention killing a man. (a beat) So help me, you'd better talk, or I'll wreck yours beyond repair. And if I get the Foundation to prosecute, the next time you'll see windows without bars is going to be in a rest home. [RUSSELL] We didn't kill no one. [MICHAEL] I have a witness who says otherwise. [RUSSELL] It wasn't us, I swear! [MICHAEL] Then who? CUT TO INT. RIGGINS' WAREHOUSE - DAY Riggins is out on the loading dock. In the distance are sirens. ANGLE ON RIGGINS As he hears the sirens, he becomes panicked. Then, from the highway, he sees K.I.T.T., heading straight for him. He jumps down and into a van and takes off. ANGLE ON HIGHWAY as Riggins' van speeds away. INT. K.I.T.T. [MICHAEL] Come on, Kitt -- let's stop him dead in his tracks. ANGLE ON ROAD as K.I.T.T. gets closer and closer to the van. Suddenly, the van pulls off the main highway and onto a side road. As it turns, it slides into a ninety. ANGLE ON K.I.T.T. which turbo-boosts up -- and through the back of the van, tearing it to shreds. ANGLE ON RIGGINS in a state of shock. K.I.T.T. pulls up close -- just as Sheriff Winston arrives with his policemen. As Michael grabs Riggins and hands him to Winston, we: FREEZE FRAME AND FADE OUT END OF ACT FOUR TAG FADE IN EXT. CHIEF JOE'S CAFE - DAY Coming out of the cafe are Michael, Devon and Bonnie. [MICHAEL] That was the best Sloppy Joe I ever had. Thanks for turning me on to it, Devon. [DEVON] In lieu of pizza, it was the least I could do. Sheriff Winston enters the shot. [WINSTON] I was wrong about you, son. Thanks for all you did for us here. [MICHAEL] You're welcome, Sheriff. Did they find the cargo? [WINSTON] Every bit of it -- tucked away in Riggins' warehouse. I guess Riggins thought that if he leaned hard enough, he could break the A.I.T. and have a monopoly. Volker made the mistake of trying to horn in after Riggins laid all the groundwork. [BONNIE] What's going to happen to the warehouses? [WINSTON] They've already been sold -- and the new owner has renewed the A.I.T. contract. He stops and looks up at the door of the cafe. They all turn to see what he's looking at: Norma, dressed up in a frilly dress. [NORMA] Hi, Henry, I'm ready. Winston smiles. Takes her arm when she comes down. Norma whispers to Bonnie as she passes: [NORMA] Forceful -- and he has a nice car, too! They all laugh. NEW ANGLE as they all hear the honking of a tractor. Terri and Rick drive up in the Calley tractor. She jumps out. [TERRI] Check out the new sign! The sign reads, "Calley Family Trucking." Rick smiles. She takes Michael's hand, leads him away. [TERRI] Excuse us.... ANGLE BY TRUCK out of sight from the rest of the people. She takes some- thing off the front seat of the tractor. It's a cowboy hat -- a ten-gallon white hat, the kind Hoss Cartwright used to wear. [MICHAEL] Can you direct me to the Ponderosa? She laughs. [TERRI] Something to remember me by -- when you're on the road. When the stars are so bright...that you can turn off your headlights. He takes her in his arms. They kiss, a deep passionate kiss. CUT TO EXT. TRANS AM - DAY Michael and K.I.T.T. are leaving Holbrook. INT. TRANS AM - DAY [BRUSKER'S VOICE] (over CB) Breaker, breaker...Big Bro to Kitt. I got one thing to say to you, Knight. [MICHAEL] What's that, Curt? [BRUSKER'S VOICE] Thanks. [MICHAEL] You're welcome. [K.I.T.T.] Michael, the correct response in CB parlance would have been, that's a big 10-4, over and out. [MICHAEL] Not bad, Kitt.... [K.I.T.T.] How does the phrase go? When in Rome.... [MICHAEL] (laughs) All right, good buddy. 10-4. Over and out. As the Trans Am drives off into the distance.... [FREEZE FRAME] THE END

{"show": "Knight Rider", "season": "s01", "episode": "e19", "title": "Knight Moves"}

knightriderarchives

ACT ONE FADE IN EXT. INDUSTRIAL COMPOUND - NIGHT Close on a sign that reads Delton Micronics. In the quiet of the dimly lit night, the camera pans the barb-tipped wire fence surrounding the manufacturing headquarters of the high-tech firm. The metallic snipping of wire cutters is heard and we tighten on a shadowy figure dressed commando style -- black shoes, pants, turtleneck and a ski mask to conceal his identity. He finishes his shearing, picks up a tightly wrapped coil of thin nylon rope, and furtively enters the factory grounds. As he runs from the fence.... CUT TO EXT. MAIN BUILDING - NIGHT A strand of rope is hurled upward. It lands on top of the modern, two-story building and a hook catches. ANGLE - MAN He tugs on the rope. It holds fast and he begins climbing up the side of the building. ANGLE - ROOF OF MAIN BUILDING The interloper gathers his rope, approaches a skylight and carefully, silently starts to remove the top portion. INT. HALLWAY - NIGHT The nylon rope drops down from the ceiling and the figure in black shimmies into the shot. He lands softly in the stark corridor, gets his bearings, then pads stealthily down the darkened hallway. ANOTHER ANGLE The intruder approaches a heavy green metallic door marked Authorized Personnel Only. There is a slot next to the door for the plastic card required to open the "sesame." The man takes a small tool from his pocket and attempts to slide it into the slot. ANGLE - TV MONITOR BANK On one of the sets we see the intruder. Pull back to reveal a security guard, Sikes, get out of his chair and take a hard, disbelieving look at the screen. Sikes takes his walkie-talkie from his belt and urgently intones: [SIKES] We've got a code nine in Sector A. Does not appear to be armed, but let's not take any chances. Sikes holsters the walkie-talkie and exits the monitoring station. ANGLE - HALLWAY The burglar is not faring well. He can't get the door open. Suddenly he hears footsteps coming from one end of the hallway. He takes off down the other end and goes down another hallway just as an ND security guard appears and starts chasing after him. ANGLE - THE MAN as he returns to the site of his illicit entry. He grabs onto the rope and gets about halfway up when he hears: [SIKES (o.s.)] Freeze! ANGLE - SIKES He stands with the other guard, both holding guns trained on the intruder. CUT TO INT. OFFICE - NIGHT Elegant, modern, well furnished, highlighted by the presence of several arcade machines and television monitors with joystick hookups which tell us that Delton Micronics is in the video game business. There is a knock on the door and Elliot Stevens, a hip, curly haired, electronic wunderkind answers the door. Attired in jeans, open shirt, and corduroy sport jacket, Stevens is the embodiment of the youthful entrepreneurs who have led the surge in high tech growth. He opens the door to reveal Sikes and his colleague who step into the office, the still hooded intruder firmly in their grasp. [SIKES] He's all yours, sir. [STEVENS] Nice job, guys. [SIKES] Don't mention it. If there's anything else we can do.... [STEVENS] No. The authorities will be here any minute. I think I can handle it til then. [SIKES] Roger. Good night, Mr. Stevens. As the two guards exit, the intruder removes his mask. It is Michael Knight. ANOTHER ANGLE Entering the office from a wood-panelled side door is Devon. He's all business. [DEVON] Good evening, Michael. (beat) I'd like you to meet the President of the Delton Micronics...Elliot Stevens. Michael Knight. The two men shake hands and ad-lib "nice to meet you's." [STEVENS] (to the point) Where did they catch you? [MICHAEL] Outside the programming room. Devon refers to a floor plan of the building which is spread across the desktop. The security sectors are distinguishable by color and letter. [DEVON] Then even without Kitt's assistance you were able to penetrate the outer security perimeter? [MICHAEL] Only cause I'm good. (points to chart) Still, once I got here I was dead meat. [STEVENS] There was no way you could have entered the programming room? [MICHAEL] Not without the access code. (beat) Whoever is stealing your software programs is doing it from the inside. Stevens takes a deep breath. [STEVENS] I was afraid of that. (beat) Sometimes I wish I still ran this company out of my garage. I mean I'm just not prepared to deal with industrial espionage. [MICHAEL] Leave that to us. [DEVON] How many of your employees have access to the programming room? [STEVENS] Myself and four others. But I can't believe one of them would steal our prototypes. [MICHAEL] Why not? This is a boom or bust industry. One lucky strike and a man becomes an instant millionaire. [DEVON] You're living proof of that, Elliot. [STEVENS] And look what it's got me? An ulcer and a new set of corporate masters who demand more and more profits. All I ever wanted to do was design video games. [DEVON] It still baffles me that these machines generate so much revenue. [STEVENS] It's the future, Mr. Miles. Especially in the areas we're developing -- educational games that will be part of every child's basic school training by the end of the decade...That's if we can keep from losing the rest of our prototype designs. If not...phht, Delton will go right down the tubes. Stevens gives Devon and Michael a desperate look. EXT. COUNTRY ROAD - DAY Michael and Devon are seen in Devon's Mercedes. They are heading for a rendezvous with: EXT. FOUNDATION SEMI - DAY It is parked at a scenic roadside turn off. We hear the sounds of a video game being played off screen. INT. SEMI - DAY It's the next morning and Bonnie is making a few adjustments on Kitt's dashboard - or so it seems. On closer inspection we see that Bonnie is really playing a video game on Kitt's monitor. She controls the flow of the game with a remote joystick, intently trying to roll up a high score. OMIT INSERT - VIDEO MONITOR Her dot gets blown up and we hear a sound indicating the game is over. BACK TO SCENE [K.I.T.T.] Sorry, Bonnie. Would you care to try again? [BONNIE] No thanks. You know how low my resistance is. I don't want to get hooked on Space Cadet. [K.I.T.T.] Whatever you say, Bonnie. However, I'd like to point out that this is a game of skill, designed not only to challenge one's hand-eye coordination but to stimulate strategic thinking as well. [BONNIE] As long as you put it that way... one more quick one. K.I.T.T. resets the game on the video monitor, but before Bonnie can start playing, Devon and Michael enter the semi. [DEVON] How are you coming with Kitt? [BONNIE] (red faced) Oh, fine... (gets out of the car) His data banks are overflowing with everything you ever wanted to know about Delton Micronics. (beat) Personnel files, business reports, stockholders, leading competitors; not to mention their entire line of video games. INSERT Michael looks into the car, sees the video game on Kitt's monitor. [MICHAEL] Which one have you been playing? [BONNIE] Space Cadet. [MICHAEL] Looks like fun. Come on, Devon, let's see if you can beat me. [DEVON] Michael, I have no intention of partaking in a game of Space Cadet. [MICHAEL] Why not? [DEVON] (condescending) Because I fail to understand the allure of such a frivolous pastime. Michael gets into Kitt. [MICHAEL] I'll bet your mom said the same thing when you used to run off and play cricket. Devon is disarmed. [DEVON] Actually, it was my Nanny. (beat) However, I was in elementary school at the time. [MICHAEL] You're never too old for video games, Devon. Try it, you'll like it. (starts the car) Catch you later. EXT. FOUNDATION SEMI - DAY The Trans-Am emerges from the semi, does a one eighty and heads back toward town. OMITTED INT. TRANS-AM - DAY Michael is driving down a scenic rural road. [MICHAEL] Kitt, how about a rundown on the four suspects? [K.I.T.T.] Certainly, Michael. INSERT VIDEO MONITOR We see four male faces. Two of them more closely resemble rock stars than electronic engineers. Another is Oriental and the last man is a well groomed, fragile type with glasses and a look of subtle concern. [K.I.T.T. (o.s.)] Each of the individuals possesses a degree in computer science and is considered a top man in the profession. The two men pictured above have been close friends of Elliot Stevens since college and would seem highly unlikely to betray him. BACK TO SCENE [MICHAEL] What about the other two? [K.I.T.T.] Unfortunately, the personal data I've compiled sheds no light whatsoever on their potential for criminal behavior. [MICHAEL] In other words, you're stumped. [K.I.T.T.] Perhaps if I did some cross referencing.... [MICHAEL] Kitt, isn't there one bit of informa- tion in the files that seems out of the ordinary? [K.I.T.T.] I'm not sure if this fits into that category, but one of the suspects maintains two local addresses. [MICHAEL] Who's that? [K.I.T.T.] Julian Groves. INSERT VIDEO MONITOR A single close up of Julian Groves flashes on the screen. DIRECT CUT TO: CLOSE SHOT OF JULIAN GROVES Pull back to reveal that he is coming out of an old residence hotel along the ocean front walk. Pushing thirty years of age, Julian has the harried look of a man who has begun to lose control of his life. As he steps into the bright sunlight he squints, trying to get a look at who's outside the hotel. ANGLE - OCEAN FRONT WALK We see the familiar beach denizens. An assortment of musclemen, old people, bike riders, girls in bikinis and tourists. Among this crowd is a woman in her late twenties. Attractive, dressed in Khakis, polo shirt and running shoes, she is pretending to be an out-of-towner. CLOSE ON FLANNERY ROE She has a camera dangling from her neck and she is apparently taking a picture of two outlandishly dressed roller skaters who can't stand still, hopping and bopping to the music silently emanating from their walkman radios. [SKATER #1] Come on lady, we don't got all day. Flannery notices Groves coming out of the hotel and hurries to line up her shot. [FLANNERY] Just hang on a second. I can't seem to get the focus right.... ANGLE THROUGH CAMERA We see Groves fill the frame. She clicks the camera, taking his picture as he comes out of hotel. [FLANNERY (v.o.)] Okay, let me see some of your moves. ANGLE - THE SKATERS They do a little roller boogey. [FLANNERY] Far out. Get down. She takes a couple more shots of Groves. ANGLE - GROVES He sees the woman taking the pictures and reacts with suspicion, then quickly moves on. WIDER ANGLE Flannery sees him go and stops taking pictures. [SKATER #1] You done? [FLANNERY] Huh? Oh, yeah, thanks a lot fellas. If you want I can send you copies when I get back to Des Moines. [SKATER #1] Don't they roller skate back there? [FLANNERY] No, we're still into hula hoops. As they skate off shaking their heads at the crazy tourist lady, Flannery goes into the hotel that Groves came out of. INT. HOTEL HALLWAY - DAY Flannery takes the las few steps up the stairwell and creeps cautiously down the hall. She reaches room 206, removes a lock pick set from her purse, opens the door, makes sure no one's looking and enters: INT. JULIAN'S HOTEL ROOM - DAY By no means the Ritz. We see Julian's tools of the trade. A word processor and appropriate software. The room is sparsely furnished in ramshackle modern. There are dirty clothes strewn across the bed and junk food containers heaped on the dinette set. Flannery pokes around, checking the closets and drawers. At one point she picks up a white shirt and holds it up to her. Concluding that it's Julian's she puts it down. She then takes a small device from her coat pocket. We see that it is a bugging device. She plants it inside the telephone receiver. EXT. TRANS-AM - DAY Michael and Kitt are tooling down a different city street, decreasing speed as they approach a tennis club. INT. TRANS-AM - DAY [MICHAEL] You're sure this is the place? [K.I.T.T.] According to my data Julian has a court reserved for this time every Wednesday morning. They pull into the parking lot of the Match Point Tennis Club. It's a classy athletic facility with a handful of shapely members entering with tennis gear. [MICHAEL] (sees ladies) We've got to start somewhere. Might as well be here. Michael pulls into a parking space. [K.I.T.T.] Michael, before you go in, it might help if you familiarize me with your strategy. [MICHAEL] My strategy is to take a thread of evidence and see if I can weave a case out of it. He puts Kitt in surveillance mode. [MICHAEL] In the meantime...stay tuned to this station. EXT. TENNIS COURT - DAY A game is in progress. Julian versus a veritable goddess. Tall, blond, with high cheek bones and legs that stretch from the baseline to the net, the lady knows her tennis. She gives Julian a workout, skillfully spraying her shots all over the court. INT. TENNIS CLUB - DAY Separated from the courts by a glass partition, the club's restaurant and bar area provides a casual setting to eat, drink and watch the play on the nearby courts. Michael is at the bar. He's got his eye on Julian and his curvaceous opponent. ANGLE BAR A bartender approaches Michael and flips a cocktail napkin on the counter. A strong, virile guy in his late twenties, he wears a name tag that reads ARMAND. [MICHAEL] Is that fresh orange juice? [ARMAND] Squeezed it myself. [MICHAEL] How 'bout a double? [ARMAND] Coming right up. Armand starts squeezing his oranges as Michael directs his attention back to the tennis match. [MICHAEL] She's really putting on a show out there. [ARMAND] What'd you say? [MICHAEL] I was just watching that blond. She can really handle the old racquet. [ARMAND] That's Connie Chasen. She's one of our instructors. [MICHAEL] No kidding? I wouldn't mind having her give me a few pointers. As Armand sets a glass of orange juice on the bar Michael notices a woman at a nearby table who also seems very interested in Connie and Julian. It's Flannery, in tinted shades. This time she has a miniature camera and is discreetly photographing the couple. ANGLE COURT Connie strokes a passing shot by a vanquished Julian and trots gracefully toward the net. [CONNIE] Julian, I hate to say this, but your tennis game is falling apart. [JULIAN] It's not just my tennis game, it's my entire life. [CONNIE] Want to talk about it? [JULIAN] No. They walk from center court to a nearby bench where each has a gym bag. They gather their things and walk toward the clubhouse. Julian is very fidgety. [CONNIE] Julian, I can't help you if you won't tell me what's wrong. [JULIAN] Okay, I'll tell you what's wrong. This whole business of me stealing for you. That's what's wrong. It's driving me crazy. Look at me, I'm a basket case. Julian makes his point by jerking up his racket and hitting himself on the side of the head. [JULIAN] See what I mean. Connie rubs his head sympathetically. [CONNIE] What do you want, more money? I'll see what I can do. [JULIAN] You haven't heard a word I've said. It's not a question of money. You can have all the money back, I just want out. [CONNIE] It's not that easy, Julian. The fact is that you're an industrial spy, and since that fact can easily be brought to the attention of the police.... [JULIAN] You wouldn't. [CONNIE] I wouldn't want to, Julian. All I want is the last software program you promised me. [JULIAN] Connie, you don't understand. I'm being followed by a strange woman. She's been taking pictures of me. [CONNIE] Julian, you're letting the pressure get to you. No one's after you. You've got nothing to worry about. [JULIAN] How can you say that? As they reach the entrance to the clubhouse, Connie stops and puts her arms on Julian's shoulders. She stares deeply into his eyes. [CONNIE] Because I'm looking after you, Julian. Now, don't you trust me? (silence) One more time, and you're free and clear. [JULIAN] Haven't I done enough already? [CONNIE] After tomorrow you'll have done enough. Now come on. I'll buy you a celery tonic. She puts her arm around him and walks up the steps to the clubhouse. OMITTED ANGLE FLANNERY She snaps one last picture and stashes the camera inside her purse. She hastily picks up a menu as Michael enters the shot, pulling up a seat at her table. He catches Flannery off guard. [MICHAEL] Is this seat taken? [FLANNERY] Oh! You startled me. [MICHAEL] Sorry. (indicates court) You play? [FLANNERY] What? Tennis? No. But I'm thinking about taking lessons. [MICHAEL] Oh, really? That's one of the instructors over there. Maybe you should talk to her. He points to Julian and Connie who are at the bar. ANGLE BAR Julian notices Flannery and reacts with fear. [JULIAN] There she is! [CONNIE] There who is? [JULIAN] The girl who's been tailing me. I've got to get out of here. [CONNIE] Julian, will you.... She can't stop him. Julian hurries toward the exit leaving Connie alone as Armand arrives with two drinks. BACK TO MICHAEL AND FLANNERY He sees Julian leaving. So does Flannery. [MICHAEL] Will you excuse me? As Michael leaves we see Flannery watch him curiously. As he exits the bar she gets up too. ANGLE BAR Connie watches her leave, trying to figure out what's going on. Armand is with her, equally inquisitive. As Connie turns to the bartender.... CUT TO: EXT. TENNIS CLUB - DAY Michael is getting into the Trans-Am. [K.I.T.T.] Michael, Julian just left. He seemed to be in quite a hurry. [MICHAEL] I know. Michael pulls out of the lot just as Flannery emerges from the tennis club. As she sees him drive off.... CUT TO: EXT. TRANS-AM - DAY Michael and Kitt are cruising down a city street. INT. TRANS-AM - DAY [K.I.T.T.] What did you learn about Julian? [MICHAEL] Two things. He's a lousy tennis player. (beat) And we're not the only one's interested in him. [K.I.T.T.] Michael, would the other interested party happen to be driving a convertible? Michael checks his rear view mirror. ANGLE THROUGH MIRROR Flannery is following them in a Mustang convertible. BACK TO SCENE [MICHAEL] Good guess, Kitt. [K.I.T.T.] She's been following us since we left the tennis club. (beat) Michael why are we slowing down? [MICHAEL] I don't want her to lose us... Not yet anyway. [K.I.T.T.] What about Julian? [MICHAEL] Keep him on the tracking scope. We'll get back to him later. First I want to have a word with our curious lady friend. WIDE ANGLE The Mustang pulls up close to the Trans-Am. Michael makes certain Flannery sees him and knows he knows she's tailing him. Then suddenly Michael accelerates. The Trans-Am shoots forward. Flannery floors the Mustang in an attempt to keep up. OMITTED EXT. RESIDENTIAL STREETS - THE CHASE - VARIOUS ANGLES Michael lets Flannery stay close behind as he twists and turns through a web of residential streets. Then suddenly Flannery loses sight of the Trans-Am. As she searches futilely for a glimpse of the black car.... INTERCUT WITH: EXT. TRANS-AM - DAY Michael makes a few judicious cuts through alleys and streets, avoiding assorted obstacles in his path. ANGLE - POLICE CAR A cop, Officer Kirby, sees the Trans-Am fly past him. He fires up his motor. NEW ANGLE Michael takes a corner on two wheels and winds up on Flannery's tail on an isolated street. He cuts her off and she jerks the Mustang to a halt. Michael hops out of Kitt and approaches the Mustang. [MICHAEL] All right, lady. Out. Flannery opens the door and sheepishly gets out of the car, shielding her hand behind the door. When she exposes her hand it grips a stainless steel automatic pistol trained on Michael. [FLANNERY] Let's keep it right there, Mister. And get your hands up. Michael doesn't know how to respond as he looks at Flannery, obviously inexperienced with a weapon, but trying to act tough. [MICHAEL] Who are you? [FLANNERY] I have a gun, right. That means I get to ask the questions. [MICHAEL] Oh, is that the way it works? Flannery nods and Michael suddenly reaches for the gun, knocking it from her hand. [FLANNERY] Hey, you can't do that. Michael picks up the gun. [MICHAEL] Never point a gun unless you intend to use it. He puts the gun in his pocket, grabs her by the arm and leads her toward Kitt. [MICHAEL] It's time you and I had a serious discussion. ANGLE POLICE CAR It arrives on the scene and Kirby, a tough, sinewy cop in reflector shades, gets out of the car. Flannery immediately launches into a dramatic rescue routine. [FLANNERY] Officer! Thank god, you're here. You just saved my life. She breaks away from Michael. [FLANNERY] This man pulled me over, dragged me from my car, and was about to assault me. [MICHAEL] Assault you? [FLANNERY] Be careful, officer. He's dangerous. [KIRBY] Okay, pal, turn around and put your hands on the car. Kirby begins to frisk Michael. He reaches the pocket and removes Flannery's gun. [FLANNERY] Omigod, he had a gun! [MICHAEL] Officer. That's not mine. Kirby roughly pins Michael against the Trans-Am and draws his own gun. [KIRBY] Shut up! Now get your hands up and keep looking straight ahead. As Kirby goes for his handcuffs, Flannery can't keep from smiling. [FLANNERY] Who says there's never a cop around when you need one? On Michael's look of frustration and contempt.... OMITTED [FREEZE FRAME] END OF ACT ONE ACT TWO FADE IN EXT. POLICE STATION - DAY Open with a close shot of a sign that reads Police, then pan to see the Trans Am pull out of the parking lot. INT. TRANS AM - DAY A plainly frustrated Michael is behind the wheel. [K.I.T.T.] Michael, Devon's calling. [MICHAEL] I was afraid of that. Put him through. INTERCUT WITH INT. DEVON'S OFFICE - DAY He's communicating with Michael over the phone. [DEVON] Michael, where in the blazes have you been? [MICHAEL] The police station. [DEVON] Am I to infer that you've already wrapped the case? [MICHAEL] No. [DEVON] Then what were you doing at the police station? [MICHAEL] Let's just say there was a misunder- standing. [DEVON] A misunderstanding? Why didn't you call for help? [MICHAEL] Because they didn't press charges. [DEVON] Michael, I think a more detailed explanation is in order. [MICHAEL] Look, Devon, everything's under control. I'll get back to you after I take care of a little unfinished business. ON DEVON as he hangs up the phone, perplexed. INT. TRANS-AM - DAY [MICHAEL] Kitt, did you run a check on the convertible's license plates? [K.I.T.T.] Yes, Michael. The car is registered under the name of Flannery Roe. [MICHAEL] Address? [K.I.T.T.] 2818 Euclid Ave. I take it that's our immediate destination. [MICHAEL] You got that right. As the Trans-Am accelerates down the street. CUT TO EXT. OFFICE BUILDING - DAY - ESTABLISHING We're in a funky part of town. The building is old, but stylish. INT. HALLWAY - DAY Close on a door that reads Flannery Roe, Private Investigator. Pull back to see Michael reading the print. His face registers surprise at the fact that the lady is a private eye. He opens the door angrily and storms into: INT. OUTER OFFICE - DAY It's totally still. A secretary's desk is in one corner, but there's no secretary, nor does it appear that one has been around for awhile. The agency has not been prospering. [MICHAEL] Flannery! No answer. He walks toward the door of a private office. It is slightly ajar. Michael opens it and steps inside. INT. FLANNERY'S OFFICE - DAY The room is in disarray. Desk drawers lie overturned on the floor. The files have been rifled through. Michael notices a folder on the desk marked Groves. He opens it and finds a check payable to Flannery Roe signed by Linda Groves. He also discovers several pictures of Julian and Connie. As he flips through the photos a hand holding a pistol appears from behind the open door and Michael is conked on the head. Armand, the bartender, steps out from his hiding place as Michael crumples to the floor. Armand takes the file, steps over Michael and exits. INT. JULIAN'S ROOM - DAY Julian is eating a meager lunch, looking very lonely and scared. The phone rings, startling Julian. He picks it up with a shaky hand and speaks with a tremulous tone to his voice. [JULIAN] Hello. INTERCUT WITH INT. TENNIS CLUB - DAY Connie is speaking softly into a pay phone. [CONNIE] Hello, Julian. I just called to say I'm free tonight. EXT. JULIAN'S HOTEL - ANGLE BEACH - DAY We see a woman listening to what appears to be a ghetto blaster lying on the beach. Tighten to see that it is Flannery. Her previously planted listening device is picking up the phone conversation from Julian's room and she listens intently. BACK TO TELEPHONE CONVERSATION [JULIAN] Tonight? Isn't that a little pre- mature. [CONNIE] I really want to see you, Julian. [JULIAN] Can't you give me till the end of the week? [CONNIE] No, something's happened. It has to be tonight. [JULIAN] Connie, I don't think this is such a good idea. I mean what about that girl.... [CONNIE] Julian, will you stop worrying so much. Now what time will you be through with work? [JULIAN] About eight. But Connie.... [CONNIE] (cutting him off) Perfect. I'll meet you at your hotel at eight thirty. [JULIAN] Wait a minute, you can't just hang out in the lobby. [CONNIE] Don't worry. I took the precaution of having your key duplicated. I'll be waiting in your room. (beat) Don't disappoint me, Julian. She hangs up the phone. Julian stays on for a beat, looking very worried. EXT. JULIAN'S HOTEL - DAY - ANGLE - BEACH Flannery removes her headset, turns off the recorder that had been taping the conversation, and walks away from the hotel, a victorious smile on her face. INT. FLANNERY'S OFFICE - DAY Michael comes to. He gets up slowly, rubs his head, establishes a sense of place. Remembering the file, he looks for it on the table. It's gone. Michael beeps his watch. [MICHAEL] (into comlink) Kitt, you still there? [K.I.T.T. (v.o.)] (through comlink) Michael, what happened? Are you all right? [MICHAEL] No. Call Devon and tell him I need background on Connie Chasen. She's an instructor at the tennis club. [K.I.T.T.] I'll relay the message at once. Michael is distracted by the sound of the door opening. ANGLE INTO OUTER OFFICE Flannery enters, is immediately suspicious when she sees her office door open and papers strewn about the floor. She goes into her office. INT. FLANNERY'S OFFICE - DAY When she sees Michael in the disheveled room Flannery's face reddens with anger, but she tries to remain cool. [FLANNERY] Mr. Knight. I had a feeling our paths would cross again. [MICHAEL] (grim) Hello, Flannery. [FLANNERY] Don't let me interrupt you. Go right ahead and trash the rest of the place. [MICHAEL] In case you forgot, it was like this when you knocked me out. [FLANNERY] When I knocked you out? What are you talking about? [MICHAEL] Don't play dumb with me. I've already got half a mind to take you over my knee and spank you. [FLANNERY] Look, if you came here to act out some weird fantasy, you've got the wrong girl. [MICHAEL] I came here to find out what your connection is to Julian Groves. [FLANNERY] Why are you so interested in Julian? [MICHAEL] Just answer the question. [FLANNERY] No. [MICHAEL] Look. I know you were hired to tail Julian. I want to know why. [FLANNERY] That's privileged information, Mr. Knight. If I told you I'd be violating the confidential relationship with my client. Michael is ready to explode. [MICHAEL] All right, Flannery. I'm going to give you a little piece of advice: Lay off Julian Groves. [FLANNERY] That sounded more like an order. [MICHAEL] Take it however you like. Just stay out of my way. [FLANNERY] If you want me to stay out of your way, stay out of my office. [MICHAEL] You're in way over your head, Flannery. If you don't watch out, you're gonna go under. With that, Michael walks out of Flannery's office, slamming the door as he exits. Flannery picks up her telephone, dials a number. INTERCUT WITH OMIT INT. JULIAN'S HOUSE - DAY The ringing phone is picked up by Julian's timorous wife, Linda. [LINDA] Hello. [FLANNERY] Linda, it's Flannery Roe. [LINDA] Flannery, how's it going? [FLANNERY] Well, there've been a few minor setbacks...but I think tonight should be the clincher. [LINDA] What do you mean? [FLANNERY] They're getting together at Julian's hotel room. [LINDA] (shaken) I see. [FLANNERY] I know this isn't easy for you, but in the long run you'll be glad you hired me. Now I'll call you first thing in the morning and we'll set a time to get together and examine the evidence. [LINDA] Whatever you say. Goodbye, Flannery. [FLANNERY] Goodbye. EXT. FOUNDATION - DAY - ESTABLISHING - STOCK [DEVON (v.o.)] Your friend Miss Chasen has a very, shall we say, colorful background. INT. DEVON'S OFFICE - DAY [DEVON] Not only is she a gifted athlete, she was formerly one of the top fashion models in New York. [BONNIE] Where, according to the society pages, she was romantically involved with some of the wealthiest businessmen on the East Coast. [MICHAEL] What's she been doing out here? [DEVON] Keeping a slightly lower profile. Aside from her job at the tennis club, she's had bit parts in several minor films. [MICHAEL] So we're talking about a very sophisticated, very ambitious and very attractive lady. [BONNIE] I'd say so. [MICHAEL] Then what's she doing with a wallflower like Julian Groves? [DEVON] What are you driving at, Michael? [MICHAEL] Look, Julian's wife hires a private detective to watch her husband. Most likely because she suspects he's seeing another woman. The private detective has a file full of pictures of Julian and Connie--now officially missing in action. But from what you just told me about Connie, there's no way they could be having an affair. So why else would they be getting together? [DEVON] So he could sell her the purloined software programs. [MICHAEL] Bingo. (beat) Julian is vulnerable. Connie Chasen is a master manipulator. It's the perfect match. [DEVON] Michael, that's a very tenuous theory. [BONNIE] And even if it does manage to hold water, we still don't know who put Connie in touch with Julian. [MICHAEL] I know. But as soon as Connie gets the next delivery, she'll lead us right to him. EXT. DELTON MICRONICS - NIGHT - ESTABLISHING We hear the sound of laughter and conversation emanating from the main building. INT. JULIAN'S OFFICE - NIGHT He enters from a door, behind which we see and hear portions of a small, but lively office party. Julian closes the door, eliminating the noise. He's shaking like the lead singer in a rhumba band. He checks his watch. It's already eight- thirty. He picks up the phone and push buttons a number. INTERCUT WITH INT. JULIAN'S HOTEL ROOM - NIGHT The phone rings. Connie enters the shot to answer it. Pull back to reveal a briefcase on one of the chairs. [CONNIE] Julian, where the hell are you? [JULIAN] How did you know it was me? [CONNIE] (caustic) I'm psychic. (silence) Julian, did you get what I asked for? [JULIAN] Yeah, I got it. But I don't know if I can get it out. [CONNIE] What do you mean? [JULIAN] There's a party for one of the secretaries. There are a million around. [CONNIE] Julian, listen to me. Relax. Count to ten. Take deep breaths. You're going to be fine. Julian starts breathing deeply. [CONNIE] Isn't that better? [JULIAN] I can't tell. I think so. [CONNIE] Good. Now just walk out like everything's normal. No one will even notice you. [JULIAN] Okay...I'll see you in fifteen minutes. EXT. DELTON MICRONICS - NIGHT Julian comes out of the main building, into the lot, walking in quick short bursts toward his car. INT. TRANS-AM - NIGHT Michael is staking out the premises, sees Julian. [MICHAEL] Okay, Kitt, give it your best shot. INSERT - K.I.T.T.'S SCANNER It wigwags across the grill, zapping Julian's briefcase with a barrage of X-rays. INSERT - VIDEO MONITOR We see the outline of reams of computer paper. INT. TRANS-AM - NIGHT [MICHAEL] Looks like Julian's had his hand in the cookie jar again. [K.I.T.T.] Shall we apprehend him? [MICHAEL] Not now. Julian's only half the equation. The plan is to follow what's inside the briefcase. (beat) Lock him in on the tracking scope. ANGLE - JULIAN'S CAR - MICHAEL'S P.O.V. Julian is sitting in his car, staring straight ahead. INT. TRANS-AM - NIGHT [MICHAEL] Kitt, what's he doing? [K.I.T.T.] As far as I can tell, he's... hyperventilating. ANGLE - JULIAN'S CAR He calms down, starts the car and drives away. INSERT - TRACKING SCOPE We see the dot that represents Julian move away from the center of the scope. DISSOLVE TO EXT. JULIAN'S HOTEL - NIGHT Julian's car pulls up. He parks, gets out of the car and enters the hotel carrying the briefcase. ANGLE - FLANNERY'S CAR She observes Julian's arrival. Starts to assemble her flash cube attachment. She gets it ready, waits a beat, then opens the door and enters the hotel. EXT. JULIAN'S HOTEL - NIGHT Michael pulls up in Kitt. INT. JULIAN'S HOTEL ROOM - NIGHT The wind is blowing through the open window, ruffling the drapes. Suddenly, the door bursts open and there's Flannery. She points her camera at the bed and starts flashing away. After the third flash she stops. INT. HALLWAY Michael hears Flannery scream and runs toward Julian's room. INT. JULIAN'S HOTEL ROOM - MICHAEL'S P.O.V. Connie lies lifelessly across the bed, a smattering of blood on her chest. Julian is nowhere to be found. And the briefcase has vanished. ANGLE - MICHAEL He stands in the doorway, eyeing the corpse. Flannery turns and instinctively buries her head in Michael's chest. On Michael's reaction. [FREEZE FRAME] END OF ACT TWO ACT THREE FADE IN: INT. RESTAURANT - NIGHT There is not much action in the eatery. Michael and Flannery sit in one of the few occupied booths. She is clearly downcast, her face is white and her eyes have a glassy emptiness. Michael watches her sympa- thetically as she sips a cup of tea. He is drinking coffee. [MICHAEL] Maybe you should have something to eat. [FLANNERY] No thanks. Tea is about all my stomach and handle right now. [MICHAEL] You got a pretty strong dose of reality tonight. It takes a while to shake it off. [FLANNERY] It was my first murder, that's all. They say once you get one under your belt, it hardens you. [MICHAEL] Sometimes. Not always. [FLANNERY] Look, Michael, you don't have to stay here and hold my hand. I'll pull through. [MICHAEL] Flannery, did it ever occur to you that maybe you're not cut out for this line of work? [FLANNERY] (bristling) No! Why would you even ask me that? Because I'm a woman? Because without the support of a big strong man I'd fall to pieces? [MICHAEL] That's not what I meant. Flannery comes out of her funk. She's getting combative again. [FLANNERY] Oh, sure. Look, this whole thing is Julian's fault, not mine. If he hadn't started cheating on his poor wife, none of this would have happened. [MICHAEL] They weren't having an affair, Flannery. [FLANNERY] That's your opinion. I happen to believe otherwise. Julian is a devious little worm. I wouldn't put anything past him. Including murder. [MICHAEL] Is that what you're going to tell his wife? [FLANNERY] She hired me to learn the truth. Sometimes the truth is painful. [MICHAEL] And sometimes the truth is not what it seems. Michael picks up the check and rises from his seat. [MICHAEL] Can I give you a ride home? [FLANNERY] No thank you. Despite what you may think I'm perfectly capable of taking care of myself. [MICHAEL] I hope you're right, Flannery, I really do. Michael walks away. EXT. FOUNDATION GROUNDS - DAY - ESTABLISHING - STOCK INT. DEVON'S OFFICE - DAY - CLOSE ON HEADLINE of the morning paper that blares: Tennis Pro Murdered. A picture of Connie takes up two columns below. Pull back to reveal Michael and Devon. [DEVON] Julian is wanted for questioning by the police. [MICHAEL] (decisive) I'm telling you, Devon, he didn't do it. [DEVON] Your gut feeling notwithstanding, he's their number one suspect. Devon puts down the paper. [MICHAEL] He may be a thief, but there's no way Julian Groves is a murderer. [DEVON] Unfortunately, he's not around to proclaim his innocence. [MICHAEL] What do you expect? Put yourself in Julian's shoes for a second. He goes to his room to meet Connie, he finds her dead. Wouldn't you think that whoever killed her might have the same thing in mind for you, too? Especially if you're still holding a million dollars worth of briefcase. [DEVON] Michael, that's nothing but pure speculation. [MICHAEL] What's Julian's motivation? What would he gain by killing her?... Michael is interrupted by the arrival of Elliot Stevens who enters the office in a state of defeat. He carries a newspaper. [STEVENS] Well, guys, looks like the ball game's over. (beat) We lost the program source code for our hottest new game last night. [DEVON] I'm sorry. [STEVENS] Hey, you did the best you could. Actually, I'm as much to blame as anyone. I always had a sneaking suspicion that it was Julian. [MICHAEL] Why didn't you tell us before? [STEVENS] I didn't want to prejudice your investigation. It's not like I had any real proof. (beat) Anyway, since the police are involved now, and we know the identity of our spy...your services will no longer be required. But I appreciate your effort, really. [MICHAEL] Elliot, just one question: who do you think Julian was selling the program to? [STEVENS] I couldn't even guess. There are so many new companies...that question won't be answered until the game appears on the market. (beat) Well, I've got to start working on some excuses for the board of directors. See you around. Stevens leaves. Devon and Michael look at each other, uncertain what to make of this latest development. After a beat of uneasy silence, Michael heads for the door. [DEVON] Where are you going? [MICHAEL] Just because you get laid off doesn't mean you have to hang around the house. (beat) I've got too many questions, Devon. I'm going after the answers. INT. TENNIS CLUB - DAY Michael approaches the bar, sits down at a stool, facing Armand. [MICHAEL] How you doing? Armand gives him a look, acknowledging the greeting, but offering none. [MICHAEL] Hey, I'm sorry about your instructor. I read about that in the paper this morning. Hell of a way to go. [ARMAND] You were orange juice, right? [MICHAEL] Good memory. Armand pours Michael a glass of juice, ignoring Michael's initial comments about Connie. [MICHAEL] Did you know her well? [ARMAND] What do you mean? [MICHAEL] I mean, from what I read between the lines, she liked the fast lane. [ARMAND] (hostile) Hey, who cares, huh? The lady's dead. No sense dragging her name through the mud. [MICHAEL] Hey, I didn't mean to offend you. The bartender turns his back and walks away. ANOTHER ANGLE Michael spots Flannery talking to a man in a tennis outfit. She's taking notes on a pad. MOS they finish their con- versation and the man enters the locker room. Flannery turns around and sees Michael staring at her. She starts to walk away. Michael catches up to her. [MICHAEL] What are you doing here? [FLANNERY] That's none of your business. Michael takes her arm and leads her outside. ANGLE THROUGH GLASS PARTITION [MICHAEL] I thought you learned something about yourself last night. [FLANNERY] What I learned was that when you find yourself in the middle of a hot case, you don't back off. [MICHAEL] Flannery, one person is already dead. Do you want to be the next? [FLANNERY] Don't try to scare me, Michael. [MICHAEL] All I'm trying to do is prevent you from getting into unnecessary danger. [FLANNERY] Danger is my business. [MICHAEL] (irritated) Will you stop playing private eye and listen to me. Despite all your snooping around you have no idea what's going on...Julian and Connie had a business relationship. She was his middleman, not his mistress. [FLANNERY] Why do you insist on protecting Julian? [MICHAEL] At this point because his life may be at stake. [FLANNERY] You're crazy. [MICHAEL] Okay. I'm crazy. (beat, hard) Now do you have any idea where he might be hiding? [FLANNERY] (stands up to him) Even if I did, I wouldn't tell you. [MICHAEL] (angry) So long, Flannery. Michael turns, walks back into the restaurant and toward the exit. ANOTHER ANGLE Armand the bartender has been watching Michael and Flannery. As Michael walks out, Armand slices an orange vengefully and squeezes the hell out of it. EXT. RESIDENTIAL STREET - DAY Michael pulls up and parks in front of a modest, but attractive suburban home. He sees a woman working in a garden toward the back of the house. In her late twenties, Linda Groves is a shy, self-effacing and, at the moment, emotionally confused young woman. We see a plastic bucket at the end of the garden as Michael enters the shot with his long strides. He approaches her softly. [MICHAEL] Mrs. Groves... (she turns) My name's Michael Knight. [LINDA] I've already told the police everything I know. [MICHAEL] I'm not with the police department. [LINDA] One of the papers? [MICHAEL] I'm a friend. [LINDA] If you're a friend you'll leave me alone. [MICHAEL] Mrs. Groves, it's very important that I find your husband. [LINDA] I wish I could help you, Mr. Knight, but I haven't spoken to Julian in weeks. He could be in...Afghanistan for all I know...or care. [MICHAEL] That's not true. [LINDA] That he's in Afghanistan? [MICHAEL] That you don't care. [LINDA] (deep breath) Okay, I care. I know Julian's in a lot of trouble, but honest to God, I don't know where he is. (beat, emotional) All I know is that Julian couldn't have killed that girl. He might have been fooling around with her, but he didn't kill her. [MICHAEL] He wasn't fooling around with her, either. [LINDA] How do you know? [MICHAEL] Your husband has been stealing software programs from Delton Micronics. Connie Chasen was taking them off his hands. Julian's a thief, not an adulterer. Linda's face perks up a little at the news of Julian's fidelity. [LINDA] So that's why he started acting so weird. [MICHAEL] How weird? [LINDA] Well, it used to be that Julian spent all his free time on his computer. All he cared about was his work. He never showed any interest in sports at all. Then one day he decides he wants to play tennis. Next it's fishing. He left me with a freezer full of trout. (indicates bucket) You want some? I was gonna use them for fertilizer in the garden. Michael looks closely at the trout. They're all the same size, clean and very unfishy. [MICHAEL] I don't think so. (beat) Did he mention where he went fishing? [LINDA] No, but I hired a private investigator to follow him once. He went to Shaker Lake. [MICHAEL] When was that? Michael picks up one of the trout and eyes it skeptically. [LINDA] I'm not sure of the dates, but he went for four weekends in a row last month. That's about all I can tell you. [MICHAEL] That's all I need to know, Mrs. Groves. You've been a big help. Michael starts to leave. [LINDA] (smiling) It's Linda. (beat) And if you see Julian, would you tell him something? [MICHAEL] What's that? [LINDA] Tell him I love him. (beat) That I'll always love him. No matter what he's done. [MICHAEL] I'll make sure he gets the message. OMITTED EXT. TRANS-AM - DAY K.I.T.T. and Michael are on the move away from Julian's old house. INT. TRANS-AM - DAY Michael is driving in silence, immersed in thought. [K.I.T.T.] Michael, are you all right? [MICHAEL] Yeah, Kitt, I'm just thinking. [K.I.T.T.] About what? [MICHAEL] Trout. (beat) Kitt, Julian went trout fishing and came back with store-bought trout. What does that tell us? [K.I.T.T.] That he couldn't catch any fish. [MICHAEL] Or that he never intended to catch any. I think Julian's fishing trips were a cover for something else. (beat) Kitt, punch up the dates the thefts were reported. INSERT - VIDEO MONITOR We see a calendar for February with two Thursdays and two Fridays circled. OMIT OMIT BACK TO SCENE [MICHAEL] Each of Julian's trips took place a day or two after a robbery. (beat) Kitt, plot the fastest course to Shaker Lake. CUT TO EXT. TRANS-AM - DAY - RUNBYS - STOCK through the hills. [K.I.T.T. (v.o.)] Michael, there's one thing I still don't understand. [MICHAEL (v.o.)] What's that, Kitt? [K.I.T.T. (v.o.)] How did you know Julian bought the trout in a store? [MICHAEL (v.o.)] Fisherman's instinct, Kitt. No way you can catch that many plastic looking trout. EXT. SHAKER LAKE - DAY A tiny, one road mountain fishing town. We see Julian's car drive up to a cabin and stop. He gets out of the car and walks toward the cabin carrying a bag of groceries. He's eating from an open bag of cheese puffs. He reaches the door, fumbles for his keys and almost drops the bag. Finally he gets the door open. INT. CABIN - DAY Julian steps inside and drops the bag of groceries in shock. The cabin has been ransacked. ANOTHER ANGLE Armand appears from behind the bathroom door holding a gun. [ARMAND] What do you say, Julian? [JULIAN] (terrified) What are you doing here? [ARMAND] I know all about you, Julian. I know you and Connie had something going on before you bumped her off. And I want in on it. EXT. SHAKER LAKE - ANGLE TRANS-AM Michael and Kitt are approaching the cabin. Michael spots Julian's car. INT. TRANS-AM [MICHAEL] There's his car, Kitt. Looks like we hit the jackpot. [K.I.T.T.] Michael, my sensors are picking up the sounds of two voices emanating from the cabin. [MICHAEL] Two voices? INT. CABIN - DAY Julian is removing a gym bag as well as the briefcase from a secret compartment hidden in the wall. He hands them to Armand, his hands trembling. [JULIAN] Here, you can have the computer codes and all the money Connie gave me. I never spent a penny of it. [ARMAND] (evil smile) That's very generous of you, Julian. [JULIAN] But I swear to you I didn't kill her. You've got to believe me. [ARMAND] Sure, Julian, you can tell me all about it on the way back to town. Armand grabs Julian and pushes him toward the door. EXT. CABIN - ANGLE MICHAEL - DAY Michael is looking through the window. He overhears the tail end of the conversation between Armand and Julian and springs into action. INT. CABIN - DAY The door swings open and Michael bursts in, fists first. He and Armand take a few swings at each other. Neither one establishes dominance. Then Armand grabs hold of Julian and flings him into Michael, disabling both men. Armand makes his escape. [JULIAN] Who are you? [MICHAEL] I'll explain later, Julian, just stay put. Michael dashes out the door. EXT. CABIN - DAY Michael cautiously searches around the cabin. There's no sign of Armand. [K.I.T.T. (v.o.)] (through comlink) Michael! Behind you! Michael whirls around to see Armand with his arm wrapped around Flannery and a gun in his hand. [ARMAND] One more step and your friend's a memory. On Michael's reaction... FADE OUT: END OF ACT THREE ACT FOUR OMITTED FADE IN: INT. CABIN - DAY Armand is holding Michael, Julian and Flannery at gunpoint. [ARMAND] Julian, put the briefcase in the gym bag. Julian obeys the command. [MICHAEL] Armand, you don't know what you're getting yourself into. [ARMAND] That's what you think. (to Flannery) Now, let's go, honey. You're coming with me. [FLANNERY] You sure? I mean, I'm really not very good company. We probably don't have a thing in common.... [MICHAEL] Armand, if you want to leave, leave. You don't need her. [ARMAND] I'm calling the shots here, buddy. She's my insurance policy. There's one road out of this dump and if I see you on it, the lady dies. Armand picks up the gym bag and drags Flannery toward the door. [FLANNERY] Michael, aren't you going to do something? [ARMAND] Yeah, he's gonna wave goodbye. Let's go. Armand opens the door and exits with Flannery. [JULIAN] Can you tell me who you are now? [MICHAEL] My name's Michael Knight. I work for the Foundation for Law and Government. It's my job to bring you back to justice, Julian. [JULIAN] (sighs) I had to ask. [MICHAEL] If you keep running, it will only get worse. [JULIAN] Yeah? Well, what about Armand, are you going to let him get away scot- free? [MICHAEL] You'll see. Come on. They start for the door. OMITTED INT. ARMAND'S PICK-UP (BLAZER) Armand is driving with reckless abandon down the mountain road. He holds the steering wheel with one hand while the other holds a gun trained on Flannery. [FLANNERY] You know, you really should have both hands on the wheel. [ARMAND] Shut up. I don't need you to tell me how to drive. [FLANNERY] It was merely a suggestion. Something in the side view mirror catches Armand's attention. ANGLE THROUGH MIRROR The Trans-Am appears in the distance. BACK TO SCENE [ARMAND] There's that black car. I hate to have to show them I wasn't bluffing. Flannery turns around to look out the window. ANGLE ROAD - HER P.O.V. There is no car. INT. PICK-UP [FLANNERY] What are you talking about? There's no car back there. Armand checks in the mirror. There's no sign of the Trans-Am. [ARMAND] There was, a second ago. [FLANNERY] Let's try to stay cool, okay, Armand? ANGLE TRANS-AM We see Kitt rambling across the rugged off-road terrain, without benefit of a driver. EXT. MOUNTAIN ROAD - ANGLE JULIAN'S CAR - DAY Michael is driving. Julian rides nervously in the passenger seat. [MICHAEL] How did you get mixed up with Connie in the first place? [JULIAN] It started at the tennis club. When I told her I designed video games, her eyes lit up. She really thought I was a neat guy. [MICHAEL] And that was enough to turn you into a criminal? [JULIAN] What can I say?...I'm weak. (beat) But that's the only way I'm involved. I didn't kill her. You've got to believe me. [MICHAEL] I believe you, Julian. I believe you. EXT. TRANS-AM - DAY The driverless Kitt leaps a ravine and lands on the mountain road, straightens out and starts heading back toward the approaching pick-up. INT. PICK-UP As Armand comes around a bend, he sees the Trans-Am heading toward him in the other lane. [ARMAND] What the.... EXT. MOUNTAIN ROAD - DAY Kitt drives past the pick-up. Armand looks into the Trans-Am and sees nothing. INT. PICK-UP [ARMAND] (in shock) There's nobody driving that car. [FLANNERY] Armand, get a hold of yourself. EXT. MOUNTAIN ROAD - DAY Kitt does a one-eighty and heads back toward the pick-up. As the Trans-Am approaches the pick-up, Kitt calls out: [K.I.T.T. (v.o.)] Pull over! INT. PICK-UP Armand can't believe what he just heard. [ARMAND] Did you?...no, that's impossible. [K.I.T.T. (o.s.)] Didn't you hear me? I said, pull over! [FLANNERY] You better do what he says. That car means business. EXT. MOUNTAIN ROAD - DAY Kitt pulls in front of the pick-up and delicately runs it off the side of the road so no one is hurt. At the same time, Michael and Julian arrive. Michael jumps out of the car and runs over to Kitt. [MICHAEL] Nice work, Kitt. [K.I.T.T.] I was merely executing a brilliant plan, Michael. [MICHAEL] Thanks, buddy. Better buzz the police and tell 'em to get right over. Michael goes over to the pick-up and opens the door, hauling out a visibly shaken Armand. Flannery bounces out of the passenger's side. She carries the gym bag. [FLANNERY] Michael, you saved my life. [MICHAEL] (cool) It couldn't be helped. (to Armand) Okay, Armand, start talking. You're too dumb to be the mastermind of this scam, so I want some names. [ARMAND] I don't know any names. [MICHAEL] Look, you're already on the line for kidnapping and extortion. If you insist you're working alone, that tells me you killed Connie Chasen, too. [ARMAND] Get out of here, man. She was my girlfriend. Why should I kill her? [MICHAEL] Maybe 'cause she had another boyfriend. [ARMAND] I was cool about that. [MICHAEL] Who was it? [ARMAND] I don't know. I never saw him. I just knew she had somebody else on the side. I don't know who. ANOTHER ANGLE A state police car pulls up and Michael releases Armand. [MICHAEL] (to the cop) There's one more. Michael walks over to Julian's car. He is standing there with Flannery. He knows the bell tolls for him. [JULIAN] Are you sure this is absolutely necessary? [MICHAEL] It's time to start putting your life back together, Julian. [JULIAN] You're right. [MICHAEL] I'll do everything I can to help. [JULIAN] Won't I need a little more than that? [MICHAEL] You'll have Linda, too. Julian's face brightens at the mention of his wife's name. EXT. JULIAN'S HOUSE - ESTABLISHING - DAY The Trans-Am is parked in front. INT. JULIAN'S HOUSE - DAY Michael is there with Flannery and Linda Groves. [FLANNERY] I don't know what else to say, Linda, except I'm sorry. I never thought to give your husband the benefit of the doubt. [LINDA] As long as Julian's safe, that's my only concern. [MICHAEL] How would you like to go see him? [LINDA] Could I? [MICHAEL] I'm sure Flannery would love to give you a ride down to the station, wouldn't you, Flannery? [FLANNERY] Oh, yes, I mean it's the least I could do after all the anguish I've caused. [LINDA] Just give me a second to get ready. She starts out of the room, but Michael stops her. [MICHAEL] Linda, can I ask you one quick question? [LINDA] Certainly, Michael. [MICHAEL] You said Julian was always an observer, never an active participant. [LINDA] He used to be that way. Until he joined that stupid tennis club. That's when all the problems started. [MICHAEL] What made him decide to join? [LINDA] One of the men at work talked him into it. [MICHAEL] Do you remember who that was? [LINDA] Yes. As a matter of fact, I do. DIRECT CUT TO: CLOSE SHOT -- THE BACK OF A CHAIR The phone rings and the man in the chair swivels around to pick it up. The man is Elliot Stevens. PULL BACK to reveal we are in: OMITTED INT. STEVEN'S OFFICE - DAY Stevens is alone as he answers the phone. [STEVENS] Hello. INTERCUT WITH: INT. DEVON'S OFFICE - DAY Bonnie is on the other end of the line. [BONNIE] Am I speaking to Elliot Stevens? [STEVENS] Yes, who is this? [BONNIE] You don't know me, Mr. Stevens. I was an old friend of Connie Chasen. We went through modelling school together back in New York. [STEVENS] Is that what you called to tell me? [BONNIE] No, I called because the night Connie was killed she brought a briefcase to my apartment. She said if anything happened to her, I should get in touch with you. [STEVENS] Young lady, this is highly irregular.... [BONNIE] If you're not interested, I'll just turn it over to the police. [STEVENS] No, I want it. [BONNIE] I thought you might. Connie also said there'd be some money in it for me. [STEVENS] How does five thousand dollars sound? [BONNIE] Ten thousand and it's a go. [STEVENS] All right, ten thousand. Where can I meet you? [BONNIE] How about the tennis club? [STEVENS] Couldn't we make it someplace slightly less conspicuous? [BONNIE] Since I don't know you, I'd feel safer in a crowd. [STEVENS] Okay, the tennis club. How will I know you? [BONNIE] I'll be at the back of the lounge. Look for a lady in red. Bonnie hangs up. Michael and Devon nod approvingly. INT. TENNIS CLUB - DAY Bonnie is in a booth sipping a cocktail. She is dressed in a red designed pant-suit. Stevens enters the bar, sees Bonnie and approaches her. He carries a tennis bag. He takes a seat next to Bonnie. [STEVENS] I believe we spoke on the telephone. [BONNIE] Mr. Stevens? Stevens nods. Bonnie takes the briefcase from her lap and hands it to him. [BONNIE] Here you go. It's all yours. Stevens takes the briefcase, opens it and looks inside. Satisfied, he hands the tennis bag to Bonnie. [STEVENS] It's been a pleasure doing business with you. He starts to leave. Bonnie grabs his arm. [BONNIE] Yes, it has been a pleasure. EXT. TENNIS CLUB - ANGLE TRANS-AM - DAY Michael is in the car waiting for Stevens to come out of the building. INT. TRANS-AM - DAY [K.I.T.T.] Michael, he's on his way out. [MICHAEL] Did he take the bait? [K.I.T.T.] If you mean does he have the briefcase, the answer is yes. [MICHAEL] Then I better go reel him in. Michael opens the door and gets out of the car. ANGLE STEVENS As he comes out of the tennis club he sees Michael coming toward him. He instantly dashes toward his car. Michael takes off after him, but is cut off by a car that turns into the parking lot. Stevens fires up his engine and zips away. ANGLE TRANS-AM Michael runs over and hops into Kitt. [MICHAEL] Let's get him, buddy. OMITTED EXT. CITY STREETS - DAY - VARIOUS ANGLES - THE CHASE Michael pursues Stevens through heavy traffic, down backstreets, and around various obstacles before nailing him. Michael takes him into custody. [MICHAEL] This time, the ball game really is over. On Michael's ironic smile.... OMITTED [FREEZE FRAME] END OF ACT FOUR TAG INT. DEVON'S OFFICE - DAY Devon, Michael, Bonnie and Flannery are assembled, rehashing the case. [FLANNERY] I've got to hand it to you. You guys really know your stuff. [MICHAEL] I hope you were taking notes. [FLANNERY] Actually, I still can't figure out how you knew it was Stevens pulling the strings. [DEVON] That was accomplished by a phone call to a member of the board of directors of Delton Micronics. [BONNIE] Devon learned that a decision had been made in secret to replace Elliot as President of the company. [MICHAEL] Unfortunately, Stevens had gotten wind of that decision, so he cut a deal to trade Delton's experimental programs to another company in exchange for a future job. [FLANNERY] But why did he bring in the Foundation if he was the real villain? [MICHAEL] For one thing, it removed him from suspicion. Besides, he was setting up Julian to take the fall, not only for the rip-offs, but for Connie's murder. [BONNIE] Hold it a second, now I'm confused. If Stevens was using Connie, why did he kill her? [MICHAEL] Because he didn't trust her. She was the only person who could implicate him. Stevens showed up at Julian's hotel thinking the final exchange had been made already. What he didn't know was that Julian was going to be late for the meeting. He killed Connie before he realized Julian hadn't made the delivery. [DEVON] That explains why he removed us from the case. [FLANNERY] It does? [MICHAEL] He wanted to find Julian himself. He needed that last program to complete his own deal. So we had Bonnie give it to him. [FLANNERY] Boy, do I feel stupid. All I thought was going on was a little extra-curricular hanky panky between Connie and Julian. [MICHAEL] Well, don't feel too bad. Under the circumstances, Julian will probably get off on probation. [FLANNERY] I hope so. I'll feel guilty until he and Linda are back together. [MICHAEL] That reminds me, Devon. Julian wanted me to give you this as a little token of his appreciation. Michael takes a package from beside the desk and hands it to Devon who immediately unwraps it. [DEVON] What is it? What it is is a miniature video game. [BONNIE] Here, I'll show you. She turns it on and shows Devon how to operate the joystick. He quickly gets the hang of it. [DEVON] This is rather amusing, isn't it? Michael and Bonnie begin to chuckle. [MICHAEL] Watch it, Devon, you'll get hooked. [DEVON] Nonsense. As he continues playing.... [FREEZE FRAME] END OF TAG

{"show": "Knight Rider", "season": "s01", "episode": "e20", "title": "Nobody Does It Better"}

knightriderarchives

ACT ONE FADE IN EXT. RESORT AREA STORE - DAY Quaint and old, off a two-lane highway, signs advertising various beers, night-crawlers and a special on salmon eggs. A young woman exits with a sack of groceries, a Sportsac bag over her shoulder. Her name is Nicole. It's a beautiful day. She inhales the fresh air, starts toward a cluster of rental cabins a hundred yards down the road. ANGLE AT RENTAL CABINS A white Cadillac is parked in front of one, engine running, a large bearded man at the wheel. The cabin door is open. From inside a man exits with a six-year-old girl, Dana. She's protesting but he ignores her, forces her into the car. ANGLE ON NICOLE Fifty yards from the cabins, she glances ahead, reacts. HER POINT OF VIEW - THE CADILLAC It pulls out in a spray of gravel, heading for the road. ANGLE ON NICOLE Color leaves her face. She drops the groceries, runs toward the car, screaming. The Cadillac accelerates, passes within a few yards of her. OMITTED HER POINT OF VIEW - THE CADILLAC The men inside are still just two large, dark figures, but Dana's face appears at the window, distressed, looking back at Nicole as the car picks up speed, disappearing down the road. CLOSE ON NICOLE She stumbles, stops running, tears and dust streaking her face. She turns and runs back toward the cabins. She suddenly stops cold. OMITTED HER POINT OF VIEW - HER CAR AND SURROUNDING AREA A chopped Harley is parked a short distance away, partially obscured. Camera pans, picks out a second Harley, then zooms in on two dark, burly men nearby. They are staking out her car. ANGLE ON NICOLE Heart pounding, fearful, she turns and starts back, away from the cabins, toward the highway. She walks over the scattered groceries, forgotten in the dirt. EXT. TWO-LANE HIGHWAY - DAY The Trans Am appears, loafing along about sixty. INT. TRANS AM - DAY Michael is behind the wheel, window down, enjoying the scenery and fresh air. In the backseat is camping gear, a fishing rod, etc. [K.I.T.T.] ...I don't understand the concept of fishing, Michael. [MICHAEL] What don't you understand? [K.I.T.T.] According to my information, the object of fishing is to catch fish. [MICHAEL] Right. [K.I.T.T.] But we've been gone two days, and despite all the time you spent fishing, you didn't catch any fish. [MICHAEL] They just weren't biting. That's how fishing is, Kitt -- sometimes they bite, sometimes they don't. Either way it's fishing. [K.I.T.T.] It's simply not logical, Michael. [MICHAEL] (smiles) No one ever accused fishermen of being logical. Michael notices something ahead. HIS POINT OF VIEW - HITCHHIKER A figure stands at the side of the road, hitching. BACK TO MICHAEL [MICHAEL] Feel like company? [K.I.T.T.] Not particularly. Michael smiles, slows and pulls over. EXT. HIGHWAY - DAY The Trans Am pulls to a stop on the soft shoulder. The hitchhiker is Nicole. She looks wary, glances in at Michael before opening the door. [MICHAEL] Hi. [NICOLE] How far are you going? [MICHAEL] How far do you want to go? [NICOLE] L.A. [MICHAEL] I'm going through L.A. She nods, still wary, glances up and down the highway. She gets in. The Trans Am shoots back onto the road. INT. TRANS AM - DAY Nicole glances at Michael but generally avoids eye contact. Michael can feel the tension in her. [MICHAEL] Nice day. She glances at him, the irony of the words a flash of pain across her face. She doesn't reply. He notices she keeps the Sportsac gripped firmly. [MICHAEL] Car trouble? [NICOLE] You could say. [MICHAEL] (beat) Are you all right? [NICOLE] I've...got some problems. When I've got problems I don't make very good company. She glances out the window, in effect sealing the conver- sation. Michael decides not to push it. EXT. HIGHWAY - SUNSET - STOCK The Trans Am is backlit by a rosy sunset. It heads into the night. EXT. LONG PINE MOTEL - NIGHT The Trans Am is stopped in front of the office. The office door opens and Michael comes out, steps to the car where Nicole waits. [MICHAEL] Only one room left. [NICOLE] Wonderful. [MICHAEL] It's got two single beds. It's up to you. I don't mind if you don't. [NICOLE] I've never known a man who did. He sees, for the first time, the suggestion of a smile from her. INT. MOTEL ROOM - NIGHT Dark. The door opens, light switched on, and Michael and Nicole enter. She's got her Sportsac, he brings in his fishing rod and an overnight bag. As promised, there are two single beds. [MICHAEL] Take your pick. [NICOLE] Pardon? Oh. This one's fine. Thanks. She sits on one of the beds, opens the Sportsac. Michael takes the other one, dumps his gear on it. [NICOLE] Going fishing? [MICHAEL] (smiles) Not a bad idea. Couldn't do any worse than the last couple of days. Actually I thought I'd clean up my gear. (beat) I'll flip you for who gets the first shower. [NICOLE] You go ahead, I've got to make a phone call. She goes to the door, pauses. [NICOLE] Do you want anything from the office? [MICHAEL] How about a New York steak medium- rare, baked potato and a bottle of good wine. [NICOLE] (smiles) I'll see what I can do. EXT. MOTEL - NIGHT Phone call finished, Nicole crosses from the office toward their room. She carries her Sportsac and a paper bag. Pan as she passes, and then hold on K.I.T.T., parked nearby. INT. MOTEL ROOM - NIGHT - CLOSE ON A CAN OF BEER as it's popped open. Pull back and we see Michael and Nicole are sitting opposite each other on Michael's bed, legs crossed, a six pack of beer between them. [NICOLE] It's the best I could do on short notice. [MICHAEL] Short notice is good with me. They clink cans and drink. Michael can see she's a little more at ease, a little less ready to bolt. [NICOLE] Thank you. [MICHAEL] For what? [NICOLE] For giving me a ride, letting me stay with you, putting up with my attitude. [MICHAEL] What is your 'attitude'? [NICOLE] I'm afraid I'm...not much fun to be with, that's all. [MICHAEL] You buy good beer. She smiles, appreciating his gentleness with her. [MICHAEL] You've got a pretty smile. You ought to smile more often. (beat) You said you had problems...feel like talking? [NICOLE] No. [MICHAEL] Feel like going fishing? She laughs. EXT. MOTEL - NIGHT Later, early am, all the lights out except for the motel sign. The sound of a motorcycle pulling off the main road and a chopped Harley appears, idles past the office, swings past the row of guest cars. The biker is huge, Michael's height and twice as deep. He sees the Trans Am, pulls in and stops. ANGLE ON BIKER He studies the Trans Am for a moment, notes what number parking spot it is in, looks across at the units. HIS POINT OF VIEW - MICHAEL'S ROOM The number on the door corresponds. The lights are out. ANGLE ON BIKER He kicks it into gear and pulls away. EXT. LONG PINE MOTEL - DAY - EARLY MORNING The sun just rising, long shadows slanting across the motel. A rooster crows nearby. Pan the solitude toward the road to the office as two Harleys appear. As they approach the units they cut their engines and silently coast in. One is the biker who was here earlier, Singleton, and the other is James "Jungle Jim" Ferris. They glide in next to K.I.T.T., dismount and take off their jackets, their "colors." Whatever it is they have in mind has been discussed; there's no conversation, just movement. Ferris stays on his Harley as lookout while Singleton pulls a .38 from his boot and walks to Michael's door. He quietly tries the door. INT. MOTEL ROOM - DAY It's dark, the heavy curtains drawn. Michael is asleep in his bed, Nicole in hers. The slight sound of Singleton trying the door a second time causes Michael to stir. He looks over at the door. INTERCUT - SINGLETON convinced it's locked, he steps back and kicks the door with the heel of his boot. INTERCUT - MICHAEL He bolts out of bed, pants on. Nicole screams. Michael reaches the door just as Singleton kicks it a second time, splintering it open. Michael sees the gun, grabs for it. Singleton fires, missing him. They struggle for the gun, falling over furniture, crashing over beds. The gun fires a second time. Now there's silence. A figure rises. It's Michael. He crosses to the light, switches it on, the .38 in his hand. ANOTHER ANGLE Singleton lies between the beds, motionless. Michael crosses, checks his pulse; he's dead. It's a difficult moment for him, painful. INTERCUT - FERRIS On his Harley, tense. He's heard two shots, the fight, now silence. He doesn't know who survived. BACK TO MICHAEL He realizes Nicole is nowhere to be seen. [MICHAEL] Nicole? He moves to the closed bathroom door. [MICHAEL] Nicole, it's okay.... INTERCUT - FERRIS He hears Michael's voice, reacts. BACK TO MICHAEL He opens the bathroom door, peers in. It's empty. A small window above the shower is open. The sound of Ferris' Harley starting up outside and Michael reacts. EXT. MOTEL - DAY Ferris barrels out on the Harley as Michael appears at the door, sees him leaving. He darts back in, reappears a moment later with his jacket, no gun. He puts it on while running to K.I.T.T., jumps in. A woman in the adjacent cabin pokes her head out, stares. ANGLE ON ROAD TO MOTEL UNITS The Harley roars past the office onto the two-lane highway. Hold, and the manager appears from the office with a shotgun, starts running toward the units as K.I.T.T. appears. The manager plants himself and waves his arms for Michael to stop. Michael swerves to avoid hitting him, races past. EXT. NARROW TRAIL OFF HIGHWAY - DAY Ferris appears on the highway, sees the trail and turns in. INTERCUT - K.I.T.T. on the highway, a good one hundred yards behind Ferris. ANGLE FROM NARROW TRAIL as Ferris roars by, camera angles to the Trans Am as it turns onto the road, still a good distance away. EXT. RAIN WATER STREAM - DAY The Harley goes through it fast, spraying water. ANGLE ON NARROW TRAIL The Trans Am fights it way up on uneven ground and soggy soil. EXT. FALLEN TREE - DAY The Harley slows, circles around it on a narrow lip of clear road. ANGLE AT STREAM The Trans Am appears, slashes through. EXT. OFF-ROAD TERRAIN - DAY The Harley finds a narrow, steep trail down the side of a mountain. Ferris uses the hog like a dirt bike, starts winding his way down. ANGLE AT FALLEN TREE The Trans Am approaches the tree, can't pass. Michael hits Turbo Boost and it flies over. ANGLE AT OFF-ROAD TERRAIN The Trans Am approaches, slows; nowhere to go. INT. TRANS AM - DAY [MICHAEL] (frustrated) Kitt, can you give me a visual on his route? [K.I.T.T.] You won't like it. INSERT - MONITORS The trail is impossible for anything other than a motorcycle. BACK TO MICHAEL [MICHAEL] Any chance we could make it? [K.I.T.T.] Not on your life, Michael. Or mine. [MICHAEL] Thanks anyway, pal. OMITTED EXT. MOTEL ROAD - DAY The Trans Am comes up the road to the cabins. [K.I.T.T.'S VOICE] Does this mean another stay in one of those dreary police impounds? ANGLE FROM CABIN AREA shooting past two police cars as the Trans Am approaches. [MICHAEL'S VOICE] They can't put you in jail for self- defense, Kitt. As the Trans Am pulls in two officers run to either side of the parking area, guns drawn. [OFFICER] Come out with your hands up! Do not make any sudden moves! Michael slowly opens the door, steps out. [MICHAEL] Look, fellas --- [OFFICER] Face the car, hands on the roof! Michael complies, assumes the position. [MICHAEL] (comlink) Kitt, call Devon. EXT. LONG PINE CITY JAIL - DAY Devon's car is parked outside. Further down, we see K.I.T.T. INT. WAITING ROOM - DAY Devon waits, pacing. He glances over, sees Michael being led out. [DEVON] If this is your idea of a few days relaxation, I think it's time for a serious chat. [MICHAEL] Thanks for coming, Devon. ANGLE AT WINDOW The desk officer hands Michael a manila envelope with his personal effects. Michael signs a receipt, puts on his belt and watch over: [MICHAEL] They've charged me with second-degree murder. [DEVON] I'm well aware of that, Michael. Unfortunately, in the absence of witnesses self-defence is rather sticky to prove. [MICHAEL] Devon, there was a witness -- the hitchhiker. Nicole. [DEVON] The girl who went out the bathroom window. [MICHAEL] You make it sound like a story. [DEVON] The fact it sounds like a story has nothing to do with me. It succeeds on its own. (holds open door) After you. EXT. JAIL - DAY They come out, cross toward Devon's car. [MICHAEL] Who's side are you on? [DEVON] Michael, it's quite difficult enough providing adequate support for you when you're on assignment. When you succeed in being arrested on your own, it can be virtually impossible. [MICHAEL] Devon --- [DEVON] Let me finish. Despite your convictions otherwise, the county prosecutor has a respectable case in the making. The biker had a record, but your fingerprints are on the gun. And it's unregistered. There's no way to prove it was his. They reach Devon's car, pause. [DEVON] The preliminary hearing is set for Thursday next. If you're bound over for trial the prosecutor will commence a full investigation into your past. I don't have to tell you how difficult that could be -- for the Foundation, for the future of our work together. [MICHAEL] (beat) Nicole can prove it was self-defense. [DEVON] Unless you can produce a body to go with the name, Michael, 'Nicole' is nothing more than a desperate man's fantasy. OMITTED EXT. MOTEL OFFICE - DAY The Trans Am pulls in and stops. Michael gets out, crosses to the office when the door opens, the manager standing in the doorway with his shotgun. [MANAGER] I don't want any trouble. [MICHAEL] I'm not here to cause trouble. A girl came in last night about nine to make a call. Did you place it for her? [MANAGER] (points) She used the pay phone. How'd you get out so soon? [MICHAEL] Bail. Michael doesn't like the look in the Manager's eyes. He crosses to the pay phone, jots the number down on a note pad. When he turns to leave, the Manager is still watching him. [MANAGER] It's just like they say...The criminal justice system these days. It's a revolving door. Michael steps on a temptation to reply, leaves. ANGLE FROM K.I.T.T. Michael climbs into K.I.T.T. [MICHAEL] Kitt, patch me through to Devon. [K.I.T.T.] Right away, Michael. The Trans Am pulls out, heads for the highway. OMITTED EXT. HIGHWAY - NIGHT - STOCK The Trans Am heads across the desert toward Los Angeles. INT. TRANS AM - NIGHT Silence as they drive across open expanses of high desert. Michael is preoccupied, thoughtful. [K.I.T.T.] Since you haven't asked, I'll tell you. It was demoralizing. Demeaning. [MICHAEL] What? [K.I.T.T.] Police impound. [MICHAEL] You had me worried for a minute. [K.I.T.T.] Michael, I don't think you have any idea what those places are like. I was surrounded by criminal-types with dented fenders and bullet holes. [MICHAEL] Jail was no picnic either, pal. [K.I.T.T.] Devon's calling. [MICHAEL] (punches buttons) Any luck? INTERCUT - DEVON ON MONITOR [DEVON] The number Nicole called is in Los Angeles. [MICHAEL] Address por favor! [DEVON] 4518 Sumatra Drive -- Michael, before you rush headlong into this, there's something you should know. The dead man has been identified as Arlon Singleton. He's a member of the 'Devil's Deciples' motorcycle club -- which is currently under Federal investigation for everything from contract murder to extortion. If your assumption that Singleton was after Nicole is correct, she could be a very dangerous young lady to be associated with. [MICHAEL] I'll keep that in mind, Devon. Thanks. He hits Pursuit. EXT. HIGHWAY - NIGHT - STOCK The Trans Am accelerates, is soon a black speck in the distance. EXT. EXPENSIVE HOUSE - DAY A world apart from backroads and small motels. A flashy sports car pulls in and parks, a beautiful girl getting out, crossing toward the front door. It takes a moment to realize it is Nicole, so great is the change, the clothes she wears, the ambiance. INT. HOUSE - DAY As she enters, the maid, a black woman named Thelma, appears. Ad-lib hellos, the feeling of a long-standing affection between them. [THELMA] Before you run off, an old friend came by to say hello. [NICOLE] (cautious) Who? ANOTHER ANGLE - MICHAEL appears. On her reaction: FADE OUT END OF ACT ONE ACT TWO FADE IN INT. HOUSE - DAY As before, Michael and Nicole face to face, silence all around. Thelma knows immediately. [THELMA] (to Michael) Did you lie to me? If you lied to me, I'll skin you alive. [MICHAEL] I'm a friend. (looks to Nicole) Wouldn't you call me a friend? [NICOLE] We'll see. It's all right, Thelma. EXT. HOUSE POOL AREA - DAY Michael and Nicole sit by the pool. [NICOLE] ...I walked for miles, I was afraid to even hitchhike, then I saw your car and decided to take a chance.... [MICHAEL] I don't understand. If your ex- husband kidnapped your daughter, why haven't you gone to the police? [NICOLE] He has temporary custody and I don't have the money to fight him in court. [MICHAEL] (looks around) You don't look like a candidate for Legal Aid. [NICOLE] This is my father's house. [MICHAEL] He won't help you? [NICOLE] We don't get along. It's very com- plicated. I wouldn't even be here, but he's in Palm Springs on business. (beat) You never told me what you want. [MICHAEL] I want you to come back to Long Pine with me for the preliminary hearing. [NICOLE] I can't do that. [MICHAEL] Why? [NICOLE] (beat) My ex will have me killed. [MICHAEL] Why? [NICOLE] You just don't give up, do you? [MICHAEL] I'm facing a murder charge. Why? She thinks it over before replying. [NICOLE] I have something he wants. Something that could hurt him. [MICHAEL] Why not just give it back? [NICOLE] It's the only weapon I have. When I get what I want, he'll get what he wants. [MICHAEL] And you want Natalie. She nods. A moment between them, an impasse. [MICHAEL] I could have you subpoenaed. [NICOLE] You'd have to find me first. [MICHAEL] All right, I'll make you a deal. I'll help you get your daughter if you'll come back to Long Pine with me. INT. HOUSE - DAY Nicole is on the phone, dialling a number. Michael sits across from her. [NICOLE] (phone) Harold, this is Nicole. Don't talk, just listen to me. You can have it one of two ways. You can give me Natalie and get the film, or you can refuse and I'll go to the U.S. Attor- ney and give the film to him. It's up to you. ANGLE ON HAROLD T. TURNER He is a big hard man in his early forties. A tattoo of a snake coils up his left arm with the words "Don't Tread On Me." Like Sonny Barger of the Hell's Angels, Harold T. is a former president of an outlaw motorcycle club. From manu- facturing and distributing bootleg bathtub amphetamines in the 60s, Harold T. has come a long way, though at heart he is still an "outlaw." He is on the phone with Nicole. The house where he lives and his associates will be described later. [HAROLD T.] You go to the U.S. Attorney on me and Natalie's gonna be looking for a new mama. What you got in mind? (listens) Go on. ANGLE ON MICHAEL AND NICOLE [NICOLE] (phone) ...a friend of mine will make the exchange. His name is Michael Knight ...Harold, this is our last chance. If you screw this up we'll both end up getting hurt. (beat) Can I talk to Natalie for a minute? The line goes dead. Nicole slowly hangs up, looks at Michael. [NICOLE] Eleven o'clock tomorrow morning. Michael nods, somber. ANGLE ON HAROLD T. As before, having just hung up, long legs with cowboy boots propped up on an antique rolltop desk. WIDER ANGLE We are in the living room of a large, expensive ranch-style house somewhere in the hills surrounding the San Fernando Valley. It's a masculine house, a pool table and dogs, somebody elses' furniture and, at the moment, two biker confederates nearby. One of them, a 260 behemoth called Tiny, looks over. The other one we recognize as Ferris. [TINY] She comin' alone? [HAROLD T.] She ain't coming at all. She's sending a 'friend.' (beat) What's the guy's name -- the guy who wasted Arlon up in Long Pine. [FERRIS] Some joker named Knight -- why? [HAROLD T.] Michael Knight? Ferris nods. [HAROLD T.] (to Tiny) You ain't gonna have to hunt that boy down after all. He'll be here tomorrow...eleven o'clock. On their reaction: EXT. HOUSE - DAY Nicole walks Michael outside. A limousine approaches, turns into the driveway. Nicole reacts. [MICHAEL] What's the matter? ANOTHER ANGLE The man climbing out of the limo is angry. He is Nicole's father, Arthur Wexley. [WEXLEY] What are you doing here?! [NICOLE] I thought you were in Palm Springs until tomorrow and --- [WEXLEY] And what? You thought you'd bring your latest boyfriend by for a quickie? Michael feels compelled to respond, but when these two meet no one else exists. [NICOLE] You've got your women confused again -- this is Nicole, not Darlene. [WEXLEY] I see very little difference. [NICOLE] You see very little period. Tight-lipped, Wexley steps directly in front of her. [WEXLEY] The real victim of your unfortunate life isn't you. It's Natalie. She slaps him hard. Michael's a little shocked, certainly surprised. Wexley grabs her wrist. [MICHAEL] (pries them apart) Now wait a minute, this is getting out of hand --- [WEXLEY] Get your hands off me. [MICHAEL] (drops his hands) I can do better than that. (to Nicole) I'll see you tomorrow. He turns and leaves, walking out the long driveway. OMITTED EXT. FOUNDATION - NIGHT - STOCK [DEVON'S VOICE] Absolutely not! INT. DEVON'S OFFICE - NIGHT Devon is surrounded by computer print-outs. Bonnie is feeding him additional information as it appears. Michael paces, frustrated. [MICHAEL] I made a deal with her! [DEVON] Then unmake it! (turns) Michael, what earthly purpose does it serve to research what you're up against if you simply choose to ignore the results? [MICHAEL] I'm not ignoring them, Devon. [DEVON] You are. [MICHAEL] All right, so Harold T. Turner's a hard guy. We've been up against hard guys before. [DEVON] Turner is more than just a 'hard guy,' Michael -- as former president of the 'Satan's Stompers' motorcycle club he has at his disposal over 300 'hard guys' -- not to mention whatever other resources his various underworld activities provide. [BONNIE] He's right, Michael. (refering to print-out) According to the Federal investigation, the 'Satan Stompers' have developed extensive ties with major criminal organizations. It's not like Peter Fonda riding around on a chopped Harley with a heart of gold underneath a two-day growth of beard. [MICHAEL] Look, I'm not trying to talk you into a project. I'm trying to save my own skin. And the Foundation's. You said it yourself, Devon -- if we don't kick the charge loose at preliminary hearing, and I'm bound over for trial, the pro- secutor will go over my past with a magnifying glass. A quiet moment; what he says is true. [DEVON] I won't forbid it, Michael. I can't. Not when it's your future at stake. But I want to make absolutely certain you know what you're getting into. Dealing with this Harold T. Turner on a purely professional basis would be dangerous enough...add the fact it's highly personalized -- a war between husband and wife -- there's no way to predict what will happen. As a former police officer you know that. What's the most lethal call an officer can get? [MICHAEL] (beat) Domestic dispute. Devon nods, point made. [DEVON] I rest my case. (beat) All right, let's get to work. I want Kitt to be as fully prepared as humanly possible. EXT. RURAL AREA - DAY - STOCK The semi rolls along, the ramp descends and the Trans Am rolls out, accelerates, headed for Los Angeles. EXT. TRANS AM DRIVING SHOT - DAY - VARIOUS SHOTS - STOCK bringing us into the city. OMITTED INT. TRANS AM - DAY Michael is at the wheel. K.I.T.T.'s computers are in full operation. [K.I.T.T.] What next, Michael? [MICHAEL] (weary) There's more? [K.I.T.T.] Aside from an aerial view of the house, I have a topographical map and floor plans. [MICHAEL] (punches buttons) Let's try the floor plans. INSERT - MONITOR Floor plans appear on the monitor, various colors at various points. [K.I.T.T.] For your convenience, all entrances and exits are outlined in green. BACK TO MICHAEL [MICHAEL] What are the red dots? [K.I.T.T.] Security installations. EXT. STREET - DAY - STOCK The Trans Am passes. [MICHAEL'S VOICE] All right, let's review 'em one by one. EXT. CITY MOTEL - DAY The Trans Am pulls into the parking area. One of the motel doors opens and Nicole comes out, cautious. She looks around, approaches the car with her Sportsac. ANGLE AT TRANS AM Nicole reaches Michael, behind the wheel. Ad-lib hellos, strained. She reaches into the Sportsac, hands him a tiny Minox camera. [NICOLE] This is it. [MICHAEL] (takes it) What are the pictures of? [NICOLE] The inside of his safe. He keeps records of every transaction he makes -- names, times, places...he'd do twenty years behind what's in that camera. Michael inhales, remembering what Devon said. A pause. He glances at his watch. [MICHAEL] Meet here afterwards? [NICOLE] I'll be waiting. Michael nods, starts the engine. [NICOLE] I'm...sorry about yesterday. My father and I.... [MICHAEL] One thing puzzled me. You said something about him confusing you with Darlene. Who's Darlene? [NICOLE] My mother. She left him when I was about Natalie's age. He never forgave her. Or me. (beat) Good luck. Michael nods. She leans in, impulsively kisses him quickly on the mouth and leaves. The Trans Am pulls out. EXT. HILLSIDE ROAD - DAY - STOCK The Trans Am climbs up a narrow road, winding higher and higher into the hills. [K.I.T.T.'S VOICE] Shall we review again, Michael? [MICHAEL'S VOICE] I think I've reviewed about as much as I can, Kitt. From here on its just you and me, pal. EXT. MOUNTAINTOP HOUSE - DAY The Trans Am turns off the narrow street onto a private road, stops at an imposing iron gate. He presses a talk box. [MALE VOICE] Yeah? [MICHAEL] Michael Knight. Harold T. Turner's expecting me. No reply, but the iron gates swing open. The Trans Am drives through and the gates close. EXT. MOUNTAINTOP HOUSE - DAY A circular drive swings past an ornate fountain and pool, continues to the main entrance and then circles back. Several expensive late-model cars are parked near the front, including the white Cadillac we saw take Natalie. Also several chopped Harleys. The Trans Am circles in and parks. Michael climbs out, pauses at K.I.T.T.'s hood. [MICHAEL] No naps. [K.I.T.T.'S VOICE] Perish the thought. The scanner flashes, ready. Michael smiles, starts toward the entrance. It's strangely quiet. MOVING SHOT Michael hears his heart pumping in his ears. The silence is penetrating. ANGLE AT FRONT DOOR He reaches it, rings the bell. Footsteps, heavy. The door opens, revealing a mountainous man in Levis and an open snakeskin vest. It's Tiny. He stares at Michael with a particular hatred. [TINY] I'll be damned. [MICHAEL] What. [TINY] You showed up. Michael doesn't like it. He can almost feel the hatred emanating from Tiny. He pats Michael down. INT. LIVING ROOM - DAY As Tiny enters, Michael behind him, we see the full room, the pool table, a beautiful view with a sloping backyard outside. Ferris is there idly shooting balls. At the rolltop desk is Harold T. Turner. He gets up, moves to where Michael stands. [HAROLD T.] Tiny didn't think you'd show up. He said nobody's that stupid. He smiles, eyes like nails. [MICHAEL] (eyes on Harold T.) Sorry to let you down, Tiny. Tiny doesn't like the reply, grabs a pool cue and comes at Michael swinging, Ferris yelling, grabbing him from behind. Harold T. grabs him from the front and together they hold him back. Michael stands his ground. [HAROLD T.] You gotta understand Tiny -- one of his brothers got wasted the other night up in Long Pine. He's been real jumpy ever since.... Michael has a sinking feeling; they know. ANGLE IN K.I.T.T. All systems are on alert. [MICHAEL'S VOICE] Sorry to hear that. ANGLE IN HOUSE Harold T. walks with Tiny to a glass door outside. A few MOS words between them and Tiny goes out. Harold turns to look at him. [HAROLD T.] How long you known my wife? [MICHAEL] (beat) I know someone named Nicole. What she is or isn't to you is none of my concern. [HAROLD T.] Where's the camera? [MICHAEL] Where's Natalie? [HAROLD T.] (holds out his hand) Outside. Tiny's watching her. He's real good with kids.... The hand stays out. Michael decides it would be useless to risk a confrontation now. He reaches into his jacket, hands Harold T. the Minox. He hands it to Ferris, who promptly disappears into another room. [HAROLD T.] He'll find out if what Nicole said is on the film. Anybody can buy a camera. (beat) Won't take long. You want a beer? [MICHAEL] No thanks. [HAROLD T.] (opens a beer) How long you known my wife? [MICHAEL] (beat) Not long. EXT. BACKYARD - DAY incongruous in this setting is a brand new swing set, super deluxe. Natalie swings while Tiny reads her a story, slowly. Camera pans to a nearby hill and slowly zooms in: A figure appears in the undergrowth. It's Nicole. She carries a pair of binoculars and a .32 in her belt. She pauses, looks through the binoculars. OMITTED HER POINT OF VIEW - TINY AND NATALIE As before, Natalie swinging and asking questions Tiny can't answer. ANGLE ON MICHAEL AND HAROLD T. Michael waits. Harold T. drinks his beer, eyes never leaving Michael. ANGLE ON K.I.T.T. His scanner flashes. ANGLE IN HOUSE - MICHAEL AND HAROLD T. They turn as Ferris comes out with a wet contact sheet. He shows it to Harold T. [FERRIS] She did it. [HAROLD T.] She surely did. He looks from the sheet to Michael. [HAROLD T.] One thing about Nicole, she's been bad news for every man she's ever known.... He takes a .357 Magnum from a drawer, points it at Michael. [HAROLD T.] What made you think you'd be different? FADE OUT END OF ACT TWO ACT THREE FADE IN INT. HOUSE - DAY Harold T. has the Magnum trained on Michael. [MICHAEL] I'm unarmed. Do I get Natalie or not? [HAROLD T.] You get what you deserve. You think Nicole deserves Natalie? [MICHAEL] You made a deal. She trusted you. [HAROLD T.] The woman is my wife, cowboy -- She's sleeping in my bed when I'm there and when I'm not she's into my safe with a camera! (beat) Don't talk to me about trust. (to Ferris) Go tell Tiny we'll be back directly. (to Michael) After you take me to Nicole, we'll all come back here and watch you tell Tiny how sorry you are you wasted his brother. EXT. HOUSE - DAY The front door opens and Michael comes out, followed by Harold T. and Ferris. ANGLE IN BACKYARD Tiny and Natalie are playing ball. Natalie throws it past him. Tiny mumbles under his breath, goes to the fence to get it, reacts. REVERSE ANGLE Nicole is holding the .32 on him. [NICOLE] Don't yell. I don't want to hurt you.... [NATALIE'S VOICE] Mommy! ANOTHER ANGLE Natalie runs up to the fence. [NICOLE] Hi, baby. Just be quiet for a minute, okay? Tiny, get the ladder. [TINY] I've never seen a woman get herself into so much trouble so fast. [NICOLE] Get it. ANGLE IN FRONT OF HOUSE Michael and Ferris climb into K.I.T.T. Ferris reacts. [FERRIS] What the hell kind of car is this? [MICHAEL] It's full of surprises. ANGLE IN BACKYARD Natalie is climbing up the ladder. [NICOLE] That's it, honey...you're such a big girl.... Natalie is at the top. One eye on Tiny, Nicole stands on a rock and reaches up, reassuring her. When Natalie is on the ground, Nicole faces Tiny again. [NICOLE] Throw the ladder over. ANGLE IN FRONT The Trans Am and the Cadillac slowly pull out, the Cadillac in the lead. They circle past the pool. ANGLE IN TRANS AM Michael driving, Ferris with the .38 on him. [MICHAEL] How about some music? [FERRIS] You're a condemned man. You want music, go ahead. INSERT - CONTROL PANEL Michael presses the Eject button. ANGLE ON TRANS AM The sunroof pops open and Ferris flies out, arms flailing. He lands in the pool. ANGLE ON HAROLD T. He looks back, slams on his brakes, just where the circular driveway returns to the main driveway out. ANGLE ON K.I.T.T. Michael backs up, turns, swings around the opposite way. Harold T. jumps out of the Cadillac and fires at the Trans Am with his Magnum. Tiny appears from the house, also fires. ANGLE FROM CADILLAC as K.I.T.T. accelerates, headed directly for it. Harold T. empties the Magnum and dives out of the way. INSERT - TURBO BOOST Michael presses it. WIDER ANGLE - THE TRANS AM flies over the Cadillac. Harold T. watches, incredulous. OMITTED ANGLE AT ELECTRIC GATE The Trans Am smashes through the gate, leaving spaghetti bars behind. OMITTED EXT. CITY MOTEL - DAY The Trans Am appears in traffic, turns in fast. Michael jumps out, hurries to Nicole's room, knocks on the door. [MANAGER'S VOICE] She's gone. ANGLE TO INCLUDE MANAGER approaching. [MICHAEL] (reacts) Gone for a while? [MANAGER] Gone gone. She checked out about an hour ago. He's been double-crossed. Betrayed. It sinks in. [MICHAEL] Thanks. OMITTED EXT. WEXLEY HOUSE - DAY The Trans Am pulls up in front. Michael gets out, crosses to the front door. Rings the bell. Arthur Wexley opens the door. They regard each other for a moment. [MICHAEL] Is Nicole here? [WEXLEY] What makes you think she'd be here? [MICHAEL] Mr. Wexley, I don't know what's between you and your daughter, but we had an agreement. I lived up to my part, I want to make sure she lives up to hers. [WEXLEY] (beat) Come in. OMITTED INT. LIVING ROOM - DAY as they enter. [WEXLEY] Is she in trouble again? [MICHAEL] I don't know. (beat) Yeah, I think so. Have you heard from her? Do you know where she is? Wexley pauses, faces Michael. In b.g., we can see Thelma pass from one room to another. [WEXLEY] No. [MICHAEL] No idea where she might go? Who she might see? [WEXLEY] (shakes his head) Nicole's not a girl to leave bridges intact once she passes over them. His face changes. He turns, crosses toward the French doors, away from Michael's eyes. [WEXLEY] Do you understand women? I do not understand women. I thought loving a daughter would be easier than loving a wife. Less apt to fail. I was wrong. It isn't. And its failure is no less painful. [MICHAEL] For what it's worth, I don't think Nicole's across that bridge yet. Not all the way. Wexley looks at Michael. [WEXLEY] Why, did she say something? What did she say? [MICHAEL] She said you'd never forgiven Darlene. Or her. [WEXLEY] That's not true. Michael shrugs, suspecting it is. [WEXLEY] In fact, if anything it's the opposite. I gave her everything, every opportunity. I wanted her to know she could be the best. (beat) She fought me from the beginning. From the day she entered school... Look at her now. Who she married, how she lives. The terrible waste her life has become. Michael debates whether to say anything or not. [MICHAEL] She's struggling. She's not happy. But she's determined to be a mother to her child. And she's strong. (beat) Who knows, maybe that's enough. EXT. HOUSE - DAY The front door opens and Michael comes out. [WEXLEY] Will you call me when you find her? [MICHAEL] I'll tell her you want me to. If she agrees, I will. (beat) If I find her. He heads for K.I.T.T. Wexley closes the door. [THELMA'S VOICE] Mr. Knight. ANGLE TO INCLUDE THELMA She comes over from the garage area. [THELMA] I think you're what you said, a friend. She needs a friend. She hands him a slip of paper. [THELMA] She called a while ago. Asked me to mail the rest of her things there.... [MICHAEL] (reading) Why Spencer, Arizona? [THELMA] (shrugs) I don't ask any more. All I know is she's got Natalie with her. On Michael's reaction: EXT. FREEWAY - DAY - STOCK The Trans Am heads out of Los Angeles. EXT. HIGHWAY - DAY - STOCK The Trans Am is on U.S. 15 headed toward Barstow, then due east on U.S. 40 to Arizona. INT. TRANS AM - DAY Michael drives with the windows down. [K.I.T.T.] ...from the way you describe it, I get the distinct impression Nicole used you as a diversion. [MICHAEL] Kind of looks that way, doesn't it. [K.I.T.T.] That's quite unscrupulous. [MICHAEL] (a smile) Does it shock you, Kitt? [K.I.T.T.] After a year on the road with you, Michael, nothing shocks me. (beat) May I make a suggestion? [MICHAEL] Suggest away. [K.I.T.T.] Since your future may rest on Nicole's testimony, or lack of it, may I suggest Pursuit Mode. It will cut down our travel time considerably. [MICHAEL] Plot me a course off major highways and we'll do it. OMITTED INSERT - MONITOR An alternate course is plotted. BACK TO MICHAEL [MICHAEL] Arizona, here we come. He hits the Pursuit button. OMITTED EXT. DESERT ROAD - DAY - STOCK The Trans Am hurtles down the road. EXT. SPENCER, ARIZONA - NIGHT The Trans Am idles through the town. EXT. THE LITTLE NASHVILLE BAR - NIGHT The Trans Am pulls in and parks. Country and Western music inside, pickups and 4-wheel drives outside. Michael goes in. INT. THE LITTLE NASHVILLE BAR - NIGHT The "in" spot in Spencer, The Little Nashville Bar is crowded and noisy, a small dance floor, a smaller stage where a three-piece band plays country rock. ANGLE AT BAR Two pitchers of beer and glasses are put on a tray. We see the waitress who picks it up is Nicole. Camera pans her to a table where four men sit. She puts down the beer, collects money. She notices a new customer at an adjacent table, turns. [NICOLE] Can I help you? ANOTHER ANGLE The man is Michael. Nicole looks like she is seeing a ghost, recovers, starts to leave. Michael grabs her arm. [MICHAEL] Sit down, Nicole. [NICOLE] I'm working. Let go of my arm. [MICHAEL] (eyes on her) You owe me. [NICOLE] If you're talking about testifying in Long Pine, I'm sorry. I also owe my daughter. She tries to jerk her arm free, but Michael won't release her. The movement causes a glass to fall. Several people look. [NICOLE] (angry) Either you let go of my arm or I scream. You'll have twenty cowboys on you before you reach the door. A final look between them and Michael releases her. [NICOLE] I'm sorry. She hurries away, back to the bar area. [MICHAEL] (comlink) Kitt, when you see me head for the door, be there. INTERCUT - K.I.T.T. - STOCK Several shots as his scanner activates, then his instrument panels. [K.I.T.T.] Will you be alone? [MICHAEL'S VOICE] Not if I can help it. [K.I.T.T.] Michael, I hope you know what you're doing. If I end up in police impound again I'll be forced to lodge a formal complaint. BACK TO BAR Nicole waits for an order, uncomfortable. Michael appears behind her. [MICHAEL] Sure I can't change your mind? [NICOLE] (not turning) Positive. The bartender is about to put pitchers on her tray. [MICHAEL] (to bartender) Cancel that order. Michael grabs Nicole, throws her over his shoulder and runs for the door. She screams and kicks. REACTION SHOTS People stare. Men jump to their feet, stumble over chairs and spill beer to get at Michael. EXT. THE LITTLE NASHVILLE BAR - NIGHT The Trans Am roars up, both doors popping open as the front door is kicked open and Michael runs out with Nicole. He throws her into the passenger side and the door closes and locks immediately. Men pour out of the bar as Michael dives into the driver's side and hits the gas. Some run after the Trans Am, some throw beer bottles. Others run for their trucks. INT. WEXLEY HOUSE - NIGHT The doorbell rings. After a moment, Thelma appears from another room, crosses to the door. [THELMA] Yes? [MAN'S VOICE] Is Mr. Wexley home? [THELMA] No, he's out for the evening. Can I help you? [MAN'S VOICE] I've got a telegram for him. Can you sign for it? [THELMA] (suspicious) Who's it from? [MAN'S VOICE] Somebody named 'Nicole.' Thelma debates, unlocks the deadbolt and opens the door. Standing there is Tiny and Ferris. Thelma gasps, tries to slam the door but Tiny pushes in and grabs her. OMITTED FADE OUT END OF ACT THREE ACT FOUR FADE IN EXT. ROOMING HOUSE - NIGHT Michael and Nicole approach the Trans Am, Michael carrying a suitcase, Nicole with Natalie in her arms. Michael puts the suitcase in back and Nicole puts Natalie inside. They go back inside for the rest. ANGLE IN K.I.T.T. Natalie looks at K.I.T.T.'s dash in wonderment. She stares at the monitor screens. [NATALIE] You have such big eyes.... INTERCUT MONITOR SCREENS They seem to stare back at her. K.I.T.T. decides to have a little fun. He materializes big eyeballs, one on each screen. [NATALIE] They are eyes! The one on the left winks, then both fade. [NATALIE] What else can you do? INTERCUT SCANNING LIGHT A red line arcs across the dash. Natalie is spellbound. K.I.T.T. decides to go all out, activates all systems. It's a dazzling array of lights and sound. [NATALIE] Wow...my mom's car won't do any of this stuff. What else? Can you talk? [K.I.T.T.] Natalie, you know cars can't talk. [NATALIE] Some cars do. They say 'Please close the door' and...you talked! Silence from K.I.T.T. [NATALIE] Didn't you? (decides) You did. What's your name? [K.I.T.T.] Kitt. It's short for 'Knight Industries Two-Thousand.' [NATALIE] Wait til I tell my mom. (looks) Here they come! [K.I.T.T.] Natalie, lets keep it a secret. [NATALIE] Why? [K.I.T.T.] Just for fun. [NATALIE] That's no fun. [K.I.T.T.] Try it. Just for me. ANOTHER ANGLE Michael and Nicole put the last of her luggage in, climb in themselves. [NATALIE] Guess what? [NICOLE] (distracted) What, honey? [NATALIE] I know a secret. [NICOLE] Good. Wouldn't you be more comfortable in back? Disappointed, she climbs in back. Michael starts the car. Natalie looks at K.I.T.T.'s dash. [NATALIE] See -- It's no fun. [NICOLE] What? [NATALIE] I was talking to the car. WIDE ANGLE The Trans Am pulls away from the rooming house, heads toward the highway. EXT. HIGHWAY - DAY - STOCK As the sun rises in the east, K.I.T.T. heads west. EXT. THE LITTLE NASHVILLE BAR - DAY A biker on a chopped Harley pulls in front of the bar, dismounts. His name is Donny and he's a member of the Arizona chapter of the "Satan's Stompers." He goes in. INT. THE LITTLE NASHVILLE BAR - DAY The Bartender is attempting to fix a broken chair from last night, one of several. Donny comes up to him. [BARTENDER] We're not open. [DONNY] You got a girl named Nicole working here? [BARTENDER] Did. Why? [DONNY] I'm looking for her. That's why. Where'd she go? [BARTENDER] That's a good question. Some guy in a Trans Am came in last night and hauled her off. Cost me two busted chairs, eight glasses and three pitchers of beer. INT. HAROLD T.'S HOUSE - DAY The phone rings. Harold T. picks it up. Tiny and Ferris watch. [HAROLD T.] (into phone) Hello. OMITTED INTERCUT - DONNY He's at a pay phone outside the bar. [DONNY] (into phone) She was here last night until some guy in a black Trans Am bagged her and took off. FEATURE HAROLD T. on the phone. [HAROLD T.] (into phone) All right, Donny...yeah...Listen, you tell Dirty Bob I'll be down for some dove shooting one of these days soon.... He hangs up, looks at Tiny and Ferris. [HAROLD T.] Knight's got her. From the way he took her, he wants her real bad. [TINY] You think he's taking her to Long Pine for the deposition? [HAROLD T.] I think he's gonna try. EXT. DESERT HIGHWAY - DAY - STOCK The Trans Am passes. INT. TRANS AM - DAY Michael drives, Nicole looks out the side window, remote, troubled. Natalie sleeps in back. [NICOLE] Whether you believe it or not, I didn't double-cross you. (looks at him) I didn't know he'd go back on his word. Believe it or not, Harold takes great pride in honoring his word. [MICHAEL] You didn't know it, but you were around back with a .32 just in case. [NICOLE] I wanted my baby. I don't apologize for that to you or anyone else. A silent moment passes. [MICHAEL] Your dad and I had a talk when I went by. She doesn't respond. [MICHAEL] I think he's tired of the fight. [NICOLE] You don't know him like I do. [MICHAEL] Maybe that's an advantage. She looks across at him. [NICOLE] What's that supposed to mean? [MICHAEL] Maybe I can see things in him you can't. [NICOLE] I can't imagine what. [MICHAEL] He loves you, Nicole. He loves you so much its eating him up. [NICOLE] If it's eating him up, how come I'm the one who walks away feeling like I've been run over by a lawnmower? She looks at him with hard eyes, defiant, but her face gives way to another feeling, softer, and her face colors. [NICOLE] I used to love him so much. I don't ever want to love someone that much again.... [MICHAEL] I think that's how he felt when your mother left. If you don't like what it did to him, you'll hate what it'll do to you. EXT. HIGHWAY - DAY - STOCK Several shots as the Trans Am moves from desert terrain to the wooded mountains approaching Long Pine. OMITTED EXT. TWO-LANE HIGHWAY - DAY The Trans Am appears, slows to a stop because of county maintenance signs blocking the road. One reads "ROAD CLOSED DUE TO SLIDE" and another "TAKE ALTERNATE ROUTE" with an arrow pointing to a small road. The Trans Am takes the one-lane road, a nearby sign proclaiming "AUTHENTIC WESTERN MOVIE SET" -- CALAMITY, CALIFORNIA -- 2 MILES!" Camera pans the Trans Am until it disappears, then pans to the closed road, a four-wheel drive appearing. A scruffy biker gets out, moves the signs from the main road to the road to Calamity, in effect sealing it off. OMITTED EXT. NARROW ROAD - DAY The Trans Am drives by a sign which says "AUTHENTIC WESTERN MOVIE SET 100 YARDS AHEAD!" EXT. CALAMITY - DAY Pan the street of false fronts, past the one functioning store in town, to the Trans Am as it comes down the street. [MICHAEL'S VOICE] Any requests? [NATALIE'S VOICE] Ice cream! [MICHAEL'S VOICE] One ice cream, coming up. The Trans Am pulls to a stop in front of the store. [NATALIE'S VOICE] Two. [MICHAEL'S VOICE] Now wait a minute. Michael and Nicole get out of the car, Nicole laughing. They go into the store. She's beginning to move differently, lighter. OMITTED INT. STORE - DAY It's small, sparsely stocked. As they enter a bell rings overhead. [CLERK'S VOICE] (from rear) Be with you in a minute. [MICHAEL] What can I get you? [NICOLE] How about a New York steak medium- rare, baked potato and a good bottle of wine? [MICHAEL] (laughs) I'll see what I can do. ANGLE IN K.I.T.T. Natalie is staring at the monitor screens. She sticks out her tongue. [K.I.T.T.] My, what large tonsils you have. [NATALIE] I don't think you're very funny. [K.I.T.T.] Natalie, are you mad at me? [NATALIE] Yes. Can't you tell? [K.I.T.T.] I most certainly can. Will you tell me why? [NATALIE] You wouldn't talk, and it wasn't any fun keeping it a secret. [K.I.T.T.] I'm sorry, Natalie, I try not to talk in front of adults. Sometimes they don't understand. [NATALIE] I understand, don't I? [K.I.T.T.] From the moment we met. K.I.T.T.'s scanner alarm sounds. INSERT MONITOR Tiny hides behind a building. Camera moves to the second monitor, which reveals another biker in hiding. K.I.T.T. beeps Michael. INTERCUT - MICHAEL IN STORE [MICHAEL] (comlink) Yeah, Kitt. [K.I.T.T.] There are men with guns hidden outside, Michael. Michael reacts, looks at the Clerk, who is coming in from the back. It's James Ferris. [MICHAEL] (comlink) Kitt, Devon's waiting in Long Pine! Take Natalie to him! [FERRIS] Howdy, folks. He has a pistol on them. ANGLE ON K.I.T.T. He self-activates, goes into reverse, tires spinning. ANGLE IN STORE Ferris reacts. So does Nicole. [NICOLE] Natalie! Ferris fires at the Trans Am outside and Michael capitalizes on the diversion, throws a stand of post cards at him and lunges. ANGLE IN STREET As the Trans Am accelerates, leaving, four men appear at various points, firing at the car as it passes. [HAROLD T.'S VOICE] Don't hit Natalie! Bullets ricochet off the wheels and fenders. The men stare as K.I.T.T. speeds away. [TINY] What the hell kind of car is that? ANGLE IN STORE Michael and Ferris struggle for the gun. Michael stuns him with a punch and grabs the gun. [NICOLE] (distraught) What happened to your car? Where's Natalie?! [MICHAEL] It's okay, she's safe. I'll explain it when I can. C'mon. He grabs her hand and they run. OMITTED EXT. TWO-LANE HIGHWAY - DAY The driverless Trans Am flashes by. INT. K.I.T.T. - DAY Natalie sits alone, her mouth open as scenery passes outside. [K.I.T.T.] Having fun? [NATALIE] I don't know. Where are we going? [K.I.T.T.] To meet a friend in Long Pine. It's nothing to be concerned about. I have just the thing to help you relax. A Brahms symphony fills the air. Natalie sticks out her tongue. [K.I.T.T.] Perhaps not. EXT. MOVIE SET - MAIN STREET - DAY deserted. Then, at the far end, we see Tiny run from one old building to the next, a pistol in his hand. ANGLE BEHIND LIVERY Michael and Nicole appear. Michael is halfway to the front door when a shot rings out. He dives back in, grabs Nicole's hand and they run out the back way toward the next building. ANGLE ON HAROLD T. He is edged along an old building. He motions off with his hand. ANGLE - ACROSS STREET A biker, Terrance, points down the street, indicating the direction Michael and Nicole went. ANOTHER ANGLE Harold T. runs across the street to where Terrance is. He carries a sawed-off shotgun. They split up, Harold T. going around back, Terrance cautiously along the front of rundown stores. ANGLE ON MICHAEL Peering out a dirty broken window, he raises the gun and carefully aims. Fires. ANGLE ON TERRANCE He dives into the nearest window, missed by inches. ANGLE ON MICHAEL AND NICOLE She comes up behind him. [NICOLE] Did you hit him? Michael shakes his head, counts the bullets. [MICHAEL] Just tried to give him a message. (beat) Five bullets, four of them. We've only got one message left. ANGLE ON TINY He edges around a building, peers ahead, silently continues. ANGLE ON HAROLD T. He moves cautiously forward. ANGLE ON TERRANCE He appears from inside a building, starts out. Michael steps from nowhere and crowns him with an old bandana filled with rocks. OMITTED ANGLE ON HAROLD T. He pauses to listen. ANGLE ON TINY He pauses to listen. ANGLE ON TERRANCE He falls against the building, making noise. OMITTED INTERCUT - HAROLD T. He reacts to the sound. [HAROLD T.] Tiny? INTERCUT - TINY The next building over. [TINY] Yeah? [HAROLD T.] Get the car. I know where they are. Harold T. looks across the street, aims. OMITTED ANGLE ON MICHAEL AND NICOLE A bullet crashes through an old window, narrowly missing Nicole. Michael grabs her and pulls her down. [MICHAEL] He's got us pinned down. [NICOLE] What's wrong? [MICHAEL] There's nowhere left to run. We're in the last store. They hear the sound of a car. Michael finds another window, cautiously looks. HIS POINT OF VIEW - UP THE STREET at the far end of town, is the white Cadillac, Tiny at the wheel. [HAROLD T.'S VOICE] (hollars) They're in the last store. Drive the car right into it! [NICOLE] Michael, what are we going to do? The sound of the Cadillac approaching. INTERCUT - CADILLAC It starts down the street. INTERCUT - HAROLD T. He waits, poised, shotgun ready. MICHAEL AND NICOLE Michael takes her hand, ready to sprint and take the chance when he hears a familiar sound: K.I.T.T.'s turbos. ANGLE ON HAROLD T. K.I.T.T. crashes through the building, airborne, bringing a rain of boards and debris on Harold T. He collapses, half-buried. ANGLE ON STREET K.I.T.T. lands, brakes to a stop. His turbos snarl. REVERSE ANGLE The white Cad faces him. Tiny guns the engine, drops it in drive. K.I.T.T. shoots forward. DIFFERENT ANGLES The cars come closer, closer.... INTERCUT - MICHAEL AND NICOLE They watch. THE TWO CARS At the last moment, Tiny swerves the wheel. The Cadillac crashes to a stop, Tiny slumped behind the wheel. ANGLE ON STORE Michael and Nicole come running out, toward K.I.T.T. [HAROLD T.'S VOICE] Knight! ANOTHER ANGLE Harold T. comes out of the debris like an apparition. He charges Michael in a fury. SEVERAL ANGLES - THE FIGHT They stand in the middle of the street, trading punches, and it could be a hundred years ago. They both land hard punches, but Michael lands a combination that staggers Harold T. Then one good right puts him down. Michael gasps, gets his air. [MICHAEL] (to K.I.T.T.) How's Natalie? [K.I.T.T.] Safe and sound with Devon in Long Pine. [NICOLE] (stares) The car...talks? [MICHAEL] The car talks. I'd explain it, but it's kind of like your relationship with your father. Very complicated. [NICOLE] But not impossible. [MICHAEL] (smiles) No, not impossible. Hey, hitchhiker. Want a lift? She laughs. Michael holds out his hand. LOW ANGLE She takes his hand and they walk away from camera, toward K.I.T.T. [K.I.T.T.] I certainly hope this means no more police impound for a while, Michael. FADE OUT END OF ACT FOUR TAG FADE IN EXT. WEXLEY HOUSE - DAY K.I.T.T. is parked in front along with Devon's car. The front door opens and Natalie leads Bonnie and Devon out. [NATALIE] ...and it drives by itself and it talks. [DEVON] A car that talks? [BONNIE] And drives by itself? That's pretty hard to believe. [NATALIE] He doesn't like to talk in front of adults, but maybe he will for me. They laugh, follow her to K.I.T.T. Michael, Nicole and Wexley come out, pause in front. [MICHAEL] If I never see Long Pine again, it'll be too soon. Thanks for your help. [NICOLE] I'm sorry I made you work so hard to get it. [MICHAEL] You had other things on your mind. They smile. [MICHAEL] The last time I saw you two together here I felt like a referee in a street fight. They laugh, glance at each other. [WEXLEY] She's too tough for me. I quit. [NICOLE] Me, too. (to Michael) Does that mean we lose a good referee? Michael smiles. She puts her arms around him and hugs him tightly. ANGLE FROM K.I.T.T. Natalie is with Devon and Bonnie as Michael comes over. [NATALIE] Come on, Kitt, say something. Please? [BONNIE] Maybe he's not smart enough to talk. [DEVON] Yes, perhaps that's the problem. Pity. Michael climbs in, starts the engine. Devon and Bonnie ad-lib good-bye to Natalie, start toward Devon's car. [K.I.T.T.] Good-bye, Natalie. [NATALIE] He talked! Devon and Bonnie ad-lib exclamations. From Natalie's happy face: LONG SHOT The Trans Am pulls out, heading into camera. FADE OUT THE END

{"show": "Knight Rider", "season": "s01", "episode": "e21", "title": "Short Notice"}

knightriderarchives

ACT ONE FADE IN EXT. DESERT - NIGHT A coyote howls. Nothing moves for miles. A section of deserted two-lane road angles by, dotted by chuckholes, cracked by desert scrub that rushes to life in the early spring and then fights to stay alive the rest of the year. From somewhere behind there's a noise, the sound of vehicles approaching. REVERSE ANGLE - HEADLIGHTS stab at the night as a small caravan of cars approach, two windowless vans followed by a long black limo. The limo stops a short distance from the two-lane road, parks, engine running. The vans reach the road and separate, one on either side, as dark men in military-style jumpsuits hang from the van and drop electronic aviation lights. In less than a minute they have marked off a hundred yards of concrete suitable for landing. ANGLE ON LIMO It waits off by itself, dark and mysterious. "Sympathy for the Devil" wafts across the desert night from a five thousand dollar car stereo. One of the smoked rear windows lowers and we see what appears to be a lone man in the backseat, sipping Napoleon cognac. A thin cigar glows red in the darkness. ANGLE BACK INTO DESERT A strange object appears, a head and shoulders, gliding silently along the top of a ridge. Then we hear the faint sound of a two-stroke engine and we recognize it's a figure on a motorcycle, a dirt bike. The rider, whom we'll later identify as Ron Wilcox, cuts the engine and coasts to a silent stop. POINT OF VIEW - THE LIMO AND THE LANDING LIGHTS BEYOND - BACK TO RON WILCOX He has an expensive camera around his neck. He climbs off the bike, and starts forward, closer to the limo and the lights. Hearing something above, and away, Ron pauses, watching. ANOTHER ANGLE Approaching over a rim of low sawtooth mountains is the dark shape of a big C-140 cargo plane. ANGLE ON COMBAT TROOPS They have become an efficient ground crew. A black lieutenant functions as ATC, using a battery-operated ground-to-air system. ANGLE ON LIMO The mysterious figure waits, handsome face still buried in shadow. The C-140 passes overhead, circling in for a landing. ANGLE ON RON WILCOX He rises to snap a photo of the plane. ANGLE ON LIMO The man inside notices something in one of the mirrors, a momentary flash, a movement, a reflection. He stubs out his cigar. ANGLE ON THE MAKESHIFT RUNWAY The C-140 touches down and lumbers toward us. INTERCUT - COMBAT TROOPS They prepare to off-load the contents. INTERCUT - RON WILCOX He edges forward, taking photos, as the plane comes to a stop seventy-five yards away. ANGLE AT C-140 The huge belly opens up and half a dozen soldiers ascend into the cargo hold. The lieutenant barks orders in an African language. For that matter we are, conceivably, in Africa. It's hard to say. ANOTHER ANGLE Shooting up into the darknesss of the huge cargo hold as powerful diesel engines come to life. Then headlights. Then an enormous blunt snout emerges, chrome and black lacquer, and the oversized, specially modified truck and trailer descend. It is the centerpiece of a major undertaking. It's known simply as Goliath. ANGLE ON RON WILCOX He scurries forward to another outcropping of rock or brush, uses it for cover, pauses to snap off more photos. HIS POINT-OF-VIEW - THROUGH CAMERA several shots clicked off of Goliath. Now something foreign comes into the field of vision, out of focus. Focus adjusts and we see the object in question is the figure of a man. ANGLE ON RON WILCOX He drops the camera and stares. HIS POINT OF VIEW - THE MAN standing ten feet away, facing him, is the man from the limousine. He is tall and lean, wears a tuxedo and carries a black diamond-studded cane. He also wears a discreet diamond stud in his left ear. He moves with the grace of a panther. Except for minor cosmetic differences, the man is a dead-ringer for Michael Knight. The reason isn't coinci- dental. He is the late Wilton Knight's only son, Garthe. ANOTHER ANGLE - RON WILCOX runs for his life. REVERSE ANGLE Goliath rumbles toward him, massive and inescapable. Ron Wilcox turns back to face Garthe, trapped. ANGLE ON GARTHE He twists his antique cane and reveals a .38 steel barrel. He raises it and fires. CUT TO DIFFERENT ANGLE - LATER Lead by the limousine, flanked by the vans, Goliath lumbers by. Camera pulls back and up and we see a cluster of bright lights five or ten miles away. Camera zooms in toward the lights, and in light of what's just happened, it's strange to see the town is actually Las Vegas, Nevada. CUT TO EXT. DESERT HIGHWAY - DAY - THE TRANS AM appears, loafing along about seventy. INT. K.I.T.T. - DAY Michael is relaxed and enjoying himself despite some long hours behind the wheel. They pass gaudy signs advertising various casinos and clubs. [K.I.T.T.] Disgusting. [MICHAEL] I thought you liked the desert. [K.I.T.T.] I'm referring to those half-naked young ladies. Correction. Make that three-quarters naked. Michael, I've searched my data banks and memory cells thoroughly. I can't find one redeeming quality about gambling. [MICHAEL] How about young ladies? [K.I.T.T.] I'm quite serious. [MICHAEL] Don't be so serious, Kitt. Lighten up. Relax. Roll the dice of life. [K.I.T.T.] If that's a joke, I don't find it amusing. The comlink to the Foundation blinks. Michael smiles, punches Devon in on the monitor. INTERCUT DEVON AND APRIL ON MONITOR - DEVON'S OFFICE April cross-checks programs on the computer while Devon talks. [DEVON] Hello, Michael. I see you're already in the spirit of things. [MICHAEL] Gotta talk to April about loosening Kitt up a little. What's up? [DEVON] Since you'll be going through Las Vegas anyway, I want you to check someone out for me. Her name is Rita Wilcox. She works at the Royal Flush on the Strip. [MICHAEL] What are you looking for? [DEVON] Just your impressions. She tells a provocative but fantastic tale about a missing brother. It may be nothing. [MICHAEL] I'll see what she has to say. With any luck I should be in by ten or ten thirty tonight. Ad-lib good-byes and Michael switches off the monitor. Stay with: DEVON AND APRIL He switches off his end. April glances over. [APRIL] You won't be here. [DEVON] I beg your pardon? [APRIL] Here. At ten or ten thirty. (to Devon's blank look) Your date tonight. Devon looks embarrassed, slightly annoyed. He busies himself with some paperwork. [DEVON] For your information the liaison in question is not a 'date,' it's...an appointment. [APRIL] Devon, she's a beautiful woman. [DEVON] She is the former spouse of Wilton Knight who, as you recall, created and continues to fund the Foundation for which we both work. [APRIL] I recall. [DEVON] Good. (beat) Incidentally, you're quite right. (to April's blank look) She is a beautiful woman. CUT TO EXT. LAS VEGAS STRIP - NIGHT K.I.T.T. drives by, turns into the entrance of a major hotel. INT. CASINO - NIGHT Various shots of gambling, people, faces, agony and ecstacy. ANGLE AT THE BLACKJACK TABLE A beautiful girl in her twenties deals cards to a lone player at a five dollar table. She is Rita Wilcox. The single player gestures for a card, gets one, goes bust. [MICHAEL'S VOICE] I feel lucky. The player shoots him a sour look and leaves with one chip, his last. Michael smiles at Rita, sits down and puts out a five dollar chip. She gives him a searching, curious look which we'll later understand. [MICHAEL] I feel lucky I'm not him. Rita smiles, deals. A little eye contact. [RITA] Cards? [MICHAEL] Blackjack. He turns over an ace to go with the ten. A passerby also stares at him. [RITA] This must be your lucky night. [MICHAEL] We'll see. She pays him, smiles, assumes he's flirting. [MICHAEL] I'm Michael Knight. Devon Miles from the Foundation sent me. Her reaction is instantaneous: fear. [RITA] (sotto voce) I said not to send anyone here. I can't talk here. [MICHAEL] Where? [RITA] I get off at midnight. CUT TO INT. HOTEL SUITE - NIGHT A tastefully furnished suite somewhere in the heart of another city. The doorbell chimes and a beautiful, elegant woman in her late forties appears, crosses to answer it as she puts on her earrings. She is Elizabeth Knight. She opens the door. [ELIZABETH] Devon! Devon enters, smiling, dressed for an evening out. He hands her a little gift, flowers or something agreeable. [DEVON] It's so good to see you, Elizabeth. They ad-lib greetings, holding each other's hands. Elizabeth is an engaging woman, formidable in her charm, and Devon is spared none of it. [ELIZABETH] You look absolutely wonderful! Come in, please. ANOTHER ANGLE They enter the living room, drift toward a wet bar that's banked by a view of the city: [DEVON] I believe you used to say 'living well is the best revenge.' [ELIZABETH] Nonsense. There is no revenge. It's a nasty job but somebody's got to do it. Gin and tonic? [DEVON] Thanks. She lingers on the eye contact between them. It's Devon who discreetly turns his attention elsewhere. [DEVON] I'm so pleased you phoned. It's been what...three years? [ELIZABETH] Three years and four months. [DEVON] (smiles) But who's counting. [ELIZABETH] I am. She brings him his gin and tonic, meets his eyes very directly. [ELIZABETH] I'm not telling you anything you don't already know...I was always strongly attracted to you. You knew it. So did Wilton. That's why the Foundation saw so little of me. She sees Devon is refraining from saying something. [ELIZABETH] Oh I know what you're thinking, all those pretty young boys -- but they were only friends. Surely you knew that. [DEVON] (beat) Elizabeth, what do you want? She crosses away, smiling back at him provocatively. [ELIZABETH] Devon, you should know better. When Sigmund Freud was dying his students gathered 'round and asked him if there was one question his work hadn't answered. He replied, 'What a woman really wants.' [DEVON] There's no need to be coy. [ELIZABETH] And there's no need to rush. The future is still the future. It will reveal itself when it chooses. She smiles, pours herself a drink. CUT TO EXT. LAS VEGAS STRIP - NIGHT The Trans Am appears, turns down an intersecting street away from the Strip. [RITA'S VOICE] ...I was going to be a singer and Ron was a pianist. He played everything.... INT. TRANS AM - NIGHT Michael and Rita drive toward her apartment. [RITA] ...classical, blue-grass, electric rock...anyway, when we ran out of money we stopped here, and I got a job dealing Twenty-One at the club. The next thing I knew this mysterious man -- he looks so much like you I can't believe it -- he wouldn't leave me alone. Flowers everyday. Gifts. One of the gifts was a job for Ron. [MICHAEL] The plot thickens. [RITA] I suppose. I sure didn't see it at the time.... EXT. RITA'S APARTMENT - NIGHT The Trans Am parks and they get out. [RITA'S VOICE] ...so Ron did odd jobs for him. It all began very innocently. [MICHAEL] What's his name? [RITA] Garthe. With an 'e.' He's very particular about the 'e.' [MICHAEL] Is that his first name or his last? [RITA] Believe it or not, I don't know. He's very secretive. And despite the fact he's buying up half the town, you never see his picture in the paper. You never see him on TV. He's like a ghost. [MICHAEL] I'm intrigued. [RITA] So was I. So was Ron. (opens front door) Too intrigued, I'm afraid.... INT. ELIZABETH'S HOTEL SUITE - NIGHT A waiter finishes the last touches of serving a fine dinner on china, linen and silver. [ELIZABETH] ...and the Romans were in the habit of poisoning one another at dinner. Thank you, Charles. He bows and leaves. [ELIZABETH] Well? [DEVON] Well what? [ELIZABETH] Don't you think it's a rather peculiar topic of conversation for the good doctor to choose -- particularly when his poor wife turned up poisoned to death three days later? Devon is charmed by her. The candles on the table send soft shadows dancing across her face. [DEVON] I think it's exceedingly peculiar. And if I were his wife I'd never trust him to tea again. She laughs, gives him a scolding feminine look. It's got heat behind it, and Devon is undecided as to how to respond. Actually he's rather perplexed by the entire evening so far. [DEVON] To be quite honest, Elizabeth, I'm having a wonderful time despite a nagging certainty you've an ulterior motive tucked away in the folds of the evening's spectacles. [ELIZABETH] (smiles) 'Spectacles,' Devon? How red-blooded. [DEVON] Don't mock me, Elizabeth. [ELIZABETH] I came here to praise Caesar, not to mock him. Would you be a love Devon and open the patio doors? It's stuffy in here, don't you think? As Devon crosses to open French doors, Elizabeth deftly removes a tiny vial tucked into her bra and drops a thimbleful of amber liquid into his wine. [DEVON] How do they know she was poisoned to death? [ELIZABETH] Who? [DEVON] The doctor's wife. [ELIZABETH] They don't. That's the difficulty with good poison -- it's so desper- ately hard to prove. CUT TO INT. RITA'S APARTMENT - NIGHT Camera slowly pans the small one-bedroom apartment. [RITA'S VOICE] ...and we went out twice. A limo to pick me up. Carte blanche at the hotel's shops. The works. Camera reaches Michael and Rita at the coffee table, a college yearbook and old photos spread between beer, soft drinks and onion dip. [MICHAEL] What happened? [RITA] I've always believed in love and romance -- pretty much in that order. Garthe made it clear he didn't. He prefers to buy what he wants. Michael nods, makes a note. Eats chips and dip. He picks up a key from the table, looks at it thoughtfully. [MICHAEL] So Ron got suspicious of Garthe ...whatever he found out or over- heard went into a tape recorder... and the tapes were hidden in whatever locker this key fits.... [RITA] (nods) I know it's not much to go on, but it's all I have. [MICHAEL] I'll see what I can do. No promises. He gets to his feet. She holds out her hand for help up and he gives it, her face coming up to his. The fact they're attracted is obvious to both of them. [RITA] Do you know what antithesis means? [MICHAEL] It was on last month's Power Vocabulary Builder. [RITA] I'm serious. You're the antithesis of him. Be careful. I have a strange feeling.... [MICHAEL] What? [RITA] That he won't like you. CUT TO INT. ELIZABETH'S SUITE - NIGHT Devon and Elizabeth sit across from one another, eating. [ELIZABETH] ...and then, one night at the Insberg, in front of the entire Norwegian ski team he proposed a toast to...Devon? Devon doesn't move, for a moment frozen, staring at his plate. [ELIZABETH] Are you all right? Devon? He struggles to look up at her, tries to speak and falls face first in the entrée. Elizabeth very carefully folds her napkin. [ELIZABETH] Good. She rises and moves to where he slumps, unconscious. [ELIZABETH] Now we shall begin...Think back, Devon, back to when Wilton was developing the car...the Knight Industries 2000.... CUT TO EXT. LAS VEGAS - DAY The Trans Am moves through town. It's early morning and the streets are quiet. [K.I.T.T.'S VOICE] Aren't you going to tell me? [MICHAEL'S VOICE] There's nothing to tell. INT. K.I.T.T. - DAY Michael drives. [K.I.T.T.] According to my research, that's the first thing gamblers say when they lose. [MICHAEL] Kitt, I wouldn't lie to you. I didn't lose. [K.I.T.T.] That's the second. [MICHAEL] I wish your 'research' had less on gambling and more on keys. [K.I.T.T.] Michael, blank stock is extremely difficult to trace. (lights flash) April's calling. [MICHAEL] Saved by the bell. He pushes buttons. April comes on the monitor. INTERCUT - APRIL She looks worried. [APRIL] Michael, you've got to come back right away --- [MICHAEL] Why, what's wrong? [APRIL] It's Devon. I'm worried about him. He went out with an old friend last night and.... [MICHAEL] And what? Is he there? [APRIL] He's in the study with Doctor Alpert. I don't know what's wrong with him. He came in late and slept until noon. It took him half an hour to wake up and --- She breaks off as Dr. Alpert, the Foundation Doctor, steps in. [ALPERT] Excuse me, but Devon wants you to get a message to Michael as soon as possible. [APRIL] He's on the monitor. Alpert glances a trifle suspiciously at the mobile camera. [ALPERT] I hate these things. Michael, is that you? [MICHAEL] It's me, Doc. What's the message? [ALPERT] Devon wants you to return immediately. [MICHAEL] I'll have to drop the case he asked me to look into.... [ALPERT] Michael, whatever it is, drop it. Devon was poisoned last night. CUT TO EXT. CASINO PARKING LOT - DAY The Trans Am pulls in fast, brakes to a stop. Michael jumps out and crosses for the entrance. INT. CASINO - DAY Rita and several other Twenty-One dealers are crossing toward the tables to begin their shifts. Michael inter- cepts Rita. Several of the other girls stare at him, amazed. [MICHAEL] Glad I caught you --- [RITA] Did you find the locker? [MICHAEL] Not yet. I'll have to postpone it for a day or two -- something's come up that can't wait. [RITA] (disappointed) You mean...that's it? Sorry, but what happened to Ron just doesn't measure up in global importance? [MICHAEL] Rita, I'll come back, I'll find out what happened to...Rita. She is gone, ignoring him. He sighs, no time to explain. He starts back for the entrance, notes a commotion at the door. People gather, pause to stare and whisper, nudge one another. MICHAEL'S POINT OF VIEW Sweeping through the entryway, surrounded by onlookers, flanked by several black security men (actually combat soldiers out of uniform) are a man and a woman. The woman we recognize as Elizabeth. The man we have seen also. It's Garthe. Michael stares at him, struck by the resemblance. FADE OUT END OF ACT ONE ACT TWO FADE IN EXT. FOUNDATION - DAY - TO ESTABLISH [MICHAEL'S VOICE] You're sure he's okay to travel? INT. DEVON'S OFFICE - DAY Devon, packed, finishes a detail or two at his desk. Michael, April and Dr. Alpert are ready to go. [DEVON] Michael, will you please stop annoy- ing Doctor Alpert? He's assured me I'm in excellent condition. [APRIL] In all fairness, Devon, he didn't say that. [DEVON] Words to that effect. Alpert looks from April to Michael, shrugs as if to say what can I do? They ad-lib good-byes and thanks and April sees Alpert to his car. [MICHAEL] All right, he's gone. Now I want to know what's going on. I see this mysterious Garthe Knight in Las Vegas with his mother. You haven't stopped moving since I got back, you and April are on your way to Brazil to visit an old friend --- [DEVON] Michael, I'll explain it all on the way to the airport. What it boils down to, I'm afraid, is that Garthe Knight, Wilton's only son, has some- how been resurrected from three consecutive life sentences in Africa. He's returned. Accompanied by his mother, Elizabeth. They're after the formula. [MICHAEL] What 'formula'? [DEVON] (piqued) How many formulas are you aware of? [MICHAEL] (realizes) Are you talking about Kitt's Molecular Bonded Shell? [DEVON] Precisely. (opens door) Coming? CUT TO EXT. PRIVATE AIRSTRIP - DAY Pan from the Foundation jet, being prepared for the trip, to a sedan as it pulls up and stops. The chauffeur opens doors, then begins loading the luggage onto the plane. ANGLE ON MICHAEL, DEVON AND APRIL as they cross to the waiting plane. [DEVON] ...and after Wilton perfected it, he came up with a rather ingenious method of keeping it accessible but private. [MICHAEL] So it could be reproduced for Kitt but no one else. [DEVON] Exactly. You can imagine a shell as invulnerable as Kitt's in the hands of the wrong people. So Wilton divided the formula into three distinct elements and entrusted two of the elements to each of three hand-picked people. [MICHAEL] In other words any two of the three people could put their elements together and have the formula. [APRIL] But one alone couldn't. [DEVON] Precisely. [MICHAEL] And you're worried about the other two. As they reach the plane and the copilot helps April aboard, Devon pauses to face Michael. [DEVON] No. Only one. The third party is alive and well in Switzerland. But the other man, Doctor Karl Elliott, is vacationing in Rio de Janiero. The problem is no one at his hotel has seen him since Tuesday. [MICHAEL] But you said that one man alone couldn't reproduce the formula. [DEVON] Yes. I'm the second man, Michael. [MICHAEL] (beat) You? [DEVON] As you know I had dinner with Elizabeth Knight. I was drugged. Poisoned. Doctor Alpert identified the poison as a rare extract from the African gum tree called oluta.... [MICHAEL] Devon, you survived. [DEVON] Yes, I survived. The question is -- did the formula? Oluta is used by the natives as a truth serum. It's said to be more effective than sodium pentothol. It registers. Ad-lib good-byes and Devon joins April aboard the plane. Michael watches as it taxis down the runway and lifts into the sky. CUT TO EXT. FOUNDATION - DAY The sedan pulls up and Michael jumps out, heads directly for K.I.T.T., jumps in and, in a squeal of rubber, is gone. CUT TO EXT. HIGHWAY - DAY The Trans Am heads back across the desert for Las Vegas. [MICHAEL'S VOICE] That's all there is? INT. TRANS AM - DAY Michael looks at the monitor, disappointed. [K.I.T.T.] That's all I have, Michael. [MICHAEL] Devon's depending on us, Kitt. Interface with Centra-Comp, Kitt. Garthe was sentenced to three consecutive life sentences in Africa and all you show is a prep school biography. [K.I.T.T.] I beg your pardon. This is not a 'prep school biography.' (beat) Did you say three consecutive life sentences? [MICHAEL] That's right. [K.I.T.T.] My creator's son? [MICHAEL] One in the same. [K.I.T.T.] How...difficult for a man like Wilton Knight. What's he suspected of doing? [MICHAEL] Stealing the formula for your Molecular Bonded Shell. [K.I.T.T.] (shocked) Michael, my shell is an exclusive. [MICHAEL] Let's hope it stays that way. [K.I.T.T.] (beat) I had no idea how serious this was. CUT TO OMITTED EXT. LAS VEGAS - DAY The Trans Am drives along the Strip. EXT. RITA'S APARTMENT - DAY The Trans Am parks in front and Michael gets out. CUT TO ANGLE AT RITA'S DOOR Michael knocks, waits. The door opens and a Woman with a red bandana and painter's coveralls regards him. [WOMAN] Yeah? [MICHAEL] I'm...looking for Rita -- Rita Wilcox. [WOMAN] She moved out. [MICHAEL] When? She was here yesterday. [WOMAN] This is Las Vegas, mister. Yesterday, last year...gone is gone, you know? [MICHAEL] Did she leave a forwarding address? [WOMAN] When they move that fast they never do. CUT TO EXT. RITA'S APARTMENT - DAY - MICHAEL crosses to K.I.T.T., climbs in and pulls away. Pan down the block to where two men in a sedan, watching; discreetly begin to follow. INT. K.I.T.T. - DAY as Michael drives. [K.I.T.T.] I thought you said she was broke. [MICHAEL] That's what she told me. [K.I.T.T.] And dedicated to finding her brother. [MICHAEL] Ditto. [K.I.T.T.] Puzzling. [MICHAEL] My thoughts exactly. All right, Kitt, back to the key. [K.I.T.T.] Michael, blank stock is --- [MICHAEL] Kitt, I know all about blank stock. I don't care how difficult it is, how long it takes, finding those tapes is the one clue we've got. [K.I.T.T.] Very well. Lights flash and blink as K.I.T.T.'s computers go to work. EXT. STREETS - DAY - THE TRANS AM proceeds through town, carefully followed by the two men in the sedan. EXT. RIO INTERNATIONAL AIRPORT - DAY - STOCK Private and commercial jets arrive and depart. EXT. RIO DE JANIERO - DAY - STOCK Several shots to establish the feel of the city. INT. EXCLUSIVE HOTEL - DAY Several guests register, check for mail, etc. Pan to the entrance as Devon and April enter, cross to the desk. [CLERK] (Portugese accent) May I help you? [DEVON] Yes, I'd like to speak with a regis- tered guest, Doctor Karl Elliott. [CLERK] (checks) I can ring him, but Doctor Elliott left instructions not to be dis- turbed. [DEVON] I have reason to believe Doctor Elliott may be the victim of foul play. I want to check his room. [CLERK] (beat) You are...? [DEVON] Devon Miles, a personal friend. [CLERK] I must check first with the manager. [DEVON] Please hurry. INT. HOTEL SUITE - DAY The room is dark. The sound of a key in the door and it opens, the Clerk turning on the light. Devon and April react. THEIR POINT OF VIEW - DR. KARL ELLIOTT lies on the floor where he collapsed. ANOTHER ANGLE - DEVON AND APRIL rush into the room. April strips open Elliott's shirt and begins emergency CPR treatment over: [DEVON] (to Clerk) Find the nearest hospital with facilities for treating exotic poisons. [CLERK] Poison -- ? [DEVON] Quick! Devon joins April over Dr. Elliott's body. Her work slows, stops. Devon looks at her. She shakes her head. [DEVON] You're quite sure? [APRIL] (nods) He's been dead for at least several hours. A silent moment as Devon accepts it. Karl Elliott was an old friend, a good friend. [DEVON] (to Clerk) Never mind. [CLERK] (hopefully) He will...be all right? [DEVON] He's dead. He crosses to the Clerk, shows him a snapshot. [DEVON] Have you ever seen this woman? [CLERK] (looks) Yes. That's Doctor Elliott's com- panion. [DEVON] 'Companion'? She was here with him? [CLERK] For two days. Devon and April exchange a look and we see: THE PHOTO It's of Elizabeth Knight. CUT TO OMITTED EXT. LAS VEGAS STREET - DAY as K.I.T.T. passes. [K.I.T.T.'S VOICE] Michael, I think I may have something. INT. K.I.T.T. - DAY - MICHAEL reacts, glances at the monitor. [K.I.T.T.] The particular tumbler configuration of this key was used on a brand of lock designed principally for lockers --- [MICHAEL] I know that, Kitt. That's what Rita said. [K.I.T.T.] Please let me finish. [MICHAEL] Sorry. [K.I.T.T.] I've cross-checked building permits and dates of construction for every commercial installation of said locker, and it boils down to two locations. [MICHAEL] All right. Where first? [K.I.T.T.] Take your pick. One is a bowling alley on Desert Drive and the other is a bus depot on Third. [MICHAEL] Let's try the bus depot. EXT. STREET - DAY - THE TRANS AM does a 180 and heads back the opposite way. The sedan reacts, makes a U-turn and follows. CUT TO INT. BUS DEPOT - DAY - MICHAEL enters, looks at the rows of lockers, shrugs. A little more than he bargained for. He starts at number one, first row. EXT. PARKING LOT - DAY K.I.T.T.'s scanner picks up the sedan as it pulls in and two men get out. ANGLE ON MICHAEL halfway down the first row of lockers. The comlink buzzes. [MICHAEL] (sotto voce) Yeah, Kitt. [K.I.T.T.] I believe someone has been following us. [MICHAEL] No one even knows we're in town. [K.I.T.T.] I suspect the two men who just entered the bus depot do. Michael, continuing his key/lock search as he talks, is about to respond when the key fits the locker he tries. [MICHAEL] Thanks, Kitt, but we're in luck. He opens the locker and removes a sports sac. He unzips it, peers inside: it contains half a dozen cassette tapes. He zips it up and closes the locker door. [MAN'S VOICE] I'll take that. Michael starts to turn but feels a large calibre pistol in his ribs. FREEZE FRAME AND FADE OUT END OF ACT TWO ACT THREE FADE IN EXT. BUS DEPOT - DAY The two men, Biggs and Statton, come running out, Biggs with the tape bag. INT. DEPOT - DAY Michael darts around people, runs for the exit. [MICHAEL] (comlink) Kitt! Meet me at the rear exit. ANGLE ON K.I.T.T.'S DASH It comes to life; the gear shift flies into reverse and the accelerator is depressed. ANGLE ON SEDAN Biggs and Statton leap in and peel away. ANGLE ON REAR EXIT K.I.T.T. speeds up and broadslides to a stop, door flying open, as Michael comes running out. He leaps in and with a squeal of tires leaves in pursuit. EXT. CITY STREETS - DAY The sedan speeds by, passing cars and terrifying pedestrians. ANOTHER ANGLE K.I.T.T. dodges traffic, a block and a half behind. ANGLE IN K.I.T.T. as Michael drives, intent. [K.I.T.T.] Perhaps next time you'll heed my warnings. [MICHAEL] Be glad to, buddy -- with a little head start --- [K.I.T.T.] Michael, look out! HIS POINT OF VIEW - A TRUCK pulls out, creating a narrow corridor between isles of traffic. ANGLE ON MICHAEL He punches buttons. ANGLE FROM STREET K.I.T.T. two-wheels through the corridor. ANGLE IN SEDAN Biggs glances in the rearview mirror, reacts. HIS POINT OF VIEW - K.I.T.T. threads his way between the cars, gaining on the sedan. ANGLE FROM STREET The sedan overreacts, cranks an abrupt left, skids out of control and crashes into a parked car. ANGLE ON K.I.T.T. He comes around the corner, slows. ANOTHER ANGLE Biggs and Statton jump out of the sedan as it explodes in a ball of flame. Pedestrians scatter. Cars swerve out of the way. Confusion and pandemonium. ANGLE ON BIGGS AND STATTON They sprint down the street. ANGLE ON MICHAEL as K.I.T.T. skids to a stop. [K.I.T.T.] Michael, they're getting away! [MICHAEL] Where are the tapes? K.I.T.T.'s scanner flashes. [K.I.T.T.] They're still in the car. Michael jumps out. ANGLE ON BURNING CAR Michael takes off his jacket as he runs, wraps it around his arms as a shield and yanks open the sedan's door. INTERCUT - K.I.T.T. His instruments monitor the fire. [K.I.T.T.] Michael, the other gas tank will explode within five seconds! ANGLE ON MICHAEL He emerges from the burning car with the tape bag, sprints for K.I.T.T. [K.I.T.T.'S VOICE] (comlink) Michael, hit the dirt! As Michael obeys, diving for the pavement, K.I.T.T. self- activates and drives over him, stopping just as the second tank explodes. K.I.T.T. is rocked by the impact. [K.I.T.T.] Michael, are you intact? [MICHAEL] (under K.I.T.T.) Intact, pal. Thanks. CUT TO EXT. AFRICAN CITY - DAY - STOCK - TO ESTABLISH EXT. AIRPORT - DAY - THE F.L.A.G. JET - STOCK touches down. EXT. CITY STREETS - DAY - STOCK A taxi pushes through the crowded streets. INT. GOVERNMENT OUTER OFFICE - DAY Large, formal, Colonial in appearance. Devon and April wait. Double doors open and an immaculately uniformed black Charges d'Affairs enters, bows. [CHARGES D'AFFAIRS] I have briefed His Excellency on the nature and importance of your visit. He will see you now. [DEVON] Thank you. They rise and follow. INT. GOVERNMENT OFFICE - DAY His Excellency, a large black man dressed in a combination of Western and native clothing, rises to greet them as they enter. [CHARGES D'AFFAIRS] His Excellency, may I present Mr. Devon Miles and Miss April Curtis. Ad-lib hellos and handshakes. His Excellency appreciates a little decolletage and a glimpse of leg. He is charming and amiable. [HIS EXCELLENCY] Sit. Please. (paces, thoughtful) What do you know about Garthe Knight's 'activities,' shall we say, in my country? [DEVON] Only what I've picked up from various unofficial sources. [HIS EXCELLENCY] Unofficial? [DEVON] Official sources regarding the... internal configurations of your country are somewhat hard to come by. His Excellency laughs explosively, taking Devon and April somewhat aback. [HIS EXCELLENCY] Ah, you English and your love of language. And subtlety. I've learned much from you. (beat) Yes, somewhat hard to come by indeed. I'll be frank. Garthe Knight entered this country in October of 1977. He bought up rights and options on a vast quantity of diamond mines which had been declared inoperable for reasons of safety. He then proceeded to hire slave labor from a neighboring country to work the mines. Less than a month after commencing work, one of the mines collapsed and buried forty- nine men alive. None survived. [DEVON] I assume that's when he was arrested. [HIS EXCELLENCY] Arrested and sentenced to three con- secutive life sentences. [DEVON] Which he somehow managed to have abrogated. [HIS EXCELLENCY] Abrogated? Not unless that is an English euphemism for bribery, black- mail and seduction. [DEVON] No, it's not. [APRIL] How did Garthe accomplish all this in prison? [HIS EXCELLENCY] He had help. Specifically, his mother. A true black widow. Devon and April exchange a look. [DEVON] Your Excellency, Garthe Knight is presently in the United States. He has an apparently inexhaustible supply of money and ambitious plans -- as yet unknown. Do you have any idea what he has in mind? [HIS EXCELLENCY] I have my suspicions. He and Kuna are halves of a whole. [DEVON] Do you mean Tsombe Kuna, the revolutionary? [HIS EXCELLENCY] Revolutionary?! Anarchist, murderer. Demagogue. [APRIL] What's the relationship between Garthe and Tsombe Kuna? [HIS EXCELLENCY] They're partners. Business and political. They met in prison while Kuna was forming his so-called Pan- African Liberation Movement. It was a perfect match up -- Garthe Knight had the diamond leases and Kuna had tens of thousands of religious followers who would walk off the edge of the world if he commanded. Instead he commanded they walk into those diamond mines, and they did. (beat) We estimate that Garthe Knight and Tsombe Kuna mined over fifty million dollars worth of diamonds before they left. On Devon and April's reaction: CUT TO OMITTED EXT. LAS VEGAS - DAY K.I.T.T. drives toward the Strip. [K.I.T.T.] Michael, I think my Rapid Thought Analyzer may have something on the tapes. INT. K.I.T.T. - DAY Michael drives. [MICHAEL] Shoot. [K.I.T.T.] The name 'Red Bluff' seems to have a particular but undefined significance. [MICHAEL] Red Bluff...is it a location? [K.I.T.T.] It appears to be. [MICHAEL] (hits buttons) Let's check it out. A map of Nevada appears on the monitor. K.I.T.T.'s instru- ments process names. [K.I.T.T.] It's not a city or town. [MICHAEL] Try mountains, parks, geographical areas. Computer lights flash. [K.I.T.T.] Nothing, I'm afraid. [MICHAEL] Strange. I wonder if Rita could shed some light. [K.I.T.T.] I thought she'd disappeared. [MICHAEL] She did. But maybe someone at the casino knows where she is. CUT TO INT. CASINO - DAY Michael is talking to a pretty Twenty-One Dealer. [MICHAEL] She moved. Didn't leave a forwarding address. [TWENTY-ONE DEALER] People in Vegas never do. She smiles, points to a beautiful young woman in high-style clothes seated at a Blackjack table. Her back is to us. [TWENTY-ONE DEALER] Be careful. She smiles enigmatically, leaves. Michael still can't quite believe this young woman in expensive clothes is Rita. He moves toward her. REVERSE ANGLE FEATURING RITA as Michael approaches from behind. In addition to new chic clothes, her hair is different, her manner, her ambiance. She looks like a different woman. She is at a $20 minimum table, four or five thousand worth of chips in front of her. She looks bored. [MICHAEL] You were right.... She intends to ignore the voice, recognizes it, turns to see Michael. She appears indifferent. The dealer looks at Michael, blinks in disbelief. [RITA] About what? Michael sits down, holds up the key. Rita reacts, suddenly uncomfortable. [RITA] I don't know what you're talking about. [MICHAEL] I'm talking about this. [RITA] (to dealer) Thanks, Charlie. She tips him a hundred dollar chip and he leaves. Rita faces Michael. [RITA] Don't ever do that again. [MICHAEL] What? [RITA] Bring up private business in a public place. [MICHAEL] I wanted to make sure I got your attention. [RITA] You had it. You don't have it any more. [MICHAEL] Who does? Garthe? She starts to leave. Michael takes her arm, forcing her to pause. [MICHAEL] What's 'Red Bluff'? [RITA] I have no idea. [MICHAEL] Your brother did. It's what those tapes are all about...Red Bluff and Garthe Knight. She pointedly pulls her arm free and leaves. Michael watches her, puzzled by the change. ANGLE IN "PEEK ROOM" ABOVE CASINO Angle from a view of Michael at the table below through a one-way mirror to Garthe Knight, watching. [GARTHE] So there he is in the flesh...Michael Knight. [ELIZABETH'S VOICE] Right now I'd be more concerned about Rita if I were you. Garthe turns to see his mother behind him. [GARTHE] You still move like a cat. Or is there a more colloquial phrase that suits you better. [ELIZABETH] Prison not only brutalized your taste in women, it vulgarized your vocabulary as well. Garthe laughs coldly. Below them, Michael leaves. They pause to watch, speculating. [ELIZABETH] I want him dead. Both of them. They know too much already. [GARTHE] If it were up to you, half the world would be dead. (beat) All she knows is what I want her to know. All he knows are the words 'Red Bluff'. It might as well be Pine Sol or Orange Blossom for all the good it'll do him. It's a dead end. A riddle. Let him chase his tail. [ELIZABETH] I was hoping your brush with life imprisonment would teach you some- thing about discipline. [GARTHE] (faces her) Discipline has never been my problem, Mother dear. Mark my words, Michael Knight will die. (beat) After all, he was conceived and designed by my late great father to replace me, wasn't he? How could I possibly tolerate his life on this earth continuing? He is a living, breathing insult to my existence. CUT TO EXT. STATE BUILDING - DAY Michael exits, crosses to where K.I.T.T. is parked and climbs in. INT. K.I.T.T. - DAY Michael backs up and pulls away over: [K.I.T.T.] I take it the Department of Geology wasn't much help with 'Red Bluff' either. [MICHAEL] Yes and no. [K.I.T.T.] That phrase is an insult to the precision of the English language. [MICHAEL] (smiles) That's why I like it. [K.I.T.T.] Would you care to define? [MICHAEL] The English language is the problem. You see, if you confine your search to English, you draw a blank on Red Bluff. But as the state geologist pointed out, this area has had a number of different names -- Spanish and before that, Indian. [K.I.T.T.] Ah ha. [MICHAEL] Couldn't have said it better myself. [K.I.T.T.] I suppose we're off to the Department of Indian Affairs. [MICHAEL] In a manner of speaking. CUT TO INT. WAREHOUSE SOMEWHERE IN DESERT - DAY Different shots, in close, of huge wheels, chrome accessories, twin diesel engines so immaculate they shine ...and we realize we are seeing Goliath. OTHER ANGLES Several technicians in lab smocks prepare a precise combination of chemicals for introduction to one another. The lab, though portable, is highly sophisticated. ANGLE ON GARTHE He walks the area like a general inspecting troops. He pauses where the senior lab Technician works. [GARTHE] I have a little plan to field test Goliath tomorrow. He will be ready? [TECHNICIAN] By noon as promised. [GARTHE] Will the shell be completely hardened by then? [TECHNICIAN] The final coat is scheduled to be applied at eight AM. It will reach maximum density within an hour and a half. [GARTHE] Good. An Armament Expert approaches. [ARMAMENT EXPERT] The rockets are ready for installa- tion, Mr. Knight. [GARTHE] Proceed. [ARMAMENT EXPERT] Yes sir. He heads off, ad-libs instructions to several men. Garthe pauses to watch. HIS POINT OF VIEW - A CRANE lumbers into position, one of two rockets suspended above Goliath's tractor. As the rocket is slowly lowered.... CUT TO EXT. USED CAR LOT - DAY A peeling sign identifies "Chief's Previously Owned Vehicles." Pan down to a tattered old house trailer and half a dozen dusty cars somewhere outside of Las Vegas. Michael is talking to the owner, Chief, an old Indian in a pin-stripped jacket, Levis and Adidas. K.I.T.T. is parked nearby. [CHIEF] You wanna buy one a Chief's pre- viously owned personal automobiles? [MICHAEL] Thanks, I already have one. [CHIEF] (glances at K.I.T.T.) Gas guzzler. I slip you into a real economy car. [MICHAEL] Maybe some other time. I need to know if there's an area around here the Indians called 'Red Bluff'. Chief regards him from under heavy eyebrows. [CHIEF] Red Bluff old Indian burial ground. [MICHAEL] Can you tell me where it is? [CHIEF] You can't go there. [MICHAEL] Why? [CHIEF] Government land. [MICHAEL] Protected for the Indians? [CHIEF] Ha. That's what the government say -- but Indians can't go there either. Catch twenty-two. [MICHAEL] (nods, beat) I'll take my chances. Chief shrugs, takes a stick and begins drawing a map on the dirt. CUT TO EXT. HIGHWAY - DAY as K.I.T.T. turns off the highway onto a narrow two-lane road. [K.I.T.T.'S VOICE] Can't someone do something about a situation like that? INT. K.I.T.T. - DAY as they proceed down the two-lane road into forbidding desert. [MICHAEL] I'm sure they don't feel a thing. [K.I.T.T.] That's easy for you to say. Did you see that poor old convertible? She'd been faithful to a variety of owners, and now that her fenders are unfash- ionably wide, and her top is sagging, no one wants her. [MICHAEL] Hey, pal, it's a dog-eat-dog world out there. All cars aren't as fortunate as you. [K.I.T.T.] I think it's shameful. (beat) We're approaching the mountain known as Red Bluff. MICHAEL'S POINT OF VIEW - A BARBED WIRE FENCE stretches across the road, a sign reading: "Keep Out. Bureau of Indian Affairs." Beyond the fence, rising majestically from the desert floor, is a huge red sandstone mountain. There's no sign of life for miles. BACK TO MICHAEL He slows down as he reaches the fence. [MICHAEL] Looks like any other mountain to me. [K.I.T.T.] Why would Rita's brother, Ron, emphasize it the way he did? [MICHAEL] Good question, Kitt. (beat) I've got an idea. Let's see if there's more to Red Bluff than meets the eye. (pushes buttons) I'm activating your X-ray mode. ANGLE ON MONITOR The face of Red Bluff appears. What becomes immediately apparent is that a large rectangular section at the base isn't penetrable. ANGLE ON MICHAEL He stares, puzzled. [MICHAEL] Kitt, what's that at the base? [K.I.T.T.] How extraordinary. Michael, it appears to be two large doors. But my X-ray mode is blocked by leaded plates. (beat) Huge doors...leaded plates in the middle of the desert...What is Red Bluff hiding? [MICHAEL] Good question, pal. On Michael's worried look.... FADE OUT END OF ACT THREE ACT FOUR FADE IN EXT. PRIVATE AIRFIELD - DAY - K.I.T.T. AND MICHAEL wait as the Foundation jet touches down, taxis to a stop. Michael gets out of K.I.T.T. and crosses as Devon and April deplane. Ad-lib greetings, all glad to see one another. MOVING SHOT as they cross toward a waiting limousine. [DEVON] Anything new? [MICHAEL] Not since we last talked. What about the Strategic Air Command? [DEVON] I spoke with General Maddux. He denied any SAC or Air Force instal- lations at this 'Red Bluff' location. Michael shakes his head, frustrated. [MICHAEL] Assuming it's some kind of top-secret weapons system, what's Garthe trying to accomplish? And why? [APRIL] Whatever it is, I'll bet Tsombe Kuna and the Pan-African Liberation Movement are at the heart of it. [DEVON] If you're right about Red Bluff, Michael, we need some kind of proof. Otherwise Maddux will stonewall to the very end. [MICHAEL] (to April) What are the chances of beefing up Kitt's X-ray mode? [APRIL] To penetrate lead? Michael nods. [DEVON] Good. April, see what you can come up with. I have a stop to make first, then I'll join you. [MICHAEL] Anything I can help with? [DEVON] I think this is a one-man job, Michael. A real long shot. CUT TO INT. PENTHOUSE - NIGHT - ELIZABETH KNIGHT is on the phone with her personal secretary. She seems pleased. [ELIZABETH] (into phone) He is? How quaint. By all means, send him in.... She hangs up, pauses to touch up her hair before moving to the door. She opens it to reveal Devon. Their eyes hold for a moment before either responds. [ELIZABETH] What a lovely surprise. [DEVON] I suspect it's neither, Elizabeth. May I come in? She smiles, gestures for him to enter. He admires the impressive penthouse suite, the eagle's view of Las Vegas stretched out below them. [ELIZABETH] May I get you something? [DEVON] Arsenic? Sodium Pentothol? She laughs. He turns to face her. [DEVON] I want you to stop this insanity you and Garthe are planning. [ELIZABETH] Devon, my dear, you're so much like Wilton. So dramatic. Such a flair for hyperbole. [DEVON] I flew to Rio de Janiero. I found Doctor Elliott. I know you were there. I also know why. [ELIZABETH] So I visited Karl in Rio. We're old friends. The fact he died shortly after I left had more to do with a bad heart than an exotic poison. [DEVON] I said nothing about a poison. Trapped, she smiles, never losing her composure. [ELIZABETH] Devon, you're such a dear, charming man. But so suspicious. [DEVON] Elizabeth, I have no intention of sparring with you. I know you have the formula for the Molecular Bonded Shell. I know about 'Red Bluff.' Isn't that enough? [GARTHE'S VOICE] No. ANGLE TO INCLUDE GARTHE as he enters. He and Devon eye one another, size each other up. [ELIZABETH] I believe you two know one another. [DEVON] It's been awhile. Before your... 'African experience.' [GARTHE] You're amazingly like my late father. Perhaps that's why I so dislike you. [DEVON] Garthe, I came here to reason with you and your mother. [GARTHE] Reason? It's too late for 'reason,' Mr. Miles. It's too late for any- thing but war -- our victory, your defeat. And you will be defeated. You and the Foundation for Law and Government...and Michael Knight. Especially Michael Knight. Garthe smiles. Devon has never seen eyes so cold, so devoid of human feeling. CUT TO OMITTED EXT. HIGHWAY - NIGHT The Trans Am appears behind the Foundation semi. The gate drops and the Trans Am enters. INT. SEMI - NIGHT April works at beefing up Kitt's X-ray mode. Michael is at the computer terminal reviewing programs. [APRIL] Any luck? [MICHAEL] There's not much on Tsombe Kuna or the Pan-African Liberation Movement.... The phone rings. Michael answers. [MICHAEL] (into phone) Hello...When?..Thanks. He hangs up. April notices the look on his face. [APRIL] Devon? [MICHAEL] No...Rita Wilcox. She wants to see me as soon as possible. Says it's urgent. CUT TO EXT. STRIP HOTEL - NIGHT - ESTABLISH [RITA'S VOICE] I'm sorry I acted the way I did.... INT. SUITE - NIGHT A lavish suite that overlooks the Strip. Rita is beautiful, chic, the look of a rich man's mistress. She pours drinks at the wet bar. [RITA] Among other things, I was angry. [MICHAEL] I could tell. (re beer) No glass. She hands him his beer, sips her drink. [RITA] I thought you'd found something more interesting to do than search for my brother. I felt so...powerless after you left. Like no one cared whether Ron was dead or alive.... [MICHAEL] That explains your anger. It doesn't explain why one day you're in a $300 a month apartment and the next you're in a $300 a day suite tipping blackjack dealers hundred dollar chips. [RITA] I decided to...take up Garthe on his offer. [MICHAEL] I figured that out. What I couldn't figure out is why. [RITA] Isn't it obvious? I'm convinced Garthe had Ron killed. [MICHAEL] So to punish him, you become his mistress. She glares at Michael, angry. [RITA] I did what I did for one reason: to find proof that he killed my brother. [MICHAEL] (beat) All right. Did you find it? [RITA] Not all of it, not yet. But I overheard something this afternoon that could be important, and I thought you should know. (beat) Are you interested or not? [MICHAEL] I'm listening. [RITA] A man named Tsombe Kuna is arriving tomorrow morning. Garthe has a 'demonstration' planned for him at noon on an isolated salt flat in the desert. [MICHAEL] A demonstration of what? [RITA] All he said was, 'The shell is ready. Goliath is born.' It sends a chill down Michael's spine. [RITA] Does that mean anything to you? Michael slowly nods. CUT TO EXT. WAREHOUSE IN DESERT - DAY - A CADILLAC SEDAN rolls in from open desert, slows as it reaches this scattered configuration of outbuildings. The centerpiece of which is the warehouse. An armed Guard forces the Cadillac to stop, checks, waves it through. [GUARD] (handi-talkie) Perimeter to Control. He's here. ANGLE AT WAREHOUSE The door opens and Garthe steps out, flanked by a guard with an automatic weapon. The Cadillac stops and several black special security officers pop out, each with automatic weapons as well. One opens the rear door and a huge black man in African tribal robes slowly gets out. This is Tsombe Kuna. Garthe steps forward, smiling, and Tsombe breaks into a grin. [GARTHE] (in Zwambese) Greetings, my brother. [TSOMBE] (in Zwambese) Greetings, my brother. They execute a ceremonial bow and then embrace. [GARTHE] I have a surprise for you. [TSOMBE] I didn't travel six thousand miles to be bored. [GARTHE] Bored you shall not be, my brother. This way. Garthe opens the warehouse door. Tsombe steps inside. INT. WAREHOUSE - DAY as they enter. Tsombe pauses. Garthe nods, indicating: THEIR POINT OF VIEW - GOLIATH It occupies half the warehouse space, it's so large. This is our first full daylight view of it, and it's a behemoth, a huge grizzly bear of a truck, all lacquered black and spotless chrome. It's four times the length of K.I.T.T., and two stories high. It weighs fourteen tons. ANGLE ON GARTHE AND TSOMBE Garthe's eyes dance with pride. Tsombe smiles, awed by its size. [GARTHE] Meet Goliath. (checks watch) In less than two hours you will see him in all his might and splendor. CUT TO EXT. ROAD TO RED BLUFF - DAY K.I.T.T. travels the same road as yesterday. EXT. FENCE AT RED BLUFF - DAY K.I.T.T. pulls up and stops. INT. K.I.T.T. - DAY Michael activates K.I.T.T.'s X-ray mode. [MICHAEL] All right, let's see if you can penetrate those leaded doors. [K.I.T.T.] I'll do my best. ANGLE ON MONITOR Beyond the leaded doors we see a huge cone-shaped area hollowed out inside the mountain. In the center, surrounded by space-age looking support equipment, is a modified dense-pack missile system. BACK TO MICHAEL He reacts in awe, in disbelief. [MICHAEL] Missiles... (pushes buttons) Let's get Devon, pal. Lights flash. [K.I.T.T.] I'm afraid he's incommunicado at the moment, Michael. So is April. Shall I leave a message? [MICHAEL] Tell 'em we've got some big news, Kitt. Headlines. He puts K.I.T.T. into reverse, pulls out. CUT TO EXT. DESERT HIGHWAY - DAY - K.I.T.T. appears, takes a lonely desert turn-off. INT. K.I.T.T. - DAY - MICHAEL drives, hot despite the air-conditioning. [K.I.T.T.] Michael, you're sure this is the right way.... [MICHAEL] According to Rita it is. [K.I.T.T.] I'd feel safer if Devon knew what we know. [MICHAEL] As soon as we can reach him he will. In the meantime I want to see what Garthe is up to. EXT. DESERT - DAY - THE TRANS AM winds along the narrow road which takes them over a sharp rise, and through a narrow pass, then down the other side. Camera now pulls back from this long lens shot to reveal a half-a-dozen men present, shielded by boulders, protected from the hot sun by colorful umbrellas. Prominent is Tsombe, sipping a chilled Perrier. A field lieutenant picks up a handi-talkie. [FIELD LIEUTENANT #1] (handi-talkie) Get ready.... ANGLE ATOP DISTANT DESERT MOUNTAIN Several combat troops man what appears to be a dynamite plunger. [FIELD LIEUTENANT #2] Now? INTERCUT - TSOMBE CAMP [FIELD LIEUTENANT #1] Now. Field Lieutenant #2 depresses the plunger. ANGLE ON NARROW DESERT MOUNTAIN PASS Strategically placed charges of dynamite explode sequen- tially. ANGLE IN K.I.T.T. - MICHAEL AND K.I.T.T. react to the explosions behind them. [MICHAEL] What was that? [K.I.T.T.] According to my sensors...dynamite. [MICHAEL] Dynamite?! (beat) Kitt, I smell a rat. [K.I.T.T.] I believe it's time for a fast exit, Michael. [MICHAEL] Not so fast. Let's see what Garthe's got in mind. [K.I.T.T.] Michael, look behind us. MICHAEL'S POINT OF VIEW - TONS OF ROCKS AND SAND block the narrow pass. BACK TO MICHAEL He reacts, thinking. He looks ahead. HIS POINT OF VIEW Several miles away is a black speck heading toward them. [MICHAEL] Kitt, what is it? [K.I.T.T.] It appears to be a large...my goodness. [MICHAEL] What? [K.I.T.T.] Large isn't the word. It's enormous. [MICHAEL] Goliath.... [K.I.T.T.] What did you say, Michael? [MICHAEL] Nothing. With that pass closed, our back's to the wall, buddy. [K.I.T.T.] Michael, not only is the semi extremely large, it's also extremely fast. According to my calculations it's traveling over one hundred and twenty miles an hour and gaining speed. INTERCUT - GOLIATH heading directly toward K.I.T.T. ANGLE IN CAB - GARTHE is behind the big wheel, eyes fixed on K.I.T.T. ahead. ANGLE ON K.I.T.T. [K.I.T.T.] Michael, my sensors detect the vehicle in question is armored with my pro- tective shell! Unless I'm mistaken, that monster intends to do us bodily harm. [MICHAEL] I think that's just what he intends. Michael begins to accelerate toward Goliath. [K.I.T.T.] Michael, surely you're not planning to go nose-to-nose with that behemoth. [MICHAEL] That's what I want Garthe to think. At the last moment we'll swerve and try to knock out his left front wheel. Now Michael floors K.I.T.T. HIGH ANGLE - THE TWO MACHINES Race toward one another, the gap rapidly closing. INTERCUT - TSOMBE He grins and sips his Perrier, fascinated. INTERCUT - GARTHE The moment of truth is near. INTERCUT - MICHAEL He sees Goliath looming in front of him. SERIES OF SHOTS At the last moment Michael swerves, hoping to damage the giant's wheels, but the huge bumper catches K.I.T.T.'s left front fender. There's a horrible ripping sound, metal on metal. HIGH SHOT - K.I.T.T.'S LEFT SIDE disintegrates, fender flying in one direction, hood and various other parts thrown a hundred feet in the air. ANGLE ON K.I.T.T. He's thrown off the road, rolls half a dozen times before coming to a stop. INTERCUT - GARTHE He toots Goliath's horn in victory. INTERCUT - TSOMBE AND PARTY They cheer. ANGLE ON K.I.T.T. motionless in the desert sand. Nothing moves. There is no sign of life.... FADE OUT END OF ACT FOUR ACT FIVE FADE IN OMITTED EXT. DESERT - DAY Hot. Dry. Dusty. Not a sign of life as we pan across the desert floor. Then we see a battered hub cap, a dented bumper, a piece of fender. Slowing the pan, we stop on: THE TRANS AM or what's left of it. Goliath has taken its toll on Kitt: the windshield is shattered, one side of the car is badly crumpled, the trunk is sprung open, and the driver's side door hangs loosely on its hinges. As we move closer to the door, we see a hand, a trickle of blood on the palm, dangling out of the car. ANGLE - CLOSER ON THE CAR where we see Michael, half-in and half-out of the car. Unconscious, with a cut/bruise on his head that looks as bad as we can make it look. Slowly, painfully, Michael stirs to life. His eyes blink open, he groans and strug- gles to sit up. Another painful groan as Michael falls back, grimacing with pain. Off his anguished face we: CUT TO EXT. HOTEL - DAY The hotel where April and Devon are staying. We hear: [APRIL'S VOICE] I can't raise Michael or Kitt, Devon ...it's like they've disappeared. INT. HOTEL SUITE - DAY April's sitting in front of a computer terminal. Behind her, Devon paces nervously. [DEVON] Michael left a message at 11:40. He indicated he had something important to relay. And, now... Devon and April exchange a glance. [APRIL] (concerned) Devon, you don't think...? [DEVON] No, I don't. Still, I wish Michael hadn't rushed into the middle of the desert like some bedouin soldier.... [RITA'S VOICE] It's my fault. I should have waited until I knew more.... ANOTHER ANGLE TO INCLUDE RITA Sitting in a corner, her knees tightly clasped against her chest. She's been crying. Devon shakes his head. [DEVON] Nonsense. Michael's perfectly capable of assessing the risks in a situation like this. Rita looks from Devon to April. [RITA] I know how this must look to you two, but I was only trying to help. [APRIL] Rita, Michael believed you...so do we. Rita nods, fighting back another tear. Devon is suddenly in action, brisk, urgent. Very worried, but trying to cover. [DEVON] Well, we can't stand around wondering. We've still got an international emergency to deal with.... Devon turns to April as he starts to dial a number. [DEVON] I'm flying to SAC headquarters. Immediately. I want you to stand by here, in the event.... Devon doesn't finish his sentence. He and April share a look that doesn't need words. [APRIL] I've got the semi on full alert and ready to roll. Devon nods, then turns to Rita. [DEVON] You'll stay here, of course. [RITA] (shaking her head) I'm going back to the penthouse. I can be of more help there. [DEVON] You mustn't. It's very probable Garthe knows about you, even used you to lure Michael into the desert.... Rita stands, heads for the door. [RITA] Ron was my brother. Michael was... is...my friend. I owe both of them.... With that, she turns and exits. Hold on Devon and April, then: CUT TO EXT. DESERT - DAY - CLOSE ON MICHAEL Slowly, painfully, struggling to get out of the car. He squints into the blinding, broiling sun and stands shakily. He shakes his head groggily, suddenly turns back to K.I.T.T. [MICHAEL] Kitt! Kitt, are you okay? Michael leans into the Trans Am. Nothing. [MICHAEL] Come on, buddy...talk to me. Still no response. Another wave of pain sweeps over Michael. He nearly collapses. He sits in the driver's seat, eyes clenched tight against the pain. Then: [K.I.T.T.] (very weakly) I'm afraid we zigged when we should have zagged, Michael. [MICHAEL] Kitt! You're all right! [K.I.T.T.] 'All right' hardly seems appropriate, Michael. Look what that...that... behemoth did to me! [MICHAEL] (weakly) Yeah...now I know what being run over by a truck really feels like. Michael shakes off another wave of pain as his head slumps back on the seat. [K.I.T.T.] Michael, my computer functions are damaged, so I can't make a diagnosis, but you sound terrible. You need a doctor. Michael nods. A beat, then: [K.I.T.T.] I'm unable to make contact with April or Devon. [MICHAEL] Then we're going to have to get our- selves out of this jam. [K.I.T.T.] I've sustained a good deal of damage.... [MICHAEL] Yeah, but there's not a taxi in sight and it's gonna be hot enough to melt rocks out here pretty soon. (beat) We've got to get you running again. [K.I.T.T.] I'm not sure that's possible. [MICHAEL] It has to be. As Michael climbs out of K.I.T.T. and surveys the desolate desert that surrounds him, we: CUT TO INT. PENTHOUSE - DAY - GARTHE Dressed in an impeccably tailored silk smoking jacket, stands in front of a picture window overlooking downtown Vegas. He's sipping a glass of champagne. [ELIZABETH'S VOICE] You should never have taken Goliath. What if something had gone wrong...? Garthe spins to face Elizabeth. His face is hard, cold. [GARTHE] Nothing is going to go wrong. Garthe walks past his mother, pours another glass of champagne. [ELIZABETH] You should have killed Michael Knight. Like I told you to. [GARTHE] I have plans for him.... Elizabeth turns, knocks the champagne out of Garthe's hand. [ELIZABETH] There's only one plan! You're not going to jeopardize everything because of a personal vendetta. I won't allow it! Garthe stares at his mother for a beat, then fills another glass of champagne, drains it. [GARTHE] I'm not your little boy anymore, Mother. I do what I please, when I please. (beat) Right now, it pleases me to keep Michael Knight alive...whether you like it or not. Garthe turns to the table, scoops a spoonful of caviar onto a cracker, holds it out to Elizabeth. [GARTHE] Caviar? Elizabeth stares at her son, then turns and stomps out of the room. Garthe laughs, devours the caviar. As he does: CUT TO EXT. DESERT - DAY The sun is higher, hotter. We see Michael bent squatting next to the Trans Am, staring intently at a complicated schematic of K.I.T.T.'s engine. He stands, looks under the hood. [MICHAEL] And I thought putting my barbeque together was hard.... [K.I.T.T.] Michael, I've never felt this way before. [MICHAEL] That makes two of us, pal. [K.I.T.T.] I mean, so vulnerable. So...mortal. (beat) Do you think it's possible I could cease to exist? [MICHAEL] If you're not running real soon, I'd put money on it. Michael checks the blueprint, shakes his head. [MICHAEL] Along with everything else, about ninety percent of the blades on your turbine are shot.... [K.I.T.T.] My turbine? Oh, goodness...without that, I'm powerless. Michael goes back under the hood. [MICHAEL] Maybe not...if I can get the turbine out, we might be able to jerryrig a ramjet. [K.I.T.T.] A ramjet? But, Michael, my exhaust system isn't designed to accommodate temperatures on the volume of gas the ramjet will produce. [MICHAEL] Meaning? [K.I.T.T.] Very simply, we could be blown apart. Michael stands up, thinking. He stares at the expanse of desert surrounding them. [MICHAEL] We're a long way from home, pal. We're gonna have to take our chances. As Michael goes back to work, we: CUT TO OMITTED INT. SAC HEADQUARTERS - GENERAL MADDUX'S OFFICE - DAY Big desk, wood-paneled walls, standard American flag and picture of Reagan, all complemented by pictures of planes of all kinds. Maddux, trim, grey, in his fifties, is facing Devon from behind his desk. He's very smooth. [MADDUX] Devon, you've got to understand my position.... [DEVON] I'm finding that increasingly difficult, General. [MADDUX] You can't walk in here with this cock and bull story and expect me to take it to the President.... [DEVON] Red Bluff is going to be attacked. I can guarantee that. [MADDUX] Just prove it! Give me a shred of evidence, Devon...anything. Devon struggles to regain his composure. It's not easy. [DEVON] I've already told you everything I know. [MADDUX] Yes...African messiahs, Las Vegas mobsters, some crazy formula. My God, Devon, do you have any idea what that sounds like? [DEVON] It sounds like an international crisis, General. Maddux shakes his head, stands and comes around to Devon. [MADDUX] (smiling) Even if someone was crazy enough to go after Red Bluff, they'd never get inside. That mountain's safer than Fort Knox. [DEVON] General, change the date for the missile rotation. Postpone it.... The phone buzzes softly on the desk. Maddux shakes his head, moves to answer the phone. [MADDUX] (shaking his head) Devon, I appreciate your concern. But, you and the Foundation, take care of your part of the world. We'll take care of ours.... Maddux has picked up the phone during the last part of this dialogue. Devon doesn't respond, but rather turns and angrily exits the office. [MADDUX] (into phone) Maddux.... As he talks, we intercut with: INT. PENTHOUSE - DAY where we see none other than Elizabeth Knight on the phone. [ELIZABETH] Darling, please don't be angry...I was missing you, and just had to phone. [MADDUX] I was hoping you would. [ELIZABETH] I know it's naughty. I'm probably interrupting something terribly important.... [MADDUX] No, no, not a thing. I've just finished. How about dinner? [ELIZABETH] I'd love it. There's so much I want to talk to you about.... Hold on Elizabeth's shrewd face, and then: CUT TO OMITTED INT. TRANS AM - DAY as Michael closes the hood, and slowly, painfully makes his way to the door and climbs in. He sits for a moment, eyes closed. [K.I.T.T.] Michael...? Michael opens his eyes, nods. [MICHAEL] I read you, Kitt...loud and clear. He sits up, makes a number of adjustments on K.I.T.T.'s dash. Takes a deep breath. [MICHAEL] You ready? [K.I.T.T.] I suppose so. (beat) Michael, I'm worried.... Michael nods, tight-lipped. [MICHAEL] Me, too...Hang on, buddy.... Michael leans forward, turns the ignition. We hear the engine turn over, lights on the dash flash. It nearly catches, doesn't, then does. We hear an uncharacteristic high-pitched whine from the ramjet. Michael whoops. [MICHAEL] That a boy, Kitt! [K.I.T.T.] Gently, Michael. Any sudden accel- eration could be disasterous.... Michael nods, puts the car in gear, starts gingerly forward. Slowly, the car starts to gain momentum, the high-pitched whine growing louder. [MICHAEL] It's working, Kitt! We're moving.... [K.I.T.T.] Yes, Michael...but now the question is, where? My navigational equip- ment is gone. Michael stares out the window for a long beat. Nothing but desert in every direction. He finally points ahead. [MICHAEL] Straight ahead. [K.I.T.T.] Michael, we're surrounded by desert. If this is the wrong direction.... Michael nods grimly. [MICHAEL] Yeah, I know. Let's go.... With that, K.I.T.T. starts slowly across the desert. Hold on Michael, fighting back pain and fatigue, and then: CUT TO OMITTED INT. WAREHOUSE - DAY - ON GOLIATH The big, black rig glistens in the glow of the floodlights which surround it. Technicians in uniforms are working in various parts of the truck. ANOTHER ANGLE TO FEATURE GARTHE Supervising and inspecting the work, clipboard in hand. He nods, pleased with what he sees. Behind him, we suddenly hear: [TSOMBE'S VOICE] A miracle of American technology. Garthe spins to see Commander Tsombe, elegantly dressed in an African tribal robe. He's flanked by two huge soldiers. Garthe glares at him. [GARTHE] If this is anyone's miracle, it's mine. Tsombe laughs, a deep, rich laugh that echoes through the warehouse. [TSOMBE] Of course it is, my dear Garthe. Why, you could walk on water if necessary couldn't you? [GARTHE] I've got a dozen things to do. So, if you don't mind.... Garthe starts to move past Tsombe, but the Commander stops him. [TSOMBE] Oh, but I do mind. Very much. I have a rather substantial investment to protect. (beat) And I find myself worrying.... [GARTHE] About? [TSOMBE] You. So much depends on your success in the next twenty-four hours. (beat) There must be no distractions, Garthe. Garthe stares at Tsombe hard enough to cause Tsombe's guards to stiffen. [GARTHE] Don't tell me how to run this operation. Without me, you'd still be in the bush dodging spears. [TSOMBE] (still smiling) And without me, you'd be rotting in prison. (beat) So, we are mutually indebted to each other. With luck, we shall continue a long and fruitful relationship. Tsombe turns, glances at Goliath, then turns back to Garthe. [TSOMBE] But, you know, I have many men who are excellent drivers. If you prove unreliable.... [GARTHE] Don't threaten me. [TSOMBE] That is not a threat, my brother. Only a reminder.... Tsombe turns and exits the warehouse. Garthe stares after him, as we: CUT TO EXT. DESERT - DAY as the Trans Am pulls across an open and desolate stretch of desert, weaving erratically. [K.I.T.T.'S VOICE] Michael, we've been driving in circles. For hours. INT. TRANS AM - DAY Once inside, we see why: Michael's weak from the loss of blood, slipping into unconsciousness and then pulling himself back. [MICHAEL] (lightheaded, almost giddy) That must be why everything looks so familiar.... His voice fades and he starts to lose consciousness. [MICHAEL] Thirsty, Kitt. Head hurts. So sleepy...maybe I'll take a little nap. You take the wheel for a while. [K.I.T.T.] You've got a concussion, Michael. Don't sleep...Michael. Michael.... It's too late. Michael's head falls back and he's out. [K.I.T.T.] Michael, we're lost. EXT. DESERT - DAY - ON THE TRANS AM as it drives slowly across the desert. Alone. In the middle of nowhere. CUT TO INT. HOTEL SUITE - DAY - APRIL is pacing nervously back and forth across the suite, when the door opens and a grim faced Devon comes into the room. They share a look. Neither of them speaks at first, then: [DEVON] It's been hours...still nothing? [APRIL] (shaking head) No. How'd it go? Devon shakes his head angrily. [DEVON] The visit was pointless! Absolutely pointless! Without a signed affidavit from Garthe Knight detailing his plan, I couldn't get anyone to listen. Devon stares at April for a beat, a pained look on his face. [DEVON] To think that Michael may have...given his life...in vain. [APRIL] Devon, I've contacted the National Guard and the Air Force. They promised to launch a search.... [DEVON] (angrily) Words! Promises! Inane conversa- tions! It's not enough, April.... Devon struggles to control himself. [DEVON] I'm sorry. I'm just so frustrated.... [APRIL] I know, but we've got to keep hoping, Devon. Devon nods, but doesn't respond. There's a knock on the door. April hurries to open it. [APRIL] It must be Colonel Abrahms from the National Guard. He promised to stop by.... ANGLE ON THE DOOR as April opens the door and finds herself staring at Michael. He's holding himself up, nearly dead on his feet. As he takes a step into the room and starts to collapse: [APRIL] Devon...! Devon rushes to her side in time to catch Michael as he falls. Together they carry him to a sofa. As Devon rushes to the phone, hold on April standing over the unconscious Michael, and then: FADE OUT END OF ACT FIVE ACT SIX FADE IN INT. HOTEL SUITE - DAY Michael, bandaged and pale, is sitting on the sofa. Devon is sitting across from him, looking anxiously concerned. [DEVON] You're absolutely certain the semi was equipped with the molecular shell? [MICHAEL] You saw Kitt...what else could have done that? Devon nods, thinks for a moment. [DEVON] But why would Garthe go to all the trouble? Certainly not simply to destroy you and Kitt... [MICHAEL] Devon, you take ten thousand pounds of steel, cover it with that skin and you could drive it through anything.... Devon looks sharply at Michael, suddenly understanding. [DEVON] Red Bluff. He's going to use it to penetrate the missile site. [MICHAEL] Exactly. [DEVON] We've found out the government is proceeding with the missile rotation. In less than twelve hours.... Michael struggles up from the sofa, faces Devon. [MICHAEL] Then we don't have much time. [DEVON] Time for what? Michael, you're in no condition.... [MICHAEL] Devon, bear with me for a second.... Michael paces as he talks, intense and excited. [MICHAEL] Garthe could've killed me out there, but he didn't. Any idea why? [DEVON] None. [MICHAEL] That show on the desert was Garthe flexing his muscles for me. (beat) He could've killed me, but he wants me to see him win at Red Bluff. (intensely) Devon, he needs me there, don't you see? To prove that he's better. [DEVON] He must be consumed with hatred and jealousy.... [MICHAEL] Right! And we're going to use that. (beat) The last thing Garthe could stand would be losing to me. Anywhere. Any time. [DEVON] I think you're right. [MICHAEL] So I'm going to beat him. At his own game. [DEVON] But, how? [MICHAEL] I'm going to break the bank at his casino...and then we're going to break Goliath. As Michael smiles at Devon's surprised look, we: INT. FOUNDATION SEMI - DAY April and two Foundation technicians are working on K.I.T.T. Though he still shows the signs of his run-in with Goliath, he looks remarkably good. Most of the major structural damage has been repaired, broken windows replaced. April hasn't been able to do much for his ego, though. [K.I.T.T.] It wasn't a fair fight, April. It was like putting Sugar Ray in the ring with Sonny Liston. [APRIL] I'm sure it was, Kitt. [K.I.T.T.] It won't happen again, I can assure you of that. [APRIL] It had better not. I've got you patched together with scotch tape and bailing wire as it is. [K.I.T.T.] If I ever see that snout-nosed ignoramus.... [MICHAEL'S VOICE] You'd better hope he's heading in the opposite direction.... Michael appears, crosses to April. [K.I.T.T.] I'm already reviewing my computer logs of our confrontation. In a matter of hours, I'll know every- thing there is to know about that truck. I'll know how to beat it. [MICHAEL] Let's hope you don't get a chance to try. (to April) You've got him programmed and wired to handle the roulette wheel? [APRIL] (nodding) I've installed an electromagnetic resonator that should work up to three hundred yards. [MICHAEL] Good. And the explosive...? April nods, hands Michael a small metal box that fits comfortably in his hand. [APRIL] Activated by Kitt's microwave jammer. [K.I.T.T.] Is this really necessary? I'd much prefer a return engagement.... [MICHAEL] Do it on your own time, pal...I'm planning on something a little more discreet. During the conversation, Devon joins them. [DEVON] Your plan is hardly discreet, Michael. A little like Daniel entering the lion's den, I'd say. [MICHAEL] Yeah, I guess it is. (beat) By the way...who won that one? Daniel or the lion? Devon and April share a look. Michael grins, heads for K.I.T.T. [MICHAEL] Give me three hours. Devon checks his watch, nods. [DEVON] Michael, if anything goes wrong, and I mean anything.... [MICHAEL] Don't worry. I'm not looking to be a hero... (gesturing to K.I.T.T.) Him, I'm not so sure about.... Another grin as Michael climbs into K.I.T.T. As he does: CUT TO EXT. HIGHWAY - ON TRANS AM - DAY as Michael and K.I.T.T. head toward the strip in Las Vegas. INT. K.I.T.T. - DAY as K.I.T.T. chatters to Michael. [K.I.T.T.] Facing one's possible demise is a strangely exhilarating experience, Michael. [MICHAEL] It gives me heartburn. [K.I.T.T.] I'm serious. It fosters a whole new appreciation of living...or existing, in my case. [MICHAEL] Would you stop being so cheerful. [K.I.T.T.] Why? [MICHAEL] Because it's depressing, that's why. No one's that happy. [K.I.T.T.] I am. [MICHAEL] You're a computer. What do you know? [K.I.T.T.] Actually, just about everything. Including the fact that you're worried ...about Miss Wilcox. Correct? Michael shakes his head, shrugs, then nods. [MICHAEL] I guess I am. I'm afraid she's in over her head, Kitt. [K.I.T.T.] I wouldn't worry, Michael. She seemed like a very capable young woman. [MICHAEL] Garthe Knight's more capable. Off of Michael's troubled look, we: CUT TO INT. GARTHE'S PENTHOUSE - DAY It's quiet, deserted. At the far end of the room a door opens and Rita steps silently inside. She closes the door softly, crosses quickly to a desk. In a second, she's inside the drawers, rifling through papers. So intent on her work that she doesn't hear another door softly open. We do, though, and go to: GARTHE watching Rita for a long beat, then loudly closing the door as he steps fully into the room. ANGLE - WIDER as Rita straightens up, startled, trying to cover her surprise and fear. [RITA] Garthe.... [GARTHE] Yes. What a lovely surprise. I thought you'd gone shopping. [RITA] (shrugging) I did, but I couldn't find a thing, so I came back.... Garthe crosses to Rita, smiling. For a second, he almost looks sincere. [GARTHE] I know how it must be for you...and I promise you as soon as I'm finished with this...project...we'll have all the time in the world. Rita smiles weakly, doesn't respond and she stands facing him. Garthe leans over and kisses her lightly. She stiffens, hating every moment. Garthe breaks the embrace. [GARTHE] Now, run along. I've got a thousand things to take care of. Rita nods, turns to go. Garthe grabs her wrist a little too hard, turns her back to him. With a slight edge to his voice: [GARTHE] There's no one but me is there, Rita? Rita stares, clearly frightened, at Garthe. Shakes her head. [RITA] No...of course not. Garthe lets go of her. Rita hurries out the door. As she exits, Garthe presses an intercom button. A beat later, one of his assistants appears. [GARTHE] Keep her here until we're on the plane. Then kill her. The assistant nods, turns and leaves. Hold on Garthe as he crosses to his picture window, and then: CUT TO INT. CASINO - CLOSE ON ROULETTE WHEEL - DAY as the ivory ball circles the wheel, falls, kicks around and finally nestles in a slot: Black 2. ANOTHER ANGLE - CLOSE ON THE TABLE as a large stack of chips is moved next to an equally large stack. We pull back to see Michael sitting at the table, with an impressive bank of chips in front of him. He makes another bet, this time Red 1. He smiles at the croupier, and touches his comlink as: [MICHAEL] Red one. Five thousand dollars. The croupier arches his brow slightly. A murmur of excitement passes through the small crowd around the table. While we play the casino action intercut with: INT. TRANS AM - DAY on K.I.T.T., as he processes Michael's information. On his vidscreen, we should see the roulette wheel. [K.I.T.T.] Red one it shall be, Michael.... BACK TO MICHAEL watching as the croupier spins the ball. Around and around it spins, kicking and then finally dropping into Red 1. [CROUPIER] Red one. He points to the square on the layout, then begins to collect all the losing bets before paying Michael. More excited murmurs around the table, more onlookers, as Michael moves a "large" stack to the Black 35. He smiles at the croupier. OMITTED ON K.I.T.T. processing the information. Lights blink, a digital readout shows "Black -- 35." We go to: OMITTED INT. CASINO - OBSERVATION DECK ABOVE TABLE now looking down on the roulette wheel, as the ball begins to spin. Just as it drops into Black 35, pull back to reveal Garthe Knight intently studying the game. A glass he's holding suddenly shatters in his hand, but he doesn't seem to notice. Suddenly, an Assistant appears at his arm, looking very concerned: [ASSISTANT] Mr. Knight, our surveillance system is picking up a microwave signal... directed at the roulette wheel. Garthe turns to the Assistant, enraged. [GARTHE] What is the source? [ASSISTANT] That's impossible to determine, sir.... [GARTHE] Block it. The Assistant nods, exits. Garthe watches Michael for a moment, a small smile on his face. As he turns and leaves, we go to: MICHAEL surrounded by excited, curious onlookers. A small gasp is heard as he pushes a monstrous pile of chips across the layout. [MICHAEL] One hundred thousand dollars on black twenty. [CROUPIER] (blanching) Monsieur...I'm sorry, house limit on the table is twenty thousand dollars. A disappointed murmur from the crowd is overriden by: [GARTHE'S VOICE] Let him play. Everyone, including Michael, turns to see Garthe standing behind him. Garthe doesn't even acknowledge Michael's presence. The Croupier nods curtly. ANOTHER ANGLE - ACROSS THE CASINO where we see Elizabeth Knight, followed closely by Commander Tsombe, come into the room. They stop, watching Garthe from a distance. Tsombe turns to Elizabeth. [TSOMBE] What the hell is he doing? Elizabeth shakes her head anxiously, and we go to: OBSERVATION DECK as Garthe's Assistant works at an electronic console. INT. TRANS AM where we see Black -- 20 on the screen. Then we hear: [K.I.T.T.] Oh, dear, I'm getting strong inter- ference, Michael...Michael! RETURN TO MICHAEL intently watching the table, then turning to glance at Garthe. For the slightest of moments, the two men hold a glance. Garthe gives away nothing, but if looks could kill.... Elizabeth hurries to her son's side, whispers urgently in his ear. Garthe doesn't respond. His attention is riveted on Michael. ON THE TABLE as the final bet is placed and the croupier gets set to spin the ball. He glances at Garthe uneasily. The crowd around the table is hushed with anticipation. The ball begins to spin. ON K.I.T.T. the roulette wheel on his vidscreen. [K.I.T.T.] Michael, they're jamming me. I'm not sure I can overcome it.... OMITTED BACK TO THE TABLE as the ball slows, kicks around, finally settles in the black 20. A roar goes up around the table. Michael grins. The croupier looks at Garthe in terror, who's staring hard at Michael's back. ON MICHAEL turning and holding Garthe's look. Then he smiles, gets up. [MICHAEL] Guess you can't win 'em all. Have your man cash in my chips. I'll be back. With that, Michael turns, tosses the croupier a very healthy stack of chips, turns and leaves. Garthe hasn't moved an inch, but he looks like a volcano about to explode. Hold on him, then: CUT TO EXT. CASINO - DAY as Michael hustles out to the Trans Am, gets in. INT. TRANS AM - DAY as Michael whoops, pounds the steering wheel. [MICHAEL] We did it, buddy! Great work...! [K.I.T.T.] Gambling is not my idea of great work, but, thank you.... Michael fires up the Trans Am. Heads out of the parking lot. [MICHAEL] (smiling) This guy does not like to lose... you should have seen the look on his face, Kitt.... Off this line, we: SMASH CUT TO OMITTED INT. CAR - DAY - CLOSE ON GARTHE bent over a steering wheel, his face a mask of cold fury. Down the highway, we see the Trans Am, and hear: [K.I.T.T.'S VOICE] I may have a chance very soon. CUT TO OMITTED INT. TRANS AM - DAY as Michael checks in his rear view mirror. [MICHAEL] You got something, Kitt? [K.I.T.T.] Yes, Michael. A single car, closing quickly on us. One driver.... [MICHAEL] Right on schedule. That's what I like about Garthe...he's predictable. ANOTHER ANGLE - ON THE HIGHWAY as Garthe races toward Michael, his face grim, determined. OMITTED ANOTHER ANGLE as Garthe pulls up in the middle lane, to Michael's right, and angrily swerves into the Trans Am. Michael holds the road, decelerates slightly. Garthe, his eyes always on Michael, turns his car into K.I.T.T. again. The sound of crunching metal -- Garthe's. He loses a hubcap. OMITTED INT. TRANS AM - ON MICHAEL watching Garthe as he pulls up alongside of Michael again, and rams the Trans Am. [MICHAEL] That's right...stay right where you are.... [K.I.T.T.] Michael, Devon and April are ready. [MICHAEL] So am I, pal.... EXT. HIGHWAY TOWARD BLIND CURVE - DAY as Michael and Garthe, side-by-side, race toward a blind curve, jockeying for position. Just as they round it, we suddenly see the Foundation semi ramp down, looming up in front of them. Michael swerves to his right, bumping Garthe's car and keeping it pinned in the right lane, directly behind the semi, which suddenly slows down appreci- ably. ON GARTHE'S CAR wedged in by the Trans Am, and going faster than the semi, Garthe is forced up the ramp of the semi. He slams on the brakes, but it's too late. He's trapped in the back of the big rig. As the ramp closes, we: CUT TO INT. FOUNDATION SEMI - DAY as Devon and April approach Garthe, April's carrying a weapon. Garthe gets out of the car, glares at Devon. [GARTHE] What's the meaning of this? [DEVON] Hello, Garthe.... [GARTHE] This is kidnapping. You can't do this.... [DEVON] Yes, well, let's just say we're bending the law temporarily. (smiling) I suspect your father would have approved.... Off of Devon's smile, we: CUT TO OMITTED EXT. CASINO - DAY as the Trans Am pulls up and parks in front of the casino. A beat and then Garthe Knight steps out of the car. Actually, it's Michael, but his disguise is so effective that, for a moment, we think it's Garthe himself. CLOSE ON MICHAEL as he leans into the car. [MICHAEL] Keep an eye on things, buddy. I might need some help. [K.I.T.T.] Be careful, Michael.... Michael nods, turns and walks slowly toward the casino. MOVING WITH MICHAEL as he approaches the front door. The acid test. The two doormen snap to, tip their hats. One of them hurries to open the door. Michael nods curtly and walks inside. As he disappears into the casino, we: FREEZE FRAME AND FADE OUT END OF ACT SIX ACT SEVEN FADE IN INT. CASINO CORRIDOR - DAY as Michael steps off an elevator, glances up and down an empty hallway. He crosses to a large door, hesitates as he composes himself, and then boldly opens the door and enters: THE PENTHOUSE Empty. Michael softly closes the door, crosses and stops to listen. Nothing. He starts across the room, hears a door open behind him. He stiffens, turns slowly to see Rita. She's carrying a small bag. When she sees Michael, she stops, looking very scared. [RITA] Oh...I...thought you were gone. Michael crosses to her, whispers: [MICHAEL] Rita, it's me...Michael. Rita stares at Michael, confused. [RITA] Michael...? (recognizing him) Michael! How'd you get in here? Why? [MICHAEL] I'll fill you in. Right now, I've got to find the others...fast! Where is everyone? [RITA] They've gone...to an airfield. I overheard them arguing about it. Garthe's mother wanted to wait for him, but Tsombe insisted on leaving. He said they couldn't wait.... [MICHAEL] The airstrip...do you know where it is? [RITA] Just west of someplace called Indian Springs.... [MICHAEL] Indian Springs...I remember hearing about it when I was looking for Red Bluff. It's about three miles from there. Come on.... As Michael and Rita turn to hurry out of the penthouse, the front door opens and Garthe's Assistant, the one assigned to off Rita, steps inside. He's startled, goes for a gun, and then recognizes his boss. He stares at him, confused. [ASSISTANT] Mr. Knight...I thought you'd gone. [MICHAEL] (snappish) Obviously not. I'm running late.... He takes Rita by the arm, starts for the door. [ASSISTANT] (quietly) Shall I take care of the girl now, sir...? Michael glances at Rita, thinking fast. [MICHAEL] I've changed my mind. I'll take care of the girl.... A sharp stare at the Assistant and Michael and Rita rush through the door. Hold on the Assistant staring after them, wondering what's going on, and then: CUT TO EXT. DESERT - DAY on the edge of an open plain. A large Winnebago-type RV is parked in what little shade there is, surrounded by a scattering of other cars. The sound of an airplane close overhead cuts the silence, and we see Elizabeth Knight, followed by Tsombe, step out of the RV to watch: A C-140 The same plane we saw in the opening sequence, as it circles over the desert, sets down, and taxis to a stop not far from the RV. As soon as it's stopped, the cargo ramp is lowered and we see Goliath slowly back out of the plane. ANOTHER ANGLE - FEATURE THE RV as Elizabeth and Tsombe watch the truck being unloaded. Tsombe checks his watch. There's an angry edge to his voice. [TSOMBE] At least the plane is on schedule. [ELIZABETH] Of course it is. What did you expect? [TSOMBE] (shrugging) With your son, it is sometimes difficult to tell. [ELIZABETH] My son knows precisely what he's doing! [TSOMBE] But, no one else does! Elizabeth doesn't respond. Tsombe continues: [TSOMBE] I have tried to talk to him, impress upon him the urgency of our mission. And now, with less than two hours to go, he's driven into the desert chasing a fantasy.... [ELIZABETH] He'll be here! I promise you. Tsombe shakes his head in disgust. [TSOMBE] He is expendable. We will not wait for a fool.... With that, Tsombe turns and walks back into the RV, leaving Elizabeth staring across the desert toward Goliath. CUT TO INT. FOUNDATION SEMI - DAY Garthe is sitting, calmly watching April who's working on the computer terminal. Devon comes into the room, and Garthe turns his cold, hard gaze on him. [GARTHE] Father would be proud of you. [DEVON] I'm very happy your father is not alive. [GARTHE] Spare me the dramatics, Miles. He was a cold, insensitive boor.... [DEVON] That's not the Wilton Knight I knew...and we were friends for nearly thirty years. [GARTHE] I lived with him, saw what he did to my mother.... [DEVON] (strongly) Your mother broke his heart, Garthe. [GARTHE] He never had a heart.... [DEVON] You're very wrong. He tried to save their marriage for years. Your mother was never happy. There were incidents... (beat) Other men.... Garthe jumps from his chair, stands facing Devon. [GARTHE] Liar! [DEVON] I wish I was. She was a charming, attractive woman. Many men fell under her spell... (beat) ...myself included, I suppose...in an innocent way. Across the room, April is listening intently. [DEVON] No one really understood who she was, what she was, until she suddenly left Wilton.... [GARTHE] She had to leave...to preserve her sanity. And if you believe anything else, you're a bigger fool than he was! Devon doesn't respond, but rather just shakes his head sadly. Garthe looks around. [GARTHE] I don't suppose there's a bathroom in this thing. Devon gestures through the door. [DEVON] First door on your left... (beat) And don't bother to try, Garthe... there's absolutely no way out. Garthe just snorts, moves past Devon and exits. Devon turns to April. [DEVON] Anything more from Michael? [APRIL] Nothing. He and Rita are driving toward Indian Springs. [DEVON] He shouldn't have involved the girl. [APRIL] He felt she wasn't safe at the hotel, and she apparently insisted on going. Devon shakes his head. [APRIL] I told him we'd get as close as we could, and stand by.... [DEVON] Good. This whole scheme is making me very nervous. The sooner it's over, the better.... Devon checks his watch, glances toward the door. [DEVON] I'd better check on Garthe.... Devon exits to: INT. SEMI - SMALL CORRIDOR - DAY Devon stops outside a door, knocks. No answer. He knocks again, and still no response. [DEVON] Garthe? Garthe...? Devon opens the door, stiffens when he sees: INT. BATHROOM Narrow, but with enough height for a guy Garthe's size to hang himself with his belt from a light fixture. From our vantage point, he looks very dead. ADJUST ANGLE TO INCLUDE DEVON as he moves to pull Garthe down. [DEVON] April! Come quickly! Suddenly, Garthe comes alive, kicking out, catching Devon full on the chest, sending him crashing against the far wall. In a second, Garthe is on his feet. ANOTHER ANGLE as April, gun in hand, comes running into the corridor toward the bathroom. Garthe is waiting for her behind the door, and rips the gun out of her hand. April sees Devon lying on the floor. [APRIL] Devon...! Garthe, gun in hand, runs down the corridor and out into: THE SEMI slamming and locking the door behind him. Frantically, he scans the inside of the semi, looking for an escape route. He spots an air conditioning duct on the ceiling, a square barely large enough for a man to squeeze through. He pulls a chair over, rips the cover off the duct. As he disappears through the duct, we: CUT TO EXT. SEMI - DAY - TRAVELING Garthe is on top of the semi, as it speeds down the highway. He moves to the edge, leans over to see: A CONVERTIBLE with a single passenger enjoying the sunny drive. BACK TO THE SEMI As it moves past the car, Garthe leaps from the top of the semi, lands in the backseat. As he overwhelms the surprised driver: CUT TO INT. K.I.T.T. - DAY moving down a dusty two-lane road, well off the main drag. Rita's looking sadly out the window. [RITA] You know, everything's been moving so fast, I haven't had time for everything to really sink in.... [MICHAEL] You thinking about Ron? [RITA] (nodding) It's always been the two of us against the world. Bunker buddies, partners, friends... (suddenly angry) I told him to stay out of all this...I begged him! But, all he'd say was 'this is important. Really important.' [MICHAEL] (gently) He was right, Rita. [RITA] Sure...dead right! (off Michael's look) Garthe delighted in telling me. A sweet, innocent kid's dead, and what's been accomplished? (beat, softer) Sorry. None of this is your fault, Michael. It's just that I'm...I'm going to miss him a lot.... Rita's on the verge of tears. Michael reaches out, takes a hand. As he does, we hear: [K.I.T.T.] Michael, I'm beginning to get a reading...about a mile down this road. [MICHAEL] What do you have, buddy? [K.I.T.T.] People, cars, a large plane and... (excited, for K.I.T.T.) ...Michael! That brute, that miserable mechanical masher -- it's up there! [MICHAEL] (tensely) All right, then...we're on. Rita looks at Michael, shakes her head. [RITA] Maybe all of this is never going to sink in...you, this car, a computer that talks, thinks, even...it's mind boggling. [MICHAEL] Compared to a madman who's looking to take over part of the world, we're pretty tame. Michael slows down as they come to a rise in the road. ANGLE ON THE DESERT BELOW We see the landing field, the RV, cars, the plane and Goliath gleaming menacingly in the sun. RESUME SCENE Michael turns to Rita. [MICHAEL] Look, I don't know what it's going to be like down there.... [RITA] I've come this far. I'm not turning back now. [MICHAEL] Then you stay in the car. Kitt can darken the windows. You'll be safe. [RITA] But, what about you? [MICHAEL] Hey, I'm Garthe Knight, remember? I fear no man... (beat) How's my makeup? [RITA] It's amazing. You look just like him. [MICHAEL] (grimly) Now, if I can just act like him.... Michael puts the Trans Am in gear, heads down the hill. CUT TO EXT. DESERT - DAY - FEATURE THE RV as the Trans Am pulls up and parks. Three armed guards rush toward the car as the door opens and Michael steps out. (Note: The windows of the Trans Am should be darkened so Rita is not seen inside.) The guards recognize Garthe, lower their guns. ON MICHAEL standing for a moment, looking toward Goliath. He's distracted by: ELIZABETH coming out of the RV. A moment later, Commander Tsombe steps squinting into the sunlight and follows her. ANOTHER ANGLE as Michael turns and walks slowly toward Elizabeth who glares at him. [ELIZABETH] You're finally here. [MICHAEL] You knew I would be. [ELIZABETH] I did, yes, but he... (gesturing to Tsombe) ...had grave doubts. Tsombe looks past Michael to the Trans Am. Elizabeth follows his gaze. [TSOMBE] I see you found what you were looking for. [MICHAEL] (nodding) He won't be needing the car any longer. (to Elizabeth) And I felt I had a right to it, somehow.... Elizabeth grimaces, shakes her head. [ELIZABETH] I despise it...anything that reminds me of him. If I could I'd destroy everything that was his. Tsombe fixes Michael with a cold stare, watches him closely. [TSOMBE] You're not looking well, Garthe... are you certain you're prepared for this? Michael throws Tsombe a venomous glare. [MICHAEL] Of course! I'm the only one meant to drive Goliath. I want that perfectly understood. Tsombe doesn't reply. Elizabeth watches the exchange with obvious pleasure. Michael turns to her. [MICHAEL] I assume everything is ready. [ELIZABETH] Tsombe's men are on their way. [MICHAEL] Fine. (checking his watch) Give me five minutes to check the truck. Michael turns and begins walking quickly toward the truck. Behind him, Elizabeth and Tsombe turn to walk back to the RV. INSIDE THE TRANS AM as Rita watches on the vidscreen as Michael moves across the desert. [RITA] He's almost there, Kitt. [K.I.T.T.] Yes...but I wish he'd hurry. This is making me very nervous.... BACK TO MICHAEL moving steadily toward Goliath. He reaches into his pocket, takes out the small detonation device, palms it. We hear: [K.I.T.T.'S VOICE] (via comlink) Michael! There's a car coming... Garthe Knight's inside! Michael looks over his shoulder to see: THE CONVERTIBLE speeding across the desert, heading directly for him. Inside, we can see Garthe's jet black hair and goatee. BACK TO MICHAEL as he turns and starts running for Goliath. OMITTED WIDER ANGLE TO INCLUDE GARTHE'S CAR roaring toward Michael. ANOTHER ANGLE Just as Michael's about to reach the truck, the car swerves in front of him, spins and comes skidding to a stop, blocking Michael's path. CLOSE ANGLE - ON THE CAR As the door opens and Garthe steps out. Michael stands, gasping for breath as the dust swirls around him. Garthe just smiles that cold, cruel smile of his. [GARTHE] You can't win them all, can you? ON MICHAEL not bothering to answer. He's up a creek and knows it. Hold on him, and then: FREEZE FRAME AND FADE OUT END OF ACT SEVEN ACT EIGHT FADE IN EXT. DESERT - DAY - CLOSE ON TRUCKS as two large, canvas-topped military-type trucks pull up and stop near the RV. In a second, the back flaps are opened and soldiers, dressed in commando uniforms, come pouring out, carrying automatic weapons, grenades, rocket launchers, and gas masks. ANOTHER ANGLE as we pull back to reveal Garthe watching. He's grim-faced, but pleased. He nods at the men, turns and crosses to: MICHAEL his hands handcuffed in front of him, standing near the RV. An armed guard is standing near him. Garthe approaches. [GARTHE] I'm pleased you'll be here for the finale. [MICHAEL] Wouldn't miss it for the world. [GARTHE] There are so many things I look forward to sharing with you... (off Michael's surprised look) We have so much in common...our faces, my father... (a beat) Why not our future? [MICHAEL] What's that supposed to mean? [GARTHE] I'll be returning to Africa soon. You're coming with me.... [MICHAEL] You're out of your mind. [GARTHE] No, but you may be. African prisons can have that affect on some men.... [MICHAEL] Prison? [GARTHE] Precisely. The same hell I died in while my father turned his back and gave you everything that should have been mine. With that, he turns, walks away. The guard gestures for Michael to follow him toward the RV. ON MICHAEL a few yards behind the guard. Over the comlink, we hear: [K.I.T.T.'S VOICE] Michael.... Intercut with: INT. K.I.T.T. where Rita is still huddled in the front seat. We can see Michael on the vidscreen. [K.I.T.T.] Michael, is there anyway we can help? [MICHAEL] Just hang tight. And don't let Rita out of the car. [RITA] (sputtering) But...tell him I can't just sit here, Kitt. We've got to help him. At this point, Michael disappears into the RV, and we hear: [K.I.T.T.] I'm afraid there's nothing we can do...except hope. CUT TO INT. RV - DAY Spacious. Equipped with state-of-the-art communication gear, radar, TV monitors. One of the monitors, with a particularly large screen. This screen, hooked up to a video camera mounted on the front of Goliath, will give the viewers inside the RV a first-hand view of what happens at Red Bluff. We find Michael, still handcuffed, sitting close to the door. In front of him, Elizabeth, Tsombe, two of his assistants lounge on plush sofas, sipping drinks. An armed guard stands in the doorway. Elizabeth turns to Michael. [ELIZABETH] I think you'll enjoy this. We've arranged a front row seat for you. [MICHAEL] How exciting. [ELIZABETH] (coldly) Yes. I'm certain it will be. As she turns back to the screen, we: CUT TO EXT. DESERT - DAY - ON GOLIATH as Garthe, dressed in a striking black jump suit, steps up to Goliath, climbs inside and fires it up. It comes to life with a roar that seems to shake the ground around it. With a loud blast in its air horn, Garthe throws the rig into first and moves across the desert. CUT TO EXT. FOUNDATION SEMI - DAY - TO ESTABLISH moving down the highway. INT. FOUNDATION SEMI - DAY Devon's pacing back and forth, looking terribly worried. April's at the computer. [DEVON] (almost to himself) There's really no excuse for it! If anything happens to Michael, I hold myself personally responsible.... Devon turns, crosses to April, who's absorbed in the computer. [DEVON] There must be something, April -- anything we can use to alert the military, get some help to Michael. April shakes her head. [APRIL] I've done a data scan on everything we've got, Devon. There's nothing here that proves anything. Suggests but doesn't prove.... [DEVON] And proof's the only thing they'll listen to.... Devon stands, thinking, then moves for the phone. [APRIL] Who're you phoning? [DEVON] General Maddux at SAC. [APRIL] Devon, he didn't listen before. Why would he listen now...? [DEVON] Because this time I'm telling him I'm driving straight into Red Bluff...and I'm going to dare him to stop me! As Devon starts to dial: CUT TO EXT. DESERT - NEAR RED BLUFF - DAY - ON GOLIATH as the semi speeds across the desert toward Red Bluff, nearing the first perimeter of fences that warn "U.S. Government Property. No Trespassing." During sequence, intercut with: INT. GOLIATH as Garthe accelerates. EXT. GOLIATH smashing directly through the fence like it was paper, and heading straight for Red Bluff. During this sequence, we will also intercut as needed with: INT. RV - DAY The mood is tense, excited, as the TV monitor shows Garthe's progress. On the screen, Red Bluff draws nearer. EXT. RED BLUFF A rack of six missiles, mounted on a track, is being loaded outside of the mountain. The huge doors protecting the site are open. Suddenly, we hear an alarm sound, sirens scream, as: GOLIATH crashes through a second perimeter fence. An armored vehicle gives chase and a befuddled guard rushes for a phone. Meanwhile at: RED BLUFF The missile rack is hurriedly being rolled inside. Once there, the doors begin to slowly close. ON GOLIATH now being attacked on both sides by armored vehicles, but the bullets are bouncing off harmlessly. Suddenly, one rocket, then another, is launched from the semi, streaking toward Red Bluff and exploding against the now-closed doors. INT. RV as a cheer goes up from the onlookers. Michael is watching, fascinated, then glances over at the guard, who's also enthralled. We see him lean into his comlink. As he does, we go back to: RED BLUFF as Goliath, at full speed, bears down on the site. Another rocket batters the already badly damaged doors seconds before the mighty semi smashes into them, with a thunderous roar. INT. RED BLUFF as the doors give way and the semi barrels into the site. Immediately, a volley of cannisters are fired out of the truck's rocket launchers, filling the cavern with gas. Attacking guards, their bullets bouncing harmlessly off Goliath, begin to drop like flies. ON GOLIATH as the rear doors fly open and the commandoes come bursting out. Automatic fire fills the air as the remaining guards confront the attackers. In less than a minute, Garthe and his men have taken control of the site. OMITTED CLOSE ON MICHAEL IN THE RV Pandemonium. Shouting, cheers, excitement. People paying attention to everything except Michael. [MICHAEL] (into comlink) Get ready, buddy.... INT. RED BLUFF Garthe has backed the semi up to the track the missile rack is set on, and as the semi's ramp is lowered, we see that it's fitted with an identical track which allows Garthe's commandoes to run the missile into the semi. The entire operation is being run like a military movement: precise, efficient, smooth. Garthe stands, watching, barking commands. When the missiles are finally secure, he jumps into Goliath, starts it up. IN THE RV Elizabeth and the others watch as Goliath pulls out of the missile site. Excited congratulations all around. Michael leans into his comlink and we go to: INT. K.I.T.T. as we hear: [K.I.T.T.] I'm on my way, Michael... (to Rita) Hold on, Miss Wilcox...this could be a bit bumpy.... EXT. K.I.T.T. as the Trans Am springs to life, speeding toward the RV, knocking two guards on their butts and ramming, at high speed, into the side of the RV. INSIDE THE RV as K.I.T.T. hits and everyone, save Michael, goes tumbling to the chair. Instant chaos. Michael uses the confusion to jump to his feet and race for the door. EXT. RV as Michael rolls out, finds his feet and races for K.I.T.T. who's popped the door. Michael's in, the door is slammed just as a guard unloads about fifty rounds. The bullets ricochet off as K.I.T.T. speeds away. INT. K.I.T.T. - DAY - MOVING with Michael behind the wheel. Rita looks on in stunned amazement. [RITA] Michael, are you all right...? [MICHAEL] Just great...soon as I get rid of these. Meaning the cuffs. They're the fancy digital kind, seen only on this show. [MICHAEL] Kitt, give me a hand, okay? We see a series of numbers, combinations of numbers, begin to flash by on K.I.T.T.'s vidscreen. [K.I.T.T.] Immediately, Michael. But, until you're free to steer, where are we going? [MICHAEL] To find Garthe, pal. We're the last thing between him and that phone. [RITA] But, how are you going to stop him? Michael's hand suddenly snaps free from the cuffs. He takes the wheel. Outside, the desert flies by. [MICHAEL] Thanks, Kitt... (to Rita) To be real honest, I'm fresh out of ideas. But, it's fourth and goal-to- go, and we've got to make a stand. [K.I.T.T.] Michael, I may have a solution.... [MICHAEL] Forget it, Kitt. We go head on with this guy again, they're gonna find pieces of you in New Hampshire. [K.I.T.T.] That's debatable, but not the point... I think I've found a weak spot...two of them, actually...in that ugly piece of steel...his Achilles Heels, so to speak.... Michael sits forward, intense. [MICHAEL] (excited) What have you got? [K.I.T.T.] First, there's a point where the trailer's connected to the tractor... it's small but it's not protected by the molecular shell. [MICHAEL] What else? [K.I.T.T.] An area directly below the windshields ...a small point where the shell was applied incorrectly. [MICHAEL] How small? [K.I.T.T.] Approximately two inches in diameter. Michael whistles, shakes his head. [MICHAEL] Even David had a bigger target when he went after Goliath.... K.I.T.T.'s lights start flashing. [K.I.T.T.] Speaking of Goliath...I'm picking up something very big at two o'clock.... Both Rita and Michael look through the windshield, and see: GOLIATH really just a black speck on the horizon, but looming larger by the second. RESUME ON MICHAEL watching the semi race toward them, thinking hard. Suddenly: [MICHAEL] Kitt, you ever seen a bullfight? [K.I.T.T.] Of course not. Why? [MICHAEL] Because you're about to become the red flag we're going to wave in front of that big bull.... EXT. DESERT - FEATURE GOLIATH as Michael steers the Trans Am directly toward it. INT. GOLIATH - ON GARTHE seeing Michael. A small smile spreads across his face, the look of a killer about to spring. He reaches up and blasts a long toot on his air horn, then turns to face the oncoming Trans Am. INT. K.I.T.T. as Goliath bears down on them. [K.I.T.T.] Michael, hadn't we better do something? Quickly.... [MICHAEL] Don't worry, buddy...I've studied all the great matadors. [K.I.T.T.] How comforting. In front of the Trans Am, we see Goliath rushing toward them. EXT. DESERT - FEATURE THE TRANS AM as Michael deftly moves out of the path of the huge semi as it roars by. Garthe slams on the brakes, turns to follow Michael. ANOTHER ANGLE Michael, moving the Trans Am like Cassius Clay moved around Liston, circles behind the semi, comes up along the right side. Garthe sees him, pulls the rig toward Michael, trying to smash into the Trans Am. Michael quickly moves out of danger, spins a one-eighty and heads in the opposite direction. ON GOLIATH lumbering into a turn, facing the Trans Am. Suddenly, Garthe unleashes one of the rockets. INT. TRANS AM as Michael desperately swerves to his left and the rocket, in a near miss, roars past the car. [MICHAEL] Some pretty mean horns.... [K.I.T.T.] Michael, he's carrying another rocket ...and soldiers in the back. [MICHAEL] Yeah...right now, I'm more worried about your 'Achilles Heel' theory. [K.I.T.T.] It's a theory, not a theorem, Michael. I don't have any proof.... [MICHAEL] Well, we're gonna test it right now.... EXT. DESERT - FEATURE GOLIATH maneuvering for position to fire another rocket. The Trans Am's slightly to its rear and as Garthe turns to begin to circle, Michael cuts sharply across his tail, from left to right, races for the side of the semi, aiming for the junction between the tractor and the trailer. OMITTED EXT. DESERT - ON GOLIATH AND K.I.T.T. as the Trans Am smashes into the side of the semi. A resounding crash as the cab separates from the trailer, then lurches to a halt, crippled. INT. K.I.T.T. as Rita and Michael cheer. [RITA] Michael, it worked! [MICHAEL] It sure did...! Kitt, see what you can do about locking the back door. Quick.... [K.I.T.T.] My microjammer should do the trick. CLOSE ON GOLIATH at the rear of the truck, as the tailgate mechanism closes and locks. From the inside, we hear the muffled shouts of the trapped commandoes. RESUME SCENE as Michael watches Garthe wheel the tractor in a wide circle, head back toward them. [K.I.T.T.] (alarmed) He's coming after us! [MICHAEL] Yeah, well, you can cut the head off a snake and it can still bite...and kill. [K.I.T.T.] He's got another rocket, Michael. [MICHAEL] And I've got our laser. That's a fair fight. [K.I.T.T.] The laser...? EXT. DESERT - DAY as Garthe and Michael square off, facing each other in a High Noon confrontation. A beat, then they both start across the parched desert floor toward each other. INT. TRANS AM - DAY as Garthe races toward them. [K.I.T.T.] Michael, I don't think this is a good idea. [MICHAEL] No choice, pal...it's the only way to get a shot at his weak spot. [K.I.T.T.] But, Michael, April didn't have time to recharge my energy source. [MICHAEL] What? Have you got any juice at all? [K.I.T.T.] Some, but it's impossible to say how much. (alarmed) Michael, he's about to fire...! EXT. DESERT - DAY as Garthe fires his second, and last, rocket. Michael swerves wildly to his left and the rocket misses them. Still, Garthe comes for them, gaining speed. Again, he sounds his horn, and the ground shakes. INT. TRANS AM - DAY as Garthe bears down on them, seeming to fill the wind- shield. [MICHAEL] I'm gonna wait as long as I can, then give me everything you've got.... [K.I.T.T.] I will, Michael.... EXT. DESERT - ON GOLIATH AND K.I.T.T. as Garthe roars toward K.I.T.T. The laser flashes out of K.I.T.T., hits Goliath's snout. Sparks, a flash, but for a breathtaking moment, no effect on the tractor as it barrels toward K.I.T.T. CLOSER ANGLE A collision seems unavoidable. Then, at the last moment, Goliath stumbles: an explosion rocks the tractor, a tire wobbles and comes loose, a second follows and the huge cab falls to its knees. Another explosion, bigger than the first, is heard and flames begin to engulf the cab. ON THE CAB as Garthe leaps, stumbling, from the flaming cab, tries to run. In a second, Michael pulls up and is out of the Trans Am, chasing him across the desert. ON MICHAEL AND GARTHE as Michael takes Garthe to the ground in a flying tackle. A struggle, with Michael pulling Garthe to his feet, and the two men go at it: Garthe crouched in a martial arts stance and Michael avoiding his kicks and punches until he sees an opening, lands a solid one-two combination that knocks Garthe down hard and keeps him there. WIDER ANGLE As Michael stands over the fallen Garthe, we hear the roar of an Air Force jet that sweeps low over the desert, dips its wings and circles back across the desert. A second later, we hear a blast from an air horn and Michael turns to see: OMITTED THE FOUNDATION SEMI speeding toward K.I.T.T., followed by a convoy of military vehicles. CLOSE ON MICHAEL As he hauls Garthe to his feet and stands, a smile playing across his face, waving at the semi. Hold on him and then: FREEZE FRAME AND FADE OUT END OF ACT EIGHT TAG FADE IN EXT. CASINO - DAY The Trans Am is parked in front. We see Michael, Devon, April and Rita come walking through the doors into the bright Las Vegas sunlight. [DEVON] I have a feeling no one's going to see much of Garthe Knight for some time to come. [MICHAEL] Sure. Once the FBI, the CIA, Interpol, the Department of Defense and the Las Vegas Gaming Commission get done with him, he's going to be doing about four centuries of straight time. [APRIL] What about his mother? Michael and April glance at Devon. He shrugs, shakes his head. [DEVON] I'm sure she'll get precisely what she deserves. (beat) She was such a wonderful woman at one time...Wilton loved her very much. (another beat) Many of us did. Michael smiles, turns to Rita. [MICHAEL] We all owe you a big thanks, Rita. If it hadn't been for you.... [RITA] (shaking her head) No. I didn't do anything special. (beat; sadly) Ron did.... [MICHAEL] You're right...he sure did. [APRIL] What's next for you? [RITA] (shrugging) Los Angeles. Ron and I always promised each other we'd do it. I figure it's time to give it a try. (smiling) After this town, L.A.'s going to be a piece of cake. Everyone laughs. Rita shakes hands with Devon and April, turns and gives Michael a big hug. [RITA] (to Michael) If you're ever in Los Angeles, look for my picture on the billboard on Sunset, okay? [MICHAEL] You know it...and I'll bet I see it, too. Rita laughs, turns and steps into a cab parked at the curb. Everyone waves as she drives away. Michael turns, takes an envelope out of his pocket, smiling like the Cheshire cat. [APRIL] What's that? Michael takes out a check, holds it up, smiles more broadly. [MICHAEL] My winnings at Garthe's roulette wheel...not bad for an afternoon's work. Devon leans over, inspects the check and then deftly takes it from Michael's hand. Michael's smile fades as: [DEVON] That was Foundation business, Michael...sponsored by Foundation funds.... [APRIL] Coordinated by Foundation equipment... (smiling sweetly) ...and Foundation intelligence. Michael looks from Devon to April. [MICHAEL] Hey, look, guys, I don't want all of it. I mean, I'll take ten percent... (off their looks) ...eight? Five? Three? How about a roll of quarters for the slots? Devon and April are already heading for a limo parked in front of K.I.T.T. Devon shakes his head. [DEVON] I'll expect to see you at headquarters tomorrow morning, Michael. Good work, my boy.... April and Devon wave good-bye, climb into the limo and drive off. Michael leans on the Trans Am, watches them go. We hear: [K.I.T.T.] Michael, I've been thinking about the whole phenomenon of gambling... it's actually rather intriguing. [MICHAEL] Sure. If you've got money and a system.... [K.I.T.T.] Well, I don't have any money, but I have devised an interesting approach to Blackjack. I estimate an average return on investment of nearly sixty- seven percent. [MICHAEL] Sixty-seven percent? [K.I.T.T.] Yes. And all one needs to begin is roughly twenty dollars.... [MICHAEL] Twenty bucks? I've got that here. Somewhere.... Michael straightens up, hunts frantically through his pockets. Everything but bread comes out: gum, keys, souvenir dice, old Keno tickets. He piles it on top of K.I.T.T., keeps searching. Hold on him as the pile grows, and as he reaches the bottom of his pocket, and turns them inside out, pull back to a long, high shot of Michael, busted in the middle of millions, and then: FREEZE FRAME AND FADE OUT THE END

{"show": "Knight Rider", "season": "s02", "episode": "e01", "title": "Goliath"}

knightriderarchives

ACT ONE FADE IN EXT. STATE PRISON - DAY - ESTABLISHING A gray, monolithic structure. BREWSTER'S VOICE Before this parole board renders its decision, do you have anything to say in your own behalf? INT. STATE PRISON - HEARING ROOM - DAY A three-man parole board is seated at one side of a hearing table with its head officer, Brewster, in the middle. Seated at a table, facing the parole board, is a prisoner in his early forties, Peter McCord. Two guards stand on either side of him. The only other two people in the room are Phillip Hunt, a state official, a distinguished man in his early fifties, and plainclothes officer, Rogers. [MC CORD] Yeah, I have something to say. I don't want parole. Brewster isn't used to this kind of response. He and Hunt share a look. [BREWSTER] Mr. McCord, this is a prison, not a hotel. You are eligible for parole. When McCord sees Brewster make eye contact with Hunt again, McCord turns to look at Hunt. [MC CORD] Who are you? Hunt doesn't answer. McCord looks back at Brewster. [MC CORD] What's going on here? You ram through a parole...this guy sits here nodding like Solomon...I know my rights. You can't force me to leave. Brewster stares at McCord, then whispers something to each of the other board members. [BREWSTER] Having been duly constituted and authorized by the Department of Corrections, this board grants parole to Peter McCord. McCord stands, outraged. He looks from Brewster to Hunt. Then, in a flash, moves to a guard and punches him. The guard recovers quickly and the other guard pulls his club. [BREWSTER] All right -- if that's the way you want it, you've got it. Parole is hereby revoked. (to guards) Get him out of here. McCord is hustled out. Hunt is keenly disappointed. [HUNT] (to Rogers) Get Devon Miles on the phone. CUT TO EXT. PRISON YARD - DAY It is early morning. Armed guards keep watch on the walls and in the yard. There are no prisoners in the exercise yard. From O.S., we hear the sound of an approaching vehicle. ANGLE ON MAIN GATE which swings open to admit a police van, its windows covered with wire mesh. We follow the van as it pulls forward and comes to a stop in the compound. Two guards climb out of the cab, then move to open the doors. One by one the prisoners, dressed in prison blue denim shirts and jeans, climb out of the van. They are handcuffed and shackled together. As the last prisoner bends his head to duck out, we see that it is Michael Knight, a days growth of beard on his face. As Michael steps down, we: CUT TO INT. PRISON - MC CORD'S CELL - DAY Peter McCord is alone in the cell, reading a book. The cell is more library than living space: stacks of books are piled on the floor. Next to the bunk beds are magazine ads, all featuring the same strikingly beautiful girl in her early twenties, who we'll come to know as Lisa Martinson. In the b.g. are sounds of men shouting, televisions playing, radios blaring -- the cacophony of prison life. At the sound of footsteps approaching, McCord looks up to see Michael being escorted by Jeffries a prison guard. Michael carries bedding and a packet of toiletries. Jeffries unlocks the prison door and Michael steps in. Jeffries slams the door shut, locks it, then moves off. Michael and McCord eye one another. [MICHAEL] How you doin'? McCord regards him. [MC CORD] I like it better alone. Every guy they put in here wants to tell me his life story. The names change but they're all the same. Michael shrugs, stows his gear. [MICHAEL] Yours too? [MC CORD] (a look) Yeah. And McCord goes back to his book. Michael throws his bedding on the top bunk. CUT TO EXT. HIGHWAY - DAY - FOUNDATION SEMI as it heads down a rural highway. [DEVON'S VOICE] There's not much time left. Is Kitt ready? INT. FOUNDATION SEMI - DAY April is working intensely on K.I.T.T. Devon enters from the private compartment, crosses to stand behind her. [APRIL] Almost. (beat) Devon, does anyone at the prison besides the warden know about this? [DEVON] No. [K.I.T.T.] This sounds awfully dangerous. [APRIL] I agree. Is there another way to accomplish it? [DEVON] Not according to Phillip Hunt. If the prisoner in question isn't released by noon tomorrow, a Minotaur bomb will be detonated somewhere in the heart of the city. [K.I.T.T.] According to my data, the Minotaur is an extremely powerful variation of a plastique explosive. [APRIL] And difficult to detect. (beat) Devon, if the threat was phoned in anonymously, it could be a hoax. [DEVON] The bomb was stolen from a military depot last week -- and the caller described it in detail. It's no hoax. [K.I.T.T.] If I'm fully prepared, April, I'd like to commence as soon as possible. The thought of Michael alone in that awful place is quite disconcerting. [APRIL] I've adjusted the thrust on turbo boost and programmed everything you should need. You're as prepared as you're going to be. [DEVON] Bring him home safely, Kitt. EXT. HIGHWAY - DAY The ramp opens and K.I.T.T. backs out, driverless. He hits the road, then passes the semi and heads up the highway. ANGLE ON HIGHWAY as K.I.T.T. roars past a hitch-hiker at the side of the road. The guy waves his thumb at K.I.T.T., sees no one behind the wheel, and gawks in disbelief. Off his incredulous look: CUT TO INT. MC CORD'S CELL - DAY Michael paces. McCord is lying on his bunk reading a book. Michael walks over and gazes at the magazine pictures. [MICHAEL] Great legs. [MC CORD] Get away from there. [MICHAEL] You got 'em up on the wall, looks like public domain to me.... McCord gets off the bed, faces Michael. [MC CORD] It's not. Now move it...! [JEFFRIES' VOICE] Warden wants to see you. NEW ANGLE TO INCLUDE JEFFRIES who unlocks the cell door. [MC CORD] Who? [JEFFRIES] Both of you. Let's go. [MC CORD] I don't want to see the warden. [JEFFRIES] It's not an invitation, McCord. Michael exits the cell. McCord reluctantly follows. EXT. PRISON YARD - DAY Michael, McCord and Jeffries emerge from the cellblock and begin to walk across the open yard. ANGLE ON WATCH TOWER A guard peers outside the compound. He does a double take when he sees the driverless K.I.T.T. coming up the road to the prison. The guard hesitates, starts to call for help, stops, looks back at the car, making sure he's seeing what it is he thinks he's seeing. ANGLE ON MICHAEL, MC CORD AND JEFFRIES They are about halfway across the yard. ANGLE ON K.I.T.T. suddenly he pours it on, racing for the wall at breakneck speed. The guard in the watch tower is surprised at this obviously suicidal move, until.... ANGLE WITH K.I.T.T. as he turbo-boosts up, up and over the prison wall. EXT. PRISON YARD - DAY - ANGLE ON MICHAEL, MC CORD AND JEFFRIES K.I.T.T. lands and locks his brakes, skidding to a stop. Jeffries snaps out of his shock long enough to dive out of the way. McCord stares at the black Trans Am. [MICHAEL] Get in! [MC CORD] What?! No way I'm gonna --- K.I.T.T. springs open his doors and Michael pushes McCord inside. By the time Michael dives in the driver's side, the guards begin to open fire. Bullets ricochet off. INT. K.I.T.T. - DAY McCord tries desperately to get out, but K.I.T.T.'s door is locked tight. The guards continue to fire at the car. Michael slams K.I.T.T. into gear. [MICHAEL] Kitt, let's go! [K.I.T.T.] Michael, even with the adjusted turbo boost, I may need a longer approach to clear the wall. McCord looks around for the voice, confused by the rapid- fire series of events. [MICHAEL] Can't give it to you, pal. Let's go! Michael accelerates and hits the turbo boost. ANGLE WITH K.I.T.T. He barely clears the top of the wall. EXT. PRISON - ROAD - DAY K.I.T.T. comes back to earth and roars down the road. Sirens begin to wail from inside the prison. INT. K.I.T.T. - DAY - MOVING McCord is stunned, looks pale, desperate. [MC CORD] If you want to do this, okay -- but count me out. [MICHAEL] Sorry, McCord. Can't do that. McCord grabs the wheel and Michael wrestles him for it. K.I.T.T. is swerving all over the road. [MICHAEL] Kitt, go on auto-pilot! K.I.T.T. complies. [K.I.T.T.] Kindly unhand me, you hard-rock con. This startles McCord enough to make him stop his struggle. Michael quickly takes control of the wheel again. [MC CORD] What's going on here -- who said that? [K.I.T.T.] I did. I can't tolerate bad driving. McCord stares at the voice box. [K.I.T.T.] Michael, an All Points Bulletin is being issued over the police band for a vehicle fitting my description. [MICHAEL] Punch up the locations of police cars in the area. On K.I.T.T.'s monitor screens is a map of the area. Police cars are marked in red and a half dozen are going to converge on K.I.T.T. from all directions momentarily. [MICHAEL] Looks like we're about to be surrounded. Know any good hiding places? [K.I.T.T.] I have just the spot. EXT. HIGHWAY - DAY From up ahead of K.I.T.T. looms the Foundation semi. The ramp lowers and K.I.T.T. goes up inside. The ramp closes. ANGLE ON A POLICE CAR tearing down the highway. It passes the semi, siren fading in the distance. EXT. FOUNDATION HEADQUARTERS - DAY - ESTABLISHING INT. DEVON'S OFFICE - DAY Devon gets up from his desk to greet Phillip Hunt and Rogers. Devon and Hunt ad-lib greetings. [HUNT] Congratulations on a job well done, Devon. [DEVON] I'm just glad it worked as success- fully as it did. (a smile) I don't have to tell you the Foundation wasn't conceived with prison breaks in mind. [HUNT] You're not alone, believe me. I've never encountered anything like this before. Hope I never do again. I've informed the Governor phase one has been completed. [DEVON] Then the APB on Michael has been cancelled? [HUNT] An hour ago. If everything goes according to plan we'll have the extortionist and the Minotaur in our possession before the day's over. (beat) Where is he? Devon presses the intercom buzzer. [DEVON] Send Michael in. NEW ANGLE TO INCLUDE MICHAEL AND MC CORD They enter. McCord stares at Devon, then sees Hunt. [MC CORD] (to Hunt) Who are you? Why are you doing this?! Michael and Devon note the reaction. Hunt nods to Rogers and Rogers takes McCord by the arm, but McCord shakes free, frightened. [MC CORD] I'm not going anywhere with you! [MICHAEL] Take it easy, McCord. [MC CORD] Take it easy? I'm a dead man out there. You hear me...a dead man! Rogers grabs McCord, wrestles him toward the door as Michael and Devon exchange a look of alarm. Devon turns to Hunt. [DEVON] Phillip, what's he talking about? [HUNT] He's a disturbed man, Devon. I wouldn't take what he says too seriously. As they force McCord out, close the door. The sounds of scuffle fade away. Michael and Devon are perplexed, shaken. [MICHAEL] There's something about this that doesn't feel right...McCord was terrified. (beat) In the car, he begged me to take him back to prison. [DEVON] How peculiar...particularly for a man being freed by his own confederates. [MICHAEL] (beat) If you don't mind, I'd like to follow this up. See what develops. [DEVON] The Foundation's involvement is finished Michael, but... (beat) ...use your own judgment. CUT TO EXT. LIQUOR/CONVENIENCE STORE - DAY - ON HUNT'S SEDAN as it pulls to a stop in front of the store. INT. HUNT'S SEDAN - DAY In the front seat are Hunt and Rogers. In the backseat is McCord. Separating the front from the backseat is wire mesh. Hunt and Rogers start out of the car. [MC CORD] Where are you going? [HUNT] Relax. We're going to get some cigarettes. [MC CORD] It takes two of you to get cigarettes? Hunt slams the door shut. McCord watches as they walk to the store. ANGLE ON SEDAN #2 parked a block away. Inside is Plainclothesman #1. ANGLE ON BUS BENCH Plainclothesman #2 sits on the bench. OMITTED ANGLE ON WHITE CADILLAC positioned up the street. Behind the wheel is Payne, a large man in his thirties. He is packing a gun, stares at the convenience store. Another man, Talman, crosses from a vantage point, climbs in the passenger side. [TALMAN] There's an unmarked car up the street and a softclothes guy solo on the bus bench. [PAYNE] What about McCord? [TALMAN] Like a chicken waiting to be plucked. OMITTED INT. HUNT'S SEDAN - DAY McCord's becoming increasingly uneasy, agitated. When he looks inside the liquor/convenience store, he becomes alarmed: Hunt and Rogers are nowhere to be seen. OMITTED ANGLE ON HUNT'S SEDAN McCord goes for the door handle, discovers it gone -- removed. Both are. ANGLE UP STREET The Trans Am appears, pulls over. ANGLE INSIDE K.I.T.T. Michael punches up the monitor. [K.I.T.T.] Why are we stopping so far away, Michael? [MICHAEL] Don't want to spook anyone, Kitt. Show me what you've got. INSERT - MONITOR We see McCord kick out the sedan's rear window, open the door from the outside, struggle out and run down the street. ON THE CADILLAC as it pulls out and starts after McCord. ANGLE ON SEDAN #2 Plainclothesman #1 sees McCord sprint down the street, away from the white Cadillac. [PLAINCLOTHESMAN #1] (into police radio) It's not coming down like we thought. Hold your positions. ANGLE ON K.I.T.T. Michael still watching the action on the monitor. [K.I.T.T.] Michael, what's happening? [MICHAEL] I don't know, but I don't like it. Let's go. He pulls out fast. ANGLE ON BUS BENCH Plainclothes #2 nods, doesn't move. ANGLE ON MC CORD He races down the street and ducks into an alleyway. ANGLE ON WHITE CADILLAC It rips around the corner. Payne is driving. Talman is in the passenger's seat. It reaches the alley, skids and turns in. ANGLE IN ALLEY McCord runs for his life, desperate. The Cadillac appears at the end of the alley behind him, accelerates. OMITTED ANGLE ON ANOTHER STREET K.I.T.T. races past, turns, heading for the alley from this intersecting street. ANGLE IN ALLEY McCord reaches the mouth of the intersecting street just as the Cadillac is ready to overtake him. ANGLE IN CADILLAC Payne and Talman react to what's ahead. OMITTED ANOTHER ANGLE K.I.T.T. is suddenly there, blocking the Cadillac from reaching the intersecting street. McCord is nowhere to be seen. The Cadillac skids to a stop, then reverses at high speed down the street. OMITTED ANGLE IN K.I.T.T. Michael glances at the men in the Cadillac, ignores the honking. [MICHAEL] (punches up scanner) Where's McCord? [K.I.T.T.] I'm afraid he's gone, Michael. [MICHAEL] Gone? Where? [K.I.T.T.] I don't pick him up. He's disappeared. FREEZE FRAME AND FADE OUT END OF ACT ONE ACT TWO FADE IN OMITTED EXT. STATE BUILDING - DAY - STOCK [DEVON'S VOICE] I have a number of questions, Phillip.... CUT TO INT. STATE BUILDING - HUNT'S OFFICE - DAY Open close on Phillip Hunt, looking very official, very buttoned-down and very angry. He's standing behind a big desk in a well-appointed government office. [HUNT] I have a few of my own. I want to know what Knight was doing at the drop? [DEVON] He was observing. With my approval. [HUNT] Your approval? Devon, this case is no longer your concern! [DEVON] I wonder. McCord was left alone and locked in your car. Why? [HUNT] Because our instructions were to leave McCord near the intersection of Third and Crane for the pick-up.... [DEVON] But, according to Michael, when McCord's associates arrived, he ran...obviously in fear of his life. Again, Phillip -- why? [HUNT] This is an unusual case to say the least. I can't explain that. Frankly, it surprised us, too. ON DEVON He stares at Hunt, incredulous. [DEVON] Surprised you? When McCord was in my office he seemed terrified. Did you ask him why? Hunt moves out from behind his desk, angrily confronts Devon. [HUNT] For God's sake, Devon, there's a madman with a Minotaur bomb out there! My responsibility was to trade McCord for the bomb, not hold his hand! The two men stand, facing each other. [DEVON] And if you'd known what we've come to understand...that these 'confeder- ates' of McCord's aren't allies, but in all probability want to kill him ...would you have acted differently? [HUNT] I'd have done exactly the same thing. I'm willing to trade one murderer for the lives of hundreds, maybe thousands, of innocent people. (beat) Aren't you? [DEVON] I'm afraid not. (beat) I acted in good faith...both because of our friendship and because one of the basic tenets of the Foundation is the preservation of human life. [HUNT] (angrily) I'm trying to preserve as many lives as I can. [DEVON] I'd like to believe it's possible to save every life. And I'd hate to think the Foundation played a part in sacrificing even one life -- without at least trying to save it. Devon turns to leave Hunt's office. [HUNT] Stay out of this, Devon. You're in over your head. At the door, Devon turns to Hunt. [DEVON] Apparently so is Peter McCord. Perhaps we have something in common after all. With that, Devon exits. Hold on Hunt. He picks up the phone. [HUNT] (phone) I want the All Points Bulletin on Knight's car reinstated immediately. CUT TO EXT. HIGHWAY - DAY - ON THE SEMI - STOCK as the Trans Am pulls up the ramp and disappears inside. CUT TO INT. SEMI - DAY Michael is looking at one of the computer modules. April is programming K.I.T.T. [MICHAEL] McCord's profile doesn't indicate much ...except he's not a typical criminal. [APRIL] First Devon and now you.... [MICHAEL] What? [APRIL] It sounds like you're making excuses for him. Michael, he was convicted of second degree murder. [MICHAEL] Convicted yeah, but all through the trial he swore he was innocent. He'd never been arrested before, and he was a model prisoner -- except he'd been denied parole twice. (shaking his head) When they finally do grant him parole, he belts a guard. Very strange. (crossing to her) How's that bomb sniffer coming? [APRIL] Michael, this is a highly sophisti- cated Electronic Detection Module especially adapted for plastique- type devices -- not a 'bomb sniffer.' [MICHAEL] (smiles) Right. How's it coming? [APRIL] Fine. With one qualification. It's range is severely limited in the presence of ferrous metals. [MICHAEL] Translation, please. [K.I.T.T.] Metals like steel, Michael. [MICHAEL] Thanks, pal. [K.I.T.T.] Don't mention it. Incidentally, I've been monitoring the police band fre- quency. The APB has been reinstated. We're fugitives again. [MICHAEL] There must be some mistake. [K.I.T.T.] That's what Willie 'The Fly' Carruthers said when he was apprehended in an air conditioning duct above the Warden's office in Sing Sing. April finishes, crosses to the computer console over: [MICHAEL] I think he's over-programmed. [APRIL] There's no such thing. I've cross- checked every available reference on McCord's personal life. Only one indicated any family...a daughter. Lisa Martinson. (punches up visual) She's one of the hottest print models in the country. Michael peers over her shoulder, reacts. [MICHAEL] Now it makes sense.... [APRIL] What? Do you know her? [MICHAEL] In a manner of speaking. ANGLE ON MONITOR We see a picture of a beautiful young woman. It's the same woman whose picture we saw on the walls of Peter McCord's cell. MATCH CUT TO EXT. OPEN FIELD - DAY - CLOSE ON LISA MARTINSON Even more lovely than her photo, Lisa's dressed in fresh white, her head tilted toward the sun in a fashion pose. We pull back to see that Lisa's surrounded by Klieg lights and a photographer's furiously snapping pictures. A makeup woman stands in the wings, a lighting man manipulates the Kliegs. A mobil dressing room's parked nearby and behind it, just visible, are the crew's cars, including one which we'll later see is a white Cadillac. NEW ANGLE TO INCLUDE THE TRANS AM approaching across the field, heading toward the photo site. INT. TRANS AM - DAY Michael's carefully watching Lisa as the Trans Am pulls closer to the site. [K.I.T.T.] I must say, Michael, this adventure does have a certain appeal. Michael parks the Trans Am. He's more interested in Lisa than K.I.T.T. at this moment. [MICHAEL] (absently) Yeah, I see what you mean. [K.I.T.T.] Think of it. We're fugitives of a sort, desperadoes on the lam. (dramatically) We must be extremely careful. If we're captured, we could end up on a chain gang. [MICHAEL] Chain gang? That's the Thirties, pal. I'd end up in the pen, stamping license plates. (smiling) And I'd probably be making them out of pieces of you. [K.I.T.T.] They'd never take me alive. [MICHAEL] Being a car, that's easy for you to say. Me, I plan to keep breathing... keep an eye on things. Michael climbs out of the car, crosses to: PHOTO SITE TO FEATURE LISA as the session's breaking up and Lisa's heading toward the trailer. Michael falls in step beside her. [MICHAEL] Miss Martinson? My name's Michael Knight. I need to talk to you for a moment...it's important. [LISA] You'd better talk to my manager. He handles bookings and interviews. [MICHAEL] I'm with the Foundation for Law and Government. There's an urgent matter...concerning your father. Lisa stops, stares at Michael hard. Her face doesn't give away much, but what he's said has hit a nerve. [LISA] Not that this is any of your business, but my father's dead. Now, if you don't mind.... She turns to leave. Michael steps in front of her. [MICHAEL] I know Peter McCord's your father. I've got to talk to him. [LISA] Mr. Knight, both my parents died in a car crash when I was four years old. I grew up with my aunt and uncle in Pomona, California. So, if this is some kind of joke it's rude and tasteless. [MICHAEL] It's not a joke. [LISA] Then you're rude and tasteless. Now get out of my way, or I'm going to call for help. She turns, stomps past Michael, heads for her trailer. Over Michael's comlink we hear: [K.I.T.T.'S VOICE] Michael, my sensors indicate there are two armed men in Miss Martinson's trailer.... [MICHAEL] (into comlink) Kitt, get over here! With that, Michael rushes forward and intercepts Lisa just as she's about to reach the trailer. [MICHAEL] Don't go in there! Lisa turns around to face Michael, startled. As she does, the door to the trailer flies open and we see Payne and Talman. They hustle down the stairs toward Lisa as Michael grabs her around the waist, pulls her with him. ANOTHER ANGLE TO FEATURE K.I.T.T. as the Trans Am pulls up and K.I.T.T. pops the doors. Michael struggles to push the battling Lisa inside, then races around and jumps inside himself. As the Trans Am speeds off: OMITTED PAYNE AND TALMAN race around to the back of the trailer, jump in their white Cadillac. ANOTHER ANGLE as the Caddy chases the dust the Trans Am has left for a beat, and then stops. In the distance, K.I.T.T.'s nothing more than a black speck on the horizon. Hold on Talman and Payne's disbelieving faces, and then: CUT TO EXT. HIGHWAY - DAY - ON THE TRANS AM with Michael and Lisa inside. INT. TRANS AM - DAY Lisa's huddled against the door, as far as possible away from Michael. [LISA] This is crazy! You can't just throw people in your car and drive off --- [MICHAEL] This is an emergency.... [LISA] This is kidnapping! [MICHAEL] Lisa, your father's out of prison. You can tell the world about a car crash and your aunt and uncle in Pomona, but I know different. Your father is Peter McCord. He's out of prison, someone's after him -- and they're threatening to explode a bomb in the city if they don't get him. [LISA] I don't believe you. I don't believe any of this.... [MICHAEL] Then who were those two men in your trailer? Fans? Press agents? [LISA] Thanks to you I never got a chance to find out. [MICHAEL] You'll be glad you didn't. [LISA] Where are you going? Where are you taking me? [MICHAEL] To the Foundation. You'll be safe there. She stares at him, his resolve, glances out the window, thinking. [LISA] If it was true...if...what makes you think I'd know where he is? [MICHAEL] You were the person closest to him... if it's true. [LISA] It isn't. [MICHAEL] Somehow I knew you'd say that. She suddenly goes for the door, tries to open it, can't. [MICHAEL] Sorry. She glares at him. CUT TO EXT. HIGHWAY - DAY - ANGLE ON HIGHWAY PATROL CAR parked by the side of the road, as the Trans Am cruises past. INT. HIGHWAY PATROL CAR - DAY The Highway Patrolman speaks into his walkie-talkie. [PATROLMAN] This is six-Adam-eleven. I have a black Trans Am, license plates K-N-I-G-H-T in sight. Am in pursuit. EXT. HIGHWAY - DAY as the Highway Patrol car turns on its blinking lights, goes in pursuit of the Trans Am. INT. TRANS AM - DAY Lisa stares sullenly out the window, refusing to even look at Michael. We hear K.I.T.T.: [K.I.T.T.] Michael, there is a patrol vehicle approaching in response to the APB. [LISA] The police! (then) Who was that voice? Lisa instead cranes hopefully to try to wave at the patrol car, then pounds on the window. [MICHAEL] Let's lose him, Kitt. [K.I.T.T.] If I may suggest, 'Tommygun' Taylor had an effective way of --- [MICHAEL] Forget Tommygun Taylor, Kitt. We've got a more subtle option. Michael pushes a button on the dash. EXT. TRANS AM - DAY - ANGLE ON LICENSE PLATE as the KNIGHT plate flips over, revealing a numbered plate. ANOTHER ANGLE as the patrol car catches up with the Trans Am. INT. PATROL CAR - DAY The Patrolman picks up his mike. [PATROLMAN] I'm on him. Confirm the plate --- He trails off, squinting at the license plate, shaken. [PATROLMAN] Never mind. False alarm. He slows down and pulls to the shoulder of the road. He rubs his eyes, shakes his head. ANOTHER ANGLE - THE TRANS AM disappearing up the highway, as we: CUT TO EXT. MARINE YACHTS - DAY - ESTABLISHING A chic yacht sales dealership in a Marina-type coastal area. A sign in front reads: "MARINE YACHTS". In the yard we see the now familiar white Cadillac. Beyond it is a trailer-style office. INT. MARINE YACHTS - FENTON'S OFFICE - DAY Payne and Talman are facing Eric Fenton, a hard-looking man in his fifties, who's pacing behind his desk. [TALMAN] We would've had her if that guy hadn't shown up.... [FENTON] That's what you said about McCord in the alley -- if. If things had gone as planned he'd be standing here in front of me now instead of you two. (beat) Now he's gone. Disappeared. And you've let the one person I could have used to lure him here slip through your fingers. Fenton crosses to a metal box sitting by the door. He opens it and inside we glimpse the Minotaur. Fenton leans over, sets a digital clock to 12:00. [FENTON] It's on them. They let him get away...They've got until twelve noon tomorrow to deliver him. Talman and Payne exchange a nervous glance. [PAYNE] But...what if they don't find him? [FENTON] I'm a successful man. I get what I want. Know why? I've never made an idle threat...and I don't intend to start now. (beat) Plant it. Off Talman and Payne's look: CUT TO EXT. FOUNDATION - DAY - TO ESTABLISH INT. FOUNDATION - DEVON'S OFFICE - DAY Devon and Michael stand watching as an irate Lisa stalks before them. She's livid. [DEVON] I understand how you must feel, believe me.... [LISA] Believe you? Why should I believe any of you? This whole thing is incredible.... [DEVON] I agree. Unfortunately, it's also true. [MICHAEL] Lisa, you won't be safe until we can find McCord -- and the Minotaur bomb. And the sooner you start to tell us about.... Suddenly, the door to the office bursts open and Peter McCord rushes in, closely followed by April. [APRIL] Devon, I'm sorry. He got past security before I could stop him --- McCord crosses to Devon and Michael. He doesn't notice Lisa at first. [MC CORD] You got me out -- I've got no place to go, no one to turn to. Like it or not, I'm your responsibility and.... He notices Lisa, stops in midsentence. He stares at her, stunned. [MC CORD] Lisa...? McCord takes a step toward Lisa. She's just as stunned, but from the expression on her face, it's clear she recognizes McCord. She steps away from him. [LISA] Stay away from me. [MC CORD] (beat) Lisa...please.... McCord reaches out, touches her. She jumps back like she's been shocked. [LISA] Don't touch me! Don't you ever touch me. Lisa turns on Devon and Michael, tears welling in her eyes. [LISA] How could you do this? Why? He's a murderer! [DEVON] We're aware of his record.... [LISA] Did he tell you who he killed? Do you know? Do you care? He killed my mother...! Lisa turns her back, her face suddenly set, cold. [LISA] All right, you've got him. You don't need me. And I don't want to spend another second in the same room with him. (to Michael) Can we go now? [MICHAEL] I'm sorry. [LISA] But you said --- April steps up to Lisa, takes her gently by the arm. [APRIL] Lisa? Can I see you for a minute? Please. Lisa's shoulders slump. She nods, allows April to escort her out of the room. McCord looks devastated. OMITTED EXT. MARINE YACHTS - DAY where we see the white Caddy parked close to the office, its trunk open. Talman and Payne come out of the office, very slowly and very carefully carrying the metal box containing the Minotaur. They load it in the trunk of the Caddy, as Fenton watches from the doorway. ON THE WHITE CADILLAC as Talman and Payne get inside, slowly drive out of the lot. Follow as it moves down the street. As it does: FREEZE FRAME AND FADE OUT END OF ACT TWO ACT THREE FADE IN EXT. FOUNDATION - DAY - STOCK [MC CORD'S VOICE] How could you do this to her...put her through this.... INT DEVON'S OFFICE - DAY [MICHAEL] We didn't plan to. Someone tried to kidnap her today. The words hit him. He turns, paces. [MC CORD] I didn't kill my wife. I loved her more than anything in this world.... [MICHAEL] Look, McCord, what you did is between you and your daughter and the courts. Right now we've got another problem...a Minotaur bomb set to explode at noon tomorrow. [DEVON] Michael's right. We're running out of time. Who is this person? Who's trying to kill you? McCord hesitates for a beat, then shakes his head. [MC CORD] Who's trying to kill me has a lot to do with why. It's a long story.... [MICHAEL] If it can help us find the bomb, we've got the time. [MC CORD] (a long beat) Rachel, my wife...before we met she'd been engaged to a guy who turned out to have some ties with organized crime. He got busted. Before he went up, he asked me to keep an eye on her. (beat) I did. You can guess the rest...we fell in love. By the time he got out, Rachel and I were married. Lisa was nearly seven. He flipped out, threatened to kill us both. McCord paces the room, struggling with memories. [MC CORD] I wrote him a letter, tried to explain it, apologize...then one night I went out for a six pack. The store was closed, and when I got back... (beat) He'd been there. He killed her...I didn't know what to do...by the time I picked up the phone to call the cops they were pounding on the door. There I was...and no alibi. He had five guys who said he was in Vegas that night. McCord falls silent. Michael and Devon exchange a look. [DEVON] And you're saying he's still after you? Twelve years later? [MICHAEL] It seems to me a guy with organized crime connections could've had you iced inside prison. [MC CORD] He could've, sure. But he didn't. He wants to do it personally. [DEVON] Then that's why you've resisted parole for so long. [MC CORD] Yeah. And with Rachel gone and Lisa...feeling like she does, I had nothing on the outside anyway. [DEVON] All right, Mr. McCord...let's assume what you say is true. Who is this man? What's his name? McCord hesitates. Michael faces him. [MICHAEL] C'mon, McCord. His name. Now. [MC CORD] His name is Eric Fenton. (a long beat) He's my half-brother. Off of Michael and Devon's reactions: OMITTED EXT. HIGHWAY - DAY - ON TRANS AM - STOCK INT. TRANS AM - DAY [MICHAEL] Is the address on Fenton residential or commercial? [K.I.T.T.] It's Marine Yacht Sales on Bridgeway. We should be there in thirty minutes. (beat) Michael, are you sure this is the wisest course of action? [MICHAEL] It's the only one available, pal. Unless you can conjure up the location of the bomb. [K.I.T.T.] Conjuring is not one of my strong suits. [MICHAEL] That makes two of us. [K.I.T.T.] I've completed a comprehensive review of famous partnerships in crime. I've decided we're most like Butch Cassidy and the Sundance Kid. [MICHAEL] I think this whole thing's going to your head, Kitt. [K.I.T.T.] They hated injustice, had a code of ethics, cared for the common man.... [MICHAEL] Great. I'll see if I can find a bank for us to knock over. [K.I.T.T.] I wouldn't advise that. There are police cars everywhere. Check my monitor. Michael does, and we see a grid of city streets. Red dots signify the presence of police cars. [K.I.T.T.] Fortunately, we can always utilize my special plates. A tactic Butch and Sundance would undoubtedly envy. [MICHAEL] Undoubtedly. Only I don't think they're going to work much longer ...we might have to do broken open field running. [K.I.T.T.] How challenging. [MICHAEL] Just don't forget what happened to Bonnie and Clyde...and their car. [K.I.T.T.] Their car? [MICHAEL] Check your computer. When the cops finally caught up with them, they riddled their car with so many bullets it looked like Swiss cheese. (beat) So'd Bonnie and Clyde, for that matter. There's a long silence. [K.I.T.T.] One hundred and seven.... [MICHAEL] What? [K.I.T.T.] There were 107 bullet holes in that car...how depressing. Off Michael's smile: CUT TO EXT. CITY STREET - DAY as the white Cadillac moves through the afternoon traffic. CUT TO EXT. FOUNDATION - DAY as April crosses the grounds to Devon. [DEVON] How is she? Any better? [APRIL] A little. She's agreed to stay over- night at least. [DEVON] Good, let's make use of the time...talk to her, April. Record the conversation. Get her to open up about the past. April looks at Devon. [APRIL] Devon, you don't realize how traumatized she is by that experience. She's spent twelve years trying to forget. I can't ask her to open it up again...I just can't. [DEVON] We have no choice, April. I'm convinced the past is the key to this entire case -- including the placement of the bomb. [APRIL] Why? [DEVON] I've been going through everything we've got on McCord, Eric Fenton and Lisa...Tomorrow would have been the twentieth wedding anniversary for McCord and his wife. (beat) They were married at noon. [APRIL] The same day and the same time Fenton's threatened to explode the Minotaur. [DEVON] Precisely. If I'm right, Fenton will place the bomb somewhere that ties in with personal histories of these people ...it seems to be his psychological modus operandi. [APRIL] (beat) In that case, I'd better get to work. [DEVON] Get Lisa to go into as much detail as possible. Don't leave a stone unturned. April nods, crosses back to the Foundation. CUT TO EXT. STREET - LATE AFTERNOON A downtown area. Office buildings and stores. We pick up the white Caddy, with Payne and Talman inside, as it drives into a multi-story parking structure. INT. PARKING STRUCTURE - LATE AFTERNOON as the Caddy pulls into a parking space. Payne and Talman jump out, open the trunk. Inside, we see the Minotaur bomb. Talman leans over, gingerly checks the bomb. We see the digital clock glowing 12:00. He closes the trunk, and the two men hurry off. As they do: CUT TO OMITTED EXT. COASTAL YACHTS - NIGHT A single light glows inside. We see the Trans Am pull up and stop on the street in front of the lot. INT. TRANS AM - NIGHT as Michael checks out the lot. [MICHAEL] Pick up anything, Kitt? [K.I.T.T.] I'm registering traces that indicate the bomb was here, Michael. Unfor- tunately, it's gone now. Michael starts to get out. [MICHAEL] I was afraid of that. Cover me... just like Butch and Sundance. [K.I.T.T.] Be careful. Need I remind you what happened to Butch and Sundance? [MICHAEL] (grimly) I saw the movie. Michael climbs out, hustles toward the office. CUT TO OMITTED INT. OFFICE - NIGHT Fenton's at his desk. Among the paperwork, we should see a vial of pills with a drugstore label on it. The door suddenly flies open and Michael steps inside. Fenton stands. [FENTON] Who are you? What do you want? [MICHAEL] Are you Eric Fenton? [FENTON] That's right. Who are you? [MICHAEL] Michael Knight. I'll get right to the point. I want the Minotaur. Fenton's face registers total surprise for a beat. He covers it, then slowly, almost painfully sits down. He regards Michael for a beat, then: [FENTON] Are you with the police? [MICHAEL] No. I'm with a Foundation you've probably never heard of. [FENTON] How did you find me? [MICHAEL] We've got Peter McCord. He pointed us in your direction. [FENTON] (reacts) You've got Peter? Why? [MICHAEL] Why does it matter. We've got him. Alive. And safe. So is his daughter, Lisa. (beat) We know you've got the Minotaur. As they say in chess...check. Fenton hesitates, then smiles, shrugs easily. [FENTON] I think we understand each other. I want Peter. You, want the bomb. A simple exchange. [MICHAEL] It's not that simple. Phillip Hunt may operate that way. We don't. [FENTON] What you fail to understand is I do. And I'm the one dealing from a position of power here, not you. I won't com- promise. You see, there's only one thing I want from the rest of my life... and that's to see Peter dead. (beat) As they say in chess...checkmate. Fenton's smile fades to an icy glare. Hold on him, then: CUT TO EXT. STREET - NIGHT - ON TRANS AM as Michael walks to K.I.T.T., climbs inside: [K.I.T.T.] How did it go, Michael? [MICHAEL] Fenton's definitely our man...but he sure plays a mean game of chess. As the Trans Am fires up and takes off: INT. TRANS AM - NIGHT - TRAVELING as Michael heads into the night. [K.I.T.T.] Chess? The two of you played chess? [MICHAEL] No. I mean, the man's got ice in his veins. [K.I.T.T.] Oh, dear...that does sound serious. [MICHAEL] It's an expression, Kitt. It means nothing fazed him. It's like he doesn't care about anything... (beat) Tell me what you've got on a drug called Diphenidol. [K.I.T.T.] Diphenidol? [MICHAEL] Yeah...Fenton had a vial of it on his desk. [K.I.T.T.] Diphenidol is a generic drug pre- scribed for relief of nausea, especially that due to chemotherapy.... Off Michael's reaction to this information: CUT TO INT. FOUNDATION - SITTING ROOM - NIGHT April and Lisa are sitting facing each other. A table, with tape recorder, a stack of tapes and a pot of tea and cups sits between them. [APRIL] Anything else about that summer on the island? [LISA] Other than what I've told you...I don't think so...April, I'm so... tired. April nods, reaches over and switches off the recorder. [APRIL] That makes two of us... (a beat; smiles) I know this is tough, but you're doing just fine. Lisa just shrugs, stares at the floor hard. Fighting back tears. [LISA] I've spent so much time learning to for- get, it's hard to start...remembering. [APRIL] You've got a lot of courage, Lisa. I don't know if I'd be holding up nearly as well. (getting up) Take a break. I'll brew up some more tea. April exits with the tea pot. Lisa leans forward, reverses the recorder, plays back a bit of the last conversation. [LISA'S VOICE] (on recorder) ...The house was a big, knotty-pine place that smelled like moss and moth balls almost all the time.... Under this, we hear the door open and close. Lisa flicks off the recorder as we hear: [MC CORD'S VOICE] Lisa.... Lisa whirls around to face her father. She's immediately angry. [LISA] What are you doing in here?! McCord crosses toward her. He's obviously quite moved. [MC CORD] I wasn't sure I'd ever see you again...except on magazine covers and TV commercials. [LISA] Please, just go. [MC CORD] Lisa, give me thirty seconds. A minute...then I'll leave. Please.... Something in his voice, the need, the vulnerability, touches Lisa. She watches him warily. [MC CORD] There's so much...Lisa, I loved your mother. [LISA] You killed her. [MC CORD] That's not true.... [LISA] It is! I remember it like it was yesterday. I was upstairs in bed, coloring with my crayons. Mom ran into the room, picked me up and carried me to the closet. She said, 'Baby, whatever you do, don't come out until I get you.' [MC CORD] I'd gone out.... [LISA] (remembering, terrified) I heard a door slam, angry voices, yelling... (beat) When they found me, I'd crushed all of my crayons into little pieces.... [MC CORD] You were so young, and scared... you could have mistaken the voice you heard for mine. It wasn't me. (no response) Lisa, I didn't kill her. Eric did. [LISA] Eric Fenton? My uncle -- ? [MC CORD] You know how he felt about us... (beat) Think about it. She was killed the day after he got out of prison. Lisa shakes her head, not wanting to hear. [LISA] You were tried and convicted...found guilty by a jury. McCord stares at Lisa, struggling to find words for his thoughts. [MC CORD] Juries aren't always right. Men in prison aren't always guilty. (beat) Think about the times we had...you, me, your mom...We couldn't have been happier. Why would I kill her? How could I kill her? Lisa doesn't respond. She's watching her father carefully. [MC CORD] I must have rehearsed this scene a thousand times in prison. (beat) In my mind it always worked out that you believed me...and lived happily ever after. (beat) I guess I knew it wouldn't really happen that way, but I had to try.... He slowly gets up, turns, walks to the door, stops. [MC CORD] Lisa...I love you, just like I loved your mom. No matter what else I lose. No one's ever going to take that away from me.... With that, McCord turns and exits. Hold on Lisa, staring at her hands, refusing to look up. A tear trickles from her eye, as we: CUT TO INT. DEVON'S OFFICE - DAY Devon's at the portable computer, reviewing details of McCord's past -- names, dates, etc. flash on the screen. Devon looks frustrated, tense. Michael enters and Devon looks up. [DEVON] Did you find him? [MICHAEL] Yeah, I found him. But he's not going to tell us where the bomb is. He's got no reason to. [DEVON] What do you mean? [MICHAEL] He's got nothing to lose, Devon. He's dying. This hits Devon and he sinks back in his chair. [DEVON] Perhaps we're fighting a losing battle, Michael. Phillip Hunt's mobilized the entire police force in a massive dragnet to find McCord. He also has bomb squads searching the city section by section.... April hurries into the office. She looks dismayed. [APRIL] Devon, Michael -- we've got a problem. (beat) Peter McCord's gone. Michael and Devon exchange surprised looks. [DEVON] But why would he leave? Where would he go? He was safe here...he knew that. At this moment, Lisa comes hurrying into the room. She looks terribly upset. [LISA] What happened? [MICHAEL] McCord left. (to Devon) I think I know where he went. Eric Fenton's. [LISA] (reacts) But if what he said is true...Eric's the one who wants to kill him. Michael nods. Lisa suddenly looks defeated, vulnerable. [LISA] He came to me and tried to talk. I wouldn't listen to him. I told him I didn't believe him. [MICHAEL] Right now he probably doesn't care much whether he lives or dies.... Michael heads for the door, tucking the cassette carrying case under his arm as he goes. [LISA] Michael...find him. Please.... Michael nods, exits. Hold on Lisa, then: FREEZE FRAME AND FADE OUT END OF ACT THREE ACT FOUR FADE IN OMITTED EXT. HIGHWAY - DAY - STOCK K.I.T.T. speeds down the highway, his scanners flashing as he heads toward the city. INT. TRANS AM - DAY Michael grips the steering wheel, his concentration focused on his mission and the road. [MICHAEL] How long before that bomb's due to go off, Kitt? Digital numbers flash across K.I.T.T.'s monitor screen, finally giving a readout as K.I.T.T. speaks: 01:35:19. [K.I.T.T.] One hour, thirty-five minutes and nineteen seconds. [MICHAEL] Keep the clock running, pal. I want to see those seconds ticking down. [K.I.T.T.] Aren't we rather foolhardy to move at our present speed and make ourselves quite so visible to police officers? After all, we are fugitives.... [MICHAEL] No time for hide and seek. [K.I.T.T.] Very well, but it defies criminal logic. The seconds and minutes continue to change as time flies by. [MICHAEL] How're you coming with those tapes of Lisa that April gave us? [K.I.T.T.] I'm afraid I really don't understand what I'm looking for, Michael. [MICHAEL] I'm hoping your voice analyzer will pick up subtle changes in her emotions. There's got to be someplace in the family's past that ties into what's happening now. [K.I.T.T.] You mean the placement of the Minotaur. [MICHAEL] That's what I mean. [K.I.T.T.] I'll do what I can. But please, Michael -- try to keep us away from one of those dreadful police ambushes.... [MICHAEL] (a smile) Bonnie and Clyde got you worried? [K.I.T.T.] No, but their car does. One hundred and seven bullet holes, Michael. INT. BOAT DEALERSHIP - FENTON'S OFFICE - DAY Fenton's in a swivel chair at his desk, staring at a small clock nearby. Suddenly, the door across from him opens -- and framed by sunlight pouring in from behind him is Peter McCord. Fenton just stares for a beat. [MC CORD] Hello, Eric. [FENTON] Hello, Peter. The tension is palpable. McCord moves into the office and Fenton's hand opens the desk drawer. He pulls out a gun, aims it at McCord. Cocks it. [FENTON] Are you ready to die, Peter? McCord swallows, nods. Fenton smiles coldly and lays the gun on the desk in front of him, still aimed tauntingly toward McCord. [FENTON] Know what's kept me alive all these years? What made me keep going? The chance to see you suffer the way you made me suffer. (beat) You took the only thing I ever loved away from me. [MC CORD] Then maybe we're even, Eric. You killed the only woman I ever loved. Fenton stares coldly at McCord, shakes his head. [FENTON] No, Peter. We'll be even when you're dead. [MC CORD] Then let's get on with it. In spite of himself, Fenton looks surprised, temporarily thrown off balance by McCord's attitude. [MC CORD] On the way here, I reviewed all the reasons for facing you like this... (beat) I was going to atone for my sins...I was going to redeem myself in Lisa's eyes...I was going to martyr myself to save thousands of innocent people. (shakes his head) But, you want to know what's really the truth? I'm here because I'm tired of running, tired of hiding, tired of living half a life... (beat) I'm not afraid of dying any more, Eric. Do what you have to do. EXT. BOAT DEALERSHIP - DAY - ANGLE ON K.I.T.T. as the car barrels into the yard adjacent to the office, squealing to a stop, scanners flashing. WIDER ANGLE as Payne and Talman appear and rush toward the car, guns drawn. Reaching the car, they stare at it in awe. [TALMAN] There's nobody in there. ANOTHER ANGLE Michael leaps at them from behind, knocking Talman to the ground and dispatching Payne with a punch. Talman levels his gun at Michael and Michael kicks it out of his hand, slams him back against the Trans Am, knocking him out. Then, Michael runs toward the office. INT. BOAT DEALERSHIP - FENTON'S OFFICE - DAY as the door bursts open and Michael bolts in, confronting McCord and Fenton. Fenton begins to raise his gun and Michael grabs his hand, ultimately shaking the gun free and knocking it out of his reach, across the room. [MICHAEL] The bomb, Fenton. This time you're going to tell me where it is. [FENTON] You underestimate me, Knight. [MICHAEL] I don't think so. You're a dying man. You're desperate. But, I don't think you're really going to kill thousands of innocent people. (beat) Don't you think every one's suffered enough? McCord has. Lisa has. And I've got a feeling you have, too. [FENTON] You have a choice, Knight. The same one Phillip Hunt had. Turn around and walk out that door...or the responsibility for that bomb is yours, not mine. There's a moment's silence as Michael studies Fenton. He knows the older man's not bluffing. Michael finally turns to McCord. [MICHAEL] (to McCord) Let's go. [MC CORD] (shaking his head) This is my fight. It's time I faced it.... [MICHAEL] What about Lisa? What happens to her? [MC CORD] It's too late for that. [MICHAEL] Not according to her. She asked me to find you. You've got a chance to live, to be a father...don't throw it away. Michael turns to head for the door. McCord stands, halfway between Fenton and Michael. He glances at his brother, then at Michael. A beat, then McCord turns and follows Michael. [FENTON] (shouting) You leave now and you're responsible! Do you hear me?! Both of you! CUT TO EXT. CITY STREET - DAY - ANGLE ON TRANS AM as the car moves away from the dealership, into traffic. INT. TRANS AM - DAY - ANGLE ON MONITOR SCREEN The digital clock now reads: 0:48:16 WIDER ANGLE TO REVEAL MICHAEL at the wheel, McCord beside him. A conversation is in progress. [MICHAEL] ...Kitt's analyzed the tapes and isolated three locations with emotional charge to them. I'm hoping they might mean something to you...and to Fenton. It's a long shot, but it's all we've got. [MC CORD] Shoot. [MICHAEL] Kitt.... [K.I.T.T.] The three locations are: Basilio Island, Church of the Morning, and 1177 McClure Street. [MICHAEL] (to McCord) What's Basilio Island? [MC CORD] A little place off the coast where we used to go on vacation every summer. How could she remember that? She was so little...We were almost always alone there -- it's uninhabited. [MICHAEL] Then Fenton wouldn't plant the bomb there. What about the other two? [MC CORD] The McClure address is where we used to live. (beat) Rachel died there. (beat) Church of the Morning is where we got married.... A realization hits him. [MC CORD] Of course -- that's where he met Rachel, at a picnic! Do you think...? [MICHAEL] We'll find out. Let's do it, Kitt. And the Trans Am picks up speed. EXT. CHURCH OF THE MORNING - DAY A small chapel in a suburban area. The Trans Am pulls to a stop in front, scanners flashing. OMITTED INT. TRANS AM - DAY A beeping sound accompanies the scanning of the Electronic Detection Module. [MICHAEL] Is it here? [K.I.T.T.] I'm afraid my Electronic Detection Module isn't picking up even a trace of the Minotaur bomb. McCord's thinking hard. [MC CORD] Then it's got to be the McClure house. [MICHAEL] Let's hope so. We're running out of time. And we angle to the digital clock, now reading: 0:26:04. As the Trans Am tears away from the curb, we: CUT TO EXT. MULTILEVEL PARKING STRUCTURE - DOWNTOWN AREA - DAY as the Trans Am pulls up in front of a new-looking efficiency lot filled with cars. We hear: [MICHAEL'S VOICE] This is 1177 McClure Street. OMITTED INT. TRANS AM - DAY McCord looks baffled by the public structure before him. [MC CORD] The house is gone.... [MICHAEL] It's been torn down, but I'll bet somewhere in that haystack, Fenton's planted his needle. EXT. TRANS AM - DAY as the car pulls quickly through the entrance, into the parking structure. INT. PARKING STRUCTURE - DAY - ANGLE ON TRANS AM Scanners flashing, the car moves slowly up an aisle, up a ramp. INT. TRANS AM - DAY The Electronic Detection Module beeps, scanning.... [MICHAEL] What're you getting, Kitt? [K.I.T.T.] A great deal of interference, Michael. The concrete walls of this structure are reinforced with steel beams which are adversely affecting my Electronic Detection Module. (beat) I can tell you there are 897 people and 1585 vehicles in the structure at this time. Michael glances at the digital readout which is now: 0:14:00. He thinks hard, then: [MICHAEL] Kitt, run a scan of the garage... quick! Tell me if that white Cadillac we saw is in there.... [K.I.T.T.] Yes, Michael. You're absolutely right. It's parked on level 3B. [MICHAEL] That's it! EXT. TRANS AM - DAY as the car whilrs a narrow 180 and heads in the opposite direction, moving level to level in the parking structure. NEW ANGLE as K.I.T.T. comes around a corner and skids to a stop in front of a car stalled diagonally across their path. Slowly, gently, Michael inches forward and pushes the car aside. Once clear, Michael floors it and races for the next level. INT. TRANS AM - DAY As they pull onto Level 3B, suddenly the beeping of the Electronic Detection Module becomes fast and loud. Michael spots the Cadillac. [MICHAEL] Bingo! Crack the trunk, Kitt! McCord opens his door to climb out and Michael stops him. [MICHAEL] If you want out, McCord, do it now. McCord looks at him. [MC CORD] I've been out for ten years. Deal me in. Michael nods and as he and McCord climb out, we hold a beat on the digital readout: 0:10:01 ANGLE UP FROM MONITOR THROUGH WINDSHIELD as the Cadillac's trunk pops open and Michael and McCord approach, and we see the bomb, silently waiting.... EXT. CITY STREETS - DAY - ANGLE ON TRANS AM as the car darts through traffic and finally moves out onto the highway, picking up speed. INT. TRANS AM - DAY - ANGLE ON DIGITAL READOUT clicking down the seconds: 0:08:05, 0:08:04, etc. WIDER ANGLE TO SEE MICHAEL AND MC CORD the strain showing in their faces. [MICHAEL] Where can we dump this thing, Kitt? On the monitor beside the digital readout, K.I.T.T. flashes a series of maps, finally settling upon one featuring a single blinking red light. [K.I.T.T.] The nearest uninhabited location is precisely forty-five point seven miles away. [MC CORD] We'll never make it in eight minutes! [MICHAEL] Don't be too sure. Kitt, remember Bonnie and Clyde's car. [K.I.T.T.] Say no more, Michael. Michael hits the gas, the Trans Am roars forward. EXT. TRANS AM - DAY as the car picks up speed, burns up the highway. NEW ANGLE - A HIGHWAY PATROL CAR parked by the road as the Trans Am flies past. INT. HIGHWAY PATROL CAR - DAY The Officer (#2) clocks the Trans Am at 105 mph. He picks up his walkie-talkie. [OFFICER #2] I've got a vehicle answering the description of that APB moving at speeds off the clock, north on Highway 5. Am in pursuit. Can you provide intercept at Junction thirty? EXT. HIGHWAY PATROL CAR - DAY pulling away from the roadside, lights flashing, acceler- ating after the Trans Am. INT. TRANS AM - DAY The pursuing vehicle appears on the monitor and Michael glances into the rearview mirror, sees the squad car far behind him. [K.I.T.T.] If we're stopped, we will indeed -- as Mr. McCord so quaintly put it -- blow sky high. [MICHAEL] I hate to do this to an officer of the law.... He depresses the accelerator and we see the speed increasing steadily: 130, 135, 140, etc. EXT. HIGHWAY - DAY - ANGLE ON A SECOND HIGHWAY PATROL CAR way ahead of the Trans Am, approaching the highway from an intersecting road. ANGLE ON A THIRD HIGHWAY PATROL CAR approaching from the other side of the intersecting road. The cars meet at the highway, pull nose to nose, forming a roadblock across the highway. INT. TRANS AM - DAY The speed is still rising: 160, 165, etc. [K.I.T.T.] Michael, I'm picking up a roadblock directly ahead of us. [MICHAEL] You know what to do, buddy. [K.I.T.T.] Yes, Al Capone would've had to run through it. Thank goodness for modern technology. [MC CORD] What's he talking about? What're you gonna do? [MICHAEL] Watch. McCord stares, terrified at the monitor when we see the blockade ahead...we also see the digital readout, 0:00:30, 0:00:29, 0:00:28, etc. EXT. HIGHWAY - DAY as the Trans Am blasts toward the patrol cars. Just before collision, the Trans Am leaves the road, sails up and over the roadblock and continues up the highway at a speed that transforms it into a black blur. A beat, then the squad car that was pursuing the Trans Am barrels toward the roadblock. INT. HIGHWAY PATROL CAR - DAY as the officer sees no more Trans Am -- only the roadblock -- and he hits the brakes. EXT. HIGHWAY - DAY The squad car goes into a skid that would make drag racers proud, stopping just inches short of a collision. OMITTED EXT. DESERTED DESERT AREA - DAY empty and silent until, with a roar, the Trans Am approaches, slowing as rapidly as is safe, as it pulls off the pavement and tears across the terrain, out toward the quarry.... ANOTHER ANGLE The Trans Am screeches to a halt and Michael leaps out. The trunk pops open and Michael and McCord pull out the bomb, run to the edge of the quarry and heave the bomb in. They dash back to the Trans Am, jump in. INT. TRANS AM - DAY as we see the digital readout: 0:00:6, 0:00:5, 0:00:4... Michael slams on the accelerator. EXT. TRANS AM - DAY - MOVING SHOT as the Trans Am shoots away from us as if launched. Behind it: NEW ANGLE - THE BOMB explodes! INT. TRANS AM - DAY Although the car's a good distance away, it's rocked slightly by the power of the blast. We can see the digital readout's now: 0:00:00 [MICHAEL] Good work, Sundance. [K.I.T.T.] The same to you, Butch. CUT TO OMITTED INT. GOVERNMENT BUILDING - PHIL HUNT'S OFFICE - DAY Hunt's at his desk, intently studying a written speech when Devon comes striding in. Hunt's initially taken aback, but quickly covers it with a smile. [HUNT] Devon. What perfect timing. [DEVON] I certainly hope I'm not interrupting anything. The foyer's filled with reporters.... [HUNT] With the bomb exploded and Fenton and his men in custody, I've decided to hold a press conference and give those wolves what they've been howling for. (gesturing to the speech) I think you'll be pleased with the recognition the Foundation gets.... Devon steps to Hunt's desk, places his hand firmly on top of Hunt's speech. He fixes Hunt with a stern look. [DEVON] I think you'd be wise to reconsider your press conference, Phillip. [HUNT] What're you talking about? [DEVON] You. From the beginning this was a project tainted by your personal bias and ambition. [HUNT] Now, just a minute --- [DEVON] You deceived me. You took advantage of a friendship. And, worst of all, you betrayed the Foundation. [HUNT] I did what I felt was right. [DEVON] Endangering Michael's life and preparing to sacrifice Peter McCord are hardly admirable acts. And if you choose to go before the press to further your personal aggrandizement, I shall do what I feel is right. (beat) I'll expose you, Phillip. I'll open you up for all to see. Hunt stares at Devon, speechless. After a long beat, he slowly picks up the phone, presses a button. Then: [HUNT] Cancel the press conference...I said, cancel it! Hunt slams down the phone, looks at Devon, and then picks up his speech, tears it in half. As he does: FREEZE FRAME AND FADE OUT END OF ACT FOUR TAG FADE IN EXT. FOUNDATION - DAY The Trans Am and Devon's car are in the driveway. Michael, Devon and McCord come from the Foundation. [DEVON] I've spoken with the Attorney General's office. Your case will be reopened shortly. [MICHAEL] Sounds like you're going to have to get used to being a free man again. McCord nods, thinks for a beat. [MC CORD] It may sound funny, but getting used to life on the outside won't be easy after all these years.... [MICHAEL] I've got a feeling you're going to have a lot of help. The three men turn to see: NEW ANGLE - FEATURE APRIL AND LISA coming out of the Foundation. Lisa's smiling. She and April laugh at something as they cross toward the men. [DEVON] (to Lisa) Ready? Lisa glances, almost shyly, toward her father, then nods. McCord smiles back. [DEVON] In that case you'd better hurry. The plane leaves in thirty minutes. Lisa turns to give April a quick, spontaneous hug. As she does, McCord turns to Michael, shakes his hand. Then Devon's. [MC CORD] I'd quit believing in...people. Thanks. Both of you. Devon and Michael ad-lib responses. McCord turns and crosses to the waiting car. Devon follows. Lisa takes this opportunity to move to where Michael stands. ANGLE ON MICHAEL AND LISA as she gives him a hug and a kiss. [LISA] I guess I can forget that aunt and uncle in Pomona now.... [MICHAEL] I think they're where they belong... in the past. Lisa smiles, turns and climbs into the car. McCord follows her. Devon starts up and the three of them drive away. ANOTHER ANGLE - FEATURE MICHAEL AND APRIL standing near K.I.T.T., watching Devon drive off. [K.I.T.T.] Michael, I have a confession. I'm rather pleased our life of crime has come to an end. [APRIL] That makes two of us. [MICHAEL] Tired of life in the fast lane, Kitt? [K.I.T.T.] No. It's simply that my research indicates not one vehicle or steed of a noted desperado ever received the acclaim of it's owner. (beat) Nor did they share in any of the criminal profits. It's quite clear crime doesn't pay. Michael and April laugh. [MICHAEL] Kitt, that APB's off now, right? [K.I.T.T.] That's correct, Michael. [MICHAEL] Good, 'cause I'm taking a long, leisurely drive to the beach. [APRIL] The beach? In the middle of the day? [MICHAEL] Yeah. Come on.... April hesitates. [MICHAEL] What're they going to do...arrest us? Besides, if they do, we've got a great getaway car. [K.I.T.T.] Very funny, Michael. Michael and April laugh, jump in the Trans Am, and as it roars down the street, we: FREEZE FRAME AND FADE OUT THE END

{"show": "Knight Rider", "season": "s02", "episode": "e02", "title": "Brother's Keeper"}

knightriderarchives

ACT ONE FADE IN EXT. AAA WAR SURPLUS SALVAGE YARD - NIGHT A hangar sits center among a group of outbuildings and an open-air tent. Under the tent are crates. Not far from the tent are parts of old military equipment, an airplane tail section, covered military trucks and a functional tank. The entire compound is enclosed by a barbed-wire-topped mesh fence. Two guards, Richards and Layton, patrol the grounds. Each carries a sidearm. Above the main gate is a sign, "AAA SURPLUS", highlighted by a spotlight. ANGLE - BACK FENCE A shadow moves stealthily close to the fence. Once it steps into the reflected light, we see that the figure is a handsome woman in her late forties, her hair up in a bun. This is Amelia Clermont. She carries a camera with a telephoto lens. When she sees that a back gate is locked, she attempts to focus the camera through a fence link. She can't get a good shot and as she climbs atop an old piece of equipment lying outside the fence, she slips and knocks something over. ANGLE - THE GUARDS They snap to attention and run over to the back fence, just as Amelia races out of the light, towards the desert. Richards brings a Handi-talkie to his lips. [RICHARDS] It's that prowler again. What d'you want to do? INTERCUT - JACK KRAGEN A grim-faced, ruggedly good-looking man in his forties. He stands by a workbench in a hangar. [KRAGEN] (Handi-talkie) I'll take care of it. And he picks up a pilot's helmet, sitting on the workbench. ANGLE - AMELIA She runs past a gulley to the road and climbs into her sports car, hidden behind some sagebrush. INT. AMELIA'S CAR - NIGHT She guns the engine, throws the car into first, then rips out onto the two-lane road. The quiet of the desert soon envelopes the car and she is able to breathe a sigh of relief. EXT. WAR SURPLUS SALVAGE YARD - NIGHT - ANGLE ON HANGAR A loud thumping sound is heard from inside the hangar. INT. HANGAR - NIGHT - ANGLE IN SX-411 COCKPIT The noise is much louder. The cockpit is a metal and glass cocoon, the main section of a helicopter which we will not see in its entirety now, but which we will come to know as the SX-411. Inside the cockpit, in his pilot's helmet, is Jack Kragen, his face bathed by the satanic red glow of the instrument panel. INT. AMELIA'S CAR - NIGHT - MOVING Amelia reacts to the loud, muffled sound. The panic comes back: flat tire? Engine trouble? Then the noise becomes deafening. A light shines above the car like a halo. Amelia reacts, now very frightened. INT. SX-411 - NIGHT - KRAGEN He presses a red button on the control stick in his right hand. INSERT - GATLING GUN as it begins to flash, spurting forth the 20mm cannon fire. EXT. DESERT ROAD - NIGHT - AMELIA'S CAR The gunfire forces Amelia to spin the car off the road. EXT. CANYON - NIGHT The sports car goes over an embankment and comes to a stop. The helicopter's spotlight goes out, but the thumping sound is still close by. Amelia is terrified. INT. SX-411 - KRAGEN He presses a black button on the fire control panel. EXT. DESERT - NIGHT A missile spits from the helicopter, crashes into the car and rips it in half. The car becomes an inferno. The thump-thump-thump of the helicopter fades into the distance, leaving the desert to its solitude. The orange flames from the car continue to burn in the black night. EXT. FOUNDATION HEADQUARTERS - DAY - ESTABLISHING INT. DEVON'S OFFICE - DAY Devon and April are looking at the computer terminal, set up near the door, which is slightly ajar. [APRIL] ...and in the tests involving the prototype ultra-magnesium charges, Kitt performed beyond expectations. [DEVON] (with a smile) Despite his strong-willed driver? [APRIL] Maybe because of his strong-willed driver. [DEVON] I'm shocked. You're actually giving Michael credit? [APRIL] (half-smile) Only because he's not around to hear it. There's a slight knock at the door. As they look over, into the frame of the doorway steps Camela (pronounced Pamela with a "C") Clermont, beautiful, reserved and sophisticated, a younger version of Amelia Clermont. When Camela pronounces the word "Mama," the accent is on the second syllable. April moves toward the door, during: [CAMELA] Excuse me...the outer office was empty and.... Devon looks up and reacts, disbelieving. When Devon doesn't respond: [APRIL] May I help you? [CAMELA] I'm looking for Devon Miles. [DEVON] I'm Devon...do we know each other? [CAMELA] I'm Camela Clermont. I believe you know my mother, Amelia. [DEVON] Yes...yes, of course. (warmly) You'll have to forgive me...you look so much like Amelia. Camela, this is April Curtis. They shake hands, ad-lib hellos. [DEVON] Where is Amelia? Is she with you? [CAMELA] I live in Paris with my grandmother. I was supposed to visit Mama after I graduated from the University. We had everything planned. Then her letters stopped. When I couldn't reach her on the phone, I flew to Phoenix...She's disappeared. [DEVON] Camela, your mother was liberated when the phrase still referred to countries. As I recall, it wasn't unusual for her to simply pack up and leave for days at a time. [CAMELA] It's been three weeks. She looks close to tears. [APRIL] Have you contacted the police? [CAMELA] They took a report...I'm sorry to bother you, but I don't know who else to turn to.... Devon comforts her. [DEVON] You've come to the right place... don't worry, we'll straighten this out. (beat) Camela, how did you get my name? She takes a packet of letters from her purse. [CAMELA] These...your love letters to my mother. On April's surprised reaction, we: CUT TO EXT. HIGHWAY - DAY - STOCK From out of the horizon comes a speeding car; the Knight 2000. And from O.S., we hear a few beats of a "surf" song by the Beach Boys, Jan and Dean, or a like group. The music abruptly stops. [K.I.T.T. (V.O.)] Time's up, Michael. [MICHAEL (V.O.)] It's coming...flash from the past.... INT. K.I.T.T. - DAY Michael is at the wheel, a beat more as he tries to remember the song title; still trying, until: [K.I.T.T.] 'California Girls' by the Beach Boys. [MICHAEL] Took the words right out of my mouth. [K.I.T.T.] Michael, I fail to see the appeal of these songs. They're all about surfing, sun, and girls in bikinis. What exactly is the allure of Southern California? [MICHAEL] (smiling) You just said it, pal. And thanks to the Foundation, that's our next stop. [K.I.T.T.] Have you ever considered broadening your cultural horizons? Perhaps we could start with something in Baroque, and segue to.... We hear Devon's tone. Michael quickly pushes the buttons on the roof. [MICHAEL] Sorry, Kitt, duty calls. Go, Devon. INTERCUT - DEVON As he comes up on the monitor screen, April can be seen in the b.g. on the computer console. [DEVON] Michael, I have an urgent matter for you to attend to. You are to reverse course and head for Phoenix immediately. [MICHAEL] Phoenix? The new assignment's in California, land of --- [DEVON] California can wait. Michael realizes how serious and worried he is. [MICHAEL] What's up? [DEVON] A woman named Amelia Clermont has disappeared. Her daughter, Camela, will fill you in. I put her on the Foundation jet. She'll meet you in Phoenix. (beat) Michael, I want you to do every- thing you can to find Amelia. This one is personal. This one is for me.... EXT. HIGHWAY - DAY - STOCK K.I.T.T. burns a 180 and heads back the opposite way. EXT. HIGHWAY - VARIOUS ANGLES - DAY - STOCK - DRIVEBYS as desert changes to city, Phoenix, Arizona. EXT. AMELIA'S CONDO - DAY K.I.T.T. pulls to a stop in front of this pleasant condo- minium, a squat structure replete with small balconies on every floor. INT. AMELIA'S CONDO - DAY At the sound of the doorbell, Camela opens the door as far as the latch-chain will allow. Michael peeks through the opening. [MICHAEL] Camela Clermont? [CAMELA] Yes? [MICHAEL] I'm Michael Knight. I work with Devon Miles. She hesitates. [MICHAEL] (continuing) We don't go to the same tailor. She smiles, unlatches the door. CUT TO INT. AMELIA'S CONDO - DINING ROOM - DAY Begin on a small collection of elegant French ceramics which sit on the dining room hutch. Camela's hand picks one up, she muses over it, touches her mother's belongings as we widen to see Michael at the table, buried in his research of Amelia's papers, during: [MICHAEL] All right...the last letter you got in Paris from your mother was September 28th. She was still working full-time at the library and doing volunteer work for Congressman Ebersol on Saturday, October 11th. (beat) What's the date of the last call on her phone bill? Startled out of her reverie, she picks up the phone bill. [CAMELA] October 11th. Michael jots the information on a pad he has started. Camela picks up several tickets. [CAMELA] Look at these...tickets for a play, a symphony, a lecture for Green Peace ...I never realized how many interests Mama and I had in common. [MICHAEL] At least we know she wasn't planning on dropping out of sight. (on her confused look) The tickets...the theater's tomorrow night...and the symphony isn't until next month. (beat) Camela, why did you go to school so far away? [CAMELA] It's where I live. My mother and my father divorced when I was nine ...My father's family is very rich ...it was decided I stay with them in Paris. Michael nods. She looks back at the envelope, then takes out the tickets. [CAMELA] Oh, Michael...these tickets were to celebrate my arrival. 'An evening with George Gershwin -- 'An American In Paris.'' Because she is staring down at the tickets, Michael cannot at first see that she is crying. Then she drops the tickets and quickly wipes away a single tear. [MICHAEL] Camela...there's got to be a logical explanation for this...It may take some time...but we'll find answers, believe me. She nods. He clasps his hand around hers. She takes it, holds on tight. EXT. AMELIA'S CONDO - DAY Camela talks MOS to an elderly lady who is walking into the building. The woman is animated, but, after a pause, shakes her head "no." CUT TO INT. EBERSOL'S OFFICE - CAMPAIGN HEADQUARTERS - DAY Michael speaks to a young, pretty campaign worker outside a glass-partitioned office at the "Ebersol for Congress" reelection campaign headquarters. Inside the office is Albert Ebersol, a distinguished-looking man in his forties. He is on the phone and is signing some papers at the same time. There are posters everywhere of Ebersol, captioned "Re-Elect Albert Ebersol -- A Good Man." The girl shakes her head "no." CUT TO EXT. STREET CORNER - DAY Camela stands on the corner. Michael pulls to the curb and she gets in. INT. K.I.T.T. - DAY - MOVING Michael is at the wheel, Camela on the passenger side, pre- occupied. [MICHAEL] Any luck? [CAMELA] Everyone was very nice...but no one's heard from her in three weeks...Mrs. Farrell at the library told me that Mama was the 'most cultured lady in Phoenix.' She said everyone liked her. Michael smiles, tries to make eye contact, but it's brief. [CAMELA] When I was growing up, Mama worked at the central library in Paris. I used to spend afternoons all curled up in one of the alcoves and listen to the echo of her footsteps. I could always tell her footsteps... (preoccupied; looks at dash) What an...unusual car. Are all American cars like this now? [MICHAEL] Not quite. Camela, meet Kitt. [K.I.T.T.] I was wondering when you were going to introduce me to this charming, cultured young woman. Hello, Camela. [CAMELA] Where did that voice come from? [MICHAEL] A computer. [CAMELA] It...talks? All by itself? [MICHAEL] To a fault sometimes. [K.I.T.T.] (in French) Camela, am I correct in assuming you speak French? [CAMELA] (in French) Yes. Actually, I think of English as my second language... (realizes, to Michael) He speaks French! [MICHAEL] Fluently, I'm afraid. [K.I.T.T.] I've tried to interest Michael in the romance languages, but he prefers things like rock 'n' roll and girls in bikinis. [MICHAEL] (warning) Kitt, that'll do. (to Camela) Hungry? [CAMELA] I hadn't thought of it. Why? [MICHAEL] I cook a dynamite cheeseburger. [K.I.T.T.] (to Camela) See what I mean? Camela laughs. CUT TO INT. AMELIA'S CONDO - NIGHT Michael comes in the door, carrying two big bags of groceries and the mail. Camela looks up from the piano, absorbed by what she's found -- a diary. [MICHAEL] Cheeseburgers, home fries, apple pie ...as they say, 'When in Rome....' He puts the bags and mail down on a table. [CAMELA] When I was little I hated to prac- tice...Mama used to hide treats in the piano bench, as incentives... (indicates the bench) I found this. Her diary.... [MICHAEL] That could be the break we've been looking for. [CAMELA] Michael, this has my mother's private thoughts...what she liked, what she didn't...What she thought of things. Of me. (beat) I can't just...read it. [MICHAEL] Camela, if there's anybody in the world your mother would want to share it with, it's you. She nods, then slowly opens it. As she does, a photograph and a technical drawing fall out. Michael picks them up: we see that the photo is a fuzzy, distorted area of fenced landscape and buildings, but we cannot make out anything with specificity. The technical drawing is a diagram of electronic circuitry which we will later learn are blueprints for the guidance system of the Sledgehammer missile. [MICHAEL] Hard to tell what the photo's of... (re drawing) This is a blueprint of some kind... I'll see what we can come up with. In the meantime, a bill came today. Gas credit card. He picks it up, tears it open, rifles through the receipts. [MICHAEL] She bought all her gas at a station in town...except the last time the card was used. It was in Electra, Arizona. A place called Elmo's Garage. [CAMELA] I don't understand -- what difference could that possibly make? [MICHAEL] I'm not sure, but the date was Saturday, October 11th. CUT TO OMITTED EXT. HIGHWAY - DAY - K.I.T.T. - STOCK K.I.T.T. flies down the highway. [K.I.T.T.'S VOICE] Elmo's Garage sounds like the kind of place I was programmed to avoid. INT. K.I.T.T. - DAY - MICHAEL - MOVING [MICHAEL] Come on, Kitt -- stretch a little. They say traveling broadens your horizons. [K.I.T.T.] I believe they say it about places like Champs Elysees or Trafalgar Square. I don't believe they say it about places like Electra, Arizona. Michael smiles. [K.I.T.T.] Since you haven't asked, I was quite impressed by Camela. [MICHAEL] I figured. [K.I.T.T.] She's a very nice girl, Michael. [MICHAEL] I know that, Kitt. A beat. [K.I.T.T.] Frankly, it's beyond me how you could prefer bubble-heads in bikinis over.... [MICHAEL] Kitt, I like Camela, okay? And just because a girl wears a bikini, it doesn't mean she's a 'bubble-head.' (beat) Who told you that, anyway? April? [K.I.T.T.] I'm capable of drawing my own con- clusions. [MICHAEL] It was April. CUT TO EXT. ELMO'S GARAGE - ELECTRA, ARIZONA - DAY A throw-back to the Fifties, an ancient gas station as weather-beaten as its owner, Elmo Warshaw, a reed-thin man in his sixties. Elmo, in a greasy baseball cap, whistles in appreciation as Michael drives up and stops. Elmo crosses over. [ELMO] Fill 'er up? [MICHAEL] Thanks, I'm just looking for a little information.... Michael holds out a photo of Amelia. [MICHAEL] I'm trying to find this lady. Credit card billing says she bought gas here on October 11th. Do you remember her? Elmo, however, is staring past the photo to K.I.T.T.'s dash. [ELMO] You goin' to the moon? [MICHAEL] What? Oh, my car -- I like gadgets. Did you see her? [ELMO] (still staring) Must be a real thrill drivin' a car like this, TV and all. [MICHAEL] It has its ups and downs. Have you seen this woman? [ELMO] (looks at photo) Matter of fact, yeah...had a sporty little car with a chunk outta the left front tire size of a half-dollar. Couldn't sell her a tire, though. Haven't sold a tire in three years. [MICHAEL] Did you notice which way she went? [ELMO] (points) That way. [MICHAEL] What's down there? [ELMO] Let's see...There's a salvage yard. If you really want to see something nice, go see 'Big Buck's Roadside Zoo.' Now that's really something. [MICHAEL] Sounds terrific. Thanks. Elmo waves, as Michael pulls out. CUT TO EXT. TWO-LANE ROAD - DAY Michael and K.I.T.T. stop on a hill overlooking the war surplus salvage yard in the distance. INT. K.I.T.T. - DAY Michael peers out through the windshield. [K.I.T.T.] Big Buck's Roadside Zoo was an experience I do not care to repeat. That ugly gila monster slithered all over my hood while you were in there 'jawing' with Big Buck. [MICHAEL] See if you can bury that gila monster in your microchips, pal, and bring up that picture from Amelia's diary for me. The fuzzy picture comes up on one of the monitor screens. Michael looks hard out of the windshield. [MICHAEL] All right...now give me a visual on the surplus yard. [K.I.T.T.] Oui. That's French for 'yes.' [MICHAEL] Kitt? [K.I.T.T.] Yes, Michael? [MICHAEL] I don't want to learn French. Not today. [K.I.T.T.] But Michael --- [MICHAEL] Kitt, remember one thing. The Beach Boys are only a button away. Now the second monitor screen brings up the surplus yard landscape. K.I.T.T. zooms and adjusts the monitor screen pictures and we see two exact landscapes. [K.I.T.T.] Michael, this is virtually the exact picture that Amelia took. [MICHAEL] You got that right. Now the question is why. He pulls out. CUT TO EXT. AAA WAR SURPLUS SALVAGE YARD - MAIN GATE - DAY - CLOSE ON PICTURE OF AMELIA Pull back as Richards hands it back to Michael. [RICHARDS] Haven't seen her. We don't get much company out here. [MICHAEL] (studies him for a beat) Okay, thanks for your time. Richards nods. Before Michael pulls out, he takes note of a Bentley automobile parked by the hangar. Hold on K.I.T.T. moving down the road. Then follow Richards to his Jeep. He picks up the Handi-talkie. INT. HANGAR - STORAGE AREA - CRATE - DAY Hands and a crowbar pry open a crate revealing a Sledge- hammer missile. Adjust to see the handler is Kragen. Edward Strock, a man in his fifties, steps in with a Handi-talkie. Strock's beginnings were mean streets, but now he hopes his fancy car and Armani suits will cover his origins. [STROCK] There was a guy out there looking for Amelia Clermont. [KRAGEN] Don't worry about it. He'll poke around, find her missing and that'll be that. [STROCK] It better be. It's bad enough your little 'target practice' delayed delivery. [KRAGEN] It was a good test...Now I can per- sonally guarantee the effectiveness of the Sledgehammer to the General. [STROCK] He'll be here Thursday. [KRAGEN] We'll be ready. CUT TO OMITTED INT. K.I.T.T. - DAY - MOVING [K.I.T.T.] The guard's voice modulation indicated stress variables, Michael. [MICHAEL] That leaves two questions. Why would he lie...and why would Amelia be interested in a war surplus yard? CUT TO EXT. TWO-LANE ROAD - DAY Michael and K.I.T.T. travel down the desolate road. They pass the area where Amelia skidded off. INT. K.I.T.T. - DAY Michael slows as he passes the skid marks. He throws the car into reverse and comes back to the skid marks. [MICHAEL] Kitt, give me a reading on those skid marks. How long ago were they made? [K.I.T.T.] Somewhere between two weeks and a month ago -- however, my scanners indicate the presence of copper- jacketed twenty millimeter projec- tiles lodged in the asphalt. Michael, puzzled, pulls the car off the road, parks and gets out. EXT. INCLINE - DAY Michael walks to the lip of the incline. When he looks down, he reacts as we adjust to see the burned-out hulk of a barely recognizable car. He has a sick feeling in the pit of his stomach. He returns to K.I.T.T., opens the door, leans in and punches up K.I.T.T.'s X-ray capabilities. [MICHAEL] I've activated your X-ray mode, Kitt. The car down there...is there any trace of...human life? [K.I.T.T.] I'm sorry, Michael...I detect only the remains of human life. Michael sighs, shakes his head. This will be difficult. [MICHAEL] Better get me Devon, pal. OMITTED FADE OUT END OF ACT ONE ACT TWO FADE IN EXT. DESERT - DAY - MICHAEL Michael and K.I.T.T. as before. [K.I.T.T.'S VOICE] Devon's not at the Foundation, Michael. CLOSER ANGLE ON MICHAEL [MICHAEL] Where is he? [K.I.T.T.] Phoenix. He flew in this morning. [MICHAEL] (reacts) He's probably with Camela right now.... [K.I.T.T.] Do you want me to call him? [MICHAEL] (punches buttons) Yeah.... OMITTED INT. AMELIA'S CONDO - DAY Camela has the phone in her hand. [CAMELA] It's for you...it's Michael. Angle widens to include Devon as he crosses, takes the phone. [DEVON] Thank you. (phone) Hello, Michael. Camela tells me you've introduced her to a car that speaks fluent French and cheeseburgers large enough to.... He doesn't finish, interrupted by Michael. As he listens his expression changes noticeably. Camela is aware. [DEVON] (phone) You're quite sure?...I see...yes, of course...good-bye. He hangs up, shaken. [CAMELA] Devon, what is it? Did he find something? No choice, Devon faces her. [DEVON] He found Amelia's car.... Camela stares at him, suddenly unnaturally calm. [CAMELA] She's...dead, isn't she? Devon nods. Their eyes hold for a long moment. [DEVON] Camela.... He reaches to touch her but she abruptly moves away, stops, her back to him. [CAMELA] I'm all right. Really, I'm perfectly capable of.... WIDE ANGLE Devon can see she is crying. He moves to her, gently puts his arms around her. This time she doesn't resist. They hold each other, Camela crying. Devon's tears still inside. CUT TO EXT. DESERT - DAY K.I.T.T. is parked on the road, scanner flashing, as Michael tries to piece it all together. [MICHAEL] No cannon fire could've destroyed a car like that -- even twenty milli- meter. He slowly moves back toward K.I.T.T., thinking, observing the area. [MICHAEL] Got any ideas? [K.I.T.T.] None, I'm afraid. [MICHAEL] I'll settle for a probable location of the weapon. K.I.T.T.'s computers whir and flash. [K.I.T.T.] Point of impact analysis indicates the weapon could only have been fired from one position. [MICHAEL] C'mon, Kitt -- spit it out. [K.I.T.T.] Directly above. Michael reacts, looks up. All he sees is sky. INT. CONDO - NIGHT - ANGLE ON DEVON as he comes out of a bedroom, quietly closes the door behind him. As he crosses to the coffee table, we widen to see Michael there, seated, waiting for him. Devon's face shows the day's toll. [MICHAEL] Is she asleep? [DEVON] Finally. Thank God. Devon sits down next to Michael. [DEVON] Amelia, I wonder what it is you found this time. [MICHAEL] This time? There were others? Devon smiles, in remembrance. [DEVON] She was the most inquisitive woman I ever knew. She had a childlike curiosity to know people, to know the world. [MICHAEL] You loved her, didn't you. [DEVON] (beat) Yes. Yes, I did. I think I always had it in the back of my mind that someday... (doesn't finish, pauses) I first met her in Washington, DC. On the steps of the Capitol Building. We were both hurrying somewhere. We collided on the steps. And fell, quite literally, in love. (beat) But she desperately wanted to go to Europe. After the war...I had seen quite enough of it. We both knew the timing wasn't right. We wouldn't see each other for years, and yet when we did it was as though we'd never been apart. There's a long beat. Devon looks at Michael: [DEVON] When you're young, you think your- self invincible. We were. For a time. For a moment, it looks as if Devon might cry, but he doesn't. He turns back to the business of it. He picks up the technical drawing Michael discovered in Amelia's diary, puzzled. [DEVON] I called a friend in the State Department...He said this diagram appears to be the guidance system for a Sledgehammer missile. Michael, do you realize what this means? The Sledgehammer is a high priority top- secret weapon. [MICHAEL] Devon...this Sledgehammer...what's it fired from? [DEVON] ...A helicopter called the SX-411. The most advanced attack helicopter in production today. Why? Michael thinks for a beat. Disturbing thoughts. [MICHAEL] I think I know what Amelia was after out there...and what destroyed her. CUT TO EXT. HIGHWAY - NIGHT - STOCK - RUNBY K.I.T.T. flashes by, into the desert evening. INT. K.I.T.T. - NIGHT Michael drives, pensive, alone with his thoughts. [K.I.T.T.] You're awfully quiet tonight. [MICHAEL] Guess I am, pal...got things on my mind. [K.I.T.T.] A French lesson might cheer you up. [MICHAEL] Kitt. [K.I.T.T.] Perhaps not. A moment of silence as they drive. [K.I.T.T.] It must be very difficult to...erase people...from one's memory banks. [MICHAEL] That's the problem, you don't. You can't. [K.I.T.T.] If that's true, they become a per- manent part of you. [MICHAEL] The best of them do, Kitt. The best of them do just that. CUT TO EXT. WAR SURPLUS SALVAGE YARD - NIGHT Layton and Richards patrol on foot. OMITTED ANGLE ON K.I.T.T. K.I.T.T. drives up to the gulley near the back gate. Michael slips out silently --- ANGLE ON MICHAEL He runs across the gulley to the back gate. At the fence, he talks into the comlink. [MICHAEL] Kitt, I need a locksmith. Fast. INTERCUT - K.I.T.T.'S MONITOR SCREENS On one monitor screen comes the lock, as K.I.T.T. infrarays it. On the other monitor screen, combinations of numbers speed by. By the fence, Michael spots Richards and Layton on their rounds, walking towards him. Into the comlink: [MICHAEL] Kitt, hurry up. Suddenly, the gate pops open. Michael creeps inside the fence. Michael runs to the hangar. ANGLE ON GUARDS Layton listens, taps Richards on the arm. [LAYTON] I hear something. Check out the back. I'll go up front. Richards hurries stealthily to the back gate. Layton starts towards the hangar. OMITTED INT. HANGAR - NIGHT Michael comes through a back door and is bathed in an eerie blue light. He stops and stares up in awe. ANGLE ON RICHARDS He sees the back gate unlocked. ANGLE ON LAYTON as he sneaks around to the front of the hangar. ANGLE ON MICHAEL as he views the different parts of the SX-411. The design, the technology. He is awed. Then, to one side, under a single bright light, is a new Sledgehammer missile in the process of being fitted to an MER (Multiple Ejection Rack). [K.I.T.T. (O.S.)] (comlink) Michael, a guard is approaching. Michael listens. ANGLE ON LAYTON outside the hangar, carrying a flashlight. He starts to turn the knob to the front door. [MICHAEL] Kitt, create a diversion. [K.I.T.T. (O.S.)] Anything in particular? [MICHAEL] Use your imagination. OMITTED ANGLE ON TANK silent and unmoving. INT. K.I.T.T. - NIGHT - ON MONITOR SCREENS The microwave ignition sensor goes to work. ANGLE ON TANK The engine growls to a start. ANGLE AT HANGAR DOOR Layton has opened the door, but now he shuts it and runs to the tank. ANGLE ON RICHARDS He does the same, hurrying from the back gate. OMITTED ANGLE ON TANK It rumbles along, smashing things. Layton appears, jumps on it, struggles to control it. OMITTED ANGLE AT OPPOSITE END K.I.T.T. appears out of the darkness, turbo boosting over the fence. He skids to a stop, the door pops open and Michael jumps in. ANGLE ON TANK Layton shuts it off. Richards, approaching, thinks he hears something. He turns. HIS POINT OF VIEW - K.I.T.T. leaps over the fence, into the night. CLOSE ON RICHARDS He stares in disbelief. And alarm. OMITTED INT. CONDO - NIGHT - DEVON AND MICHAEL trying to keep their voices down despite the sense of excitement and tension. [MICHAEL] Devon, I saw it.... [DEVON] (paces) I don't doubt you, Michael. The point is without a serial number or some kind of firm ID, a Federal judge isn't likely to issue a search warrant. [MICHAEL] Look, it's there now. If we're right about the yard being a front to sell illegal weapons, it might not be there long. [DEVON] (thinking) I do know a U.S. Attorney based here... (looks for number in book) Perhaps with his influence.... He finds the number, begins to dial. Pauses. [DEVON] The last thing Camela said before she went to sleep was she couldn't bear to think her mother's death had been in vain. I told her I'd see to it. With your help, it's a promise I intend to keep. He finishes dialling. CUT TO EXT. SALVAGE YARD - DAY Richards stands by the guard gate with Strock, who is fuming. His Bentley is parked nearby. A Federal sedan with two Federal Agents and Devon stops at the gate. INT. K.I.T.T. - DAY K.I.T.T. is parked on the hill overlooking the yard. On K.I.T.T.'s monitor screens we see pictures of the sedan being let in, of the Agents and Devon getting out of the car, and of Strock angrily talking to them. In a taut, emotionally drained voice: [CAMELA] This is where Mama...searched.... Michael takes her hand. [CAMELA] And that's the man.... Indicates Strock on the TV monitor screen. [MICHAEL] One of them...I have a feeling this thing's like crabgrass. It has a lot of runners. CUT TO OMITTED EXT. HANGAR - DAY Strock, livid, stands with Richards, Devon and the two Federal Agents. [STROCK] I want to know what grounds you've got for a search warrant. [DEVON] I assure you the grounds are both sufficient and legal. [FEDERAL AGENT #1] Please open the hangar now. [STROCK] (to Devon) I don't know who you are, but I plan to find out. As Strock starts to open the door, he smiles, ever so slightly, at Devon. Devon's puzzled. He and the Agents step inside. INT. HANGAR - DAY Except for scattered pieces of old military equipment, the hangar is empty. CLOSE ON DEVON He is stunned. FREEZE FRAME AND FADE OUT END OF ACT TWO ACT THREE FADE IN EXT. HANGAR - DAY Devon is incredulous. The Federal Agents are perplexed and angry. Strock and Richards look self-satisfied. [DEVON] Who was on duty last night? [RICHARDS] I was. Why? Devon takes Federal Agent #1 aside. Strock and Richards exchange a puzzled look. ANGLE WITH DEVON AND THE FEDERAL AGENT They huddle. Devon speaks in a hushed tone, barely control- ling his anger. [DEVON] I did a routine check on Strock's employees. If you run a make on the guard I believe you'll find he's an ex-convict. [FEDERAL AGENT #1] So? [DEVON] Unless I'm mistaken, he's carrying a weapon. CUT TO EXT. HILL ABOVE YARD - DAY - ANGLE IN K.I.T.T. Michael and Camela are getting impatient, watching the monitor screens. [CAMELA] What's going on? [MICHAEL] I don't know. [CAMELA] Why aren't they arresting anyone? [MICHAEL] I don't know that, either. They continue to stare at the screens. Michael senses some- thing is wrong. CUT TO EXT. HANGAR - DAY Strock and Richards are getting fidgety. Federal Agent #2 stands with them. Federal Agent #1 comes from his car. [FEDERAL AGENT #1] (to Devon) You're right. Devon crosses to face Strock and Richards, followed by the Agent. [DEVON] Mr. Richards, you are aware that the possession of a firearm by a felon is a violation of the law? Before he or Strock can react, Federal Agent #2 has spun Richards around into the "position." [STROCK] What is this?! (to Richards) I'll have you out on bail before they finish their paperwork! The Federal Agents start to lead Richards away. Strock faces Devon. [STROCK] This is harrassment. When my lawyers are through with that Foundation of yours, we're going to own it -- and you. [DEVON] We'll meet again, Mr. Strock. Good day. Devon stalks away. Strock watches him, furious. CUT TO OMITTED INT. AMELIA'S CONDO - DAY Michael, Devon and Camela enter in the living room from outside. [DEVON] I'm afraid the only option remaining is to force their hand. (beat) Michael, I want you to go undercover. [MICHAEL] Devon, come on -- if you're right about Richards spotting Kitt last night, my cover wouldn't last an hour. [DEVON] I've made some arrangements in that area. I have it on excellent authority that Sam Richards will be shuttled from jail -- 'salted' as it were -- for at least twenty-four hours. He smiles. Michael shares it. [MICHAEL] You never cease to amaze me. [CAMELA] (concerned) Michael, I want to see those men arrested and finished more than anything...but I don't want any more...deaths. [MICHAEL] Neither do I, Camela. But thanks to Devon we've got one more shot -- and twenty-four hours. We can't let it slip away. After a beat, she nods. [CAMELA] A few days ago, you two were strangers. And now you're willing to risk your lives... (to Devon) I can see why Mama loved you so. They all share the moment. OMITTED EXT. HIGHWAY - DAY K.I.T.T. speeds down the highway to the awaiting semi. He shoots up the ramp inside. INT. SEMI - DAY As Michael gets out of the car, April steps up to him. She has in her arms a load of clothes. They ad-lib greetings. She hands him the clothes. [MICHAEL] What's this? [APRIL] A complete mercenary's outfit. It comes presoiled. He smiles, then follows her to the lounge area. NEW ANGLE She presses a button on the TV console. [APRIL] I have something interesting to show you.... On the screen comes a picture of Jack Kragen, in military garb, holding a rifle, in some jungle. [APRIL] We were able to dig up three names of black market arms dealers in the Phoenix area. One of them turned up on the list of employees at Strock's Surplus Yard: Jack Kragen. [MICHAEL] The circle closes. (a beat) Then he's where I start. [APRIL] After you learn the cover I've prepared for you. I've got names, dates, battles, slogans.... [MICHAEL] Not to mention dirty laundry.... She smiles. CUT TO EXT. SEMI - DAY - RUNBY INT. SEMI - LOUNGE AREA - DAY - LATER Michael, dressed in his mercenary outfit -- fatigue jacket and scruffy clothes -- rubs his eyes, then clicks off the TV set. [APRIL] How's it going, Hutch? [MICHAEL] All right. A lot to learn -- the entire history of Dan Hutchinson's Black Snake Commandoes. The only question I have left is how these guys get their hands on things like state-of-the-art attack helicopters and missiles. [APRIL] I'm still working on that one. The conventional answer -- military theft -- doesn't adequately explain it. By the way, Devon's called three times since you arrived. I've never seen him so...driven. [MICHAEL] Amelia Clermont was a bridge that crossed a lot of years and a lot of memories. I think he always expected to cross that bridge...but not like this. A beat more, then Michael walks to K.I.T.T. Before he gets in the car: [K.I.T.T.] April, do I get a cover too? [APRIL] You don't need one, Kitt. You're already classified information. [MICHAEL] By the way, did you tell Kitt some- thing about 'bubble-heads in bikinis?' [K.I.T.T.] I told him you didn't, April, but he refuses to believe me. [APRIL] Kitt's right, Michael. I'd never say something like that. After all, I wear a bikini. [MICHAEL] Yeah? When? [APRIL] (a smile) Off-duty. [MICHAEL] Wouldn't you know. And he gets into K.I.T.T. and backs out. On her amused reaction: CUT TO STOCK - DRIVEBYS EXT. STREET - NIGHT - ANGLE IN K.I.T.T. A rundown area. [K.I.T.T.] Michael, why is it every time you go undercover, you dress in the least attractive outfits imaginable? Why is it you never go as an aristocrat or a count? [MICHAEL] Good question, Kitt. Gonna have to ask Devon about that. They slowly drive past the Hillside Bar, an ND bar with no windows. [K.I.T.T.] I'll bet not a soul in there speaks French. Michael pulls K.I.T.T. into a dark, dank alleyway next to the bar. Parked, or rather abandoned, not far away, is a totally stripped car. [K.I.T.T.] And look at this alley. Look at the last car that was left here. [MICHAEL] Keep your headlights open, pal. Michael smiles, clicks on Surveillance Mode and gets out of the car. INT. HILLSIDE BAR - NIGHT As Michael walks into the bar, conversation becomes muted. Eyes on him. The bar itself is not large, but most of the clientele are. Michael spots Kragen playing darts near a back booth. Conversation starts up again, in low, hushed tones. Michael taps Kragen on the shoulder. He turns around. [MICHAEL] Jack Kragen? [KRAGEN] Who wants to know? [MICHAEL] Machete Tom Merton. [KRAGEN] You ain't him. [MICHAEL] No -- but he sent me. My name's Hutchinson. We're old friends -- we fought together against the Rebels in San Victoria. Kragen eyes Michael. [KRAGEN] Black Snake Commandoes, huh? Machete made up a saying. I liked it a lot. If you fought in San Victoria, you know it. Some of the bar patrons begin to gather around Michael and Kragen, waiting, probably hoping for a fight. Michael looks around the room, clears his throat, then: [MICHAEL] 'Good luck is a fantasy for fools who expect it. Don't expect it, don't need it.' A beat. No one responds. Michael begins to think he made a fatal mistake. [KRAGEN] Buy you a drink, Hutch? Michael nods, relieved. CUT TO EXT. ALLEYWAY - NIGHT - ON K.I.T.T. A shabbily dressed Derelict stumbles into the alleyway. He holds a bottle of whiskey. He looks at K.I.T.T. then tries to sleep on his hood. K.I.T.T. backs away. The Derelict stumbles, but maintains his precarious balance. [K.I.T.T.] Shoo. Shoo. [DERELICT] Who said that? [K.I.T.T.] I did. Kindly remove yourself. The Derelict tries again to cuddle up to K.I.T.T. This time K.I.T.T. pulls back even further. The Derelict goes down to the ground with a thud. CUT TO INT. HILLSIDE BAR - NIGHT Michael and Kragen are drinking beers at a back booth. The booth is secluded; you can't easily see who is at this table from the front bar area. [KRAGEN] ...all right, say I've got the contacts to deliver...What you got in mind? [MICHAEL] Two MERs -- Multiple Ejection Racks -- adapted to handle Sledgehammer missiles. Kragen regards him for a long moment. [KRAGEN] You saying you've got Sledgehammers? [MICHAEL] I didn't say that. What my contact has or doesn't have, I don't ask. I take orders. He ordered two MERs. Machete Tom said you might have... access. (beat) If I can deliver 'em by tomorrow noon, I get a fifty thousand dollar bonus. [KRAGEN] Don't pressure me. [MICHAEL] Hey, no pressure. Just want to let you know if you help me meet my dead- line, I'll split the bonus with you. [KRAGEN] I'll let you know. Michael nods, gets up from the table. He hands Kragen a slip of paper. [MICHAEL] This is my girl friend's number. Tell her if it's on. She'll tell me. He exits. Kragen watches him go. EXT. HILLSIDE BAR - ALLEY - NIGHT - ANGLE IN K.I.T.T. Michael climbs in the car. [MICHAEL] Kitt, there should be a call going out on a pay phone from the bar. Trace it. After a beat: [K.I.T.T.] You're right, Michael. The call is to a phone at 7113 Church Street. [MICHAEL] Church Street? That's where Ebersol's Reelection office is.... [K.I.T.T.] Shall we go there? [MICHAEL] No. We can't risk being spotted. But this sure opens up some interesting questions, pal. (a beat) Let's call it a night. CUT TO EXT. EBERSOL'S CAMPAIGN HEADQUARTERS - NIGHT [STROCK'S VOICE] He has a buyer for a couple of Multiple Ejection Racks.... INT. EBERSOL'S CAMPAIGN HEADQUARTERS - NIGHT The office is empty, save Ebersol and Strock, who are talking in the glass-partitioned office. [EBERSOL] I don't want to know the details -- That's your end. (beat) Does the buyer check out? [STROCK] Kragen's working on it now. [EBERSOL] Tell him not to make a move unless he's absolutely sure the buyer's straight. Somebody's salting your guard, Richards...until we find out why, I want to be doubly careful. CUT TO OMITTED INT. AMELIA'S CONDO - DAY - CLOSE ON TELEPHONE As we pull back, we see Michael, Devon and Camela in the living room, waiting around the phone. [CAMELA] What if he doesn't call? Do we have any other options? Neither of them want to deal with that possibility. [MICHAEL] Let's give it more time. He still has over an hour. She sighs, anxious, nods. She picks up the diary from the table and glances through it. Devon sees the love letters. He carefully looks through them. [CAMELA] Devon, may I ask you a personal question? [DEVON] Of course. What is it? [CAMELA] Why didn't you and Mama marry? Devon and Michael exchange a look of surprise. [DEVON] Amelia was the perfect woman for that time of my life...a wonderful time of discovery and excitement...As I told Michael, I always felt that someday --- He breaks off, startled by the phone ringing. Michael grabs it. [MICHAEL] April?... INTERCUT - APRIL in the semi. [APRIL] He said he'd meet you at 11:30 at the Hillside Bar. [MICHAEL] Are you sure the call wasn't traced? [APRIL] Positive. He even asked me how long we've been dating. [MICHAEL] Thanks, April. [APRIL] Good luck, Michael. [MICHAEL] 'Good luck is a fantasy for fools....' [APRIL] (smiles) Well said, Hutch. He puts the phone back in its cradle. To Devon and Camela: [MICHAEL] It's on. CUT TO OMITTED EXT. HILLSIDE BAR - DAY K.I.T.T. is parked in the alleyway not far from the abandoned vehicle. His scanner light flashes. [K.I.T.T.] Oh, no. NEW ANGLE From inside the abandoned vehicle comes a groan. The Derelict sits up, yawns, and rubs his eyes. He squints, trying to adjust to the morning light. Then he spots K.I.T.T. He grabs his bottle of booze, climbs out of the car and approaches the Trans Am, looks it over, starts to say some- thing, shakes his head, walks off, stops; can't stand it, has to ask. [DERELICT] I gotta know somethin' -- I mean I know cars don't talk, but did you talk to me last night? No response. [DERELICT] See -- I was right. I'm okay. I know cars don't talk. Satisfied, the Derelict starts away. He uncaps his bottle, brings it to his lips, as: [K.I.T.T.] You really should give up the sauce, sir. The Derelict spins around and sees no one but K.I.T.T. Eyes wide, he pours out the contents of his bottle onto the ground. He carefully disposes of it in a garbage can, then walks, straight as he can, quickly away. INT. HILLSIDE BAR - DAY Michael is seated at the bar when Kragen enters. They ad-lib greetings. [MICHAEL] I'm ready when you are. A pause. [KRAGEN] I have someone I want you to meet first. He motions Michael to a back table. Michael follows. ANGLE AT TABLE As they approach, we see a man waiting there, seated, his back to us. As if on cue, he rises, turns, smiling at Michael. Hold on Michael's reaction: the man is Richards. FADE OUT END OF ACT THREE ACT FOUR FADE IN INT. AMELIA'S CONDO - DAY The phone rings and Camela answers it. [CAMELA] Hello? (to Devon) It's for you. She holds it for Devon. He crosses and takes it. [DEVON] Devon Miles here.... As he listens, his face goes white. [DEVON] What happened! You guaranteed he'd be incommunicado for twenty-four hours! (listens) Find out who arranged it. He hangs up and quickly dials a number over: [CAMELA] What is it, Devon? What's wrong? [DEVON] The guard -- Richards -- he's been released on bail. She reacts, frightened. [CAMELA] Oh, Michael.... [DEVON] (into phone) April, I can't go into details -- contact Kitt immediately. Get Michael out of that bar. CUT TO OMITTED INT. HILLSIDE BAR - DAY - ANGLE ON DOOR The bartender bolts the door shut. ANGLE AT BACK BOOTH Kragen and Richards watch Michael carefully. [KRAGEN] I don't know who you are, 'Hutch' -- but I'm gonna show you what I do to people who set me up. And if I ever see your face again, I'll kill you. Just as they both move towards Michael, the comlink beeps a distress signal, distracting them. Michael makes a run for the door, but it's blocked by the bartender. He swings. Michael ducks, connects and knocks the bartender to the floor. Kragen and Richards rush Michael. Michael tosses a barstool at Richards, knocking him down. Kragen swings and misses. The bartender gets up, grabs at Michael, ripping off the comlink. Michael's knocked off balance. He scrambles to his feet, reacts. MICHAEL'S POINT OF VIEW - THE THREE MEN come towards him. He is trapped against the bar. INT. K.I.T.T. - DAY [K.I.T.T.] Michael, please respond! This is an emergency. Are you there?! Michael...? No response. OMITTED CUT TO INT. AMELIA'S CONDO - DAY Camela opens the door and Michael enters. He's a mess. His clothes are torn, his face is bruised. [DEVON] Michael...! [CAMELA] My God, are you all right? They help him to the couch. [MICHAEL] I'm okay...just sore. Real sore. (a beat) I have one question, Devon: What happened?! [DEVON] I don't know. All the Federal Agent could tell me was that whoever arranged it had a great deal of clout...I'm sorry, Michael. Something clicks. [MICHAEL] Clout...someone like Congressman Ebersol? [DEVON] Why Ebersol? [MICHAEL] A call went out from Kragen last night -- to Ebersol's campaign office. [CAMELA] Ebersol was the coauthor of the Congressional Report on illegal arms sales! [MICHAEL] I'll bet you won't find Strock's name in that report. [CAMELA] Then that's what Mama must have found -- something that linked them together. [DEVON] That might explain the technical drawing of the Sledgehammer's guidance system. Maybe she found out how Strock gets his top-priority weapons.... [MICHAEL] If you're right, it's with Ebersol's help. A silent, thoughtful moment. [CAMELA] My mother had the courage to risk her life to get evidence against them. And you did, too. Isn't there something more we can do? Michael considers it. [MICHAEL] There's something we can try. But it's a longshot, a real longshot... and it could be dangerous. [CAMELA] What do you want me to do? CUT TO INT. EBERSOL'S OFFICE/HEADQUARTERS - DAY A hectic place of ringing phones and hurrying people. In a glass-partitioned office are Ebersol and Strock, going over some papers. Outside the office, Camela enters, dressed and made up to look exactly like Amelia. She hands a letter to a campaign worker and waits as she delivers it to Ebersol. The worker points out at Camela, and Ebersol and Strock stare, transfixed. With a wisp of a smile, Camela vanishes. Ebersol and Strock move out after her, trying not to attract attention to them- selves. They see a back door close. EXT. ALLEY WAY - DAY Camela gets into K.I.T.T. and Michael speeds down the alley. When Ebersol and Strock come out of the door, all they see is the departing Trans Am. [EBERSOL] You said she was dead! [STROCK] That's what Kragen told me! [EBERSOL] Did he see the body? [STROCK] No one could have escaped that inferno. Kragen hit her with a Sledgehammer missile. [EBERSOL] Did he see the body?! All Strock can do is shake his head. He opens the letter. [EBERSOL] What does she want? [STROCK] $500,000 dollars. Cash. They look at each other, considering options. [STROCK] I've got an idea how to solve this problem...once and for all. CUT TO EXT. SEMI - DAY - MOVING INT. SEMI - DAY April is working on K.I.T.T. Michael is preparing himself for the job ahead. [APRIL] Do you think they'll take the bait? [MICHAEL] I wish I knew. [APRIL] I hope Camela will be all right. Of course, she'll be in good hands -- right, Kitt? [K.I.T.T.] As am I, April. She smiles. [APRIL] I'm increasing the microwave jammer three times its normal strength, Michael. If they use the SX-411 helicopter, it should knock out the coils in the turbines. [K.I.T.T. AND MICHAEL] Should? [APRIL] The only problem is you'll have to get considerably closer than you normally would. [MICHAEL] How do we do that without getting blown up in the process? [K.I.T.T.] A very good question, Michael. [APRIL] Unfortunately, I don't have a very good answer. I've outfitted Kitt with those prototype ultramagnesium charges we tested. They weren't designed to deflect heat-seaking missiles but if all else fails they might work. [MICHAEL] Might? [APRIL] It's the best I can do on short notice. [MICHAEL] Why don't I feel reassured? [APRIL] Good luck, Michael. She impulsively kisses him on the cheek. [MICHAEL] (climbing into K.I.T.T.) You know what the Black Snake Commandoes say about luck.... [APRIL] Yes, but they didn't have Kitt. She smiles, bravely, but the worry is there. Michael backs the car out of the semi. CUT TO EXT. AMELIA'S CONDO - DAY - LATER An ND car pulls up behind and down the street from the parked Trans Am. Richards is in the driver's seat, Layton is in the passenger's seat. The car is equipped with a CB. Camela, dressed as Amelia, steps outside and walks to K.I.T.T. INT. K.I.T.T. - DAY Camela climbs in the driver's side. She nervous, fright- ened, but determined. [K.I.T.T.] Bienvenu, Camela. Put your hands on the wheel, sit back and leave the driving to me. K.I.T.T. pulls out. The ND car pulls out behind them. K.I.T.T. tries to calm her. [K.I.T.T.] Would you like me to play a Beethoven symphony? Perhaps something by Brahms.... [CAMELA] (preoccupied) Thank you, Kitt. The music instantly comes through K.I.T.T.'s sound system. [K.I.T.T.] This is Bach's well-tempered clavicord. It's one of Michael's favorites. [CAMELA] Really? I thought he liked rock- n-roll and girls in bikinis. [K.I.T.T.] I just like to tease him, sometimes. Actually, Michael's a man for all seasons. He's forever carrying on about museums and ballets.... CUT TO EXT. STREET - DAY - ANGLE ON K.I.T.T. As K.I.T.T. approaches a four-way intersection, we see the Knight semi lumbering out. [K.I.T.T. (O.S.)] Hold on, Camela. K.I.T.T. accelerates, cutting in front of the semi, which, moving slowly, causes the ND car to stop. ANGLE ON DEVON AND MICHAEL IN A RENTED CAR parked at the curb on the opposite side of the semi as K.I.T.T. pulls to an abrupt stop. Michael exits the rented car, Camela exits K.I.T.T. Both enter the other car, quickly, and move out down the street, as: THE SEMI as it clears the intersection, Richards screams out after K.I.T.T., taking no note of the slower moving rental car driven by Devon. EXT. HIGHWAY - DAY A largely deserted road. K.I.T.T. and the ND car are the only two vehicles on the highway. DAY - RUNTHROUGHS The ND car stays behind K.I.T.T. The desert becomes much more desolate. INT. ND CAR - DAY Richards talks into his Handi-talkie. [RICHARDS] We're clear. She's all yours. As the ND car drops out of sight, K.I.T.T. is alone on the highway. [K.I.T.T.] Michael, I believe we've lost our tail. [MICHAEL] I believe you're right, pal. What- ever they've got planned for us shouldn't be long now.... Suddenly, a loud muffled sound is heard. MICHAEL'S POINT OF VIEW - THE SX-411 seems to appear out of nowhere, filling the screen with its huge presence. In the daylight, out in the open, it is awe- some, a full-blown attack helicopter, the K.I.T.T., as it were, of helicopters. [K.I.T.T.] Oh, my. VARIOUS ANGLES - THE CHASE K.I.T.T. hits pursuit and Kragen unleashes the fury of the mighty Gatling gun on the car. The bullets merely spark off. K.I.T.T. zig-zags on the road. OMITTED INT. SX-411 - COCKPIT - DAY Kragen, wearing a pilot's helmet, presses a black button on the fire control display panel. SLEDGEHAMMER MISSILE spits from the underbelly of the SX-411. INT. K.I.T.T. - DAY Michael races the car away, but the missile stays on his tail. It's coming closer...closer...Michael hits a button on the dash. EXT. K.I.T.T. - DAY An ultramagnesium charge is ejected from K.I.T.T. Drawn by its heat, the Sledgehammer smashes into the ground where the charge fell and explodes in a wrath of fire. INT. K.I.T.T. - DAY Michael slows K.I.T.T. off the road into the canyon, and starts to drive him around in a circle. The SX-411 hovers above, the Gatling guns pounding away with cannon fire. [MICHAEL] Okay, buddy, let's knock out his coils. He hits the microwave jammer button and on the monitor screens, they go to work. INT. SX-411 - COCKPIT - DAY Kragen listens as one of his engines starts to sputter. Reflexively, he pulls the helicopter up. Once out of K.I.T.T.'s jammer range, the turbines purr normally. INT. K.I.T.T. - DAY Michael races K.I.T.T. towards the chopper. [MICHAEL] Kitt, we're not bringing him down! [K.I.T.T.] I gave it everything I had, Michael. We simply must get closer. [MICHAEL] Easy for you to say. INT. SX-411 COCKPIT - DAY Kragen hits the black button again. SLEDGEHAMMER MISSILE comes straight at K.I.T.T. INT. K.I.T.T. - DAY At the last minute, Michael hits the "turbo boost" button -- and K.I.T.T. jumps out of the way, just in time. The Sledgehammer explodes under the car, nearly causing it to turn over. Michael maneuvers the car towards the edge of the canyon. [MICHAEL] All right, pal -- let's give him some smoke. Michael hits the "smoke screen" button on the dash. OMITTED ANGLE ON K.I.T.T. A billow of smoke envelopes the car. Kragen heads for the car. INT. SX-411 - COCKPIT - DAY Kragen hits the black button and a rocket fires.... ANGLE ON SMOKE SCREEN The Sledgehammer smashes into the smoke screen. The explosion is loud and blinding. ANGLE ON K.I.T.T. climbing up a side road to the top of the canyon where the sides are no more than fifty feet across. Michael revs the car up, starts it to the canyon wall.... [MICHAEL] This is as close as we're going to get, Kitt. Give me everything you've got! INT. K.I.T.T. - DAY ...and hits the "turbo boost" button. The car heads up, up and over the canyon and the SX-411...Then Michael hits the microwave jammer button. On the monitor screen, the jammer appears, goes weak, appears again, as sparks fly from under the hood. INT. SX-411 - COCKPIT - DAY As the turbines sputter, Kragen tries to take the chopper up -- but it won't go. Panicked, he hits every emergency switch, but nothing works. ANGLE ON K.I.T.T. As it lands on the other side of the canyon, safe, Michael starts the car back down to the bottom of the canyon. ANGLE ON SX-411 The chopper auto rotates and lands at the canyon floor with a thud. EXT. CANYON'S FLOOR - DAY Kragen jumps out of the SX-411 and starts to run. Michael and K.I.T.T. scream alongside. Michael cuts him off, jumps out of the car and tackles Kragen. They both get to their feet, circle -- and Kragen brings up his fists. Kragen swings, Michael deflects it. Kragen attacks again, Michael ducks, then smashes him with one punch. Kragen goes down, out cold. Motionless. CUT TO INT. EBERSOL'S OFFICE - CAMPAIGN HEADQUARTERS - DAY Ebersol and Strock are looking over some papers, when they hear a knock at the door. Devon enters. Ebersol and Strock stand up. [DEVON] I'm sorry to disturb you, but there's someone I'd like you to meet. He opens the door to reveal Camela, dressed as Amelia. She undoes her hair, takes off her glasses so they see that it is, indeed, Camela. [DEVON] Gentlemen, meet Camela Clermont, Amelia's daughter. The two Federal Agents enter the office and grab Strock. Before they can take him out: [DEVON] It was only a matter of time, Strock. And it will be again -- in your case, I would think about twenty years. The Agents take him out. Ebersol is very shaken, pale. [CAMELA] I'm not the only one in disguise, Congressman: people believed in you ...my mother believed in you...I'm going to make sure your disguise comes off, too. Publicly. [DEVON] We don't have all the pieces yet, but sooner or later we will. And when we fit them all together, you'll join Strock in federal prison. That's our campaign promise to you, Congressman. We hold on Ebersol's shocked reaction and we: FREEZE FRAME AND FADE OUT END OF ACT FOUR TAG FADE IN EXT. AMELIA'S CONDO - DAY Michael, Devon, April and Camela step outside. A cabbie grabs Camela's suitcase and loads it in his taxi, which is parked a few car lengths from K.I.T.T. Camela is dressed in her traveling best. [CAMELA] I want to thank all of you. I came here to find my mother...and even though I lost her, you helped me discover who she really was. [APRIL] What are your plans now? [CAMELA] I'm going back to Paris, tie up a few loose ends. Then I'll come back to the States. Mama never lost her fascination with America. Mine is just beginning. (to Michael) Besides, we have symphonies to go to, not to mention plays, museums, ballets, the opera.... [DEVON] It looks as though you're going to have a full social calendar when Camela returns, Michael. With a smile and a look towards K.I.T.T.: [MICHAEL] C'est la vie. They all laugh. She gives Michael a kiss on the cheek, a warm hug. Then she steps up to April and Devon. She hugs April, then turns to Devon. They hug, tightly, then kiss, a father's kiss for a daughter. As she moves toward the waiting cab: [CAMELA] (calling) Au revoir, Kitt! [K.I.T.T.] Au bientot, Camela! The cabbie wonders what the hell is going on. ANGLE AT K.I.T.T. Michael, April and Devon watch as she gets into the cab. [DEVON] Giving up the past is very difficult. But...not so difficult when some of it lives on in the present. They wave one last time to Camela. The cab turns a corner and is gone. [MICHAEL] Why don't you two follow us to Southern California? [APRIL] Hey, that's a terrific idea. [MICHAEL] With a little luck, I'll get to see you in a bikini. [APRIL] You know what they say about luck. EXT. K.I.T.T. - DAY Michael laughs, climbs in. April and Devon lean into the other window. Suddenly, a "Beach Boys" tune starts to play through K.I.T.T.'s dash. [DEVON] What on earth is that? [K.I.T.T.] A California song, Devon. It extolls the attractions of that particular area: surfing, sun, and girls in bikinis. Michael starts the engine. April likes it. Devon, however, does not. [DEVON] My dear boy, I think for the next case, I'll send you to Paris. [MICHAEL] You'll get no argument from me there. [K.I.T.T.] If we go to Paris, Michael, can we stop at Le Mans? As they all laugh, we: FADE OUT THE END

{"show": "Knight Rider", "season": "s02", "episode": "e03", "title": "Merchants of Death"}

knightriderarchives

ACT ONE FADE IN EXT. GASTNER AUTO WRECKING YARD - DAY A big operation, with rows and rows of cars, stacked six high. A large crane arches toward a crusher/compacter that's used to reduce entire cars to flattened blocks of metal. Numerous workers man the equipment -- and although we may not immediately notice, all are Latinos. ANGLE ON ALFREDO A Latino foreman, moving through the stacks, barking orders in Spanish at the workers. He approaches a more isolated area of the yard, where the dead cars are stacked, rounds one of those stacks. He stops suddenly as he's confronted by: WIDER ANGLE - MEL AND DUDLEY stocky, muscular men in their early forties, supporting between them the limp body of a young Latino. [ALFREDO] Celso! Mel and Dudley look up. [MEL] No problema, Alfredo. Your friend here just can't hold his tequila. Alfredo stares at the inert Celso, starts to approach and Mel stops him with a sharp command. [DUDLEY] Go back to work! Alfredo pauses, eyeing Celso uncertainly, then slowly turns and heads out of the stacks, gazing back as the three men disappear among the stacks. After a moment, a horrible scream of metal makes Alfredo jump, and he turns to see: ANGLE - AN OLD CAR in the steel claw of the crane, being lifted into the air, swivelled toward and dropped out of view, into the crusher. ANGLE ON ALFREDO His face pained, as we hear the sound of metal scraping against metal, a terrible rending sound, and go to: EXT. FOUNDATION - DAY - STOCK as the Trans Am pulls up fast and Michael hops out, hurries into the Foundation. [MICHAEL'S VOICE] I got here as fast as I could. Where's Devon? [APRIL'S VOICE] Still on the phone. If we hurry.... OMITTED INT. DEVON'S OFFICE - DAY Devon's standing by his desk, jotting down notes as he listens intently to someone on the other end of the phone. He looks up as Michael and April enter, signals them to stand by. [DEVON] (phone) ...I understand...No, if we agree to accept the case, we'll honor your terms and conditions.... INT. AN OFFICE - DAY - ANGLE ON A LATINO seen from the back, speaking into a telephone. He's obviously terrified, is almost whispering to avoid being overheard. He has only a slight accent. [LATINO] (phone) ...I have papers, evidence against him...I can't, no...if he finds out he'll kill me.... INT. AN ADJACENT OFFICE - DAY We recognize Mel as he enters the room and may or may not figure out that we're in the Gastner Wrecking Yard office. Mel crosses to a telephone and lifts the receiver to his ear, hears that the line's engaged and begins to hang up. Then, catching a bit of the conversation, he again raises the receiver to his ear, listens. INT. DEVON'S OFFICE - DAY Devon scribbling like mad, taking down directions from the mysterious caller. He hands what he's written to Michael, who scans it quickly, "salutes" Devon and leaves. April moves closer to Devon, watching him. [DEVON] ...I'll have someone there, don't worry. If you'd just give me your name --- From his expression, it's apparent that the caller has hung up. Devon also hangs up. [APRIL] Devon, how do you know it's not a crank caller? Maybe he's just angry at someone. [DEVON] He's angry at someone, all right. The difference is the man he's angry at is Louis Gastner. April reacts to the name. INT. OFFICE - DAY The office the Latino phoned from. Mel bursts in, intent on capturing the caller. The office is empty.... CUT TO EXT. CITY STREET - DAY - ON THE TRANS AM moving fast through city traffic. INT. TRANS AM - DAY Michael's behind the wheel, wearing a Dodgers baseball cap. [K.I.T.T.] Gastner...why is that name familiar? [MICHAEL] The guy's been in the papers for years -- name a crime and he's been accused of it. The problem is nobody's been able to get a conviction on him. [K.I.T.T.] This 'evidence drop,' as you call it, is all very strange and unorthodox, Michael...so is that cap you're wearing. Michael glances in the rearview mirror, adjusts his cap. [MICHAEL] It's what the caller ordered, Kitt. Instant ID. All part of the plan. EXT. SHOPPING CENTER MALL - PARKING LOT - DAY As the Trans Am pulls into the lot, we hear: [K.I.T.T.'S VOICE] I don't think I'm going to like this.... INT. TRANS AM Michael scans the parking lot. [MICHAEL] Relax, it'll be a piece of cake. [K.I.T.T.] I've heard that before. For instance, when we went up against Goliath. (beat) No, Michael, it's this location. Parking lots depress me. [MICHAEL] With all these cars? I thought you'd feel right at home. [K.I.T.T.] It's precisely all these cars that bother me. Here they sit, left in the sweltering sun, for all practical purposes forgotten, while their owners browse in air-conditioned comfort.... Michael checks out the rows of cars. He smiles. [MICHAEL] Don't take it so personally. [K.I.T.T.] That's easy for you to say. I happen to be a car, and crimes against cars bother me. [MICHAEL] Okay, okay. (beat) There's row D. Michael pulls down the row, finds a space and parks. He checks his watch. [MICHAEL] I've got about two minutes to get across to the mall. You wait for our informant to drop the evidence in the window. [K.I.T.T.] Now I'm a mobile mailbox. Michael smiles, gets out of the car, leans back in, punches buttons. [MICHAEL] Devon wants visuals on this, so I'm activating your video camera. And buzz me when he makes the drop. [K.I.T.T.] Despite what you may think, I'm perfectly capable of handling my responsibilities. [MICHAEL] Boy, you're touchy today. Wake up on the wrong side of the garage? [K.I.T.T.] Very funny. Michael tips his hat, heads off. EXT. PARKING LOT - DAY - FEATURING MICHAEL as he saunters away from the Trans am, toward the shopping mall, passing by a late model Porsche parked not far from the Trans Am. The darkened window on the driver's side slowly lowers, and inside we see: DUDLEY AND MEL Dudley at the wheel, both watching Michael walk by. Dudley takes out an automatic, checks the clip. Mel checks his watch, scans the parking lot, waiting.... ANGLE ON MICHAEL moving toward his preset destination, a kiosk inside the shopping mall. From here, he can see the Trans Am -- but he's some distance away. EXT. PARKING LOT - FEATURING A BLUE SEDAN pulling in. Behind the wheel is a young man, John Murray. Sitting beside him, wearing lightly tinted sunglasses, is a stunningly pretty young woman, Julie Robinson. In the backseat, we see a golden retriever, named Sugar, her head hanging out the open window. John pulls down row "D," obviously looking for a space. ANGLE ON DUDLEY AND MEL watching the blue sedan, Dudley indicating his watch. He raises the automatic.... INT. K.I.T.T. - ON THE VIDSCREEN Lights flashing, vidscreen activated. We see a video image of John's car pulling past the Trans Am, backing up and taking a space two over from the Trans Am. A sports car parked between the two should effectively block the low- level view K.I.T.T.'s camera has of John's car. We see the door open and John gets out of the car. We hear: [JULIE] John, where are you going? [JOHN] I'll be right back. Stay there.... EXT. PARKING LOT - FEATURING THE PORSCHE Dudley and Mel watch John as he moves quickly between cars, looking to his right, then his left, seeming to case the area. Suddenly, he spots the Trans Am and moves decisively toward it. Dudley tenses, starts the Porsche, inches forward. INT. K.I.T.T. The vidscreen showing John as he moves toward the Trans Am. [K.I.T.T.] (comlink) Michael, I think we've got a visitor. ON MICHAEL by the kiosk, as K.I.T.T.'s voice comes through comlink. [MICHAEL] (comlink) Gotcha, Kitt. ON THE TRANS AM At this point, we should see John, as well as other ND passersby: an elderly man, a lady with shopping cart, a young man in a jogging suit and a dark-haired young man. As John moves toward the passenger side of the Trans Am, his hand reaching for the door handle.... ANOTHER ANGLE Just as John appears to connect with the Trans Am, the Porsche pulls up and Dudley fires his automatic. The shot hits John and he falls against the Trans Am, then hits the ground. ANGLE ON MICHAEL He runs forward, toward the action. ANGLE AT TRANS AM Mel jumps out of the porsche, runs to the Trans Am and tries to open the door. It's locked, so he reaches through the window. Just as quickly K.I.T.T. powers up the window, nearly clutching his hand. Then: [JULIE'S VOICE] John? John...! Mel turns, sees Julie climbing out of the blue sedan two cars over, facing directly toward him. At that moment: [MICHAEL] Hey, you -- stop! Mel whirls to see Michael dashing toward him. He turns and bolts for the Porsche, leaps in and the car peels away. ANGLE TO FEATURE MICHAEL dodging cars, racing toward the fallen John. The passersby stare, horrified, and a shopping mall security guard runs to John. As he's about to lift him, Michael arrives: [MICHAEL] Don't move him! The guard looks up as Michael kneels, checks John's injury. [MICHAEL] Call the paramedics! The dark-haired young man in the b.g. yells: [DARK-HAIR] I'll call them! He sprints away. As the security guard comforts John, Michael circles to the Trans Am, jumps in. ANOTHER ANGLE as the Trans Am backs up at break-neck speed, whirls around and takes off after the Porsche. EXT. PARKING LOT - DAY as the Porsche threads its way through the maze of cars, finds an exit, hits the street. A beat later, the Trans Am squeals the wrong way down a one-way row, barely missing a car and fishtailing out onto the street. EXT. STREET - DAY The Porsche's got enough of a head start to give K.I.T.T. something to go for. The traffic is heavy enough to provide some obstacles, but Dudley handles the Porsche with panache. INT. TRANS AM - DAY as Michael negotiates the same traffic. They're moving fast. [K.I.T.T.] I suppose this is your idea of 'a piece of cake?' [MICHAEL] Thanks for the reminder, smart guy. (beat) Let's get some history on his plates. Michael punches the appropriate buttons, and on the vid- screen, we see the Porsche and as we zoom in on the rear plates, we go to: ANGLE AT CATERING TRUCK several people, including a motorcycle cop, Officer Gray. He's just gotten a donut and cup of coffee when the Porsche flashes by. Torn, he nevertheless dumps coffee and donut into a trash container and runs to his bike. Just then the Trans Am flashes by. Could be a bank robbery! He leaps on his bike, winces as delicate parts are sat upon, hits the starter: nothing. Hits it again...and, finally, it catches. He shoots away. THE PORSCHE ON THE STREET roaring toward an intersection, light turning yellow. Congestion, including a large dump truck waiting to move through the intersection. ANGLE ON THE STREET as the Porsche hits the intersection, the light turns red. The Porsche runs the light, weasels around the dump truck and barely misses a school bus which is forced to stop beyond the dump truck, completely blocking through traffic. The Porsche tears away up the street. A beat later, the Trans Am approaches the intersection. INT. TRANS AM - DAY Michael sees the dump truck dominating the intersection. He's moving toward it at high speed. [MICHAEL] Kitt, are we clear to Turbo Boost? [K.I.T.T.] No, Michael...there's a school bus trapped behind the truck! EXT. TRANS AM - DAY Michael hits the brakes and goes into a broadside skid into the intersection, coming to a stop just feet from the dump truck. INT. TRANS AM - DAY Michael takes a deep breath, then slowly drives the car out of the intersection. The light turns green and the dump truck begins to move, then the bus, the drivers of both shouting MOS insults out the window. [MICHAEL] Can you pick 'em up with your scanner? [K.I.T.T.] They're out of range. I'm afraid we've lost them, Michael. [MICHAEL] Them and ten years off my life. A beat as Michael pulls away from the scene of the skid, then: ANGLE ON OFFICER GRAY tearing into the intersection screeching his bike to a stop. He looks around, confused. Where'd everybody go? EXT. WRECKING YARD - DAY - CLOSE ON PORSCHE dangling in the air, about to be caught in the steel jaws of the crane's claw. Over the whine of the crane, we hear: [DUDLEY'S VOICE] You know how I feel about that car.... Camera adjusts to reveal Dudley, Mel and Louis Gastner. Dudley is visibly upset. [GASTNER] It's potentially incriminating evidence. [DUDLEY] Yeah, but it's my car. I love that car. I hand wax it every weekend.... [MEL] Changes the oil himself, too. [DUDLEY] Look, Mr. Gastner, gimme a break. I'll stash it. I'll have my brother drive it over the state line. Gastner debates, signals the operator to stop; the Porsche dangles helplessly above the crusher. [GASTNER] Okay, stash it. Stash it good. Dudley nods, relieved. [GASTNER] I want that evidence -- and the guy who stole it, whoever he is. You understand me? They nod, sincere. [GASTNER] You shot a guy...left an eyewitness. Said so yourself -- She looked right at you. (beat) You screwed up. That's human. I'm forgiving...that's me. All heart... (suddenly cold) To a point. I want the eyewitness. With that, Gastner turns and strides quickly toward the office. [MEL] That was a close one. [DUDLEY] We'd better find that girl. OMITTED EXT. HOSPITAL PARKING LOT - DAY The Trans Am pulls in and parks. Michael climbs out of the car, leans in, addressing K.I.T.T.: [MICHAEL] You going to be okay in this parking lot? [K.I.T.T.] This is a hospital, not a shopping center. By definition, there's a valid reason for every car here. I'm quite comfortable, thank you. [MICHAEL] Anything to keep you happy. Michael heads for the entrance. OMITTED INT. HOSPITAL - NURSES' STATION - DAY A uniformed cop's hanging out near the station and not far from him is Julie Robinson, still in her tinted sunglasses, pacing near a large sofa in the waiting section. ANGLE ON MICHAEL as he approaches. He sees a nurse, pauses to ask an MOS question. The nurse indicates Julie. Michael approaches her. [MICHAEL] Excuse me...Julie Robinson? Julie doesn't turn, but she's obviously listening. [MICHAEL] My name's Michael Knight. I'm with the Foundation for Law and Government. No response. [MICHAEL] I'm the one John was supposed to meet in the parking lot today.... She faces him, confused. [JULIE] John didn't say anything about meeting anyone. [MICHAEL] Whether he said anything or not, he had some evidence to deliver. I checked with the paramedics, the hospital -- no one knows anything about it. [JULIE] I really don't know what you're talking about. John and I were going shopping and someone just ...shot him. For no reason.... Julie looks as if she may cry, stubbornly wills it away. [MICHAEL] Look, I know this doesn't seem like the right time to be asking you questions, but you were there. You must've seen where he hid the evidence.... Michael's interrupted by the Nurse. [NURSE] Miss Robinson? The doctor's with John now if you'd like to see him. [JULIE] Thank you. Julie turns away from Michael, toward the sofa. [JULIE] Sugar? There's a movement beyond the sofa and a golden retriever comes forward. As we see the dog (seen earlier in the blue sedan), and the dog's harness, we realize, as Michael does...that Julie's blind. ANOTHER ANGLE as the dog moves skillfully beside Julie, the harness sliding perfectly into her grasp. She walks the dog up the hall, disappearing from view. We hold on Michael watching her leave, stunned, and then: FADE OUT END OF ACT ONE ACT TWO FADE IN EXT. HOSPITAL PARKING LOT - DAY Michael comes out of the hospital, crosses to the Trans Am and climbs in. INT. TRANS AM - DAY as Michael talks to K.I.T.T. [K.I.T.T.] Michael, I sense something is bothering you. [MICHAEL] Our eyewitness to the shooting is blind. [K.I.T.T.] But she moved with such certainty, surely I would've noticed.... [MICHAEL] Hard to say, pal. She also insists that John Murray had nothing to do with the evidence drop. [K.I.T.T.] Do you believe her? [MICHAEL] We'll see. Let's hang out for a minute...She should be out soon. (beat) How'd you do on the Porsche? In the b.g., we see a motorcycle cop pull to a stop in front of the hospital. We recognize Officer Gray as he climbs off his bike, crosses toward the hospital. [K.I.T.T.] The car in question is registered to a David Dudley. Insofar as it was involved in an attempted homicide, shouldn't we share this information with the police? [MICHAEL] The man called the Foundation because he couldn't go to the police. We've got to honor that confidence. Michael sees Julie and Sugar appearing through the glass hospital doors, approaching to exit. [K.I.T.T.] I doubt I'll ever grasp this human need for secrets. EXT. HOSPITAL ENTRANCE - DAY as Officer Gray jumps to open the doors and holds them for her and Sugar. [JULIE] Thank you. [GRAY] You're welcome. She smiles, exits the hospital and the doors flap back in Gray's face. We follow Julie as she heads into the parking lot, Sugar walking in perfect step at her side. INT. TRANS AM - DAY as Michael watches Julie. She pauses to rummage through her purse and Sugar sits obediently, her harness effec- tively hidden from sight by Julie's body. [K.I.T.T.] Michael! There's a car approaching at high speed! Michael turns to see: AN ND SEDAN roaring across the parking lot, directly toward Julie. Mel's at the wheel, Dudley's beside him. OMITTED ANGLE ON THE TRANS AM as Michael whips it into gear, squealing out of the space, races toward Julie. Just in time he reaches Julie, K.I.T.T. between her and the oncoming car. OMITTED ANOTHER ANGLE - WIDER as Mel, eyes wide with surprise, swerves to the left. Sensing trouble, Sugar pulls Julie away. She loses her balance, stumbles and falls to the asphalt, the contents of her purse emptying everywhere. INT. SEDAN - DAY squirreling away from the Trans Am, heading out of the lot, Dudley staring back. [DUDLEY] That girl -- she's blind! [MEL] You sure?! [DUDLEY] Sure as I'm sitting here. So much for our 'eyewitness.' OMITTED EXT. PARKING LOT - DAY The Trans Am screeches to a halt and Michael jumps out, runs to Julie. She rubs her skinned knees, struggles to gather her fallen belongings. Sugar stands protectively at her side, wags her tail as she sees Michael. [MICHAEL] Are you all right? [JULIE] Most of me. Thanks for cutting that maniac off. [MICHAEL] You know what happened? [JULIE] A car was coming at me from there. (points) You seemed to come at me from over there... (points, then a beat) You must be some driver, Michael Knight. [MICHAEL] And you don't miss a trick. How'd you know it was me? [JULIE] I heard you. Could you hand me my wallet? She points at her wallet, lying behind Michael. He spots it, grins, impressed with Julie's ability. He hands her the wallet. She's already on her feet. [MICHAEL] You're a pretty remarkable lady. Julie grabs Michael's hand, tilts her face up at him. [JULIE] It wasn't an accident, was it? [MICHAEL] Didn't look like it to me. I think whoever tried to kill John thinks you're an eyewitness -- just like I did. (glances after departed car) I wonder if they still do... (beat) C'mon, I'll give you a lift home. [JULIE] Well...you do sound all right. [MICHAEL] With ears like yours, I figure that's a compliment. Julie manages a smile. Michael begins to "walk" her toward the Trans Am and she gently -- but firmly -- indicates that she can find her own way, with Sugar. NEW ANGLE as Michael, Julie and Sugar reach the Trans Am and Michael opens the passenger door. Sugar immediately jumps in. K.I.T.T. clears his throat. [MICHAEL] Sorry, pal, I know how you feel about dogs as passengers, but this one's real well-trained. [K.I.T.T.] Training is one thing...obeying is quite another. [JULIE] You've got a computer in your car! [MICHAEL] The computer is the car. Introduce yourself, Kitt. [K.I.T.T.] I'm pleased to meet you, Miss Robinson. Julie listens intently to the sound of K.I.T.T.'s voice. Even Sugar cocks her head slightly. [JULIE] A talking car! Now it's my turn to be impressed. (beat) Kitt, is it? What an intriguing voice. A little too much gain in your tweeter, and a slight metallic ring to your bass.... [K.I.T.T.] (concerned) Do you really think so? Michael laughs and they pull away as we: CUT TO EXT. JULIE'S CONDOMINIUM - DAY The Trans Am pulls to a stop in front of the attractive, two-story dwelling. Julie's door opens and she and Sugar are heading for the stairs before Michael can reach them. He smiles, follows. INT. JULIE'S CONDO - DAY The door opens and Julie and Sugar enter, followed by Michael. The living room is full of light, furniture covered with canvas -- this is clearly an art studio. There are attractive paintings on the walls and sculpture materials and tools neatly arranged for easy access. As Michael eyes the artwork, Julie heads into a small, open kitchenette, moving for all intents and purposes like a fully sighted person. Her nimble hands prepare Sugar's dinner as Michael pauses in front of an attractive painting of a dog. [MICHAEL] This looks like Sugar. Julie crosses toward him, obviously knowing the painting. [JULIE] Sugar wasn't even born when I painted that. [MICHAEL] You...? [JULIE] I lost my sight when I was seventeen. I painted until then. Now, with John's help, I sculpt. [MICHAEL] Then you two are close.... [JULIE] (beat) Close? In ways, yes.... [MICHAEL] Julie, why did John bring you to that shopping center at that particular time? [JULIE] We were going to buy supplies at the art store. At that particular time. You still don't believe me, do you? [MICHAEL] It's not that I don't believe you -- but isn't it possible that John didn't tell you his real reason for being there? [JULIE] No. [MICHAEL] How can you be so sure? [JULIE] The same way I knew you didn't believe me -- I could hear it in your voice. I'd've known if John was worried or anxious -- no, it's just not possible. [MICHAEL] Then why was John reaching for my car? [JULIE] What makes you think he was? [MICHAEL] I saw him. [JULIE] Seeing isn't necessarily knowing, or understanding. This stops Michael up short. Julie's obviously upset. [JULIE] I heard a shot ring out. I could feel John was hurt and all I could do was stand there, helpless.... Michael sees the anguish that the word "helpless" holds for Julie. He thinks, tries a new tack: [MICHAEL] I've got a video of what happened today. Maybe you ought to take a look at it. She looks up at him, evaluating him. [MICHAEL] Maybe you'd hear -- or feel -- some- thing I'd miss. Julie waits a beat, head cocked. Then, she nods and we: CUT TO OMITTED INT. DEVON'S OFFICE - NIGHT - CLOSE ON THE TV MONITOR where we see the video tape of our opening sequence. We pick up the action as John's car pulls in and parks. [JULIE'S VOICE] John, where are you going? [JOHN'S VOICE] I'll be right back. Stay there. Julie nods as she listens, turns to the others. [JULIE] John was going after Sugar, my dog. She didn't have her harness on and when John opened the door, she slipped out. Devon and Michael exchange a look. [DEVON] Miss Robinson, Sugar's not in the picture. [JULIE] But she has to be. I can hear her! Could you back up the tape...? Michael reverses the machine, adjusts the volume. Against the b.g. noise, we hear a faint sound that could be a bark. [JULIE] There she is...hear her? Suddenly, Michael points to the monitor, pushes "pause." [MICHAEL] Wait a minute...what's that? On the screen, we see John moving past the cars, and in a corner of the frame is the tip of Sugar's tail sticking up past a parked car. [DEVON] A dog's tail.... She smiles, as do the others. At that moment, April enters the room while Michael reactivates the tape. [APRIL] I've run every possible check on John Murray. He's clean. Julie nods knowingly. [DEVON] The man who called me had a Spanish accent. Is John a Latino? [JULIE] (smiles) He's Irish. On the tape, the shot rings out. We hear the dialogue. [MICHAEL'S VOICE] Don't move him! Call the paramedics! [DARK-HAIR'S VOICE] I'll call them! Julie suddenly sits forward. [JULIE] If you're looking for a Latino, there he is! He runs the tape back. Once more: [DARK-HAIR'S VOICE] I'll call them! [MICHAEL] (to Devon) He does have an accent.... On the screen, we zoom in on the dark-haired man, but his back is to us as he moves away. [APRIL] I'll try to blow it up, but we'll lose some clarity. [DEVON] Do what you can, April. April rewinds the tape, Devon addresses Michael and Julie. [DEVON] Thank you, Miss Robinson. You're an excellent 'eye' witness. She smiles and we: CUT TO EXT. GASTNER'S WRECKING YARD - DAY The Trans Am pulls in and parks. It's a beehive of activity -- the crane is busily feeding another car to the crusher and everywhere are Latino employees. INT. TRANS AM - DAY Michael stares at the yard around him. [K.I.T.T.] It's worse than I imagined. [MICHAEL] Awful lot of guys with Spanish accents, huh? [K.I.T.T.] No, that machine. That horrible machine. Look what it's doing. Michael eyes the crusher, a little awestruck by its power. [MICHAEL] And you thought parking lots were bad. [K.I.T.T.] I fail to see the logic of what we're doing here. [MICHAEL] Trying a long shot, pal -- maybe we'll get lucky. [K.I.T.T.] Michael, is it true? [MICHAEL] (getting out) What? [K.I.T.T.] Too much gain in my tweeter and a metallic ring to my bass.... [MICHAEL] (smiles) I wouldn't worry about it, Kitt. You sound fine to me. EXT. TRANS AM - DAY as Michael climbs out, crosses toward the office. A red Cadillac is parked in front. Gastner comes out of the office. He eyes the Trans Am, then Michael, with equal mistrust. [GASTNER] Yeah? Michael sizes Gastner up with thinly concealed distaste. [MICHAEL] I'm looking for a guy named Dudley -- Dave Dudley. He brought his Porsche by my place last week, wanted to trade it for my car. Michael indicates K.I.T.T. and the scanner flashes. [MICHAEL] Thought I might take him up on his offer, Mr.... [GASTNER] Gastner. Nobody named Dudley works here. [MICHAEL] You sure? [GASTNER] Yeah. But if you find him, take him up on his offer. You'll be getting the best end of the deal. INT. TRANS AM K.I.T.T.'s dash lights flash. [K.I.T.T.] (offended) Spoken like a true barbarian. Michael appears, climbs in. [MICHAEL] Did you say something? [K.I.T.T.] I certainly did. That awful man is an insult to the human race and the automotive industry. He belongs behind bars. [MICHAEL] (starts the engine) No arguments from me there... (beat, pauses) He seemed pretty sure of himself. I've got an idea Dudley and his pal realized Julie is blind.... [K.I.T.T.] Then we're back to square one. [MICHAEL] (thinking) Maybe not. (punches buttons) Give me all you've got on David Dudley -- personal habits, hobbies, friends -- the works. K.I.T.T.'s computer lights flash. Michael puts K.I.T.T. in gear and pulls out. OMITTED EXT. HOSPITAL - DAY Michael, Julie and Sugar exit and approach the Trans Am, which is parked out front. [MICHAEL] The way John's improving, he should be able to talk soon. [JULIE] (nods; beat) I'm still not sure I understand your plan. I thought you were after Gastner. [MICHAEL] We are. But as long as Dudley and his buddy are running interference for him, we've got to nail them first. [JULIE] But they know I'm blind. [MICHAEL] You said it yourself, Julie -- 'seeing isn't necessarily knowing or understanding.' He smiles, opens K.I.T.T.'s door for her. Sugar jumps in. [MICHAEL] Don't worry, Kitt'll take care of you. CUT TO OMITTED EXT. PARK - DAY Dudley and Mel toss a football, their dates a short dis- tance away on a blanket listening to rock 'n roll on a radio and gossiping. FEATURE THE TRANS AM ACROSS THE PARK Julie's behind the wheel, hands gripping it. As she becomes more accustomed to "driving," she relaxes more. OMITTED INT. TRANS AM - DAY [JULIE] Am I doing all right, Kitt? [K.I.T.T.] With a little more practice we could enter the Indy 500. [JULIE] (laughs) Flatterer. OMITTED ANGLE ON MEL AND DUDLEY as Mel, ready to throw, spots Julie. He stares, points. [MEL] Dave, look -- the blind broad! [DUDLEY] (stares) I thought you said she was blind! [MEL] You said she was! Dudley and Mel run for their car parked nearby. They floor the sedan and take off after the Trans Am, tearing across the park. OMITTED INT. TRANS AM - DAY as K.I.T.T. picks up speed. [K.I.T.T.] I believe Michael's ploy is working. [JULIE] Good. Pedal to the metal, Kitt. EXT. PARK - DAY K.I.T.T. leads the sedan on a chase through the park, dodging plants and other obstacles, heading toward a more sparsely-populated area. ANGLE ON OFFICER GRAY He is buying a hotdog from a vendor, ready to bite into it when he sees Julie. He drops the hotdog, runs to his bike. [GRAY] (radio) This is 42786, Officer Peter Gray. I've just spotted a blind girl driving a car...please advise. [RADIO VOICE] A blind girl? You'd better see your optometrist, 42786. The voice clicks off as the sedan flies past in pursuit. Gray starts his bike. ANGLE ON THE TRANS AM AND SEDAN K.I.T.T. tears around a curve and suddenly brakes sharply, skidding to a stop in a deserted picnic area. In the b.g., we see a lone jogger in a sweatsuit with hood, apparently oblivious to the action as he approaches. The dust still hasn't settled when Mel and Dudley skid to a stop behind the Trans Am. OMITTED ANGLE - WIDER - MEL AND DUDLEY climb out of their car, Dudley wielding a baseball bat. [MEL] Looks like the little lady's run out of gas. [DUDLEY] Run out of luck, too. They run to the Trans Am, try the door handles and find them locked as Julie "looks" at them through the window. Dudley raises the bat high and slams it against the driver's window. The bat splinters and Dudley and Mel stare at it with awe. They stage an all-out attack on the Trans Am, bat swinging, Mel slamming rocks and whatever else's available against car and window. ANOTHER ANGLE as suddenly, K.I.T.T. backs up, directly onto Mel's foot. He lets out a howl -- he's pinned in place. [DUDLEY] What're you yelling for?! [MEL] The car moved! It's got my foot! He crosses to help Mel and they struggle with the boot -- then suddenly, the jogger appears behind them and we see it's Michael. Dudley takes a swing at him and Michael ducks, grabs Dudley and judo-flips him to the ground. OMITTED ANGLE - WIDER At that moment, Officer Gray rides his motorcycle into the picnic area, jumps off, gun drawn. Seeing Michael over Dudley, Mel, pinned by the car, a grinning Julie climbing out of the Trans Am and Sugar poking her head out of the window is too much for him. [GRAY] Somebody's under arrest. On Michael's grin, we: FADE OUT END OF ACT TWO ACT THREE FADE IN OMITTED INT. DEVON'S OFFICE - DAY - CLOSE ON MONITOR We see several 8 x 10 photos, all of the same dark-haired young man from the video tapes. All are either out of focus or show angles which do not reveal the man's identity. We widen to see April watching Michael as he in turn eyes the photos. Finally, he shakes his head. [MICHAEL] I can't identify him, April. Look at that -- it could just as easily be me. [APRIL] (nods) I know. I'm sorry, Michael. It's the best I could do. Michael frowns at the monitor as Devon enters, looking aggravated. [DEVON] Well, your plan may not pay off. The police have questioned Dudley and Mel to no avail, the sportscar you described has disappeared and there's simply no concrete evidence linking them to John Murray's shooting. [MICHAEL] At least we've kept them out of action for twenty-four hours. The telephone rings and April answers it. [APRIL] Hello? (smiles) Hi, Julie...That's wonderful...sure, I'll tell him. Bye. (to them) Good news. John's regained conscious- ness. [DEVON] That is good news. [MICHAEL] Maybe we've got an eyewitness after all. He hurries out of the room. OMITTED EXT. CITY STREET - DAY - ANGLE ON TRANS AM heading toward the hospital where John's now recovering. INT. TRANS AM - DAY K.I.T.T. clears his throat, then: [K.I.T.T.] Michael, I've been thinking. If I adjusted my bass... (in a deep, rich voice) ...an octave or so, perhaps it might sound more... (very deep) ...mellow. What do you think? [MICHAEL] Kitt, stop worrying about your voice. It's fine. I like it just the way it is. [K.I.T.T.] You wouldn't fib to me, would you? [MICHAEL] Never. A beat, then: [K.I.T.T.] Michael, I've been thinking about David Dudley's sportscar. I'm afraid it may have met with a dreadful end. [MICHAEL] I don't follow you. [K.I.T.T.] It's occured to me that insofar as the car is essentially evidence in the shooting, those hoodlums may have disposed of it in that crusher at the wrecking yard. [MICHAEL] That'd really make a compact out of it. [K.I.T.T.] I fail to see the humor in that. It's a most humiliating way to go, transformed into a tin can. [MICHAEL] I'll remember that next time I have sardines. [K.I.T.T.] Really, Michael. Sometimes you're so insensitive. Michael grins. EXT. HOSPITAL - DAY The Trans Am drives in and parks. INT. HOSPITAL - JOHN'S ROOM - DAY Michael's sitting at the foot of John's bed. John's pale, obviously still sedated, in some pain. [MICHAEL] I'm sorry you got caught up in this, John. [JOHN] (shrugging) Just a matter of being at the wrong place at the wrong time. I was trying to help Julie and she was telling me not to. That's the way it is with us. [MICHAEL] Where is she? [JOHN] (smiling) Probably in the cafeteria telling them how to cook my food. John's distracted by Julie, who walks into the room carrying a vase full of flowers. He beams at her. [JOHN] Thanks, Julie. They're beautiful. [JULIE] Smell good, too. She holds the flowers out for John to smell. He takes her hand as he smells, holds it. She pulls away from him and as she does a look of disappointment crosses John's face. Michael notices it, covers by speaking: [MICHAEL] John, we're putting this puzzle together, but we're still missing a couple of pieces.... [JOHN] I don't know how I can help, but if I can.... [MICHAEL] Right after you were shot, a man called the paramedics...a Latino. [JOHN] Yeah...yeah, I think I remember him. One minute he was coming toward me, like he was going to help catch Sugar, then he was gone. [MICHAEL] We think he's the key to this whole thing...would you recognize him if you saw him again? John shakes his head. [JOHN] I don't think so...no. I was paying more attention to Sugar. Then, when I got shot...everything just went black. I'm sorry. Michael nods, disappointed. A silent moment. [JULIE] Visiting hours are almost over. Michael nods. [JOHN] (to Julie) I was hoping you could stay a little longer. Michael starts to say something, but Julie's already in motion toward the door. [JULIE] You get some rest. I'll be back later. John reaches out, takes her hand. She squeezes it briefly, then exits. Michael turns to John. [MICHAEL] Thanks, John. Hang in there. John nods, his eyes on Julie. As Michael exits, we go to: OMITTED EXT. HOSPITAL - DAY as Michael, walking with Julie and Sugar, heads for the Trans Am. [JULIE] Where're you going? [MICHAEL] The wrecking yard. I'm going to try to find out which one of the Latino workers speaks English. [JULIE] Good idea. We'll talk to every one of them if we have to. [MICHAEL] Look, I appreciate your help, but maybe you should've stayed with John. [JULIE] (shaking her head) He's doing fine. Besides, you don't know who you're looking for, but I know exactly what he sounds like. (smiling) Face it...you need me. [MICHAEL] You're right...I do. (beat) But, I don't think I'm the only one.... Julie's smile fades quickly, but she doesn't respond. Instead, she deftly opens the door to the Trans Am and she and Sugar climb in. As she closes the door, we hold on Michael a beat, then: CUT TO EXT. TRANS AM - DAY moving through traffic, toward the wrecking yard. INT. TRANS AM - DAY Suddenly, we hear K.I.T.T., speaking in a clipped, very precise voice: [K.I.T.T.] 'Now is the winter of my discontent, made glorious summer by the sun of York...' [MICHAEL] Say what? [K.I.T.T.] Shakespeare. I wanted Julie to hear the tonal purity of my voice.... [JULIE] Nice, Kitt, very nice...but do I detect a slight reverberation in your tremble? [K.I.T.T.] That does it. My tweeters are sealed. Julie laughs, turns toward Michael. He seems lost in thought. [JULIE] Something's bothering you.... [MICHAEL] Can't hide much from you, can I? [JULIE] This time it's simple female intui- tion. What's wrong? [MICHAEL] Nothing's wrong. I'm just...curious. [JULIE] About? [MICHAEL] You and John. Julie stiffens slightly, becomes a little distant, cool. [JULIE] (shaking her head) I told you, Michael, we're.... [MICHAEL] 'Close in ways,' I know. (beat) I wonder if that's how John sees it. [JULIE] (smiles) No pun intended. [MICHAEL] (smiles) None intended. (beat) Maybe you've got a blind spot, Julie -- a blind spot that's got nothing to do with whether you can see or not.... [JULIE] (beat) Go on.... [MICHAEL] I get the feeling you're so busy proving you don't need anybody, you're overlooking someone who needs you. Who loves you very much.... Julie just listens without responding. As she does, we: CUT TO EXT. GASTNER WRECKING YARD - DAY - ANGLE ON TRANS AM as it pulls into the yard, moves slowly toward the work area outside the office. We see a number of Latinos in the yard. INT. TRANS AM - DAY as Michael parks the car, pushes some buttons on the dash panel. [MICHAEL] Is Gastner around, Kitt? ANGLE ON MONITOR as a picture of Gastner's red Cadillac appears, with a red line through it. We hear Michael's voice as he laughs. INT. TRANS AM - DAY The picture vanishes from the monitor. [MICHAEL] Kitt's not talking...but Gastner's car isn't here. Michael starts to climb out of the car. [JULIE] Be careful. This place feels... dangerous. EXT. TRANS AM - DAY as Michael moves toward the workers. Among them, we see Ramon. The men see Michael coming toward them, exchange uneasy looks. [MICHAEL] My name's Michael Knight. I work for the Foundation for Law and Government.... The Latino workers stare at Michael impassively. No one utters a word. Michael stares at them, waiting. Nothing. [MICHAEL] Louis Gastner's a bad man, you know that...one of you called the Foundation for help...we're still here, we can still help.... Still no response from the men. [MICHAEL] But, you've got to help us...tell us what you know...come forward and identify yourself.... Suddenly a Voice booms through a bullhorn: [VOICE] Regresa a trabajar imediatamente! Michael glances around as the men begin to slowly disperse. OMITTED INT. TRANS AM as Julie leans forward, listening intently. [JULIE] Kitt, that voice over the bullhorn ...that's him! [K.I.T.T.] Are you positive, Julie? [JULIE] Absolutely, Kitt. EXT. YARD - ON MICHAEL as we hear K.I.T.T. via the comlink: [K.I.T.T.] Michael, Julie's identified the man with the bullhorn.... Michael glances over to see: ALFREDO standing on the runningboard of the crane. He glances over, sees Michael staring at him. Quickly, he jumps down, hurries across the yard. ANOTHER ANGLE TO INCLUDE MICHAEL starting after Alfredo. [MICHAEL] Hey...wait a minute! Stop...! Alfredo breaks into a run. As Michael starts after him, a group of Latinos start to move into his path. [MICHAEL] (into comlink) Kitt, run some interference for me.... ANGLE ON THE TRANS AM firing up, peeling out, driving toward the Latinos. The men look up, startled, at the driverless car, Julie inside. K.I.T.T. roars up, drives between Michael and the men, screeches to a halt. As Michael sprints after Alfredo, some of the Latinos try to get around K.I.T.T., but he keeps them at bay. We hear: [K.I.T.T.] Easy on the paint job, hombres.... With that, the men back off and stare at the car in wonder, several of them crossing themselves hastily. ANGLE ON ALFREDO moving through the yard, with Michael right on his heels. Without much trouble, Michael catches him, grabs him by the arm. Alfredo struggles to escape. [MICHAEL] Hey, slow down...C'mon, I'm on your side. All I want to do is talk... (into comlink) Over here, Kitt.... As K.I.T.T. comes roaring up, Alfredo stares, frightened, first at K.I.T.T., then at Michael. As Michael puts Alfredo into the car: [MICHAEL] Thanks, Julie...you too, pal. Good job. CUT TO OMITTED INT. TRANS AM - DAY A frightened Alfredo's in the backseat with Sugar, who seems to be partial to him. Julie's grinning like the cat who swallowed a canary. [ALFREDO] You make a terrible mistake. My name's Alfredo Diaz and I work for Mr. Gastner ten years. I'm an honest man. [MICHAEL] I'm sure you are. That's why you came to us in the first place...and that's why I'm here now. Alfredo eyes Michael nervously, but doesn't respond. [JULIE] He's the one, Michael. The more he talks, the more sure I am. Michael glances back at Alfredo. [MICHAEL] Alfredo, if you called the Foundation you must've been desperate. We're ready to help. Why not let us? Alfredo doesn't answer. [K.I.T.T.] Allow me, Michael. (beat) Solamente queremos ayudarle. Alfredo clams up. [MICHAEL] Maybe Devon'll have more luck. EXT. JULIE'S CONDO - DAY The Trans Am stops and Michael walks Julie and Sugar to the stairs. [JULIE] That poor man must be frightened to death. [MICHAEL] It's for his own good. Gastner'd do a lot more than scare him if he'd found him first. ANGLE ON TRANS AM Alfredo is sunk down in the backseat, staring sullenly out the window. ANGLE ON MICHAEL AND JULIE Michael and Julie stop at the foot of the stairs. Sugar's at Julie's heel. [MICHAEL] I really don't like leaving you alone. Julie pats Sugar on the head. [JULIE] I'm not alone. I've got Sugar. [MICHAEL] You'll be at the hospital later, right? And you've got my number at the Foundation if you need me. (beat) Lock the door. Don't open it for anyone. Julie nods then as Michael turns to go, speaks slowly, thoughtfully. [JULIE] I've been thinking about what you said...about my 'blind spot.' Maybe it's true...maybe I've been trying so hard to be independent I haven't left room for anyone else in my life. She takes Michael's hand, squeezes it, turns and starts up the stairs. Michael smiles, watching her, then turns and leaves. CUT TO EXT. FOUNDATION - DAY - STOCK The Trans Am's parked out front. [DEVON'S VOICE] You said you had evidence of Gastner's criminal activities. Why won't you talk to us about it now? You're safe here.... INT. DEVON'S OFFICE - DAY Michael, Devon and April strive to crack the taciturn Alfredo, who's still battling his conscience and his fears. [ALFREDO] We're never safe. He would kill me. Like he killed Celso.... [MICHAEL] Celso? Alfredo looks up at Michael, pained by what he will say. [ALFREDO] A man from Guadeloupe. They told me he was drunk, but he was dead. They put his body in a car, and they put the car in the crusher.... He stops, horrified by the memory. April, Michael, and Devon are equally as moved. [MICHAEL] Why did Gastner kill him? Alfredo hesitates again, clearly frightened. Devon steps up to him. [DEVON] Alfredo, the Foundation exists to help anyone who needs it, anyone who feels a wrong must be righted...you know that. We'll protect you. [ALFREDO] (after a long beat) Gastner brings people in across the border to work for him. He gives us money we must pay back with interest. The more we earn, the more we owe. Celso -- he refused to pay. Then he threatened to go to the police...he was proud -- too proud. [APRIL] The evidence you have on Gastner -- where is it now? Alfredo lowers his eyes. [ALFREDO] I have it hidden. I'll get it for you. At that moment the telephone rings. April answers it. [APRIL] Hello? Yes? (beat) What?! When? Michael and Devon watch her. April is highly distressed. [APRIL] Yes, I understand. Thanks for calling. She hangs up the phone. [APRIL] Dudley and Mel were formally charged with attempted assault. Bail was set and Gastner posted it before the ink was dry. The significance of this strikes Michael and he's out the door. On their reactions: INT. JULIE'S CONDO - DAY - ANGLE ON SUGAR Sugar's lying near the front door, gnawing a bone. Suddenly she raises her head, turns toward the door, whimpers. WIDER ANGLE as Julie enters the room, senses Sugar's reaction. [JULIE] What is it, Sugar? Someone at the door? There's a soft knock at the door. Julie comes to it, pauses. [JULIE] Michael? There's another knock. Before Julie can open the door, it's kicked open. ANGLE ON DUDLEY AND MEL move quickly on Julie and as she realizes what's happening and begins to scream, we: FADE OUT END OF ACT THREE ACT FOUR FADE IN EXT. JULIE'S CONDO - DAY - ANGLE ON TRANS AM as it screeches to a stop in front and Michael jumps out, runs to the front door. He rings the bell, waits an impatient beat, then tries the doorknob. The door swings open. INT. JULIE'S CONDO - DAY Michael looks around at the apparent emptiness. A few things have been knocked over by Julie's struggle. [MICHAEL] Julie? From O.S. he hears a muted crying and scratching. He crosses to the bedroom door, opens it and Sugar comes out, whining and jumping. Michael kneels to stroke her. [MICHAEL] I'll bring her back, girl. I promise. And he runs out. OMITTED EXT. TRANS AM - DAY as it moves fast through city traffic, heading toward the wrecking yard. INT. TRANS AM - DAY K.I.T.T.'s dashboard lights flash. [K.I.T.T.] Did you know it takes less than sixty seconds to destroy an auto- mobile in a crusher, Michael? [MICHAEL] (preoccupied) Hadn't thought about it, Kitt. [K.I.T.T.] Well, I have. (beat) And, in case you didn't know it, another name for a wrecking yard is an 'auto graveyard.' How tasteless and insensitive.... [MICHAEL] Don't get yourself worked up.... As K.I.T.T. responds, his voice grows louder, deeper, more powerful, surprising both K.I.T.T. and Michael. [K.I.T.T.] I have a perfect right to get worked up, Michael...this man Gastner is a despicable human being...!! (surprised) My goodness, I didn't know I had that in me. I wish Julie had heard it.... [MICHAEL] Soon as she's safe, you can do an encore, buddy.... CUT TO EXT. GASTNER WRECKING YARD - DAY - ON THE OFFICE where we see Gastner's Cadillac parked. The trunk's open and as we watch, Gastner comes out of the office lugging a suitcase which he loads in the trunk. A moment later, Mel follows with Julie, who's tied and gagged. [GASTNER] You idiot! Some 'eyewitness.' [MEL] She was driving that car. We saw her plain as day. Gastner looks at Mel, then at Julie, thinking. [GASTNER] Her boyfriend doesn't know anything, or the cops would've been all over us by now. [MEL] Yeah, but who knows what Alfredo gave 'em? [GASTNER] That's why I'm clearing out... (looking at Julie) ...and she's going to be my insurance. Gastner takes Julie by the arm to put her in the Cadillac. She breaks away, tries to run, but Mel's on her. Just then, Dudley comes running up, breathless. [DUDLEY] The guy in the black car...he's headed this way! [GASTNER] (shouting) Ramon...! (beat) Ramon! Aqui! As Ramon and several of the other Latinos hurry across the yard, we go to: OMITTED EXT. STREET - DAY - ON THE TRANS AM speeding toward the front gates, which are wide open. OMITTED EXT. WRECKING YARD - DAY as the Trans Am skids to a stop in the middle of the yard. A beat, then, Ramon and the other Latinos dart out of the shadows and surround the Trans Am, forming a human barrier, holding them in. INT. TRANS AM - DAY Michael looks out at the circle of Latin workers. [MICHAEL] Look at that -- a welcoming committee. [K.I.T.T.] I'd have settled for a red carpet. [MICHAEL] Scan the smashed cars. I'm going to be neighborly.... EXT. TRANS AM - DAY K.I.T.T.'s scanner activates and Michael climbs out of the car to face the silent, menacing crowd around him. A beat, then Dudley approaches, holding a gun. Michael scans the yard to see: MEL seated at the controls of the crane, hands moving nervously, and: GASTNER AND JULIE He's at the crusher's controls, maintaining a firm grip on Julie. Her head is cocked as if listening, then Michael calls out: [MICHAEL'S VOICE] Julie! Are you all right? Julie struggles, but can't answer. ANGLE ON THE WRECKING YARD Dudley moves quickly through the circle of workers enclosing Michael and the Trans Am. He frisks Michael roughly as the Latinos watch. [DUDLEY] He's not armed. Dudley again pushes Michael roughly. The Latinos exchange uneasy looks, begin to speak softly among themselves. Even with the gun in his hand, the mumbling makes Dudley uncom- fortable. [MICHAEL] Let the girl go, Gastner. It's all over. [GASTNER] You gotta be dreaming -- all over? Because of some flimsy evidence and the word of an illegal alien? Suddenly, K.I.T.T. speaks. [K.I.T.T.] Michael, I've located human remains in one of the compacted automobiles. Dudley whirls at the sound of the voice, aiming his gun at the Trans Am. [DUDLEY] Who said that? He peers into the car, sees it's empty. Michael turns to the Latinos. Their muttering increases in volume. Not even Ramon, eyeing the Trans Am in awe, tries to stop them. Instead, he translates as Michael points toward the stacks of cars. [MICHAEL] Your friend Celso Diaz died here, in the crusher. Gastner and his men murdered him, because he spoke out against their cruelty. Because he fought back.... [GASTNER] Don't listen to him! He's lying! [MICHAEL] (urgently) Now you've got to fight for yourselves. Don't be afraid...you're not alone.... [RAMON] Is that true, Mr. Gastner? You said Celso went back to his family in Mexico.... The buzz in the crowd builds. Gastner hears it, shouts: [GASTNER] Shut him up! Dudley slams the butt of his gun against the back of Michael's head, knocking him unconscious. The Latinos begin to move in and Dudley shoves Michael into the Trans Am, trains his gun on the advancing workers. [DUDLEY] Get back! [GASTNER] Mel! ANGLE ON MEL IN THE CRANE The machine comes to life and its long arm and claw swing toward the Trans Am. Seeing the claw coming, the Latinos move away from the car, as their newly awakened courage flees. Michael's slumped over in the car, still uncon- scious, and we hear: [K.I.T.T.'S VOICE] Michael! Michael, I need you! Michael doesn't move as the claw closes over the car's roof and lifts the Trans Am high into the air. The crane arches across the lot, carrying the Trans Am -- then drops the car into the crusher. OMITTED INT. TRANS AM - DAY The jolt stirs Michael and he looks blurrily around, trying to figure out what's going on, where he is. Blood trickles from his wound. [K.I.T.T.] Michael...you've regained conscious- ness. [MICHAEL] Where are we? Kitt? [K.I.T.T.] At the end of the line -- we're inside the compactor. [MICHAEL] The compactor?! From outside comes a terrible metallic screeching. OMITTED EXT. WRECKING YARD Gastner shoves Julie into the Cadillac, slams the door and hurries back into the office. Across the yard, we see Dudley and Mel watching the compactor close in on the Trans Am. Around them, the Latino workers also stare, their horror growing. They glance, with growing hostility, at Mel and Dudley. Their mutterings grow, suddenly turn and start moving on the two men. OMITTED ANOTHER ANGLE - FEATURE MEL AND DUDLEY as they react to the approaching mob. Dudley tries to raise his gun, but it's too late. The Latinos swarm over them, and we go back to: INT. TRANS AM The noise is deafening. The compactor begins pressing against the Trans Am. Michael's pushing buttons franti- cally. [K.I.T.T.] My worst nightmares are being realized, Michael! I can see me now...tin cans, TV dinners, garbage can lids.... [MICHAEL] Not if I can help it! Give me every pound of turbo boost you've got...! Michael pushes the turbo boost. Nothing. Frantically, he pushes the button, and we intercut with: INT. COMPACTOR as the compactor bears down on K.I.T.T. Screeching of metal. Suddenly, the chamber begins to shake, sparks shoot through cracks that develop in the walls. Then, everything comes apart, and we go to: EXT. WRECKING YARD - DAY - ON THE CRUSHER as the Trans Am roars through the smoke and debris. The workers, with Dudley and Mel under control, stare in awe. ANOTHER ANGLE - FEATURE GASTNER racing out of the office with a heavy briefcase. He sees the Trans Am breaking free, jumps in the Cadillac. INT. TRANS AM - DAY as Michael whoops with joy and relief, then: [MICHAEL] We did it, Kitt! You okay...? [K.I.T.T.] For the moment, I'm practically speechless... (urgently) Michael, Gastner's trying to escape. With Julie! Michael glances over, sees the Cadillac heading for the gate. [MICHAEL] Let's go! EXT. TRANS AM - DAY as the Trans Am shoots forward, cutting the Cadillac off before it reaches the gate. CLOSER ANGLE as Gastner jumps out of the car, runs into the stacks of cars. Michael's out of the Trans Am. [MICHAEL] Kitt, you take the back, in case he makes a break for it.... [K.I.T.T.] With pleasure.... As K.I.T.T. takes off, Michael hurries over to Julie. [MICHAEL] You all right? [JULIE] (nods) I think so...yes. [MICHAEL] Sit tight...I'll be right back. With that, Michael turns and races after Gastner. ANGLE IN THE STACKS - FEATURE GASTNER racing down a row of cars, turning a corner and seeing Michael bearing down on him from the right. He turns to his left, pulls a rusted fender which crashes into Michael's path, slowing him temporarily. ANOTHER ANGLE - FEATURE MICHAEL as Gastner heads down another row of cars, Michael pursuing him. [MICHAEL] (into comlink) He's heading your way, Kitt. ON GASTNER rounding a corner, slamming on the brakes as he sees K.I.T.T. bearing down on him. He starts backpedaling, then running, glancing over his shoulder as K.I.T.T., from one direction, and Michael from the other, gain on him. ANGLE - WIDER allowing us to see that Gastner is down a dead-end row, the exit blocked by several compacted cars. K.I.T.T.'s right behind him, snipping at his heels. Gastner runs out of room, turns to face K.I.T.T., who slams on the brakes, skids to a halt, and then slowly, menacingly, inches for- ward, pressing Gastner back against the cars. Gastner's terrified, shouts at Michael who comes running up. [GASTNER] Stop this thing! He's gonna crush me.... [K.I.T.T.] No less than you deserve, you cretin. [GASTNER] Okay, Celso's dead...but it was a mistake, I swear! Please.... [MICHAEL] (enjoying the moment) What do you think, Kitt? [K.I.T.T.] I think he's lying, Michael...but I know a court of law will determine that. Perhaps we should give them the pleasure. K.I.T.T. backs up, Gastner sighs a huge sigh of relief and Michael slaps K.I.T.T. on the hood. [MICHAEL] Good work, pal. Good voice, too. [K.I.T.T.] But...that was my normal voice. [MICHAEL] (smiles) That's what I mean. OMITTED FADE OUT END OF ACT FOUR TAG FADE IN OMITTED EXT. HOSPITAL ENTRANCE - DAY - ANGLE ON MICHAEL, JULIE, SUGAR as they come out of the hospital. [JULIE] I can't believe John'll be coming home tomorrow. It seems like a miracle how fast he's recovering. [MICHAEL] It's always easier when you give a man something to come home for. Julie smiles. [JULIE] What's going to happen to Alfredo and the other workers? [MICHAEL] First, they've got to testify against Gastner...with Alfredo's evidence, that shouldn't take long. Devon's already looking into a way to allow them to stay here and work...legally. [JULIE] I think that's all they really want...to work and live in peace. That doesn't seem too much to ask for. Michael smiles. Julie suddenly stops, remembering something. [JULIE] Oh, I almost forgot.... ANOTHER ANGLE as they reach K.I.T.T. and the passenger door pops open. Julie reaches into the back where something's concealed by a piece of white canvas. Julie holds it up. [JULIE] When something or someone really moves me, I like to try to capture his likeness. Michael, realizing Julie holds a sculpture, becomes embarrassed. [MICHAEL] I don't know what to say...nobody's ever done this for me before.... Julie pulls off the canvas, revealing an excellent likeness of...K.I.T.T. Michael registers surprise. K.I.T.T.'s scanner blinks. [K.I.T.T.] It's beautiful, Julie. And such a remarkable likeness, don't you think, Michael? [MICHAEL] Yeah. Very...remarkable. [JULIE] Michael, I have one request to make... of Kitt. [MICHAEL] Name it. [JULIE] Kitt, I'm always going to be blind, and I'm never going to have another opportunity to drive.... [K.I.T.T.] Say no more, Julie. Julie grins, hands the sculpture to Michael and hurries around to get behind the wheel. [K.I.T.T.] Don't just stand there, Michael -- we're in for the ride of our lives. (beat; to Sugar) You might as well get in, too. Just mind your manners. The dog jumps into the car, Michael climbs in with the sculpture, the engine fires up and the Trans Am roars out. OMITTED EXT. STREET - ON MOBILE CATERING TRUCK where young Officer Gray is about to dig into a foot-long hoagie. He glances over his sandwich, stiffens as he sees: ANGLE - THE TRANS AM pulling past, Julie at the wheel, heading down the street. ANGLE ON OFFICER GRAY staring pathetically, suddenly having lost his appetite. As he stands, openmouthed, we go to: EXT. TRANS AM - DAY disappearing down the street, with Julie beaming behind the wheel and Sugar happily hanging her head out the window. Hold on the car, and then: FREEZE FRAME AND FADE OUT THE END

{"show": "Knight Rider", "season": "s02", "episode": "e04", "title": "Blind Spot"}

knightriderarchives

ACT ONE FADE IN EXT. UNDERWATER - DEPTH FIFTY FEET - DAY (STOCK) Camera prowls the peace and serenity of this underwater paradise which makes up Descanto Bay. We see clumps of coral, a turtle swimming with ease, a school of fish in search of food. Then abruptly the peace is shattered. Fish dart away in all directions, the water becomes wild with movement, haze, and bubbles. And then we see its source: BOBBY SHELL (STOCK) Twenty-two, good-looking, attired in red scuba gear -- he is swimming at the edge of panic, pulling at each stroke, kicking with every ounce of energy he can muster. His eyes behind the face mask bulge with fear; but still he clutches a small tiara encrusted with coral overgrowth. An underwater spear flashes past his head and we adjust to the source of Shell's fear. TWO WET SUBMARINES (STOCK) as they gain on Shell; mounted in prone positions are their operators, Karl Roessler, thirty-five, a bulky diver dressed in black scuba gear, and his thief-in-training, Axel Wicks, also dressed in black scuba gear. Wicks fires a second spear and it, too, barely misses Bobby. NEW ANGLE (STOCK) The wet submarines overtake Shell, hold a beat overhead, and then the two attackers shut down and drop out of their underwater vehicles to grab Shell. Roessler grabs his arms, pinning him; the tiara drops to the ocean floor. Wicks takes his air hose and crimps it. Shell struggles. His regulator now useless, pops from his mouth and panic consumes him. He's strong, he fights, but to no avail...his body goes limp. His attackers release him and Roessler retrieves the dropped tiara with his right hand, which he sees is tattooed with a skull and crossbones, and both remount their wet subs. Hold a beat as Roessler and Wicks skim away into the haze of depth; see Bobby's limp form begin to float upward, and: CUT TO EXT. MOUNTAIN ROAD LEADING DOWN TO PACIFIC BEACH - DAY - K.I.T.T. - MOVING It's bright, clear and the Trans Am moves with grace as it maneuvers through the now flowing curves of this road which is beginning to become more narrow and hazardous. [K.I.T.T.] Michael? [MICHAEL (V.O.)] Yeah, Kitt? INT. K.I.T.T. - DAY - MICHAEL - MOVING Michael driving, smoothly negotiating the curves. [K.I.T.T.] I detect the odor of fish. [MICHAEL] Good. That tells me your program is programmed and your senses are sensing. A beep-beep-beep is heard and April Curtis comes up on the video screen. [APRIL] Are you ready for the test, Michael? [MICHAEL] If Kitt's ready, I'm ready. [APRIL] Kitt? [K.I.T.T.] I'm glad you asked, April. In light of the extensive micronetics involved in the system interface, not to mention --- [MICHAEL] (grins) He's ready. EXT. COASTAL ROAD - DESCANTO BAY - DAY - K.I.T.T. as the Trans Am enters the coastal road from the mountain intersections and roars straight for the pier. [K.I.T.T. (V.O.)] Michael, I would prefer speaking for myself. In truth, there's a primary aversion involved. INT. K.I.T.T. - DAY - MOVING [MICHAEL] You hate the smell of fish. [K.I.T.T.] I dislike the smell of fish. I hate salt water. [MICHAEL] Think of it this way. April wants you to swim and I'm here to take the dive with you. Hang on to your fenders, pal. He hits the pursuit button. OMITTED EXT. ROAD TO WATER - DAY - K.I.T.T. He rockets forward, screaming toward the water. A beat passes before: [K.I.T.T.] Michael! Abort the test! Abort! My sensors detect a life form in distress at three o'clock. THE BEACH Bobby Shell, in his red wet suit, scuba gear, including tanks, regulator, fins, mask, snorkle and B.C., washing up onto the shoreline at the edge of the calm Bay water. K.I.T.T. turns as Michael veers at the last minute from entering the water, and slows the Trans Am through a series of spin outs on the sand, ending near the beached Bobby. Michael leaps out. NEW ANGLE Michael moves up to Bobby, turns him over on his back and pulls off the mask. [MICHAEL] Run down his vitals, Kitt! [K.I.T.T.] The object's body chemistry is not within human limits, Michael. I measure a saturation of nitrogen gas in the body tissues and fluids... three point seven eight liters to be exact. You don't suppose it's an alien.... Michael hurriedly drags Bobby to the passenger side, strips off his tanks and B.C. to the floorboard, and stuffs him into the seat, as: [MICHAEL] 'It' is a scuba diver, Kitt, not an extraterrestrial. Nitrogen saturation means he has the bends...Get me a scan on the nearest hospital with a decompression chamber. The video flashes with K.I.T.T.'s search, as: EXT. COASTAL ROAD - DAY K.I.T.T. races around a curve, finds the narrow road blocked by a four-wheel drive towing a boat. INT. K.I.T.T. - DAY [MICHAEL] How is he, Kitt? Any better? [K.I.T.T.] His condition is deteriorating, Michael. Michael reaches for "Turbo Boost." EXT. COAST ROAD - DAY - K.I.T.T. The Trans Am flies over the car and boat, hits the open road ahead of them -- tires screeching and smoking: fast. ANGLE - DRIVER IN FOUR-WHEEL wide-eyed. INT. HOSPITAL - DAY - DOUBLE DOORS They burst open. Bobby is on a gurney, attendants roll it along as a pretty young nurse, whom we shall know as Tracy, works at keeping him alive. Michael follows along, as: [TRACY] ...you have no idea if there was any stage decompression? [MICHAEL] You know everything I do. I just found him on the beach.... [TRACY] I knew something like this would happen someday. They turn into another corridor, still trucking with them toward the decompression chamber room. [MICHAEL] You know him? [TRACY] (nods) Bobby Shell...I went to high school with his sister. Tracy shakes her head, knowing the ordeal she now has to face as they plow through the double doors to the room labeled "Decompression Chamber." Hold as the doors flap closed, and then: CUT TO EXT. HOSPITAL - DAY - K.I.T.T. parked. We see a young male intern exit the hospital, just finishing off a bag of potato chips. He crumples the bag and tosses it on the ground near K.I.T.T.'s front tire. [K.I.T.T.] No littering. The intern stops in his tracks, looks around, confused, and then grabs the sack and tosses it in a garbage can and starts off again. [K.I.T.T.] Thank you. The intern jumps, looks around, and then hurriedly moves away as we adjust to see a ND pickup pull up. A man of sixty is driving, the passenger is Jennifer Shell, twenty- five, fresh, attractive, and at the moment extremely worried. She alights from the truck, thanks the driver MOS and moves quickly into the hospital. INT. CHAMBER ROOM - DAY - CLOSE ON MICHAEL Adjust to see that Michael is outside the thick window of the 8 x 10 chamber that houses both Bobby Shell, now comatose on a bed, and Tracy, who is now attending to his other medical needs, including IVs, dressings, etc. The instruments indicate the chamber is at two atmospheres. NEW ANGLE Jennifer bursts into the room, moves to the window past Michael. She looks inside. [JENNIFER] Oh, God...Tracy? Is he...? Tracy looks up, her voice can be heard over a speaker attached near the viewing window. [TRACY] Hi, Jenny...take it easy...I think he'll be all right. We've got him down to two atmospheres...It'll be awhile before we get back to the surface. [JENNIFER] The bends? Bobby? What happened? [TRACY] He came up too fast. You know Bobby, always in a hurry.... [JENNIFER] Accidents can happen to anyone, Tracy. This defensiveness catches Michael's curious attention. [MICHAEL] Hi, I'm Michael Knight. I brought Bobby in. Is he a certified diver? [JENNIFER] He taught scuba at the Y for two years. Why? [MICHAEL] It looks like he ignored the first commandment. Never dive alone. [JENNIFER] Thanks for what you did...really. For all I know you saved his life. Let's just leave it at that, all right? [MICHAEL] (beat, a smile) All right. He leaves. OMITTED EXT. HOSPITAL - DAY Michael crosses to K.I.T.T. INT. K.I.T.T. - DAY He climbs in, ready to leave when he notices Bobby's tanks, regulator and B.C. [K.I.T.T.] You have no idea how unpleasant that odor is, Michael. [MICHAEL] Allow me. He picks up the B.C., starts out, heading for the hospital. Something drops from the patch pocket in the B.C. [K.I.T.T.] You dropped something. Michael picks it up, really paying no attention, glances at it: it's an encrusted flat oval. Something about it is unusual. [MICHAEL] (shrugs) Guess Bobby collected shells. [K.I.T.T.] Judging from its surface density, the object in question is not a shell. [MICHAEL] Okay, smart guy, what is it? [K.I.T.T.] I believe you're familiar with the procedure, Michael. Michael places the object in a small compartment behind a smoked-glass tray. [MICHAEL] It's a shell. An electronic buzz commences, lasts for several seconds. Then a multicolored spectrographic chart is produced in hard copy. [MICHAEL] Clever. [K.I.T.T.] I thought so. Spectrographic analysis determines it to be an element. Atomic number seventy-nine, atomic weight one ninety-six point nine sixty-seven. Michael looks at the complex scientific chart. [MICHAEL] English, por favor. [K.I.T.T.] It is the element known as gold. [MICHAEL] (reacts) Gold? [K.I.T.T.] You may examine the object in a more presentable state now, Michael. Michael removes the object from the door and we see it has now been cleaned. It is a brilliant hand-hammered gold coin. [MICHAEL] (low whistle) Any idea how old it is? [K.I.T.T.] I can identify and authenticate all forms of exchange dating back to the framing of the U.S. Constitution. My data banks have nothing on it, Michael. It's obviously quite old. [MICHAEL] And valuable? [K.I.T.T.] Possibly. Why? [MICHAEL] It might help explain why an experienced scuba instructor went diving solo. Michael looks up to see Jennifer exit the hospital. [K.I.T.T.] I'm not sure I understand your logic, Michael. [MICHAEL] Neither am I, Kitt. Neither am I.... Michael starts the car and drives to where Jennifer is. He leans to speak to her through the passenger window. [MICHAEL] Need a lift? She looks into the car and can't help but respond warmly to his broad smile. [JENNIFER] Your timing is...amazing. EXT. COAST HIGHWAY - DAY - K.I.T.T. - MOVING [MICHAEL (V.O.)] I found this in Bobby's Buoyancy Compensator. Any idea where he got it? INT. K.I.T.T. - DAY - MICHAEL AND JENNIFER - MOVING Jennifer looks at the gold coin, intrigued, puzzled. [JENNIFER] No...is it gold? [MICHAEL] (nods) It's gold. It's also very old. If it's all right with you I'd like to check it out. [JENNIFER] Why? [MICHAEL] Bobby's been hurt, Jennifer. Who knows what really happened -- or why. [JENNIFER] Bobby had an accident. Why are you suggesting he was doing something wrong? [MICHAEL] I didn't say that. [JENNIFER] I don't know why people always think the worst of him. He goes to South Coast Junior College, he dives for the fish and lobster we serve at the restaurant, he's never been in any real trouble.... [MICHAEL] Hey...I have no case to make. [JENNIFER] Then why all the attention? Michael picks up Bobby's regulator from the floorboard. We can see a double crimp in it. [MICHAEL] See this regulator hose...it's crimped on both sides. No rock did that, Jennifer. No piece of kelp. I can't prove it, but my guess is it was done by another diver. Hold a beat on her reactions, and: CUT TO EXT. THREE SHELLS RESTAURANT - DAY An ocean-front mom and pop-type restaurant. At the side we can see a dive locker which holds dive gear and further down at water's edge a tough-looking seaman, about thirty, trying to snag a rubber Zodiac boat with an outboard motor in from the surf. We shall know him as Paul Manley. K.I.T.T. pulls in, stops. Push in as Jennifer starts to alight from the car. Manley pulls the boat up, waves. [MANLEY] Must've cut loose from Bobby's dive spot. I'll tie her up for you. [JENNIFER] Thanks, Manley. [MANLEY] Everybody's concerned. How is Bobby? [JENNIFER] They don't know yet. He's in the decompression chamber at Cates Memorial. [MANLEY] Anything I can do, just you let me know. She nods, waves. Redirects her attention to Michael. [JENNIFER] I'm sorry, I guess I haven't been very grateful. [MICHAEL] It's not required. [JENNIFER] Speaking of lobster, I have one left from Bobby's last dive...do you like lobster? [MICHAEL] Is that an invitation? She smiles, nods. [JENNIFER] How about tonight? OMITTED EXT. F.L.A.G. - DAY - ESTABLISHING INT. F.L.A.G. - DEVON'S OFFICE - DAY - CLOSE ON DESK TOP Devon is signing a stack of Foundation papers. During the following, pull back to include Michael hovering over his desk and April hovering over him. [APRIL] Michael, is this your way of saying you aborted Kitt's amphibious test?! [MICHAEL] Yes. No. Just a minute, April. (to Devon) Devon, he's an experienced diver but he dives solo, gets the bends... (plops regulator hose on desk and papers) And look at this regulator hose and tell me that crimp is an accident. [DEVON] Michael, will you please remove this thing? This is a desk, not a work- bench. He hands the regulator back as if it were diseased and then picks up a document dirtied by it. Devon rises, starts off. Michael stops him. [MICHAEL] Devon, listen to me...I think some- one tried to murder Bobby Shell. [DEVON] If you're correct, Michael, then it's a job for the police. [MICHAEL] Devon --- [APRIL] Michael --- [DEVON] Will you two please stop lobbying? Michael, you apparently saved the boy's life. That's wonderful. Now let him live it. [MICHAEL] (shrugs) You're the boss. Guess I'll just have to take this back to his sister without ever finding out where it came from.... He plops the coin on Devon's papers. [DEVON] Michael! Get that.... He looks closer. Michael knows he's getting to Devon. [DEVON] (examines it) Where did you find this? [MICHAEL] In Bobby Shell's dive gear. [APRIL] (to Michael) Do you always have an ace up your sleeve? Michael just smiles as Devon returns his attention to the coin. [DEVON] Incredible...I'd have to authenti- cate, but I believe this coin is Aztec.... Michael takes it back. [MICHAEL] Too bad we can't investigate a little, but I guess Kitt's test comes first.... Devon grabs his hand, takes the coins, as: [DEVON] Don't be so hasty, Michael. We may have something important here. (to April) Run down to Research...tell them I want everything they have on Aztec coins. April burns as: [MICHAEL] Does this mean it's a Foundation project? [APRIL] Devon, you're not thinking of postponing the test? Not after all our preparation --- [DEVON] (oblivious; to Michael) I'll get cracking on the research and authentication immediately. Devon gets a magnifying glass and becomes engrossed in the coin. Michael looks at April with a grin. [MICHAEL] Don't be a sore loser. CUT TO EXT. THREE SHELLS RESTAURANT - NIGHT - ESTABLISHING It is a bright moonlit night. K.I.T.T. is parked out front. EXT. THREE SHELLS RESTAURANT - OUTSIDE PATIO - NIGHT The patio overlooks Descanto Bay, the light from the Fin Quest at anchor can be seen far out in the Bay. Michael and Jennifer are at a table for two, candlelit, a giant lobster on a center plate, wine. [MICHAEL] The coin has been authenticated as Aztec...but exactly where it came from, how Bobby got ahold of it I don't know. (beat) Do you? [JENNIFER] No. This is as...confusing to me as it is to you, believe me. [MICHAEL] Has Bobby's behavior been different lately? His patterns, the people he hangs around with? [JENNIFER] No. Not that I've noticed. [MICHAEL] What about the Bay? Is there any- thing different going on out there? [JENNIFER] No, just... (thinks) Well, there's the Fin Quest. She's at anchor in the Bay on a Project Sea Life grant, reseeding the reef with abalone. The guy who tied up the inflatable was hired as one of the divers --- [MICHAEL] Does Bobby know him very well? [JENNIFER] Just casually...He eats here some- times. He seems like a nice man. Michael, please...can we close the subject for awhile? At least during dinner? [MICHAEL] (smiles) Sure. The lobster's incredible. I'm spoiled for life. She relaxes a bit now. [JENNIFER] What else? You've just dined at The Three Shells. [MICHAEL] I count Bobby and Jennifer Shell. Who's the third? [JENNIFER] My dad...he died three years ago. It was his dream, the three of us running this place...building it into something really special...He took care of all the business, I cooked, Bobby dove.... She reaches for her wine, her hand trembles. It spills a little. Michael puts his hand on hers. [MICHAEL] He'll be okay, Jennifer. (beat) But if I'm right, whatever he's stumbled into won't go away. I want to check it out. I'd like to think we're on the same side. He touches her glass. They both sip the wine, their eyes on one another. She forces a smile and nods. EXT. ABOARD THE FIN QUEST - DAY - WICKS AND CREWMAN #1 move on the deck as a shore launch moves alongside. Crewman #2 is at the wheel. Manley is at the boarding rail. On the launch floor are about twenty cannisters which we cannot yet make out. Wicks helps tie up. Manley climbs to Fin Quest's deck and enters into a brief conversation. (MOS) NEW ANGLE Manley appears concerned as he points to the load and then exits to the cabin. The crewmen heft the first cannister to the deck. Push in to see the label: "Depth Charge --Explosives--Danger". INT. FIN QUEST CABIN - DAY - CLOSE ON TIARA Drops of acid hit the coral encrusted tiara. Smoke bellows up and we widen to see the man engrossed with his treasure that was in Bobby's possession earlier. He is Zachary Sloate, fifty, an intense man of unusual strength, academic intellect, and a brain that has burned too long with a single, myopic obsession. Near the table that he works on we see a box heaped with coins, jewels, plateware -- all Spanish treasure from the Aztecs. The door opens and Manley enters the cabin. Sloate does not look up from his work as: [SLOATE] Did you get everything? [MANLEY] It's all here. (then) Where's Karl? [SLOATE] Keeping an eye on developments at the hospital. [MANLEY] Look, when I signed on to your charter here there wasn't any talk of murder.... [SLOATE] There was no choice, Manley. It was either stop him or risk losing every- thing. (beat) Relax. There's a good chance the kid won't regain consciousness before we can correct the Marquesa's shift, get access to the main chamber, and be gone. [MARINE OPERATOR'S VOICE] (over ship- to-shore) This is Marine Operator Sixty Five calling the Fin Quest, King Young Zebra one two seven...over.... Manley goes to the ship-to-shore, picks up the mike. INTERCUT - KARL AT HOSPITAL PHONE BOOTH [MANLEY] (over radio) This is the Fin Quest, King Young Zebra one two seven...Go ahead... over.... [KARL] Manley, this is Karl. He's still in decompression, but he's recovering... over. BACK TO SCENE Manley lowers the radio mike. [MANLEY] What are you gonna do? Sloate moves to the boxes of treasure, holds up a piece or two. [SLOATE] You're the one who's put all of this on the scales. At current bullion prices we've got one point six million in the hold right now. You want to lose it all? You tell me. Manley looks from Sloate to the treasure -- his greed is too much. He can't say anything. FADE OUT END OF ACT ONE ACT TWO FADE IN EXT. HIGHWAY - THE KNIGHT SEMI - DAY - STOCK - MOVING K.I.T.T. moves into frame, the ramp extends from the semi and K.I.T.T. enters. INT. SEMI - DAY - MICHAEL He exits K.I.T.T. Devon is in the lounge in the b.g. as April moves up with her test kit and programs, begins to work on K.I.T.T.'s electronics during: [APRIL] I just got an update from Research and Development...It seems they now have some questions about the viability of the Third Stage Aquatic Synthesizer. [K.I.T.T.] (worried) What kind of questions, April? [MICHAEL] The sinking kind, Kitt. Michael winks at April and crosses toward the lounge area. She burns with a beat of good natured irritation. [APRIL] Yes, sinking...as in Michael Knight's popularity around here. [K.I.T.T.] April, I hope this means the tests have been cancelled. She goes back to programming. [APRIL] Of course they have, Kitt. Your best interests are always first with me. You know that...don't you? [K.I.T.T.] I was just checking. (suspicious) What is it you're doing now? [APRIL] Relax, Kitt. This is a program designed for your current... (looks off to Michael) ...mission...per Devon's request. [K.I.T.T.] Ah, yes. It's coming...Well, shiver my timbers, if it isn't Long John Silver...Interesting data. Very interesting, April. April smiles, relieved that the subject has been changed. ANGLE - MICHAEL AND DEVON IN THE LOUNGE AREA Several books are stacked around Devon as we pick up their conversation, Devon placing down the coins. [DEVON] ...and the coins are just the beginning, Michael. [MICHAEL] You've found something to connect to Bobby's attack? [DEVON] No. To the coin...Look here. He turns on the CRT and a double blow-up of the coin appears. One side bears an Aztec calendar, the other, a likeness of Nacinda. [DEVON] Her name is Nacinda...the Aztec Goddess of Forgiveness. Isn't she magnificent? [MICHAEL] Yeah, terrific. But what's it got to do with Bobby and the coin? [DEVON] On one hand, nothing. On the other, perhaps everything. [MICHAEL] I'll take the one with everything. Devon picks up a book labeled Nacinda -- Truth or Legend. As he opens it for Michael, the cover page bears a rendering of the statue. On the book's back cover flap we may also notice a picture of the author, Professor Z. Sloate. Their focus, however, is the statue. [DEVON] Bear with me, Michael. You see, Nacinda is a fountain of historical research. She was pillaged along with her coins and treasure by Cortez in 1521 and loaded aboard The Marquesa for delivery to the king of Spain. Michael becomes interested in the book. He looks closer. [MICHAEL] (reading) 'Main stream academic research has established the Marquesa as lost off Cape Horn!' (to Devon) I don't get the connection to the coin, Devon. [DEVON] Read further -- (points to page; reads) Here. 'Research labeled as unorthodox, and unscientific argued that the Marquesa was pirated and sailed north from the port of Acapulco instead of south around Cape Horn!' (then) It's a magnificent academic fist fight, Michael. Michael thinks deeply for a beat and then snaps his fingers with the connection. [MICHAEL] Devon, there's a boat anchored in Descanto Bay, the Fin Quest. It's supposedly working an abalone reseeding program for Project Sea Life. What if it wasn't? Devon picks up the book, looks at Nacinda. [DEVON] It could be making the archeological find of the century...? [MICHAEL] And worth checking out...if she's down there with all that treasure, Bobby Shell's 'accident' says they're willing to kill for it. On their reactions, we push in, hold on the sketch of Nacinda, and: MATCH CUT TO OMITTED INT. FIN QUEST CABIN - DAY - ON SKETCH OF NACINDA Sloate's hand enters frame, flips the book shut so that his picture on the dust cover is revealed. [SLOATE (V.O.)] Our access is limited because of the shift. That's your responsibility. During the following, pull back to see we have been looking at the book on the cabin table. Manley is present. Sloate begins pulling into a sweater as: [MANLEY] Look, it shifted during the night. You want to blame something, blame the currents. The point is we should be using sand pumps and jacks. Not explosives. Sloate shakes his head, starts out. Manley takes his arm. Stops him. [MANLEY] (continuing) She's unstable now. The explosives are gonna make it that much worse. Sloate looks at Manley's hand on his arm. The look is menacing enough for him to let go. [SLOATE] You're getting a triple share, Manley. That should be incentive enough for you to accept a small additional risk, shouldn't it? Sloate doesn't wait for an answer. He exits. Hold a beat on Manley, unsure how far he can challenge this quietly dangerous man. Then he follows to: EXT. ABOARD THE FIN QUEST - DAY - SLOATE As he emerges from the cabin, Manley behind him, he looks to the stern where the two crewmen stand by the depth charges and launcher. Sloate turns his attention from them to Manley, who finally gives in, shrugs, and: [MANLEY] (to crew) Set it at sixty-five feet and launch. Sloate is satisfied, and in control, as he returns his attention to the crewmen. They launch the depth charge, it hits the surface, sinks and: EXT. UNDERWATER - DAY - THE MARQUESA - STOCK The remains of a Spanish treasure ship. Above her the charge floats down, finally exploding at sixty-five feet. NEW ANGLE - THE MARQUESA - STOCK She shifts and then an incredible rumble begins to erupt and a major portion of the shelf upon which she rests begins to break away and the Marquesa tumbles with it to a deeper floor. EXT. ABOARD THE FIN QUEST - DAY - FAVOR SLOATE AND MANLEY as Wicks in the pilot area, peers into a sonar, fish-finder scope. [WICKS] The shelf is cracking off. She's gone with it down to the next level. [SLOATE] How deep? [WICKS] Between a hundred twenty and a hundred forty feet. We're gonna need heavier cable. More light... hydraulics. Sloate turns to Manley. [SLOATE] Get it. You'll dive in the morning. [MANLEY] At that depth? We've just tripled the risk. Look, let's just take what we have.... [SLOATE] What we have isn't what I came for, Manley. [MANLEY] Sloate, you're talking a hundred and forty feet in the worst possible conditions...for one lousy statue? [SLOATE] I wouldn't expect a man who derives all of his pleasure from booze and drugs and women to appreciate the historical significance of Nacinda's discovery. So I won't attempt to explain. Just do what you've been hired to do, Manley. Sloate starts off. [MANLEY] I understand plenty. It's all those prissy academic friends of yours you want to show off to. That's your high. Sloate turns. [SLOATE] My 'high' will be my vindication, Mr. Manley. [MANLEY] And you want it so bad you'll kill for it? Do you realize how far you're taking all of this? [SLOATE] Everything is a matter of necessity and priority...Yours is to dive. Karl will look after...the necessities. INT. HOSPITAL - CORRIDOR - OUTSIDE DECOMPRESSION ROOM - DAY Karl Roessler walks past, carrying a bouquet of flowers, posing as a visitor. He takes in the room, then moves off. OMITTED INT. HOSPITAL - DECOMPRESSION CHAMBER ROOM - DAY Jennifer and Michael are present, watching as Tracy and an attendant roll Bobby out. They move up to him. [JENNIFER] Bobby? Can you hear me? Bobby's eyes blink open, his vision blurred as we adjust to see the outlines of Jennifer and Michael over him. He is delirious, semicomatose. [BOBBY] Jen...Help me.... He reaches up weakly with one hand. [JENNIFER] I'm here, Bobby. I'm here with you. She takes his hand, touches his face. [BOBBY] Cah-deesh...cah-deesh.... [MICHAEL] What's he saying? [JENNIFER] (shakes head) I can't make it out. Bobby slips into a deep sleep, Jennifer brushes his hair back, concerned. [TRACY] I gotta get this guy to ICU, kids. Tracy pushes Bobby out of the room. They follow to: OMITTED INT. HOSPITAL CORRIDOR - DAY As they exit, we pan with Tracy as she rolls Bobby toward ICU, and hold on the visitor with a bouquet of flowers -- Karl Roessler. His interest is Bobby. OMITTED EXT. HOSPITAL - DAY - MICHAEL exits, crosses to K.I.T.T., enters. OMITTED INT. K.I.T.T. - DAY - MICHAEL parked. As he enters, punches the computer console. [MICHAEL] I need some help, Kitt. Give me your Linguistics Department. [K.I.T.T.] Try this... (a la Blackbeard) Avast me hearties er I'll run ya through. [MICHAEL] Wrong program, pal. It's a word from Bobby's semiconscious vocabulary I'd like you to clean up...'cah-deesh.' [K.I.T.T.] Sounds like a sneeze...I'll get right to work on it...But, it may take some time; the variations are limitless. A beep. [K.I.T.T.] Devon's on, Michael. Michael starts up the car, pulls out, and brings Devon up on the screen. [MICHAEL] Devon.... [DEVON] Big news, my boy. It seems that Project Sea Life has no contract what- soever with the Fin Quest...and they have no reseeding projects in the Descanto Bay area. [MICHAEL] Well, now. We're finally getting somewhere. [DEVON] Michael...please don't do anything rash. [MICHAEL] You know me, Devon. He clicks off the video link, turns hard right, and we: CUT TO OMITTED EXT. ABOARD THE FIN QUEST - DAY - MANLEY He has a set of binocs to his eyes, watching as Michael motors toward the Fin Quest in a rented skiff. Adjust as Sloate moves up. [SLOATE] Get the cannisters covered. Wicks and the crewmen move to pull a tarp over the depth charges. Manley looks again as Michael gets closer. [MANLEY] I've seen that guy before...He was with Bobby Shell's sister at the restaurant...the one who found him washed up on shore. Sloate moves to the pilot cabin, gets a revolver. Manley stops him; unsure. Sloate looks at the gun and then slips it beneath a rag on a nearby bench, easily accessible. [SLOATE] Get rid of him. NEW ANGLE Michael pulls alongside in his launch, ties up, and Manley approaches as he swings up to the deck. [MICHAEL] Permission to come aboard. [MANLEY] What can I do for you? [MICHAEL] Heard you were reseeding abs out here. I'm a diver. [MANLEY] No help needed. [MICHAEL] I've dived all along this coast. I've taken abs for ten years, figure it's time to put a little back in the pot, you know? Michael walks further onto deck as we see Sloate casually place his hand on the bench and drill Manley with his eyes. [MANLEY] Where were you certified? [MICHAEL] Special Forces. (picks at tarp) How about it? I'll plant these suckers all day long for bed and board. Michael starts to lift the tarp. Sloate moves up and: [SLOATE] The man tried to be polite. You're not wanted and it's time for you to leave. Michael takes in Sloate, Wicks, and the two crewmen...shrugs. [MICHAEL] Since you put it that way...See you around. Sloate only nods. Then Michael crosses back to exit the boat. He spots an encrusted coin in the deck -- registers it and then hops in his rented boat and motors off. Hold a beat on Sloate and Manley, reacting. OMITTED EXT. HIGHWAY - DAY - K.I.T.T. - MOVING [MICHAEL (V.O.)] Devon, that book, the one with the picture of the statue? INT. K.I.T.T. - MICHAEL - MOVING Devon is on the video screen. [DEVON] Nacinda? What about it? [MICHAEL] The dust jacket. There's a picture of the author, isn't there? Devon holds up the flap picture of Sloate. [DEVON] Zachary Sloate. Why? [MICHAEL] That's him! He's aboard the Fin Quest with that local diver, Manley. [DEVON] Sloate was the leader of that research minority I was talking about. His obsession reached a point where no one would publish his articles...he even- tually lost all credibility in academic circles. In the b.g. of Devon's office we see April enter, move up near Devon. [MICHAEL] Can you get me a run down on him? [DEVON] If you want to know if he's dangerous, the answer is yes. Sloate is rumored to have killed some Indians in Baja several years ago...tracking down the Nacinda legend. [MICHAEL] Sounds like we've got just about half the lid nailed down, doesn't it? [APRIL] Bobby Shell should be able to give you the other half...He's not fully conscious yet, but he is coming along well enough that they've moved him to a private room. On Michael's reaction: CUT TO EXT. STREET - DAY - K.I.T.T. accelerating. EXT. HOSPITAL - DAY - ESTABLISHING INT. HOSPITAL ROOM - DAY darkened. The monitor beeps, Bobby's IV drips, otherwise the room is quiet except for the patient's breathing. The door opens quietly, a hand bearing the skull and crossbones tattoo holds the edge and then we see the white- coated figure of Karl Roessler enter the room and move quietly toward the bed where he inserts a hypo filled with red acid into the IV tube. Suddenly the patient sits up, grabs him -- it's Michael. [MICHAEL] End of the line, pal. Roessler reacts, bangs the IV stand over the bed and takes off. Michael dives off the bed, tackles him. Roessler kicks loose and scrambles out the door. OMITTED INT. HOSPITAL CORRIDOR - DAY - ROESSLER He enters the corridor from the room, Michael exits a beat later and is blocked by a surprised candy-striper pushing a cart. Michael has to maneuver past her, losing a couple of beats and then he's back in the chase. EXT. HOSPITAL - REAR - DAY - MICHAEL He exits. Looks around. Doesn't see Roessler. Then he reacts to two ambulances as they roar out of the ambulance garage separately, Code Three. Adjust as Michael runs to the garage, sees nothing. [MICHAEL] (comlink) Kitt, meet me at the end of the alley behind the hospital. Michael takes off running. OMITTED EXT. HOSPITAL - FRONT SIDE - DAY - K.I.T.T. [K.I.T.T.] Aye, aye, mate. The engine starts, he backs out and roars off, taking a doctor and nurse walking past by complete surprise. Hold on their reactions a beat, then to: EXT. MOUTH OF ALLEY NEAR HOSPITAL - DAY - MICHAEL running full tilt to see the two ambulances further down the block turn in seperate directions. Adjust as K.I.T.T. roars up, the door pops open and Michael jumps in. [MICHAEL] Kitt, which ambulance has only one person in it? K.I.T.T.'s sensors light up, search scan beeps away a beat, and: [K.I.T.T.] My sensors read three life forms in the westbound vehicle...one in the northbound. [MICHAEL] Northbound! Pull back as K.I.T.T. screams out. OMITTED EXT. CITY STREET - THE PURSUIT - DAY - THE AMBULANCE roars into the street, out and then K.I.T.T. enters, following. OMITTED INT. K.I.T.T. - DAY - MICHAEL - POINT OF VIEW - AHEAD The ambulance barely misses a telephone pole truck hauling a high stack of poles. The truck stops, the whole inter- section blocked. [K.I.T.T.] Turbo Boost will not propel us over that obstacle, Michael. [MICHAEL] If we can't go over it, we'll go under, buddy. [K.I.T.T.] My sensors calculate a one-fourth inch clearance...the slightest bump will take both my roof and your head, Michael. [MICHAEL] Then pray for no bumps and hold on.... EXT. INTERSECTION #2 - DAY - K.I.T.T. Approaching the truck trailer at high speed, K.I.T.T. zooms under the trailer with only a whisper of clearance. Intercut the reactions of: two Valley girls, their mouths gape open at the black wonder. OMITTED EXT. OVERPASS - DAY - THE AMBULANCE enters the street under the overpass. A truck lumbers in, stops too late, and then spills over, sliding upside down for one hundred feet before creaming into block wall building. The ambulance explodes as: K.I.T.T. shuts down, stops, and Michael sees that it's too late to do anything. [K.I.T.T.] Michael, it wasn't your fault. [MICHAEL] Thanks, Kitt. Right now that doesn't help much.... Hold a beat on Michael's concern, and: FADE OUT END OF ACT TWO ACT THREE FADE IN EXT. THE FIN QUEST - DAY - A LONG SHOT FEATURING THE BOAT Wicks and the crewmen are preparing cable, lights, hydraulic gear. At the stern of the deck, we see Manley and Sloate in an animated conversation. Sloate is studying a piece of treasure. OMITTED CLOSE ON SLOATE AND MANLEY as Manley paces back and forth. Sloate barely glances up at him. [MANLEY] I'm telling you, Karl bought it. He took a run at the kid...they pulled a switch. It was that so-called 'put a little back in the pot' diver. Sloate doesn't look up. He nods slightly. [SLOATE] We'll have to speed up the dive. [MANLEY] Didn't you hear me? The kid is alive. Karl's dead. It's over. [SLOATE] We're not sure he can talk. Or that he'll say anything. We have time. [MANLEY] We're out of time and we're out of luck. I'm pulling out. Now. Sloate looks up at Manley, fixes him with a venomous stare. [SLOATE] You leave now and you'll leave with exactly what you came with, Manley. Nothing. And you'll spend the rest of your life working for nickles and dimes scrubbing boats and diving for abalone. (a beat) Is that what you want? Manley stares at Sloate. He doesn't respond. Sloate smiles, nods. [SLOATE] Get ready to dive. Sloate turns back to his work. Hold on Manley, and then: CUT TO INT. TRANS AM - DAY - MOVING as Michael roars down the highway. He looks grim, not hearing: [K.I.T.T.] ...'Tis the lash o' me Cat O' Nine you'll be feeling before the mast, Hardy... (then) Michael, you're awfully quiet. No response. [K.I.T.T.] And upset. Surely not with my nautical monologue. It's only a program, Michael. [MICHAEL] I'm thinking. And I'm not upset. [K.I.T.T.] Not true, Michael. Your pulse rate is up, your blood pressure is high...and you're gripping the steering wheel with alarming pressure. Michael glances at his white-knuckled hands, loosens his grip. Manages a little smile. [MICHAEL] Yeah. White knuckles give you away every time. [K.I.T.T.] Ah, that accident. I repeat. It was not your fault, Michael. [MICHAEL] (with feeling) Maybe not, but it didn't have to happen. Just like Bobby's life doesn't have to be in danger...if only someone would listen. If someone would talk. [K.I.T.T.] You mean Jennifer? [MICHAEL] For starters. I'm tired of being calm and patient and understanding. She has to know something, and I'm going to get it out of her. A beat, then K.I.T.T. speaks: [K.I.T.T.] Perhaps this will help. [MICHAEL] What? [K.I.T.T.] Your funny word. It's been most difficult.... [MICHAEL] Difficult? For you? [K.I.T.T.] Michael, a linguistics search based on delirious ramblings isn't exactly direct access...hmmmm...try this. The word CADIZ comes up on the screen. [MICHAEL] Cadiz? What's it mean, Kitt? [K.I.T.T.] It's pronounced 'Cah-deez.' It's the name of an ancient walled city. Great treasure was kept there, and periodically looted by the English. [MICHAEL] Treasure? You may have hit on something...I'll try it out on Jennifer. [K.I.T.T.] You have an attraction to her, don't you? [MICHAEL] She has a pretty smile, Kitt...don't you agree? [K.I.T.T.] Michael, silicon chip circuitry is pretty to me. Two hundred miles on a gallon of gas is pretty to me. I'm not programmed to react to a girl's smile. You, however, are programmed to react to nothing else. K.I.T.T.'s eye comes up on the screen, winks, and Michael grins. CUT TO EXT. THREE SHELLS RESTAURANT - DAY - K.I.T.T. pulls in, Michael alights, starts up to the door and reacts to a "CLOSED" sign. K.I.T.T.'s sensors flash on his hood. [K.I.T.T.] I read no life signs inside the building, Michael. Michael frowns and then looks toward the dive shack. The door is open and the Zodiac boat is gone. Michael crosses, looks out toward the Bay. The Zodiac bobs in the water seventy-five yards off shore. Across the Bay, we should be able to see the Fin Quest. [MICHAEL] The dive boat's out. But Jennifer said Bobby did the diving.... Michael stands, thinking, then races to the dive shack, grabs some scuba gear and runs for the beach. CUT TO EXT. BAY - DAY - ON THE FIN QUEST where we see Manley in dive gear, preparing to go overboard. He takes a line from a crane boom, slips over the side of the boat. Sloate watches anxiously as Manley disappears into the water. ON MICHAEL With the scuba equipment on, he's swimming strongly toward the dive boat. He reaches it, glances inside then grabs the anchor line and dives. EXT. UNDERWATER - DAY - FOLLOWING MICHAEL as he descends the ocean floor, following the anchor rope. He reaches the bottom, glances around. Nothing. He swims off. OMITTED MICHAEL - NEW ANGLE slowly moving along the floor of the Bay. Suddenly, through the murkey half-light, he sees an area of underwater light. Curious, he swims toward the light, which becomes brighter and brighter, until he breaks surface in: OMITTED INT. UNDERWATER CAVE - DAY as Michael emerges from the water into a cave illuminated by dozens of candles. MICHAEL'S POINT OF VIEW - PANNING THE CAVE About thrity feet wide, the cave has sheer granite walls. The candles, and the pictures of the Beatles and other 60's personalities give it a hippy touch. The pan ends on Jennifer, in a bikini, her dive gear next to her. She stifles a scream, then relaxes when Michael pulls off his mask. [JENNIFER] Michael! What are you doing here? Michael's eyes move from Jennifer to a pile of treasure, obviously from the Marquesa. He climbs out of the water. [MICHAEL] I was about to ask you the same question. CUT TO EXT. FIN QUEST - DAY as Manley breaks the surface, climbs on board the boat. He takes off his mask, nods silently to Sloate. [MANLEY] I found your damn precious box. Let's get it up and get out of here. INT. UNDERWATER CAVE - DAY as Michael picks up a piece of the treasure, turns and his look of suspicion bores into Jennifer. [JENNIFER] Michael, why are you looking at me that way? [MICHAEL] Because I thought we were on the same side. [JENNIFER] We are! [MICHAEL] Then how do you explain this place? And this treasure that you've collected? Jennifer shakes her head. [JENNIFER] I've collected? I don't know anything about it. [MICHAEL] Jennifer. This place isn't a tourist spot. How can you expect me to believe that you know nothing? [JENNIFER] I know about the cave. What I don't know about is this...this treasure. Where it came from. [MICHAEL] Then start with the cave. [JENNIFER] When we were kids, Bobby and I found it...it was our secret...Bobby named it Cadiz.... [MICHAEL] Why didn't you tell me that at the hospital? [JENNIFER] I didn't realize what Bobby was saying. Not until I got home. (beat) I tried to find you.... Her voice trails off as she sees Michael's look. [MICHAEL] You couldn't, so then you just decided to drop by the old hideout to see what Bobby was mumbling about, right? [JENNIFER] That's right. But, I never expected to find...this. I can't imagine where it came from. [MICHAEL] Try Bobby Shell. [JENNIFER] No...He couldn't.... Michael steps up to Jennifer. He takes her by the shoulders. [MICHAEL] Come on, Jennifer. Quit protecting him. This isn't a game -- someone's more than willing to kill people for this treasure. (beat) They tried to kill Bobby again. At the hospital. [JENNIFER] (terrified) Oh, no.... [MICHAEL] He's safe. But it's not over...not until I can find out who's behind this. And why.... [JENNIFER] Michael, I don't know anything about it. I swear.... Michael studies Jennifer closely. [MICHAEL] But Bobby does...that's clear to both of us now...isn't it? A beat, Jennifer nods...finally allowing herself to break through the protective shield. [MICHAEL] Okay. Welcome back to the team. Jennifer nods as a tear streaks down her face. Michael smiles at her. Off his look: EXT. BAY - DAY - ON THE FIN QUEST as Manley and Sloate watch the crane cable whine upward. Finally an ancient wooden box breaks the surface and swings toward the boat, where Winks and the crewmen wrestle it aboard. Sloate hurries over. [SLOATE] Carefully! Gently! Winks and the crewmen lift the box onto the deck of the boat. Sloate waves everyone away from the box, kneels next to it with a crowbar and begins to pry the lid open. CLOSE ON SLOATE as the last nail is pulled free. He tosses the crowbar aside, lifts the lid. CLOSE ON THE BOX filled with nothing but rocks. BACK TO SLOATE staring, frozen, at the box. Hold on his homicidal stare, then: [SLOATE] That kid.... CUT TO EXT. THREE SHELLS RESTAURANT - DAY as Michael and Jennifer come up from the beach. They drop their dive gear at the shack, continue toward the restaurant. [JENNIFER] I'll run and get some towels. As Jennifer disappears inside, Michael moves over to: THE TRANS AM As Michael approaches: [K.I.T.T.] Aye me Hardy, is it a ration of grog yer needin'? [MICHAEL] Grog? [K.I.T.T.] Aye...Grog. Rum to you landlubbers.... [MICHAEL] You're back on that program again. [K.I.T.T.] More to the point, I suppose...April phoned from the hospital. Bobby's alert and able to talk. [MICHAEL] Good. I hope his memory's working, too. I've got a lot of questions.... As Michael talks, Jennifer comes out of the restaurant, crosses to Michael with a towel. She hands it to Michael. [MICHAEL] Good news. I just got a call.... [JENNIFER] Call? [MICHAEL] (shrugging) Car phone. Bobby's awake. Doing great. [JENNIFER] (excitedly) That's fantastic! Can we go see him? [MICHAEL] The sooner the better. [JENNIFER] Right now. Let me get some clothes for him. I'll take his car and meet you there.... She turns to leave, stops, turns back to Michael. Gives him a quick kiss and a big smile. [JENNIFER] Michael...thanks. She turns and exits. Michael climbs into the Trans Am. As he starts the car: [K.I.T.T.] Michael? [MICHAEL] Yeah, Kitt? [K.I.T.T.] You're right. She does have a nice smile. Michael grins, pulls out, as we: CUT TO INT. THREE SHELLS STORAGE AREA - DAY Jennifer enters, fully dressed now, with a stack of Bobby's pajamas, socks, underwear, and places them on a table. She moves to the closet, opens it, and pulls Bobby's suitcase down from the top shelf. Suddenly its weight catches, she almost loses her balance and the suitcase crashes to the floor. Jennifer looks, reacts, and we adjust to see that it has broken open; its contents have spilled onto the floor. HER POINT OF VIEW - NACINDA and a dozen other smaller golden pieces of treasure. NEW ANGLE She moves to pick it up, awed, frightened. [JENNIFER] Oh, Bobby. A noise outside...her head snaps up. [JENNIFER] (continuing) Michael...is that you? She picks up Nacinda. Starts out. The door opens. She stops in her tracks, fear floods her expression, as: SLOATE fills the door frame, his hand full of revolver. [SLOATE] That...is mine. FADE OUT END OF ACT THREE ACT FOUR FADE IN EXT. HOSPITAL - DAY - ESTABLISHING INT. HOSPITAL ROOM - DAY - DOOR It opens, Michael steps inside as we adjust to see a nurse hovering close to Bobby's bed. Bobby is smiling, enjoying her attention. [MICHAEL] So, how's the patient? Better? The nurse turns to face Michael -- it's April. [APRIL] He's asked me out twice. Does that answer your question? [MICHAEL] That'll do. As she heads out of the room, she and Michael talk by the door. [APRIL] Have fun. This guy's idea of a straight answer is a right angle. Unless you want to know about fast cars, good burgers and what real women should wear to the beach. [MICHAEL] Listen: Thanks for jumping in when we needed you...I know this isn't your bag. [APRIL] You kidding? It was a piece of cake. Maybe we should trade jobs for a while. [MICHAEL] And have me listen to Kitt complain all the time? She smiles and exits the room. Bobby smiles up at Michael. [BOBBY] Listen, man, I hear some thanks are in order. Maybe lots of thanks. [MICHAEL] Not necessary. What is necessary is some info. Like, who tried to kill you? [BOBBY] Kill me? No, man, you got it wrong. I had a crimp in my regulator or something. [MICHAEL] Come on, Bobby, you're not talking to Jennifer. Now, give it to me straight. [BOBBY] Hey, I'm righteous. I mean, why would I lie to the guy who kept me from the rapture of the deep? Michael moves to the edge of the bed. Bobby sits up. [MICHAEL] Listen, champ, that nice smile and pretty tan don't take me off my feet. And it's time you started standing on your own. [BOBBY] Listen, man...I'm tired, I gotta.... He reaches for the call switch. Michael grabs the line. [MICHAEL] Jennifer took on one helluva burden after your dad died. I took on another piece of it when one of the people you're protecting tried to kill you again, right here in this hospital. Now it's your turn. Start giving something back, Bobby. (beat) It's time you started doing for yourself. [BOBBY] (flashing) What do you want from me? [MICHAEL] I know about Cadiz. The truth from there will do. A long beat. Then Bobby starts to cave in under Michael's truth. [BOBBY] The guys who hit me in the water were from the Fin Quest. (beat) I went out a week ago to poach some of the abs they were supposed to be seeding. I saw them diving an old wreck. It was full of treasure. I figured they didn't need it all. [MICHAEL] Then everything you took from the wreck is at Cadiz? Bobby looks at Michael. He sure wants to give him a line, but...he shakes his head "no." [BOBBY] Cadiz was a transfer point. I took a lot of it home. [MICHAEL] Like what? [BOBBY] Trinkets...and a beautiful gold statue...real sweet. I took it out of a box and switched it with some rocks.... [MICHAEL] Nacinda. Michael moves out of the room quickly. Hold a beat on Bobby, reacting. CUT TO EXT. THREE SHELLS RESTAURANT - DAY - K.I.T.T. pulls in. Michael alights, runs to the door. INT. THREE SHELLS STORAGE AREA - DAY Empty. Ransacked. The empty suitcase is still on the floor, as are the gold trinkets. Nacinda is gone. We hear O.S. noise of the premises being entered, footsteps. [MICHAEL (O.S.)] Jennifer...where are you? (beat) Jennifer! The footsteps come closer...Michael enters the room. Reacts. Picks up a trinket, examines it as we hold on his reaction. OMITTED EXT. ABOARD THE FIN QUEST - DAY - MANLEY He watches as the crewman engages the electric anchor winch and it begins to clank upward. INT. FIN QUEST CABIN - DAY - SLOATE AND JENNIFER She is tied to a chair. Sloate runs his hands over Nacinda. [JENNIFER] What are you going to do? [SLOATE] I am going to show the world my find. And they will finally know that my theories are not fallacies, but fact. [JENNIFER] No, I mean...with me. Sloate looks up at her. [SLOATE] Every great scientific endeavor requires certain...sacrifices, I very much regret to say. As she reacts, Manley comes down into the cabin. [MANLEY] She's just about up, Sloate. We'll be ready to go in a couple minutes. Sloate nods. Before Manley can start back up: [JENNIFER] Manley.... He stops. [JENNIFER] You and Bobby knew each other. You went surfing together, diving.... He can't look her in the eye. [MANLEY] I'm sorry, Jennifer. He exits. Hold on her expression of fear and panic, and: OMITTED EXT. THREE SHELLS RESTAURANT - DAY - MICHAEL He runs out, enters K.I.T.T. [K.I.T.T.] What is it, Michael? [MICHAEL] Trouble, pal. Real trouble. Get Devon for me. INT. K.I.T.T. - DAY - MICHAEL - MOVING Devon comes up on the screen, the other screen is "radaring." [MICHAEL] Devon, have you got the Coast Guard enroute to the Fin Quest yet? [DEVON] They're still trying to locate a federal judge to sign boarding papers. [MICHAEL] We're out of time...I'll have to board myself. Wish me luck. [DEVON] Michael, don't be foolish...Michael?! Michael turns off the screen. [MICHAEL] Is the Fin Quest still in the Bay, Kitt? EXT. COASTAL ROAD APPROACHING PIER - DAY - K.I.T.T. - MOVING [K.I.T.T. (V.O.)] My sensors indicate the anchor is being lifted, now, Michael. INT. K.I.T.T. - DAY - MOVING [MICHAEL] All right, buddy, we have to go for it...there's no choice. [K.I.T.T.] Michael, you heard April -- there are serious questions regarding the viability of my Third Stage Aquatic Synthesizer. [MICHAEL] Cross your microchips they aren't that serious. [K.I.T.T.] Michael, this is no time for levity. [MICHAEL] Here we go, partner. Michael hits the turbo boost. EXT. END OF PIER - DAY - K.I.T.T. as he rockets off the end of the pier, lands with a splash and: NEW ANGLE K.I.T.T. emerges through the spray, cutting the surface like a hydroplane. INT. K.I.T.T. - DAY - MOVING ON WATER - MICHAEL Spray hitting the windshield. [MICHAEL] How are you holding up, pal? [K.I.T.T.] Shiver my timbers may be an appro- priate phrase, Capt'n. EXT. ABOARD THE FIN QUEST - DAY - MANLEY He secures the anchor, waves to the pilot cabin, and Wicks shoves the coal to the boat, moving out. NEW ANGLE Manley moves to the pilot cabin and then reacts. [MANLEY] What? You wanta believe that? MANLEY'S POINT OF VIEW - K.I.T.T. cutting through the water at full tilt, headed directly for them. BACK TO SCENE Sloate emerges on deck. [MANLEY] (continuing) I don't believe it. [SLOATE] Launch the depth charges...Blow them out of the water! Manley and the two crewman hurry to the rear deck and begin to load cannisters on the launcher. [SLOATE] (continuing; to Wicks) Full speed ahead! Wicks opens up the Fin Quest. EXT. DESCANTO BAY - DAY - K.I.T.T. AND FIN QUEST as K.I.T.T. gains on the boat, as: MANLEY launches the first cannister. NEW ANGLE The charge hits near K.I.T.T., explodes. INT. K.I.T.T. - DAY - MOVING ON WATER - MICHAEL as the windshield is drowned in water from the charge. [K.I.T.T.] (with concern) Depth charges, Michael. [MICHAEL] Let's try and work a zig-zag pattern to their tail, buddy. Michael slides the roof panel open. [K.I.T.T.] You're abandoning ship, Michael? [MICHAEL] Soon as you get me alongside. EXT. DESCANTO BAY - DAY - VARIOUS ANGLES - K.I.T.T. AND FIN QUEST as more charges are launched, exploding near K.I.T.T. and K.I.T.T. gains on them, finally getting closer, then sweeping out in an arch and back, cutting past the Fin Quest's fantail, as: INT. K.I.T.T. - DAY - MOVING ON WATER - MICHAEL [MICHAEL] Close enough to give me an electronic override on their auto pilot, pal? [K.I.T.T.] Michael, I'm not sure of anything under the circumstances...But, I'll try. Michael nods, hits "eject" and catapults out of K.I.T.T.'s roof. EXT. ABOARD THE FIN QUEST - MICHAEL - MOVING as he lands on deck taking out the two crewmen. Manley picks up a club and swings at him as he ducks and Sloate runs below. NEW ANGLE Michael ducks Manley's swing, double punches him and lays him out...he starts toward the pilot cabin. INT. PILOT CABIN - DAY - WICKS He reacts, startled, as the wheel spins out of his hand and Michael enters. [K.I.T.T. (V.O.)] Electronic pilot override estab- lished. Haul their keels, Capt'n. [MICHAEL] It's keel haul, mate. Wicks charges Michael. He decks him with a one-two punch. EXT. DESCANTO BAY - DAY - K.I.T.T. AND FIN QUEST as K.I.T.T. now moves alongside Fin Quest. OMITTED EXT. DESCANTO BAY - DAY - K.I.T.T. AND FIN QUEST as K.I.T.T. moves alongside Fin Quest. INT. FIN QUEST CABIN - DAY - ON DOOR As it opens, Michael starts to enter as we adjust to see Sloate behind Jennifer, who is still tied. Sloate fires a shot which chips off the entry as: MICHAEL leans to cover and brings up his comlink. [MICHAEL] (comlink) Hard to starboard, Kitt. INTERCUT - K.I.T.T. [K.I.T.T. (V.O.)] Aye-aye, Capt'n. OMITTED BACK TO SCENE Fin Quest suddenly veers left, throwing Sloate temporarily off balance. Michael rushes him, knocks the gun from his hand. Sloate takes a stool and slams it over Michael's head, buckling his knees. Sloate reaches for the gun, but Michael grabs his legs and topples him. They struggle on the floor, trading punches, until Michael lands one, two, three punches, and Sloate collapses, all fight gone out of him. NEW ANGLE Michael unties Jennifer. He holds her and speaks into his comlink. [MICHAEL] Good work, Kitt. [JENNIFER] Who's 'Kitt'? [MICHAEL] A friend of mine. [JENNIFER] Whoever he is, I'd like to thank him myself. May I? [MICHAEL] Be my guest. [JENNIFER] (into comlink) You were wonderful...Kitt. INTERCUT - K.I.T.T. [K.I.T.T.] Just call me the Scourge of the Seven Seas, Jennifer. Michael and Jennifer laugh. [MICHAEL] Steer for home, Scourge. [K.I.T.T.] Aye-aye, Capt'n. EXT. DESCANTO BAY - DAY - K.I.T.T. AND FIN QUEST K.I.T.T. turns for home, the Fin Quest follows. Pull back to a high shot as the big boat follows the little car, and we: FREEZE FRAME AND FADE OUT END OF ACT FOUR TAG FADE IN OMITTED EXT. THREE SHELLS RESTAURANT - DAY - K.I.T.T. is parked out front. April is at work under the hood, dressed in shorts appropriate for the beach area. INT. THREE SHELLS RESTAURANT - DAY - MICHAEL AND JENNIFER walking towards the exit, together. [JENNIFER] Will I see you again, Michael? [MICHAEL] The way you cook lobster? You couldn't keep me away. Michael looks off as we adjust to see Bobby inside setting up tables, working like a beaver. Jennifer follows his gaze. [JENNIFER] I don't know what you said to him, but there's no question the third Shell is finally on board. Michael nods, then: [MICHAEL] (calls to Bobby) Bobby, take care of yourself...and your sister, huh? Bobby waves. [BOBBY] Next time you're by we'll go diving. I got a terrific spot. [MICHAEL] No gold. Just abs. [BOBBY] You got that right. In aces. Bobby gives him a thumbs up, Michael smiles, crosses to the door with Jennifer. They stop, look at one another. [JENNIFER] Thanks...for everything. [MICHAEL] Thank you...for being special. He kisses her lightly, then exits. Hold a beat on Jennifer. EXT. THREE SHELLS RESTAURANT - DAY - MICHAEL exits and steps near K.I.T.T. April is still working under K.I.T.T.'s hood. [K.I.T.T.] Ahoy, April. Are ye still swilling out the bilge-rats? [APRIL (V.O.)] Slow the nautical jargon, Kitt. [MICHAEL] Back to nursing Kitt, huh, April? [APRIL (V.O.)] Electronically speaking. She finally pulls out an electronic circuit board and stands up. [APRIL] I'm pulling his water wings. He's lucky he didn't sink. You're both lucky. (to Kitt) This synthesizer is faulty and there will be no more aquatics until the entire system is rebuilt...from scratch. She tucks the board under her arm, then climbs in the passenger side as Michael moves in behind the wheel, during: [MICHAEL] Well, no more swimming, Kitt. INT. K.I.T.T. - DAY - MICHAEL AND APRIL Michael enters. [K.I.T.T.] Just when I was beginning to enjoy the water, too. Michael starts the engine. [K.I.T.T.] Ah, I see yer lifting anchor...about to get underway are we, matey? [APRIL] (warning) Kitt.... Michael gives April a grin, pulls out. [K.I.T.T.] Michael, I do believe that April is becoming more parent than technician to me. [APRIL] Why do you say that, Kitt? [K.I.T.T.] Well, when I objected to the water I was told to go in. Now that I've begun to like it, I'm told to stay out. Isn't that motherly? [MICHAEL] You got it, pal. [APRIL] Motherly? Listen you two... But Michael is laughing. EXT. THREE SHELLS RESTAURANT - DAY - K.I.T.T. Moving out on to the Coast Highway, Michael's laugh still heard, as we: FADE OUT THE END

{"show": "Knight Rider", "season": "s02", "episode": "e05", "title": "Return To Cadiz"}

knightriderarchives

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

{"show": "Knight Rider", "season": "s02", "episode": "e06", "title": "K.I.T.T. The Cat"}

knightriderarchives

ACT ONE FADE IN EXT. ROAD - DAY - CLOSE ON HOOD ORNAMENT With the sound of classical music playing softly in the b.g., we open tight on a highly polished, extremely ornate hood ornament. It glistens majestically in the morning sun. Pull back to reveal a beautifully restored Pennington Aston Regency. Behind the wheel, looking his dapper best in a blazer and silk tie, is Devon Miles, blissfully content as he cruises down the nearly deserted road. Suddenly something strikes the rear of his car. Devon reacts, horrified, looks in the rearview mirror. DEVON'S POINT OF VIEW - A LATE MODEL CONVERTIBLE driven by a young Blonde. She's wearing dark glasses. BACK TO DEVON He slows and pulls over, more distraught than one would expect. The convertible follows. ANOTHER ANGLE Devon hurries to the rear of the car and inspects the damage. We hear a car door open, high heels crunching on gravel and a giggle. BLONDE'S VOICE Uh oh.... Devon looks up sharply to see long legs. The Blonde is holding her hand over her mouth, giggling and weaving slightly. [DEVON] Madam, is that all you can say? Uh-oh? [BLONDE] Oh, you're mad. Don't be mad. It's such a beautiful day. [DEVON] (controlled) I acknowledge your appreciation of God's good graces. I only wish it extended to man's endeavors as well. What you just so carelessly struck, and dented, is one of the few remaining Pennington Aston Regencies in the world. (darkly) And it's not mine. She hiccups. [BLONDE] Bobby's going to kill me...Just kill me. Devon takes in the picture, including the fact this young woman is probably intoxicated. [DEVON] Madam, your attention such as it is would be appreciated. I need identi- fication, your insurance company -- you are insured, aren't you? [BLONDE] Bobby is. It's his car. My purse ...it's in the front seat. Could you? Please? I don't feel very good.... Devon sighs, crosses to her car. ON DEVON searching for the purse in the convertible. It's not there. Suddenly we hear the Pennington start up. Devon turns, sees it move out smartly and start down the road. He's aghast. He races to catch up, but it's far too late. He can't believe his eyes. The young Blonde honks twice and waves before she disappears from sight. CUT TO EXT. ANOTHER HIGHWAY - DAY - ON THE TRANS AM cruising along about seventy. INT. TRANS AM - DAY Michael's driving. He looks carefree. [MICHAEL] He looked great in the blazer, didn't he? [K.I.T.T.] I had the distinct impression he was trying to impress the car. [MICHAEL] Can you blame him? The Pennington Aston Regency is a classic. K.I.T.T. doesn't reply. [MICHAEL] Not that you're not in its class, Kitt. K.I.T.T. doesn't reply. Michael suspects sensitivities. [MICHAEL] Actually you're in a class by your- self. One of a kind. Devon's tone sounds. Michael smiles, punches buttons on the roof. [MICHAEL] Devon! How'd April tear you away from the Pennington? INTERCUT - DEVON ON MONITOR IN HIS OFFICE He looks grave. [DEVON] The Pennington has been stolen, Michael. [MICHAEL] (shocked) What? [DEVON] Please. I'll explain the details later. The point is Commander Smythe will be returning first thing Monday morning. Today's Friday in case you've forgotten. If the Commander returns and I don't have the Pennington here waiting for him.... [MICHAEL] Say no more, Devon. We're on our way. CUT TO HIGHWAY SHOTS - THE TRANS AM does a 180, heads back in the opposite direction. Music over. Several more shots of K.I.T.T. stretching out on the highways.... DISSOLVE TO EXT. FOUNDATION SEMI - DAY moving down a highway. The Trans Am appears, the semi's ramp lowers and K.I.T.T. drives inside. Hold as the semi continues down the road. INT. SEMI - DAY April's at the computer console. Michael's looking over her shoulder. In the b.g., Devon paces nervously. [MICHAEL] You're sure it was planned? [DEVON] It was a professional job. If only I could've been rude and told her to fetch her own purse. [MICHAEL] (smiles) A gentleman to the end. (to April) What've you got? [APRIL] (punches up graphics) In recent months, there's been a rash of custom and classic car thefts. The 'bump-and-run' is the newest technique. [MICHAEL] If that's all you've got to go on, somebody's in a lot of trouble. Devon looks over, brow furrowed. [DEVON] Must you be so...never mind. Besides, it's not all we have. April? [APRIL] We think we've come up with a common denominator. In every town where there's been a theft, there's also been a custom car show not far away. [MICHAEL] Makes sense. The shows attract the cars...and the potential buyers. [DEVON] Which is precisely why you're heading to Barton Springs. Devon fishes in his pocket, comes out with a flyer which he hands to Michael. Michael looks at the leaflet: "Barton Springs Custom and Classic Car Show. This Weekend Only!" [DEVON] If they want to sell the Pennington, this is the logical place. I want you to go undercover, Michael. I have a feeling this market doesn't operate with ads and 'For Sale' signs. [MICHAEL] You must have some idea what she looked like. [DEVON] I wish that were true. It all hap- pened so quickly...she was pretty, shapely and blonde.... [APRIL] Maybe blonde. I went over the car. Not only was it stolen, it was abso- lutely clean. Except for a single strand of hair... (punches computer) I ran it through Kitt's chemical analyzer...it's Elura, Michael. [MICHAEL] A wig. [APRIL] A very expensive wig. Michael checks the monitor, frowns. The phone buzzes. April reaches for it. [MICHAEL] Not much to go on, Devon. [DEVON] Michael, I would greatly appreciate a little optimism. [APRIL] Devon, it's for you...Commander Smythe. Devon looks stricken, shakes his head silently, waves his hands. Michael knows a cue when he sees one, starts for K.I.T.T. [MICHAEL] See ya. CUT TO EXT. HIGHWAY - DAY - ON THE TRANS AM heading for Barton Springs. [K.I.T.T.'S VOICE] Michael, I've done some research on customizing. It's absolutely barbaric. INT. TRANS AM - DAY K.I.T.T.'s lights are blinking. [MICHAEL] Barbaric? [K.I.T.T.] Yes. Do you have any idea what is done to these cars? They're painted, cut, molded, covered with decals and chrome. And why? [MICHAEL] Don't ask me, pal. Call it individual expression. [K.I.T.T.] (indignantly) Individual expression? How would you feel if someone decided to extend your nose, remove your ears, lengthen your neck and paint your body candy- apple red? Michael laughs. CUT TO EXT. CAR SHOW PAVILLION - DAY A crowd's already beginning to gather for the show, and the mood is festive: booths sell food, t-shirts, programs, etc. People are tailgating, picnicking. Kids with ghetto blasters. In the b.g. we see the Trans Am pull up, park. Michael gets out, crosses through the crowd to the contes- tant's area, where a number of car owners are unloading, registering and getting ready to take their cars inside. ANGLE ON MICHAEL He passes a radically customized car, pauses, glances at its owner, a pretty girl in her early twenties. Her name is Carrie Haver. She is meticulously polishing chrome. [MICHAEL] Nice car. [CARRIE] Thanks. She seems friendly. They smile. [MICHAEL] Can you tell me who runs the show? [CARRIE] A lady named Suzanne Westen. (points) She's over there. Look for the tightest pants. [MICHAEL] (smiles) Thanks. He leaves. She watches him for a brief moment, returns to her car. THE CONTESTANT'S ENTRANCE where Suzanne Westen, clipboard in hand, is standing. She's a tall, striking woman in her late twenties or early thirties. Great figure. She looks more sophisticated than the people around her. A city girl. Michael approaches her, affects a slightly hip attitude. [MICHAEL] Miss Westen? She doesn't bother to look up from her clipboard. She nods. [MICHAEL] I'm Michael Knight. I'm a collector. Couple of friends told me I hadn't seen a show til I saw one of yours. From what I can see they weren't just blowing smoke. Suzanne glances over the top of her clipboard to see who's talking. She takes Michael in with a glance. [SUZANNE] It'll be the best show this season. [MICHAEL] That's good to hear. I came looking to buy a car. Something special. Unfortunately, the best buys aren't always available on the 'open market.' Sometimes privacy is as important as pink slips. [SUZANNE] I just run a car show, Michael. I don't handle private sales. But come to the party tonight at the Barton Springs Inn, mingle a little, get to know the owners. Who knows what a good-looking man like you might turn up. The moment is broken by a commotion dominated by a thick Texas accent. Suzanne mutters something under her breath that's not kind. THE LONGHORN The world's longest limo, with a set of Longhorn steer horns on the hood. Next to the limo is Buck Rayburn and his wife, Nora. Buck's short, heavy, wearing a cowboy hat and chomping a cigar. Nora's tall, almost regal, and looking incredibly bored with everything around her. Buck's shouting, pushing people out of the Longhorn's way, gesturing to his driver. [BUCK] Move it, folks...y'all are gonna have plenty of time to gawk inside. Move aside and let the Longhorn come through. Take her inside, Ray, and hit 'em if they touch the paint. Buck spots Suzanne, grabs Nora by the arm and pulls her over with him. Michael smiles, ad-libs good-bye to Suzanne and crosses back toward K.I.T.T. We hear Buck's booming voice: [BUCK] We gotta have a little talk, Suzanne. I was promised the primo spot in the tent and I arrive to find it's been given to that Haver girl. You gotta figure out who your star is, sweetheart. ANGLE ON MICHAEL as he passes by Carrie. [CARRIE] Find her? [MICHAEL] Yeah, thanks. (gestures to Longhorn) Is that your competition? [CARRIE] (angry) The best money can buy. It's even got a Jacuzzi inside, for those who can't wait to get home. [MICHAEL] (smiles) Are you going to the party tonight? [CARRIE] It's a command performance. You? [MICHAEL] (nods) Maybe I'll see you there. She smiles, turns and heads for the tent. Jan and Dean, two blond surfer-types with a custom van, fall in next to her, whisper something in her ear. She stops in her tracks, turns and says something back to them. They look surprised and then laugh uproariously. [JAN] Little lady's got a mouth, Dean. [DEAN] That ain't all. You could set a watch to that movement. Michael watches the exchange, grins as Carrie turns and walks into the tent. As Michael wanders across the grounds, he passes: HECTOR AND LEROY Two members of the rented janitorial staff. They're supposed to be cleaning the grounds with long-handled whisk brooms and ridiculous little dust pans, but mainly they're gawking, walking and talking. [LEROY] Lookit that blonde...those pants have got to be painted on. [HECTOR] She'd make a great cheerleader. [LEROY] Will you forget cheerleaders? Who cares about credentials? I'm talking flesh. You know what it takes to get that kind of flesh? Big bucks, Hector. Big bucks...or a hot car. Hector looks like one of the great mysteries of life has just opened for him. Leroy nods sagely. CUT TO EXT. BARTON SPRINGS MOTEL - AT THE POOL - NIGHT Japanese lanterns of all colors surround the huge pool. Rock music. Waiters circulate with drinks and hors d'oeuvres. People are clustered, laughing and talking. In the middle of the action, we see Michael, sport coat and slacks, talking to several owners. They shake their heads. Michael smiles politely and moves on. ANOTHER ANGLE - FEATURE THE POOL Where Jan and Dean have cornered two young lovelies in the shallow end. Dean's got a diving mask on and is making like Jaws in the water. The girls shriek with laughter as Jan reaches up, grabs an entire tray of drinks from a passing waiter for their party. ON MICHAEL moving through the crowd. He stops, chats briefly with another group, then moves past the pool, toward: THE PARKING LOT - FEATURE K.I.T.T. His scanner scanning, parked near the entrance to the pool and party area. Michael walks up. [MICHAEL] How're you doing, pal? [K.I.T.T.] I'm doing just as you asked, Michael -- snapping pictures of every woman who walks by. I feel absolutely ludicrous. Like a second-rate spy in a 'B' movie.... [MICHAEL] It's got to be done, Kitt. Devon just might be able to ID someone. [K.I.T.T.] I suppose. Are you making any prog- ress? [MICHAEL] No bites yet. I'm going to keep working the party, letting people know I'm in the market. [K.I.T.T.] Working the party? You call making small talk and drinking margaritas working? [MICHAEL] It's a tough job, but someone's got to do it. Keep your eyes open and your shutter snapping. Michael smiles, turns and heads back to the party. ANGLE BETWEEN PARKING AREA AND POOL Carrie and Suzanne are in a heated conversation. [SUZANNE] Don't be stupid. This is a chance to do something with your life. [CARRIE] Thanks for your interest, but in case you didn't notice, I already am. [SUZANNE] Towing your father's dream around? Carrie, the car was his fixation, not yours. I'll give you twenty thousand cash. Carrie glares at Suzanne, stung by her words. Over this we see Michael appear, approaching. They don't notice him. [CARRIE] The car's not for sale, Suzanne. Not now. Not ever. Carrie starts to leave, but Suzanne grabs her by the arm. [SUZANNE] Even first prize won't give you enough money to cover the overdue mortgage -- not to mention the personal loan he left you with. [CARRIE] (furious) You've been spying on me! [SUZANNE] Twenty grand. That's as high as I'll go. If you're smart, you'll take it. Suzanne turns and walks back toward the party. Carrie stands for a beat, then turns to hurry away from the party. She nearly runs into Michael. [MICHAEL] Hey, what's the hurry? [CARRIE] What are you doing here? [MICHAEL] Just passing by. I couldn't help but overhear you and Suzanne. You okay? [CARRIE] Sure I'm okay. It's just some of these people...it's like my dad never existed. 'Eddie Haver died? Great. Maybe his kid's desperate. Maybe we can buy his dream for fifty cents on the dollar....' As she talks, Carrie's tough facade slowly crumbles and her voice cracks. Michael takes her into his arms. [MICHAEL] Hey, it'll be all right. Let 'em laugh now. They'll cry come Sunday when the judges announce the winner. She moves out of Michael's arms, wipes her eyes, tries a smile. [MICHAEL] How about breakfast tomorrow? [CARRIE] I planned to be at the show by seven. [MICHAEL] I'll grab some doughnuts and coffee and we'll drive over together. She studies him for a beat, then smiles, nods. [CARRIE] Sure you're not just trying to sweet- talk me because you want to buy my car? [MICHAEL] With coffee and doughnuts for a bribe? He shakes his head. She laughs and leaves, turns back to ad-lib good night. Michael smiles, watches her leave. ANOTHER ANGLE Michael heads back toward the pool and to the rest of the party. Suddenly Suzanne's next to him, slipping her arm through his. She smiles suggestively. [SUZANNE] She's a schoolgirl. Cute, but really not in your league. When you're ready to graduate to someone who can match you move for move, stop by and say hello. Room 334. Just as quickly, she's gone. Michael contemplates the events. CUT TO EXT. PAVILLION - EARLY A.M. Near the entrance, we see the night guard, Don Jensen, sit- ting in his folding chair. The morning paper's on his chest, right below his chin. Jensen snores softly. ANOTHER ANGLE NEAR THE PAVILLION The shadow of a figure disappears inside the pavillion. Jensen stirs slightly, gets comfortable, continues sleeping. In the b.g. we see the Trans Am pulling into the parking lot. ON THE TRANS AM as Michael and Carrie get out, start toward the pavillion. [MICHAEL] ...anyway, that's why I'm here. I was looking for something classic ...like maybe a Pennington Ascot Regency. He glances at her, trying to detect any reaction. There's none. [CARRIE] I haven't seen one of those in years. [MICHAEL] You know most of the people here? [CARRIE] Some. Mostly by reputation. They're an odd collection.... [MICHAEL] What about Suzanne? [CARRIE] She's the kind of woman who wants something if someone else has it -- cars, men, it doesn't matter. As they approach the pavillion entrance, they react to the sound of a car starting up inside. Jensen stirs, bolts up. [CARRIE] That's...my car! MOVING SHOT They run for the entrance. ANGLE ON JENSEN Closer, he draws his weapon and starts inside. We hear the engine roar, in gear. ANOTHER ANGLE Just as Jensen starts inside, the tent disintegrates as Carrie's car roars out, knocking down anything in its way, including Jensen. Clipped by the front bumper, he goes down. Carrie screams. WIDER ANGLE Michael runs up and kneels over Jensen as Carrie's car, the driver still obscured, bursts away in a trail of hot rubber. Michael feels Jensen's pulse with one hand. [MICHAEL] (comlink) Kitt, over here, quick! Carrie hurries over, stunned. [CARRIE] Oh, my God, is he...dead? [MICHAEL] No, he should be okay -- call an ambulance! INTERCUT - K.I.T.T. His systems come to life and he peels out, headed for Michael. ANOTHER ANGLE As Carrie reaches for a nearby phone, K.I.T.T. skids to a stop, door flying open. Michael jumps in and with smoking rear tires, heads out in pursuit. OMITTED EXT. NEARBY STREET - DAY Carrie's car flashes by, approaching 100 mph, its driver still not visible. Pan back a good quarter mile down the road and K.I.T.T. appears, still accelerating. INT. K.I.T.T. - DAY Michael intent behind the wheel. [K.I.T.T.] Michael, there's a train track less than a mile ahead. [MICHAEL] As long as there's no train. [K.I.T.T.] That's precisely my point. There is. [MICHAEL] (punches button) Let's get a scan on the monitor. INSERT - MONITOR We see the graphic of the road, transected by railroad tracks, a red light identifying the approaching train. BACK TO MICHAEL [MICHAEL] Can Carrie's car make it? [K.I.T.T.] It's unlikely. If it does, it will be by the skin of its bumper. [MICHAEL] What about us? [K.I.T.T.] Certainly not in the conventional way. EXT. RAILROAD TRACKS - DAY The train, a slow-moving freight, appraoches the road, wood guard rails already down. A HOBO He is encamped nearby, heating his breakfast of canned pork-'n-beans over a tiny flame. REVERSE ANGLE Carrie's car suddenly appears, doing over 100 mph. HIGH SHOT Just as the freight reaches the crossing, Carrie's car splinters through the guard rails and shoots across the track, missed by inches by the huge engine. ANGLE ON HOBO He stares, amazed. INT. K.I.T.T. - DAY Michael checks the road ahead, shakes his head. [MICHAEL] Get ready, pal. [K.I.T.T.] Michael, if we fail to reach the necessary height for clearance we'll end up customized by a freight train. ANGLE ON HOBO Continuing on his journey, he now sees K.I.T.T. approaching at incredible speed. He holds his hands to his ears, as if to muffle the crash. ANGLE IN K.I.T.T. Michael presses Turbo Boost. WIDE ANGLE K.I.T.T. lifts off, flying up, higher and higher.... FADE OUT END OF ACT ONE ACT TWO FADE IN EXT. TRAIN - DAY K.I.T.T. clears the top with only a foot or two to spare. ANGLE ON ROAD OVER TRAIN K.I.T.T. lands, still moving forward at amazing speed. ANGLE IN K.I.T.T. Michael stares ahead, reacts. HIS POINT OF VIEW - THE ROAD AHEAD is empty. Deserted. BACK TO MICHAEL [MICHAEL] What?! [K.I.T.T.] My thoughts exactly, Michael. [MICHAEL] He couldn't have just disappeared! Kitt, are you sure your scanner's working? [K.I.T.T.] Positive. I hate to say it, Michael, but Carrie's car is nowhere in my field of vision. On Michael's perplexed, frustrated expression: CUT TO EXT. PAVILLION AREA - DAY Pan from K.I.T.T., parked, past a dozen or so people who've gathered to an ambulance as it pulls out. ANOTHER ANGLE Michael waits as Carrie finishes answering MOS questions from a police officer. ANGLE ON RAYBURN AND NORA as they move quickly toward the pavillion, Suzanne at their side. [SUZANNE] We've got a contract! [RAYBURN] No contract in the world's gonna keep the Longhorn here overnight again! Lucky for me the thief was graced with bad taste an' didn't steal the 'Horn' as it is! [SUZANNE] I could sue you, Rayburn. [NORA] Not without a counter-suit, Sweetpea -- your contract guaranteed adequate security. They disappear into the tent. Suzanne stares after them, furious. ANGLE ON MICHAEL AND CARRIE as they move away from the police toward K.I.T.T. [CARRIE] ...They said they'll do their best, which is a sure sign they've got no hope of recovering it. [MICHAEL] (a smile) Now don't make it worse than it is. No response from her; Michael can see how deeply disap- pointed she is. Makes a decision. [MICHAEL] I'll let you in on a little secret. I'm not here as a buyer. I'm here to find out who's been stealing these cars. [CARRIE] What are you, an undercover cop? [MICHAEL] Something like that. I'll find your car, Carrie. Or grow old trying. She glances at him, finally smiles. [CARRIE] If it takes that long, I'm in real trouble. (beat) Thanks. She sees something off, reacts. [CARRIE] If you had anything to do with this --- ANOTHER ANGLE We see Suzanne approaching. [SUZANNE] If that's an accusation, you'd better be able to back it up. [CARRIE] If I could back it up you wouldn't be standing there with your eye shadow so perfectly overdone. [SUZANNE] You've got a smart mouth for a girl who just traded in her training bra, sweetie. [MICHAEL] Now ladies, please -- nobody's feeling very good right now, and this won't make anyone feel any better. Let's call it a draw and retire to neutral corners. He smiles. They glare. [SUZANNE] (to Michael) You're cute. Let me know when your taste in women catches up with your capabilities. She walks off, a perfect rhythm to her. Carrie steams. Michael laughs, puts his arm around her, guiding her away. [MICHAEL] I don't think the lady knows what 'neutral' means. C'mon, I'll buy you a lemonade. A double. CUT TO EXT. OPEN ROAD - DAY K.I.T.T. swooshes by. [DEVON'S VOICE] I've studied all the photos Kitt's transmitted.... INT. K.I.T.T. - DAY Michael is driving, Devon is on the monitor in his office. [DEVON] Nothing, I'm afraid. I'm beginning to wonder if I'd recognize her if we bumped into one another at the supermarket. [MICHAEL] You don't go to supermarkets. [DEVON] True. Still, you see my point. [MICHAEL] Devon, what've you come up with on the promoter, Suzanne Westen? [DEVON] I wondered when you'd ask. I rather fancy her myself. Except for her arrest record, of course. [MICHAEL] Arrest record? Don't tell me it was car theft. [DEVON] Very good. Two counts of grand theft auto, no conviction. [MICHAEL] Interesting lady. I wonder if she has an affinity for wigs.... [DEVON] Before you go, I think you should know things have not been going well with Commander Smythe. He's had a change in plans. He'll be here tomorrow. Michael, I'm a mature man. I don't handle human frailties well, particu- larly my own. I do not, under any circumstances, intend to face the Commander carless. [MICHAEL] Gotcha, Devon. Michael punches off the video, smiles to himself. CUT TO EXT. MOTEL - DAY K.I.T.T. is parked outside. INT. SUITE - DAY Camera pans from a blonde wig across the suit to the door as it quietly opens and Michael slips in. [MICHAEL] (comlink) Thanks, pal. Intercut: K.I.T.T.'s scanner flashes. Michael sees the dresser, the blonde wig resting on a styrofoam head. He crosses to it, carefully pulls out several strands of hair and puts them in an envelope. Realizes he's tilted the wig, goes to straighten it and sees something written above the temple. Michael looks closer. The letters "CB - JR - JW" are written on the styrofoam. [MICHAEL] (comlink) Kitt, remember the letters 'CB - JR - JW.' [K.I.T.T.'S VOICE] Michael, someone is approaching the door. Michael hears the sound of a key in the door, reacts. [MICHAEL] (comlink) Could've used a little more notice, pal. [K.I.T.T.] I'm a computer, not a prognosticator. The door opens and Suzanne enters. There's nothing for Michael to do but smile. [MICHAEL] I suppose you want to know what I'm doing here. [SUZANNE] (walking toward him) I know exactly what you're doing here. (smiles) It's just sooner than I expected. Tired of that poor child already? Heartbreaker. You need a woman who can match you in every room in the house, not just the pantry. By now she is face to face with him. [MICHAEL] Suzanne, maybe we ought to get a few things straight. [SUZANNE] (kisses him; moves) We will, lover. Don't be so impatient. I'll let you know when. She passes by the phone, business obviously on her mind. [SUZANNE] Now shoo. She blows him a kiss. Relieved, he leaves. EXT. MOTEL - DAY - LONG SHOT as Michael leaves Suzanne's room. Pan with him reveals Carrie, watching. She looks angry and sad. ANGLE ON K.I.T.T. as Michael climbs in. [K.I.T.T.] Michael, was the intruder dangerous? [MICHAEL] Not in the usual way. (places hairs in electrotray) Let's see if the lady is a tramp. K.I.T.T.'s computers whir. INSERT - MONITOR Brilliant colors compare the two hairs. BACK TO MICHAEL [K.I.T.T.] Sorry, Michael. As you can see, the hair from Suzanne's wig is a coarse synthetic. It comes from a cheaper wig. [MICHAEL] There's more wigs floating around here than Miami Beach. He starts K.I.T.T. and pulls out. CUT TO EXT. PAVILLION - DAY Saturday afternoon, lots of spectators milling about, a sprinkling of kids and dogs. Balloons, hot dogs and cold pop. ANOTHER ANGLE K.I.T.T. pulls in to a stop. Michael gets out. [MICHAEL] Stay on those numbers, Kitt. [K.I.T.T.] Michael, I'm convinced they're to a combination lock -- but where that particular type of lock is at present is an entirely different matter. [MICHAEL] Good. Don't want to make things too easy for you. He smiles and moves off. [K.I.T.T.] Talk about being taken for granted. ANGLE ON HECTOR AND LEROY They move through the crowd with their brooms and dust pans. [LEROY] You gonna do this all your life? [HECTOR] What? [LEROY] Stare at the ground an' prowl for cigarette butts an' candy wrappers. [HECTOR] I don't want to hear any more lec- tures about smoking, Leroy. [LEROY] I'm not talking about smoking, beetle-brain, I'm talking about this. Common labor. How many cheerleaders you gonna get on $2.25 an hour? [HECTOR] Is that all we make? [LEROY] Hector, I'm telling you, you want cheerleaders, you gotta have a fancy car. [HECTOR] On $2.25 an hour? [LEROY] What you make don't necessarily determine how you live. Look at the guy who stole the car last night. He didn't work for that car -- but he's got it. From the look on Hector's face we see he understands. He's scared to death at the thought. But intrigued. ANGLE ON MICHAEL as he looks for Carrie, who's nowhere to be seen. He spots Jan hustling a pretty girl in tight shorts. [MICHAEL] Excuse me. Have you seen Carrie Haver around? [JAN] Somebody stole her car. [MICHAEL] So I heard. Have you seen her? [JAN] (shakes his head) Don't waste your time. All she's got eyes for is chrome and twenty coats of lacquer. Michael ad-libs thanks, turns. His comlink beeps. [MICHAEL] Yeah, Kitt. [K.I.T.T.'S VOICE] Michael, the impossible once again becomes commonplace. [MICHAEL] (comlink) Got a fix on the lock, Kitt? [K.I.T.T.'S VOICE] Better than that. I can tell you where it is. CUT TO EXT. WAREHOUSE - DAY Pan from K.I.T.T., scanner on, to Michael at the warehouse door. He turns the combination to CB-JR-JW and the big lock opens. Michael nods to K.I.T.T. and starts inside. [K.I.T.T.'S VOICE] Michael, I hate to disillusion you, but someone else is breaking into the warehouse from the south end. [MICHAEL] Thanks, pal. INT. WAREHOUSE - DAY Michael peers in. HIS POINT OF VIEW Across the vast, empty space (certainly no stolen cars) we see a figure wearing a motorcycle helmet half in a window. The figure sees him, darts back outside. ANGLE ON MICHAEL He runs toward the south end. ANOTHER ANGLE As Michael appears around the corner of the building, the figure jumps onto a motorcycle and roars off. [MICHAEL] (comlink) Kitt, around back! ANGLE ON K.I.T.T. All systems spring to life. ANOTHER ANGLE K.I.T.T. comes speeding up, driver door popping open. Michael jumps in and pulls out in a cloud of dust. ANGLE ON SUZANNE Approaching the warehouse in her car, she sees the motor- cyclist and Michael and K.I.T.T. in pursuit. EXT. STREET - DAY The motorcycle flies by. ANOTHER ANGLE K.I.T.T. flies by. ANOTHER STREET The motorcycle turns a sharp right, almost collides with a milk truck, zigzags past, shaken. ANGLE ON K.I.T.T. He rounds the same corner, sees the milk truck. ANGLE ON MICHAEL He presses a button. [MICHAEL] Make us skinny, Kitt. ANOTHER ANGLE K.I.T.T. goes onto the two right tires, slides by the stalled milk truck with inches to spare. ANGLE ON DRIVER He stares open-mouthed. ANGLE AT DEAD END The motorcycle runs out of road, out of options. DIFFERENT ANGLE K.I.T.T. skids up broadside, blocking any possible exit. Michael jumps out. The cyclist, smaller than expected, tries to run but Michael tackles him. They struggle. Michael pulls off the helmet. CLOSER ANGLE It's Carrie. She stares back at him defiantly. [CARRIE] I don't care what you think, I'm innocent. I am not guilty of anything -- unlike you. [MICHAEL] What are you talking about? [CARRIE] Suzanne Westen. I saw you sneak out of her room this afternoon after your nasty little assignation. Michael can't help himself. He laughs. She could tear his eyes out. [MICHAEL] Carrie it wasn't what you think. Now if you're so innocent, why don't you tell me what you were doing trying to break into Suzanne's warehouse. [CARRIE] I think she stole my car -- either stole it or had it stolen. I don't trust her. [MICHAEL] I'm not sure I trust her either, but that doesn't mean she's guilty. Maybe if you and I put our heads together we could narrow the field. Deal? She hesitates, finally nods. CUT TO EXT. MOTEL - DAY Carrie pulls in on the motorcycle, K.I.T.T. and Michael behind her. They start toward her room. ANGLE AT HER DOOR As they reach it, they notice it's open. Just then a plainclothes Detective steps out, flashes his badge. [DETECTIVE] Carrie Haver? [CARRIE] Yes? [DETECTIVE] You're under arrest. Carrie looks too stunned to respond. [MICHAEL] What's the charge? [DETECTIVE] Grand theft auto. (off) Charlie? A second detective appears with a suitcase. He pops it open. Inside are half a dozen expensive wigs. On their reaction: FADE OUT END OF ACT TWO ACT THREE FADE IN EXT. BARTON SPRINGS JAIL - DAY A one-story municipal-type building, with K.I.T.T. parked in front. Carrie storms out, Michael matching her brisk pace. [MICHAEL] Carrie, whoever put those wigs in your room tipped off the police. I know that...You know it. It's not going to do any good to yell and scream. [CARRIE] Tell it to the boys in blue back there. My car's stolen right out of the show and the cops accuse me of everything but running down that poor guard -- and I'll bet that's next! As they reach K.I.T.T., Michael steps in front of Carrie, stopping her. [MICHAEL] What happened to our deal? I thought we were going to work together. She looks up at him, evaluating. [CARRIE] I'm not going to stand around being your typical helpless female, Michael. Whoever took my car isn't satisfied -- they want me out of the way too. [MICHAEL] If you'll listen, I think we can kill both birds with one stone. Carrie's look becomes challenging. [CARRIE] I'm all ears. [MICHAEL] If the thief isn't interested in selling me a car, maybe he'd like to steal one from me. [CARRIE] I don't know what you're talking about. [MICHAEL] How long would it take you to customize a car? [CARRIE] Like the one they stole? About a year. [MICHAEL] Since the show ends tomorrow, we'll have to take a few shortcuts. He opens the passenger door for her. She's looking at him like he's speaking Lithuanian. [MICHAEL] I know just the place. She gets in. As he closes the door: CUT TO EXT. HIGHWAY - DAY The Foundation semi rolls along not far from Barton Springs. [K.I.T.T.'S VOICE] April, I can't believe you're parti- cipating in this barbarism.... INT. SEMI - DAY April's pouring over sketches and photos of customized cars spread out near K.I.T.T. Michael's nearby, largely enjoying K.I.T.T.'s protests. [APRIL] You know we wouldn't do this if it wasn't absolutely necessary. [K.I.T.T.] Think how horrible you'd feel if they put you on display in something tasteless. Thank goodness poor Wilton isn't here to see this sac- rilege. Behind Michael there's a beeping sound from the vidscreen. [MICHAEL] Yo, Devon. We see Devon appear on the monitor. He looks very tense. [DEVON] Michael, I haven't heard from you -- are you making any progress at all? [MICHAEL] Depends on how you define progress, Devon. [DEVON] I define it as recovering the Pennington. [MICHAEL] In that case, no. But I've come up with a new approach. I'm changing tactics. [DEVON] While you're changing tactics, I'm running out of time. Commander Smythe is due in less than twenty-four hours. [MICHAEL] Maybe you can stall him. [DEVON] My dear boy, one does not stall the Commander -- one survives him. Behind Devon, we see a door open and a figure loom up. We hear a booming, heavily English voice: [SMYTHE] Attennnnnnnshun! Devon's face goes white. As he turns to face the music, the image fades, leaving Michael and April in suspense. [MICHAEL] I guess the Commander arrived early. [APRIL] Poor Devon. Did you see the look on his face? April shakes her head and returns to her work. [K.I.T.T.] I think you're both being extremely insensitive to the humiliation involved here. [MICHAEL] Devon's? [K.I.T.T.] Mine. [MICHAEL] Kitt, we're not doing this for you or for me. Think of it this way. Even as we talk, innocent, beautiful cars are being stolen and customized -- against their will. [K.I.T.T.] (beat) Against their will? Michael nods gravely. [K.I.T.T.] In that case, we've no time to lose. Proceed. CUT TO INT. DEVON'S OFFICE - DAY - CLOSE ON SMYTHE Commander Henry Ashburton Smythe, to be exact -- a cross between John Houseman, Winston Churchill and an English Bulldog. At the moment, he appears on the verge of apoplexy. [SMYTHE] You did what with the Pennington?! WIDER TO INCLUDE DEVON only slightly less apoplectic than Smythe, but with far different motives. He is indeed winging it. [DEVON] I...had her entered in a car show. [SMYTHE] You put the Pennington Aston Regency on display before commoners? [DEVON] Don't you see, Henry, such beauty should be shared with the world. Such majesty should brighten the colorless lives of the poor, the deprived.... Devon hesitates -- he's running out of sales pitches. Smythe considers it, flattered in spite of himself. [SMYTHE] Yes, well, I suppose I can see your point.... Devon is enormously relieved. [DEVON] You can? That's wonderful! Such good news for the masses.... [SMYTHE] Take me to the show at once. [DEVON] (stunned) Take you? But, Henry...It's in Barton Springs, a fair drive, and it's already late in the day. What say we relax with a good meal and drive up tomorrow for the judging? [SMYTHE] (darkly) There's nothing wrong, is there? [DEVON] Wrong? Certainly not. What could possibly be wrong? CUT TO EXT. PAVILLION - NIGHT Filled with noise and glowing with lights, this looks like a sultan's oasis in a suburban desert. We see Jan and Dean, their wallets out, counting out hundred dollar bills and making notations. Then, palming the money, they hurry inside. INT. PAVILLION - NIGHT The cars are amid a flock of festive, colorfully dressed people. Tonight is, among other things, press night, and photographers are everywhere. There's champagne and a large buffet of cold cuts arranged to look like a food mobile. ANGLE ON JAN AND DEAN Several owners and girl friends clustered around as Jan and Dean take bets on tomorrow's judging. [OWNER] What're the odds on the Longhorn? [DEAN] Even money. Bet a hundred to win ninety. [OWNER] That doesn't sound like even money to me. [JAN] There's a ten percent vig. You think we do this to win friends and influ- ence people? Dean laughs, takes the Owner's money. [RAYBURN'S VOICE] Put me down for a thousand. Reactions, and people turn to see Rayburn and Nora move through the crowd, Nora acting as though everyone's got leprosy. Rayburn enjoys the reactions, peels ten one hundred dollar bills off a huge roll. [RAYBURN] You boys better run a good book, know what I mean? 'Cause the Longhorn's a shoe-in. [JAN] Can we use the jacuzzi later? [RAYBURN] Over my dead body. Camera drifts away, picking up Suzanne with several press people. She looks slinky and sexy. [SUZANNE] ...and I like to think of these shows as a microcosm of Americana, a tribute to the spirit of good clean competition. [REPORTER] I heard one of the cars was stolen and a security guard run down. [SUZANNE] As I said, a microcosm of Americana. They laugh, turn to see what a commotion near the entrance is all about. People crane their necks. ANGLE ON ENTRANCE For a moment we can't believe our eyes. The car drawing all the attention is K.I.T.T. -- recognizable but distinc- tively customized, bright red and yellow flames, altered air scoops, chrome extension pipes, etc. The smoked windows glide down, revealing Carrie behind the wheel, waving to the impressed crowd. Michael is in the passenger seat. We follow the car as it moves toward Suzanne and stops. Michael and Carrie climb out. [CARRIE] My entry fee's still good, isn't it? Rayburn pushes his way through, furious. Nora clings to his arm, trying to calm him with ad-libs. [RAYBURN] No way! No ringers! No late entries! [MICHAEL] It's not exactly a late entry, Rayburn. Carrie had a car registered, and it was stolen. This one's just taking its place. Jan and Dean love it; more action. [DEAN] The odds've just changed folks! Place your bets! Carrie stares at Suzanne, daring her to refuse. [CARRIE] Well? Suzanne looks at her coldly. Then, noting the crowd's enthusiasm, a careful smile crosses her lips. [SUZANNE] The girl paid her entrance fee. The car is allowed to compete. A cheer goes up. Suzanne meets Michael's eyes. Her expression is every bit as daring as Carrie's, but a bit more cryptic. ANGLE ON K.I.T.T. swarming with admirers. It's more attention than he ever dreamed of. His scanner flashes boldly, to the ohs and ahs of the crowd. ANGLE ON HECTOR AND LEROY Leroy is carrying a stack of ashtrays, Hector an armload of empty champagne glasses. Leroy's eyes are glued to K.I.T.T. [LEROY] Now that's what I call a mean machine. There ain't a cheerleader in the world you couldn't get with that car, Hector. CUT TO EXT. BARTON SPRINGS MOTEL - NIGHT The Trans Am pulls to a stop and Michael and Carrie climb out, laughing. He casually swings his arm around her as they walk toward the rooms. [CARRIE] ...and did you see Rayburn? I thought he was going to jump right out of his skin and fly all the way back to Texas! [MICHAEL] He could do that on his wife's broom- stick. They laugh and Carrie stops, faces him. [CARRIE] Have I thanked you for all your help? [MICHAEL] (smiles) In your own way. [CARRIE] I'm not sure what that means, but it doesn't sound right. It seems to me I should thank a person in his way. What is your way, Michael? She is looking up at him, her mouth not far from his. [MICHAEL] Tell you what. If our plan works, and the thief tries to steal Kitt tonight, then you can thank me. [CARRIE] I don't think you answered my ques- tion. So I'll just have to guess.... She pulls his head down and kisses him on the mouth. [CARRIE] Close? [MICHAEL] Close. She laughs. [CARRIE] See you in the morning. And she scampers up the stairs toward her room. Michael watches her go, then turns and heads for his room. INT. MICHAEL'S ROOM - NIGHT Michael's key turns in the lock and he enters, closes the door behind him. As he turns back to the room, he finds himself facing a very sultry-looking Suzanne, carrying an opened bottle of champagne and two glasses. [SUZANNE] Hi. Michael's astonished to see her here. He glances toward the door, then back to Suzanne as she slinks up to him. [MICHAEL] What're you doing here? [SUZANNE] I thought it was time to pick up where we left off. She wraps her arms around his neck, champagne glasses clinking together. [MICHAEL] Suzanne, this whole thing...I'm not sure it's what you think it is. [SUZANNE] You mean I'm not making myself clear? I pride myself on making myself perfectly clear. She plants a very clear kiss on his mouth. Michael has no choice for the moment. CUT TO EXT. BARTON SPRINGS MOTEL - NIGHT - ANGLE ON K.I.T.T. as two shadowy figures move stealthily across the parking lot. A guy and a girl pass by, walking and kissing, and the two figures wait for them to pass, then continue toward K.I.T.T. INT. MICHAEL'S MOTEL ROOM - NIGHT Champagne is poured into crystal. We widen to see Suzanne close to Michael, raising the glass to her lips. Suddenly his comlink buzzes. [SUZANNE] What's that? [MICHAEL] Ah...computer watch...Reminds me it's time for my pills. [SUZANNE] You seem in perfect health to me. He peels her off him. [MICHAEL] A miracle of modern medicine. He escapes to the hall leading to the bathroom. ANGLE IN THE HALL as Michael speaks softly into the comlink. [MICHAEL] Kitt, what's up? [K.I.T.T.'S VOICE] We've got a bite, Michael. Two figures are approaching me with malice in mind. Before Michael can respond he sees Suzanne approaching, a pistol in her hand. [SUZANNE] I think it's time we had a nice little talk, Michael-whoever-you- are. OMITTED ANOTHER ANGLE as Michael returns to the living room, Suzanne following him with the pistol. Michael faces her. [MICHAEL] All right, what do you want to know? [SUZANNE] Who you are. Why you're here. [MICHAEL] I told you. [SUZANNE] Then let's be more specific. Why were you in my room today -- and don't tell me it was passion, unbridled or otherwise. I know better. Because, you see, I also saw you skulking around the ware- house I rented an hour or two later. [MICHAEL] (beat) I'm here to recover a stolen car. [SUZANNE] I don't believe you. [MICHAEL] If you knew the car and the circum- stances, you would. The car is a Pennington Ascot Regency.... CUT TO EXT. MOTEL - NIGHT as we see the figures coming closer to K.I.T.T. We still can't make them out. We hold for an ominous beat; then crash! One of them drops a toolbox, causing the contents to spill towards us. Both figures quickly bend down and start collecting them. It's Leroy and Hector. [LEROY] Good move, Hector. You just woke up half the town. [HECTOR] How come I always gotta carry every- thing? (then) Look, why don't we just forget the whole thing. So far all they got on us is maybe just intent to disturb the peace.... [LEROY] That's a humiliation, disturbing the peace. What do you get if you dis- turb the peace? If I get busted, I'd rather get busted for grand theft auto. At least it's got substance. At least they know you were going for something. ANGLE IN K.I.T.T. as Hector and Leroy come up on the monitor. Over their images we see a computer readout appear of their identification: Where they work, past records, etc. [K.I.T.T.] Oh dear, what a disappointment. Small fish in a small pond. Where in the world is a good honest car thief when you need one? CUT TO INT. MICHAEL'S ROOM - NIGHT Michael and Suzanne as before, except now the pistol is pointed at the floor instead of him. [MICHAEL] ...so that's about it. That's why I'm here. Why I was in your room and at the warehouse. Suzanne looks almost disappointed. [SUZANNE] I guess that old saying is true after all. [MICHAEL] Truth is stranger than fiction? [SUZANNE] Stranger...and not nearly as inter- esting. She smiles, rises and puts the pistol in her purse. [SUZANNE] For what it's worth, I hope you catch whoever stole your boss' car. What people don't realize is the owners of car shows hate the thefts as much as anyone else. We build our image on good clean family fun. She kisses him. [SUZANNE] If you're ever in the mood for the other kind, you know where to find me. She slips out the door. Michael sighs, raises K.I.T.T. immediately. [MICHAEL] (comlink) Kitt, what's happening? INTERCUT - K.I.T.T. as Hector and Leroy work on K.I.T.T.s lock without success. [K.I.T.T.] False alarm, Michael. [MICHAEL] I thought someone was after you. [K.I.T.T.] They were. Are, actually. The trouble is they're not professional thieves. [MICHAEL] How do you know? [K.I.T.T.] They're trying to gain entry with a coat hanger and a Phillip's screw- driver. Michael is disappointed. [K.I.T.T.] Michael, the night is still young. When these baboons get tired of trying and go home, we'll be ready to catch the real thief. [MICHAEL] For Devon's sake, let's hope so. Good night, pal. [K.I.T.T.] Sleep well, Michael. STAY WITH K.I.T.T., HECTOR AND LEROY with a handful of bent tools, stop to reappraise the situation. [LEROY] Can't figure it out for the life of me. [HECTOR] Let's go home, Leroy. No cheer- leader's worth this. [LEROY] (brightening) I got an idea. Guaranteed to work -- c'mon. He stuffs his tools into the toolbox, hands it to Hector, and they start away, back the way they came. [HECTOR] How come I always carry the toolbox? ANGLE ON K.I.T.T. [K.I.T.T.] Thank goodness. DISSOLVE TO EXTERIOR - SUNRISE - STOCK EXT. MOTEL - EARLY MORNING K.I.T.T. hasn't moved. Alert, he picks something up. [K.I.T.T.] Oh no.... ANGLE ON LEROY AND HECTOR as they stealthily approach with a portable generator and electric drill. They reach K.I.T.T. and prepare to launch a major assault. [K.I.T.T.] I see there's only one way to get rid of you two. ANGLE ON K.I.T.T.'S DOOR as the electronic shield is released and the door softly opens right in front of Leroy's drill. [HECTOR] You did it! [LEROY] (not so sure) Yeah...told ya. C'mon! They jump in, Leroy behind the wheel, Hector on the passenger side. [HECTOR] Wow, lookit the dash! TV set an' all! [LEROY] Told ya this car was special! Before he can hot-wire it, K.I.T.T.'s engines roar to life. [K.I.T.T.] You ain't seen nothin' yet. On their reactions: EXT. MOTEL - DAY The Trans Am bursts through the parking area, Leroy and Hector hanging on. FADE OUT END OF ACT THREE ACT FOUR FADE IN EXT. NEARBY STREET - DAY The Trans Am appears on a quiet street, comes around a corner on two wheels. ANGLE IN K.I.T.T. Leroy and Hector are white. [HECTOR] Will you slow down?! [LEROY] I'm not doing it, Hector! It's driving by itself! [K.I.T.T.] Shall we take the scenic route, or are you in a hurry? They stare at the dash, amazed. [LEROY] Who said that? [HECTOR] Let's get outta here! [K.I.T.T.] No you don't. You wanted to steal a car, and now you've stolen one. Hang on for the ride of your lives. ANGLE ON K.I.T.T. He pulls into an empty parking lot, accelerates and then does a 180. INTERCUT - LEROY AND HECTOR White knuckles and ashen faces as they're whipped around by the 180. WIDER ANGLE as K.I.T.T. executes a series of 180s, one after another. ANOTHER ANGLE K.I.T.T. comes out of a 180 and skids to a stop. Both doors pop open. [K.I.T.T.] Remember this the next time you think about stealing a car. They scramble to get out, do, but find they're so dizzy they can hardly stand up. They weave like a couple of drunks. [K.I.T.T.] Now get lost. They head for safety, half-running and half-staggering. K.I.T.T. pulls out, heading for the motel. CUT TO EXT. MOTEL - DAY K.I.T.T. pulls in and parks in the same spot; it's as though he's been there all night. We hold on the quiet of the morning for a moment, then: UNSEEN POINT OF VIEW THROUGH MOTEL WINDOW - ANGLE ON K.I.T.T. parked in the lot. ANGLE ON WATCHER It's Rayburn. He turns back into the room. [RAYBURN] You'd better hurry up. ANOTHER ANGLE Coming from the bathroom is Nora, though at first we may not recognize her with the blonde wig and sexy outfit. We do, however, immediately identify her as the woman who stole the Pennington Ascot Regency from Devon two days ago. [NORA] How do I look? [RAYBURN] What d'you guess that black beauty's worth? [NORA] I'd say about seventy-five grand. [RAYBURN] You look like seventy-five grand. They laugh, enjoying themselves immensely. As they leave: CUT TO INT. MICHAEL'S ROOM - DAY A knock on the door. Widen to see Michael, dressed, sipping a cup of coffee as he crosses and lets Carrie in. Ad-lib good mornings. [CARRIE] No luck last night? [MICHAEL] Not the right kind. [CARRIE] Then the drive to the show is our last chance. [MICHAEL] (nods) All set? You know exactly what to do? She nods. They leave, Michael locking the door behind them. CUT TO EXT. MOTEL - DAY Michael, alone now, reaches K.I.T.T. He climbs in, looks around. [MICHAEL] Doesn't look like the amateurs did too much damage. [K.I.T.T.] Michael, I am more than capable of solving certain problems. There are scientific ways to take care of these things. [MICHAEL] What did you do? [K.I.T.T.] Scared their socks off. Michael laughs, starts the engine. [K.I.T.T.] You seemed to take your time with Suzanne last night. [MICHAEL] We only talked, nosey. And you can forget her as a suspect. [K.I.T.T.] Then who does that leave? [MICHAEL] That's what I hope this little trip will answer. ANOTHER ANGLE as Michael and K.I.T.T. leave the motel, heading for open road. EXT. TWO-LANE HIGHWAY - DAY Devon's car appears, Devon driving, Commander Smythe riding shotgun as it were. He seems expansive, in a good mood, which is all the more disconcerting for Devon. [SMYTHE'S VOICE] Ahhh, there's nothing quite like kippers for breakfast to set one straight. It makes one yearn for the wars, eh, Devon? To lead a bristled gaggle of men into battle. The clash of steel against steel. Hand to hand...a lost glory in our modern times. [DEVON'S VOICE] Yes, well why not tell me once again about that time in Corten when you were surrounded.... [SMYTHE'S VOICE] (continuing) We have to look for other 'medals' these days. That's why the Pennington means so very much to me. [DEVON'S VOICE] (sickly) Yes...yes, of course. OMITTED EXT. ROAD - DAY K.I.T.T. appears and passes. We hold for a moment, then see an ND sedan appear at a faster spped, Nora in her wig behind the wheel. ANGLE IN K.I.T.T. - DAY as they continue down the road. [K.I.T.T.] There's someone approaching us, Michael. Michael glances in the rearview mirror. [MICHAEL] Male or female? [K.I.T.T.] Female. Blonde, to be more specific. [MICHAEL] Bingo. EXT. ROAD - DAY The sedan draws closer, as if to pass, then smashes into K.I.T.T.'s rear bumper. ANGLE IN K.I.T.T. Michael is jolted by the hit. He looks in his rearview again, then pulls over to the side of the road. [K.I.T.T.] How unpleasant. [MICHAEL] Think of how other cars feel. They dent. EXT. ROAD - DAY Michael gets out, purposely leaving his door open, walks toward the sedan. The driver gets out. With the wig and overstated outfit, it's even hard for him to recognize her. [NORA] I can't tell you how sorry I am. It really was all my fault. I'm just glad no one was hurt. You're not hurt, are you? [MICHAEL] Not a scratch. [NORA] Thank goodness. These days you don't know who to trust -- so many people scream whiplash if you just wave at them. Well, my insurance company will pay for any damage to your.... She stops, suddenly and looks down at K.I.T.T.'s bumper. Nothing. She looks at her bumper; it's a mess. [NORA] (taken aback) Ummm, well, it looks like you got off lucky. [MICHAEL] (helping) There could be some internal damage. Maybe I should get the name of your insurance company...just to be on the safe side. [NORA] (relieved) Internal damage. Of course. Yes. Would you be a dear and get me my purse. I'm still a little shaky. I left it on the front seat. She smiles at him. Michael smiles back, then moves to her car. As soon as his back in turned, Nora jumps into K.I.T.T. A second later they are a cloud of dust.... ANGLE ON MICHAEL He watches with satisfaction as K.I.T.T. and Nora disappear down the road. He turns, looking the opposite way. ANOTHER ANGLE Carrie appears on her motorcycle, pulls in to a stop. As Michael jumps on, Carrie sliding back to a "buddy-seat" position: [CARRIE] It worked! Who is it?! [MICHAEL] You'll never guess.... [CARRIE] Michael! [MICHAEL] Nora Rayburn. On Carrie's reaction, Michael hits the gas and they zoom out onto the road, Carrie hanging on for dear life. CUT TO ANGLE IN K.I.T.T. Nora is enjoying the ride, the car. She notices K.I.T.T.'s dash and instrumentation, begins to fiddle with buttons. [K.I.T.T.] Kindly keep your hands to yourself, madam. Nora looks around, startled. [NORA] What...? Silence. Nora tries to reassure herself. [NORA] Oh...I see. One of those cars... 'Your fuel is low...please close the door.' How unnerving. [K.I.T.T.] You ain't seen nothing yet. Now she is really shaken. [NORA] Wait a minute -- They don't program cars with bad English... (then) Maybe it's one of those foreign jobs. That's it. Foreigners. They never could learn the language. CUT TO EXT. DESERTED WAREHOUSE AREA - DAY K.I.T.T. arrives, pulls to a stop in front of the warehouse just as another car inches out...and out and out; it's the Longhorn, all forty feet of her. Buck Rayburn at the wheel. He climbs out, glances admiringly at K.I.T.T. [RAYBURN] Beautiful -- just beautiful! (giving her a kiss) Nora, I don't know what I'd ever do without you! Did you have any trouble? [NORA] Not at all. It's a strange car though. It speaks horrible English and virtually drives itself. [RAYBURN] That's power steering, honey. (then) Come on, let's load her up. ANOTHER ANGLE As Nora drives K.I.T.T. into the warehouse, we see several huge cargo containers, the kind used to drop onto flatbed railroad cars. ANGLE BEHIND WAREHOUSE Michael and Carrie glide up, engine off. They see the cargo containers and K.I.T.T. [MICHAEL] So that's it --- [CARRIE] What? [MICHAEL] How your car disappeared yesterday. They ship the cars out on trains, slow moving freights. They probably just drove it up into one of their boxcars. [CARRIE] There she is! My car! Before Michael can stop her Carrie bolts for the warehouse like a mother finding her long lost child. [MICHAEL] Carrie! Wait! WIDER ANGLE Rayburn turns and sees Carrie running towards him. He immediately pulls a gun from his jacket and takes aim. [MICHAEL] (comlink) Kitt! K.I.T.T. responds immediately and in a split second is between Rayburn and Carrie, just as Rayburn begins firing. The bullets ricochet off K.I.T.T. in a shower of sparks. Carrie continues toward the warehouse, oblivious. Rayburn empties his gun, then seeing the driverless car come towards him, turns and jumps into the Longhorn, tearing out. K.I.T.T. heads towards Michael. ANGLE IN WAREHOUSE Carrie comes running in, stops, shocked. [CARRIE] (horrified) My car! It's ruined! A hand suddenly grabs her from behind. ANOTHER ANGLE It's Nora, grabbing her from behind. The two women struggle, Carrie managing to break free. Michael appears at the entrance. [MICHAEL] Carrie! Are you okay? [CARRIE] Stay out of this! She's all mine! Carrie grabs Nora and flips her, sending her into a muddy spill-off ditch. Her hot wardrobe is a mess. [K.I.T.T.] Michael, shouldn't you stop this? [MICHAEL] I think Carrie's got everything under control. Come on...that Longhorn's got a good head start, pal. Michael jumps into K.I.T.T. and they roar off. ANGLE ON CARRIE AND NORA Nora pulls herself up from the ditch, a muddy wreck. She's furious, assumes a karate stance. [NORA] I must warn you, I'm highly skilled in karate. [CARRIE] Yeah? Carrie throws a punch, a hard right, and Nora falls back into the mud. CUT TO EXT. HIGHWAY - DAY The Longhorn speeds down the highway, taking up both lanes, causing an occasional oncoming car to turn off the road. We can see K.I.T.T. gaining speed behind him. Every time K.I.T.T. tries to pass the Longhorn, it shoots over to the other side, preventing K.I.T.T. from passing. ANGLE IN K.I.T.T. Michael continues to try and pass the Longhorn. [K.I.T.T.] Michael, he's got twin compressive Tynsonic engines. He's faster than he looks. [MICHAEL] We've got to stop him before he causes an accident. He'd rather die than give up that car. (beat) Got an idea, Kitt. [K.I.T.T.] Michael, you can't be thinking of turbo boosting over the Longhorn. The length far exceeds my designated limits. [MICHAEL] Limits are only in our minds, pal. [K.I.T.T.] And bones are in your body. [MICHAEL] Well said. But since they're my bones.... Michael hits Turbo Boost. EXT. HIGHWAY - ON K.I.T.T. as it suddenly surges up and starts over the Longhorn. It's a long way to the front end. RAYBURN He looks incredulously out his side window at the flying car above him. K.I.T.T. as he flies all the way over the Longhorn, missing the horns on the hood by inches. RAYBURN He reacts stunned to see K.I.T.T. now in front of him. His precious Longhorn is about to be branded for life. He slams on his brakes, spinning out in a cloud of burning tires and dust. He just misses K.I.T.T. FULL Michael jumps out of K.I.T.T. as Rayburn climbs out of the Longhorn. He swings at Michael. Michael ducks and flips him with a judo move. Rayburn lands on his back -- out to the world. Michael hears a motorcycle, looks up. ANOTHER ANGLE Carrie drives up on her motorcycle. She is covered from head to toe with mud, but her triumphant smile shows through all the same. She jumps off the bike and runs to Michael, throwing her arms around him. [CARRIE] We did it! She looks at Michael's clothes, realizes; he's almost as muddy as she is. They laugh. [K.I.T.T.] Mud may strike you as hilarious, but not me. K.I.T.T. closes his doors. His windows darken and he begins to inch away from Michael. [MICHAEL] Kitt! [K.I.T.T.] You two are not getting into me until you both have a thorough steam-cleaning! [MICHAEL] Kitt! Come back here! K.I.T.T. refuses. Michael and Carrie look at each other and laugh.... FADE OUT END OF ACT FOUR TAG FADE IN EXT. PAVILLION - DAY A very uncomfortable Devon stands with Smythe, who grows more restless by the moment. K.I.T.T. is nearby. Devon is showing Smythe some of the novelty cars. [SMYTHE] Devon, I have seen this car twice now! Where is my Pennington? [DEVON] Did I show you the customized Packard? [SMYTHE] Twice. Devon I insist you take me to the Pennington immediately. We hear a very distinctive horn: it's Michael, in the Pennington. He drives it up to Smythe. Devon issues a huge sigh of relief. CLOSER ANGLE as Michael gets out. Devon immediately walks over to the rear of the car, and stands there -- still smiling, but rather rigid. [MICHAEL] (to Smythe) Just wanted to polish her up a bit. A small group of admirers gather. Smythe is flattered. [SMYTHE] She is a sight, I must say. Devon, you were quite right. Commoner people should experience her beauty. ANOTHER ANGLE Carrie comes out of the pavillion. She holds a large first- prize ribbon. [CARRIE] Michael, I won! Even with the scratches! I don't know how to thank you! (kisses him) I'm still going to think of a way.... She gives him a shy smile, then runs over to some of the other drivers to show them her ribbon. Michael smiles, walks over to Devon. CLOSER ON DEVON AND MICHAEL Michael gives Devon a friendly pat on the shoulder. Devon's smile seems a little forced. [DEVON] Good work, Michael. [MICHAEL] Devon, are you all right? [DEVON] I'm all right as long as I never move from this spot. Devon motions to the Pennington's bumper: We see the small but painful dent where Nora hit it. [MICHAEL] (smiles) I'm sure you'll think of something. See you back at the Foundation.... Devon glares. Michael grins, climbs into K.I.T.T., waves as he leaves. ANGLE IN K.I.T.T. [MICHAEL] Oh -- almost forgot. He takes a small yellow ribbon out of his pocket. [MICHAEL] For you. [K.I.T.T.] 'Honorable Mention?!' How insulting! [MICHAEL] (smiles) Don't take it too seriously, pal. You know how these contests are -- all political. [K.I.T.T.] I'd like to give those judges a piece of my mind. Michael laughs. EXT. ROAD - DAY as Michael and K.I.T.T. hit the open highway and accel- erate.... FADE OUT THE END

{"show": "Knight Rider", "season": "s02", "episode": "e07", "title": "Custom K.I.T.T."}

knightriderarchives

ACT ONE FADE IN INT. VAN - DAY - CLOSE ON COMPUTER MONITOR We open very close on a computer monitor screen displaying a series of complicated equations. As the equations multiply, we hear the sound of a computer keyboard over, and pull back to reveal three other monitors. Technical data on one, mechanical schematics on the other two. Always, we hear the sound of the keyboard as someone works feverishly. Pull back further to reveal: RANDY MERRITT seventeen. Dishevelled hair and clothing, with an old baseball hat riding low on a pair of glasses. The kind of kid who lives and breathes computers. He takes a swig of a soft drink, stuffs a piece of candy in his mouth, but his eyes never leave the monitors in front of him. A small smile of excitement flashes across his face now and then. Behind him someone steps into the van. Randy turns expect- antly. WIDER ANGLE At first all we see is the backlit and shapely figure of a tall, sensuous woman. As she steps into the light sur- rounding the monitors, we see a beautiful woman in her late twenties. This is Adrianne Margeaux, a woman of commanding presence. Confident, in control. She smiles a breathtaking smile at Randy. He grins back, very much infatuated. [ADRIANNE] Don't let me interrupt. [RANDY] (excited) I was just about to call you! I've completely debugged the algorithmic system analysis program, Adrianne. It's going to work...I know it is. Look.... Randy turns back to the computer, starts typing rapidly. In front of him, the monitors start flashing a series of numbers, equations. As he works, Adrianne moves close to him, one hand resting on his shoulder. Casual, yet intimate. Randy notices it, and so do we. [ADRIANNE] (purring) I knew you could do it. [RANDY] (pleased) I wasn't so sure...I've never written a program for something like this. With that, he punches another button on the keyboard. ON THE MONITORS As all three screens go blank and then flash computer pictures of -- K.I.T.T.! A front, side and rearview of Trans Am. Off this, we: OMITTED CUT TO EXT. HIGHWAY - DAY - CLOSE ON A SIMILAR PICTURE OF K.I.T.T. as the Trans Am moves down the highway. Over, we hear the characteristic jingle of "Pac-Man" or some other appropriate video game, and we hear: [MICHAEL'S VOICE] Gotcha! Did you see that, Kitt? INT. TRANS AM - DAY - CLOSE ON MONITOR where we see a video game in progress, preferably Pac-Man. As the little creature gobbles baddies, pull back to reveal Michael playing the game, laughing delightedly. [K.I.T.T.] I've seen nothing else for three hun- dred miles. Don't you think you've had enough? [MICHAEL] What's the problem? I thought you'd appreciate me getting into computers.... [K.I.T.T.] Playing a video game where circles eat blobs is hardly 'getting into computers.' Michael, a computer is a sophisticated, very complicated piece of equipment.... [MICHAEL] You want to talk complicated? Try getting twenty thousand points on this thing.... [K.I.T.T.] Never. But, if you can tear your- self away, my sensors are picking up a disabled automobile ahead.... Michael looks up to see a beautiful black Bentley parked by the side of the road its hood up. Someone is bent over the engine, though we can't see who. Shapely legs indicate it's a woman. [MICHAEL] Let's see if we can lend a hand.... Michael pulls to the side of the road, behind the Bentley. EXT. HIGHWAY - DAY as Michael parks, gets out of the Trans Am, walks to the Bentley. As he approaches, the woman under the hood looks up. It's Adrianne. She flashes Michael a smile. [ADRIANNE] Help! [MICHAEL] What's the problem? [ADRIANNE] It won't go. (smiling) I'm afraid that's the extent of my diagnostic capabilties. [MICHAEL] It's a good place to start. Adrianne laughs. Michael smiles, moves to the engine, looks in, studies it for a moment. [MICHAEL] Ah ha.... [ADRIANNE] 'Ah ha?' As in, 'I think I see the problem?' Michael nods, reaches in, fiddles. [MICHAEL] Your distributor cap was loose. Try it now. She does. It starts. Michael closes the hood, as Adrianne studies him. She clearly likes what she sees. [ADRIANNE] It seems like just saying 'thanks' isn't nearly enough. [MICHAEL] 'Thanks' is plenty. I needed to stretch my legs anyway. [ADRIANNE] Look, my house is just down the road. How about letting me buy you a drink? (before he can refuse) Oh, come on...what self-respecting knight denies his damsel a chance to thank him? (coyly) Besides, what if this stupid car stops again and you're gone? She holds Michael's look for a beat, smiles. As Michael smiles back, we: CUT TO EXT. HOUSE - DAY Something luxurious. In front we see the Trans Am parked next to the Bentley. We should see a garage in the b.g. with its doors closed. INT. HOUSE - LIVING ROOM - DAY Beautifully furnished. Plants. Carefully chosen prints on the walls. A magnificent sound system, highlighted by two very large speakers mounted on the walls. Michael is walking around, admiring the room as Adrianne comes in carrying a tray with drinks, hors d'oeuvres. [MICHAEL] Quite a place.... [ADRIANNE] I'm an art dealer. I love having beautiful things around me. Adrianne sets down the tray, hands Michael a glass. [ADRIANNE] Art and music. They're two of the three essential ingredients in my life.... Adrianne lets her last line sink in, then moves to a reel- to-reel tape recorder. As she switches it on, we notice her quickly place plugs in both her ears. [ADRIANNE] I want you to hear something. It's a new sound from a group in Europe.... EXT. HOUSE - DAY as a van pulls up the driveway, parks next to the Trans Am. It's got a huge termite on the roof, and a sign on the side that reads, "Rodent Raiders -- If It Crawls, It Falls." The door opens and Randy jumps out. He crosses to the Trans Am, peers in the window like a kid at a candy store, then moves toward the house. We hear the faint sound of synthe- sized music (a la "Vangelis" or "Tangerine Dream"), and go to: INT. HOUSE - LIVING ROOM - DAY The music fills the room, Michael stands, listens intently, seemingly lost in the melody. Adrianne's at his side, smiling warmly. He catches himself drifting, shakes his head, stands shakily. [MICHAEL] Strange.... [ADRIANNE] I find it so...soothing. Enchanting.... Michael looks at her sharply. She gestures for him to sit. [ADRIANNE] Come and sit down. She takes his arm, very gently leads him toward the sofa. Michael's distracted by the music again, then brings himself back to reality. He looks at Adrianne, then over to the tape recorder. [MICHAEL] I...think I've had enough music. He turns, lurches toward the door. Again, Adrianne very calmly takes his arm. [ADRIANNE] (crooning) Michael...I want you to relax. [MICHAEL] (groggy) Who are you? What are...you... doing? [ADRIANNE] Making you comfortable. Helping you...relax.... He tries to break free from her grasp, but he's weak as a kitten. She leads him back to the sofa, sits him down. Her hand caresses his face. He tries to get up, but can't find the strength. Adrianne caresses his face. [ADRIANNE] Don't...Stay here...with me... (beat) Just...relax...relax. The front door opens and Randy steps into the room. Adrianne and Michael turn to see him. Adrianne nods that every- thing's all right. Randy hesitates for a moment, a frown on his face, taking in the scene. Finally, he backs out and closes the door. Michael sinks back on the sofa, closes his eyes. Adrianne smiles at him, and we: CUT TO EXT. HOUSE - DAY as Randy comes out, crosses directly to the van and climbs inside. INT. VAN - DAY Not a rodent control van at all, but a mobile computer center. We realize it's the setup from the opening sequence. Randy sits down, punches into the keyboard. A schematic of K.I.T.T. appears on one of the monitors. Intercut with: INT. TRANS AM - DAY - ON K.I.T.T. blinking to life. [K.I.T.T.] (surprised) I beg your pardon! What do you think you're doing? K.I.T.T.'s monitor blinks to life. As Randy types into his computer, we see words appearing on K.I.T.T.'s monitor. K.I.T.T.'S MONITOR The words read, "Hello. My name is Randy. I want to be your friend. Don't resist. It won't do any good." BACK TO K.I.T.T. blinking in alarm, his voice box activating. [K.I.T.T.] I'm highly classified material... Now get out of here, before I... (a beat) We hear a rapid succession of electronic pulses. K.I.T.T.'s lights blink in alarm. [K.I.T.T.] Michael, someone's trying to gain access to me...! INT. HOUSE - LIVING ROOM - DAY - CLOSE ON MICHAEL as we hear K.I.T.T. over Michael's comlink: [K.I.T.T.'S VOICE] Michael, can you hear me! Help...! Michael slumped over on the sofa, completely mesmerized by the music. Adrianne's standing over him. As she turns and walks out of the room, we go back to: INT. VAN - DAY Randy types on his keyboard. A monitor shows a schematic of K.I.T.T., focusing on a door handle. EXT. TRANS AM - CLOSE ON DOOR As the electric lights in the handle begin to blink, signi- fying Randy trying to get inside. We hear: OMITTED EXT. TRANS AM - ON THE HANDLE as it suddenly pops open. INT. TRANS AM - ON K.I.T.T. [K.I.T.T.] (shocked) How did he do that? INT. VAN - ON RANDY smiling delightedly. He punches another series of buttons. Adrianne appears behind him, watching intently. EXT. TRANS AM - ON THE HOOD as it pops open. We hear: [K.I.T.T.'S VOICE] Oh, no, you don't.... The hood slams shut again. INT. VAN - ON RANDY frowning with irritation. He punches in another combination of numbers. EXT. TRANS AM The hood pops open. INT. TRANS AM - ON K.I.T.T. [K.I.T.T.] All right, if you insist. (fiercely) But that's all you're going to get. INT. VAN - ON RANDY working feverishly over his keyboard. The monitors in front of him reflect the interior of the Trans Am. INT. TRANS AM as the dash lights come on, the gear shift moves, the wind- shield wipers activate, the horn honks. Then the ignition turns, catches and the Trans Am roars to life. K.I.T.T. is powerless to stop it. The gear shift moves into drive and the Trans Am lurches forward, stops, reverses, stops. The movement is awkward, jerky, but K.I.T.T.'s under Randy's tentative control. OMITTED INT. VAN Randy whoops, pounds the table with his fist. He turns to Adrianne, whose eyes are burning with excitement. Spon- taneously, she hugs him. [ADRIANNE] You've done it, Randy! [RANDY] Part of it. I've got control of the car. Once I get into the central processing unit, I've got control of the computer, too. Adrianne frowns, checks her watch. [ADRIANNE] How much longer will that take? [RANDY] It's hard to say. It depends on how tough he is.... [ADRIANNE] How tough he is? You're talking about a computer. [RANDY] (smiling) Yeah, but he's got a personality. Randy punches in a series of numbers, followed by a phrase. "Designate Access Code." A beat, then we hear: [K.I.T.T.] I am the Knight Industries Two Thousand. My serial number is Alpha Delta Two Two Seven Five Two Nine. I am unauthorized to allow access to Central Processing Unit. Randy shakes his head, punches in another series of letters and numbers. As we hear K.I.T.T.'s voice, repeating the previous phrase; Adrianne frowns with irritation. [ADRIANNE] Your computer controls the car, Randy. We don't need someone else's. Randy looks up at her, his face filled with innocent excitement. [RANDY] But, Adrianne, you told me the Knight Industries Two Thousand is one of the most fantastic computers in the world. If I can get inside it, into its C.P.U.--- [ADRIANNE] (interrupting) Randy, we don't have the time. Destroy what we can't use.... [RANDY] (shocked) Destroy it? You've got to be kidding.... Adrianne senses Randy's mood, changes tactics. She leans over, her face close to Randy's. Suddenly, she's pure sensuality. [ADRIANNE] (softer) Randy, because of you, your bril- liance, we don't need that computer. You can control the car, can't you? Just like you promised? She leans closer, kisses him, softly. Randy melts, and as we hold on his face, then: CUT TO EXT. DESERTED ROAD - DAY A two-lane blacktop somewhere out of town. Lightly traveled. As our camera pans slowly down the side of the road, we suddenly see: MICHAEL Just off the shoulder of the road, looking like a bum sleeping off a binge. Not moving, so we worry he might be hurt, even dead. Then, slowly, he moves, struggles to sit up. Suddenly, he's on his feet, grabbing for his comlink. [MICHAEL] Kitt...Kitt, can you read me? Come in, Kitt! Dead silence. Michael scans the horizon in every direction, then turns and starts walking down the road. As he breaks into a run, we: CUT TO EXT. FOUNDATION - DAY Over, we hear: [DEVON'S VOICE] You've lost Kitt!? CUT TO INT. FOUNDATION - DEVON'S OFFICE - DAY Michael's standing in front of Devon's desk, still dusty and disheveled from the road. April stands behind Devon, just as stunned as he. [APRIL] (dismayed) To a woman who picked you up on the side of the road?! Michael, how could you...? Michael holds up his hands, frustrated, angry. [MICHAEL] All right, I know how it sounds, but it wasn't a casual mistake. It was planned. The music she put on was like a siren's song...it was ultra- low frequency...hypnotic...and her voice...it literally drained the strength out of me. April and Devon exchange a look. Michael's angry. [MICHAEL] Look, we can debate this later. The fact is, Kitt's gone and we've got to get him back. (to April) April, how far could they get with Kitt? He's programmed to respond only to me.... [APRIL] That's right. But, if someone changed that program.... Michael glances at Devon, who rises. [MICHAEL] What're the chances of that? [DEVON] Infinitesimal. But they exist. (urgently) Do you think you can find the house? Michael thinks for a beat, nods. CUT TO EXT. ADRIANNE'S HOUSE - DAY deserted as a red Mercedes convertible pulls up the driveway and stops. A "For Sale" sign is planted on the front lawn. The garage doors are open. Devon and Michael get out, hurry to the front door. Michael rings the bell. No one answers. Michael goes to work with a key pick and in a second the front door opens. He and Devon enter to: INT. LIVING ROOM - DAY Completely empty. Michael and Devon stand in the middle of the room. Michael's fuming. [MICHAEL] She was here, Devon. It was completely furnished...and it wasn't for sale. Devon glances around the empty room. [DEVON] If that's the case, this young lady obviously went to some trouble to snare you and Kitt. Why? [MICHAEL] (grimly) Good question. One way or another, I'll find the answer, Devon, and that's a promise. Michael wheels and walks out of the house. Devon follows. EXT. HOUSE - DAY He notices the open garage door. Thinks a minute. Then turns and hurries toward it. Devon follows. ANGLE - ON GARAGE as Michael walks inside. Like the house, it's empty, except for a pile of boxes stacked in the corner. Michael stands staring at the garage as Devon joins him. A beat, then: [DEVON] What is it, Michael? [MICHAEL] I don't know...I felt something...in here. A presence... (beat) Kitt's presence. Both men glance around the empty garage, turn to leave. As Michael starts to close the garage door we see a faint red light flicker in the pile of boxes. It catches Michael's attention. He freezes, peers through the darkness. Again, a red light flickers. [MICHAEL] Devon...! Michael throws open the door, hurries to the pile of boxes, reaches in and pulls out a black metallic rectangle about the size of a cigar box. Severed wires dangle from it and it's been badly mishandled. As Michael picks it up, a red LED flickers, then grows bright. Devon hurries over. [DEVON] What is it, Michael? [MICHAEL] It's Kitt...Kitt, are you all right?! Kitt...talk to me...Kitt! There's no response. As the two men stare in shocked amazement at a Kitt we've never seen, we: FREEZE FRAME AND FADE OUT END OF ACT ONE ACT TWO FADE IN EXT. FOUNDATION - NIGHT - TO ESTABLISH Over, we hear: [MICHAEL'S VOICE] Will he be all right? CUT TO INT. FOUNDATION - DEVON'S OFFICE - NIGHT Michael paces across the room. Devon and April face him, looking very somber. [APRIL] He's been badly cannibalized.... [MICHAEL] Cannibalized? [APRIL] Most of Kitt's programs were broken into...everything concerning the operation of the car is gone. Devon and Michael share a concerned look. [DEVON] In the wrong hands, that car is a lethal weapon. [APRIL] They also tried to access Kitt's central processing unit and his 'bubble memory'...everything that makes Kitt...what he is. Who he is. [MICHAEL] It sounds like brainwashing. [APRIL] That's exactly what it is. [DEVON] This is becoming a crisis of major proportions and we still don't have a clue as to who we're dealing with. (to April) How're we coming with those composite pictures? [APRIL] I've already entered Michael's des- criptions. Kitt's data should be in the computer by now.... April crosses to the computer terminal, punches in. Devon and Michael follow, peer over her shoulder. ANGLE TO FEATURE THE MONITOR as a computer-generated picture of Adrianne comes up on the screen. Michael peers at it closely, excited. [MICHAEL] That's her! [APRIL] Good...that's a start. Let's see the boy.... More keys are punched. We see a picture of Randy appear. [MICHAEL] That's going to be tougher. I only caught a glimpse of the kid.... April is peering intently at the picture. She punches a button, blows the picture up. [APRIL] I have the strangest feeling I've seen him somewhere.... April thinks for a beat, then crosses to a pile of magazines. She grabs one, hurriedly flips through it. [APRIL] Last month there was a convention in Chicago. The brightest computer kids in the country got together, read papers, exchanged programs... awards were given to the best pres- entations. A local boy took almost every prize.... She stops turning the pages, stares at the magazine. [APRIL] His name was Randy Merritt.... She holds up the magazine. ANGLE ON THE MAGAZINE where we see a picture of a smiling Randy Merritt, under the caption "Computer Whiz Kid Wows Chicago." It's very similar to the composite picture of Randy. BACK TO SCENE as Devon and Michael stare at the picture. [DEVON] Good work, April. Let's find him as quickly as possible. There's a buzz on the intercom. April crosses, picks up the phone, speaks softly, then hangs up. [APRIL] That was the 'clean room'. Kitt's ready...in a manner of speaking. April turns for the door, stops. [APRIL] He's going to look...different. The adjustment's been difficult for him, so don't make it any worse.... April exits. Devon and Michael share a look. [MICHAEL] Different? Before Devon can answer, April enters, pushing a gurney which carries one of those portable entertainment units, with a five-inch TV screen, AM/FM radio, speaker and carrying handle. She sets it on a table in front of Michael and Devon. They're flabbergasted. We hear K.I.T.T.'s voice, smaller, slightly metallic, but undeniably K.I.T.T. As he talks, a light on the top of the set flashes. [K.I.T.T.] Don't say a thing! Not one word! [MICHAEL] Kitt, you're...okay! [K.I.T.T.] I am not 'okay.' I'm being held captive inside a television set.... [APRIL] Kitt, it's the best we can do to make you portable.... [K.I.T.T.] And totally ridiculous! I feel like the booby prize at a Halloween party. April, Michael and Devon have to hide smiles. [K.I.T.T.] Well, don't just stand there. We've got to find those beasts...immediately! [MICHAEL] As soon as we get a lead on the kid. (beat) You sure you feel up to traveling, pal? [K.I.T.T.] Like April said, Michael... (sarcastic) I'm portable. Off everyone's amused reactions, we: CUT TO EXT. HIGHWAY - DAY as we pick up the red Mercedes convertible moving down the highway. INT. CONVERTIBLE - DAY Michael's behind the wheel. K.I.T.T.'s on the passenger seat next to him. Silence, then: [K.I.T.T.] You seem to be enjoying this. [MICHAEL] It's kinda fun having the top down. [K.I.T.T.] Well, if being burned by the sun and buffeted by the wind is your idea of fun.... [MICHAEL] Look, I'm only driving this until we get our car back. Don't be paranoid. [K.I.T.T.] That's easy for you to say. You're still you, and I'm a...shadow of my former self! I used to be sleek and black and dashing, and now... (poignantly) Oh, Michael, do I look just dreadful? Be honest.... Michael glances over at the portable TV, smiles. [MICHAEL] What matters to me is who you are, not what you look like, Kitt. Sure, we don't have the car, so we can't turbo boost or go two hundred miles an hour, but that was all frosting on the cake, anyway. It was never you. [K.I.T.T.] It wasn't? [MICHAEL] No...the car was fantastic but if you break it down it was steel, glass and rubber. We can always make another one. (beat) But, you...you're a lot more than silicon chips and fancy circuitry. You're my buddy and my partner. You're one of a kind. [K.I.T.T.] Why, thank you, Michael. The feeling's mutual...I mean, I've always considered you as more than a dollar and seventy- eight cents worth of chemicals...a good deal more, in fact. [MICHAEL] (smiles) Thanks, pal. CUT TO EXT. RESIDENTIAL STREET - DAY A middle-class neighborhood, with small houses and apart- ments lining the street. We see the Mercedes parked in front of one of the houses, and: CUT TO INT. APARTMENT - DAY where we find Michael talking with Denise Merritt. She's in her early forties, with an attractiveness that's given way to the concern and fatigue etched in her face. [MRS. MERRITT] I'd give anything to know where he is...I've been worried sick since he disappeared. (beat) It's been nearly a month... (near tears) ...no calls, no letters. The police haven't turned up a thing, the private investigator I hired has been use- less.... [MICHAEL] Mrs. Merritt, I think I saw Randy. He was with a woman.... Mrs. Merritt stares at Michael. [MRS. MERRITT] You saw him? With Adrianne? [MICHAEL] I don't know her name. She's tall, dark hair, late twenties or early thirties.... [MRS. MERRITT] That's her! Where did you see them? How can I find him? Mrs. Merritt has grabbed Michael's hand. She's squeezing it tightly. [MICHAEL] (gently) I don't know. They've disappeared ...but I want to find them just as much as you do. Anything you can tell me about her might help. [MRS. MERRITT] I really don't know that much. Her name's Adrianne Margeaux. They met at one of those computer conventions ...she started filling his head with plans for building a computer, making millions of dollars... (beat) Randy's a good boy, but he's young and impressionable. She's so much older, so beautiful...sophisticated. (shaking her head) I watched him changing right in front of my eyes. He even started lying, and he'd never done that before. (beat) I finally told him he couldn't see her anymore...two days later, he was gone. She gives way to tears again. [MICHAEL] (a beat) He couldn't have taken a lot with him. Maybe if we check his room, there's a clue hidden away some- where.... [MRS. MERRITT] I doubt that. Not in his room. [MICHAEL] Why? Rather than answer, Mrs. Merritt turns to exit. Michael follows to: INT. RANDY'S ROOM - DAY A small, barren bedroom. A single bed and a night stand line one wall. The other part of the room is occupied by a desk with a home computer and monitor, a workbench with electronic gadgets, a few magazines and books. A phone should be hooked up to the computer monitor. Michael and Mrs. Merritt walk in, stare at the room. [MICHAEL] Looks like Randy wasn't into much besides his computer. Denise nods sadly, glances toward the computer. [MRS. MERRITT] There wasn't anything else. Randy was so shy, so quiet...I thought that computer would be good for him ...give him something to share with me. (beat) But, once he discovered the world inside that machine, he disappeared into it. Michael nods, notices a picture stuck on the wall. He crosses, looks at it. It's a picture of Adrianne and Randy, standing next to a computer. They're smiling. [MRS. MERRITT] I used to hate it when he'd spend hours with that computer. (sadly) Now, I'd give anything just to have him here. She crosses to Michael, takes the picture. As she and Michael look at it, move in close on Randy's smiling face, and then: CUT TO INT. RODENT RAIDER VAN - DAY - CLOSE ON RANDY in front of his computer and monitors. Rather than his keyboard, though, he's got a joystick apparatus, much like the kind used in home video games. On the monitor in front of him we see, via live-action, a car racing across the desert. The point of view is from the driver's seat, and we realize that Randy is, in fact, "driving" the car. He jams the joystick straight ahead and we intercut with: OMITTED EXT. DESERT - DAY - ON THE TRANS AM jumps forward with a roar of power. The wheel turns to the right sharply and the car skids into a turn, but too sharply. It's responding awkwardly like a pup still learning to obey it's master. In the b.g. we see the van parked next to a sleek limo. INT. LIMO where we see Adrianne watching the Trans Am perform. She's sipping champagne. Her driver, Turner, is behind the wheel. As the Trans Am spins out again, Adrianne frowns and we go back to: RANDY who frowns, mutters to himself, straightens out the joystick, hits a button. THE TRANS AM skids to a stop, then shoots forward, swerving from side to side erratically. Then it turns, races toward the limo as: RANDY hunches over the joystick, hits two buttons simultaneously, pulls back sharply on the joystick. ON THE TRANS AM as it lifts off the ground, turbos over the limo, and hits the ground hard. Another skid as the car spins out and stops. ANGLE ON THE LIMO as Turner gets out, opens the door for Adrianne. A beat later, Randy comes out of the van, crosses to Adrianne. She's furious. [ADRIANNE] What's the matter? You were driving that car like a drunken sailor. Randy stares at her, hurt to the quick. [RANDY] I told you it might take some time.... [ADRIANNE] (shaking her head) I thought you could deliver what you promised. [RANDY] I can! Adrianne looks at Randy, dismisses him with a single shake of her head. [ADRIANNE] It was a mistake to send a boy to do a man's job. We should never have gotten rid of the Knight Industries CPU.... [RANDY] You told me to! Besides, it's not the computer you want...it's him! The guy who you stole the car from. Isn't it...! Adrianne doesn't respond. Her smile drives Randy crazy. [RANDY] I'll make this work! I will...! Randy turns and hurries back into the van. Adrianne smiles to herself and steps back into the limo. As she does: CUT TO EXT. HIGHWAY - DAY - ON THE MERCEDES cruising down the highway. INT. MERCEDES - DAY Michael's lost in thought. [K.I.T.T.] I know it must seem strange talking to a television set, but you could say something.... [MICHAEL] Sorry, pal. I was just thinking about Randy Merritt. (beat) You know, I always figured where someone lived reflected who they are. [K.I.T.T.] That can be deceptive. My present surroundings certainly don't reflect who I am. [MICHAEL] Yeah, but his room was so empty. There was nothing of him in there. No personality, no character.... [K.I.T.T.] That doesn't surprise me. It sounds like Randy lived in his own private world.... Michael looks at K.I.T.T. sharply. [MICHAEL] Kitt, that's it! His own private world...his mother said he lived in his computer.... Michael slams on the brakes, spins a U-turn and heads back down the road. As he does: CUT TO INT. RANDY'S ROOM - DAY Michael's sitting at Randy's computer, with K.I.T.T. on the table beside him. In the b.g. we see Mrs. Merritt leave the room. [MRS. MERRITT] I'll be in the kitchen if you need me. [MICHAEL] Thanks. (beat) Okay, buddy...let's see what you can find. [K.I.T.T.] Michael, are you sure we should be doing this? Computers are very personal. [MICHAEL] Look at it this way, Kitt...the sooner we find Randy Merritt, the sooner you can trade that portable in for a bigger model. [K.I.T.T.] (briskly) I'll get right to work. ANGLE TO INCLUDE THE MONITOR as the screen blinks on. We hear a series of electronic tones as K.I.T.T. goes to work. [K.I.T.T.] I'm accessing everything that's not coded, Michael...it's all rather predictable: video games, telephone numbers, homework assignments... several weeks overdue, I might add ...just a moment, what's this...? On the screen, the word "Orpheus" appears. [MICHAEL] Orpheus? What's it mean? [K.I.T.T.] I'm not sure, but it must have been important because it's protected by a rather sophisticated entry code. [MICHAEL] Can you break it? [K.I.T.T.] Probably. It could take time. [MICHAEL] Let's go for it. We don't have much else.... Before K.I.T.T. can respond, we hear another series of electronic impulses. [K.I.T.T.] Michael, someone's calling into this computer...! [MICHAEL] Calling in? You mean from outside? [K.I.T.T.] Yes. Via the telephone...it's another computer. [MICHAEL] It's gotta be Randy! Can you trace the call? ANGLE ON K.I.T.T.'S SCREEN as a map grid flashes onto the screen, searches, then stops. A blinking light pinpoints the origin of the call. [K.I.T.T.] It's coming from a mobile phone. RESUME SCENE As Michael grabs K.I.T.T. and hurries out the door, we: CUT TO EXT. ROAD - DAY - IN THE DESERT A deserted road heading into the desert. We see the Mercedes crest a hill, head toward camera. INT. MERCEDES - DAY as Michael studies the countryside. [MICHAEL] Looks pretty desolate out here, Kitt...You sure we're on the right track? [K.I.T.T.] (testy) Michael, I might look like a tele- vision, but I am still a computer. Of course, I'm sure.... [MICHAEL] (shaking his head) I don't know...there's nothing in sight.... Just then, we hear the roar of a car approaching them at high speed, from behind. Michael looks in his rearview mirror, sees: THE TRANS AM bearing down on the Mercedes, doing a hundred plus. ANGLE ON THE ROAD as Michael swerves to the right and the Trans Am whistles by on the left. It's driverless. During this, we intercut with: INT. VAN - DAY - ON RANDY at the joystick, a wild look in his eye. He laughs, jams the joystick to the right and: THE TRANS AM spins into a sloppy one eighty, heads back toward the Mercedes, weaving uneasily as Randy struggles for control. INT. MERCEDES as Michael stares in stunned disbelief at the Trans Am racing toward them. [MICHAEL] Kitt...that's our car! And no one's driving.... [K.I.T.T.] I'm picking up electronic impulses, Michael...it's under remote control.... As the Trans Am bears down on them: [MICHAEL] It's heading straight for us! [K.I.T.T.] Then I suggest we move. Quickly! ANGLE ON THE ROAD as the Trans Am barrels toward the Mercedes. Michael takes it as far to the right on the shoulder as he can go, but still the Trans Am bears down on it. INT. MERCEDES The Trans Am almost on top of it. ON RANDY watching the monitor. EXT. ROAD as the Trans Am speeds toward the Mercedes on a sure collision course, we: FREEZE FRAME AND FADE OUT END OF ACT TWO ACT THREE FADE IN EXT. DESERT ROAD - DAY Continuous action from the end of Act Two, as the Trans Am bears down on the Mercedes. Almost to the point of impact. ON RANDY pulling the joystick back as far as it will go. ON THE TRANS AM Turboing over the Mercedes, hitting the ground and disap- pearing in a cloud of dust down the road. INT. MERCEDES as Michael slows almost to a stop, takes a very deep breath. [MICHAEL] You know something, pal...I don't much care for being on this end of things. [K.I.T.T.] That makes two of us. [MICHAEL] Especially when you can't see who's trying to run you down. [K.I.T.T.] We might be about to find out, Michael...there, in the road ahead.... As Michael comes over a rise in the hill, we see: OMITTED THE LIMO Pan up the road to the Mercedes as it approaches, slows and parks. As Michael gets out, Turner also gets out. As the two men face each other, the back door to the limo opens and two beautiful legs swing out, followed by Adrianne. She's holding her champagne, smiling radiantly. Not the slightest bit bothered by Michael's appearance. [ADRIANNE] My, my, what a delightedly small world. I've been thinking about you.... She lifts her glass in a toasting gesture to Michael. [ADRIANNE] To my brave knight...even if he seems to have lost his trusty steed. She laughs, drinks, then reaches inside the car for the bottle and another glass. She offers it to Michael, but he refuses. [MICHAEL] I want that car back. [ADRIANNE] (another laugh) Yes, I'm sure you do. Coinci- dentally, I very much want the one remaining piece of him: the central processing unit. Michael almost smiles. This is proof. [MICHAEL] Having trouble without it? [ADRIANNE] Not trouble. But it would simplify things. Give me the CPU for twenty- four hours, and I'll return it and the car to you intact. [MICHAEL] If I don't? [ADRIANNE] You'll never see the car again. Michael studies her for a beat. [MICHAEL] I don't know what you're up to, but I don't like being threatened, and I don't make deals. (beat) Get your things. You're coming with me. She looks at Michael and laughs. She snaps her fingers toward Turner who brings her a walkie-talkie from the car. [ADRIANNE] You don't think I'd be here without a guarantee, do you? (into phone) Fredericks, what are you to do with Randy if I don't call every half hour? She holds the walkie-talkie so Michael can hear a crackly voice: [FREDERICK'S VOICE] Kill him. Adrianne smiles coldly at Michael. Off his look: CUT TO OMITTED EXT. FOUNDATION - DAY - STOCK [MICHAEL'S VOICE] It's not just recovering Kitt's body now, Devon.... INT. DEVON'S OFFICE - DAY Michael paces. Devon is at his desk, April is at the computer, listening. [MICHAEL] It's Randy's life too. He's just a kid in way over his head. Adrianne's a regular black widow. When she's through with him, she'll kill him. [DEVON] And we still don't know a thing about her. We don't even know if that's her real name. I've circulated her photo with my law-enforcement contacts -- even Interpol. No one recognizes her. [MICHAEL] Look, Adrianne implied that this 'Orpheus' project, whatever it is, will happen by tomorrow afternoon. Maybe that's our best lead. [APRIL] (shaking her head) I've researched it from its genesis in Greek mythology to every conceiv- able modern application. I can't find any connection. [MICHAEL] We can't just give up. [DEVON] I quite agree, Michael -- but we've exhausted every idea we've come up with -- and then some. They stare at one another, frustrated. Michael paces, then pauses, an idea forming. He grabs the phone, dials. [APRIL] What is it? Michael? [MICHAEL] A long shot. (phone) Mrs. Merritt, this is Michael Knight.... INTERCUT - MRS. MERRITT on the phone in her living room. [MRS. MERRITT] (anxious) Have you found him? [MICHAEL] No, not yet. Mrs. Merritt, you mentioned that after Randy met Adrianne he started to lie...what did he lie about? Anything in particular? [MRS. MERRITT] (embarrassed) Adrianne. [MICHAEL] (intrigued) What kind of lies? Can you give me an example. [MRS. MERRITT] Yes. One Saturday he had me drive him to the Parkhurst Hotel. He said there was a computer convention.... [MICHAEL] There wasn't? [MRS. MERRITT] No. I found out later he'd gone to visit her.... [MICHAEL] She was staying there? [MRS. MERRITT] Apparently. He spent all day with her in her suite.... On Michael's reaction: CUT TO EXT. PARKHURST - DAY - STOCK [CLERK'S VOICE] May I help you? INT. FRONT DESK - DAY Michael is walking and talking to an Assistant Manager type, who's shaking his head. [MANAGER] I'm sorry, but we guarantee our clientel the strictest privacy. Registration is confidential. Michael pulls out the photo of Adrianne. [MICHAEL] Well, let's forget the records. Maybe you'd recognize the face.... He hands it to the Clerk, who reacts: A hundred dollar bill is folded underneath it. The Clerk expertly palms the bill, studies the photo. He glances around. [MANAGER] (sotto) Of course. Miss Margeaux. She's often here...but she never registers. [MICHAEL] How could she not register? [MANAGER] (confidential smile) She stays in Mr. Atherton's permanent suite. Michael reacts to the name, obviously recognizing it. [MICHAEL] Mr. Atherton? Mr. George Atherton. As the Manager nods, we hold on Michael's look, then: CUT TO OMITTED INT. N.D. GARAGE - NIGHT A small, empty garage, except for the Trans Am and the "Rodent Raider." We pan past the Trans Am to the van. The doors are open. Inside, we see: RANDY bent over a bench, absorbed in his work. We hear the sound of footsteps and Adrianne comes into the van. Randy doesn't bother to look up. Adrianne stands next to him for a moment. The mood is distant, a little cold between them. [ADRIANNE] You've been awfully quiet. How's the work coming? [RANDY] Okay. It'll be okay, you'll see. I should have complete control over the car by tomorrow. Randy fiddles with the keyboard, looking very unhappy. Adrianne sits next to him, brushes a hair off his fore- head. [ADRIANNE] That makes me very happy. And proud. (beat) Why do you look so sad? Randy shrugs, hesitates, then: [RANDY] Look, Adrianne, the computer stuff is fun, but the rest of it... (long beat) Maybe...maybe I shouldn't be involved. I mean, I didn't know it was gonna be like this...any of it. Adrianne studies Randy intently, then smiles warmly. [ADRIANNE] After this, we'll take a long trip...just you and me. The world will be our playground and you'll be my little Prince.... Randy stiffens, glares at Adrianne. [RANDY] I'm not 'little!' She's startled by his vehemence. She smiles; she has uncovered what's bothering him. [ADRIANNE] Randy, that's just a phrase, a figure of speech. Are you jealous? [RANDY] No. [ADRIANNE] Yes, you are. But, who...not Turner or Fredericks, certainly.... [RANDY] (beat) You were with him today.... [ADRIANNE] (realizes) Michael Knight? (laughs) You darling, I'm flattered, but you have nothing to be jealous of. Hand- some men are nice, but looks aren't what really attract a woman. Cer- tainly not for long. No, women are attracted by power, and a man's power is in his mind. What a man can do, what he can create and control. No one but you could reprogram and control the Knight Industries' Two Thousand, darling. No one. Smiling, she gently turns his face to hers. He trembles at her touch, totally under her spell again: [ADRIANNE] Your genius is your power, Randy. Never forget that.... CUT TO OMITTED EXT. HIGHWAY - NIGHT The Mercedes passes, Michael pushing it. [DEVON'S VOICE] (astonished) George Atherton? ANGLE IN MERCEDES Michael is driving, K.I.T.T. is on the passenger seat, Devon's image on his little screen. Intercut as necessary. [MICHAEL] That's what the clerk said, Devon. Devon shakes his head. [DEVON] He's been on the Foundation Board of Directors for nearly fifteen years. There must be an explanation. [MICHAEL] Adrianne Margeaux is a very beautiful explanation. [DEVON] An indiscretion is one thing, but to share confidential information about Kitt. I just don't understand.... [MICHAEL] Maybe Atherton can shed some light on the subject. Got an address on him? [DEVON] He stays at the Blackwell when he's in town. He's there now. [MICHAEL] I'm on my way. [DEVON] Michael...George Atherton was an old, dear friend of Wilton Knight's. Please be... considerate. [MICHAEL] I'll try. But, given what's happened to Kitt and the car, I'm not going to make any promises.... [DEVON] How's Kitt holding up? [K.I.T.T.] Devon, just because my size and capabilities have been temporarily reduced, I can still speak for myself. Michael smiles. [MICHAEL] Does that answer your question? [DEVON] Quite. Stay in touch. Ad-lib good-byes and he fades from the screen. [K.I.T.T.] Now I know how short people feel. CUT TO EXT. BLACKWELL HOTEL - NIGHT The camera angles up from the Mercedes, parked, to the top floor. INT. ATHERTON'S SUITE - NIGHT - GEORGE ATHERTON is a good-looking, well-tanned man in his fifties. At the moment he looks angry, controlled. [ATHERTON] Are you out of your mind? ANGLE TO INCLUDE MICHAEL across from Atherton in his beautiful, expensively furnished living room. Both men are standing. [ATHERTON] I told you, I've never heard of Adrianne Margeaux! Now, if you don't mind.... He moves to the door. Michael doesn't budge. [MICHAEL] Look, Mr. Atherton, your private life's your business...but this thing's out of control. The Knight Industries' Two Thousand computer was nearly destroyed, the car is still missing, and a young kid's life is in danger. And, it all comes back to Adrianne Margeaux. (firm) Which leaves the whole mess on your front porch. Atherton stares at Michael for a beat, then sags. He nods. [ATHERTON] I've known Adrianne for nearly five years. We've been...more than friends, but I never discussed Kitt... (thinking) She could've gone through my files, it could have been pillow talk.... [MICHAEL] What's 'Orpheus?' Atherton looks at Michael, shocked. He hesitates, then: [ATHERTON] When we became...involved, I set up a Swiss numbered account for her. Only she has access. We code named it 'Orpheus' -- each letter of the name is a number in the account. [MICHAEL] Mr. Atherton, she's planning a crime of some kind...a big one. My guess is it involved something of yours. [ATHERTON] That's absurd. How could she possibly hurt me? [MICHAEL] You tell me. What do you have that's worth a lot of money and somehow vulnerable? Atherton paces, perplexed. Then suddenly stops, staring at Michael. [ATHERTON] My collection! [MICHAEL] What collection? [ATHERTON] My art! It's been on display in San Francisco and is being transported by a special armored car to Denver. [MICHAEL] Any idea what it's worth? [ATHERTON] At last appraisal, over fourteen million dollars. On their looks.... FADE OUT END OF ACT THREE ACT FOUR FADE IN EXT. ND GARAGE - DAY The big doors slide open. ANOTHER ANGLE A flatbed truck backs up to the entrance. ANGLE ON K.I.T.T. Driverless, he moves out of the warehouse and rolls up onto the flatbed. ANGLE ON RANDY AND ADRIANNE Inside, Randy at his mobil computer control. Adrianne smiles. ANGLE ON K.I.T.T. He stops at precisely the right place on the truck. Turner, and the mysterious Fredericks, cover K.I.T.T. with a snap-down tarp, designed for travel. CUT TO EXT. HIGHWAY - DAY The Mercedes flashes by. OMITTED INT. SEMI - DAY Michael is on with Devon. [MICHAEL] Devon, I'll need every possible piece of information on this special car, the route, terrain, intersecting highways -- the works. [DEVON] April's arranging to interface Kitt with Centra-Comp right now. From what I understand, the vehicle is a state- of-the-art armored bus capable of withstanding virtually any impact. [MICHAEL] How about a laser? [DEVON] (reacts) Kitt's laser isn't operative. [MICHAEL] The laser powerpack is still there. If Randy's the computer genius he appears to be, anything's possible. A sobering thought for Devon. April crosses from the b.g. [APRIL] Kitt's connected to Centra-Comp. Within minutes he'll know every- thing we've got. [MICHAEL] Everything except where they plan to strike. (beat) Thanks, April. Devon. We'll be in touch. Ad-lib good-byes and their faces fade. A silent moment passes, Michael deep in thought. [K.I.T.T.] My laser power pack...Michael, in the wrong hands it's a weapon of incredible destruction. [MICHAEL] I'm aware, pal. Well aware... (beat) How you doing down there? Okay? [K.I.T.T.] 'How you doing down there'? You're making me feel like a child. [MICHAEL] (smiles) Sorry, big fella. [K.I.T.T.] That's better. Michael laughs. CUT TO OMITTED EXT. ANOTHER HIGHWAY - DAY We see the tarp-covered flatbed, followed by the "Rodent Raider" van, pass camera. Adrianne and Randy are in the van, Turner and Fredericks in the flatbed. ANGLE IN VAN Randy drives, Adrianne in the passenger seat. [ADRIANNE] ...but darling, those things don't matter. Those are things of the past.... [RANDY] Yeah, but it's not just that, it's lots of things...like my club, 'The Computer Clones.' I'm secretary- treasurer. I owe petty cash $8.95.... [ADRIANNE] (laughs) We'll make it good, I promise you. Randy, listen to me. You're a little homesick, that's all. It's not unusual. The trick is not to think about what you've left behind, but what awaits you.... OMITTED EXT. DIFFERENT HIGHWAY - DAY The Mercedes speeds by. [K.I.T.T.'S VOICE] I've got something, Michael. ANGLE IN MERCEDES Michael at the wheel. He glances at K.I.T.T. [MICHAEL] Go. [K.I.T.T.] The two most likely places for inter- cept are ten point two miles north of Cutter's Crossing and six point seven miles north-northeast of a town called Bridgeport. Intercut K.I.T.T.'s little TV screen as it flashes maps, indicating each location with a red dot. [MICHAEL] Which one's more likely? [K.I.T.T.] They're virtually the same in terms of desirability. [MICHAEL] I think Randy worships computers. He'd abandon his own judgment for even a fractional advantage. [K.I.T.T.] In that case, I'd say the Cutter's Crossing location. Before Michael can respond, the car sputters, coughs, dies and coasts to a stop. [MICHAEL] Kitt, what's wrong? [K.I.T.T.] A chronic problem with petrol- dependent vehicles...we're out of gas. [MICHAEL] Out of gas? Why didn't you tell me we were running out? [K.I.T.T.] Why didn't you watch the gauge? You're the driver...I'm only along for the ride. [MICHAEL] How far to Cutter's Crossing? [K.I.T.T.] Nearly ninety miles. EXT. ROADSIDE - DAY as Michael climbs out, checks his watch, looks around. Nothing. Then, putting along toward Michael, we see: A '49 STUDEBAKER cruising along about forty. Michael moves onto the highway, waving his arms. The Studebaker slows, finally stops. An old hayseed, Elmer, looks out at Michael. [MICHAEL] Thanks for stopping. Listen, how'd you like to own that expensive convertible? [ELMER] (hard of hearing) What's that? [MICHAEL] (shouting) Look...I'm in a big hurry and I just ran out of gas. I'll trade you cars -- that convertible's worth ten times what this is. More. It's a great deal. Elmer climbs out of his car, crosses to the Mercedes, inspects it, then turns to Michael. [ELMER] If it's such a great deal, how come I'm driving and you ain't? Michael glances at his watch, at his wit's end. Then an idea strikes. He pulls out his wallet. [MICHAEL] Look, I'll trade you straight across and throw in... (counts his money) ...sixty-eight dollars. What'd you say? Deal of a lifetime. Elmer ignores the money. He's spotted K.I.T.T. in the front seat of the Mercedes. [ELMER] Tell you what.... [MICHAEL] (encouraged) Yeah? [ELMER] Throw in the sixty-eight dollars and that little TV set, an' you got a deal. Michael stares. [MICHAEL] I can't throw in the TV. [ELMER] Been wantin' a little TV like that for years. [MICHAEL] Yeah, but you don't understand -- it's not really a TV. [ELMER] Looks like a TV to me. [MICHAEL] Elmer, look at me. I'm an honest man. Make the trade for the convertible and the sixty-eight dollars, give me your address and I'll send you a little TV just like that one. [ELMER] Thought you said it wasn't a little TV. Michael is ready to kill Elmer. [MICHAEL] I'll send you two. CUT TO OMITTED EXT. SIDE ROAD - DAY The caravan passes camera, lead by the Rodent Raider at a deserted part of the road, Randy turns off and parks. The flatbed parks behind it. EXT. ANOTHER HIGHWAY Just empty road and then, over a rise, we see the Studebaker appear, going full out, which means about forty-seven. ANGLE IN STUDEBAKER Michael is at the wheel, K.I.T.T. beside him. Michael doesn't look happy. [K.I.T.T.] That Elmer was quite a character. [MICHAEL] Yeah. [K.I.T.T.] Drove a hard bargain. [MICHAEL] Yeah. [K.I.T.T.] We're behind schedule. [MICHAEL] Kitt, keep one thing in mind. I can always switch you to a game show. CUT TO EXT. ARMORED BUS - DAY It speeds along the highway. It's high-tech panelling gives an unusual appearance. A driver and a guard are seen in the cab. CUT TO OMITTED CUT TO EXT. SIDE ROAD - DAY Fredericks and Turner untarp the flatbed, revealing the Trans Am. Randy, inside the van, operates the mobil computer and guides the car off the truck. Adrianne watches, smiling, then steps into: OMITTED THE VAN - ANGLE ON RANDY AND ADRIANNE Randy at the controls. [ADRIANNE] How far away is the armored bus? [RANDY] (pushes buttons) Two minutes and thirteen seconds. [ADRIANNE] Shouldn't you begin the computer override? No response. [ADRIANNE] I said, shouldn't you start the computer override? Randy glances at Adrianne. She looks at him sternly. He hesitates, then nods, starts to work. Adrianne smiles. [ADRIANNE] That's my good boy. [RANDY] I'm not your boy. Randy keeps working as Adrianne watches him carefully and we: CUT TO ON THE STUDEBAKER wheezing down the road, barely making it up a medium incline, maybe even starting to steam. ARMORED BUS moving down the highway, looking invincible. OMITTED EXT. SIDE ROAD - ON THE TRANS AM - DAY Poised. Ready. The body, without K.I.T.T.'s heart and soul, looks strangely evil. Behind the Trans Am, we see the flatbed and the van. Turner and Fredericks are in the flatbed. INT. VAN - DAY Randy's at the computers, Adrianne at his shoulder. He pushes a series of buttons. We see the armored bus on a monitor in front of him (live-action video). [RANDY] Five, four, three, two, one...go! INT. ARMORED BUS CAB - DAY as the bus sputters, misses. Dashboard lights flash on and off, then off. The driver and the guard exchange a startled look as the big rig starts to slow to a stop. EXT. ROAD - DAY With Randy's beautiful planning, the armored bus slows to a stop directly in front of the place where the Trans Am and the other vehicles are parked. As it does: THE TRANS AM roars forward, heading for the bus. Behind it, Turner and Fredericks wait, poised and ready to strike. OMITTED ANGLE AT ARMORED BUS The Trans Am pulls alongside, stops. A laser beam begins to cut a hole through the reinforced car. ANGLE IN CAB The driver and guard react, pulls their weapons, jump out of the cab and watch, incredulous, as the laser proceeds to cut a 4 x 4 chunk out of the side. They open fire on the car, bullets ricocheting in every direction. INTERCUT - RANDY AND ADRIANNE IN VAN Adrianne watches, eyes flashing with excitement, as Randy expertly manipulates the action via computer. The laser continues to cut. ANGLE ON STUDEBAKER as it careens down the dirt road. ANGLE - ON THE FLATBED as Turner roars across the road, coming up behind the driver and the guard. Fredericks opens fire, winging one of the guards. The other, wisely, drops his gun as Fredericks leaps out of the truck. ANOTHER ANGLE As Fredericks ties up the two guards, Turner backs the flatbed toward the now complete hole in the side of the bus. The Trans Am moves away from the bus and Turner pulls the truck close. In a second he's out, pulling the loading ramps from the back of the flatbed across to the bus, forming a walkway between the two vehicles. Fredericks joins him and they start unloading crates. OMITTED EXT. ROAD - ON THE STUDEBAKER moving down the road. In the distance, we should be able to see the armored bus at the side of the road. OMITTED INT. VAN - DAY as Adrianne rushes from the door to Randy, who's still at the computers. [ADRIANNE] There's a car coming this way... who's inside? Randy punches into the monitor. We see Michael's dirty face appear. [ADRIANNE] It's Michael Knight! Before Randy can respond, Adrianne has him by the arm and is dragging him outside. EXT. VAN - DAY Adrianne pulls Randy across the road. The Trans Am sits nearby the armored bus. Fredericks and Turner are busily unloading the bus. Adrianne shoves Randy toward the Trans Am. [ADRIANNE] Get in! (off Randy's look) I want you to stop Knight. In person, not remote control.... [RANDY] What do you mean? [ADRIANNE] Kill him! (shouting off) Fredericks! Fredericks rushes over from the bus. [ADRIANNE] Take a ride with the whiz kid...make sure he finishes off Mr. Knight. [RANDY] No! I'm not gonna do it.... Fredericks pulls his gun, points it at Randy. Adrianne pushes Randy into the Trans Am and Fredericks climbs in the passenger side. INT. STUDEBAKER heading for the tracks. In front of it, we can see the Trans Am firing up, ready to pull out. [MICHAEL] Uh oh...there's your body again, Kitt... (staring ahead) And Randy's behind the wheel. [K.I.T.T.] Randy? I can't believe he'd try and harm us. [MICHAEL] He may not have a choice. INT. TRANS AM - DAY Fredericks has got his gun on Randy, his eyes on the road ahead of them. Randy glances at Fredericks, then suddenly swerves to the left. Fredericks recovers, leans over and grabs the wheel from Randy, knocking him against the door. INT. STUDEBAKER - DAY as the Trans Am heads for them. [K.I.T.T.] Michael, we're on a collision course! [MICHAEL] Kitt, can you override Randy's CPU? [K.I.T.T.] With my limited power, I wouldn't have a chance, Michael.... [MICHAEL] In that case, give me enough juice for one little trick. INT. TRANS AM - DAY as it races on a straight line for the old Studebaker. Randy struggles to turn the wheel, but Fredericks has a steel grip on it. INT. STUDEBAKER - DAY Michael shouts to K.I.T.T. The Trans Am is almost on top of them. [MICHAEL] Hit it, Kitt! Now...! [K.I.T.T.] I'm trying, Michael! INT. TRANS AM - DAY as the "Eject" button on the dash comes to life. Suddenly, Fredericks' seat, with Fredericks aboard, goes shooting out of the car. Randy jams on the brakes, jerks the steering wheel as hard as he can to the right. EXT. ROAD - DAY as the two cars barely miss each other, come skidding to a stop. Randy spins a perfect one eighty, drives back to the Studebaker just as Michael jumps out. He stops, pops the passenger door open. [RANDY] Hop in! Michael grins, gives him the thumbs up sign, starts to climb in. As he does, we hear: [K.I.T.T.'S VOICE] Michael, don't forget me! Michael grins, retrieves K.I.T.T. from the Studebaker, then jumps into the Trans Am. Randy jumps on it and they race toward the train. INT. TRANS AM Randy behind the wheel, Michael in the passenger seat. He glances over at Randy. [MICHAEL] You handle this pretty well. Randy grins delightedly. [RANDY] Thanks. Thanks a lot. [MICHAEL] Guess we've only got one loose end to wrap up, huh? Randy nods. EXT. HIGH-RAIL VEHICLE - DAY Turner and Adrianne are still unloading the armored car when the Trans Am comes roaring up and skids to a halt. Randy gets out as Adrianne looks up. She beams at him. [ADRIANNE] Good work, Randy! I knew you could do it.... Then, Michael steps out of the car. Turner sees him, reaches for his gun. Michael's on him in a second, knocking the gun from his hand, then cold-cocking Turner with a single blow. Then, he turns to Adrianne. [MICHAEL] Me, too...I didn't doubt him for a second. By then, Adrianne's smile has turned to an icy sneer. As Michael and Randy exchange a big smile, hold on them, and then: OMITTED FADE OUT END OF ACT FOUR TAG FADE IN EXT. RANDY'S HOUSE - DAY K.I.T.T. (or at least K.I.T.T.'s body) is parked in front. Pan to the front door as it opens and Michael, Randy and Mrs. Merritt step out. [MRS. MERRITT] I don't know how we'll ever thank you. [MICHAEL] It's enough for me that Randy's back home and Adrianne is under arrest. (to Randy) When do you go back to classes? [RANDY] Monday. I fell behind, but I'm kind of looking forward to catching up. They reach K.I.T.T., pause. [MICHAEL] Well, guess I'd better get a move on. They shake hands, ad-lib good-byes. [MICHAEL] Oh, almost forgot. He reaches inside K.I.T.T., hands Randy the little TV. [MICHAEL] Just in case you ever want a break from your computer. Mrs. Merritt doesn't know the TVs former significance, but Randy does. He smiles. He and Michael shake. [RANDY] Thanks. [MICHAEL] You're welcome, partner. ANOTHER ANGLE Michael climbs into K.I.T.T. and pulls away. They wave good-bye. ANGLE IN K.I.T.T. as Michael drives, feeling good. Relaxed. K.I.T.T.'s voice box lights up. [K.I.T.T.] What a relief. [MICHAEL] To see Randy home again? [K.I.T.T.] To be whole again. Michael, you have no idea what it was like to be locked inside that little TV. Michael laughs. [MICHAEL] Driving Elmo's old Studebaker was no picnic either, pal. Glad to have you back. A buzzer sounds. [K.I.T.T.] Devon's calling. I guess it's business as usual. [MICHAEL] I don't know about that. Let's play hooky. [K.I.T.T.] Hooky? I'm not familiar with the term, Michael. [MICHAEL] (grins) Then let me educate you in one of life's finer pleasures. He hits Pursuit. EXT. DESERTED ROAD - DAY K.I.T.T. flies by in excess of 100 mph. [K.I.T.T.'S VOICE] Oh, this does feel good. [MICHAEL'S VOICE] How about a little turbo boost? [K.I.T.T.'S VOICE] Dare we? Without sufficient reason? [MICHAEL'S VOICE] Without sufficient reason is the definition of hooky, pal. Shall we go for it? [K.I.T.T.'S VOICE] Lets. DIFFERENT ANGLE - STOCK as K.I.T.T. leaps over an obstruction. He soars higher and higher. FREEZE FRAME FADE OUT THE END

{"show": "Knight Rider", "season": "s02", "episode": "e08", "title": "Soul Survivor"}

knightriderarchives

ACT ONE FADE IN EXT. A MUDDY COUNTRY ROAD - NORTHERN LOUISIANA - DAY A hot afternoon sun beats down on a row of men toiling on a road gang. Angle on a rifle-toting guard, Brown, leaning against a beat-up station wagon. He's sipping a beer, laughing and talking mostly to another guard. They turn and stare at the row of men. Their attention directed pri- marily to: CHRISTOPHER "CRAY" CALLAN Handsome, arrogant. Clearly a big cut above the rest of the boys in the gang. Callan pokes casually at the ground with his shovel, barely breaking a sweat. WIDER ANGLE as Brown comes sauntering along the row, ignoring everyone but Callan. He walks to Callan, his rifle in one hand, his beer in the other. Brown takes another swig of his beer. Callan ignores him. Brown finally reaches out, prods Callan with his rifle. [BROWN] You ain't sweating, Callan. Callan glances at him. [BROWN] You too important to sweat? Callan still doesn't respond. Brown glares at him. [BROWN] Maybe you need to get closer to the.... With that, he slams his elbow in Callan's gut. Callan drops to the ground. We see the other prisoners smiling as Brown steps up to Callan. [HARRIS] I brung you a libation from your daddy. And he pours the beer onto Callan's head. CLOSE ON CALLAN as beer pours over him, followed by something small and metallic that drops from the can. We see that it's a key as Callan palms it and jams it into the lock on his manacles as he struggles to his feet. He faces the smiling Brown. [BROWN] Feel like working now? Callan grins and lashes out with his now-free leg, kicking the rifle out of Brown's hands. In a flash, Callan's gained the rifle and aims it at Brown. The other guard leaps forward, but he's stopped short as Callan fires a warning shot over his head. Callan turns to Brown, whose hands are up over his head. [CALLAN] You overdid it just a little, 'boy.' He slams the butt of the rifle into Harris, knocking him out. He starts to move toward the station wagon and the other prisoners begin to follow. Callan's glare stops them cold. [CALLAN] Don't even bother to ask. The prisoners drop back and Callan climbs into the station wagon, fires it up and pulls away in a cloud of dust as we: CUT TO OMITTED EXT. F.L.A.G. FOUNDATION - DAY - STOCK A clear, sunshine-filled morning. [K.I.T.T. (V.O.)] I really don't like this, Michael. INT. CONCRETE TESTING AREA - DAY The Trans Am sits in a cinderblock well resembling an over- sized oven. Michael leans in the open front door. [MICHAEL] Come on, pal. What's a little heat? [K.I.T.T.] Temperatures exceeding six hundred degrees is hardly a little heat. [MICHAEL] Maybe baking for a couple of hours will give you a greater appreciation of roast beef. [K.I.T.T.] If that's an attempt at humor, I'm not amused.... ANGLE TO INCLUDE APRIL visible behind a glass wall that separates the oven from a control booth. Her voice echoes through the room. [APRIL] You're vulnerable to sustained heat. We're trying to make you invulnerable. [MICHAEL] Exactly. In theory, the pyroclastic lamination April's designed ought to keep you cool as a cucumber in temp- eratures up to eight hundred degrees. (beat) In theory. [K.I.T.T.] 'In theory.' How comforting. [MICHAEL] Look, Kitt, it's like taking your vitamins or getting a shot. It's for your own good. Behind Michael, we hear: [APRIL'S VOICE] So's this. Michael turns to see April standing behind him, holding an asbestos suit. She hands it to Michael. [APRIL] The invitation calls for formal wear. [MICHAEL] What's this? [APRIL] We're testing man and machine. Or if you prefer, man in machine. Michael looks from April to the suit, then back to April. He's incredulous. [MICHAEL] Wait a minute. You expect me to play baked guinea pig in this oversized microwave? [K.I.T.T.] What's a little heat, Michael? It's just like taking your vitamins.... [MICHAEL] I hated taking vitamins. Forget it.... He hands the suit back to April. At this moment, Devon approaches. Seeing that the asbestos suit's returned to April's hands, Devon nods approvingly. [DEVON] Good. You've completed your experi- ments. I trust they were successful. [APRIL] We haven't even started them. He won't cooperate. [MICHAEL] I'm not in the mood to be pushed past my boiling point. [DEVON] Forgive me for interrupting this debate, but I have something here that may postpone your experiments. He holds out a small cassette tape. Seeing the tape as his ticket out of this sticky situation, Michael grabs it. [MICHAEL] Good idea, Devon. I'd better get right on it. He hurries toward the Trans Am. [APRIL] Wait a minute.... [DEVON] Perhaps I'd better explain the content of that tape, as it's not customary Foundation business.... [MICHAEL] Don't worry. Kitt and I'll figure it out. He jumps into the car and backs out of the well as fast as possible. April protests, tries to stop him, can't. She's furious. [APRIL] He's impossible. Absolutely impossible. Frustrated, she heads back toward the booth. Devon seems amused. EXT. HIGHWAY - NIGHT - STOCK The Trans Am moves through the darkness along a stretch of two-lane highway. INT. TRANS AM Michael relaxedly cruises at 120. He's looking at the tape. [MICHAEL] This cassette got us both out of some hot water. Least we can do is listen to it. He pops the cassette into the Trans Am's tape deck. We hear a male voice with a Southern accent ad-lib "Are you ready? Go ahead," etc. Slowly, haltingly a small female voice begins speaking in a thick, odd dialect not immediately identifiable. [LAYLA] (cassette) I am Layla Charon Callan...my husband is Christopher Callan...they call him 'Cray.' I see him murder a man and I.... She pauses and the previously heard male voice prompts her from the b.g. She continues: [LAYLA] (cassette) ...testify against him. He is on road gang and now he escapes. Whereas the girl's spoken almost by rote, her voice now fills with desperation, pleading. [LAYLA] (cassette) He will kill me, I know. Please I never hurt nobody. Don't let him kill me. Help me, I beg you.... And the tape clicks off. Michael is disturbed and deeply moved by the plea. [MICHAEL] It sounds like a little girl. Run a voice analysis, Kitt. [K.I.T.T.] Right away. Michael takes the tape out and eyes it. ANGLE - THE CASSETTE Printed neatly is the following: THOMAS BAYLOR Fleur Du Lac, Louisiana BACK TO SHOT as Michael places the cassette back in the deck, doesn't turn it on. [K.I.T.T.] The speaker is indeed female, approx- imate age eighteen years, limited educational background indicated by broken speech pattern. Emotional timbre is sincere and indicates con- dition of extreme stress. [MICHAEL] What kind of an accent is that? [K.I.T.T.] Linguistic background is an amalgam of Southern American English, French, Spanish and American Indian dialect, nonspecific. [MICHAEL] Very strange. Got anything on Christopher Callan? [K.I.T.T.] Let me interface with Omni-comp and see what there is. A beat, then: ANGLE ON A PHOTOGRAPH OF CHRISTOPHER CALLAN as it's fed to Michael. We see the handsome countenance. ANGLE ON MICHAEL studying the photograph. [K.I.T.T.] Age thirty-five, traditional Southern stock, no record previous to a con- viction for murder. (beat) A particularly brutal murder, Michael. [MICHAEL] Guess we'd better find Layla Callan before he makes that two murders. He pushes a button and Layla's tape begins to play again. OMITTED EXT. HOUSE - DAY A small, ND white clapboard house. In the yard, scattering feed to a bevy of chickens, we see: MINISTER BAYLOR A gentle-looking man in his early fifties. He's wearing a minister's collar, but he's shed the dark coat. His shirt-sleeves are turned up and he's perspiring slightly in the hot morning sun. As he works, he clucks softly to the chicken at his feet. He hears a noise behind him, he turns to face Layla Callan, a delicate, beautiful girl dressed shabbily in tight jeans and heavy boots, a man's plaid shirt thrown over. A soft felt hat is pulled down around her young face. [BAYLOR] Layla...I told you to stay with your family. Layla moves close to him, grabs his sleeves. [LAYLA] Cray is here, Reverend. I feel it. I hope maybe you have heard... something. Baylor rests his hand on hers, shakes his head. [BAYLOR] Nothing yet. But we can't stop hoping.... [LAYLA] (despondent) No one comes. No one cares. [BAYLOR] Layla, if you won't leave the parish, you've got to stay home in the bayou. You'll be safe there.... [LAYLA] I am never safe from him. (beat) Maybe I am meant to die. Hold on the minister's helpless look, as Layla turns and hurries from the yard. CUT TO EXT. LOUISIANA HIGHWAY - DAY - STOCK The Trans Am is now soaked in warm Southern sunlight, rich as honey. INT. TRANS AM as Michael cruises toward Fleur du Lac. [MICHAEL] How much farther to Fleur Du Lac, Kitt? [K.I.T.T.] Four point six miles. (beat) Michael, my cultural data bank indicates that smaller southern towns are often not favorably disposed to- ward strangers. [MICHAEL] Relax. This part of the country's famous for it's hospitality. [K.I.T.T.] Perhaps, but I hope you have some kind of plan for finding Layla Callan. [MICHAEL] It's a small town. It'll be a snap finding one little girl named Callan. (smiling) I mean, how many Callans can there be? CUT TO EXT. MAIN STREET - FLEUR DU LAC - DAY - ON THE TRANS AM cruising slowly down the street. Almost every business has the name "Callan" out front. Over this, we hear: [K.I.T.T.'S VOICE] Shall I start counting? INT. TRANS AM as Michael looks to his left and right. [MICHAEL] Thanks anyway, wise guy. [K.I.T.T.] It occurs to me that since the escaped convict is a member of the Callan family, this town may be less than receptive to your attempts to help his wife. Perhaps even hostile. [MICHAEL] I've been thinking the same thing. [K.I.T.T.] What are you going to do? Michael pulls over and parks the Trans Am. [MICHAEL] Only thing I can do...stir up the pot and see what rises. With that, Michael gets out. MOVING WITH MICHAEL as he wanders through the town, in a montage of shots that include: THE LOCAL GAS STATION as Michael talks briefly with a crusty old attendant wearing a painter's hat and overalls. Nothing but a lot of head shaking. Michael moves on to: CALLAN GROCERY where Michael stops to talk to a clerk who's arranging fruit and vegetables on a stand in front of the store. This time, Michael doesn't even get a response. Quick as she can move, the clerk disappears inside the store. THE LOCAL TAVERN or any other spot where the locals might gather. A couple of good ole boys are sitting on benches, chewing and whittling. Michael stops, finally gets their attention. They eye Michael from head to toe, go right back to the business of passing the day. Without Michael. He turns and leaves, and we go to the: OMITTED TRANS AM Just as Michael reaches K.I.T.T., Sheriff Casey, the long arm of Fleur du Lac's law pulls up and parks. About two inches from Michael's foot. Casey gets out, real slow and easy, crosses to Michael. [CASEY] This your car? [MICHAEL] That's right. [CASEY] You're running around with a busted taillight. That's an infraction of the law. [MICHAEL] What taillight? Michael moves to the back of K.I.T.T. Casey follows. [CASEY] This one.... With that the Sheriff leans back and kicks K.I.T.T.'s left taillight. His foot bounces off. Casey's surprised, kicks the light again, harder. Still nothing. Red-faced and angry, Casey turns to Michael. [CASEY] In addition to that faulty brake light, I'm citing you for running a stop sign. [MICHAEL] I haven't seen a stop sign for a hundred miles. [CASEY] Back there at Main and Fourth. You just sorta coasted right through. (beat) I'm gonna have to take you in. [MICHAEL] For running a stop sign? Where I come from, that's worth a ticket and.... [CASEY] You ain't where you come from, boy.... Before Michael can respond, Sheriff Casey's escorting Michael into the backseat of the squad car. ANGLE ACROSS THE STREET ON MINISTER BAYLOR watching as Michael is driven away. ANOTHER ANGLE TO FEATURE K.I.T.T. as the squad car pulls past the Trans Am. INT. TRANS AM as we hear: [K.I.T.T.] So much for Southern hospitality. CUT TO EXT. OLIVER CALLAN'S MANSION - DAY - ESTABLISHING an antebellum two-story on the end of Main Street. The squad car is parked in the long circular drive. Michael and the Sheriff get out, head toward the house. OMITTED INT. MANSION - LIVING ROOM - DAY Dark, quiet, a scattering of chairs, sofa and a large white straw peacock chair. And electric fan hums quietly. There's a knock on the door and then it opens. Michael and the Sheriff step into the room. [SHERIFF] I got the young fella here, Judge Callan. Michael reacts to the name Callan as the chair swivels to reveal a large man in Colonel Sanders white, fanning himself. The man, Judge Oliver Callan, views Michael with all-observing, shrewd eyes. [SHERIFF] I'll be out front if you need me, Judge. The Sheriff leaves. Michael stands before the Judge, his mind calculating the setup. [JUDGE CALLAN] What's your name, boy? [MICHAEL] Michael Knight. [JUDGE CALLAN] I'm Judge Oliver Callan. I represent the judiciary here in Fleur Du Lac. [MICHAEL] Seem to be a lot of Callans in town. [JUDGE CALLAN] Just one that counts. [MICHAEL] Cray Callan must ring a bell. [JUDGE CALLAN] He's my son. [MICHAEL] Must be hard for you...your son being a murderer and an escaped convict, I mean. [JUDGE CALLAN] (coldly) I didn't see any murder and I didn't convict him. (beat) I hear you're lookin' for that little tramp wife of his. Why? [MICHAEL] That's personal. [JUDGE CALLAN] It's my family and it's my town, boy. Nothing's personal. [MICHAEL] Look, I was brought here because I ran a stop sign allegedly. Why don't I pay that off and head on my way? Callan studies Michael for a long beat. Finally, he smiles. Too broadly. [JUDGE CALLAN] I don't like visitors to leave with a bad opinion of Fleur Du Lac, so I won't charge you for that infraction. I'll just give you a piece of advice. (hard) Don't go against me, boy. Christopher Callan is safe as a clam in his shell in this parish, but you're out of the water, you get me? He swivels around in his chair, turning his back to Michael as an indication of dismissal. [MICHAEL] Yes, sir. I think I get you very well. With that, Michael turns and exits, and we: CUT TO OMITTED EXT. MAIN STREET - DAY as Sheriff Casey stops near the Trans Am. Michael steps out, watches as Casey continues down the street. CLOSE ON MICHAEL as he moves toward K.I.T.T. Suddenly, Minister Baylor crosses the street, passes close to Michael. As he does, we hear: [BAYLOR] (sotto voce) I sent you the tape. I need to talk to you at the church. Before Michael can respond, Baylor turns and hurries for the opposite corner. ANOTHER ANGLE as a shot rings out and a bullet catches the minister in the shoulder. Michael reacts, rushes into the street, looks up to see: MICHAEL'S POINT OF VIEW - A ROOFTOP NEARBY A man with a rifle is visible -- Christopher Callan. He ducks out of sight. BACK TO MICHAEL as he looks up at the crowd of locals gathered around him. The people look shocked but nobody's pursuing Callan. [MICHAEL] Isn't anybody going to stop that guy? Nobody answers. Michael looks at the minister, who's passed out. Blood oozes from a shoulder wound. [MICHAEL] Somebody get help! He gets up, runs after Callan. ANGLE ACROSS THE STREET Hidden in the shadows of a building, we see Layla Callan. She watches, wide-eyed with horror and grief, as several of the locals finally go to the aid of the minister. With tears streaming down her face, she finally turns and races down an alley. As she does, we go to: MICHAEL racing around a corner, where he spots two deputies sitting inside a coffee shop. A squad car is parked out front. Rifle still in hand, Callan is running toward the squad car. Michael stares in disbelief at the two indifferent cops, then shouts: [MICHAEL] Hey, you! Stop! Callan turns, sees Michael and fires at him. Michael leaps out of the way, rolls behind a parked car. [MICHAEL] (comlink) Kitt! I need you! EXT. CALLAN GROCERY - DAY A few kids are peering at the car, tapping it and staring in the windows when the Trans Am bursts to life. The kids jump away, staring with awe. K.I.T.T. backs up fast, executes a 180 and tears up the street toward Michael, leaving a gaping gathering of kids behind. EXT. INTERSECTING STREET - DAY as the Trans Am roars around the corner. Callan reaches the squad car, jumps in and with a squeal of tires, tears off. The Trans Am reaches Michael and the door flies open. [MICHAEL] Did you get a visual on him, Kitt? [K.I.T.T.] It's Christopher Callan, Michael. [MICHAEL] Just what I figured. WIDER ANGLE as the Trans Am squeals away, heading in pursuit of the squad car as it disappears around the corner, we: FADE OUT END OF ACT ONE ACT TWO FADE IN EXT. TWO-LANE HIGHWAY - LOUISIANA - DAY The squad car carrying Cray Callan tears down the road with the Trans Am gaining quickly. Suddenly, the squad car veers off the highway onto a dirt road and heads across a field toward a dense wall of trees ahead. Kicking dust, the Trans Am follows. INT. TRANS AM Determined, Michael stays on Callan's tail. [K.I.T.T.] Michael, we are approaching a very unorthodox environment. [MICHAEL] So's Callan. We'll have the edge on him. [K.I.T.T.] The area we are entering is a dense swampland with irregular solid surfaces.... [MICHAEL] The bayou. Hold your breath, pal.... EXT. THE TWO CARS as around them, the ground becomes muddier, wetter. The squad car hits a thick, oozing puddle and fishtails, nearly losing control as the Trans Am gains. Callan speeds toward a fallen tree, jerking the wheel sharply, skids almost out of control again but clears the tree. Behind him, the Trans Am barrels toward the tree, Michael hits the turbo boost, and the Trans Am jumps the fallen tree. OMITTED ANOTHER PART OF THE BAYOU as the squad car reaches the heavily treed area of the bayou. The Trans Am is right on its tail. INT. TRANS AM Michael maneuvers K.I.T.T. through the growing morass. [K.I.T.T.] I am not programmed for an under- water obstacle course, Michael. [MICHAEL] Neither am I, but I'm learning. EXT. THE SQUAD CAR as it angles off to the side, hits a small bank, soars up into the air, then comes down again beyond the thick brush. NEW ANGLE as the Trans Am easily clears the same turn, rises over the bank and, in slow motion, comes down with a sucking splash in swamp water. Nearby is the squad car, already sinking into the mire. INT. TRANS AM - ANGLE ON MICHAEL peering out through the mud-spattered windshield. [MICHAEL] Where's Callan? MICHAEL'S POINT OF VIEW - CALLAN climbing onto a seemingly forgotten trapper's fan boat. He activates the engine, and roars away, quickly swal- lowed up by the swamp. ANGLE ON THE TRANS AM as the engine revs, strains, sputters. The Trans Am's wheels spin, sinking further. INT. TRANS AM - ANGLE ON MICHAEL pressing the accelerator to the floor, to no avail. [MICHAEL] We gotta get moving, Kitt. [K.I.T.T.] Michael, we've got absolutely no traction. Michael activates the turbo boost, nothing happens. [MICHAEL] C'mon, buddy...turbo boost. [K.I.T.T.] Some foreign element in the liquid has neutralized several of my functions including turbo boost. I'm quite incapacitated. [MICHAEL] We'll see.... And Michael pulls one of the dashboard levers. EXT. TRANS AM A grappling hook at the end of the long steel rope shoots out the back of the car and lodges in one of the large, thick-based trees on the bank. The engine revs and the Trans Am begins to move slowly out of the water, toward land. Then, suddenly, with a creak, the entire tree pulls out of the ground and falls, roots and all, onto the squad car. With an unattractive gloop, the squad car vanishes beneath the surface of the muck. INT. TRANS AM Michael reacts to the demise of the squad car. [MICHAEL] What's keeping us from going under, Kitt? [K.I.T.T.] In my opinion, extremely good luck. Suddenly, from O.S., Michael hears the approaching sound of dogs barking. [MICHAEL] Dogs! There might be someone with them! EXT. TRANS AM as Michael climbs out the pop top and wades toward the bank, calling: [MICHAEL] Hey! Over here! Help! OMITTED CLOSE ON MICHAEL as he reaches the bank. Suddenly, three dogs burst through the brush, knock Michael to the ground. In a second, they're on top of him. ANGLE ON TWO MEN Tall, weather-worn and grim-visaged; the hunters, ap- proaching behind the dogs, pausing in the cover of trees to watch as the dogs continue ripping. ANGLE ON MICHAEL struggling to free himself from the jaws of the furious beasts. It's a battle he can't win. He shouts out: [MICHAEL] Kitt! Kitt, help me...! ON K.I.T.T. as the engine turns over, sputtering and missing badly. It catches, then fails, then catches again. Finally, it sputters to a halt. ON MICHAEL battling with the dogs. He's fading badly. MICHAEL'S POINT OF VIEW - THE DOGS Snarling, their huge teeth flashing, they continue the attack. We hear Michael's cries, a scream of pain. Then, slowly, everything begins to blur, slip out of focus: the dogs, the bayou, the two men watching. As we go to black and total, terrifying silence: DISSOLVE TO OMITTED EXT. CHARON CABIN - DEEP IN THE BAYOU - DAY - ESTABLISHING A rudely built, swamp-encrusted cabin. Two black hunting dogs doze on the porch. INT. CABIN - ANGLE ON MICHAEL lying on a rough-made bed, his wounds bandaged. He awakens drowsily. He struggles to sit up, grimacing with pain. As soon as he moves, we hear the low, threatening growl of: A BLACK HUNTING DOG lying at the foot of the bed. He bares his fangs, growls more loudly. ANGLE ON MICHAEL remembering those teeth, recoiling. He glances around the room, and we widen to reveal one of the two men we saw with the dogs. The dogs growl again. The man, who we'll know as Jacques, finally speaks. [JACQUES] Emile...allez dehors. Vite! With that, the dog turns and meanders out of the cabin. Michael breathes a big sigh, relaxes for the first time. [MICHAEL] My name's Michael Knight. I...I've come here...to Fleur du Lac...on business. To see someone. A man was shot and I was chasing the guy who did it...Callan. Cray Callan. As Michael talks, Jacques gets up, opens a door leading to a bedroom. A beat, then Layla Callan steps into the room. She faces Michael. [LAYLA] I am Layla. Layla Callan. Michael reacts. [LAYLA] I think maybe you come for me.... Michael nods yes. Layla looks at him, then away. She crosses to a table, takes a small transistor radio in her hand, holds it closely to her chest. She turns to Michael, looks at him simply, openly. [LAYLA] I pray someone will come. For a long time. Now, you come...and I am afraid. Michael tries to stand, can't. [MICHAEL] Layla, don't be afraid. I'm here to help you. To take you out of here ...away from Callan. All I need is my car, then we can leave.... Layla studies Michael for a long beat, both fascinated and frightened by this man. [LAYLA] My brothers get your car.... [MICHAEL] How long will that take? No response. [MICHAEL] Soon? No response. [MICHAEL] How far is it to town? To a road? Still, Layla doesn't respond. She switches on her radio and we hear the faintest sound of music, voices. Layla turns to Michael. [LAYLA] You rest now. Get stronger before you go.... Before Michael can respond, Layla exits. Michael tries to stand and follow her, but a wave of dizziness pushes him down on the bed. As he lays down, we: CUT TO OMITTED EXT. BAYOU - DAY A panorama of gray, hanging silence unfolds, thick trees reaching beyond the realm of vision, gray lichen draped like dry beards from the sky. Into the dank world comes Cray Callan, piloting the Charon's fan boat, clutching his rifle. ANGLE ON A CLUMP OF UNDERGROWTH as Callan's boat glides past. Something moves behind the plants. ANOTHER ANGLE as another figure, half-seen, lopes along keeping pace with Callan's boat. ANOTHER ANGLE of a third watcher, thickly-bearded and dressed in heavy, dark clothing. ANGLE ON CRAY CALLAN aware of the watchers, increasingly uneasy, his fingers twitching on the rifle. He steers the fan boat up against a sloping bank joined by a rickety pier. [CALLAN] Je suis Callan. Come on out, you swamp ghosts. I know you're there. WIDER ANGLE A man appears from the camouflaging surroundings. He's hard-faced, bearded, scarred, mean looking -- it is Henri Lecroix. He faces Callan, speaks with a thick Cajun accent. [LECROIX] What you want? [CALLAN] I want Layla Charon. She's here, in the bayou. Lecroix shrugs. [CALLAN] No one knows the bayou like a Cajun. (beat) I'll make it worth your while. Just name it. Lecroix looks around at the invisible figures, as if only his eyes can pierce the shadows that veil them. [LECROIX] Sheriff Casey stop our poaching minks. We want no more trouble from him. [CALLAN] Done. Lecroix looks around again, then slowly nods at Callan. EXT. CHARON CABIN - NIGHT The silver glow of a full moon creeps through the thick tree cover, dropping a muted sheen onto the quiet cabin. INT. CABIN - NIGHT A single kerosene lamp lights the cabin. We see Michael sitting on the edge of the bed. He's using his comlink. [MICHAEL] Kitt...Kitt, can you read me? Kitt, where are you? Do you read me? Nothing. Michael turns in the direction of the front porch, where we can hear Layla's radio. Slowly, Michael stands, crosses to the front door. EXT. CABIN PORCH - NIGHT Layla is sitting, staring out at the bayou. The night is alive with a symphony of sounds: crickets, frogs, owls. Under this, we hear music from Layla's radio. She starts, turns quickly as Michael steps onto the porch. [MICHAEL] Sorry. Didn't mean to startle you. [LAYLA] I know all the sounds here. You are not from the bayou.... Michael moves and sits next to Layla. [MICHAEL] Neither was Cray. But you married him. Why? Layla looks at Michael, hesitates for a moment, then: [LAYLA] I got to Fleur du Lac. To sell fish. I am very young -- thirteen. Cray Callan sees him, wants to buy me from my father. When he says no, Cray threaten Papa. Says Lecroixes will take everything. [MICHAEL] Lecroixes? [LAYLA] Bad Cajuns. Poachers. They steal our game, tear our nets. Callans own them. We feud with them for years. (very quietly) It kill Papa when I go with Cray. There's a beat of silence. [MICHAEL] Who did Cray kill, Layla. Another silence as Layla fiddles with her radio. [LAYLA] A man. A stranger. From the north ...like you. [MICHAEL] Why? [LAYLA] He look at me. With hungry eyes. Cray was crazy. Like an animal.... [MICHAEL] Doesn't sound like he's changed much. (urgently) Layla, I've got to find my car. [LAYLA] Jacques et Arnaud...they find. Bring to you. [MICHAEL] Good. I want to get you out of here as soon as possible. Then I can take care of Cray.... Michael stops talking as he notices a look on Layla's face. He studies her. [MICHAEL] What's wrong? You do want to leave, don't you? [LAYLA] This place...the bayou...it is my home. It is all I know. No response. [MICHAEL] Look, Cray's going to try to kill you ...you said that on the tape you sent.... [LAYLA] Minister Baylor sent tape. He try to help and he is shot. Now you come, and maybe you are hurt, too. (desperately) This is not right. I cannot allow.... Layla fights back a tear. [MICHAEL] Look, I'm already here, so I'll take my chances. But, it's going to be a lot safer...for both of us...when we've got a few miles between ourselves and this place. Layla holds up her radio, shows it to Michael. [LAYLA] From this, I hear songs about places. Big cities, many people... (beat) Here, I know how to live, but in the cities.... [MICHAEL] Layla, Cray Callan's gonna find you here. Layla looks at Michael, her eyes calm and clear. [LAYLA] I am Cajun. If I leave the bayou, I will die. [MICHAEL] (frustrated) But, if you stay.... Michael's voice trails off. He knows she's not listening. Then she turns to him. [LAYLA] Tomorrow, you go. Please. [MICHAEL] Not without you. Layla stares at Michael, shakes her head, then smiles at him for the first time. Michael smiles back. A warm moment. In the silence all we hear is the bayou and Layla's little transistor. CUT TO EXT. CALLAN HOUSE - DINING ROOM - MORNING A long table made for a dozen people. This morning it's set for one: Judge Callan. He's finishing a big breakfast as he thumbs through the morning paper. A door opens and we hear: [CALLAN] Hello, Daddy. Judge Callan lowers his paper, quickly cloaks his surprise at seeing his son. [JUDGE CALLAN] You all right, boy? [CALLAN] None the worse for wear. Thank you for gettin' me off that road gang, Daddy. [JUDGE CALLAN] I didn't do it so you could shoot the minister, Cray. [CALLAN] He took my wife from me. Now, that ain't right, even in the eyes of the church. [JUDGE CALLAN] That is over and done with. You hear me? Deliberately, Callan circles the table, punctuating his words with each step. [CALLAN] Every shovel of Louisiana mud I dug reminded me of the people who hurt me. The Judge rises, crosses to lay his hands on his son's shoulders. [JUDGE CALLAN] Forget about the girl. She's just Cajun trash. She'll crawl back into the bayou and be forgotten. [CALLAN] Not by me, Daddy. Never by me. He starts to move away but the Judge stops him, hard. [JUDGE CALLAN] Now, you listen to me, Cray. You're the only son I got, and I brought you back to help you put what you've done behind you, safe from the out- side law. But don't push too hard, understand? 'Cuz you keep bendin' the law and you're gonna find me on the other end of it. (beat) You stay outta that bayou. The flare of anger that's appeared in Cray's eyes during this speech softens and he leans in to kiss his father's cheek. [CALLAN] I'll be a good boy. As Cray disappears into the night: CUT TO EXT. CHARON CABIN - DAY - EARLY MORNING Michael steps onto the porch, moves cautiously around the hunting dog sleeping there and then crosses toward a rough-hewn lean-to next to the house. ANGLE ON THE LEAN-TO where we see the Trans Am. It's been meticulously cleaned. Michael hurries to the front door, opens it. [MICHAEL] Kitt! Am I ever happy to see you. A beat, then: [K.I.T.T.] The feeling is mutual, Michael. How are you? [MICHAEL] A little raw around the edges, but I'll live. How about you? [K.I.T.T.] Well, I fail to understand the appeal of those so-called mud baths. [MICHAEL] I see your sense of humor's still intact. INT. TRANS AM as Michael climbs inside. [MICHAEL] I was afraid something was wrong. I couldn't reach you on the comlink last night. [K.I.T.T.] I heard you, Michael, but I appar- ently can't transmit. [MICHAEL] If that's all that's bothering you, we're in good shape. (punches buttons) Let's get a readout from your self- diagnostic analyzer. [K.I.T.T.] Apparently it's not functioning, Michael. [MICHAEL] Terrific. This is like being a doctor with a patient who can't tell him where it hurts. [K.I.T.T.] (a trifle defensive) I would if I could, Michael. [MICHAEL] Yeah, I know. Sorry, pal. [K.I.T.T.] Besides, even if I could, I'm not certain you'd be able to utilize the data. [MICHAEL] Wait a minute. I'm not exactly all thumbs. [K.I.T.T.] Not exactly.... Michael thinks, nods. [MICHAEL] Right. We've gotta try and reach April. [K.I.T.T.] Precisely what I had decided. I'll do the best I can. Michael turns to the video screen. The monitor comes to life, but it's fuzzy. We are able to make out Devon and April, but not well. The sound transmission crackles and pops with static. As Michael talks, we intercut with: INT. F.L.A.G. HEADQUARTERS - DAY - ON APRIL AND DEVON [DEVON] Michael, we've been worried sick. Where are you? [MICHAEL] I'll brief you later, Devon. Right now, I need to talk to April. [APRIL] Is there a problem? How's Kitt? [MICHAEL] A little soggy.... [APRIL] Soggy? Michael Knight, what have you done...? [MICHAEL] Look, April, we're stuck in the middle of a swamp. I can't have this discussion right now. I need your help. Kitt needs your help.... April exchanges a glance with Devon, takes a big breath. [APRIL] What precisely is the problem? [MICHAEL] We don't know. That's the problem. Kitt's diagnostic indicator's out. [APRIL] It's probably a short. I'll punch in a schematic of the circuitry. You'll have to make the repair yourself. You can do that, can't you? Michael leans forward, staring at the video screen. The picture's growing dimmer, April's voice fading. [MICHAEL] I can do it, but you're going to have to hurry. Our connection's going.... [APRIL] What? Michael...? Just then, the picture on the video monitor goes completely fuzzy. No picture. No sound. They're off the air. [MICHAEL] Kitt.... [K.I.T.T.] I'm sorry, Michael. We've lost contact. [MICHAEL] (exasperated) Great.... OMITTED ANGLE ON THE CHARON PORCH as the hunting dog suddenly raises his head, hearing something beyond the range of human hearing. The hair starts to bristle on his neck, and he growls softly. ON THE BAYOU - VARIOUS ANGLES In the lush foliage surrounding the Charon cabin, we see the vague outlines of figures moving with total silence, closing in on the cabin. Hold on them, and then: OMITTED FADE OUT END OF ACT TWO ACT THREE FADE IN EXT. CHARON CABIN - DAY As the hunting dog climbs to his feet, his low growls grow louder, become barks. He strains at the rope tying him to the porch as Layla comes hurrying through the front door, quickly turning off her radio. ON LAYLA sensing the danger the dog has felt. She strains to see into the bayou. She tenses as she sees: LAYLA'S POINT OF VIEW - FIGURES moving through the brush. OMITTED BACK TO LAYLA hesitating only a second before she rushes from the porch, across the yard. ANGLE - WIDER TO INCLUDE MICHAEL coming out of the lean-to. Layla comes rushing past him. [MICHAEL] Layla...Layla! [LAYLA] Go now, Michael! No more deaths.... Before Michael can respond, Layla runs into the clearing. A split second later, a shot rings out. Layla continues on, unhurt, scrambling into the bayou brush, clinging to her portable radio. ANOTHER ANGLE across the clearing as Henri Lecroix becomes visible, still aiming his rifle. He shouts to his hidden brothers: [LECROIX] After her! And everywhere, shadows begin to move. ANGLE ON MICHAEL leaping into the Trans Am, firing the car to life. INT. TRANS AM as the car prepares to move out. [MICHAEL] Let's hope this works, Kitt.... EXT. CLEARING The Trans Am blasts out of the lean-to, roars across the clearing, shots sparking off of K.I.T.T.'s body. The car tears into the greenery beyond the clearing and several Lecroixes dive for safety as the car pursues Layla. The Lecroixes fan out and rush into the bayou, still shooting. DISSOLVE TO OMITTED EXT. BAYOU - DAY - VARIOUS ANGLES - THE LECROIXES as they individually make their way through the swamp brush, searching for Layla. DISSOLVE TO ANGLE - PAUL LECROIX moving quickly, he trips a concealed rope which lifts a net and Paul is yanked off the ground, moving up and out of frame. EXT. BAYOU - DAY - ANGLE ON LAYLA pushing her way through the swamp brush, gasping for breath as she runs. Then the Trans Am rolls into scene. She runs blindly, oblivious to the Trans Am until it's beside her. The passenger door opens and Michael reaches toward Layla, shouting: [MICHAEL] Get in! Without losing pace, Layla grasps Michael's hand and is pulled into the car. she drops her radio, pulls away from Michael to get it. [LAYLA] My radio.... [MICHAEL] (shouts) Layla forget it...they're coming. Get back here! A figure emerges a distance away, a shot rings out. Layla grabs her radio as another shot puffs dust up around it. She jumps into the car. NEW ANGLE as the door shuts and as the pursuing Lecroixes become visible in the surrounding greenery and the shots intensify, the Trans Am blasts off, disappearing into the bayou. ANGLE ON THE LECROIXES as they gather in the clearing left by the Trans Am. There are five of them, silent and mean, all armed. They stand beside Henri, awaiting commands, but instead hear the outside shouts from the snared Paul. The men react to another O.S. cry for help and then run in that direction. ANOTHER ANGLE as the five men move through more brush and pause beneath a large tree. Above their heads, hanging from his heels by a stout rope, is Paul. [LECROIX] Cut him down! The men approach the tree, help the trapped man down and we angle to a concealing clump of brush nearby, where Jacques and Arnauld Charon, carrying the remaining piece of rope, watch the peril of the Lecroixes with amusement. Arnauld turns in the direction the Trans Am took and speaks softly. [JACQUES] Bon chance, Layla. He and Jacques head back toward their cabin. EXT. ANOTHER PART OF THE BAYOU - DAY - ANGLE ON THE TRANS AM moving slowly through faceless, gray swampland. INT. TRANS AM Michael and Layla peer out at the void around them. Michael studies her a beat. She nods, shyly holds it. [MICHAEL] Who were those men, Layla? [LAYLA] The poachers. The Lecroixes. The best hunters in the bayou. They will find us. [MICHAEL] We've got to get out of here. Do you know where we are? [LAYLA] This is Lecroix land. I have not been here for many years. Michael hesitates to communicate directly with K.I.T.T. in front of Layla, but knows he must. [MICHAEL] Can you give me a visual on our location, Kitt? [K.I.T.T.] I'll most certainly try. Layla reacts to the talking car. [LAYLA] Mon Dieu! [MICHAEL] It's a computer, Layla. It's very complicated. [LAYLA] I never see car like this. You will explain this...this computer? [MICHAEL] In time. Right now.... [K.I.T.T.] I have it for you, Michael. Out comes a blank sheet. Michael realizes that K.I.T.T.'s malfuntioning again. [MICHAEL] Can you at least tell me what direction we're going in? [K.I.T.T.] I gather the visual was inadequate. [MICHAEL] I'm afraid so. [K.I.T.T.] We're going northeast, Michael. [MICHAEL] Are you sure? [K.I.T.T.] Under other circumstances the question would be insulting, Michael. But, due to organic contamination of my integrated micronetic navigational.... [MICHAEL] (over) You're not sure. [K.I.T.T.] In a word...no. [MICHAEL] Your best is all we can ask for, pal. (then) What's at the northeast end of the bayou, Layla? [LAYLA] Cajun settlement. Northwest belongs to the Lecroixes. Hold a beat on their reactions. MONTAGE 1) ANGLE ON THE TRANS AM - just as the car turns more to the east and continues on. 2) ANGLE ON FOUR OF THE LECROIXES - omitting Henri and the man who was caught in the trap, tracking the Trans Am. Its course through the bayou is fairly clear -- tire tracks in the mud, broken brush -- the men are confident. 3) ANGLE ON MICHAEL AND LAYLA - as she attempts to guide them, pointing the way. 4) ANGLE ON THE TRANS AM - moving deeper and deeper into the bayou. Time seems suspended, as it becomes occasion- ally denser, then dryer; sometimes there are black pools or the occasional whisper in dry brush of some living thing. 5) ANOTHER ANGLE OF THE TRANS AM - as it's about to cross a shallow pool of muddy water. A bear trap suddenly lashes out of the pool and clamps onto K.I.T.T.'s tire. [MICHAEL] Wha.... [LAYLA] Trap. Michael and Layla alight from the car, look at the trap locked onto K.I.T.T.'s tire. [K.I.T.T.] This is humiliating. [MICHAEL] I'll get you unlocked, pal. Michael picks up a log and begins to pry the trap free, while: [MICHAEL] This isn't the only thing we have to look forward to out here, is it? Layla looks around, shakes head. OMITTED BACK TO SHOT [LAYLA] More traps. Quicksand. Much danger. Michael pulls the trap aside. She and Michael climb back into the Trans Am. INT. TRANS AM as Michael carefully steers around the traps. [K.I.T.T.] I've failed you again, Michael. I should have scanned that ugly device. [MICHAEL] To err is human, pal. We'll find our way. Layla looks at Michael with alarm. He comfortingly squeezes her hand. EXT. ANOTHER PART OF THE BAYOU - DAY The bank and pier where Cray Callan previously recruited Henri Lecroix. Now, Callan waits here again, fingering his rifle. We see a hunting knife strapped to his thigh, and he's dressed for the hunt. A beat, then Henri Lecroix approaches from the brush. [CALLAN] Where's Layla? [LECROIX] My brother is caught in Charon trap. Now is our fight, Callan. [CALLAN] My wife? Where is she? [LECROIX] L'etranger with black car get her. We track. [CALLAN] You bet we track. Callan moves out, Henri and Paul follow. MONTAGE 1) ANGLE ON THE TRANS AM - moving deeper into nothingness, keeping as direct a course as possible. 2) ANGLE ON LAYLA - pointing through the windshield at a thick cord draped with animal pelts, as the Trans Am passes beneath it. 3) ANGLE ON THE HIGH SUN - flickering visible above the trees. INT. TRANS AM as suddenly, Layla waves excitedly, pointing. [LAYLA] The shack! The poachers' shack! I know this place. And we angle toward a small shack, looming ahead through the bushes. INT. SMALL SHACK - DAY Michael and Layla enter and Michael finds a small lantern, lights it. The shack is cluttered with crates and checking their contents, Michael whistles. [MICHAEL] There's enough dynamite here to flatten Manhattan. He turns to see a collection of canned goods. He moves to them, grabs a can of peaches, an opener. [MICHAEL] (continuing) Food...Get something in your stomach. She takes the can and begins to open it as he examines the cabin further. [MICHAEL] This dynamite...the poachers use it for fishing? [LAYLA] (nods) And gators. We stay here, Michael? Rest? [MICHAEL] The Lecroixes know about this place, don't they? [LAYLA] (nods) Everybody knows. My father built it. Then, the poachers take it away. Now, is their dynamite, their food. [MICHAEL] Then we don't stay.... He picks up a tarp, fills it with cans of food. [MICHAEL] You know the way out of here now? [LAYLA] Like your car, Michael...I can make good guess. He gives her a warm smile. She returns it shyly. He blows out the lantern, scoops up the food. [MICHAEL] Like my car, you're nice to have around. A beat between them and they exit. EXT. BAYOU - MERGING POINT - DAY Callan and Henri Lecroix merge with the other four Lecroix trackers, they converse, (MOS) a beat, one points to K.I.T.T.'s tracks and they all move out. EXT. CAJUN SETTLEMENT - DAY The Trans Am moves slowly into Cajun civilization. Out here, forgotten in the middle of the bayou, is a colorless, wood-structure town. Cajun locals mill about. As the Trans Am pulls into the center of the settlement, we hear that the car's engine is missing badly. Finally, the car dies, and the hum of its engine is replaced by strange Cajun music wafting out of a nearby barn. A few Cajuns stroll by carrying beer and foods, laughing; there's a festive air amidst the gloom. INT. TRANS AM as Michael tries uselessly to restart the engine. [MICHAEL] What is it, Kitt? [K.I.T.T.] The juncture between my accelerator and fuel injection has deteriorated, Michael. I am unable to correct the problem. [MICHAEL] I'll see what I can do. EXT. TRANS AM Michael and Layla climb out and Michael crosses to open the Trans Am's hood, tinker with the complicated engine. Layla is very tense as Cajuns stroll by, ad-libbing greetings to Layla, during: [LAYLA] We must go, Michael. Lecroixes come. I feel them. They will hurt these people, too. Michael glances at the festivities going on around them. [MICHAEL] What's going on? [LAYLA] Life in the bayou is hard. We celebrate when we can. She moves away from Michael, to peer worriedly up the road from which they entered the village. Michael turns back to K.I.T.T. ANGLE ON MICHAEL ungracefully working on the engine. [K.I.T.T.] I must say...April does have a more delicate touch, Michael. [MICHAEL] Get her on the phone. I'll be happy to sit in the shade. [K.I.T.T.] Point well taken, Michael. ANGLE ON LAYLA as two Cajun men rush up to her. One man sweeps her off the ground in a genial hug. [CAJUN MAN] Layla, allons! The second man twirls Layla around, responding to the music; then the two men pull Layla toward the nearby barn. [LAYLA] No, no, je n'ai pas le temps... (crying out) Michael --- ON MICHAEL Michael comes up from under the Trans Am's hood just as, pulled by well-meaning friends, Layla disappears into the barn. Michael starts after her, then instead shuts the car's hood and slides into the driver's seat. [K.I.T.T.] Despite your inexperience, I do believe you've done the trick. [MICHAEL] Don't take April off the payroll yet. [K.I.T.T.] I assure you...the thought never entered my memory. He turns the ignition and the car's engine growls, doesn't connect. It growls again, turns over, then dies. It growls a third time, turns over and begins to idle. [K.I.T.T.] Given adequate time to warm up, I should now be able to filter out the most troublesome impurities. [MICHAEL] Time's the one thing we haven't got, Kitt. I'm putting you on surveillance until I get back. Michael climbs out, K.I.T.T. increases the rpms. Michael hurries toward the barn. OMITTED EXT. POACHERS' SHACK - DAY Cray Callan waits outside with the four Lecroix trackers. Henri Lecroix exits the shack, holding an empty can. The Lecroixes set off on foot from the shack, Callan following. EXT. CAJUN BARN - DAY - ANGLE ON MICHAEL as he approaches the celebration, where several Cajuns are eating, dancing. ANGLE ON MUSICIANS Older men, a singer of words both alien and recognizable, a fiddle player, bottleneck guitar player, Cajun accordian. ANGLE ON LAYLA in the middle of the dancing, being spun around, obviously adored by locals who are unaware of her anxiety. She sees Michael, calls out to him. WIDER ANGLE TO FEATURE MICHAEL as he tries to make his way to Layla, but is caught by a young Cajun woman who pulls him playfully into the dancing. Michael tries to resist, but he's quickly swept along with the other dancers. He and Layla glance at each other over the heads of the dancers. Meanwhile: ON K.I.T.T. His surveillance lights flashing. Behind him, moving toward the celebration, we see one of Lecroixes men moving toward the celebration. INT. K.I.T.T. as he tries to contact Michael on the comlink. [K.I.T.T.] Michael, can you hear me? Michael, those trappers are here...Michael... Michael.... EXT. BARN - DAY as the party continues. Michael and Layla are still dancing. ANOTHER ANGLE revealing a second Lecroix man watching the festivities from near the crayfish pot. ON MICHAEL In the midst of the crowd, he spots the hostile Cajun near the crayfish pot. He turns, glances hurriedly around. ON LAYLA following his glance, and stopping when she sees the other Cajun who just passed K.I.T.T. ANGLE - WIDER as Michael fights to get to Layla. It's a struggle, but he reaches her, takes her by the arm and turns to escape. [MICHAEL] Come on...it's getting hot around here. They turn to escape, but are stopped short by: HENRI LECROIX looming up in front of him, with a good-sized knife in his hand. He waves it slowly, menacingly, at Michael, who pushes Layla to the side. [MICHAEL] Layla, run...get out of here. [LAYLA] Michael...be careful. ON MICHAEL AND HENRI as Henri grins at Michael, beckons him forward with the knife, then lunges, barely missing Michael, who leaps to the side and catches Henri with a sharp jab. Lecroix stumbles, turns and advances on Michael. Around them, the Cajuns have stopped dancing. The musicians have stopped playing. ANOTHER ANGLE FEATURING THE TWO LECROIX HENCHMEN moving closer to the action, ready to jump in if Henri needs a hand. ON CALLAN as Cray Callan steps out of the barn, quickly crosses through the crowd to Layla's side. He grabs her by the arm. She screams as he begins to drag her, kicking and struggling through the crowd. ON THE FIGHT as Michael continues to elude the knife. He hears Layla's scream, turns to see her in Callan's grasp. As he does, Henri rushes him. Michael ducks under the knife, comes up swinging and connects with Henri's jaw. The big Cajun staggers back and Michael connects again, knocking the knife out of his hand as Henri falls through the picnic table near the barn. Michael turns to K.I.T.T., shouting into the comlink: [MICHAEL] Kitt, down here...quick! ON K.I.T.T. coming to life, roaring toward the barn. In front of him, we see the two Lecroix men racing forward to help Henri. ON MICHAEL watching K.I.T.T., and seeing the two heavies barreling toward him. Into his comlink: [MICHAEL] I'm gonna need some pass inter- ference on those guys, buddy.... WIDER ANGLE TO FEATURE K.I.T.T. as he comes up behind the heavies, both doors fly open and smash into them from behind, knocking them sprawling into the dust. K.I.T.T. stops in front of Michael, who jumps behind the wheel and roars into the barn. THE OTHER SIDE OF THE BARN as the Trans Am comes flying out, and disappears around the corner in a cloud of dust. MOVING WITH THE TRANS AM as Michael speeds toward the edge of the bayou, screeches to a halt. He jumps out and peers frantically around. Nothing and no one in sight. A beat, then Michael sits dejectedly on the front seat of the car. OMITTED INT. TRANS AM Michael stares out into the bayou. [MICHAEL] They've got her.... Michael looks down to see Layla's radio sitting on the seat of the car. [MICHAEL] Back inside their world. Hold on Michael's worried face, then: OMITTED FADE OUT END OF ACT THREE ACT FOUR FADE IN OMITTED EXT. BAYOU - DAY as Michael and K.I.T.T. slowly make their way through the soggy bayou. We hear K.I.T.T. starting to miss, cough and sputter. Off this, we: CUT TO INT. POACHERS' SHACK - DAY - ANGLE ON A TERRIFIED LAYLA lit by flickering lantern's glow, hunched against crates of dynamite. We widen as Callan steps into the shack, silhouetted by the daylight behind him. [CALLAN] It's nice to be alone like this again, isn't it, Layla? [LAYLA] Let me go, Cray. You know I do only what is right. We move closer as Callan slowly approaches Layla. [CALLAN] You shouldn't have betrayed me. [LAYLA] You should not kill a man. Callan leans over and takes a whisp of Layla's hair, fondles it almost lovingly. [CALLAN] I couldn't stand the way he looked at you, mon cherie. When he touched you.... [LAYLA] He meant nothing! Callan kneels beside Layla, grabbing her chin, tilting her face up toward his. [CALLAN] Remember when it was good between us? [LAYLA] It was never good between us. He tightens his grip on her chin, squeezing until it hurts. Layla fights back the tears that well in her eyes. [CALLAN] Cajun memories are short. You need to be reminded.... And he kisses her, pressing her back against the crates of dynamite. Her body goes almost limp beneath his passion, but her hand moves toward his thigh, her fingers wrap around the hunting knife ensheathed there. As she care- fully slips the knife out, he suddenly grabs her hand, pulling the knife away, slamming her back against the crates. He pulls out the knife, holds it up to her face. [LAYLA] Please, Cray.... [CALLAN] You Cajuns really are nothing but animals. Just not as loyal as dogs. And he slams the knife down into the crate, missing Layla's cheek by a fraction of an inch. The tears she's been holding back begin to fall. He grabs her bound wrist, twisting her so that he can see her hands. [CALLAN] Where's your wedding ring, Layla? You sell it? [LAYLA] No, no.... He shoves her away. She strikes her head against the floor, doesn't get up again. [CALLAN] That wedding ring I gave you belonged to my late mommy. It bound you to me and now a ring's gonna tie you to death. He rises, a smile tickling the corners of his mouth. [CALLAN] A ring of fire. And he moves toward the burning lantern, the firelight playing evilly across his face as we: CUT TO EXT. BAYOU - DAY - ANGLE ON THE TRANS AM moving slowly through faceless terrain, the engine coughing and missing again. INT. TRANS AM as K.I.T.T. continues to cough and sputter. [MICHAEL] Come on, Kitt. You can make it. [K.I.T.T.] This is all so frustrating, Michael. [MICHAEL] Listen, champ, you're doing fine. [K.I.T.T.] I dislike feeling inadequate. [MICHAEL] Hey, we're all in the same boat. We'll find her buddy. We've got to.... OMITTED EXT. BAYOU SURROUNDING POACHERS' SHACK - DAY - ANGLE ON CRAY CALLAN moving in a large circle around the shack, swinging the now- open lantern into the lichen draped from the trees bordering the area, lighting dry brush, moss, etc., forming a huge ring of flames around the shack. Then, closing the circle behind him, Callan vanishes into the undergrowth. EXT. BAYOU - DAY - ANGLE ON THE TRANS AM The car's engine is still missing, moving slower than ever. INT. TRANS AM Michael's frustration is growing as the area outside begins to darken. He notices K.I.T.T.'s CRT begin to dance with an unusual scan readout. [MICHAEL] Your scan is showing something again, Kitt. [K.I.T.T.] Yes, it seems to be a radical increase in temperature ahead. I can't quite compute it, Michael. [MICHAEL] Temperature... (then) Fire? Is it a fire? [K.I.T.T.] You're quite right, Michael. It is a fire. A large one. I also detect a wooden structure...and someone inside. [MICHAEL] Layla!...Keep those cylinders popping, buddy...and pray. EXT. TRANS AM as the car now picks up speed, struggling against its engine malfunctions, following a direct course. EXT. BAYOU SURROUNDING POACHERS' SHACK - DAY as the Trans Am draws closer, the threat of fire grows -- dark smoke wafting through the air as the flames whip up a wind, the crackling of flames in dry brush, an occasional tongue of fire visible between the dense trees. Soon, the Trans Am is approaching a veritable wall of flames. EXT. POACHERS' SHACK - DAY The shack is blurrily visible amidst the smoke and flames. The fire is rapidly approaching. INT. POACHERS' SHACK - DAY - ANGLE ON LAYLA unconscious at the foot of the dynamite crates, smoke filling the air around her. EXT. BAYOU - ANGLE ON TRANS AM as it idles just outside the wall of flames, engine sputtering. INT. TRANS AM Michael peers out at the conflagration ahead. [MICHAEL] We're gonna have to make a run through it. [K.I.T.T.] The technical malfunctions I've been experiencing have made me crucially aware of my -- shall we say -- mortality, Michael. [MICHAEL] At least we've got April's heat resistant glaze. [K.I.T.T.] I don't believe this is a propitious time to try something new. If it fails.... [MICHAEL] You'll melt down and I'll be a crispy critter...but there's no other way to get her out of there, Kitt. [K.I.T.T.] Unfortunate, but true. [MICHAEL] Hang onto your microchips, pal. EXT. TRANS AM as the car's engine coughs, sputters -- and the car moves forward, directly into the flames. ANOTHER ANGLE As the Trans Am moves through the fire, as fast as possible, we intercut Layla in the cabin as flames lick closer and closer to the dynamite. NEW ANGLE - K.I.T.T. punching a hole through the inferno, streamers of burning lichen clinging to the automobile's body, the engine coughing but making progress. The entire car seems engulfed in flames, then the shack is in sight, already covered with sizzling tendrils of fire. INT. POACHERS' SHACK Layla lies, overcome by the thick smoke fumes, not far from flames licking through the walls, sending hungry trailers toward the awaiting crates of dynamite. We widen as Michael dashes into the shack, spots Layla and runs to her. As Michael lifts her into his arms, Layla stirs, looks up at him with blurry eyes. [LAYLA] You come...Michael.... And Michael runs with her out of the shack. EXT. POACHERS' SHACK The waiting Trans Am appears to glow, reflecting the flames which surround it. Carrying Layla, Michael runs to the car, climbs in. INT. TRANS AM Layla is limp but conscious. Michael glances out at the shack, as its walls dissolve in flames. [MICHAEL] That dynamite's gonna go! I'm trying turbo boost, Kitt. [K.I.T.T.] An excellent idea, Michael, but.... Michael pulls out, reaches for the turbo boost, punches the button, nothing. He hits it again. [MICHAEL] Nothing. Zip. We're not gonna make it... (an idea) Unless.... He quickly punches overhead buttons, dripping with sweat from the heat. [K.I.T.T.] Michael, what are you doing? INTERCUT - FLAMES AT DYNAMITE BOXES [MICHAEL] Transferring all source energy systems to turbo. INTERCUT - DYNAMITE BOXES igniting. [K.I.T.T.] My logic systems make it highly remote that it will work, Michael. INTERCUT - DYNAMITE BOX growing with flames. [MICHAEL] It's all we've got, Kitt. Finished punching the overhead, he reaches again for turbo, hits it. Nothing. Intercut dynamite boxes fully enveloped now. Michael hits turbo again, we hear a whine start to work up. [MICHAEL] Come on, baby...come on.... EXT. TRANS AM IN FIRE The turbo whines up to a pitch and then ignites. K.I.T.T. leaps from the area of the cabin with a blasting roar as: THE CABIN begins to explode, first small pops, a stick, two sticks going off, while: OMITTED EXT. TRANS AM still moving through the flames, explosions in the b.g., then, suddenly -- bursting into clear, unburning turf. The car stops and Michael and Layla half-climb, half-fall out, gasping for air. Behind them, the dynamite explodes again, a giant explosion, and the bayou erupts, shooting debris high into the air. OMITTED CLOSE ON MICHAEL AND LAYLA as she instinctively burrows against Michael and he pro- tectively hugs her to him, stroking her hair. We move in on them in this tender moment; then, Layla's expression changes as she sees something behind Michael. [LAYLA] Cray, no! ANOTHER ANGLE Layla pushes away from Michael as a shot rings out. Michael grabs her and rolls out of the clearing, into the surround- ing brush. ANGLE ON CRAY CALLAN across the clearing, holding his rifle, trying to see where Michael and Layla have rolled to. Crouching, he moves around the clearing, keeping under cover. ANGLE ON MICHAEL AND LAYLA Michael comforts Layla, who indicates silently that she's all right. Michael speaks softly into the comlink. [MICHAEL] Kitt, can you distract him? ANGLE ON THE TRANS AM AND CALLAN as he moves past the car and suddenly K.I.T.T. begins to move. Startled, Callan opens fire on the Trans Am and Michael leaps out of the bushes at him, knocking Callan to the ground. The men struggle with the rifle and it fires, then falls free of Callan's hands. NEW ANGLE as Layla crawls out of the brush, groping toward Callan's rifle. Callan grabs Michael by the throat, oblivious to Layla. [CALLAN] You know what, boy? Your problem is you just don't have the killing instinct. Michael doubles Callan over with a blow to the midsection. Moving forward, he punches, once, twice, three times and Callan goes down, beaten, struggling for breath, done. [MICHAEL] You know what, boy? You're damn lucky I don't. And he rises, pulling Callan to his feet, pushing him toward the Trans Am as we: FADE OUT END OF ACT FOUR TAG FADE IN EXT. FLEUR DU LAC STREET - DAY - ANGLE ON CRAY CALLAN handcuffed, being led by two State Policemen toward an awaiting State Patrol car. Callan looks up as he passes Sheriff Casey and Judge Callan. Seeing his father, Callan's face shines with relief. [CALLAN] Daddy! Don't let them take me away. You can stop 'em. The Judge looks sadly at Callan, turns and walks away. Callan watches him in disbelief. [CALLAN] Daddy, you can't do this to me. Daddy! The State Policemen "help" Callan into the squad car and it pulls away, moving out of town. NEW ANGLE - ON DOCTOR'S OFFICE visible as the squad cars vanish in the distance. Michael, Layla and Minister Baylor, his arm in a sling, exit the office. [BAYLOR] We appreciate all you've done, Mr. Knight. Michael nods, shakes hands with him. Then they both look to Layla who looks to Michael, her eyes glistening with tears. CLOSE ON MICHAEL AND LAYLA as the minister moves down the street giving them their moment of privacy. [MICHAEL] Sure you want to stay? [LAYLA] This is my home, Michael. Michael reaches into his back pocket and pulls out her portable radio, presses it into her hands. [MICHAEL] Someday your outside world here is gonna get your curiosity up...when it does, don't be afraid to go out and take a look for yourself. [LAYLA] You teach me not to be afraid... maybe someday. [MICHAEL] If you ever decide to leave, you know where I'll be. Layla nods, stands on tiptoes to kiss his cheek, then runs, childlike, after the minister. NEW ANGLE As Michael strides across the street, toward the awaiting Trans Am, which is still covered with bayou mud, another State Patrol car approaches and stops nearby and Devon alights. [DEVON] Since we lost communication we got here as soon as we could. April emerges, sees Michael and hurries toward him. [APRIL] My God, what've they done to you? Michael is pleasantly surprised by this concern. [MICHAEL] Well, it wasn't really that bad.... But April runs right past him, directly to the Trans Am. [APRIL] Oh, Kitt...I've been so worried. [K.I.T.T.] You've no idea the harrowing ordeal I've been through, April. And as April begins to fret over K.I.T.T., Michael, hands on hips, shakes his head. [MICHAEL] You?! Intercut their reactions. Pull to a high shot and: OMITTED FADE OUT THE END

{"show": "Knight Rider", "season": "s02", "episode": "e09", "title": "Ring of Fire"}

knightriderarchives

ACT ONE FADE IN EXT. OPEN ROAD - DAY as a new model jacked-up, four-drive pickup truck speeds past us. As it goes by, we rack focus to see in the distance, just appearing -- K.I.T.T., racing toward us with deadly accuracy. K.I.T.T. speeds past to: HIGH ANGLE - ROAD - DAY The powerful pickup turns sharply onto a dirt access road, sending up a wave of dust, then veers off onto an extremely rocky, wet and rough field. We see K.I.T.T. rapidly gaining. INT. K.I.T.T. - DAY - ON MICHAEL as he maneuvers around rocks and mudholes. Devon appears on the monitor. [DEVON] Michael, are you still tracking the truck? [MICHAEL] Not any more -- I'm chasing it now. With a little luck my Swamp Fox technique will pay off. [K.I.T.T.] What on earth is 'Swamp Fox'? [MICHAEL] The greatest tracker of all time. My childhood hero. [DEVON] Please remember it's the catching that's the important part of the chase. Keep me posted. And Devon's image vanishes from the monitor. [K.I.T.T.] 'Swamp Fox.' Really, Michael. Michael grins. EXT. BEDFORD DAM - DAY Jutting up from the green rocky fields is the abandoned Bedford Dam, its stark white concrete giving the entire area an eerie, ethereal feeling. The pickup bumps from the field onto the spillway spreading to the foot of the dam, and comes to a halt by the center mound. A man we can't identify (whom we'll later know as Frank Poole) runs out and immediately begins up the mound via a ladder attached to its curving surface. We pick up K.I.T.T. as he charges down the spillway like a black bullet over a white frozen lake. He screeches to a stop next to the empty pickup and Michael climbs up, runs toward the center mound. As Michael begins to climb, the other man glances back from the top of the mound and disappears over the other side. OTHER SIDE OF THE DAM as we see Michael appear over the top and look down -- it's deserted -- just a smooth, semidry layer of earth jutting off to the horizon. Michael speaks into the comlink: [MICHAEL] Kitt, there's no sign of him -- not even footprints. It's like he was swallowed up by the dam. I'm going down to check it out. Static issues from the comlink. Michael shakes it, then: [MICHAEL] Kitt, can you hear me? ANGLE ON K.I.T.T. parked on the spillway. We can hear the last static "transmission" from Michael. [K.I.T.T.] Michael, I'm having trouble receiving you. Something in the dam is blocking transmission. I suggest you use extreme caution. OTHER SIDE OF THE DAM - ON MICHAEL He climbs to the bottom and walks against the wall of the mound, seeking an entry into the dam. He runs his hand across a row of bolts jutting out in a straight line the length of the wall. Long rust stains flow down from the bolts like red tears. Eyeing the bolts, Michael stops. We see what he's spotted -- a group of bolts exactly like the others, except that these do not have the rust stains under them. Beneath them, he discovers a space in the wall, like the crack of a door. Michael pries the crack with his fingers, finds a hidden release; applies pressure, and with a click, the concrete door comes ajar. He swings it open and carefully walks into the dam. INT. CENTER MOUND - HYDRAULIC ROOM - DAY Michael moves into the small room, the sunlight from outside sending thick beams into the room, casting strange patterns on Michael's face -- and on a series of hydraulic gears behind him. Suddenly a shot rings out and shatters the floor in front of him. Across the room, in the shadows, he sees two figures moving -- Frank and Duke, the man with the gun. Michael ducks to the ground and rolls to safety behind the machinery. Another shot shatters something right over Michael's head. CLOSE ON MICHAEL looking toward where the shot struck, as a sudden realization crosses his face. [MICHAEL] (in awe) So that's it! (into comlink) Kitt, I've found it! Through the comlink static, we hear Frank's footsteps overhead. Michael strains to see where Frank's going, then, as Duke fires again from the shadows, Michael turns and bolts back out of the dam, pursuing Frank. EXT. DAM - BY CENTER MOUND - DAY as Michael darts out into the sunlight and looks around, sees no one. He looks at the dam above him, but the sun shines directly in his face, blocking his view of the walkway above. CLOSEUP - FRANK'S HAND holding a concussion grenade. He pulls the pin and we widen just enough to see that Frank is on the walkway above Michael. ANGLE ON MICHAEL shielding his eyes from the sun. Just as he makes out the form of someone on the walkway, the grenade hurtles toward Michael. FULL - MICHAEL - SLOW MOTION as the grenade explodes in front of Michael, in a massive orange ball of fire. Michael flies back from the power of the blast. As he hits the ground, Michael's head strikes the wall hard, and the explosion continues to reverberate in our ears. CLOSE - COMLINK - SLOW MOTION torn from Michael's wrist by the impact, shattering.... EXTREME CLOSEUP - MICHAEL'S FACE - SLOW MOTION knocked unconscious as the explosion continues to roar in our ears. The rumbling takes on a surreal echo, like the distant shout of thunder. Through Michael's point of view, we begin a swirling montage: MONTAGE A. INT. HYDRAULIC ROOM - SLOW MOTION - as the hydraulic gears, out of focus, swirl around like turning clockworks. We hear Michael's voice (echoed) calling, "Kitt, Kitt, can you hear me?" B. EXT. DAM - SKY - SLOW MOTION - as the face of a para- medic appears, looking down at Michael; behind him, lights of an ambulance flashing, the sounds of sirens.... C. INT. HOSPITAL ROOM - SLOW MOTION - as the paramedic dissolves into a nurse looking down, the ambulance lights turn into fluorescent lights behind the nurse. As the image clears, resumes normal motion, we see Nurse Langly, heavily built, professional, strong features. Nurse Langly is dry and to the point. She's seen it all. [NURSE LANGLY] (echoed) Checkout time's at twelve. Come on, we need these rooms for a convention. We end Montage as the rumble of the explosion fades out. CLOSEUP - MICHAEL suddenly opening his eyes and sitting up. He's sweating, his chest is bandaged. INT. HOSPITAL ROOM - DAY - WIDER ANGLE Small and private. The Nurse immediately looks at Michael's chart, then crosses to take his pulse. Over this: [NURSE LANGLY] Okay, we're looking at a mild concussion, bruised ribs, nothing broken. You're lucky to be in such good shape. Are you a football player or were you just born this way? [MICHAEL] (slowly coming out of it) The case...I'm working on a case... Getty Caulfield. [NURSE LANGLY] Well, right now you're in Hoff Medical Center, and all you should be working on is getting better. (beat) Now, what's your name? Michael's "waking up" a bit more; yet, he still has to think. [MICHAEL] Michael. Michael Long. [NURSE LANGLY] (writing it on the chart) L-O-N-G? [MICHAEL] (more definite) Yes. I'm a police officer. (starting to get up) And I've got to report in.... Nurse Langly gently pushes him down again. [NURSE LANGLY] At the moment, 'Officer Long,' the only ticket you're going to be writing is the one on the nightstand for your meals. And I'd suggest you stay away from the chicken surprise. It'll only keep you here longer, and the pretty girl won't like that. [MICHAEL] Pretty girl? What pretty girl? [NURSE LANGLY] The blond that's been asking for you ever since you checked in last night. [MICHAEL] I...I don't know anybody.... [NURSE LANGLY] Well, let's not worry about that right now. And I wouldn't worry too much about Getty Caulfield either. He's been dead for almost a year. Michael looks at her, shocked. [MICHAEL] Dead? [NURSE LANGLY] I read the papers. She smiles kindly, then leaves. Michael immediately gets up. He has to sit back down for a moment as dizziness pours over him, but then makes his way to the closet to get his clothes. As he shuts the closet door, he sees himself in a mirror. CLOSE ON MICHAEL'S FACE looking at his own reflection with shock. Carefully touching his face: [MICHAEL] My God...my face...what happened to my face?! [TAXI DRIVER'S VOICE (O.S.)] Hey, what's the matter with you? ANOTHER ANGLE - DAY - CLOSE ON MICHAEL'S FACE staring straight ahead, lost in thought. He looks up: [MICHAEL] What did you say? EXT. SHOREBORNE AVENUE - DAY - CLOSE ON TAXI as we see Michael inside a taxicab, as it pulls to the curb. [TAXI DRIVER] We're here. Comes to twelve dollars and ninety-five cents. We pull back to reveal a miniature golf course adjacent to the cab and a Mazda RX-7 pulling to the curb not far behind. Michael gets out of the taxi and looks around, confused. [MICHAEL] I told you to take me to 1834 Shoreborne Avenue. [TAXI DRIVER] That's where you are. [MICHAEL] But there's supposed to be an apart- ment building here. My apartment building. [TAXI DRIVER] (shrugs) Look, buddy, what's supposed to be here's beyond my control. Now what about the twelve ninety-five? Michael, still looking at the golf-course, reaches into his back pocket. There's nothing there. He searches all his pockets. Over this: [TAXI DRIVER] Don't tell me: 'My wallet was here a minute ago.' Look, I gotta make a living too, you know? (disgusted) Forget it. He starts the cab up. [MICHAEL] Wait a minute. Just take me to the police station. Eleventh precinct. I work there.... [TAXI DRIVER] Yeah. Sure. He drives off. [MICHAEL] Wait! Michael watches helplessly as the cab peels away, then: FLASH CUT TO K.I.T.T. - DAY - FLASHBACK as the Trans Am peels away and we see the KNIGHT license plate. Resume to: ANGLE ON MICHAEL shaking off the image, beginning down the street. Camera zooms behind him, to the RX-7 as the window rolls down exposing Cara, a pretty blond in her early twenties. She's obviously been watching Michael. Now, she starts her car and, staying a careful distance behind, follows him. INT. HOSPITAL ROOM - DAY Nurse Langly is busy putting fresh sheets on the bed. Devon and April are at the foot of the bed. [DEVON] Gone? What do you mean he's gone? [NURSE LANGLY] This is a hospital, not a high school. You don't need a note from your mother to come and go. He left AMA -- Against Medical Advice. [APRIL] How was he when you last saw him? [NURSE LANGLY] A little scattered from the concussion. Nothing serious. Normal disorientation. Devon glances at Michael's chart on the overbed, reacts. [DEVON] This chart states his name is Michael Long. Nurse Langly snatches the chart away. [NURSE LANGLY] In the absence of ID we generally take a patient's word. You'd be amazed at some of the names we get. She leaves. April and Devon share a concerned look. [APRIL] Michael Long? Devon, what's happened to him? [DEVON] With a head injury, I'm afraid some form of amnesia would not be unlikely. [APRIL] When we picked Kitt up at impound all he could give us was the ambulance number to trace to the hospital. He couldn't have known this has happened to Michael.... [DEVON] We must try to find him. Fast. [APRIL] He'd go where Michael Long would've gone -- his apartment.... [DEVON] Possibly his old precinct... (as they leave) I fear Michael may be out there living the life of a man who's been dead for two years. EXT. STREET - DAY Michael's wandering, looking lost. Just as he's about to cross the street, we hear a car's horn and a woman calling: [CARA'S VOICE] Michael, wait! The RX-7 moves close to Michael, stopping him on the curb. [MICHAEL] Are you talking to me? Cara doesn't answer, just takes something from the passenger's seat and hands it out the window to Michael. It's a small sports bag. She seems nervous, anxious to go on her way. [CARA] Here, take it. Please. Michael takes the bag and before Cara can drive away, Michael reaches through the window, grabbing the steering wheel. [MICHAEL] Who are you? Do you know me? Cara glances in the rearview mirror, takes a breath, searching for an explanation. Not finding one, she tries another tack, affecting a playful, flirtatious air. [CARA] (mock exasperation) If I didn't have such a wonderful self-image, I'd be crushed. You'd think a man would be a little more receptive when the girl he was with returns his stuff. Call me, okay? Before Michael can soak it all in, Cara jams the RX-7 in gear and drives off. CLOSE ANGLE - MICHAEL Michael starts to go after her but the RX-7's faster, is quickly out of sight. Michael opens the bag and pulls out a wallet. It's new, its ID windows empty -- but contains a large amount of cash. He now pulls out the second object and we move in as Michael reacts to it -- a small caliber pistol. He glances around, slides the wallet into his pocket and conceals the gun in his jacket. Then, stuffing the bag into a nearby trash can, he moves up the street. INT. ELEVENTH PRECINCT POLICE STATION - DAY There's a Desk Sergeant, a large counter and a police radio continually squawking calls from the mobile units. To the right is a windowed office section with a rather worn AUTHORIZED PERSONNEL written on it. Inside working at a desk is Officer Bowman, early thirties, tall, fair-haired. We pick up Michael as he enters the station. He hesitates a moment -- there's something about the place that seems different. We play the moment, then Michael begins toward the windowed offices. [DESK SERGEANT] That's authorized personnel only. Can I help you? Michael stops and looks at the Desk Sergeant for a moment. [MICHAEL] Are you subbing for Jerry? [DESK SERGEANT] Jerry...you mean Sergeant Brinkman? He's retired. What can I do for you? Michael stops. [MICHAEL] Retired? What are you talking about? Who are you? You've never worked the desk before --- [DESK SERGEANT] Look, you've got a problem, I'm here to help. If not, I've got a lot of work to do. Michael continues toward the windowed offices. Bowman, rising, crosses to the door, opens it to overhear: [DESK SERGEANT] (stronger) I'm not going to tell you again -- you don't go in there. That does it. Michael turns to the Sergeant. [MICHAEL] I've got business in there. My name's Michael Long, serial number 1-0-5-0-9, badge number 8-0-4-3. I don't know about you, but I work here. He turns toward the windowed office and now sees his reflection in the glass. It's the second time he's seen it and it stops him cold. Bowman reacts to what he's over- heard, reaches for a phone. Over this: [DESK SERGEANT] This is the wrong precinct to try and pass yourself off as Michael Long. He was a good cop. A lot of the guys took his death hard. Michael reacts, stunned. Confused. ANGLE - OFFICER BOWMAN as he finishes dialing a number, looks out at Michael. [OFFICER BOWMAN] (into phone) Devon Miles, please. INT. FOUNDATION - DEVON'S OFFICE - DAY - FAVORING COMPUTER Devon enters behind April, who's carrying maps and com- puter readouts. [APRIL] I've reprogrammed Kitt to seek Michael and self-activate if he finds him.... [DEVON] Good, good. The phone buzzes. Devon picks it up. [DEVON] Yes? (listens; reacts) You're sure? See if you can keep him there until we arrive. Thank you, Officer. Devon hangs up the phone, turns to April. [DEVON] Let's go. They've found him. INT. ELEVENTH PRECINCT - DAY - FULL SHOT Things have heated up. The Desk Sergeant is moving closer to Michael as Officer Bowman approaches from his office. [MICHAEL] Hey, I don't want any trouble. Just some answers.... [OFFICER BOWMAN] (smooth, calming) And we don't want any trouble, either. Come on, let me buy you a cup of coffee and we'll talk about it.... [MICHAEL] Don't play 'good-cop' with me. I know all the games. [OFFICER BOWMAN] C'mon, fella, calm down.... With that, Bowman moves to grab Michael and Michael moves away, breaks free, rushing to the door. As the Desk Sergeant goes for him, Michael turns quickly, sending a filing cabinet crashing to the floor to block the Sergeant. In a flash, Michael's outside and gone. EXT. CITY STREET - DAY - ON K.I.T.T. April's at the wheel, Devon's beside her. INT. K.I.T.T. - DAY as the car turns onto the police station street. Devon and April are silent, clearly very worried. [K.I.T.T.] I wish someone would say something encouraging. [APRIL] We'll find him, Kitt. It won't be long now. [K.I.T.T.] I certainly hope so. The thought of Michael forgetting everything is quite distressing. If I were to experience total file loss, I would simply switch an auxiliary data bank. [DEVON] In a manner of speaking, that's just what Michael did. Only in his case, his auxiliary data bank is missing two years. A beat, then: [K.I.T.T.] Poor Michael. EXT. POLICE STATION - DAY K.I.T.T. comes to a stop and Devon and April get out, hurry up the precinct steps. We move in to K.I.T.T.'s scanner as it suddenly begins to pick up something. [K.I.T.T.] Devon, April, wait -- I've located Michael! But Devon and April have already gone inside, shutting the door behind them. They don't hear K.I.T.T.'s plea. INT. K.I.T.T. - DAY - ON MONITOR where we see Michael running down a street near the police station. [K.I.T.T.] Michael, you need me. I must self-activate.... We see the windows darken, K.I.T.T. jam his gears into drive. EXT. STREET - DAY - ON K.I.T.T. taking off, windows blacked out, moving down the street and turning the corner. EXT. STREET BEHIND POLICE STATION - DAY Michael walks quickly down the street. We rack focus to see K.I.T.T. behind him. Michael, sensing something, turns toward K.I.T.T. [K.I.T.T.] (on PA) Michael, please -- stop. It's me...Kitt. Michael turns and races down the street. ANOTHER ANGLE - STREET Ahead, the street is closed off with barriers, behind which is some road equipment and three workers, eating lunch. Michael runs toward the barrier, K.I.T.T. following. As Michael darts past the barrier, K.I.T.T. turbo boosts and soars over the barrier, still pursuing Michael. ANGLE ON THE THREE WORKERS staring in amazement at the "flying" car. ON MICHAEL as he turns and sees K.I.T.T. following. Now, he turns right into an alley. ON K.I.T.T. following Michael, heading toward the alley. IN THE ALLEY as Michael finds himself facing a dead end. He stops for a moment to catch his breath and we see K.I.T.T. turn slowly into the alley. CLOSER ANGLE - ON MICHAEL turning toward K.I.T.T., tired of running. Michael pulls the gun out of his jacket and planting his feet, both hands steady on the gun, aims directly at the oncoming K.I.T.T. Seeing that the car isn't about to stop, Michael begins firing. We see the bullets shatter and spark like the Fourth of July gone mad on K.I.T.T.'s hood and windshield. The car races directly toward Michael, showing no sign of stopping, and as his black body fills the frame, we: FADE OUT END OF ACT ONE ACT TWO FADE IN EXT. ALLEY - DAY - ANGLE ON MICHAEL as K.I.T.T. screeches to a halt a few yards from the barrel of Michael's gun and idles, scanner flashing hypnotically. Michael stops firing and approaches, gun still trained on K.I.T.T. Suddenly the driver's door pops open. [MICHAEL] All right. Out. Hands away from your body. [K.I.T.T.] This is not quite the reunion I'd hoped for, Michael. [MICHAEL] I said get out of the car! He reaches the driver's door and looks inside. MICHAEL'S POINT OF VIEW - INSIDE K.I.T.T. Empty, needless to say. ANGLE ON MICHAEL AND K.I.T.T. He stares into the car, bewildered. [K.I.T.T.] Michael, have you really forgotten me? CLOSER ON MICHAEL We see again that something's prodding his memory: FLASH CUT TO FLASHBACK - STOCK FOOTAGE As in slow motion, we see K.I.T.T. flying to Michael's rescue in a spectacular stunt from a previous episode. Resume to: EXT. ALLEY - ON MICHAEL AND K.I.T.T. as he closes his eyes, shutting out the confused memory. [K.I.T.T.] Are you all right? Michael opens his eyes, struggling to understand what's going on. [MICHAEL] No, I...I'm confused. Nothing around me makes any sense. This face...it's not my face. My past seems to have disappeared and now... (ironically) I'm talking to a car. [K.I.T.T.] I think I can explain everything, Michael.... [MICHAEL] How do you know my name? [K.I.T.T.] We're partners, you and I. We're a team. Please, let me help you. Come inside. Michael shakes his head, steps back. [MICHAEL] No thanks. [K.I.T.T.] As you pointed out, I'm only a car. Please. Trust me. Michael hesitates, then slowly climbs into the car. INT. K.I.T.T. - DAY as Michael moves into the driver's seat, rests his hands on the steering wheel. Despite the strangeness of the interior, he feels a subtle familiarity, senses he's been here before. Eyeing the multitude of flashing controls: [MICHAEL] I've never seen anything like this. Suddenly, the door shuts and locks. Michael tries to open it, finds he can't. [MICHAEL] Hey, what's going on? Let me out! [K.I.T.T.] I'm sorry, Michael, but I can't do that. April's programmed me speci- fically to help find you and return you to the Foundation. [MICHAEL] I said open the door! [K.I.T.T.] Please forgive me. And the car starts to move. INT. ELEVENTH PRECINCT STATION - DAY As Devon and April are with Officer Bowman: [OFFICER BOWMAN] ...and then he ran out. Since we didn't have a charge to hold him on.... Suddenly, K.I.T.T.'s voice echoes through the police band radio behind the Desk Sergeant. [K.I.T.T.'S VOICE] Devon, can you hear me? Bowman whirls toward the radio. [DEVON] Kitt's broadcasting on the police frequency! [K.I.T.T.'S VOICE] I have Michael and I'm returning him to the Foundation. Please rendezvous immediately. Devon and April lock eyes, turn and hurry out of the station as the astonished Bowman tries to retune the radio. INT. DEVON'S OFFICE - DAY - CLOSE ON MONITOR SCREEN showing a blowup of a news article, with the lead copy: POLICE OFFICER VANISHES, PRESUMED DEAD Officer Michael Long was presumed dead today when his car was found in the desert.... And the article continues, in print too small to read, as we hear: [MICHAEL'S VOICE] What is this -- what're you trying to tell me, I'm dead?! WIDER ANGLE ON MICHAEL, DEVON AND APRIL Michael stares at the article, as Devon and April watch him, obviously concerned. [DEVON] You were Michael Long, but you have a new identity. A new purpose. You're Michael Knight now. Michael moves away from the monitor, begins to pace. [APRIL] Why would we go to all this trouble if we didn't care about you? Michael looks at her with the eyes of a stranger. [MICHAEL] I don't know. That's one of the things I'm trying to figure out. [DEVON] At the time of the explosion you were working on the Getty Caulfield case. Do you remember that? [MICHAEL] (beat) I...remember the name. What do you know about it? [DEVON] Getty Caulfield was a multimillion- aire industrialist. At the time of his death, ten million dollars worth of his privately owned Alidium was stolen while in transit to a govern- ment facility. [APRIL] Alidium's an exotic alloy. It's a vital catalyst in the space program. [DEVON] The authorities had given up on finding it. They approached the Foundation, and that's how you became involved. [APRIL] You'd found the thief, remember? You were tracking him. You chased him to Bedford Dam, then we lost contact with you. Please try to remember.... Michael's incredulity has been taking over and now he shakes his head emphatically. [MICHAEL] No. No, I'm a cop. If I was looking for this...Alidium...it was police business. [APRIL] But, Michael.... [MICHAEL] I work alone. Now, I'd like the gun back. [DEVON] I can't give it to you. [MICHAEL] Why not? [DEVON] Because it's not registered to you. You have no legal right to carry a gun. Michael glares at him, whirls and heads for the door. April shoots a look at Devon and Devon steps in front of Michael, grabbing his arm. [DEVON] I can't let you just walk out of here and wander the streets, not knowing who you are.... [MICHAEL] You can't stop me. He removes Devon's hand from his arm and leaves. [APRIL] Oh, Devon -- what're we going to do? [DEVON] I'm afraid if we put more pressure on him it will only drive him away. We can only rest assured that, at the very least, he won't be alone.... EXT. STREET ADJACENT TO FOUNDATION - DAY - ANGLE ON MICHAEL as he strides down a street (ostensibly near the Foundation, although we don't see it), moves quickly up the attractive residential street. A beat, then K.I.T.T. comes up behind him, scanner flashing, and moves slowly after Michael, following him like an adoring pet. Realizing he's being followed, Michael whirls around to face K.I.T.T. and the Trans Am stops. [MICHAEL] Leave me alone. [K.I.T.T.] I'm coming with you, Michael. We're a team. [MICHAEL] Not anymore. Beat it. He turns and starts to walk again and, again, K.I.T.T. follows. Michael breaks into a run and rounds a corner and K.I.T.T. picks up speed to follow. ANOTHER ANGLE - AROUND THE CORNER as Michael runs toward a mailman pushing a mailcart, pausing to deposit some letters in a mailbox in front of one home. He looks up as K.I.T.T. approaches; then, seeing no driver, stares dumbfounded, tipping the mailcart so that several letters fall out. After K.I.T.T. passes, the mailman comes to his senses and guiltily gathers up the fallen letters, hoping no one noticed. ON MICHAEL AND K.I.T.T. Michael stops abruptly and behind him, K.I.T.T. squeals to a halt. Michael moves to the driver's door, as if con- fronting a delinquent child inside. [MICHAEL] I'd tell you to get this through your head, but you can't 'cause you're a machine. So run this one through your data processor -- get lost! [K.I.T.T.] I can't do that, Michael. I'm programmed to respond to your needs. Despite your being unaware of it, you need me. [MICHAEL] What if I don't want you? [K.I.T.T.] I suppose I'll be quite hurt. Michael thinks about this, realizing there's a definite "emotional" makeup to K.I.T.T. [MICHAEL] Well, we wouldn't want that. (beat) So you insist you're my car. [K.I.T.T.] I would hardly expend this energy for a stranger. [MICHAEL] It is pretty hard to get around without a set of wheels. He opens the door and climbs in. INT. K.I.T.T. - DAY as Michael shuts the door behind him, revs the engine. [MICHAEL] I drive from here on. [K.I.T.T.] Absolutely. Providing you'll promise me one thing. [MICHAEL] What's that? [K.I.T.T.] Please do not refer to me as a car, or a 'set of wheels'. It's most demeaning. I'm the Knight Industries Two Thousand. You've always called me Kitt. [MICHAEL] All right, Kitt. Let's see what you can do. And he steps on the gas. EXT. K.I.T.T. - DAY as the car bursts forward, moves quickly up the street and hangs a screaming 180, now tearing back to pass by the mailman again. At the sound of the approaching car, the man once again stares. INT. K.I.T.T. - DAY Michael seems to be enjoying this, is eyeing the buttons on the dash. He spots the Turbo Boost, reaches for it. [MICHAEL] What's this do? [K.I.T.T.] Michael, I don't think -- Too late. Michael hits the button. EXT. K.I.T.T. - DAY as the car leaps from the road and becomes airborne. It soars several yards over nothing, then drops back down in a perfect landing. INT. K.I.T.T. - ON MICHAEL catching his breath, astounded by what he and K.I.T.T. have just done. [MICHAEL] Wow! You're hot, Kitt! [K.I.T.T.] Quite true, Michael. EXT. K.I.T.T. - ANGLE ON MAILMAN Shocked beyond belief. As the Trans Am vanishes from sight, the astonished mailman unconsciously releases the mail cart. It rolls away, dumping letters as it goes. The mailman notices -- and takes off after the cart. EXT. HIGHWAY - ANGLE ON K.I.T.T. - STOCK gliding expertly along. INT. K.I.T.T. - DAY Michael's driving smoothly, but his eyes are locked on something other than the road -- his fists, clenched around the steering wheel. [K.I.T.T.] Is something wrong? You're acting very strange, Michael. We move in on Michael as his stare deepens, his thoughts turn inward.... FLASH CUT TO CLOSE ON MICHAEL'S CLENCHED FIST - FLASHBACK dissolving into something shiny which turns, like clock- works, then melting back into Michael's fist. Resume to: INT. K.I.T.T. - DAY as Michael snaps out of it. [MICHAEL] It's something I keep seeing over and over again, Kitt. Something that doesn't make any sense to me -- a fist. My fist. The shape of it.... [K.I.T.T.] Perhaps if we take a closer look.... ANGLE ON THE MONITOR as a graphic drawing of a fist appears on the screen. We widen to include Michael, eyeing the monitor. [MICHAEL] How'd you do that? [K.I.T.T.] Computer graphics. It's one of my many functions, Michael. How about this? As the rendering of the fist is rotated horizontally, revealing all sides of the fist, Michael watches the image, then shakes his head. [MICHAEL] I don't know... (beat) It's a terrible feeling...every time I pass a mirror or see a reflection in a window, I see a stranger's face. [K.I.T.T.] I wish I could help you regain your memory, especially your memory of me. We have quite a history together. [MICHAEL] That's why we're going back to the dam -- to see if it'll help me remember. EXT. BEDFORD DAM - DAY looming silent and somehow ominous, despite the bright sun- light bathing its granite walls in a white glow. A beat, then the Trans Am approaches, gliding across the spillway. K.I.T.T. stops at the foot of the dam and Michael climbs out. CLOSER - MICHAEL AND K.I.T.T. Michael peers up at the dam, eyes it thoughtfully. K.I.T.T.'s scanner is flashing. [MICHAEL] This place has been deserted for eight years. Why would the thief have come here? [K.I.T.T.] My only information on Bedford Dam is that it's marked for demolition. Even its hydraulic works were recently auctioned off. [MICHAEL] What was I doing here, Kitt? [K.I.T.T.] Chasing the suspect, Michael. He ran up that center lock.... CLOSE ON MICHAEL as he moves slowly toward the dam, thinking back, poring over his injured memory. [MICHAEL] Chasing...I was chasing him.... FLASH CUT TO ANGLE ON FRANK POOLE - FLASHBACK Not identifiable here, as, in slow motion, he scrambles up the center mound via a ladder.... Resume to: ANGLE ON MICHAEL pushing away the haunting memory, reaching the mound and glancing up at the ladder. He begins to climb.... ANGLE ON K.I.T.T. as the scanner begins to flash madly. [K.I.T.T.] Michael, there's a man with a gun on the top of the dam. Michael? Michael! ANGLE ON MICHAEL as a shot rings out and ricochets off the mound inches from Michael. Michael ducks out of the way and tries to hide behind the huge pillar of the lock. MICHAEL'S POINT OF VIEW - THE WALKWAY where a man we will know as Duke stands, aiming a high- powered rifle at Michael. He's a very large man in his early thirties. As he pulls off another shot: ANGLE ON MICHAEL The shot narrowly misses him and he tries to scramble up the mound, slips back down. He glances over at K.I.T.T., parked across the spillway. He shouts out: [MICHAEL] Kitt! Give me a hand! ANGLE ON K.I.T.T. hearing Michael's cry as a vague echo across the spillway. [K.I.T.T.] It's about time. And the engine revs as K.I.T.T. takes off, blasting directly toward the dam. He slips in between Michael and the gunfire, bullets bouncing off the molecular bonded shell. Michael ducks behind the car, stays down as the bullets spark around him. ANGLE ON DUKE as he ceases firing, scrambles down the backside of the dam and disappears. ANGLE ON K.I.T.T. as Michael peers over K.I.T.T.'s hood. [MICHAEL] Why's he stopped firing? [K.I.T.T.] Quite possibly because he's gone. [MICHAEL] What do you mean? He can't be gone. He doesn't even have a car. [K.I.T.T.] It doesn't matter, Michael. I'm not picking up any human life readings in this area. He's simply disappeared. OMITTED CLOSE ON MICHAEL as this hits him. INT. DAM HYDRAULICS ROOM - DAY We see only low-voltage, caged lamps on the ceiling and Duke moving through the darkness, carrying his rifle. He's met by a second man, thirty-two years old, dark and hand- some -- Frank Poole. [FRANK] Have you lost your mind? What were you shooting at out there?! [DUKE] The guy in the black car. I told you we should've checked the body. [FRANK] What're you talking about? [DUKE] He's not dead, Frank. CLOSE ON FRANK His face is hard, his eyes cold. [FRANK] Well, that's too bad for him. All that trouble to stay alive and now he's going to have to die again. On his ominous look, we: FREEZE FRAME AND FADE OUT END OF ACT TWO ACT THREE FADE IN EXT. STREET - DAY - ANGLE ON K.I.T.T. - MOVING SHOT as the car glides through a business area away from the dam. INT. K.I.T.T. - DAY Michael's inspecting the wallet Cara gave him with one hand, driving with the other. [K.I.T.T.] What exactly do you expect to find in that wallet, Michael? [MICHAEL] I don't know, Kitt...hopefully some- thing to identify the girl who gave it to me. She's tied into this thing one way or another. If only I had access to the police lab, I could run an analysis.... [K.I.T.T.] We can do it right here, Michael. And the chemical analyzer pops open. Michael looks at it. [MICHAEL] Thanks, I don't smoke. [K.I.T.T.] It's not an ashtray, it's a chemical analyzer. With it, we can detect any identifiable qualities to the wallet.... [MICHAEL] You're a regular wonder on wheels, aren't you? [K.I.T.T.] I like to think so. Michael places the wallet on the chemical analyzer pad and it vanishes inside. Michael waits a beat, thinking. Then: [MICHAEL] You say that you knew me before the accident. What...was Michael Knight like? [K.I.T.T.] You were -- Michael Knight was bright, agile, often quite logical. He was also stubborn, impatient, readily dis- tracted by pretty girls and he listened to possibly the most appalling music to ever shatter my air waves. Despite himself, Michael grins. [MICHAEL] Sounds like my kind of guy. [K.I.T.T.] Yes, that's what I'm afraid of. The chemical analyzer returns the wallet to Michael. [K.I.T.T.] It's an extremely high-grade leather, imprinted by a method used only by fashionable boutiques. [MICHAEL] Fashionable boutiques -- That leaves a lot of ground to cover. [K.I.T.T.] Under normal circumstances, yes. However, this particular wallet was purchased at a shop called 'Caine's.' [MICHAEL] (amazed) I'm impressed. How did a chemical analysis identify the store? [K.I.T.T.] It didn't. Look. INSERT - MONITOR A slip reads "Made exclusively for Caine's by South Beach Leather." BACK TO SCENE Michael laughs. [MICHAEL] Good work, Kitt. As he turns the wheel, to head toward Caine's: [K.I.T.T.] One other thing about Michael Knight. [MICHAEL] What's that? [K.I.T.T.] I was extremely fond of him. Michael's touched. EXT. SMALL SHOPS - DAY Michael crosses to K.I.T.T., climbs in. [MICHAEL'S VOICE] The lady who bought it lives at 1735 Hollyway Lane, apartment 335. Her name's Cara. (beat) Cara Caulfield, as in Getty Caulfield. As they drive off.... EXT. CARA'S SECURITY APARTMENT BUILDING - DAY as the Trans Am pulls up the circular driveway, parks. INT. K.I.T.T. - DAY - ON MICHAEL as he peers out at the building. [MICHAEL] Security system, and not a skeleton key in sight.... Michael climbs out of the car. EXT. K.I.T.T. - DAY - ANGLE ON MICHAEL as he climbs out of the car and heads for the front door. ANGLE ON K.I.T.T. - CLOSE ON THE SCANNER flashing madly as the microwave jammer goes to work. ANGLE ON MICHAEL AT THE DOOR He pauses, begins to examine the lock when suddenly it pops open. Michael is amazed. He glances back at K.I.T.T. [MICHAEL] Should I say 'thanks?' [K.I.T.T.] If you do, I'll say 'You're welcome.' [MICHAEL] Thanks. [K.I.T.T.] De nada. Michael smiles, goes in. INT. APARTMENT BUILDING HALLWAY - DAY Michael knocks at a door with the number 335 on it. The door opens and we see Cara. Seeing Michael, her face goes blank. [MICHAEL] Hello, Cara. We see an immediate change in Cara's expression as she struggles to overcome her surprise. She smiles brightly. [CARA] Michael, you're early! Come in. And he follows her into the apartment. INT. CARA'S APARTMENT - DAY A large nicely furnished studio-type apartment, with a dining area open to the living room. The dining room table is set for two. In the middle of the living room is a large sculp- ture, a construction of old machinery, sheet metal, etc. Michael glances at this as Cara speaks warmly, but a bit too cheerfully. [CARA] The lasagna won't be ready for another half-hour, so I hope you're not starving to death. Why don't we go ahead and open the wine.... [MICHAEL] Who are you? Cara deliberately avoids his gaze, laughs nervously. [CARA] Oh, look at that! I don't have a corkscrew. Be an angel and run down to the liquor store and get one for me, will you? Michael steps directly in front of her, forcing her to look up at him. [MICHAEL] I don't know you...I've never been here before...you're not waiting for me. (beat) I want answers, Cara. Like why you handed me a wallet full of money and a gun.... Cara drops the flighty performance like a glass mask that shatters. [CARA] I was...trying to help you, that's all. Isn't that enough? Can't you just accept that and leave? [MICHAEL] It's not enough, Cara. It's the tip of the iceberg. What's your rela- tionship to Getty Caulfield? Cara pauses, then: [CARA] He was my grandfather. Now please, get out of here.... She looks up at him. [MICHAEL] Why, are you expecting someone? She doesn't reply. [MICHAEL] Who's coming over? [CARA] (finally) Frank. [MICHAEL] Who's Frank? [CARA] He's...my boyfriend. Was. (desperate) All right...I met Frank in college. He told me Grandpa was selling the Alidium to the military. He said it was wrong to use it to hurt people. He said he'd see that it got used for peaceful projects... but the next thing I knew you'd been hurt, almost killed, and when I saw you in the hospital, so helpless.... [MICHAEL] So you brought me the gun to protect myself against Frank. [CARA] (nods) This thing's gotten so far out of hand. I want to tell Frank that it's over. That's what I'm going to tell him when he's here. (then) You've got to leave. Please. If he sees you here.... [MICHAEL] What? [CARA] He'll kill you. [MICHAEL] I'll have to take that chance. Until I can find him, find out what happened back at the dam, there's a piece of me missing.... ANGLE ON THE DOOR A key turns in the lock and the door opens, revealing Frank Poole. Seeing Michael standing across the room, his eyes grow wide. ANGLE ON MICHAEL AND CARA as she screams. Frank grabs a chair and lunges at Michael; hitting him with the chair, knocking Michael back against the large sculpture. OMITTED CLOSE ON MICHAEL as his head strikes the metal of the sculpture. With the impact comes a sudden burst of memory: FLASH CUT TO INT. HYDRAULIC HOUSE - BEDFORD DAM - MICHAEL'S POINT OF VIEW - FLASHBACK In the darkness a gun flashes, partially illuminating Frank. We see the bullet blast metal near Michael's head, hear the metallic echo, over and over.... Resume to: INT. CARA'S APARTMENT - CLOSE ON MICHAEL covering his ears to shut out the screaming ring of bullet on metal. WIDER ANGLE to show Cara as she runs to the front door, throws it open and dashes out. ANGLE WITH MICHAEL recovering from the haunting memory and weakened by his previous concussion as Frank pushes him out onto the balcony. EXT. BALCONY - DAY Michael struggles to clear his senses as Frank presses him toward the balcony's edge. Realizing where he is, Michael calls out: [MICHAEL] Kitt! Kitt, get over here! OMITTED EXT. DRIVEWAY IN FRONT OF BUILDING - DAY - ANGLE ON K.I.T.T. People have come out of the building, clearly in response to the noise of the fight, and are craning in the direction of Cara's balcony. As Michael's voice echoes from the side of the building, K.I.T.T.'s engine revs and astonished people stare. ANOTHER ANGLE as the Trans Am takes off, tearing out of the driveway and heading to Michael's aid, we see that K.I.T.T. has opened his sunroof. INT. K.I.T.T. - DAY - ANGLE ON MONITOR as Michael's image appears, up on the balcony. [K.I.T.T.] He does choose the most precarious locations. We now see a schematic drawing of the balcony with Michael indicated by a red outline; intersecting lines move closer and closer together until they cross the image of Michael. OMITTED EXT. SIDE OF BUILDING - DAY - ANGLE ON MICHAEL Frank is pressing Michael over the balcony wall. From beneath, K.I.T.T.'s voice booms from the PA: [K.I.T.T.'S VOICE] Michael -- jump. Michael glances down, sees the car below. He looks up at Frank, shoves him away, then jumps. ANOTHER ANGLE as Michael drops from the balcony and lands on his feet in the driver's seat, which hydraulically absorbs the impact. Michael slides down into the driver's seat. ANGLE ON THE BALCONY as Frank stares thunderstruck at the Trans Am. At this same moment, we suddenly hear police sirens drawing close. Frank ducks back into the apartment. EXT. STREET - DAY We now see K.I.T.T.'s sunroof is closed as two squad cars tear around the front of the building, forming a blockade before K.I.T.T. Two cops with guns immediately leap out of the cars and take aim at Michael. [OFFICER] You in the black car, come out with your hands up. With a squeal of tires, Michael backs the car up fast, away from the police, rips a tight 180 and heads away up the street. The police leap into their cars and take up the pursuit. EXT. STREETS - DAY - VARIOUS ANGLES The two squad cars pursue K.I.T.T., who leads them on a merry chase, rapidly gaining distance on them. EXT. HIGHWAY - DAY as the Trans Am, then the squad cars reach the broad stretch and pick up even greater speed. INT. K.I.T.T. - DAY Michael glances back into the rearview mirror. The squad cars are just a dot on the horizon. [MICHAEL] Kitt, does it always get this heavy? [K.I.T.T.] When we get a moment, I'll tell you stories that will stand your hair on end. Michael again glances into the rearview mirror. [MICHAEL] I think we've lost him. [K.I.T.T.] I'm afraid not. ANGLE ON MONITOR showing a graphic visual of the highway, indicating the squad cars pacing some distance behind, but still coming. [K.I.T.T.] We've merely left them somewhat behind. K.I.T.T. now runs up a second visual and we recognize a graphic of the Foundation semi in the vicinity. We widen as Michael's eyes return from monitor to road. [MICHAEL] I never thought I'd say this, but this is one time I'd like to see a couple of black-and-whites disappear. [K.I.T.T.] Would you settle for us disappearing? [MICHAEL] What've you got in mind? Magic? [K.I.T.T.] Keep your eye on the white handker- chief. ANGLE ON THE FOUNDATION SEMI moving along up ahead. The tailgate opens invitingly. K.I.T.T. pulls in behind the semi and rolls up the ramp. The tailgate immediately closes behind it. INT. FOUNDATION SEMI - DAY - ANGLE ON K.I.T.T. the door opens and Michael climbs out, wide-eyed with wonder. [MICHAEL] Wow. [K.I.T.T.] Welcome to the Foundation's mobil unit. EXT. FOUNDATION SEMI - DAY - ANGLE ON SQUAD CARS as we see them burn up the highway toward the semi, then whiz past, continuing on out of view. INT. FOUNDATION SEMI - DAY - ON MICHAEL as Devon and April approach Michael. [MICHAEL] You guys don't fool around, do you? Michael approaches the computer terminal area, taking every- thing in, while April runs a quick check on K.I.T.T.'s functions. Devon watches Michael closely. [DEVON] Michael, are you beginning to remember? You came here.... [MICHAEL] Kitt brought me. Devon's disappointment is palpable. [DEVON] I see...I was hoping you'd acted on your own. Michael sees the disappointment and responds: [MICHAEL] Devon...Were we friends before the explosion? [DEVON] I like to think so. [MICHAEL] I'm glad to hear that. He smiles. So does Devon. April approaches, looks from Devon to Michael. She hands Michael a new comlink watch, identical to the old one. [APRIL] This is a comlink. You had one before, but this one has a boosted intake receptor. With this, you can talk to Kitt with less structural interference. We don't want to lose you again, Michael. The sincerity of April and Devon touches Michael. [MICHAEL] I wish I could remember you two. I really wish I could... (beat) Kitt said the Bedford Dam was going to be demolished. I'd like to know all there is to know about it -- like who's bought the hydraulic works. [DEVON] (nods) We'll check into it. Michael eyes the computer bank. [MICHAEL] Looks like you're hooked up to every computer in the world. Think you could get me some background on a guy named Frank Poole? [APRIL] Let's see what we have. April sits before the computer and punches in. A beat, then a mug shot of Frank appears, accompanied by a printout. [APRIL] Frank Poole, graduate student in art at Reed College for about ten years on and off. Apparently he was inter- ested in more than art. He was founder of a radical political group -- and has three arrests: one for drugs, two for armed robbery. [MICHAEL] He won't let her go, Devon. He'll kill her. He makes a decision, turns and climbs into K.I.T.T. We hold on Devon's and April's confused looks. OMITTED INT. CARA'S APARTMENT - DAY - CLOSE ON CARA kneeling in her living room, hurriedly packing some belongings into a cardboard box. As she rises, we see that everything around her (except the large sculpture) is covered with sheets and ready for moving. Suddenly, she freezes. ANOTHER ANGLE to reveal Frank standing near the front door. He smiles coldly. [FRANK] Looks like you've chosen sides, Cara.... Cara drops the box and tries to run past Frank and he grabs her, slams her back against the wall. She cries out.... [FRANK] You and your friend Knight are the only loose ends left. You're going to be my bait, Cara. You're going to bring him to me, and then you're both going to die. And as we move in on her terrified face, we: FREEZE FRAME AND FADE OUT END OF ACT THREE ACT FOUR FADE IN EXT. CARA'S APARTMENT - DAY as Michael drives K.I.T.T. up to the entrance, comes to a hard stop and jumps out. As Michael reaches the security door, K.I.T.T. again pops the lock and Michael enters. INT. CARA'S APARTMENT - DAY as Michael pushes the unlocked door open, looks around. [MICHAEL] Cara? He moves into the apartment, sees the contents of the box spilled on the floor. [K.I.T.T.'S VOICE] (via comlink) Michael, have you found her? Michael looks around, realizes the voice is coming from the comlink. He speaks into it: [MICHAEL] She's gone and it looks like she left in a hurry. She didn't leave much behind.... He continues to look around, stops by the large sculpture. [MICHAEL] Wait a minute.... He kneels by the sculpture. We can plainly see on the base a signature: F. Poole. [MICHAEL] Bingo! Poole was an art student, he's probably got a studio. Let's get an address, Kitt. [K.I.T.T.'S VOICE] Say no more, Michael. We push in tight on the signature of F. Poole. MATCH CUT TO OMITTED CLOSEUP - F. POOLE SIGNATURE - DAY We pull back to reveal we are at: EXT. POOLE'S STUDIO - DAY The signature is on another sculpture similar in style, which sits outside Poole's rustic studio in the hills. The building is ND with a garage-like door in front. The Trans Am drives up and parks outside the door. Michael gets out, goes over to the door and begins to look for a way in. [MICHAEL] Looks like it's on remote control. Can you do your magic on this one, Kitt? [K.I.T.T.] With pleasure. The door slips open as via a garage door opener. Michael walks into the studio, with K.I.T.T. following. INT. STUDIO - DAY as Michael finds a light switch, turns it on. The large room is scattered with all kinds of metal sculptures. A workbench is cluttered with sculpting tools, etc. Michael begins searching as K.I.T.T. drives further in. [K.I.T.T.] This place doesn't look like an art studio. It looks more like an industrial accident. [MICHAEL] Kitt, we're not here to critique his work. [K.I.T.T.] (continuing) Whatever happened to the sensual lines of Henry Moore, or the clean whimsy of a Calder? Michael looks over to K.I.T.T., who faces a piece of sculp- ture made up of automobile parts. [K.I.T.T.] Michael, I ask you. Is nothing sacred? It is grotesque and abso- lutely humiliating. [MICHAEL] (preoccupied) I kinda like it. [K.I.T.T.] Really? How would you like to see a facsimile of yourself with arms and legs scattered about like a disembodied scarecrow? [MICHAEL] (still searching) Sounds like a Picasso to me. [K.I.T.T.] You are obviously the wrong person to discuss art with. Suddenly we hear the sound of the garage door electronically shutting. even as Michael turns toward it, K.I.T.T. cries out: [K.I.T.T.] Michael, look out! One of the sculptures near Michael tips over almost crushing him. Michael gets out of the way. Immediately, we see Duke, Frank's accomplice, charge Michael. Michael gives him a judo flip, and Duke flies over, hitting the ground. Just as Duke gets up, Michael gives him a powerful upper cut. He sends Duke back hard against the auto sculpture. Several pieces fall off as Duke falls into it and gets trapped in its midst. [K.I.T.T.] Thank you, Michael. You have improved it immensely. Michael looks down at the trapped Duke. [MICHAEL] I'll only ask you once. Where's Frank Poole? [DUKE] At the dam. But you might as well forget it. The girl's as good as dead by now. As Duke struggles fruitlessly to escape the sculpture, Michael hurries to K.I.T.T., climbs in and revs the engine. INT. K.I.T.T. As Michael peers out the window toward the sealed garage door. [MICHAEL] I've got a hunch that door's not going to stand in our way, Kitt. [K.I.T.T.] Michael, this is beginning to sound like old times. EXT. FRANK'S STUDIO - DAY as K.I.T.T. rips through the door and takes off. EXT. ROAD BY BEDFORD DAM - HIGH ANGLE - DAY as we see K.I.T.T. taking the same route as in the beginning, racing down the access road towards the field. INT. K.I.T.T. - DAY - ON MICHAEL as he drives onto the rocky field. [K.I.T.T.] Michael, I pride myself on never pointing out the obvious, but I'm afraid we're driving into a trap. [MICHAEL] I'm not worried. I have an edge. A secret weapon. [K.I.T.T.] Really? What is it? [MICHAEL] You. Michael gives K.I.T.T. a reassuring smile as he drives towards the dam. EXT. FIELD - DAY - HIGH ANGLE as we see K.I.T.T. heading toward the spillway. INT. K.I.T.T. - DAY - ON MICHAEL Michael looks outside with extreme concentration. [MICHAEL] I remember getting inside the dam... somewhere. There was an opening. I'm sure of it. [K.I.T.T.] Michael, I wish I could read minds, but that's one power April has not programmed me for. It's your turn. You must remember what you did when you got to the other side of the dam. [MICHAEL] Other side. That's it. The other side of the dam. FLASH CUT TO CONCRETE DOOR - DAY - FLASHBACK as it clicks open and becomes ajar. Resume to: INT. K.I.T.T. - ON MICHAEL as he speeds across the spillway. [MICHAEL] The door is on the other side. I remember now. Scan inside the dam and see if you can find Cara. We see a fuzzy infrared schematic of the dam. It goes in and out of focus. [K.I.T.T.] Something is still interfering even with my infrared, Michael. I can only create an approximation based on water and air displacement. Michael looks out, concerned. EXT. DAM - NEAR MOUNDS Michael brings K.I.T.T. to a stop. He gets out and heads up the mound, like before. OTHER SIDE OF DAM - ON MICHAEL as he jumps down to where the concrete door is. He feels around the door to see how to get inside, finds the unrusted bolts as before. He tries the door -- a few attempts, then we hear a click. The door opens. INT. HYDRAULIC HOUSE - DAY as Michael goes in. This time he looks around and finds a light switch. A small caged-in industrial light on the wall comes on, filling the small room with a strange glow. We can hear a muffled cry. A woman's cry of help. Michael runs to the wall where it seems to be coming from. [MICHAEL] Cara! Can you hear me? He pounds on the thick metal wall. Nothing. Michael suddenly remembers the comlink. He tries it: [MICHAEL] (into comlink) Kitt, I'm in the hydraulic room. I can hear Cara. Can you detect any- thing? [K.I.T.T.'S VOICE] Negative, Michael. The dam is catacombed. That sound could originate from anywhere. CLOSE ANGLE - ON MICHAEL - FAVORING HIS RIGHT HAND as he stares at his fist below the comlink watch. We rack focus from his fist to the gears behind him. We can plainly see the largest gear: it is shaped in a half- crescent, with "teeth" on the curved side -- looking very much like a closed fist. Michael turns around. It hits him just as we see it. He walks over to the gear. FLASH CUT TO HYDRAULIC ROOM - DAY - FLASHBACK as the bullet hits over Michael's head and he ducks behind the gears. But this time we play out the scene as Michael looks up at the same half-crescent gear and we can plainly see from where the bullet hit, the rusty-gray of the gear is only paint. Underneath is a brilliantly shiny, silver metal. We can hear Michael's voice: "That's it!" Resume to: MICHAEL as he grabs the gear and a piece of the precious metal breaks off, weakened by the bullet crease. This valuable piece of the puzzle falls into place. [MICHAEL] Now I remember! (into comlink) Kitt! The gears are fake. Frank made them out of the Alidium. [K.I.T.T.'S VOICE] That's what has interfered with reception, Michael -- the exotic alloy. [MICHAEL] According to Devon's research, the hydraulics have been sold to the Middle-East -- so that's how Frank planned to get the Alidium out of the country! Some peaceful purpose, huh? Suddenly we hear footsteps overhead. Michael looks up and sees grating on the ceiling, light filtering through. He leaps upward and pulls the grating loose, exposing a doorway to the walkway on top of the dam. Michael leaps up to the door, pulling himself through to the walkway outside. EXT. WALKWAY - BY GRATING as Michael comes through. Frank is across the walkway running away. Michael begins after Frank, catches him, giving him a body block to the legs. They both go down. There's a scuffle, then it becomes a turn around from the balcony with Michael in charge now. [MICHAEL] Where's Cara?! [FRANK] She's in a runoff pipe deep in one of the lock towers. Help yourself, man -- You'll never find her. Frank begins to laugh. [MICHAEL] Don't count on it, man. And with one angry punch he coldcocks Frank, leaves him on the walkway. INT. RUNOFF PIPE - DAY In the dark, small pipe we see Cara crying...terrified. She is standing on a filter grate -- trying to pry the grating above her loose with her hands...to no avail. Suddenly the water begins to shoot up from underneath, the powerful surge of water shooting up over her head to the grating above, making it hard for Cara to breathe. She begins screaming. EXT. WALKWAY - ON MICHAEL as he looks over the edge to K.I.T.T. He starts down, running. [MICHAEL] (yells) Kitt. You said you can pick up water displacement. Scan the dam for any sudden activity! INT. K.I.T.T. - DAY as we see the same infrared schematic of the dam. Sure enough, on the far left-hand corner of the dam we can see a blue area. Over this: [K.I.T.T.] Michael, I've pinpointed it. In a small pipe section, above the aqueduct. It's fifteen feet in. MICHAEL - INTERCUT WITH K.I.T.T. as he reaches K.I.T.T. and jumps in. [MICHAEL] Cara's in there, Kitt. We've got to find a way to break the pipe. Can you use the laser? [K.I.T.T.] It will take too long. [MICHAEL] (a sudden thought) Kitt...If we can hit the outside wall, wouldn't the impact create a shock wave that would shatter the pipe inside? [K.I.T.T.] It would if I could find a weak spot in the internal wall structure, but it's a long shot. [MICHAEL] It's our only shot, pal. [K.I.T.T.] I read you loud and clear, Michael. Michael fires K.I.T.T. up. EXT. K.I.T.T. - DAY They race backwards to the very edge of the spillway. INT. K.I.T.T. - DAY - ON MONITOR As we see the schematic of the aqueduct dam wall section instantly fill with line graphs of the internal structure. A small area suddenly blinks with a red circle and the word LOCK appears. [K.I.T.T.] I may have located a weak spot, Michael. [MICHAEL] Let's go for it. EXT. K.I.T.T. - HIGH ANGLE With the tires smoking, the Trans Am speeds toward the wall of the aqueduct directly at the circled area. OMITTED LOW ANGLE - DAM - SLOW MOTION as K.I.T.T. turbo boosts up, up, up right to the wall at the side of the dam, hitting the corner with a loud impact, causing the wall to crack around the area. Small bits of concrete fall to the ground below. INT. RUNOFF PIPE Just as Michael predicted, the shock from the impact of K.I.T.T. causes the pipe to crack, causing the water to subside. It also pops the grating above Cara. OTHER SIDE OF DAM - SLOW MOTION as K.I.T.T. lands, trailing the white dust from the cracked concrete. He does a sharp 180, turns, then stops, Michael leaping out. OMITTED ANGLE - MICHAEL as he reaches the walkway above the walkway. He rips the loose grating up from the runoff pipe below and pulls Cara out. Soaked and scared she cries as Michael gives her a long reassured hug. He then turns toward K.I.T.T. below and gives him the thumbs-up sign. ANGLE ON K.I.T.T. as his scanner flashes a salute and we: FREEZE FRAME AND FADE OUT END OF ACT FOUR TAG FADE IN EXT. FOUNDATION - DAY - ESTABLISHING - STOCK as we zoom in on Devon's office window we hear: [DEVON (O.S.)] April, are you sure you've packed the correct release forms? INT. DEVON'S OFFICE - DAY as we see a few suitcases, and Devon's brief case on the desk. The briefcase is opened, and Devon is looking through it. April shuts it. [APRIL] For the third time -- yes. As in Y-E-S. [DEVON] (locking the case) I'm sorry, but one cannot be too careful. Especially when one is responsible for transferring the Alidium to its rightful home. Just then Michael enters. He's all smiles. He walks over to the desk and sits on the corner. [MICHAEL] Hey, just thought I'd come over and say good-bye. [DEVON AND APRIL] Good-bye? [MICHAEL] Yeah, well, I thought you two could handle the trip. My memory's still not all here, and I figured I'd take a week or two to straighten everything out. [DEVON] (softens) Well, of course, if you still don't feel up to par. [MICHAEL] Thanks. Thought I'd check out the beaches and try out some more of the old Swamp Fox techniques...you know, 'tracking.' Have fun. He smiles, then leaves. April and Devon watch him go for a moment, then: [APRIL] Do you think he'll ever fully regain his memory? [DEVON] It's hard to say. Sometimes these things... (suddenly) Swamp Fox! Why that conniver! Don't you see...he's completely recovered. He remembers everything. He just wanted a vacation.... As April begins to laugh, we: CUT TO OMITTED INT. K.I.T.T. - ON MICHAEL as they speed down the street. [K.I.T.T.] Welcome back, Michael. I thought as a little present I'd play some of that appalling music you like so much. [MICHAEL] Thanks, Kitt. Come on, let's shatter some air waves. Rock music blasts out of the speakers. [MICHAEL] You know, I've been thinking. I could have April install an electronic board in here, attach it to your speakers and --- [K.I.T.T.] Michael? [MICHAEL] Yeah, Kitt? [K.I.T.T.] Don't press your luck. Michael grins. [MICHAEL] Whatever you say, pal. Whatever you say. CUT TO EXT. ROAD - DAY as they hit the road, picking up speed.... FREEZE FRAME AND FADE OUT THE END

{"show": "Knight Rider", "season": "s02", "episode": "e10", "title": "Knightmares"}

knightriderarchives

ACT ONE FADE IN EXT. STREET - DAY We pick up a well-worn van as it winds through the mid- morning traffic. On the side of the van, a faded sign introduces "The Amazing Banducci Brothers -- World's Smallest Circus". ANGLE ON THE VAN Inside, we get a glimpse of three men, all of them are wearing outlandish clown masks: big red noses, white faces, oversized mouths, curly orange hair. To all the world, it looks like the Banducci Brothers, but we'll know them as Casey, Skip and Paolo. EXT. BANK - DAY - ON ARMORED TRUCK An armed guard stands watch at the rear of the truck as his two partners unload the truck. WIDER ANGLE TO REVEAL A BANNER stretched across the front of the bank heralding a "Grand Opening." Balloons and bunting add to the festive feel. Across the street we see a Santa Claus ringing a bell for charity. In front of the bank an anxious assistant branch manager poses, checking his watch. Then, a smile breaks out on his face as he sees: THE AMAZING BANDUCCIS as they round a corner, head for the bank. The manager steps forward to greet them. The van skids to a halt, the doors fly open and the clowns, brandishing automatic weapons hit the street. Across the street, Santa pulls out a gun and races toward the bank. A crack of gunfire sends the guards and the manager ducking to the ground. One of the clowns, Skip, stands guard over them, while the other two start loading bags from the truck to the van. The operation goes like clockwork and in seconds the transfer has been made. CLOSER ANGLE As Skip spots a gold watch and fob the Manager is wearing. He kneels, pulls off his heavy gloves and starts to take it off the manager. Casey shouts at him: [CASEY] What're you doing?! [SKIP] I've always wanted a gold watch --- Skip grabs the watch as Casey grabs him by the collar, yanks him to his feet. [CASEY] Wadda you, nuts? You can buy a million watches...later! Skip shoves the watch into his coat pocket and he and Casey jump into the car. The third clown, Paolo, is behind the wheel. Doors slam and the van lurches off, tires squealing. CUT TO EXT. FUNERAL PARLOR - DAY - CLOSE ON DOOR At first, we see nothing but a beautiful Christmas wreath adorning the front door. Then, as we pull back, we see it's the front door of a funeral parlor. At the same time, we pick up a scruffy-looking gypsy kid, about fourteen, walking down the sidewalk. This is Tino. He stops outside the funeral parlor, stares at the wreath for a beat. Then, he takes the gum he's chewing out of his mouth, sticks it to the underneath of the funeral sign and walks inside. INT. FUNERAL PARLOR - VIEWING ROOM - DAY Dark, somber and quiet. Organ muzak plays softly in the b.g. In the middle of the room stands a casket. It's open and the body, though not quite visible, is covered with a variety of untraditional funeral offerings: coins, beads, pictures, race stubs, flowers. ON TINO as he walks into the room, steps up to the casket and stands for a long beat. He reaches deep into his coat pocket, comes up with a single coin, stuffs it disgustedly back into his pocket. He takes a chain and religious medal from around his neck, kisses it lightly, then places it on the hands of the deceased. A beat, then: [TINO] Sorry, that's all I got. (beat) But I'm gonna get some money, I'm gonna make sure Marta's okay, then I'm getting outta the city. (defiantly) So I can be a real gypsy. You'll see ...you'll be proud. I promise.... Tino steps back, turns to leave. At the door, he hesitates, turns back to the casket: [TINO] Bye, Papa. With that, he turns and leaves. As he does, we: CUT TO EXT. STREET - DAY - ON THE TRANS AM traveling through the city. Hopefully, we can see some kind of Christmas decorations along the way. We hear a Christmas carol playing, and: [MICHAEL'S VOICE] I love Christmas...the lights and trees and music. The whole spirit of the season makes me feel great.... INT. TRANS AM - DAY Michael's smiling, humming along with the carol. [K.I.T.T.] It confuses me. What could a paunchy man in a red suit possibly have to do with the birth of a religious leader? Michael laughs. [MICHAEL] Hey. Christmas is a time for giving, Kitt...and Santa Claus is the greatest giver of them all. Speaking of which, we've only got... (checking watch) ...seven days until he loads up his sled. [K.I.T.T.] And three days before the Foundation Christmas Banquet. Michael glances at K.I.T.T., shakes his head. [MICHAEL] You're getting more like my mother everyday. [K.I.T.T.] I'm simply reminding you. [MICHAEL] It's been on my calendar for months. Besides, I promised Devon.... [K.I.T.T.] You promised Devon last year, too. This year, you'll actually be there... (beat) Because I promised him. [MICHAEL] You promised? [K.I.T.T.] Well, one of us has to be respon- sible. Now, about your tux... I've already located several formal wear shops. On the monitor, we see a grid of city streets, with blinking red lights signifying the stores. Michael stares at it a beat. [MICHAEL] Yep. Just like my mom.... Off Michael's look: CUT TO EXT. STREET - UPTOWN NEIGHBORHOOD - DAY where we pick up Tino wandering aimlessly down the street. He stops now and then to test the doors of the several cars parked on the street, but nothing gives. He checks the coin returns in a row of pay phones. Empty. As he turns away in frustration, we see: THE BANDUCCI VAN - DAY as it roars past Tino, turns down a side street. INT. BANDUCCI VAN - DAY In the back, Skip's putting the finishing touches on a pile of Christmas presents -- all of them obviously stuffed with money since the canvas money bags next to him are empty. Paolo, behind the wheel, pulls over and stops. In a second, the guys have the van doors open and they start unloading. EXT. VAN - DAY The packages are being loaded into a brown Camero parked behind the van. The guys are working fast, silently. In the b.g., walking down the street toward them, we see Tino. He's watching them curiously. He's particularly interested in Skip, who's closest to the sidewalk, and standing with his back toward Tino. ANGLE ON TINO Moving more quickly, he comes hurrying up to where the men are working, his head down, seemingly lost in thought. And walks right into Skip. Looks up, startled, very apologetic. [TINO] Oh, hey, sorry. Excuse me, mister. Skip just growls at Tino, turns back to his work. Tino glances at the other men, then turns and keeps walking. ANGLE ON THE MEN As the last package is loaded, Casey turns to Skip, holds out his hand, snaps his fingers. [CASEY] Gimme the watch. [SKIP] What're you talking about, Casey. It's mine...I stole it. [CASEY] Yeah...from the bank manager. Which makes it the one thing that links us to the robbery. Come on, banana- brain...gimme. Skip hesitates, then reaches in his coat pocket. No watch. He tries his other pocket. Nothing. First, a look of surprise, then confusion. [SKIP] It's gone.... Then he realizes and looks down the street toward Tino. Tino, walking at a normal pace so he's not suspicious, isn't yet to the corner. [SKIP] That kid...he musta lifted it. Hey...! You...! Kid...! ON TINO hearing Skip yelling at him. He glances over his shoulder, sees Skip and Casey waving at him, then running after him. Without missing a beat, he turns and runs. ANOTHER ANGLE as Paolo jumps into the Camero, fires it up and roars down the street. OMITTED ANGLE DOWN THE STREET Tino comes racing out of an alley, frantically looking for an escape route. He glances over his shoulder at the heavies gaining on him, then sees the Trans Am heading toward him. Suddenly, he bolts into the street, right into the path of the oncoming car. EXT. TRANS AM - DAY - FEATURE MICHAEL as he looks to his right just in time to see Tino streaking in front of him. He jams on the brakes. OMITTED ANGLE - CLOSER ON THE TRANS AM as Tino hits the car, slides across the hood and lands on the ground. Michael jumps out of K.I.T.T., hurries to Tino's side. Tino's moaning, holding his leg. In the b.g. Skip and Casey stand, panting for breath, listening and watching to the exchange. [TINO] My leg! You broke my leg... You gotta get me to a hospital.... [MICHAEL] You're going to be okay. Just calm down. Michael helps Tino to his feet and into the Trans Am. He hurries to the driver's side, jumps in. As the Trans Am pulls out, Paolo drives up to Skip and Casey. He's excited. [PAOLO] Casey, I've seen that kid before! He's one of the gypsies who live in the neighborhood. [CASEY] Yeah, well, the good samaritan's taking him to the hospital. We gotta stop him. [SKIP] Hey, why not forget the kid...in two hours, we can be out of the state. Gone. [CASEY] Listen, the minute that kid tries to hock that thing, the cops'll grab him. He ID's us and in twenty-four hours your ugly face is in every post office in the country...right next to ours! Skip blanches. Casey shoves him into the car and it takes off. EXT. STREET - DAY As the Trans Am follows the signs to the hospital. INT. TRANS AM - DAY as Michael drives toward the hospital. Tino stares with fascination at K.I.T.T.'s dash, while feigning pain. [MICHAEL] Kitt, give me a readout.... [K.I.T.T.] Michael, I find no broken bones, no abrasions, no physical trauma what- soever. Which isn't surprising, since I didn't touch him. Tino sits up as though he's been kicked. [TINO] You got a talking car? [K.I.T.T.] In other words, this little con artist is lying through his teeth. [TINO] Who you calling a liar? [K.I.T.T.] You. (urgent) Michael, more importantly, my sensors indicate a problem...directly to our right. Michael and Tino look over to see: THE CAMERO racing forward, veering toward the Trans Am, then falling back. Threatening, challenging, but not attacking. OMITTED RESUME SCENE Michael doesn't get a good look at them, but Tino does. He flinches. Michael notes his reaction. [MICHAEL] What's the problem? Are they hassling you? [TINO] No. Yeah. Well, sort of...look, I'll make you a deal. Lose those creeps and I'll forget about the hospital, the lawsuits, everything.... [K.I.T.T.] Michael, I don't think this is a good idea. [TINO] Who asked you? [MICHAEL] Calm down, you two...looks like they're leaving. EXT. STREET - ON THE CONVERTIBLE as it speeds ahead of the Trans Am, then suddenly skids broadside across the street, blocking both lanes. INT. TRANS AM - DAY as Michael sees what's happening. He doesn't care for it. [MICHAEL] Those guys sure don't have the Christmas spirit. (punching buttons) Let's make like Donner and Blitzen, Kitt.... [K.I.T.T.] Michael, I hardly think that is an appropriate response.... [MICHAEL] Come on, pal...it's Christmas. (to Tino) Hold on.... Michael punches the turbo boost as the Trans Am races toward the Camero. EXT. STREET - DAY as the Trans Am turbos over the Camero. ANGLE IN THE CAMERO as Paolo and the others stare, open-mouthed, as the Trans Am sails over them and roars down the street. INT. THE TRANS AM - DAY Tino wired. He can't believe what he's just seen. [TINO] Wow! How'd you do that? [MICHAEL] Got the tires inflated with helium. Who are those men? Tino hesitates, then: [TINO] Those guys are Bombers. They say this is their turf. They start hassling me, and I tell 'em.... K.I.T.T.'s lights blink, and we hear: [K.I.T.T.] Michael, perhaps you should ask about the gold watch he has in his right front pants pocket.... Tino glares at K.I.T.T. [TINO] Hey, that's an invasion of privacy! [MICHAEL] A gold watch. You didn't happen to steal it, did you? Tino's starting to sweat a little, but he covers it with righteous indignation. [TINO] Look, the watch happens to be a family heirloom. [K.I.T.T.] Michael, I've just monitored a police band broadcast...there was a bank robbery blocks from here. In addition to a great deal of money, a gold watch was stolen. The criminals are still at large. Tino suddenly tries to escape. The door won't budge. [TINO] Lemme out of here! This is kid- napping! You can't keep me here.... [MICHAEL] Give me a rundown on the robbers, Kitt. [TINO] I didn't rob no bank! [K.I.T.T.] Any bank. For once, he seems to be telling some fraction of the truth. Though they were wearing clown masks, witnesses said the three robbers were older and bigger than this little delinquent.... Tino brightens, pounds the dash excitedly. [TINO] Clowns! Yeah...the dude I lifted the watch from.... Tino bites his tongue, glances guiltily at Michael, shrugs. [TINO] ...he was unloading this crazy van that belonged to a circus. (thinking) And there were three of them.... [MICHAEL] In that case, we'd better pay the local police a little visit. [TINO] (groaning) The cops? That's the last thing I need. Off Tino's dismayed look, we: CUT TO EXT. POLICE STATION - DAY - STOCK Your basic stock police station, with black-and-whites parked in front. INT. POLICE STATION - DAY Michael's talking with a Lt. Weber. In the b.g., through a glass partition, we can see Tino being interrogated by another officer. Michael's concerned. [MICHAEL] There's got to be something you can do to protect him. [WEBER] I wish we could. [MICHAEL] Look, the robbers know Tino stole the watch, and they know he can ID them. If they find him, they could kill him. [WEBER] I wish we had the manpower to provide some kind of adequate protection. I'm sorry. [MICHAEL] So, what're you going to do? Just turn him loose on the streets? [WEBER] The kid's got a sister. Maybe he can stay with her. Michael glances over at Tino, shakes his head. [MICHAEL] A fourteen year old and his sister aren't going to be much of a match for three bank robbers. As Michael speaks, the door opens and Tino comes walking out, trying to look cool and together. But, for a moment, we can see him as he really is: a young, scared kid. Then he covers with: [TINO] Piece of cake. I'm outta here. With that, Tino casually walks out the front door. [MICHAEL] Hey, not so fast. OMITTED EXT. POLICE STATION - DAY as Michael catches up with Tino and walks with him as they talk. [MICHAEL] In case you don't know it, you're a ticket straight to prison for those guys? [TINO] So? [MICHAEL] So maybe it's not such a hot idea to go strolling down the street in broad daylight. [TINO] (shrugging) I'm not afraid. [MICHAEL] You ought to be. You're just a kid. Tino turns to Michael, puffs up his chest dramatically. It's all for show and not very effective. [TINO] I'm a gypsy! I can take care of myself.... With that, he turns and starts across the parking lot. Then, to Michael's surprise, he stops at the Trans Am. [TINO] Besides, I'm not walking. I told the badge inside you were giving me a ride to my sister's. With that, he climbs into the car. Michael hides a surprised smile as he crosses to the Trans Am. Tino's already punching buttons on K.I.T.T.'s dash, and we hear: [TINO] Hey, which one's the radio, man? [K.I.T.T.] Would you mind keeping your grubby little hands to yourself? Off Michael's smile, we: CUT TO EXT. FLOWER SHOP - DAY A cute little shop in a nice part of town. INT. FLOWER SHOP - DAY where we find Tino's sister, Marta, putting the finishing touches on a display. She's pretty, carefully, if inexpen- sively dressed, in her midtwenties. Right now, she's frowning, shaking her head, as she talks to a man in his thirties, Nick. [MARTA] I can't. I'm sorry. [NICK] Sorry. You're always sorry. Come on, Marta...a hundred bucks. Seventy- five then. Until the weekend. It's important, baby.... [MARTA] No, and don't call me 'baby.' That's over.... CUT TO EXT. SHOP - DAY as the Trans Am pulls up and parks. Michael and Tino climb out, and Michael follows Tino into: INT. FLOWER SHOP - DAY As Tino comes into the store, he and Nick exchange a look of mutual dislike. Marta looks at Tino. In an instant, we know that she fears the worse. When Michael comes in, Marta knows it's a problem. [MARTA] Oh, Tino...what's wrong now? [TINO] Nothing, Marta, nothing. I'm innocent until proven guilty, all right? Marta looks to Michael. [MICHAEL] My name's Michael Knight. There was a bank robbery this morning.... [MARTA] (stunned) A robbery? [MICHAEL] (a smile) Don't worry, Tino wasn't involved. Not directly, at least. He...found a watch stolen during the robbery. It's become an important piece of evidence.... Tino paces around the room, clearly uncomfortable with everything that's happening. [TINO] See, like I said...no big deal. Nick gets up, heads for the front door. [NICK] You're right about that, kid...You're no big deal. [TINO] Look who's talkin'. Nick shoots Tino a look, then exits the door, slamming it behind him. Marta turns to Tino, close to tears. [MARTA] Tino, what am I going to do with you? [TINO] Nothing. I can take care of myself, okay? Tino turns and wanders toward the back of the store as Michael and Marta continue to talk. [MICHAEL] I was at the police station with him. The only problem is --- [MARTA] The police station? Are you a police- man? [MICHAEL] No, I'm with the Foundation for Law and Government. It's a private organization. (beat) The only problem with Tino is the bank robbers may know who he is. ANGLE - FEATURE TINO glancing over his shoulder as Michael and Marta talk. They don't notice as he slips into the back of the store and exits. EXT. SHOP - DAY as Tino comes racing around from the back of the store, hits the sidewalk and then tears down the street. K.I.T.T.'s scanner lights flash, and we hear: [K.I.T.T.'S VOICE] Good riddance. ON TINO disappearing over the fence. In a second, he's gone. EXT. STREET - DAY Same neighborhood, different street. We pick up Nick walking slowly down the street. Suddenly, a car stops next to him. It's the Camero. Paolo leans across the window to Nick. [PAOLO] Hey, Nick...come here. Nick cautiously approaches the car, glances warily at Casey and Skip. [PAOLO] We're looking for someone. A kid. Fourteen, fifteen. Dark hair. Curly. One of the gypises. He took my friend's watch...it's worth some money. Nick studies them, knowing it's Tino they're after. [NICK] How much? Paolo exchanges a look with the others. [CASEY] It's worth a grand to you. Nick doesn't respond. [PAOLO] You hang out with their people. Maybe you heard something, huh? Nick hesitates a beat, then: [NICK] Twenty-five hundred. Another look between the guys. Casey pulls out a wad of bills. As he starts counting, we: FREEZE FRAME AND FADE OUT END OF ACT ONE ACT TWO FADE IN EXT. FLOWER SHOP - DAY Marta's standing in front of the store as Michael comes walking up the street. He shakes his head. [MICHAEL] I've got a feeling he could hide away for months if he wanted to. [MARTA] That's Tino...you can't do a thing to help him, even when he's in danger. [MICHAEL] Which he is...whether he believes it or not. Marta, isn't there someplace else he could go until the police catch the robbers? Some place away from here with friends or relatives? Marta shakes her head, then brightens. [MARTA] Uncle Stephano! Papa's brother. He still lives the gypsy life. He and his people are camped out near Lockett for the winter. Tino's been dreaming for years about going to live with him. (smiling) Like a gypsy.... [MICHAEL] Sounds like it might be the answer. If you can find him. [MARTA] He's built a shack on a vacant lot over on Butte. That's probably where he is. Michael smiles, nods, starts towards K.I.T.T. Michael hesitates, then continues. [MARTA] Michael you've already done so much, I hate to ask...but I just can't leave the shop...not now, during Christmas. If you could find Tino, take him to Stephano's...I have a little money and I could pay for your gas and time. Michael tries to think of an excuse, sees the look in her eye...decides what the hell. [MICHAEL] Well, I'm going that direction any- way. Kind of. I'll be glad to drop Tino off. No charge. Marta smiles. [MARTA] Thank you, Michael. [MICHAEL] Consider it a Christmas present. Marta and Michael smile warmly at each other, then Michael turns and heads for the Trans Am. [MICHAEL] I'll give you a call before we leave. And don't worry...everything'll be okay. He's a good kid...basically. Marta nods her head, waves. As Michael drives off in the Trans Am: CUT TO INT. TRANS AM - DAY Michael drives. [K.I.T.T.] I heard that. [MICHAEL] He is a good kid, Kitt. He's just a little...uneven around the edges. [K.I.T.T.] Michael, in case you've forgotten, you have a command performance at the Foundation -- and a tuxedo to rent. [MICHAEL] Kitt, it's going to take half an hour, forty-five minutes at the most. Besides.... Michael laughs, reaches over and turns on some more Christmas music. [MICHAEL] ...it's Christmas. This'll be our good deed for the season. [K.I.T.T.] (dryly) Your good deed for the season is appearing at the Christmas banquet ...which is probably the subject of the call coming through. [MICHAEL] Uh-oh.... Michael punches up. We intercut with: INT. FOUNDATION - DEVON'S OFFICE - DAY We see April speaking into the monitor. Michael breathes a sigh of relief. [MICHAEL] April...Season's Greetings! [APRIL] Same to you, Michael. I hope you and Kitt are on your way back to the Foundation. [MICHAEL] (hesitating) Heading in that direction. You bet. [APRIL] (senses it) Michael, what are you up to? [MICHAEL] Nothing. Not much, at least. See, I ran into this gypsy kid who's a witness to a robbery. He and his sister.... April interrupts: [APRIL] His sister? I should have known. [MICHAEL] April, I know how that sounds, but.... [APRIL] And you know how seriously Devon takes this banquet. He's seated you between Lady Pinwall and the Duchess of Wellington. He's counting on you. [MICHAEL] (nodding) And I'll be there. Sure as Saint Nick. [APRIL] For your sake, I hope you are... Saint Nick. With that, April punches out, and we: CUT TO EXT. VACANT LOT - DAY where we see Tino's ramshackle shack. Not much more than four walls and a scanty roof creating one room. Coming from inside the tiny building, we hear the tiny sound of a cheap portable radio. Suddenly, the music clicks off and we see Tino peering through a crack in the door at: MICHAEL climbing out of the Trans Am which is parked at the curb, and starting to cross the cluttered lot toward Tino's shack. K.I.T.T.'s scanner flashes. ANGLE ON THE SHACK as Tino makes an unobtrusive escape out the back of the building, hiding in the shadows of the neighboring buildings. Michael doesn't see him leave as he walks up, knocks on the front door. [MICHAEL] Tino...hey, Tino.... No answer, but Michael probably didn't really expect one. He tries the door, opens it and steps inside. As he does, we go to: K.I.T.T. AT THE CURB His scanners are picking up something. Down the block we see exactly who. [K.I.T.T.'S VOICE] I think we have company. THE CAMERO heading toward the empty lot. It screeches to a spot near the Trans Am. Inside, we see our three heavies. INT. CAMERO as they check out K.I.T.T. Casey nods to Paolo. [CASEY] They gotta be inside. Go for it.... [PAOLO] You're sure...? [CASEY] I said, hit it! Paolo exchanges an uneasy look with Skip, throws the car in gear and floors it. INT. TRANS AM We hear: [K.I.T.T.] Michael, look out! ON THE SHACK as Michael comes to the front door of the shack, looks out to see: THE CAMERO jumping the curb, roaring across the lot toward the shack. BACK TO MICHAEL into his comlink: [MICHAEL] Kitt, gimme some help! K.I.T.T. roars to life, starts across the lot. It's clear he's not going to make it. OMITTED WIDE ANGLE - ON THE SHACK as the Camero roars toward the shack. Michael's got nowhere to run. Tino watches in horror as the car hits the shack, ripping through the side of the building sending wood, glass and dust flying everywhere. The Camero hits the alley behind the lot and disappears. ON THE SHACK or what's left of it. Tino comes running out of the shadows, hurries to the pile of debris. [TINO] Michael! Michael...! No answer. Tino starts frantically digging through the rubble. Suddenly, an arm appears, pushing off boards. It's followed by a battered, dusty and very shaken Michael. Tino rushes to his side, grabs his arm, helps him out of the mess just as K.I.T.T. roars up. [TINO] Michael you okay? [MICHAEL] I don't know. It's the first time the roof's fallen on me.... Michael turns to K.I.T.T., leans inside. [K.I.T.T.] I'm terribly sorry, Michael, but he had such a headstart. [MICHAEL] It's okay, pal. What did you get on that car? [K.I.T.T.] It's out of scanner range, but I did run the plates. Unfortunately, they were stolen from another car yester- day... (beat) Michael, are you all right? [MICHAEL] Yeah. Except those jokers are starting to take some of the thrill out of Christmas for me. OMITTED ON MICHAEL AND TINO as Michael turns to the boy. [MICHAEL] You finally getting the message? They thought you were in there with me. Tino looks from Michael to the wrecked shack, and then back to Michael. For the first time, we see him subdued, shaken, and more than a little afraid. [TINO] Too much. [MICHAEL] Yeah, way too much. Michael turns, gestures to shack. [MICHAEL] Grab anything in there that's important -- and still in one piece. You're taking a trip. [TINO] (still stunned) Where? [MICHAEL] Uncle Stephano's. Tino looks at Michael, not quite understanding him at first. Then a big smile spreads across his face. [TINO] Uncle Stephano's? Yeah? Really? Michael nods and before Tino realizes what he's doing, he's giving Michael a hug. Only a quick one, though, cuz it's extremely uncool. He backs off, regains his composure. [TINO] That's great. Thanks. Before Michael can respond, Tino's digging through the debris. Michael starts to help him. [MICHAEL] You got much? [TINO] Nah...hardly anything. CUT TO OMITTED EXT. LOT - LATER - DAY - CLOSE ON TRANS AM crammed to the brim with junk: clothes, pots and pans, a skateboard, a 'One Way' sign, dirty sneakers, several cardboard boxes, etc. A musty old sleeping bag is added to the pile. We pull back to reveal Michael stuffing it into the trunk and we hear: [K.I.T.T.] Really, Michael, this is simply out- rageous. [MICHAEL] Come on, Kitt. Where's your Christmas spirit? [K.I.T.T.] Gone! I'd like to see you 'deck the halls' if some mud-covered moppet was filling your trunk with junk. Tino staggers toward Trans Am carrying a black pay phone, complete with wires dangling. Suddenly, K.I.T.T. slams the trunk closed. [K.I.T.T.] Absolutely not! I must draw the line somewhere -- and that monstrosity is it. Tino stares at K.I.T.T., miffed. [TINO] What're you talking about? This is an art object. [K.I.T.T.] That is a phone and I am not a booth. [TINO] Open up...it's the last thing I'm taking. [K.I.T.T.] It's the last thing you're not taking. Tino stares at K.I.T.T., then turns to Michael. [TINO] Tell you what...I'm gonna make you a deal. [MICHAEL] This is my car. You're making me a deal to ride in it? [TINO] Sure. You let me drive the car once we get out of town and I'll forget about the lamp. Before Michael can respond: [K.I.T.T.] Deal. [MICHAEL] (surprised) Kitt, you're sure you want Tino behind the wheel? [K.I.T.T.] I'm sure I don't want any more of his 'objects d'art' in my trunk. Tino beams, tosses the lamp away, and climbs into the Trans Am. As Michael smiles to himself, we: CUT TO EXT. FLOWER SHOP - DAY The door is shut. A sign reading "closed" sits in the front window. CUT TO INT. SHOP - DAY We hear a frightened little scream, and pull back to reveal Marta flattened against the wall, facing Casey, Paolo and Skip. She looks terrified. [PAOLO] Your brother's a thief. He steals things, see? What good's it gonna do, letting a little thief hide behind your skirts? Still, Marta doesn't respond. Casey shakes his head. [CASEY] I'm getting tired of asking her to help. She needs some encouragement.... As Casey moves toward Marta, the door suddenly flies open as Nick hurls himself against it and into the room. He glances at the men, then quickly crosses toward Marta, stands near her almost protectively. [NICK] I told you to leave her alone. [CASEY] (shrugging) We don't listen too good. [NICK] The kid's split. He told one of the punks at the park he's going to his uncle's. [MARTA] That's not true! Casey looks at Marta, chuckles. [CASEY] Sure, it's not. (to Nick) Where's that? [NICK] Stephano's got a caravan of gypsies. They spend every winter camped out by Lockett.... The heavies smile, head for the door. Casey stops, tosses Nick a wad of money. [CASEY] A deal's a deal, pal. Thanks.... They leave. Marta stares at Nick, furious. He fumbles with his money, avoiding her eyes. [MARTA] How could you.... Nick doesn't answer. Marta grabs her purse and keys, rushes past him out the front door. Hold on him, and then: FREEZE FRAME AND FADE OUT END OF ACT TWO ACT THREE FADE IN EXT. OPEN HIGHWAY - DAY - ANGLE ON TRANS AM - STOCK gliding along at a nice, even speed of about ninety-five mph. INT. TRANS AM - DAY Michael's driving and Tino's checking out the various controls in K.I.T.T.'s interior. [TINO] What's this? [K.I.T.T.] None of your business. [MICHAEL] That's a chemical analyzer. [TINO] Oh. Yeah.... [MICHAEL] You put things in and the computer tells you what they are. [TINO] I could tell by just lookin' at 'em. [K.I.T.T.] (very droll) Bully for you. Tino cocks his head toward the dash. [TINO] I don't think you like me, car. [K.I.T.T.] I live in mortal terror of what you might do next. [TINO] You're scared of me, huh? That's pretty funny. [K.I.T.T.] A boy named David killed Goliath with one stone. [TINO] (to Michael) I don't know those guys. What's he talking about? [MICHAEL] It's from the Bible. You've read the Bible, haven't you? [TINO] Sure. But, I don't have to brag about it.... Tino stares out the window, pouting, then starts fiddling with K.I.T.T.'s dash. Michael knows he can't read. [MICHAEL] To use a computer like this, you've got to know a couple of things. Like how to read. [TINO] I could handle this baby with my eyes closed. (then) When can I drive? You promised me I could, an' you're goin' back on your word already! Before Michael can respond: [K.I.T.T.] Michael? [MICHAEL] Yeah, Kitt? [K.I.T.T.] Allow me. Please. Michael senses what K.I.T.T. has in mind, begins to pull over. [MICHAEL] Whatever you say, pal. EXT. TRANS AM - DAY as it screeches to a stop by the side of the highway. Michael climbs out and Tino hops into the driver's seat. Michael leans in: [MICHAEL] You sure you know what you're doing? In answer, Tino stomps on the accelerator and the Trans Am blasts away with screaming tires, fishtailing up the highway. Michael shakes his head, watching as the car becomes a speck. INT. TRANS AM - DAY Tino is hunched behind the wheel, terrified and exhilerated. ANGLE ON A FARMER some distance ahead, driving a very old pickup truck across the highway. He hears a roaring sound approaching and turns toward it, shading his eyes from the sun. ANGLE ON THE TRANS AM still seemingly out of control, barrelling up the highway. ANGLE ON THE FARMER Realizing the car's heading straight for him, he jams the accelerator to the floor and the truck tears from fifteen mph to a death-defying twenty-five mph. INT. TRANS AM - DAY Tino's like a madman at the wheel. [K.I.T.T.] In case you hadn't noticed, there's a truck ahead. [TINO] No problem. I got it totally under control. They're almost on top of it. [K.I.T.T.] Allow me. Turbo boost is depressed automatically. EXT. TRANS AM - DAY The Trans Am turbo boosts and leaps over the truck, heads on down the highway. ANGLE ON THE FARMER He can't believe his eyes. ANGLE ON HIGHWAY K.I.T.T. does a 180, heading back. ANGLE AT MICHAEL as K.I.T.T. appears with Tino at the wheel, hits the brakes; it broadsides up to Michael. Tino looks small and shaken behind the wheel. [MICHAEL] How'd it go? [TINO] (bravado) I been in faster, but not bad...not bad.... Michael grins, gets in. MONTAGE - NIGHT A. Shots of K.I.T.T. winding through beautiful countryside, music over. B. Intercut with a shot of Michael and Tino stopped at a roadside fruit stand, eating fresh fruit, talking and laughing MOS. C. Intercut with Michael and Tino in the car, Tino finally dropping off to sleep. EXT. GYPSY CAMP - DAY A collection of trailers, trucks and old Cadillacs, camped in an open field, near a stream if possible. A collection of scroungy dogs, kids and adults moves through the camp which is centered around a scruffy trailer larger than the others. All in all, not an impressive sight. ANOTHER ANGLE FEATURING THE TRANS AM as it rolls into the camp and stops. Several gypsies look up, stare at the car. INT. TRANS AM - DAY Tino stares at the gypsy camp around them. [TINO] Look at them -- real gypsies! I'm gonna find Uncle Stephano! Tino bolts out of the car. [K.I.T.T.] Thank goodness. Being a Good Samaritan isn't all it's cracked up to be. [MICHAEL] Now, now. 'Tis the season to be jolly. Give me two minutes. Michael climbs out of the car. EXT. GYPSY CAMP - DAY - MOVING WITH MICHAEL following the path Tino took through the camp, toward the large trailer. He attracts a lot of attention -- dogs bark, people stare, some kids follow in his footsteps, mimicking his long stride. Good-natured laughter from the adults. Michael turns, sees the kids, smiles, too. Mean- while: ANGLE ON K.I.T.T. also attracting a lot of attention, namely from a handful of young gypsy teenagers, who descend upon the fancy black car like a swarm of locusts. Two of them go for the hubcaps, one tries to pry open the hood, another the door. Needless to say, no one's having any luck. Finally: [K.I.T.T.] I've got a fortune for you fellows.... They all stop in midsteal. [K.I.T.T.] I see police, iron bars and bread and water, unless you get your hands off me, immediately. Everyone jumps away from the car, turns and hustles back to the camp as we go to: EXT. STEPHANO'S TRAILER - DAY The big one. As Michael approaches, Tino comes out with Uncle Stephano. Stephano is in his early fifties, large, physically capable. [TINO] (beams) This is my pal, Michael. [STEPHANO] You bring my nephew to me. From the bottom of my heart, I thank you! Stephano bear hugs Michael. [MICHAEL] Nice to meet you. [STEPHANO] My brother never tells me he has such a big boy. Now, Tino is here, where he belongs -- with his people. Come, we are about to eat. You are the guest of honor at our table today. [MICHAEL] I'd like to, but you wouldn't be- lieve how late I am getting to work. [STEPHANO] Of course, of course. (to Tino) I leave you to say good-bye. And Stephano strides off, leaving Michael and Tino alone. Confronted with the reality of parting with his newfound friend, Tino finds it hard to look in Michael's eyes. CLOSER ON MICHAEL AND TINO as Tino does a close inspection on his shoes, the ground.... [MICHAEL] Well, here you are. Safe and sound and on the road with gypsies...just what you've always wanted. [TINO] (without much conviction) Sure, all my life I want to be here. It's...great. You gonna come visit me? [MICHAEL] If I can, sure... (beat) You keep your hands off other people's watches, okay? [TINO] Don't run down any little kids. Michael grins, ruffles Tino's hair. Then, he crosses to the Trans Am, climbs in. Tino watches Michael drive off, more than a little sadly. Finally, he turns and walks toward the communal dining table where many of the gypsies have gathered. ANGLE ON PAOLO standing in front of him. In a flash, Tino turns to run and nearly collides with Skip. Tino tries to wriggle out of Skip's grip, but Paolo's on him, wrestling him back between the trailers, out of view of the other gypsies. EXT. TWO-LANE HIGHWAY - DAY - ANGLE ON TRANS AM - (STOCK) It speeds past. INT. TRANS AM - DAY as Michael drives in silence, seemingly lost in thought. [K.I.T.T.] I think at the very least you could have stayed for breakfast Michael. [MICHAEL] (smiles knowingly) You're worried about Tino, aren't you. [K.I.T.T.] (defensively) Well, the boy was distressed by our departure. His vital signs were highly elevated. The Foundation "hotline" buzzes. [MICHAEL] Speaking of elevated vital signs, here comes Devon. Devon appears on the vidscreen. [DEVON] Well, Michael, I was hoping to see you coming out of a formal wear shop. [MICHAEL] Don't worry, Devon. We've wrapped things up here and Kitt's plotting a direct route to formal wear even as we speak. [DEVON] Yes. Well, in the event that his routes lead astray, allow me to show you this. Devon holds up perhaps the worst-looking rental tuxedo in the world. Wrinkled, hopelessly out-of-fashion, too large. [MICHAEL] Did somebody die in that? [DEVON] No, but somebody might. It's what you will wear, if you're unable to find a suit on your own. Devon fades from the vidscreen. Off Michael's reaction we: CUT TO EXT. GYPSY CAMP - BEYOND THE TRAILERS - DAY where Paolo and Casey have Tino cornered. His clothes are torn, dishevelled. He's been roughed up pretty badly. [PAOLO] He doesn't have it. He must've ditched it someplace. Casey grabs Tino by the face, squeezes his cheeks. [CASEY] Come on, you little punk. Where's the watch...open your mouth.... Which Tino does, biting Casey hard. Casey yells, lets go of Tino and he takes off. Runs directly into the arms of Uncle Stephano as he appears between the trailers. Tino grabs the older man, holds onto him tightly. [TINO] Uncle Stephano, help! Before Stephano can respond, Skip appears right behind him, a gun in his hand. Stephano shakes his head sadly. [STEPHANO] Tino, what choice do I have? They have guns. Tino looks at his uncle, shaken, disbelieving. [TINO] But, there's twenty of you and three of them.... Stephano just shakes his head. Casey laughs harshly. [CASEY] Don't think you can hide behind your uncle, kid... (grabbing him) Now, where's that watch? [TINO] On your mother's grave. [PAOLO] I bet he left it with his sister. [TINO] (alarmed) No! The men look at Tino. Casey smiles. [CASEY] Guess that rang a bell, huh? [TINO] I told you, she don't have it! I gave it to the cops. That stops Casey in his tracks. [CASEY] For your sake, that better not be true. Without that watch, you're dead, kid. He grabs Tino roughly by the arm, starts to drag him kicking and squirming toward the Camero. Uncle Stephano watches helplessly. ANGLE ON TINO as he turns, glances over his shoulder at Stephano. His eyes are filled with tears of disappointment. As Casey tosses him into the Camero: ANGLE ON STEPHANO AND PAOLO Paolo crosses back, hands Stephano a wad of bills. An old crone, passing, sees the exchange. CUT TO EXT. HIGHWAY - DAY - ANGLE ON TRANS AM - STOCK as it cruises along. Again, we hear the strains of a Christmas carol, hopefully "Frosty the Snowman" or "Jingle Bells." INT. TRANS AM - DAY Michael's enjoying the music. We hear: [K.I.T.T.] Michael, I've noticed that so many of the Christmas songs we've been hearing mention snow. [MICHAEL] Sure. Snow, sleds, snowmen...It's that time of the year, Kitt. [K.I.T.T.] In case you hadn't notice, there's no snow in sight and the temperature outside is nearly seventy degrees. It must be difficult to get in the mood. Michael laughs, nods. [MICHAEL] Well, yes and no. Snow's nice, but what's important about Christmas is the state of mind.... Michael's attention is distracted by a car pulled over to the side of the road, hood up. EXT. SIDE OF ROAD - DAY We see a woman anxiously staring at the engine. It's Marta. BACK TO MICHAEL craning over his shoulder to see the woman. [MICHAEL] Kitt, that's Marta. ANOTHER ANGLE The Trans Am whirls around on the highway and pulls up beside the overheating car. As Michael climbs out, Marta looks up from beneath the hood. She's very surprised to see Michael. [MARTA] Michael! She rushes over to him. [MARTA] Thank God -- those men who're after Tino -- they came to my store. Nick told them you were taking him to Stephano's! Michael stiffens as the gravity of the situation hits him. He immediately moves toward the Trans Am. She follows, grabbing the handle of the passenger door. [MARTA] I'm coming with you. [MICHAEL] Let's go. They climb in. WIDER ANGLE as the Trans Am screeches a one-eighty and roars back in the direction of the gypsy camp. OMITTED EXT. GYPSY CAMP - DAY The Trans Am comes roaring down the road, onto the field. ANOTHER ANGLE FEATURING THE TRANS AM as Michael pulls the car to a stop. He and Marta look, stunned. THEIR POINT OF VIEW - THE GYPSY CAMP It's deserted. The gypsies have moved on. All that's left is some trash and the smoking embers of their fires.... FREEZE FRAME AND FADE OUT END OF ACT THREE ACT FOUR FADE IN EXT. GYPSY CAMP - DAY Michael and Marta are walking slowly through the gypsy camp, looking for anything that might tell them Stephano and the others have gone. [MICHAEL] They didn't leave any clues behind. [MARTA] They never do.... Michael's attention is suddenly diverted to a small puddle of something on the ground. He kneels, gets a finger full, smells it. He stands up, thinking. ANGLE ON K.I.T.T. as Michael turns, hurries to K.I.T.T. [MICHAEL] Kitt, any idea what this is? [K.I.T.T.] My chemical sensors indicate a petroleum-based product of relatively high viscosity.... [MICHAEL] In English that means oil, right? [K.I.T.T.] Yes. An inexpensive commercial grade...and filthy, I might add. [MICHAEL] One of their cars has an oil leak. Think you could follow a trail of it? [K.I.T.T.] It depends on how frequent the drops are. It's certainly worth a try. Michael turns to find a thoroughly dumbfounded Marta staring over his shoulder into K.I.T.T. [MARTA] Tino was right...it does talk. [MICHAEL] Yeah, he talks and he's got a nose sharper than a bloodhound's. Jump in. We're going after Stephano. Marta hurries around to climb into the Trans Am. Michael slams the door, fires the car up. CUT TO EXT. HIGHWAY - DAY - ANGLE ON CAMERO moving along a two-lane highway. INT. CAMERO - DAY Casey's at the wheel, Skip's beside him. Paolo's in the back with Tino. The windows are rolled up and it's sweltering inside. [PAOLO] It must be a hundred and fifty in here. [TINO] I don't feel so good. I think I'm getting sick.... The men exchange ominous looks of dread. Paolo hurriedly rolls down the back window a crack. [PAOLO] Here, kid...suck up some air. [TINO] I gotta have something to drink. [CASEY] We're not stopping. [TINO] (groaning) I don't think I can make it.... Skip and Paolo exchange another look. [CASEY] I'm sick of listening to that brat. He turns on the radio, flicks channels, as: [TINO] I gotta get to the bathroom, I'm not kidding.... Casey reaches a news station and as Tino groans in back, he turns up the volume so that we hear: [NEWSCASTER'S VOICE] ...and, in a more recent development, the watch recovered by the police department was definitely identified today as belonging to Richard P. Henzer, manager of the bank that was robbed in broad daylight in one of the most daring armored truck robberies this year.... Casey snaps off the radio. Tino's still ad-libbing groans and gripes as Casey turns to Skip. [CASEY] The cops do have the watch. [SKIP] I heard. [CASEY] Then what do we need this pain in the neck for? Skip shrugs; he has no answer. Tino hears Casey, suddenly stops groaning. EXT. A SMALL TRUCK STOP CAFE - DAY as Casey pulls the sedan off the highway. ANGLE ON CAMERO as Casey and Skip climb out, followed by Paolo. Tino starts to climb out and Casey stops him. [CASEY] It's a private conversation. [TINO] You're gonna be real sorry when I get sick. Paolo pushes him back into the car and slams the door, stations himself nearby. Tino feigns sickness, hunches under the dash -- and surreptitiously begins to hot-wire the ignition. ANGLE ON CASEY AND SKIP forming a huddle some distance from the sedan. Closer to the car, Paolo stands watch. [SKIP] Casey, c'mon -- we kill the kid an' it just means that much more heat on us. [CASEY] The kid can ID us. Without him, there's no way to tie the watch to us. Suddenly, they hear the sound of the engine igniting, turning over, then catching. They turn to see: THE CAMERO whipping out backwards, right toward them. They have to jump out of the way as the car screeches past, and they get a very good look at Tino as he flicks his hand across his chin and takes off up the highway. Casey pulls his gun and runs after the fleeing sedan, sees it's hopeless. Casey and Skip run over to him. [CASEY] What happened?! [PAOLO] You got the keys -- he must've hot- wired it! [SKIP] What do we do now? [CASEY] What do you think? We steal a car! As they turn toward the line of parked cars, we: CUT TO EXT. TWO-LANE HIGHWAY - DAY - TRANS AM moving along the highway, still scanning the oil spots. INT. TRANS AM - DAY Michael scans the road ahead. Marta's all nerves. [K.I.T.T.] The frequency of the oil spots seems to be growing rather than diminishing, Michael. [MICHAEL] Just keep your nose to the blacktop, pal. [K.I.T.T.] And to think some poor animals are forced to do this for a living. CUT TO OMITTED CUT TO EXT. ANOTHER STRETCH OF HIGHWAY - DAY as Tino, behind the wheel of the Camero, comes speeding past camera. INT. CAMERO - DAY The radio blares rock 'n roll, Tino's beating out the rhythm on the dash, having a ball. Although Tino doesn't notice, we have a look at: THE GAS GAUGE riding heavy on "E." BACK TO TINO smiling, singing to himself. CUT TO OMITTED EXT. HIGHWAY - DAY - AN OLD PICKUP TRUCK somewhere behind Tino, moving slowly along, smoking, sputtering. INT. TRUCK - DAY Our three heavies are crammed in, earlobe to elbow, each with the same look of silent fury on his face. Casey's driving. The speedometer reads just over thirty. [CASEY] Of all the stupid cars to take, we gotta nab one that died ten years ago. [SKIP] The rest were locked. [CASEY] We'd catch that kid faster if we walked, which is what you're gonna do if I hear another dumb word outa either one of you. Paolo and Skip exchange a look. EXT. TWO-LANE HIGHWAY - DAY The Trans Am cruises by, turns off onto a dirt side road and disappears over a rise in the road. INT. TRANS AM - DAY Michael and Marta peer anxiously through the windows. [MICHAEL] (reacts ahead) Bingo! THEIR POINT OF VIEW - ON THE DIRT The gypsy caravan lumbers on ahead. BACK TO THEM [MARTA] That's them? [MICHAEL] (nods) The big trailer's Stephano's. He hits the gas. ANGLE ON HIGHWAY as the Trans Am approaches, pulls alongside the big trailer and forces it to the side of the road. The other cars in the caravan pull over to see what's going on. ANGLE ON TRAILER Stephano climbs down, angry, as Michael and Marta jump out. Michael pushes past two of Stephano's people, confronts the older man. [MICHAEL] Where's Tino?! Stephano regards Michael and Marta. Gypsies gather round, potentially threatening. [STEPHANO] (shrugs) Gone. [MICHAEL] Gone where? What happened? [STEPHANO] Some men came -- policemen. They said he stole a watch.... [MICHAEL] How do you know they were policemen? [STEPHANO] They showed me badges. Who are you? Why do you care what happens to a poor gypsy boy? [MARTA] (to Michael) He's lying. Michael grabs the big man, face to face. [MICHAEL] He trusted you. He worshipped you. Those men weren't policemen and you know it. You sold him down the river, didn't you? [STEPHANO] Take your hands off me or I'll break every bone in your body and feed you to the dogs. I am honorable man -- the great Stephano, king of the gypsies. [OLD CRONE] Liar! I saw them give you money! The crowd, about to devour Michael, suddenly shifts its attention to Stephano. [STEPHANO] Shut up, old woman! [OLD CRONE] I saw you, swine! You sold your own nephew! Michael tightens his grip on Stephano. [MICHAEL] I'll let your own people deal with you. All I want is which way they went. [STEPHANO] (beat) North. Toward the highway. CUT TO OMITTED EXT. TWO-LANE HIGHWAY - DAY - ANGLE ON THE CAMERO sputtering to a stop by the side of the road. A cornfield with a threshing machine is the only sign of civilization. CLOSER ANGLE ON THE CAR as Tino frantically tries to start it. No luck. It's bone dry. Tino climbs out, gives the car a kick -- then he looks around and starts walking. Behind him, he hears the sound of a backfire, turns to see: OLD PICKUP TRUCK coming up the highway toward him like a slow-moving mirage. ANGLE ON TINO starting toward the approaching truck, grinning and waving his arms. As the truck comes closer, Tino stops and stares. ANGLE ON THE TRUCK with Casey, Paolo and Skip inside, now bearing down on Tino. ANGLE ON TINO realizing his salvation's turned to a nightmare, breaking into a run away from the highway, toward the cornfield. CUT TO EXT. TRANS AM - DAY tearing down the highway, headed north. EXT. CORNFIELD - DAY Looking around desperately for a place to hide, Tino sees nothing but the field of corn. He races for it, stumbles, twists his ankle badly. He pulls himself to his feet and, limping, staggers toward the field and disappears into the tall stalks as the truck pulls up and the heavies pile out. ANGLE ON THE HEAVIES seeing Tino vanish into the field. [PAOLO] We'll never find him in there -- it's too thick. Casey looks around, sees the thresher. [CASEY] There's more than one way to skin a gypsy. He runs to the thresher, jumps up and fires it up as Paolo and Skip pull guns. ANGLE ON THE THRESHERS Big, noisy and very lethal looking. As the giant blades start to hack through the cornstalks, we see: TINO crouched in the middle of the field. He rises at the sound, sees the thresher coming toward him. He starts to run and the top of his head becomes visible -- Paolo spots him and fires a shot. Tino ducks back into the field. FEATURE THE THRESHER mowing through the field, heading for Tino. Then, in the b.g., we see: THE TRANS AM streaking along the highway past the field. INT. TRANS AM - DAY Marta stares ahead, worried. Michael's glancing out the window, toward the field. [MARTA] They could be anywhere by now.... [MICHAEL] Don't give up yet. If I know Tino, he's made it tough on them. Michael glances at the thresher as they pass. [MICHAEL] Kitt, that's corn out there...isn't it a little late for harvesting? [K.I.T.T.] I'll check, Michael. Lights flash on the dash. [K.I.T.T.] You're right. My data banks indicate harvest in this region was completed two months ago. EXT. TRANS AM - DAY as it cuts a screaming 180 and heads back toward the field. INT. TRANS AM - DAY Michael's drawing closer to the field. [K.I.T.T.] Michael, my sensors are picking up someone hidden in the field -- it's Tino! He's directly in the path of that machine! OMITTED ANGLE ON THE FIELD where Tino's running awkwardly, the limp crippling him. The thresher is nearly upon him, and as he glances back at the attackers, he trips, falls to the ground. He des- perately crawls away from the onslaught of blades. ANGLE - WIDER as the Trans Am heads into the corn stalks. Paolo and Skip see the car open fire on it. Bullets harmlessly bounce off. They empty their guns. They stare. Skip takes off, running for the highway. OMITTED INT. TRANS AM - DAY as Michael punches turbo boost. [MICHAEL] Let's do a little harvesting of our own.... EXT. FIELD - ON TRANS AM lifting into the air and soaring over the crushed field, bumping down just feet in front of the startled Casey, between the thresher and Tino. ANGLE ON TINO still on the ground, realizing he's being saved. He cheers. CLOSER ANGLE as Casey tries to drive his thresher through or over the Trans Am. Bad choice -- the thresher's blades grind and the machine seems to crumble, as Casey leaps to safety. WIDER ANGLE As the Trans Am screeches to a halt and Michael jumps out, runs after Casey. When he catches him, they tumble to the ground, but Paolo suddenly appears, joining the fight. It's two against one. OMITTED ANOTHER ANGLE Michael flips Paolo with a judo toss, only to find that Casey's got him in a bear hug from behind. Paolo's on his feet, moving toward the helpless Michael when suddenly Tino's on his back, riding him like a bucking bronco. Michael jerks free from Casey, turns and drops him with a solid right. Then drops Paolo, struggling with Tino, with a blow to the solar plexis. ANGLE - WIDER Tino whoops with excitement. They're both breathing hard, grinning. In b.g. we see Marta come running toward them. [MICHAEL] Thanks for the help. You okay? [TINO] Okay? I'm a gypsy. We know how to take care of ourselves. Marta reaches them, throws her arms around Tino. They hug wildly. [TINO] (to Michael) Hey, whatsa matter with you? It's Christmas. You got something against gypsies? They open their embrace to include him. He laughs, joins them. HIGH SHOT The three of them embracing, K.I.T.T. nearby, scanner flashing. FADE OUT END OF ACT FOUR TAG FADE IN EXT. MARTA'S SHOP - DAY The Trans Am's parked in front, the passenger door's open. Michael hoists a large box out of the back, filled with Tino's stuff, carries it to the shop as Marta comes out to take it. Even as they struggle with the box, Tino comes out, brushing his hands and rubbing his back as if he's done all the work. [MARTA] Not so fast! Carrying the stuff inside's only half the job...putting it away comes next. She smiles at Michael, then goes inside. Tino eyes her skeptically. [TINO] I'm still not sure moving in with my sister's such a great idea. [MICHAEL] Hey, you're the man of the family -- Marta needs you. Tino likes this. Expansively --- [TINO] Yeah, that's right. [MICHAEL] So, what're you going to do with all that reward money, bigshot? [TINO] Well, I been thinking. You know, school's for kids and all -- but I really think I could do okay with com- puters...after I learn to read. Then I'm gonna buy a car! A big one with fuel injection, four on the floor, AM/FM cassette and.... [MARTA'S VOICE] ...that's not going to happen for years. Michael and Tino turn to see Marta walking out of the store. [TINO] (to Michael) See? I told you this wasn't such a good idea. (dramatically) Women...they don't understand what a man needs. Tino frowns at Michael for a beat, then breaks into a grin. Marta and Tino turn to Michael. [MARTA] Thanks for everything, Michael. Without you.... [MICHAEL] Hey, Tino saved my neck.... Tino beams proudly. Marta gives Michael a little kiss and hug. Michael turns to Tino, sticks out his hand. [MICHAEL] See you later, pal. Merry Christmas. [TINO] (shaking his hand) Yeah. If you're ever stuck again and need a hand.... [MICHAEL] You'll be the first to know. Tino hesitates, then gives Michael a big hug. Michael loves it. He smiles, waves good-bye, then crosses to the Trans Am, just as a car pulls to a stop. ANOTHER ANGLE It's Devon's car. He and April climb out, Devon carrying a covered garment on a hangar. [K.I.T.T.] Oh oh. [MICHAEL] You can say that again. (to them, feigning cheerfulness) Devon! April! Merry Christmas. [DEVON] For the rest of the civilized world, yes. For you, I'm not so sure.... Whereupon he whips off the garment cover, revealing the awful tux seen earlier. [APRIL] (sympathetic) I tried to talk him out of it. [DEVON] Quite. To no avail. [MICHAEL] (retreating) Devon, I'll be there. I promise. [DEVON] Indeed you will. Cocktails at seven, dinner at eight. In this. Tonight. Between Lady Pinwall and the Duchess of Wellington. And he crosses to get in the passenger seat. [MICHAEL] (grimaces) He's coming with me? [APRIL & MICHAEL] I tried to talk him out of it.... On Michael's hapless look: FADE OUT THE END

{"show": "Knight Rider", "season": "s02", "episode": "e11", "title": "Silent Knight"}

knightriderarchives

ACT ONE FADE IN OMITTED EXT. FOUNDATION - NIGHT - ANGLE ON TAXI pulling up the drive and stopping in front of the Foundation. A man garbed in cloak and hat steps out, dragging a seaman's chest with him. He hands the driver a twenty dollar bill, heads toward the Foundation's front door. INT. FOUNDATION - NIGHT as the pounding on the door escalates and Devon appears, disturbed from some late-night studies, wearing a smoking jacket. He approaches the door apprehensively, then: [DEVON] Who's there? [MAN'S VOICE] A shadow from the past. Charlie.... Devon stands a beat, contemplating this mysterious intro- duction -- then, recognition and wonder cross his face. [DEVON] Charlie? Charlie Granger? He opens the door. The man on the other side removes his hat, revealing a face once square-jawed and bold, now aging, tired and exhausted from his travels. A warm smile nonetheless shines through. [MAN] From the devil's own backyard. Devon moves to slap an old friend warmly on the back. [DEVON] And a sight for sore eyes. Come in, you old dog, and warm yourself. Charlie stoops to pick up the seaman's chest and we see how difficult the effort is. Devon helps. INT. FOUNDATION - DEVON'S OFFICE - NIGHT Devon and Charlie are seated in the comfortable room. April's there, dressed in a robe, pouring hot chocolate for the men. She notices Charlie watching her and smiles; he returns the gesture. [APRIL] Do you mind if I head up to bed? I'm so tired I was going to ask if you wanted your cocoa on the rocks. [DEVON] Get some sleep, April. I'm sorry we disturbed you. [APRIL] I'm glad you did. It's quite an honor having such a distinguished visitor. She leaves. Charlie watches her go with something akin to sadness on his face. [CHARLIE] I wonder if my Katherine will look so grown up. [DEVON] I have to admit I'm astounded to hear that you have a daughter, Charlie. [CHARLIE] The desire to see her again is what kept me alive all these years. [DEVON] However did you wind up in a South American prison? Last I heard, you were seeking the diamond hoard of the Chichuas.... [CHARLIE] Revolution. I was caught in the middle. Fifteen years locked away, wishing I could at least write to Katherine, praying I'd see her again while the dampness chewed at my spirit and my heart grew weak.... He reaches for his seaman's trunk, opens it, routs through it. [CHARLIE] I have something wonderful to give her. He pulls out a book and hands it to Devon. As Devon takes it: INSERT - THE AGING BOOK Entitled CHARLIE GRANGER -- THE MAN AND THE MYTH. As Devon leafs through it, pausing at a topographical map inserted between the pages, we hear: [CHARLIE'S VOICE] It started as a game, a treasure hunt I made up for Katherine when she was a little girl. It's quite complicated and ingenious -- even you'd find it a challenge, Devon. EXT. GROUNDS NEAR GUEST COTTAGE - NIGHT Devon and Charlie cross toward the guest cottage, Charlie toting his seaman's trunk. [CHARLIE] What a blessing to be able to actually give it to her on the eve of her twenty-first birthday! What a lucky man I am! [DEVON] Don't tell me it actually leads to treasure. [CHARLIE] Oh, yes -- a wonderful treasure. And she'll have the joy of discovering it. The key is in a locket she's worn since birth -- and reading the book will tell her how to find that key. [DEVON] A rather clever way to entice your daughter to read about you. [CHARLIE] She may think I've forgotten her. She'll need all the enticement she can get. They reach the cottage, and Devon reaches for the door. INT. FOUNDATION GUEST COTTAGE - NIGHT as Devon flicks the light on, illuminating a cozy room. As Charlie lowers the seaman's trunk to the bed: [DEVON] I'm sure you'll find the cottage comfortable. [CHARLIE] After fifteen years in prison, any- thing is comfortable. [DEVON] Get a good night's sleep. We'll pick up where we left off over breakfast. Devon smiles, pats his friend on the shoulder and leaves. EXT. WALL - NIGHT - CLOSE ON A DARK FIGURE appearing over the crest of the overgrown wall, then dropping down into the grounds below. INT. FOUNDATION GUEST COTTAGE - NIGHT - CLOSE ON PHOTOGRAPH a worn picture of a young Charlie Granger, square-jawed, dashing adventurer, standing on the slopes of the Himalayas as if he's just conquered the world. Camera pans across other photos of Granger through the years, and we pull back to see that Charlie's pulling these mementos from his sea- man's trunk, seeking a photograph which he now finds, eyes with great affection. EXT. GUEST COTTAGE - NIGHT - ON MYSTERIOUS FIGURE darting out of the shadows and approaching. We can now see him more clearly -- an imposing man in camouflage, his identity concealed by a ski mask, moving skillfully like a trained commando stalking his mark. He moves cautiously toward the cottage door. INT. COTTAGE - NIGHT - CLOSE ON CHARLIE still gazing at the photograph, then suddenly freezing as if he feels someone's approach. [CHARLIE] Devon? Can't sleep, old man? As he turns, we widen and the door opens, revealing the mysterious intruder, filling the door frame. [MAN] Welcome back, Charlie. And the Man moves fast, lashing out with a lightning-fast blow to Charlie's chest, like a cobra striking -- and Charlie falls to the floor. The Man turns his attention immediately upon the contents of the trunk. As he picks up the Charlie Granger, The Man And The Myth book, the map seen earlier falls to the floor. The Man picks it up, opens the book to the inside cover and pauses a beat looking at a written inscription: INSERT - INSIDE FRONT PAGE OF BOOK My Dearest Katherine, The key to the treasure is in your locket, close to your heart as you've been to mine. Your loving Father, Charlie. WIDER ANGLE - THE MAN dropping the book to the floor, folding the map into his pocket and quickly leaving the room. We zoom in on Charlie, angle down to something clasped in his hands. We see that it's a photograph of a young girl standing rigidly in a private school uniforn -- a young Katherine Granger. OMITTED EXT. HIGHWAY - DAY where we see K.I.T.T. speeding down the road. INT. K.I.T.T. - DAY ON MICHAEL as he leans back and stretches his arms, giving out a relieving, stretching "yell." [K.I.T.T.] Michael, what on earth are you doing? [MICHAEL] Trying to unfold. No offense, Kitt, but one more day behind the wheel without a rest.... [K.I.T.T.] No offense is taken, Michael. On the contrary, bipedal primate mammals were never intended to spend such lengthy periods in a sedentary position. [MICHAEL] (dry) Point that out to Devon, pal. [K.I.T.T.] In fact, I've come to the conclusion that Homo sapiens would be much better off had you remained crawling on all fours. [MICHAEL] On all fours. You mean like you? [K.I.T.T.] I never crawl, Michael. (beat) Devon's calling. Michael pushes the appropriate buttons and we intercut as Devon appears on the monitor, looking upset. [MICHAEL] Hello, Devon. What's up? [DEVON] I had a visitor last night, Michael -- an old friend. He stayed in the guest quarters. When I went to see him this morning, he was dead. [MICHAEL] I'm sorry. What happened? [DEVON] I don't know, but I suspect foul play. He wasn't just any visitor, Michael -- he was Charlie Granger. Michael reacts to this, astounded. [MICHAEL] 'The' Charlie Granger? [DEVON] 'The' indeed. Please hurry, Michael. Another life may be at stake. [MICHAEL] I'm on my way. EXT. K.I.T.T. - DAY blasting away, heading toward: EXT. HIGHWAY - DAY - ON SEMI as K.I.T.T. approaches the lowered ramp, drives up and in. [MICHAEL'S VOICE] When I was a kid, I used to read about Charlie Granger entering lost tombs and discovering forgotten cities.... INT. SEMI - DAY - ON MICHAEL AND DEVON Behind them, April pulls the Circuit Analyzer down over K.I.T.T.'s hood and runs a cursory road test. [MICHAEL] He was my hero -- I wanted to be just like him when I grew up. [DEVON] We'd been friends for over thirty years, Michael. Last night it was as if I'd just seen him the day before. [MICHAEL] You said he appeared to have died of a heart attack. What makes you think he was murdered? [DEVON] Doctor Alpert confirmed there was damage to his chest tissues, as if he'd recently suffered a severe blow. Also, when he showed me the book he intended to give his daughter, it held a treasure map. I searched the room thoroughly. The map was gone. [MICHAEL] So you think the murderer's after Charlie's treasure? [DEVON] (nods) And if he knows the key's in Katherine's locket, he may try to kill her to get it. [MICHAEL] Have you told any of this to the police? [DEVON] I don't have a shred of evidence, Michael. That's what's so infuri- ating. [MICHAEL] I'll bring Katherine to the Foundation, Devon. If there's going to be a treasure hunt, at least she'll be protected. We angle with him as he strides to K.I.T.T. April looks up as Michael climbs into the car. [APRIL] I've programmed Kitt with everything we've got on Charlie Granger and his daughter. I'll be feeding more information in as I get it. [MICHAEL] Should be an interesting story. [APRIL] Michael -- this has upset Devon even more than he's letting on. [MICHAEL] I hear you. He shuts the door, starts up the car as Devon joins April, Michael beginning to back out. EXT. HIGHWAY - DAY - STOCK as K.I.T.T. comes down the ramp, hits the road, does a 180 and heads away from the semi. OMITTED EXT. TREE-LINED STREET - DAY The leaves have that warm glow of autumn as we see K.I.T.T. driving down the Eastern-looking street. INT. K.I.T.T. - DAY Michael's lost in a romantic reminiscence. [MICHAEL] ...then Charlie threw open the door to the tomb and there it was -- the most fantastic sarcophagus ever seen by modern man. [K.I.T.T.] According to my research, the sarcophagus in question was made of rotten wood and looked absolutely appalling. [MICHAEL] It's not the look of the thing that's important, Kitt. It's the age. [K.I.T.T.] I really don't understand, Michael. When cars get old, they're junked. When people get old, they're considered quite unattractive. Why all the flap over this old piece of wood containing some disintegrating bones? [MICHAEL] All right, let me put it another way -- think of a treasure as a secret locked in some computer's data banks, and you alone can find it. [K.I.T.T.] A mathematical secret, you mean. Yes, that could be interesting...decoding can be challenging. I think I'd quite enjoy seeking that kind of treasure. EXT. WOODGROVE SCHOOL ENTRANCE - DAY as K.I.T.T. drives up to the gated entrance. Overhead is an elegant sign: "THE WOODGROVE SCHOOL FOR YOUNG LADIES". Beyond the gate is a vast, green, immaculately kept lawn encircled by a thick forest of trees, all very idyllic. K.I.T.T. drives through the open gates. ANGLE TO THE TREES We see the barrel of a long-range rifle protrude from behind the trees, tracking the rider. INT. K.I.T.T. - DAY - MOVING Michael takes in the lovely greenery around him. [MICHAEL] This sure isn't anything like where I went to school. The only thing green there was the chalkboard. [K.I.T.T.] The Woodgrove School is a very exclusive institution. Quite high, academically. [MICHAEL] Must've set Charlie back a few bucks. [K.I.T.T.] Michael, my sensors are picking up something coming toward us due south, with increasing speed. [MICHAEL] A car? [K.I.T.T.] Not exactly. Michael peers out. OMITTED EXT. K.I.T.T. - DAY as we see a beautiful horse coming toward K.I.T.T. across the field, moving at an easy canter. At the reins is a woman in her early twenties, decked out in English riding habit, complete with hat and crop. As she draws near K.I.T.T., she deliberately cuts in front of the car, and Michael must slam on the brakes to avoid hitting horse and Rider. INT. K.I.T.T. - DAY as Michael glares out at the Rider, who's now moving toward the trees. [MICHAEL] I'd hate to see her behind the wheel of a car. [K.I.T.T.] Michael, there's a man directly ahead with a gun aimed at that rider.... OMITTED ANGLE ON RIDER As a shot rings out and the bullet kicks up dust right in front of the horse. At this same moment, the saddle appears to slip and the horse panics, rears and bolts, the Rider clinging desperately to the mane. OMITTED INT. K.I.T.T. - DAY as Michael sees the out-of-control horse, bearing the flailing Rider toward the perilous overgrowth. [MICHAEL] She needs help, Kitt! Pop the sun roof and switch to auto drive. He pushes the appropriate buttons. CLOSER ANGLE - CONTROL PANEL as "auto drive" and "sun roof open" lights go on. EXT. FIELD - DAY - ON K.I.T.T. as the car takes off, leaving the road and bounding across the field after the Rider. OMITTED EXT. FIELD - DAY - ON K.I.T.T. AND THE HORSE as K.I.T.T. now falls in parallel to the running animal, drives along beside it, matching its pace. Michael stands up on the driver's seat just as horse and car approach a small obstacle of fallen logs. The horse jumps the logs, as does K.I.T.T. -- Michael just managing to hold on. Then, once again moving in close to the horse, Michael leaps from the seat to the horse's back, landing behind the Rider, pulling the reins back and stopping the animal. ANGLE ON K.I.T.T. pulling to a stop nearby, scanner flashing. CLOSER ANGLE ON MICHAEL AND RIDER as he jumps off, then helps her down from the horse. As Michael strokes the horse, calming it, we see the Rider clearly for the first time -- a striking, natural beauty, nothing artificial in her features -- with a fiery, independent spirit. She tugs nervously at a small gold locket on a gold chain around her neck. [RIDER] You spooked my horse! Can't you read? There must be a dozen 'Equestrian Crossing' signs back there. Michael's surprised and annoyed by her thankless attitude. [MICHAEL] What spooked your horse was some- body taking a shot at you from those trees. She stares at him imperiously. [RIDER] There's a target range back there. It's never bothered my horse before. Michael is looking at the saddle cinch which now hangs free. He holds it up. [MICHAEL] How about this? He shows her the severed cinch. She stares at it, as it's completely eaten through -- and it's clearly a brand new cinch. [RIDER] They break sometimes. [MICHAEL] This one didn't. It was cut. The young woman stares at him, unsure whether to believe this contention. She decides not to, pulls herself up haughtily. [RIDER] Thanks for your help. You're a regular knight in shining armor. Fortunately, I don't need one. She starts to walk the horse away, and Michael calls after her. [MICHAEL] Can you at least tell me how I can find somebody? I'm looking for a girl named Katherine Granger. The Rider stops in her tracks. She turns back to him, her look somewhat incredulous. [RIDER] You've found her. I'm Katherine. This takes Michael by surprise. He's momentarily at a loss for words. [KATHERINE] Who are you? What do you want? [MICHAEL] My name's Michael Knight, and I work for the Foundation for Law and Government. I want to talk to you about your father. [KATHERINE] My father? I don't have much to say about him. I haven't seen my father in fifteen years. [MICHAEL] (carefully choosing his words) Katherine...he died last night. Katherine looks at him for a moment, looks down, then over at the trees nearby. She begins to stroke the horse and we can see that her hands are suddenly trembling. She steadies her hand by holding onto her locket. [KATHERINE] It's pretty out here, isn't it? I've always liked this time of year. It has the smell of colors. [MICHAEL] I'm sorry I had to tell you like this. [KATHERINE] It doesn't matter. I never really had a father, so I guess I can't really lose one, can I? She takes a cube of sugar out of her pocket, feeds it to the horse. Michael watches her, unable to understand or gauge her emotions. [MICHAEL] He left something for you. Some kind of treasure. I'm supposed to take you to the Foundation and give it to you. [KATHERINE] To tell you the truth, I'm really not interested in anything my father left. She starts to climb onto the horse and Michael grabs her arm, stopping her. She whirls to face him. [MICHAEL] Listen to me. You may not be interested in your father's treasure, but somebody else is. [KATHERINE] Are you trying to tell me that this -- person -- cut my saddle cinch? [MICHAEL] I'm trying to tell you I've been sent here to protect you and that's what I'm going to do. I want you to come with me, now. [KATHERINE] You can't force me to go with you. [MICHAEL] If it'll save your life, I don't have a choice. She looks up at him, then at the desolate area around them. She knows that Michael could easily overpower her; she has very few options. [KATHERINE] If I agree, will you let me stop at the dorm and pack my things? [MICHAEL] Sure. EXT. WOODGROVE LADIES' DORMITORY - DAY as K.I.T.T. drives up and stops across from the entrance and Katherine climbs out, crosses quickly into the dorm. INT. K.I.T.T. - DAY Michael watches her go. [MICHAEL] Kitt, did you get anything on who fired that shot? [K.I.T.T.] Negative, Michael. Only that it was a high-powered weapon. In pursuing the girl, we unfortunately let the marksman escape. [MICHAEL] I'm not sure which one of us got the better end of the deal. EXT. K.I.T.T. - DAY as Scott, a well-dressed, college-age preppy, pulls up beside K.I.T.T. in a Porsche 911 convertible. He revs the car, makes a lot of noise. Michael notices. [SCOTT] What you got under that hood, Ace? Two squirrels and a rubber band? [MICHAEL] Yeah, and it runs on peanuts. Scott guffaws and tears off with a screech of wheels. [K.I.T.T.] Squirrels and peanuts, indeed. Really, Michael. INT. WOODGROVE LADIES' DORMITORY - LOBBY - DAY - ON KATHERINE standing in a secluded corner, a house phone pressed to her ear as she dials. She waits a beat, then: [KATHERINE] Mr. Stone? This is Katherine Granger. (beat, this is painful for her) Why didn't you tell me about my father? You're the only person who knows me, who cares about me -- I had to hear he died from a complete stranger. INTERCUT WITH KATHERINE - DAY - CLOSEUP - CHRISTOPHER STONE An impeccably dressed, handsome man in his early forties, talking on a modular phone. He's in his moving car, a Cadillac Seville, and we see attractive countryside flashing by outside. [STONE] I was on my way out to see you, and tell you myself. It was such a shock. Who told you? [KATHERINE] Someone named Michael Knight. He says my father left me some kind of treasure...I don't know what to do. I didn't know who else to turn to. [STONE] I'll be there soon, Katherine. Don't leave Woodgrove before I get there. [KATHERINE] I'll be here. She hangs up the phone and we lose intercut as Stone also hangs up and we see his eyes dart to his rearview mirror, where a car's visible right on his bumper. The driver seems to be waving Stone over. Recognizing the vehicle, Stone pulls off the road. EXT. HIGHWAY - DAY - ON STONE'S CADILLAC AND AN ND CAR as a businesslike young man in dark glasses, Korris, climbs out and approaches Stone. Stone appears nervous at the very sight of him, despite the fact that Stone's a physically stronger-looking man. [STONE] I don't like you following me, Korris. I'm in a hurry.... [KORRIS] And I don't like you leaving town, Stone. It's my responsibility to see that you pay back a lot of money and you've got very little time left. [STONE] I'm about to get my hands on more money than you ever dreamed. [KORRIS] I hope you have better luck than you've had in your investments. See, after today, it's out of my hands. There'll be a different kind of contract out on you, Stone -- one a little more permanent. He returns to his car, climbs in and drives away. Stone watches him go, controlling his anger, then her crosses to his Cadillac and climbs in. INT. STONE'S CADILLAC - DAY - ON STONE as he takes a deep breath, then feels his coat pockets, as if looking for something to reassure himself. He finds what he's looking for, pulls a sheet of paper out of his pocket and unfolds it, looks at it confidently. We pull into the paper and see the map stolen from Charlie Granger -- the map to his treasure, and we: FREEZE FRAME AND FADE OUT END OF ACT ONE ACT TWO FADE IN EXT. DORM - DAY - ON THE TRANS AM still parked in front of the dorm. Michael checks his watch. ANGLE ON MICHAEL shaking his head. [MICHAEL] What's taking her so long? [K.I.T.T.] I understand women are famous for packing more than they need, Michael. [MICHAEL] We're not exactly going to Europe for the summer. [K.I.T.T.] Speaking of Europe, I've done some further research on the subject of treasures. Did you know there are nearly two thousand documented trea- sures that have been lost on the Continent and another fifteen hundred in the Mediterranean? [MICHAEL] Is that right? That's a lot of insurance claims. [K.I.T.T.] And if those treasures were recovered, Michael, their combined monetary value would be in excess of twenty million dollars. [MICHAEL] (whistling) Sounds like we're in the wrong business, buddy. (checking watch again) And at this rate, we'll be in it forever. I'll be right back. With that, Michael gets out of the Trans Am, walks toward the dorm. ANGLE ON SCOTT Walking by, he spots K.I.T.T. parked alone. He approaches the car, looks around and, seeing no sign of Michael, tries the driver's door. [K.I.T.T.] If you're looking for nuts, you're shaking the wrong tree. Scott jumps, stares at the car, then backs away and generally decides to evacuate the area. OMITTED EXT. TERRACE - DAY filled with fathers and their lovely daughters. The fathers are in suits, the girls in elegant dresses. Several of the couples are dancing to the waltz being played by a string quartet. A few young men, in white shirts and bow ties, are handling hors d'oeuvres. We pan across the terrace, past the smiling couples, and stop on: KATHERINE standing near the bar where a couple of good-looking prep- pies, Chip and Skipper, are handing out punch. Katherine's gorgeous in a stunning dress, but her radiant beauty is marred by the wistful, almost sad look on her face. Chip leans over, hands her a cup of punch, smiles at her. Katherine takes the punch, manages a small "thank you." [KATHERINE] You guys are finally working for a living, huh? [CHIP] Are you kidding? This is the only way we could get into the dance... (looking around) So, when's the party start? Katherine gives Chip a small smile, then turns back to the dance floor. Again, the poignant look crosses her face as she follows: A FATHER AND DAUGHTER gliding across the floor, laughing, enjoying each other's company. BACK TO KATHERINE alone. Wanting so badly to be that young woman, but knowing she can't. Suddenly, something else attracts her attention, and she stiffens as she sees: MICHAEL entering the room, totally out of place in his leather jacket and jeans. He scans the room, ignoring the stares of both fathers and daughters. He spots Katherine, heads directly across the room toward her. ON KATHERINE as she turns to Chip, grabs his arm. [KATHERINE] Chip, please dance with me. [CHIP] I'm supposed to be working. [KATHERINE] That never stopped you before. Off his surprised look, Katherine pulls him out onto the dance floor with her. ANGLE ON THE DANCE FLOOR as Katherine and Chip start to dance. In the b.g. we see Michael moving through the crowd toward them. Katherine deftly turns away from him, avoiding his look. Michael steps up, taps Chip on the shoulder. As the kid looks over his shoulder at Michael, surprised: [MICHAEL] You mind? Katherine cuts Chip off before he can answer. [KATHERINE] I mind. What do you think you're doing? [MICHAEL] I thought I'd help you with your packing. [KATHERINE] Don't bother. I decided not to go. [CHIP] (to Michael) In case you didn't notice, we're in the middle of a dance. Michael moves between Chip and Katherine. Already, they're beginning to attract considerable attention. [MICHAEL] What does it take to crack that shell of yours, Katherine? Your father died. Doesn't that mean anything to you? [KATHERINE] What it means to me is none of your business. I'll say one thing for my father -- at least he's consistent. He always sent something in place of himself. It was usually money. Now it's you. [MICHAEL] Look, you're my responsibility, and I'm taking you out of here...one way or another. [KATHERINE] You wouldn't dare. Michael gives her a look, then in one quick move grabs her by the waist and tosses her over his shoulder. Katherine kicks, ad-libs a protest. Chip stands, open-mouthed, as Michael pushes past him and starts for the exit with Katherine. WIDER ANGLE as Michael moves through the stunned crowd toward the steps. Everyone's too shocked to make a move to stop him. ANOTHER ANGLE - FEATURING CHIP joined by Skipper. Both are clearly disturbed by Michael's appearance and subsequent disappearance. [CHIP] I think our friend needs a lesson in manners. With that, the two preppies turn and hurry toward the steps. EXT. WOODGROVE SOCIAL CENTER - DAY as Michael carries the protesting Katherine toward K.I.T.T. K.I.T.T. pops the door and Michael puts Katherine inside, slams the door, then walks around and climbs into the Trans Am. Michael fires it up and starts away from the Social Center. As he does: ANOTHER ANGLE Chip and Skipper run down the steps from the terrace and are met by Scott -- they all stare at the Trans Am pulling away. Scott, of course, recognizes the car at once. He smiles smugly. [SCOTT] We're not going to have any trouble catching that domestic piece of aluminum. With that, they run up to their sports cars, get in, and, starting them up, squeal after Michael. OMITTED EXT. ROAD - NEAR WOODGROVE - DAY as the Trans Am roars past camera. A beat, then we see the three preppies in pursuit. INT. TRANS AM - DAY Katherine's sitting as far as possible away from Michael, staring straight ahead, refusing to even acknowledge his presence. Michael glances in the rearview mirror, sees the preppies in their sportscars catching up. [MICHAEL] Looks like the Preppy Patrol wants to pull us over. He looks over at Katherine; she doesn't answer. [K.I.T.T.] Michael, we're approaching a railroad crossing with a freight train in transit. We'll be forced to stop. Katherine reacts to this with vague interest, catches herself and decides to ignore K.I.T.T., too. [MICHAEL] They will. With that, he punches the "pursuit" button. EXT. ROAD - DAY as the Trans Am explodes in a burst of speed, quickly leaving the sports cars behind. ANGLE - A FREIGHT TRAIN traversing the road up ahead, lights flashing, signs up. INT. K.I.T.T. - DAY For the first time, Katherine reacts, seeing the train looming ahead. She grabs at Michael. [KATHERINE] Stop the car! Stop the car! Michael grins and reaches for turbo boost. EXT. ROAD - DAY - ON K.I.T.T. AND THE FREIGHT TRAIN as an open boxcar passes directly in front of the speeding Trans Am and the car suddenly leaves the ground, soaring upward and passing directly through the open boxcar. We stay with K.I.T.T. landing on the other side and continuing up the highway. INT. K.I.T.T. - DAY - ON MICHAEL as he gives off an exhilarated whoop for joy. He looks over at Katherine -- her face shows abject terror. He grins. ON THE SPORTS CARS as Scott, Ship and Skipper pull over to the side of the road, climb out to stare in awe at the Trans Am as it fast becomes a memory. [SCOTT] I never saw anything move like that. I don't get it. [CHIP] Maybe he doesn't use unleaded gas. EXT. WOODGROVE SOCIAL CENTER - DAY - ANGLE ON CHRISTOPHER STONE'S CADILLAC as it drives toward the steps to the terrace, where we see a buzz of activity -- fathers and daughters have finally become activated, seem to be pouring out of the tea in response to Katherine's abduction. Stone stops the Cadillac nearby, climbs out and finally catches Stacey, a young coed, as she rushes past. [STONE] What happened? [STACEY] A tall dark stranger came into the dance and carried Katie Granger out like Scarlett O'Hara. It was so romantic. Stone releases Stacey and she rushes off to whisper to the other girls. We pull in on Stone's dismayed look. EXT. ANOTHER PART OF ROAD - DAY - ON THE TRANS AM now leisurely cruising down the road at about ninety. INT. TRANS AM - DAY Katherine's still glued to the far door. [MICHAEL] Are you going to sit there and sulk all the way to the Foundation? Katherine looks over for the first time, then: [KATHERINE] You've got your 'dashboard' to keep you company. [K.I.T.T.] Michael, I think I'm being insulted. Michael gives K.I.T.T. a smile. Katherine glances at K.I.T.T.'s voice box but still refuses to acknowledge it. Michael sees this, and in a parody of the usual response: [MICHAEL] 'Hey -- you've got a talking car!' He looks over at Katherine. Still no response. [MICHAEL] (to K.I.T.T.) Sorry, pal -- she's just not impressed. (to Katherine) Look, I'm sorry for what I had to do back at the dance. But there was no other way to get you out of there. It's for your own good. [KATHERINE] (dry) It's just wonderful how everyone seems to know exactly what's 'good' for me. Even perfect strangers. [MICHAEL] Katherine, do you have any idea why your father never saw you? [KATHERINE] Sure. He wasn't interested. It doesn't take much to figure that out. [MICHAEL] You were right about one thing -- you really don't know anything about him. To me and a lot of other people, Charlie Granger was a hero. (remembering, smiling) I used to read about him all the time -- discovering new worlds in the South Pacific, Africa, South America.... Katherine looks at Michael, listening with veiled curiosity for the briefest instant. Her emotions begin to gain strength, then she reins them in. [KATHERINE] I'll make a deal with you. I'll go anywhere you want if you'll stop talking about my father. I really don't want to hear it. (beat) Could you please stop the car for a minute? I need some air. Michael glances over at her. [MICHAEL] Sure. And he turns toward the side of the road. OMITTED EXT. SIDE OF HIGHWAY - DAY - ON THE TRANS AM The Trans Am is parked by the side of the road. Katherine has gotten out and is standing, staring across the sur- rounding countryside. Inside, we see Michael. INT. TRANS AM - DAY Michael is watching Katherine, as: [K.I.T.T.] Michael, that young lady is such a brat, I can't help but wonder why anyone would leave her a good-bye note, let alone a treasure. [MICHAEL] She was Charlie's daughter. Blood's thicker than water. [K.I.T.T.] So is my motor oil, but he didn't leave me anything. (beat) When Katherine does seek her trea- sure, I think I could contribute to the search. [MICHAEL] How's that, buddy? You handy with a pick axe? [K.I.T.T.] No, but Devon spoke of deciphering a key which is hidden in her locket. I have a feeling I'd be a natural at that particular aspect of the hunt. [MICHAEL] I'll keep that in mind. Michael glances over, then sits up. [MICHAEL] Uh oh...jailbreak! MICHAEL'S POINT OF VIEW - KATHERINE She's suddenly bolted from the car and headed straight across the field. ON MICHAEL jumping out of the car and running after her. ANGLE ON THE FIELD as Katherine sprints away, tries to climb a grassy knoll, but it's too slippery and she slides back down, into a muddy pool. As Michael catches up with her, she struggles to her feet. Her dress is torn and covered with mud. [KATHERINE] Look what you've done! You've ruined my dress! She takes off her shoe to throw at Michael and finds the heel's broken off. Michael sees it, stifles a laugh. [MICHAEL] C'mon, we'll get you a change of clothes. [KATHERINE] We will not! [MICHAEL] Have it your own way. He heads back toward K.I.T.T. Katherine puts her shoe back on, takes a few impossible steps away from Michael, then turns and hobbles after him. ANGLE ON K.I.T.T. as Michael reaches the car, opens the back, goes through a duffle bag there and pulls out one of his own shirts and a pair of jeans. As Katherine approaches, Michael holds the clothes out to her. [MICHAEL] Here. They don't have designer labels, but they'll keep you warm. We'll get you some shoes later. She glares at the clothes, and up at Michael; but his expression is sincere. She takes the clothes, climbs into K.I.T.T., then shuts the door. [MICHAEL] Give her some privacy, Kitt. [K.I.T.T.] But of course. ANGLE ON K.I.T.T.'S WINDSHIELD - STOCK as the windshield and windows go dark. INT. K.I.T.T. Katherine reacts to the darkening of the windows, then we move in close to show only her face and shoulders as she unzips her dress, changes into Michael's clothes. [K.I.T.T.] Katherine...may I call you Katherine? [KATHERINE] I don't care what you call me. [K.I.T.T.] You seem to dislike Michael. I understand that people sometimes react to other people this way. But why do you dislike me? [KATHERINE] You're a computer. I don't trust computers. I was raised by them. [K.I.T.T.] Really? [KATHERINE] A bank computer sent me my checks every month and paid my bills. It okayed my report cards and analyzed my scholastic development. It did everything but tuck me into bed at night. [K.I.T.T.] Which for people is more important. [KATHERINE] (a beat) You do understand a little, don't you? She seems to suddenly grow very sad, as if the fight's momentarily gone out of her. A pause, then she gathers herself together and opens the door. EXT. K.I.T.T. - DAY as Katherine climbs out, and we see how incredibly huge Michael's clothes are on her. The legs are at least six inches too long -- likewise, the shirt looks like she stole it from a gorilla. As Michael sees her, it's all he can do to keep from laughing. Katherine sees this and her old defenses pop up again. [KATHERINE] I hope you're happy. I look horrible. [MICHAEL] Yeah, you do. She frowns, turns back toward the car, then stops. ANGLE ON K.I.T.T.'S WINDOW where we see Katherine's reflection. So does she. [KATHERINE] Yeah, I do. ANGLE ON MICHAEL AND KATHERINE as she looks up at Michael. Their eyes catch. Suddenly, she grins. It's the first time we've seen her grin and it's delightful -- and infectious. Michael grins right back, then they both laugh. Off this, we: CUT TO EXT. FOUNDATION - DAY seemingly peaceful and serene, as afternoon shadows fall. In contrast to the quiet, we hear: [DEVON'S VOICE] Please understand it was a protective measure.... EXT. FOUNDATION PATIO - DAY - CLOSE ON A MAN'S BACK The tension in the air is thick as the man whirls to face us -- and we see he's Christopher Stone. [STONE] You call kidnapping -- perhaps even assault -- a 'protective measure?' We widen to see Devon nearby. [DEVON] Michael Knight is a trusted employee of this Foundation, Mr. Stone. He is not an assailant. [STONE] As executor of Charlie's estate and guardian of his daughter for the last twenty years, I have a legal and moral responsibility to take care of the dispensation of any treasure to Katherine. [DEVON] Treasure? I didn't mention a treasure. This throws Stone for a beat; but he recovers quickly. [STONE] We're talking in circles. My demand is very simple -- I want to know where Katherine is. Now. [DEVON] Under the circumstances, I'm afraid I can't tell you. An attempt was made on her life today, Mr. Stone. [STONE] That's ridiculous! Katherine doesn't have an enemy in the world. [DEVON] Didn't. Apparently, thanks to the treasure, she now does. (beat) Mr. Stone, I agreed to talk with you because your credentials have checked out. But until a lot of questions have been answered to my satisfaction, I am not changing my position. [STONE] Nor am I changing mine. With that, Stone turns and storms out. ANGLE - CLOSE ON DEVON staring after Stone, unflinching, firm...and just a little worried. We hold on his face, then: FREEZE FRAME AND FADE OUT END OF ACT TWO ACT THREE FADE IN EXT. FOUNDATION - NIGHT - ON K.I.T.T. pulling up the driveway toward the main building, which is aglow with lights. INT. K.I.T.T. - NIGHT as Michael stops the car and Katherine's about to climb out. [KATHERINE] I'd like to get this over with as soon as possible. Michael reaches out and catches her arm, stopping her. [MICHAEL] Just a minute, Katherine. [KATHERINE] I thought you were in a big hurry to get me here. [MICHAEL] There's something I want you to see first. Off her confused look, Michael drives around toward the back of the Foundation. EXT. FOUNDATION GUEST QUARTERS - NIGHT as Michael walks Katherine toward Charlie's last quarters. [KATHERINE] Where are we going? [MICHAEL] I think it's about time you met someone. He opens the guest quarters' door, leads Katherine in. OMITTED INT. GUEST QUARTERS - NIGHT Michael walks in, Katherine stands tentatively by the door. Michael crosses to the bed and pulls Charlie's steamer chest out from under it. He opens the seaman's chest and begins pulling out photos and articles ("Charlie Granger Conquers Amazon" and "Granger's Shangri-la", etc.) He arranges the mementos on the bed, pores over them. Katherine remains standing her ground by the door. [MICHAEL] Look at this -- there must be a hundred crocodiles in that river with him. (holding photo closer) It looks like he's serenading them with a harmonica. Katherine's interest is piqued. She takes a few steps toward him. Michael's now got another photograph. [MICHAEL] Here he is on an all-white camel. He's got a cute little girl with him. That's a pretty locket she's wearing. I think you know her, Katherine. By now, Katherine has drawn close. [KATHERINE] May I see that? He hands her the photograph. She looks at it, sits on the bed beside Michael, mesmerized by the photo in her hands. [MICHAEL] Katherine, I'd like you to meet your father. He hands Katherine more of the photos of Charlie Granger that we saw earlier -- his moments of glory, the famous international leaders. As she looks at these: [MICHAEL] This is what I was trying to tell you before. Don't cheat yourself of the honor of being Charlie Granger's daughter. He was a great man. He was the last of a breed they don't make anymore. Katherine now reaches into the seaman's chest, pulls out a handful of pictures of a young Katherine. [KATHERINE] These are all pictures of me. I wonder why he kept them all these years. [MICHAEL] He loved you, Katherine. You were never out of his thoughts. [KATHERINE] Then why didn't he come see me all those years? Why didn't he write me? [MICHAEL] According to the information I have, he couldn't. He was a prisoner. He wanted desperately to see you. Katherine fingers the locket around her neck. [KATHERINE] This was all I ever had of my father, Michael -- his picture in a locket. I used to hold onto it all the time, to make me feel like he was close by. It's like running into your parents' room late at night when the thunder gets too loud -- except I had nobody to run to. [MICHAEL] I'm sure he wanted to be with you, he tried to give you everything he could.... [KATHERINE] Then why did he send me away like some dog at a kennel? I would've given up everything just to be with him -- to sit on his lap and have him hold me. Do you think I would've chosen the schools and the clothes over my father's love? Katherine's facade utterly shatters and the tears she hid from Michael earlier come back now. Michael reaches out to her -- but she backs away. [MICHAEL] Katherine, your father didn't mean to reject you. But just because he disappointed you, don't close out everyone else who tries to care for you. [KATHERINE] I have to. When you shut them out, they can't hurt you. [MICHAEL] They also can't love you. Michael reaches for her again and this time she allows him to gently take her into his arms. Michael just rocks her gently as she continues to have a good, long overdue cry. OMITTED EXT. FOUNDATION - NIGHT - ESTABLISHING SHOT as we pan to Devon's office window. INT. DEVON'S OFFICE - NIGHT Devon is at his desk going over a file. Michael is standing, he also has a folder of papers that he's going over. [MICHAEL] When did he come to see you? [DEVON] This afternoon. Michael, there's something about this Mr. Stone. It's not only what he said...but something more. Something in his eyes. They were the eyes of a desperate man. [MICHAEL] Devon, if he's the only other person who knew about the treasure, then he may also know the key's in Katherine's locket and he may have tried to kill her to get it. [DEVON] That's what I fear, Michael. April comes into the office. [APRIL] I finally got Katherine to sleep. Any luck? Devon slaps the files down on his desk in frustration. [DEVON] All these files show is that Stone's a man with impeccable credentials. There's neither motive nor evidence.... [MICHAEL] The map stolen from Charlie's book would be a start, wouldn't it? As Devon's look confirms this.... EXT. CHRISTOPHER STONE'S ESTATE - NIGHT - ANGLE ON K.I.T.T. pulling up outside the high-walled private property of a man who once obviously ran a financial empire. OMITTED INT. K.I.T.T. - ON MICHAEL as he pushes buttons and Stone's estate appears on the monitor. [MICHAEL] Kitt, if you were Stone, where would you hide a treasure map? [K.I.T.T.] One of the greatest treasure hunters, Stephen de Blois, used to hide his maps in imitation cannons by his bedroom window. [MICHAEL] Maybe we should look for something more conventional -- like a safe. [K.I.T.T.] You're just not a romantic. Michael laughs. ANGLE - FAVORING MONITOR showing a schematic of the inner rooms, searching. Suddenly, a red light flashes in one room. [K.I.T.T.] Michael, there's a call going out from an upstairs bedroom. [MICHAEL] I think I'll do some eavesdropping. Patch me into that call, Kitt. ANGLE - FAVORING MICHAEL as Stone's and Korris' voices come through the monitor, via a phone filter. [STONE] Don't lean on me, Korris. I'll get your money. [KORRIS] I don't think you understand your problem, Stone. See, there's nowhere in the world for you to hide that we won't find you.... [K.I.T.T.] I've found the safe, Michael. It's built into an end table on the second floor. [MICHAEL] Record the rest of this conversation, pal. We've found our motive. [K.I.T.T.] Roger. Oh, and Michael, you might also check the drapery. Albert the Second of Austria used to weave his treasure maps into the material. [MICHAEL] I don't think Stone's that clever with a needle. Ready? [K.I.T.T.] Anytime. Michael pushes the "eject button" and we see Michael propelled up and out of the car. EXT. K.I.T.T. - BY WALL - NIGHT as Michael soars up, out of K.I.T.T. and over the wall to the other side. EXT. STONE'S FRONT GROUNDS - NIGHT as Michael lands on the grass, then sprints over to the house. He looks up at the second-story window, grabs an ivy covered trellis and begins climbing up. OMITTED INT. STONE'S ESTATE - SECOND FLOOR - GYMNASIUM/TROPHY ROOM - NIGHT Michael climbs in through the window, walks carefully through the dimly lit room, locating the end table. CLOSER ANGLE - MICHAEL as he opens a slide drawer exposing the metal door of the safe. On the face of the door is a six-button panel, above it is a digital readout window. [MICHAEL] (into comlink) Kitt, it's an electronic lock. Can you open it? [K.I.T.T.'S VOICE] I can, but Michael -- the phone conversation has terminated. [MICHAEL] Then let's move fast, pal. The digital readout window is suddenly ablaze with numbers, then it stops on three numbers and we hear a click. Michael opens the safe -- it's empty. [K.I.T.T.'S VOICE] Michael, there's someone entering the room.... Michael turns even as a figure lunges at him, striking out in a now familiar cobra punch which Michael avoids just in time -- he's only grazed by it. The room lights go on. WIDER ANGLE The room, now lit, is a large "den-like" room, filled with athletic trophies, mounted guns, animal heads on the walls. Stone's about to strike Michael again. [MICHAEL] Whoa -- slow down. I'm not armed. [STONE] I could've killed you. Breaking and entering -- it would've been justi- fiable homicide. [MICHAEL] You're an expert on that, aren't you? [STONE] (moving for a nearby phone) I'm calling the police. [MICHAEL] Number's nine-one-one. Go ahead... what're you afraid of? Got something to hide? Like Charlie Granger's map? [STONE] I don't know what you're talking about. Michael looks around the room for the first time, sees all the trophies and plaques. [MICHAEL] This room's quite an education. Lot of trophies for fighting. Earned a medal in the Green Berets, huh? He points up at the mounted animal heads on the walls. [MICHAEL] Marksmanship, too? You're a regular man for all seasons. Ever try taking a shot at a young coed? [STONE] Just try to prove it, Knight. [MICHAEL] You know my name. That's good. Because I want you to know who's standing between you and Katherine Granger. [STONE] Get out! As Michael moves toward the door, we hold on Stone's cold glare. EXT. FOUNDATION - DAY - CLOSE ON KATHERINE'S OPEN LOCKET showing aging photographs of Charlie Granger and a lovely woman who strongly resembles Katherine. [KATHERINE'S VOICE] But I've looked in this locket a million times. What could possibly be hidden there? We widen to see Michael, Devon, April and Katherine gathered near the water lily-covered reflecting pond. As Katherine hands Michael the locket, Devon refers to the inscription in the Charlie Granger -- The Man And The Myth book. [APRIL] He said the book would provide the answer. [DEVON] He adored puzzles and mysteries. Seeking out their hidden meanings was his passion. Michael moves close to Katherine. [MICHAEL] Katherine, your father wanted this treasure to be your twenty-first birthday present. Can you forgive him and grant him this one last wish? Katherine takes Michael's hand, which holds the locket. [KATHERINE] You don't have to convince me. Just help me find it. [DEVON] I'm afraid we're not the only ones looking for it. That treasure's become very important to Christopher Stone. [KATHERINE] Mr. Stone? What do you mean? I've known him for years.... [MICHAEL] He's changed, Katherine, you've got to believe me. He's become a dangerous man. Katherine looks from Michael to Devon, confused. Then: [KATHERINE] Could you excuse me for a while? I'd like to be alone.... She heads into the house. Michael and Devon watch her go, concerned, then Michael opens his hand, revealing the locket. OMITTED INT. FOUNDATION - KATHERINE'S ROOM - DAY We see Katherine on the telephone. [KATHERINE] Hello? This is Katherine. I'm sorry I didn't call you before, but so much has happened...I just learned about my father's treasure. INT. STONE'S ESTATE - TROPHY ROOM - DAY as he talks to Katherine on the phone, controlling his surprise at hearing from her. He listens a beat, his mind going a million miles a second. Then, arriving at an idea: [STONE] Listen carefully. I had a visit last night from Michael Knight. He threatened me, demanded some map he thinks I have. He's after the treasure, Katherine... (listens, then) Please don't panic. I think he may have killed your father. (beat) You've got to get out of there, now. Don't let them know you're going. I'll meet you at the corner of Aberdeen and Vermont in ten minutes. INT. KATHERINE'S ROOM - DAY - CLOSE ON KATHERINE as she slowly lowers the phone, her eyes brimming with tears. She's clearly torn, unsure who to believe. Then, decisively, she heads for the door. OMITTED EXT. CORNER OF ABERDEEN AND VERMONT - NEAR FOUNDATION - DAY - ANGLE ON STONE'S CADILLAC as it pulls up the street toward the corner. We see Katherine standing there, half-hidden by foliage. She comes forward as the car pulls to a stop. The passenger door opens. [STONE] I'm glad I got to you in time, Katherine. [KATHERINE] What you said about Michael -- I don't believe it. [STONE] People will do incredible things if the stakes are high enough. Come on, let's get away from here. Katherine looks very indecisive. Her glance turns in the direction of the Foundation, and suddenly, her hand goes to her throat. [KATHERINE] My locket! I left it behind. From inside Stone's car, we hear a small "click." [STONE'S VOICE] But you no longer need it, now that you know what's in it. Katherine turns back toward the car, to see: ANGLE ON STONE He has a gun trained on Katherine. [STONE] Please get in, Katherine. We're going on a treasure hunt. ANGLE ON KATHERINE as she looks down at the gun, horrified, and slowly climbs into the car, we: FREEZE FRAME AND FADE OUT END OF ACT THREE ACT FOUR FADE IN EXT. FOUNDATION - DAY Everything appears peaceful. INT. DEVON'S OFFICE - DAY Devon's examining Katherine's locket under a magnifying glass without much luck, while Michael thumbs through Charlie's books. [DEVON] (as he studies locket) Charlie really was a master of concealment. [MICHAEL] (reading) 'The key to the treasure is in your locket, close to your heart as you've been to mine....' They turn as April bursts in. [APRIL] Katherine's gone! [MICHAEL] What?! [APRIL] I've looked everywhere for her -- she's nowhere on the grounds. [MICHAEL] Devon -- if Stone's got her, he'll kill her. He thinks she's got the key to the treasure. [DEVON] And Stone's got the map. [APRIL] We don't even know where to start looking. [MICHAEL] But we've got the book, the locket -- and Kitt. On their reactions: CUT TO EXT. ROAD - DAY Stone's Cadillac speeds toward open country. INT. CADILLAC - DAY Stone is driving, Katherine's beside him, frightened. [KATHERINE] How can you do this to me? I thought you were my friend. [STONE] Your friend was a voice on the phone and an expense check once a month. [KATHERINE] You've just been planning and waiting all these years. [STONE] No, just since my financial status changed for the worse. And sitting there was the answer to my prayers -- Charlie's treasure. Charlie showed up and all I had to do was take it away from him. She stares at him, as she realizes: [KATHERINE] (very softly) You killed my father. Stone doesn't reply, continues driving. Katherine stares at him, horrified. EXT. HIGHWAY - DAY The Foundation semi passes. INT. K.I.T.T. - DAY - CLOSE ON MONITOR where we see the pages of Charlie's book flipping by at incredible speed. [K.I.T.T.'S VOICE] It's not very well written. INT. SEMI - DAY Michael, Devon and April are clustered around K.I.T.T. [MICHAEL] Critique the writing some other time, Kitt. [APRIL] How far along are you? [K.I.T.T.] Granger has just crossed the Yaqui River, narrowly avoiding being eaten alive by piranha. [DEVON] I believe April means what chapter, Kitt. [K.I.T.T.] 'The End.' [MICHAEL] Kitt, in all Charlie's adventures, was there any mention of finding a treasure in a locket or a picture or anything like that? [K.I.T.T.] In one case, he found a small chest of jewels behind the portrait of a Portuguese king. [APRIL] I looked on the back of the photos. Nothing. [DEVON] What else, Kitt? [K.I.T.T.] In another instance he found an inscription etched on the glass eye of a gold sphinx. [MICHAEL] Etched on the eye... (snapping his fingers) That could be it! Devon and April look at him, perplexed, as Michael circles K.I.T.T., climbs in. He pulls the locket out of his pocket, slips it into K.I.T.T.'s computer. [MICHAEL] Kitt, blow up Charlie's face. ANGLE FAVORING MONITOR as the photo of Charlie appears on the monitor. We see Devon and April approach behind Michael, to peer in at the monitor. [MICHAEL] Bigger, Kitt. Much bigger. [K.I.T.T.] We'll lose most of the face, Michael. [MICHAEL] Give me just the eyes. We see the eyes fill the monitor screen, and can vaguely make out something blurring the right eye. [MICHAEL] The right eye -- I need to get in closer. The right eye fills the monitor screen and superimposed over it, we see a grid, on top of which is the following: NR - 19336 - 24987. ANGLE ON MICHAEL, DEVON AND APRIL all staring wide-eyed at the monitor. [APRIL] What is it? [DEVON] Ingenious, indeed! That's a military grid with ten place coordinates. [MICHAEL] With this information, Charlie could pinpoint the treasure's location to within one square meter. Kitt, do you speak ten place coordinates? [K.I.T.T.] The location is in an area known as Devil's Basin, Michael. [MICHAEL] C'mon, Kitt -- let's beat the devil. And as he pulls the driver's door shut, ignites the engine: EXT. HIGHWAY - DAY The semi's ramp comes down and K.I.T.T. backs out, sparks flying, does a 180 and heads back in the opposite direction. EXT. DEVIL'S BASIN - DAY - ANGLE ON STONE'S CADILLAC as it moves into the desolate area of sand, sage and mountains. There's nothing here to mark it as an important spot to anyone. Stone climbs out and crosses to Katherine's door, gun in hand. Katherine climbs out. We see Charlie's map in Stone's free hand, and he holds it out to Katherine. [STONE] Here we are, Katherine, Devil's Basin -- just like Charlie's map said. Now...where's the treasure? [KATHERINE] I told you, I don't know. I left the locket at the Foundation...I don't have any idea.... [STONE] Think, Katherine. Think very hard. He cocks the gun. EXT. HIGHWAY - DAY under crank as K.I.T.T. speeds by in excess of 100 mph. EXT. ROAD ABOVE DEVIL'S CANYON - DAY as K.I.T.T. pulls into view and screeches to a halt. Michael gets out and looks down. MICHAEL'S POINT OF VIEW - DEVIL'S BASIN BELOW where we see Stone holding the gun on Katherine. ANGLE ON MICHAEL turning to K.I.T.T. [MICHAEL] I'll climb down and try to get behind him. I'll need a distraction, pal. [K.I.T.T.] Just say the word. Michael begins down the side of the canyon. EXT. DEVIL'S BASIN - ON STONE AND KATHERINE The sun beats down on them. Stone wipes the perspiration from his brow, never lowering the gun. [STONE] Katherine, I don't believe you fully understand. I'm not leaving without the treasure. [KATHERINE] (imploring) I don't know where it is! [STONE] I hope that's not the truth, Katherine. Because if it is, you'll die right here -- and I'll go on digging until I find it on my own. ANGLE ON MICHAEL as he reaches the basin floor and crouches behind rocks. [MICHAEL] (comlink) Kitt, this guy's got a car phone. Let's give him a call. K.I.T.T.'S SCANNER It oscillates back and forth. OMITTED ANGLE ON CADILLAC as its phone suddenly begins to ring off the hook. WIDER ANGLE TO INCLUDE STONE AND KATHERINE as Stone, startled by the ringing phone, turns toward the Cadillac. At that moment, Michael leaps out and tackles him, knocking the gun from his hand. Stone regains his feet and as he and Michael face off: [MICHAEL] It's my turn, Stone. Michael punches Stone, knocking him to the ground. Stone kicks Michael back against the Cadillac, throws his lethal cobra punch, missing Michael but cracking the car's window. The fight continues, Stone using all his martial skills, Michael deploying with judo moves and good old American punching. Finally, Stone throws his lethal punch at Michael, but to his surprise, Michael grabs his arm. [MICHAEL] If you show a secret weapon, you'd better use it. Otherwise the next time your opponent's way ahead of you. He flips Stone and Stone again slams into the Cadillac, dizzily moves toward Michael again. [MICHAEL] This one's for Charlie. (to comlink) Pop the door, pal. The Cadillac's door pops open and Michael hauls off and roundhouses Stone, knocking him into the car. Michael slams the door shut, sealing the cold-cocked Stone in. Katherine runs to him and they embrace. [MICHAEL] Let's find your treasure. (comlink) Kitt, I need you. INT. K.I.T.T. - ON CONTROLS as the panel comes to life, switches to auto drive, the gears shifting.... EXT. K.I.T.T. - DAY taking off, blind driving, racing down the canyon road toward Devil's Basin. EXT. DEVIL'S BASIN - ON MICHAEL AND KATHERINE He's leading her out to the center of the basin as K.I.T.T. arrives. They move to the car as the door pops open. [KATHERINE] Have you found the key? [MICHAEL] We have. (to K.I.T.T.) Have you pinpointed those coordinates? [K.I.T.T.] Coming up, Michael. ANGLE ON MONITOR to show the grid superimposed over Devil's Basin, the coordinates falling into line. A red "X" flashes on the exact spot on the side of a mountain. [K.I.T.T.] 'X' marks the spot. ANGLE ON MICHAEL, KATHERINE AND K.I.T.T. as Michael and Katherine look toward the mountain. THEIR POINT OF VIEW - THE MOUNTAIN A fairly sheer rise, showing no distinction at the spot indicated by K.I.T.T.'s monitor. ANGLE ON K.I.T.T., MICHAEL AND KATHERINE the disappointment shows on Katherine's face. [KATHERINE] There's nothing there. [MICHAEL] If Charlie hid the treasure as carefully as he plotted the hunt, he made sure it wasn't easy to see. How about it, buddy? [K.I.T.T.] Twenty-one years of erosion have covered the spot over with sand. But you're right, Michael -- there's a landfall at that spot, which seems much less dense than the surrounding walls. [MICHAEL] We've found Charlie's gift -- now we've got to unwrap it. They climb in. [K.I.T.T.] I'm programmed to be a treasure hunter, not a caveman. [MICHAEL] Consider it a new program. He puts K.I.T.T. in gear, backs the car away from the mountain. Then, Michael revs the engine. ANOTHER ANGLE as K.I.T.T. bursts forward, heading directly toward the spot indicated on the monitor. INT. K.I.T.T. - DAY Michael and Katherine brace themselves as Michael hits the Turbo Boost. EXT. K.I.T.T. - DAY as the car blasts up, leaving the ground directly into the mountain, penetrating in. OMITTED INT. K.I.T.T. - MICHAEL'S POINT OF VIEW THROUGH WINDSHIELD as the car hits hard ground and the windshield fills with pitch darkness. We angle to see Michael and Katherine staring out into the utter blackness, lit by the dash lights. [KATHERINE] What is it? [MICHAEL] I don't know. Kitt, give us some light. The headlights flash on, illuminating an opening to a natural cavern, just large enough for K.I.T.T. to pass through. [MICHAEL] Let's go! And as the car moves forward into the cavern. OMITTED INT. K.I.T.T. - CLOSE ON MICHAEL AND KATHERINE Their faces seem to light up in a dazzlement of color. [KATHERINE] (in awe) Michael, it's so beautiful. It's like being inside a diamond.... THEIR POINT OF VIEW - END OF TUNNEL We see what has them in awe: the entire end of the tunnel is ablaze with clear, giant crystals that jut out from every conceivable corner. It looks like the center of a massive, brilliant geode. The crystals act like giant prisms, as they break K.I.T.T.'s lights into multicolored rainbows. EXT. K.I.T.T. - ON MICHAEL AND KATHERINE as they climb out, layers of colors spilling over their faces as the crystals sparkle like the milky way. [K.I.T.T.] I've analyzed every foot of this cavern and there is no sign of any precious metal or mineral deposits, Michael. In other words, there's no treasure. [MICHAEL] Yes, there is -- it's all around us. The beauty of this cavern is what Charlie wanted you to have, Katherine. This is the treasure. [KATHERINE] I think you're right, Michael. Looking at the mountain from the outside, I would've missed what's inside, just like I missed all the beauty in my father all those years. She looks up at Michael. [KATHERINE] I have a feeling that's what he wanted me to know. OMITTED CLOSE ON MICHAEL AND KATHERINE Michael puts his arm around Katherine, and says sincerely: [MICHAEL] Happy Birthday, Katherine. She smiles back warmly and we: FREEZE FRAME AND FADE OUT END OF ACT FOUR TAG FADE IN EXT. WOODGROVE LADIES' DORM - DAY - ANGLE ON K.I.T.T. pulling to a stop in front. We pull in on Michael and Katherine as they climb out and Katherine looks up at the dorm like a visitor back from a long vacation. [KATHERINE] It feels like I've been away for a million years. [MICHAEL] You brought a lot back with you. And by the way, I've got something for you. He takes Katherine's locket out of his pocket, slips it around her neck. [MICHAEL] There's more than ghosts in this locket. There's love, too. She's deeply moved by this. [KATHERINE] Michael, remember when I told you I didn't need a knight in shining armor? [MICHAEL] I sure do. Why? [KATHERINE] I was wrong. She kisses him and they ad-lib good-byes as she goes into the dorm. Then, behind Michael comes the cound of a sports car revving and he turns to see Scott leaning out at him. [SCOTT] Okay, speedball -- I've made some big modifications on this baby and I'm ready for you this time. Park it behind that wheel of yours and let's drag. [MICHAEL] Well, okay.... He sighs and climbs into K.I.T.T. ANGLE ON THE TWO CARS as K.I.T.T. moves in beside the sports car. Scott revs, then: ANGLE ON K.I.T.T. as Michael hits the accelerator and K.I.T.T. takes off, undercranked, like a rocket off the launching pad. ANGLE ON SCOTT He hasn't even pressed the accelerator to the mat. He looks utterly bewildered. OMITTED INT. K.I.T.T. - DAY - ON MICHAEL as he drives down the highway. [MICHAEL] You seem awfully quiet, Kitt. [K.I.T.T.] Charlie Granger's treasure caused quite a bit of trouble. I may have dust in my intake valves for years. [MICHAEL] That's not what's bugging you, is it, buddy? [K.I.T.T.] Michael, you don't intend to leave me a treasure, do you? [MICHAEL] I really hadn't given it much thought, Kitt. I plan to stick around awhile. [K.I.T.T.] Well, if you do decide to leave me something, will you do me a favor? [MICHAEL] Name it. [K.I.T.T.] Will you kindly just leave it on the backseat? Michael laughs. EXT. HIGHWAY - DAY as they disappear toward the horizon. FREEZE FRAME AND FADE OUT THE END

{"show": "Knight Rider", "season": "s02", "episode": "e12", "title": "A Knight In Shining Armor"}

knightriderarchives

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

{"show": "Knight Rider", "season": "s02", "episode": "e13", "title": "Diamonds Aren't a Girl's Best Friend"}

knightriderarchives

PLEASE NOTE: KCLF Radio Broadcast has now been changed to: KCPY Radio Broadcast throughout the entire script. ________________ ACT ONE FADE IN EXT. MOUNTAIN ROAD - DAY - ON TRANS AM The gleaming Trans Am serpentines its way through summer- scorched hills, falling toward the coast where a late gold sun descends for its evening dip in the Pacific. Peaceful. INT. MUSCLE CAR - VARIOUS INSERTS A fist grips the knob of a Hurst gearshifter. A heavy- booted foot stamps on a stiff clutch pedal. New Wave music blares through the car's speakers, its beat mixing with the roar and throb of a big V-8 under the hood. BACK TO TRANS AM cruising. Quiet again, Michael Knight sits easy and com- fortably at the wheel. EXT. HIGHWAY - DAY - ON TWO MUSCLE CARS lined up across both lanes of the paved road. In one car -- with a "REBELS" plate on the corner of windshield is Ron Prescott, early twenties, good looking in a James Dean vulnerable kind of way. In the other car is Mace Beaudry, local boy, a little younger, intense. INT. TRANS AM - DAY - DRIVING Michael is meditative, wrapped up in the car, the road, the moment. Unaware of the danger rocketing toward him. [MICHAEL] You know, sometimes I think I have the best job in the world. A lot of men would die for duty like this. [K.I.T.T.] You nearly have on several occasions. [MICHAEL] You're all heart, Kitt. EXT. HIGHWAY - RON AND MACE pouring on the power, just missing each other as they scream down the straight two lanes. INT. TRANS AM - DAY driving. Michael's reverie is interrupted. [K.I.T.T.] Michael, my sensors are picking up two obstacles heading directly this way. [MICHAEL] What kind of obstacles? MICHAEL'S POINT OF VIEW THROUGH THE WINDSHIELD The two drag racers zoom into sight through a slight bend in the road -- head on. Seconds away. [K.I.T.T.] That kind. Michael, there's no shoulder. INT. RON'S MUSCLE CAR - DAY A look of sheer horror on his face. INT. TRANS AM - DAY Michael's razor-sharp reflexes take over and his finger stabs the dash for turbo boost. [MICHAEL] Do it, Kitt! EXT. HIGHWAY - DAY An instant before a splintering head-on, K.I.T.T. soars up, up, and over Ron and Mace's cars, then lands hard behind them. The carnage is averted miraculously. The two competing racers slam on their brakes and stare out their respective windows in disbelief. They both then turn and race off -- away from the flying car. OMITTED EXT. HIGHWAY - ON K.I.T.T. The Trans Am spins immediately into a 180 and roars after the racers, who are already out of sight. INT. K.I.T.T. - DAY [MICHAEL] We've got to stop them before they kill somebody. [K.I.T.T.] Michael, my scanners indicate those maniacs are splitting up. I'm also picking up a siren coming up behind us. [MICHAEL] Might as well leave them to the cops. We have an appointment to keep, buddy. EXT. K.I.T.T. - DAY as Michael is passed by a wailing black-and-white. K.I.T.T. then does a U-turn and heads off. EXT. DIRT ROAD - DAY - RON'S CAR He's pulled off into some thick brush, as the black-and- white roars past him. He looks over to the other side of the road where we can see Mace's car -- also camouflaged. OMITTED EXT. VISTA BEACH, CALIFORNIA - DAY - ESTABLISHING A quaint, colorful coastal resort town. Sun-drenched streets, clean air, and a blue, blue ocean. EXT. MATTHESON GALLERY - DAY K.I.T.T. drives up in front of a building, appealing and funky. We note signs of vandalism in the gallery, however. A makeshift sign reads "Closed", and a window is broken. ANGLE ON MICHAEL Before he can cross the sidewalk and enter, he finds himself pumping the hand of a brash, old-style salesman dressed in a plaid Zachary-All sport coat and a bow-tie. This is Manny Carmichael. [MANNY] Nice car. Beautiful car, in fact. Had her long? Carmichael's the name, auto alarms is my game. Friends call me Manny and I hope you will too. [MICHAEL] Well, Manny, I hate to stop you in midpitch, but I really don't think I need an alarm system. Manny shuffles through his briefcase and comes out with a coat hanger and a screwdriver. [MANNY] If you'll just permit me a little demonstration? Thirty seconds to break into this baby, thirty seconds ...and I'm just an amateur, mind you. [MICHAEL] (smiling slyly) Tell you what, Manny. I've got an appointment. You go ahead and shoot your best shot and if you can break into... (pats K.I.T.T.'s roof) ...'this baby,' we'll talk some business, okay? [MANNY] You've got a deal! Michael heads for the gallery, barely keeping a straight face. INT. MATTHESON GALLERY - DAY A door chime rings, announcing Michael's entrance. Inside is a curio shop of paintings, objects d'art, and funky antiques of toys, small appliances and signs. Many objects have been broken, turned over and generally disrupted. FOLLOWING MICHAEL as he surveys the damage and looks for signs of life. [MICHAEL] Hello? Anyone home? [MARIETTA'S VOICE] Freeze, buster! Hands away from your body! Michael does. We pull back enough to see the point of a shotgun prodding his back. ANOTHER ANGLE - MICHAEL AND MARIETTA Holding the gun on Michael is Marietta Mattheson, an attrac- tive, slightly eccentric lady in her late forties. [MARIETTA] (calling out) Cindy! Call the cops. [CINDY'S VOICE] Aunt Marietta, you put that gun down this minute. Cindy walks into the gallery from the back room. She is nineteen, a lovely blonde, wholesomely attractive California teenager. Michael turns around, smiles. [MICHAEL] You must be Marietta Mattheson. Devon's told me a lot about you. [MARIETTA] Devon sent you? Why didn't you say so? [MICHAEL] Somebody stuck a gun in my back. [MARIETTA] I see what you mean. (puts gun aside) This is my niece, Cindy. [CINDY] Hi. Excuse us. It's just gotten a little scary around here and we're leery of strangers on weekends. [MICHAEL] So I hear. You want to tell me what's been happening? [MARIETTA] Rotten, thieving hoodlum bums. Decent people can't stay in business. This used to be a quiet, lovely town, until these 'weekend warriors' started coming in. That's when the burglaries began. We got hit last Saturday night. [CINDY] We can't even clean the place up until the insurance company checks it out item by item. [MICHAEL] Who are these 'weekend warriors'? [MARIETTA] (an edge) Cindy could help you there. [CINDY] (a touch defensive) They're out-of-town car clubs mostly. They come in every weekend. [MICHAEL] And you're convinced they're the burglars. [CINDY] My aunt is. [MARIETTA] So's most of the town. Cindy doesn't want to believe it because her boy- friend's one of them. [CINDY] Nobody really knows who it is. Our police chief hasn't even gotten close to an arrest yet. [MICHAEL] If this has been going on for a while, you'd think he'd ask for some outside help. [MARIETTA] Chief Craig's been here for thirty- five years and he's never needed any. He retires this year and he doesn't want to spoil his record now. If you ask me, it's already spoiled. [MICHAEL] Well, Devon'll be here sometime tomorrow. In the meantime, I'd like to look around. Got any idea where I might find these 'weekend warriors'? Marietta looks pointedly at Cindy. [CINDY] I waitress over at the Hurricane Club. A lot of them hang out there. And my boyfriend'll be coming in later this afternoon. [MICHAEL] Sounds good to me. When can we leave? [CINDY] I'll just grab a sweater. OMITTED EXT. MATTHESON GALLERY - DAY Michael and Cindy cross the sidewalk to K.I.T.T. An exhausted Manny is still working on the Trans Am's door. His coat is off, his tie is askew, and he looks a little apologetic. [MANNY] Oh, hi. Back so soon? Well, like I said, I'm an amateur at this, but those pros...thirty seconds. [MICHAEL] Don't doubt it for a minute, Manny. Thanks anyway. [MANNY] Hey, but I'm going to be around town for a few days, so if you can give me another crack at this baby I'd sure.... Manny stops in midsentence as he sees Michael open the car door with ease and let Cindy in. He then goes to the driver's side and opens his door. We see the red lights under the door handles flash green to Michael's touch. Michael gets in, then sticks his head out. [MICHAEL] Catcha later, Manny. Off Manny's confused look, Michael drives off down the street. INT. K.I.T.T. - DAY as Michael drives down the road toward the Hurricane Club. Cindy looks around the dash. [CINDY] Some car. Do you race? [MICHAEL] Not in the normal sense. [CINDY] (re monitors) Watch TV? Michael laughs. Looks at her. [MICHAEL] I got the idea from Devon this was a personal matter, but from what I see it's a lot bigger than that. [CINDY] (nods) Everyone's keeping it quiet. Trying to. Crime's not good for business. But just because they happen on the weekends, everyone automatically thinks it's the car clubs. [MICHAEL] You sound like you're sure it isn't. [CINDY] Well, I know it's not Ron or The Rebels -- That's the name of his club, The Rebels. When I first met him I thought he had an attitude problem. But after I got to know him, I realized he's not what people think he is. He's not antisociety or antipolice or anti anything. He just likes cars and likes to race. He's not involved, Michael. Believe me, if he was I'd know. [MICHAEL] (a smile) Spoken like a lady in love. [CINDY] (a little taken aback) Is it...that obvious? [MICHAEL] Only to a trained eye. She looks relieved. Michael smiles, liking her. EXT. HURRICANE CLUB - DAY as Michael pulls K.I.T.T. into the parking lot. Parked together are a group of the muscle cars seen earlier. We can hear loud rock music coming from inside. CLOSER ANGLE - K.I.T.T. as Michael and Cindy come out and head for the club. Michael notes one of the cars is the one racing earlier. [CINDY] Your car is outrageous. I love it! [MICHAEL] Some of these aren't too shabby either. (re the car) Whose is that? [CINDY] Mace Beaudry. He's a local. Wait'll you see Ron's. He's restored it him- self. (beat) Don't get me wrong about Aunt Marietta. I love her and she means well -- and I want these burglars caught as much as anyone. If things keep on like they are, she and a lot of other small businesses could be forced to close down. [MICHAEL] That's why I'm here. (off her look) To see things don't keep on like they are. INT. HURRICANE CLUB - DAY Michael and Cindy enter amid young adults of all types, eating, drinking, dancing and socializing. Rock music blasts from overhead speakers. A few guys play pool. [MICHAEL] When did the car clubs start coming to Vista Beach? [CINDY] About six months ago. Nobody knows exactly how or why it started, but now it's the thing to do. They come from all over. Mace stops playing pool and comes over to Cindy. [MACE] Hey Cindy, I ordered a couple of turbo burgers -- got an ETA on 'em? [CINDY] Mace, I'm not even working yet. When did you order? [MACE] Last night. (to Michael) She's a great little dancer, but as a waitress you could starve to death. (then) Play pool? [MICHAEL] Never before dark. Didn't I see you out on the road into town earlier? [MACE] Could be. (reacts) You don't drive a black hardtop, do you? [MICHAEL] Could be. Mace studies him, unsure. Then, to Cindy: [MACE] You really go for the out-of-towners, huh Cindy? Why not try a little home-grown once in awhile? Before she can respond he drifts off, back to pool. [CINDY] (to Michael) Mace Beaudry. I should've introduced you. [MICHAEL] We already met, in a manner of speaking. I'll settle for Ron. [HANDSOME ANSON (V.O.)] Hey, hey all right boys and babies, lords and ladies, a big hand for that song -- number twelve with a bullet...here live from the Hurricane with Handsome Anson on KCLF! Michael turns to see: OMITTED ANGLE ON SMALL STAGE - HANDSOME ANSON JAMES We see where the music is coming from: Dressed in a Hawaiian shirt and narrow punk sunglasses which he doffs and twirls in his hands as he raps, is Handsome Anson. Dick Diondi/Cousin Brucie/Wolfman Jack: he's one of a grand tradition. He sits in front of a small DJ two-turntable setup. As he blares on in the b.g.: RESUME - MICHAEL AND CINDY Michael turns back to Cindy, leans close to be heard. [MICHAEL] Your own club DJ? I'm impressed. [CINDY] He's Vista Beach's one and only celebrity. Handsome Anson. He has his own radio show. Michael looks around the club again, smiling, shaking his head. [MICHAEL] Some things never change. [CINDY] You've been here before? [MICHAEL] Not here, but these guys remind me of myself about ten years ago. The clubs, the rap...the turbo burgers, they all stay the same...only the sideburns change. Cindy laughs as Michael takes in the deja vue. ANGLE - ENTRANCE OF HURRICANE CLUB as we pick up Ron Prescott, the racer we saw in the opening scene. Out of his car, he's tall and lean; a natural leader. He's dressed in jeans, boots and a worn-out bomber jacket bearing the colors of his car club: The Rebels. He's with Ty, another club member. As they come in: [RON] Can't do it, man -- jets that big'll foul your plugs, I don't care how hot they are. [TY] Not if you keep the RPM over three grand. [RON] It's your car. We hear Cindy laugh as she and Michael continue to talk. Ron sees her, smiles...then goes over to her. ANGLE - MICHAEL AND CINDY as Ron approaches and Cindy sees him. Ron grabs Cindy and lifts her up, gives her an affectionate hug. Ad-lib greetings. [RON] Hey, Cindy, I wait all week to see you and I'm ten minutes late and you're with another guy. [CINDY] (laughs) That'll teach you. Ron, I want you to meet Michael -- Michael Knight. Michael, this is Ron. They smile, shake hands. Ad-lib hellos. [CINDY] He's here to look into the burglaries. [RON] (a reaction) In here? [MICHAEL] (shakes his head) Just dropped by to look around. Say hello. See what's happening. [RON] Yeah? What's happening? [MICHAEL] (beat) Ron, I'm not after you. I'm not after Cindy. Relax. [RON] Yeah, well it's kinda hard to relax when half the people in town look at you like you're Attila the Hun coming in to rape and pillage. [MICHAEL] I didn't say that. [RON] No, nobody says it. But you're not out somewhere dusting for prints, you're here. If you don't think it's us -- or me -- why here? [MICHAEL] Like I said, I'm just looking around. Ron studies him for a moment. [RON] (to Cindy) I got a few things to do. I'll see you later. With that he turns and walks toward the door. Cindy looks incredulous, hurt. [CINDY] (calls after him) Ron...Ron, please.... [MICHAEL] It's okay. Maybe he needs a little time. Where does he usually go to when he gets like this? [CINDY] I don't know...but he'll be at the races tonight. I can tell you where they are. [MICHAEL] I think I already know. EXT. ROAD - NEAR TWO-LANE DRAG ROAD - NIGHT as we see K.I.T.T. drive toward the stretch of roadway. OMITTED INT. K.I.T.T. - NIGHT Michael drives. [K.I.T.T.] Both cars we saw racing were in the parking lot of that awful rock-and- roll club. [MICHAEL] Gotcha, Kitt. One belongs to Mace Beaudry. I've got a hunch who the other belongs to. [K.I.T.T.] Michael, there's something I don't understand. What is this drag racing all about? Why is everyone in such a hurry? [MICHAEL] It's competition. You know, who's fastest. Who's the baddest. [K.I.T.T.] The 'baddest'? [MICHAEL] Just an expression. To racers, it means 'best.' [K.I.T.T.] The slang use of words is beyond me. However, as far as who is the fastest, that's simple. I am. [MICHAEL] (smiles) Yeah, but that's just between us, pal. EXT. DRAG ROAD - NIGHT Headlights illuminate the darker side of the local scene. A number of heavy-duty cars have congregated here, several showing Rebels' logos. Handsome Anson's voice blares out of turned up stereos, seemingly coming from everywhere. Guys and girls hang out of cabs and tailgates, drinking and partying. The roar and throb of high-powered engines sometimes drowns out the pounding of the rock hit, "Crumblin' Down" which comes from the radios. The song continues to echo through dozens of speakers, creating a cacophony of rever-berating rock. [K.I.T.T.] Michael, it's one thing to have to hear that 'music' from my own speaker, but to be assaulted from all sides...I feel like Custer at Little Big Horn. [MICHAEL] Hang in there, buddy, this isn't your last stand. I don't see Ron. Scan the cars, see what you can pick up. And let's get pictures. Michael punches appropriate buttons, climbs out. CLOSEUP - K.I.T.T.'S SCANNER as he begins to record the scene. OMITTED FULL as Michael turns to the crowd. [MICHAEL] I'm looking for Ron. Ron Prescott. Is he here? Ty, Ron's friend from the Hurricane Club, walks up to him. [TY] You want the top dog, you gotta earn it. Can that thing move? [MICHAEL] When there's a reason. I don't consider street racing a reason. This elicits hoots from the crowd. [TY] I could've figured. All show, no go. Better move it out of the way, we've got some races to run. [MICHAEL] Not until I know where Ron is. The moment tenses. The song "Crumblin' Down" continues to blare in the b.g. Then the sound of a siren, growing louder. The group reacts by leaping into their cars. [TY] The heat! Meet at the bluffs! And he climbs into his car and backs up and off. The scene is breaking up pretty thoroughly as a black-and-white police car arrives, red lights flashing. A spotlight from the car is trained on Michael. [CHIEF CRAIG] (over bullhorn) Hold it right there, son. ANGLE ON THE POLICE CAR as Chief Rupert Craig climbs out of the driver's door. He's a flint-jawed, old-school lawman in his midfifties. Out of the passenger side comes Officer Apted, early thirties, lanky, but boyish face. He guards his holster as he monitors the scene. [MICHAEL] I've got no reason to run. [CRAIG] No? We'll see. What's your name? [MICHAEL] Michael Knight. I'm in town on business. [CRAIG] What business is that? [MICHAEL] For the time being, it's personal. [CRAIG] Then I'd suggest you get to it. Otherwise, as far as I'm concerned, you're just another out-of-town street racer. Got that? Michael smiles, starts back into K.I.T.T. [MICHAEL] You bet, sir. Fifty-five, stay alive. And he drives off. Craig watches him. OMITTED EXT. JEWELER'S STORE - NIGHT An alarm is ringing as we see the aftermath of a break-in, smashed glass, discarded merchandise, etc. We see a robber, his back to us, run from the store toward a muscle car -- the same kind of car we just saw at the drag road. Taillights blink on and the engine roars away as he makes a clean escape...as the final strains of "Crumblin' Down" scream from his car radio. FREEZE FRAME AND FADE OUT END OF ACT ONE ACT TWO FADE IN EXT. HIGHWAY - DAY - K.I.T.T. AND SEMI - STOCK as K.I.T.T. pulls a 180 after passing the truck, then glides up the ramp. INT. SEMI - DAY as Michael climbs out of the Trans Am, ad-libs hellos. [APRIL] I've come up with something new for Kitt. [MICHAEL] A program to help him understand drag race slang? [APRIL] (smiles) I'm afraid that's beyond my grasp. This comes straight from Research and Development. [MICHAEL] I can hardly wait. (crosses to Devon) Devon. Did you get the info on... (sensing Devon's concern) What's wrong? [DEVON] (at the computer) We just received a report from Vista Beach. Apparently it wasn't as quiet as you thought last night. [MICHAEL] Another burglary? [DEVON] (nods) A jewelry store. [MICHAEL] Devon, this isn't just an isolated incident or two. The whole town is being hit every weekend. We've got more than we bargained for here. Devon looks back at the monitor. [DEVON] Apparently. They took jewelry. A rather good selection. All of quality. (then) What's this I hear about a gang? [MICHAEL] There's some out-of-town street racers everybody's got their eye on. I'm not saying they're innocent, but one thing's for sure -- they don't look like diamond experts. [DEVON] Looks can be deceiving. [MICHAEL] I hear you. What've you got on a guy named Ron Prescott? Devon punches it in. It comes up on the screen. Michael looks it over, then: [MICHAEL] What do you know. A prior. Breaking and entering. Maybe I spoke too soon. (beat) I wonder if Cindy knows about this. [DEVON] Who? [MICHAEL] Marietta's niece. Ron's her boyfriend. Devon's face lightens a bit. [DEVON] So, you met Marietta. How is she? She used to be quite a...fun-loving young lady. [MICHAEL] (carefully) She's...seasoned a bit. [DEVON] (undaunted) Good. Proper seasoning tends to bring out the true flavors. I'm looking forward to seeing her after all these years. Michael gives Devon an amused look as April shuts the hood. [APRIL] Kitt's all set. The unit is desig- nated 'Silent Mode.' Push the activator and Kitt's engines become virtually noiseless. [K.I.T.T.] Michael, I resent being muzzled. Over this, the phone rings and April answers it, then: [APRIL] (to Michael) It's Cindy. She needs you back at the gallery. She says it's urgent. Off Michael's look, we: CUT TO EXT. MATTHESON GALLERY - DAY The Trans Am glides to a stop. We can see Chief Craig's cruiser parked outside the gallery. As Michael gets out of K.I.T.T.: [K.I.T.T.] Michael, that horrible man is here again. [MICHAEL] Chief Craig? [K.I.T.T.] The auto alarm salesman. Manny leaves an MOS pitch down the street, approaches. He has a flat metal "door popper" in his hand. [MANNY] Hey, remember me? Been thinking about yesterday. See, I was using the wrong tools. This baby's what the pros pop you open with in thirty seconds. [MICHAEL] Manny, I think you're wasting your time. [MANNY] Hey, just one more chance. That's all I ask. Manny looks over at K.I.T.T. as Michael crosses to the gallery. Manny inserts the "door popper" between the window and door frame, applies pressure; it bends. Manny stares in disbelief. He's about to try again when K.I.T.T. starts up and blind-drives away from Manny, making a U-turn in the street and parks in front of the gallery. Manny stares, transfixed. INT. GALLERY - DAY Michael comes in and sees Chief Craig and Officer Apted as they are searching through the back room, Marietta watching every move. Cindy runs up to Michael. [MICHAEL] Cindy, what's happening? [CINDY] They've got a warrant out for Ron's arrest! [MICHAEL] (reacts) What? What's the charge? [CINDY] Suspicion of burglary. Can they do that? [MICHAEL] We'll see. With that, Michael walks toward the door to the back room as Chief Craig comes out. Officer Apted stays in the back room, searching. [CRAIG] You again. [MICHAEL] Me again. What's the evidence against Ron, Chief? [CRAIG] Do I see a badge on that jacket? [MICHAEL] You don't need a badge to ask a question. [CINDY] Michael, you were with Ron last night. Tell him. [MICHAEL] Wish I could, Cindy. But I never caught up with him. I'm sorry. [CRAIG] That's bad news for the boy. Although I'm not surprised. You see, his car was made leaving the scene of the crime. Officer Apted comes out of the back room, followed by Marietta. [OFFICER APTED] He's not here, Chief. They both turn to leave. [CRAIG] (to Michael) How's the 'personal business' coming? [MICHAEL] I'll let you know. They both go out the door. Cindy turns to Michael, upset. [CINDY] Michael, he didn't do it. He didn't commit that burglary...but now Chief Craig is convinced he did. [MICHAEL] I'm not saying he did, Cindy. But the truth is the truth -- I didn't see him last night. [MARIETTA] (trying to comfort) Cindy, Devon sent Michael here to help solve the crimes -- not prove Ron innocent. [CINDY] I happen to think they're the same thing. [MICHAEL] I'll look around, see what I can find out. Cindy, if Ron's innocent, I'll help him prove it. That's a promise. Cindy nods. The phone rings. As she crosses to answer it: [MARIETTA] Tell Devon is he stands me up I'll never forgive him. [MICHAEL] (a smile) He'll be here. She smiles. Michael goes out the door. EXT. GALLERY - DAY - ON K.I.T.T. As Michael comes out, we see Manny spread-eagled across K.I.T.T.'s hood as Officer Apted pats him down. Chief Craig calls out as Michael approaches. [CRAIG] He was trying to jimmy your door locks. Claims he knows you. [MANNY] Tell 'em! Tell 'em it's okay! [MICHAEL] It's okay, Chief. Thanks. Michael opens K.I.T.T.'s passenger door, pauses. [MICHAEL] The door was open, Manny. Can't figure out why it's so tough for you. Manny stares, turns and walks away, glancing back. Craig and Apted cross to their car. Michael starts to get in as Cindy comes running out of the gallery. [CINDY] Michael! Michael turns as Cindy reaches him. [CINDY] (excited) I just got a call from Ron! He wants to talk to you. [MICHAEL] That's a surprise. Where is he? [CINDY] He found out about the warrant. He's hiding. (starts to get in) C'mon, I'll show you. [MICHAEL] No, it's better if I go alone. Just give me the location. [CINDY] Half a mile south of the Glenrock Cliffs, just off I-19. (then) Michael, help him. Please. I didn't mention this...but he's got a prior. [MICHAEL] So I heard. [CINDY] You knew? Why didn't you say anything? [MICHAEL] I was hoping you would. He smiles. Off her look, we: OMITTED EXT. GLENROCK CLIFFS - DAY as K.I.T.T. drives along the road. [NEWSMAN'S VOICE] ...We repeat, an all points bulletin has been issued for the arrest of one Ronald Prescott in connection with the town's recent string of burglaries.... EXT. KCPY RADIO STATION - DAY - ESTABLISH A small building on the hill. We hear: [NEWSMAN'S VOICE] Prescott is a white male, light brown hair, blue eyes, one hundred seventy pounds and has been seen with the car club known as The Rebels. INT. KCPY RADIO BROADCAST BOOTH - DAY as camera pans through the equipment and the voice continues, we pick up the "Newsman." It's Handsome Anson, sans sunglasses, reading the official copy with a low "newsman's voice." [HANDSOME ANSON] Any citizen spotting Prescott or knowing his whereabouts is urged to call the police hotline at 555-0933. And now, back to Handsome Anson James on KCPY. Anson puts the sunglasses back on, and in his "jock voice:" [HANDSOME ANSON] Yeah, yeah, Handsome Anson back spinning 'em for you here with The Police and 'King of Pain'.... INT. K.I.T.T. - DAY Michael negotiates the rough road. [K.I.T.T.] Michael, I've been doing some research on this hot rodding business. It's absolutely criminal. [MICHAEL] Yeah? How's that? [K.I.T.T.] Did you know that each year over a thousand cars are sacrificed in front of paying crowds in the name of speed? [MICHAEL] That's competition, pal. [K.I.T.T.] (dry) It's comforting to know just how far humans have progressed since the days of the Christians and the lions. (then) We're here, Michael. [MICHAEL] Okay, let's scan for any sign of Ron. EXT. K.I.T.T. - ON SCANNER as it oscillates back and forth...looking for signs of human life. INT. K.I.T.T. - DAY - ON MONITOR as we see a graphic representation of Glenrock Cliffs. We see the figure of a man behind some trees. [K.I.T.T.] I've located him, Michael. At two o'clock...behind those trees. EXT. K.I.T.T. - ON MICHAEL as he comes out of the Trans Am and begins toward the trees. [MICHAEL] (calling out) Ron? It's Michael. C'mon out, man. There's no answer. Michael goes further away from K.I.T.T. toward the trees. [MICHAEL] I'm here. I'm alone. More silence, then: [RON'S VOICE] You sure you weren't followed? [MICHAEL] Positive. ANGLE - TREES as we see Ron look out. RON'S POINT OF VIEW - MICHAEL as Michael walks toward him. We see K.I.T.T., his scanner still on, in the distance. [MICHAEL] You wanted me, here I am. ANGLE ON AREA ABOVE CLIFFS We see a muscle car pull up and stop. The door opens and we see two booted feet get out and walk to the edge. INT. K.I.T.T. - ON MONITOR as we see on the graphic of Glenrock Cliff the sudden appearance of the muscle car and figure. [K.I.T.T.] Michael! We're not alone. MICHAEL as he hears this on his comlink. He looks around. Ron reacts to the voice. [MICHAEL] (comlink) Where? [K.I.T.T.'S VOICE] The cliffs above you! CLOSEUP - HANDS as they pull into frame three sticks of dynamite, taped together. The fuse is lit, then the dynamite is thrown down towards Michael and Ron. ANGLE ON MICHAEL as we see the dynamite sail through the air and fall to the ground in front of Michael. Ron looks up to where the dynamite was thrown. He begins to run. Michael turns to run after him, but slips on the loose gravel and falls. OMITTED ANGLE INCLUDING DYNAMITE as the fuse burns toward the sticks. [MICHAEL] (into comlink) Kitt! I need you! INT. K.I.T.T. - ON CONTROLS as the auto drive button activates, the gearshift moves to drive and the gas pedal is depressed. EXT. K.I.T.T. as he blind-drives for Michael. ANGLE - MICHAEL AND K.I.T.T. as K.I.T.T. drives over the dynamite, covering it with his body. HIGH ANGLE with Michael only a few yards away, the dynamite explodes under K.I.T.T., sending up a deadly billowing cloud of smoke and a massive roar. The cloud fills the frame so that all we see is the thick white smoke and hear the echoing sound of the explosion as we: OMITTED FREEZE FRAME AND FADE OUT END OF ACT TWO ACT THREE FADE IN OMITTED EXT. GLENROCK CLIFFS - DAY as the cloud of smoke still hangs in the air. It is now silent -- uneasy silence, as the dust and debris settles. We can't see anything. Then: [K.I.T.T.'S VOICE] Michael...Michael, are you all right? [MICHAEL'S VOICE] I'll know better once the smoke clears. Thanks, pal. CLOSER ANGLE - K.I.T.T. as the debris thins out and we see Michael approaching K.I.T.T. He opens the door and goes inside. [MICHAEL] I think I'm okay. How 'bout you? [K.I.T.T.] After surviving that music last night, this was a piece of cake. (then) A vehicle is just leaving scanner range. I trust whoever was driving threw the explosive. [MICHAEL] Right now I'll settle for the guy who set me up. EXT. FIELD - BY GLENROCK CLIFFS - DAY as K.I.T.T. does a 180 and heads back the way they came, in hot pursuit of Ron, who we pick up running toward the slope. CLOSER ANGLE - K.I.T.T. The sun roof popped, we see Michael as he stands up on the seat, and as K.I.T.T. glides next to Ron, Michael leaps out -- tackling Ron. They both hit the ground hard. ANGLE - MICHAEL AND RON as they slide over the ground and come to a stop. Michael grabs Ron, furious, as Ron struggles. [RON] What're you doing? They're getting away! [MICHAEL] I don't want them, I want you. Why'd you do it? [RON] Do what? What're you talking about? [MICHAEL] You set me up! [RON] I didn't -- I swear I didn't. [MICHAEL] No one else knew I was coming up here except Cindy! [RON] I don't know! All I know is it wasn't me. You gotta believe me. Michael stares hard at Ron, and long. He's weighing the situation and the adrenaline is wearing off. [RON] Look, maybe I get hot sometimes, race, get into a little trouble, but that's it. I'm no burglar. I'm no killer. [MICHAEL] (beat) All right, then who do you think that was? [RON] I don't know. That's what I wanted to find out. [MICHAEL] Let's go back to last night. The police said your car was made near the burglary. What about it? [RON] Hey, Craig knows my car, he knows me. It must just be getting too hot for him. I wasn't anywhere near there. [MICHAEL] Where were you? [RON] I came up here. I wanted to be alone, I wanted a chance to think. Some of the locals know about this place, but it's kind of a secret. Michael motions Ron toward K.I.T.T. Camera moves with them. [MICHAEL] Well, somebody knew about it today, and they must have followed you here. They didn't follow me. [RON] What makes you so sure? [MICHAEL] Kitt, were we followed? INSERT - K.I.T.T.'S DASH [K.I.T.T.] No, Michael. BACK TO SCENE Ron had started to get into K.I.T.T. but jumps back out. Michael's amused. [RON] Who's in there? [MICHAEL] Come on. He doesn't bite. [RON] What about my car? [MICHAEL] We'll pick it up later. Right now it's a red flag. Ron gets into K.I.T.T. Cautiously. [MICHAEL] You know, I've been thinking about your club's cars. Seems to me if you had all this sudden money, your cars would be in better shape. [RON] Then you believe me? [MICHAEL] For the time being. The point is, if it's not the weekend warriors, who is it? CUT TO EXT. HIGHWAY - DAY - ON K.I.T.T. They drive down the open road. OMITTED INT. K.I.T.T. - ON MICHAEL AND RON Ron keeps looking behind him. [MICHAEL] Don't worry, I can black out the windows if I have to. [RON] Hey, I haven't exactly had a whole lot of people believe in me before. Why you? [MICHAEL] Because there's a cute waitress with a terrific smile who believes in you. And one other reason. [RON] What's that? [MICHAEL] Somebody did it for me once. EXT. SEMI - STOCK as the back opens and the ramp comes down. RON as he stares ahead. [RON] Far be it from me -- but don't you think you're tailgaiting just a little too close? [MICHAEL] Come on, racer. Live dangerously. With that, Michael floors the Trans Am as Ron braces himself. EXT. HIGHWAY - DAY - K.I.T.T. AND SEMI - STOCK as K.I.T.T. hits the ramp, then rides up and into it. INT. SEMI - DAY as K.I.T.T. comes to a stop and Ron and Michael get out. Ron looks around, mouth open. [RON] I think I'm hallucinating. I've heard of pit stops before but.... He stops as April walks over to K.I.T.T. Michael sees his reaction. [MICHAEL] April, meet Ron Prescott. Ron, this is April Curtis. She takes care of Kitt. [RON] A mechanic. Right. Now I know I'm hallucinating. [APRIL] You're the one the police are looking for. [MICHAEL] I thought I'd leave him here with you and Devon while I check out a few things. [APRIL] Devon's not here. He's gone to see Marietta. Michael, can I talk to you for a second? Alone? Michael moves to her while Ron scopes out the rest of the semi. She and Michael keep their voices low. [APRIL] Do you really think this is a good idea? [MICHAEL] What could I do, there was nowhere else I could take him. The whole town's after him. [APRIL] Did you check this with Devon? [MICHAEL] Didn't have time. Relax, it's Foundation business. Michael moves back toward K.I.T.T., calls to Ron. [MICHAEL] Your buddies -- will they be racing tonight? [RON] I doubt it. The heat's just too heavy. [MICHAEL] Well, I need to get them out racing to test a little theory of mine. And I think I know just the way to do it. Straight ahead. He pulls away in K.I.T.T. down the lowering ramp. Ron smiles at April who does her best to smile back. OMITTED EXT. SEMI ON HIGHWAY - DAY - STOCK as K.I.T.T. slides out, does a 180 and heads back toward town. INT. K.I.T.T. - DAY - FAVORING MONITOR as Michael drives and looks at the monitor. [MICHAEL] Kitt, did you access those police reports? [K.I.T.T.] Yes, Michael. Graphics pop up. [K.I.T.T.] Each night a burglary occurred, there was also a racing incident which took the police out of town. Michael is puzzled, intrigued. [MICHAEL] The timing is amazing. Whoever's behind this has a way of knowing whenever a race is happening. Intentional or not, I've got a feeling they're a smoke screen for the burglaries. [K.I.T.T.] Michael, if you don't mind I'd like to know what this plan of yours is... since I have a feeling I'm going to be involved. [MICHAEL] Simple, Kitt. I'm just going to stimulate a little action and see if it creates some itchy fingers around town. [K.I.T.T.] Is this what they call competition? [MICHAEL] No. Hopefully it's what they call confrontation. EXT. HURRICANE CLUB - DAY The parking lot is about half full. The Rebels' cars are in evidence as K.I.T.T. pulls up. Michael gets out and looks at the cars. [MICHAEL] I used to have a GTO like that, Kitt. [K.I.T.T.] Isn't your life better now? Michael gives K.I.T.T. a smile, then walks toward the club. OMITTED INT. HURRICANE CLUB - DAY as Michael enters. It's not as lively as the day before. A few pool players...more beer drinkers. The music comes from a jukebox. A group of Rebels, including Ty, sit around a table. Anson is setting up for a broadcast. The Rebels seem subdued. Before they see Michael, Cindy intercepts him. [CINDY] Michael! Did you find him? Is he all right? [MICHAEL] He's okay. Safe and sound for the time being. Just go about your business. There's a few things I've got to take care of. Michael turns and heads to the Rebels' table. She watches, unsure. CLOSER ANGLE - TABLE Michael walks over to the jukebox, unplugs it. Reactions. Ty looks up. So does Anson. [MICHAEL] I'm glad I found you turkeys. I thought you'd be out of town by now. [TY] Hey, clear out, man. You're not welcome. [MICHAEL] Where's your top dog hiding out? 'Cause I've changed my mind. I want him on the strip, eyeball to eyeball. [TY] With that no-go of yours? You gotta be kidding. [MICHAEL] All right. You guys want me to earn the shot at him, I'll run against all of you, one at a time. Any time. Tonight. The challenge perks the Rebels out of their doldrums. [TY] We're not running tonight. Not until we find Ron. [MICHAEL] I heard I could get some action in this town. Guess I was wrong. Ty looks at him for a moment. He's burning. Behind them, we can see Anson as he finishes setting up for the day's DJ action. The debate attracts his attention. Over this: [TY] Okay, smart mouth, you want action you got it. Meet at the pier at eleven. We'll go from there. [HANDSOME ANSON] Whoa, whoa, make it mellow, lads. You know the heat is on. [MICHAEL] (to Ty) I can handle it. Can you? [TY] Eleven. I can't wait. Michael strolls out nonchalantly, winks at a surprised Cindy as he leaves. CUT TO OMITTED INT. MATTHESON GALLERY - DAY The place has now been cleaned up pretty well. Devon has his sleeves rolled up and his tie loosened; he's been helping his old friend. He's finishing straightening a painting. [DEVON] That's really a lovely painting. [MARIETTA] It's a Deyar...she's a local artist. Two of her other works were stolen in last weekend's...assault. [DEVON] (comforting) I must admit, at first I thought you might be exaggerating. But from what I can see, and from what Michael's told me, there's more to this than meets the eye. [MARIETTA] The Chamber of Commerce reports that business is off by twenty-five percent. If this keeps up I'll be forced to close down. [DEVON] I think thoughts of closing down are a bit premature. If anyone can get to the bottom of this, it's Michael. Marietta glances at him, something on her mind. [MARIETTA] (then) Oh, Devon, when I called you I thought I'd be getting the best kind of help, and frankly, I'll admit I'm disap- pointed. [DEVON] Really? By Michael? Why? [MARIETTA] I expected someone who would come in and...well, if nothing else present a decent role model for Cindy. Devon smiles to himself, a good idea of what is coming. [MARIETTA] I'm afraid your Michael Knight is more sympathetic with the problem elements than the victims. [DEVON] Marietta, Michael may not always take a conventional approach but I've found him to be bright, reliable and above all trustworthy. [MARIETTA] If you say so. I just hope he won't make his efforts here an exception. [DEVON] He won't. You have my word on it. INT. SEMI - DAY Devon is furious. [DEVON] Michael, I can't believe you've done this! We pull back to: WIDER ANGLE Michael and Devon are in the forward area, in b.g. April shows Ron K.I.T.T.'s dash MOS. [MICHAEL] He's being framed. He's innocent. [DEVON] He's a fugitive from the law. He's wanted by the police. The law is what we're all about. [MICHAEL] What about justice? Devon, you sent me here to stop these burglaries. And to catch the people responsible. Now someone out there wants a scape- goat and they've picked Ron. And there are some real burglars who may decide to lay quiet and let him take their rap unless we do something about it. [DEVON] No one is arguing that point, but by keeping Ron here we're jeopardizing our own ability to continue our work. [MICHAEL] I understand this puts us in a sensitive position but --- [DEVON] 'Sensitive' is hardly the word. 'Culpable' is more likely. [MICHAEL] All right, what's our choice? Kick him out? 'Sorry, Ron, but when push comes to shove we're more interested in covering our own tails.' Devon looks at Michael, then at Ron. He takes a deep breath, then: [DEVON] (to Michael) You've made your point, Michael. Now I'll make mine. You have until this noon tomorrow to close the case. If you're not successful by then, I'll have no choice but to turn Ron over to the authorities. OMITTED FREEZE FRAME AND FADE OUT END OF ACT THREE ACT FOUR FADE IN OMITTED EXT. VISTA BEACH PIER - NIGHT as we see the Rebels and other street racers who have caught onto the word-of-mouth about the "big race." Handsome Anson once again blares out of car stereos and ghetto blasters. Young people laugh, flirt, compare cars. We pick up Ty and the Rebels. They check their watches and look impatiently for Michael's arrival. Ty yells at some of the younger locals who are gunning their engines. [TY] Hey, keep it down! I don't want the heat getting here before Knight does. The kids respond, back off. Ty paces. Waits. EXT. STREETS OF VISTA BEACH - NIGHT K.I.T.T. cruises by quietly. The streets are nearly empty. INT. K.I.T.T. - ON MICHAEL as he too listens to Handsome Anson on the radio. [K.I.T.T.] It's eleven oh-five, Michael. How long do you think we'll have to wait? [MICHAEL] I don't know, Kitt. But there's no way you can put a crowd of street racers together on a Saturday night and not have some action. Whether we show up or not. [K.I.T.T.] I hope you're right. [MICHAEL] Just in case I am, let's get a graphic of the streets. ANGLE - FAVORING MONITOR as we see a graphic of the city streets of Vista Beach come up on the monitor. There is a random series of red dots on the map. [K.I.T.T.] Per your request. [MICHAEL] Well, we've lit the fuse, pal. Let's see if anything explodes. EXT. PIER - NIGHT - ON REBELS Ty has lost control of the locals, as well as some of his own racers. A few "jump starts" are going on around him as more and more engines are being fired up. Ty talks to one of the other Rebels. [TY] He's not showing. I wouldn't be surprised if he set us up to get busted. [HANDSOME ANSON'S VOICE] (over radios) Eleven-seventeen at the big KCPY. It's Saturday night and yours truly is feelin' all right! And now, from me to you, special delivery...'Crumblin' Down.' Under the first bars of the music we can hear the strains of a different type of music: police sirens approaching. [TY] The cops! I was right! Let's find that sucker! The Rebels peel out. OMITTED INT. K.I.T.T. - NIGHT - FAVORING MONITOR Michael is also listening to "Crumblin' Down" on the radio. [K.I.T.T.] Really, Michael, you'd think of all the music in the world they could find a better piece than that monstrosity. Suddenly one of the red dots begins to blink. [K.I.T.T.] Michael, I'm picking up a burglar alarm activated on the west side. [MICHAEL] I think we've trapped a live one. Let's go! EXT. CITY STREET - NIGHT - ON K.I.T.T. as he turns and squeals away toward the alarm. EXT. FURRIER SHOP - NIGHT as K.I.T.T. screeches to a stop in front of a store with a broken window and a clanging alarm. Michael jumps out of K.I.T.T. [K.I.T.T.] I'm afraid we're too late. Whoever was in there is already off my scanner. [MICHAEL] (frustrated) We were so close.... Michael looks around the street. Something catches his eye. Michael kneels to examine a prominent set of skid marks on the pavement. [MICHAEL] (into comlink) Kitt, can you analyze these tire marks? INT. K.I.T.T. - ON MONITOR as we see the tread marks being broken up on a graph. [K.I.T.T.] They're still warm, Michael. Made by a vehicle accelerating, not stopping. And I detect traces of clay in the tires. MICHAEL as he gets up. [MICHAEL] (into comlink) Clay? Like at Glenrock Cliffs? [K.I.T.T.] Affirmative. (then) Michael, I think we have company. We hear a siren and see the flashing light of a police car as it comes into view and stops. Chief Craig and Officer Apted come out, both with drawn guns. [MICHAEL] You're too late. They're gone. [CRAIG] Open the trunk of your car. Now. The trunk pops open. A surprised Officer Apted looks in. [OFFICER APTED] It's clean. [MICHAEL] Hey, if I'd robbed that store, why would I hang around waiting for you? Chief Craig walks up to Michael, face to face. [CRAIG] Lemme tell you something, Knight. I'm sick of outsiders coming into Vista Beach doing what they want. And that includes you. [MICHAEL] I'm after the same thing you are. [CRAIG] Not in my town you're not. Go give somebody else the benefit of your wisdom. If I have to arrest you for having your shoes untied on a city street, I'll do it just to get you out of my hair. Got that? [MICHAEL] Got it, Chief. Michael climbs into K.I.T.T., the trunk goes down and Craig and Apted begin up to the broken-in shop. Michael roars off. EXT. STREET - NIGHT - ON K.I.T.T. We can hear "Crumblin' Down" playing from inside K.I.T.T. INT. K.I.T.T. - FAVORING MONITOR Michael's face is lit up by the monitor. We can see a replay of the first confrontation the night before with the Rebels as recorded by K.I.T.T.'s scanner. The music comes from the audio portion. The video ends. [MICHAEL] Kitt, there's got to be something I'm missing. [K.I.T.T.] Michael, you've been analyzing this over and over again. I'm afraid I'm going to burn out a circuit. [MICHAEL] Wait a minute -- that song, 'Crumblin' Down' -- it was on the air just before the burglar alarm went off. (then) And the only other time I heard it was up with the street racers -- which was when the last burglary took place! [K.I.T.T.] I don't think I understand the correlation. If there is one. [MICHAEL] I think there is, pal. Access the airplay logs from KCPY and cross- reference them with the times the police were called out to break up the drag racing. CLOSE ON MONITOR as the print-out comes up: on one side the dates and times of the police calls -- on the other, the airplay logs, after which the song played is listed: 7/6: 12:06am: "CRUMBLIN' DOWN"; 7/7: 1:16am: "CRUMBLIN' DOWN"; 7/14: 11:56pm: "CRUMBLIN' DOWN", etc. [MICHAEL] Now superimpose the dates of the burglaries. We see the same dates and times flashing over the print-out. [MICHAEL] That's it! Instant communication. The cops are called to bust street racers, the song is played and the burglars strike. Time to shake the tree and see who falls out. OMITTED EXT. KCPY RADIO STATION BUILDING - NIGHT as K.I.T.T. pulls up in front and Michael gets out. [MICHAEL] Got it straight? [K.I.T.T.] Yes, Michael. I hope this plan works better than the last one. [MICHAEL] It better. It's our last shot. Michael heads into the building. INT. KCPY RADIO STATION - BROADCAST BOOTH - NIGHT - ON HANDSOME ANSON He's dressed the same as always, but this time he's doing the voice of an early Sunday morning inspirational deejay. [HANDSOME ANSON] This is Gary Spurley on the Gospel Hour here at KCPY. Here's three songs of love and inspiration from Andre Crouch. Gospel music starts up. Suddenly the doors burst open and in flies Michael Knight. Handsome Anson flips a switch and the volume drops. [MICHAEL] Why don't you play 'Crumblin' Down,' Handsome? Or isn't the timing right? [HANDSOME ANSON] I don't know what you're talking about, brother. This is Gospel Hour. Michael lifts him out of his chair. The song choruses about love and truth in the b.g. [MICHAEL] I think you do. You want to tell me about it or wait for the police? [CRAIG'S VOICE] Nice try, Knight. The police are already here. Michael whirls around and finds himself staring down the barrel of Craig's service revolver. Mace Beaudry stands behind him. [MICHAEL] Well what do you know. I figured there had to be somebody on the inside, but I didn't think it was a crooked cop. EXT. RADIO STATION - NIGHT - CLOSE ON K.I.T.T.'S SCANNER as we see it oscillate back and forth. INT. K.I.T.T. - NIGHT - ON MONITOR as we see the "record button" activate. INT. RADIO STATION - FULL Michael steps closer to Chief Craig. [MICHAEL] It's right out of a 'B' movie. Small town cop on the take. Too bad. Because being a real cop is not a bad life. I know. Against his better judgement, Craig responds. [CRAIG] Don't preach to me you long-legged punk. I've been a 'real' cop. Thirty- five years worth. But you can't live on that the rest of your life. Not when half the slime you've put away have condos in Hawaii. So what's a little stolen property. I deserve it. Michael looks at him, satisfied. Craig slaps cuffs on him. [MACE] Hey, let's move it. Let's get it over with. [CRAIG] Take him to the Cliffs. And do it right this time. EXT. RURAL ROAD - DAY It's morning as we see a high-riding four-wheel pickup thumping over the road. Mace is at the wheel. Michael is beside him. We pan over to: OMITTED EXT. ROAD - DAY - ON K.I.T.T. as we see him driving behind Mace. Silently. INT. K.I.T.T. - ON DASHBOARD as we push in and see the "Silent Mode" light blinking. EXT. GLENROCK CLIFFS - DAY Mace stops the truck, and he and Michael get out. He prods Michael at gunpoint to the edge of the cliff. Mace stands facing him, in front of his truck. Michael looks out at the water. [MICHAEL] Beautiful sunrise. Hate to think it's my last. So what's the story? I handcuffed myself from behind, then jumped? That's always a tough one to sell. Mace carefully unlocks the cuffs. We widen to see K.I.T.T. silently pulling in back of Mace's truck. Michael turns and sees K.I.T.T. [MICHAEL] Hey Mace, behind you. [MACE] You think I'd fall for that old trick? [MICHAEL] Don't say I didn't warn you. K.I.T.T. bumps up against Mace's truck, pushing it slightly toward the cliff. Mace jumps and Michael steps out of the way. K.I.T.T. pours on the steam and pushes the truck right up to and over the edge of the cliff. Mace drops his gun and grabs the push-bar on the grill as he falls over the edge. He's forced to cling for his life. [MACE] Help! I'm falling! [K.I.T.T.] You were right, Michael. 'Silent Mode' does have its advantages. [MICHAEL] Nice work, Kitt. [MACE] Hey! I can't hold on any longer! I don't want to die! Michael leans over the cliff next to the truck, looks down at Mace. [MICHAEL] Spell it out, Mace. All the details. Now. Out loud. [MACE] Okay, okay -- just get me up first! [MICHAEL] A little more pressure, Kitt. Use your grappling hook. INSERT - K.I.T.T.'S GRILL K.I.T.T.'s grappling hook locks firmly onto the truck's rear axle. FULL K.I.T.T. pushes the truck further over the cliff. [MICHAEL] Now then, from the beginning.... [MACE] (talking fast) Craig scouted the hits during the week. He'd tell Anson. Anson gave me the target. They'd wait for the weekend and the street racers. When Craig went after the racers, Anson played, 'Crumblin' Down' and I'd do the job. [MICHAEL] Got that, Kitt? [K.I.T.T.] Loud and clear. [MICHAEL] Pull him up. K.I.T.T. backs up. Michael pulls Mace to safety. The beaten young man stands breathless on the cliff. [MICHAEL] You okay now? [MACE] (panting) Yeah. [MICHAEL] Good. He decks Mace with a crushing right. EXT. HIGHWAY - DAY K.I.T.T. rolls past an intersecting road where we see Ty and the other Rebels. [TY] There he goes! As the hot rods pursue, we see K.I.T.T. pulling away from them. The chase is on. They pass a police car coming in the opposite direction. INT. CRUISER - ON OFFICER APTED AND PARTNER He sees K.I.T.T. fly past him. [OFFICER APTED] (into mike) I've got a speeder on eighteen, heading east. Black hardtop, license K-N-I-G-H-T. Wait a second. Make that four speeders. Request assistance. He hits his siren and burns a U in pursuit. OMITTED INT. POLICE CAR - DAY - ON CHIEF CRAIG Craig has heard the call. He picks up his mobile unit. [CRAIG] (into unit) All units! Move to pursue black hardtop. Consider driver armed and dangerous. Stop him, boys. INT. K.I.T.T. - DAY [K.I.T.T.] I'm afraid we've attracted attention, Michael. [MICHAEL] How close do you need to be to the radio station to broadcast? [K.I.T.T.] The closer the better. [MICHAEL] Then let's deliver it right to their doorstep. EXT. OUTSIDE OF TOWN - DAY As K.I.T.T. races to the radio station, we see him being pursued by the Rebels, Apted's police car and another squad car. INT. K.I.T.T. - DAY [K.I.T.T.] Michael. We're within range. [MICHAEL] Okay, pal. Do your stuff. [K.I.T.T.] (very official) And now a special news announcement. EXT. RADIO STATION - DAY Craig arrives, runs inside. INT. KCPY - BROADCAST BOOTH - DAY Handsome Anson sits at his console, frantically pushing buttons. K.I.T.T.'s voice rings out over his speakers. Craig runs in. [CRAIG] What are you doing?! [HANDSOME ANSON] Me? Are you crazy? I'm trying to get him off! [K.I.T.T.'S VOICE] Police Chief Rupert Craig and radio personality Handsome Anson James confessed today to being the master- minds behind the recent string of weekend warrior burglaries. [HANDSOME ANSON] He's stepping on our frequency! There's nothing I can do! INT. APTED'S CRUISER - DAY - ON APTED AND PARTNER He is startled by the continuing "Special Bulletin." [K.I.T.T.'S VOICE] In his own words, Chief Craig said.... [CRAIG'S VOICE] (recorded) '...So what's a little stolen property? I deserve it.' EXT. RADIO STATION - DAY as K.I.T.T., followed by the Rebels, Officer Apted and another black-and-white drive up. K.I.T.T. continues his broadcast. It is now also playing on his own loudspeaker. [K.I.T.T.'S VOICE] ...suspect Ron Prescott was cleared by the confession of local mechanic Mace Beaudry, the actual burglar. Chief Craig exits, reacts. Michael gets out of the car. Apted and the Rebels are right behind him. [CRAIG] It's a lie! Don't listen! Craig goes for his gun, but Michael grabs him in a bear hug, pinioning his arms. Officer Apted is out of the cruiser, his gun on the Chief, as the Rebels look on. [OFFICER APTED] Freeze Chief...you're under arrest. [MICHAEL] (to Apted) I think you'll find Handsome Anson inside. Michael releases the Chief to Apted and tosses him the Chief's gun. He turns to the Rebels. [MICHAEL] Sorry I missed our race last night. But I figured helping clear Ron was more important than letting you beat me. Ty smiles, shakes his head. Michael's diplomacy doesn't fool him. [TY] Sure. Maybe some other time. K.I.T.T.'s broadcast comes to a close. [K.I.T.T.] And now, back to the Gospel Hour. (beat) How was that, Michael? [MICHAEL] Perfect, Kitt. Now that Handsome Anson's off the air, maybe you'd like to take a crack at rock 'n roll. [K.I.T.T.] Perish the thought. On Michael's grin.... FADE OUT END OF ACT FOUR TAG FADE IN OMITTED INT. MATTHESON GALLERY - DAY Everything is now back to normal. Marietta has put out a punch bowl and some fruit and cheese for her invited guests: Ron and Cindy, Michael and Devon. [MARIETTA] ...And then there was the time it was raining so hard you had to spend the night in my mother's den. Do you remember that? [DEVON] (embarrassed) As I recall, I had pneumonia. [MARIETTA] (meaningfully) Oh no, you were in very good health. (then) I propose a toast...to Michael Knight. The group ad-libs its agreement. [CINDY] Michael, if it hadn't been for you.... [RON] It's true. You saved my bacon. If there's ever anything I can do.... [MICHAEL] Maybe there is one thing. Try your racing on a drag strip. They give you trophies instead of tickets. Ron laughs. [DEVON] There's a rumor the radio station wanted to hire Kitt as their regular newsman. [MICHAEL] Well, they'll need somebody new now that Anson's in jail. In fact, I'd better leave if I'm going to deliver those tapes of Craig's confession to the DA by four. The Chief's got some dues of his own to pay. Cindy gives him a kiss. [CINDY] This one's from me...I don't care what Ron says. Michael smiles, gives Ron a thumbs-up sign and leaves. EXT. GALLERY - DAY Michael gets into K.I.T.T. He is stopped by Manny and two very large, unsavory looking guys. [MANNY] Hiya Mike! Thirty seconds, and these guys can prove it. These are real professionals. [MICHAEL] Sorry, Manny. Deal's off. You convinced me having a car is too much trouble. I'm getting a Moped. [K.I.T.T.] Moped, indeed. Michael grins, starts up K.I.T.T. and pulls out. The two thugs give Manny very unfriendly looks. [MANNY] (chasing after him) Hey, come back! I brought these guys in special from L.A. -- and now I got to pay 'em...Mike, come back...! OMITTED FADE OUT THE END

{"show": "Knight Rider", "season": "s02", "episode": "e14", "title": "White-Line Warriors"}

knightriderarchives

ACT ONE FADE IN EXT. CITY STREETS - DAY - STOCK An ambulance streaks through the streets, siren blaring and red lights flashing. INT. AMBULANCE - DAY - FAVORING BECKY PHILLIPS age ten, a bright-eyed, perky child who is not feeling well, but pretending to enjoy her ride in an ambulance despite the fact that she's the patient. She's on an IV, has a cannula in her nose and is coughing slightly. Her mother, Laura, rides next to her and tries to keep her daughter calm, but her own veneer of composure is none too solid. [BECKY] Mom, we just ran a red light! [LAURA] Ambulances can do that, honey. How do you feel? [BECKY] I feel better now. Honest. Next to them, a Paramedic radios information ahead to the hospital. [PARAMEDIC] ...Vital signs stable, she's conscious and alert, her temperature's elevated. We've drawn blood for cross match. Have three units of O-Negative standing by. [BECKY] Am I going to need transfusions again? [LAURA] (almost cracking) Yes, honey. [BECKY] It's worse this time, isn't it? Laura's look tells the truth. [LAURA] Everything's going to be okay. CUT TO EXT. STREET - DAY as K.I.T.T. races through. EXT. HEALTH CLUB/GYM K.I.T.T. screeches to a halt in front of a small aerobics/ nautilus style gym. We see April standing on the front steps, dressed in leotard, tights, and leg warmers under her topcoat. She's carrying a fashionable tote bag. She hurries to the car, gets in. They pull away in a hurry. INT. TRANS AM - DAY [APRIL] What happened? [MICHAEL] They're not sure. She got sick on vacation and the medicine they gave her isn't working. . [APRIL] (upset) It was their first vacation in.... [MICHAEL] Hey, she's tough...She's your niece, isn't she? She'll make it. [APRIL] How's Laura? [MICHAEL] She was pretty torn up when she called Devon. [APRIL] Since her husband died, Becky's been her whole life.... [MICHAEL] Take it easy, April. They're both gonna need you. [APRIL] And look at me...I didn't even take time to change. [MICHAEL] You look fine. EXT. HOSPITAL - DAY The Trans Am pulls up. [K.I.T.T.] Tell Becky I'm pulling for her. [APRIL] I will, Kitt. Michael and April race for the entrance. INT. HOSPITAL - DAY Devon is waiting with Laura, who is visibly shaken at the trauma her daughter is going through. April hurries to her sister, and embraces her warmly. Michael lingers with Devon for a moment. [MICHAEL] How's she doing? [DEVON] Not too well, I'm afraid. They move to the women. [LAURA] Michael -- Thanks for being here. [MICHAEL] That's what families are for. [LAURA] She's been asking for you and Kitt. [MICHAEL] He's right outside. They look up as Dr. Kiley approaches. [DR. KILEY] It's pneumonia. Somebody prescribed an antibiotic without knowing her history of aplastic anemia, and it's wiping out her white cells and bone marrow. Right now she couldn't even fight off a common cold. [DEVON] Which means what, exactly? [DR. KILEY] There could be other complications. In thirty-six to forty-eight hours we might have to do a marrow trans- plant. [LAURA] (recoiling) Transplant?! [DR. KILEY] It's always been an option. But, I'm afraid that this time, there may be no alternative. [LAURA] (desperate) Then let me be the donor. [DR. KILEY] Mrs. Phillips, the records indicate that Becky was adopted. [MICHAEL] What about one of us? [DR. KILEY] We'll do tissue typing on all of you. Meanwhile, we're trying for a computer match-up. It's a compli- cated process, and the computers aren't always aware of the urgency of our human needs. It's going to take time. On their looks: CUT TO INT. HOSPITAL ROOM - DAY Becky is propped up in a hospital bed. The cannula and IV are still in evidence as is monitoring equipment. The door swings ajar and Michael and April enter. [APRIL] Hi, sweetheart. [BECKY] Aunt April! Michael! Hi! She still has a slight cough. [BECKY] We rode in an ambulance. We ran a red light! [MICHAEL] Was it faster than Kitt? [BECKY] Well, maybe. But not as nice. Is he here? Michael gestures grandly, pulls up his sleeve, and addresses his comlink. [MICHAEL] (into comlink) Somebody here wants to talk to you. He puts the comlink close to Becky. [K.I.T.T.'S VOICE] Becky? Can you hear me? It's... it's... (with a little embarrassment) It's Black Beauty. [BECKY] (smiling now) Shh. That's our secret. [K.I.T.T.'S VOICE] (audibly relieved) It's good to hear your voice. How are you feeling? [BECKY] (into comlink) Well...I get a little spinny. [K.I.T.T.'S VOICE] You just rest and get better so you can come riding with us again. [BECKY] (into comlink) All right. The door opens and Devon gestures Michael outside. [MICHAEL] Be right back, Becky. He exits with Devon. April reacts, concerned, turns back to Becky with a forced smile. [BECKY] Aunt April, how come you're wearing those clothes? INT. CORRIDOR - DAY as Michael and Devon join Dr. Kiley in the hall. [MICHAEL] What is it? [DR. KILEY] Our computer's down. We can't get through to I.R.M.A. [DEVON] Irma? [DR. KILEY] Interstate Research and Medical Assistance. Our data base. [DEVON] How long? [DR. KILEY] Whatever time it takes. [MICHAEL] We haven't got time!..Doctor Kiley, do you have hard copy on Becky's condition? EXT. HOSPITAL PARKING LOT - DAY Michael is just reaching K.I.T.T.'s parking space. He carries hospital records. [K.I.T.T.] Michael, I wish there were something I could do. [MICHAEL] There is, Kitt. He climbs into the car. INT. TRANS AM - DAY Michael pushes a few buttons and feeds a print-out into K.I.T.T.'s dash. [MICHAEL] This is Becky's file. We need to contact a computer named I.R.M.A. that has the records on suitable donors. [K.I.T.T.] I.R.M.A.? Say no more. INSERT - K.I.T.T.'S DASH We see the dash blink and whirr into action. Appropriate graphics appear on the monitors. A very dry, dehumanized, female computer voice addresses K.I.T.T. and Michael. [I.R.M.A.] This is the synthesized voice of Interstate Research and Medical Assistance. Welcome to I.R.M.A. Indicate desired information. BACK TO SCENE [MICHAEL] Whew! Get a load of that voice. [I.R.M.A.] Please repeat. [K.I.T.T.] Never mind. This is Knight Industries Two Thousand requesting donor match for bone marrow transplant. I'm transmitting tissue typing data now. A pause. [I.R.M.A.] Receiving data. Check sums correct. Accessing data files: bone marrow transplant. Scanning data for donor type match. Standby for data transfer. [K.I.T.T.] Thank you. (beat; to Michael) I don't know why they can't give those machines a little more.... [MICHAEL] Pizazz? [K.I.T.T.] Exactly. [MICHAEL] She's just not your type, Kitt. INT. HOSPITAL WAITING ROOM - DAY April and Laura sit close together. Devon paces. April offers quiet consolation. [LAURA] Forty-eight hours.... [APRIL] At least two days, Laura...That's a long time. Michael enters, joins them. [DEVON] Any luck? [MICHAEL] Yes and no. She's a rare tissue type. But there were three suit- able donors in the computer. [LAURA] Good...! [MICHAEL] Not so good, Laura. One of them is dead. Another is out of the country, and can't be reached. [APRIL] And the third? [MICHAEL] We have a name and an address, but there's no phone listed. [LAURA] What can we do? [MICHAEL] It's only a few hundred miles. I'm out of here right now. Tell Becky I love her. He exits. [DEVON] (softly) Godspeed, Michael. CUT TO EXT. HIGHWAY - VARIOUS SHOTS OF K.I.T.T. - STOCK tracing a black line across the heartland, with music up under. [K.I.T.T. (V.O.)] So even though Becky is adopted, she's still April's niece. [MICHAEL (V.O.)] That's right. [K.I.T.T. (V.O.)] This business of family seems pretty complicated, Michael. INT. TRANS AM - DAY - DRIVING Michael sits at the wheel. [MICHAEL] It can be...See, family doesn't just mean who you're related to. Family is the people who love you and care about you. It doesn't matter how you know each other. Some friends are like family. [K.I.T.T.] I'm afraid I still find it a bit confusing. [MICHAEL] Well, take Devon and April and you and me. We're a family, aren't we? [K.I.T.T.] (pause) By your definition, yes. [MICHAEL] See what I mean? [K.I.T.T.] Thank you, Michael. EXT. COUNTRYSIDE - DAY - ON K.I.T.T. - DRIVING as they rocket toward their destination. EXT. STREETS OF CEDAR CITY - DAY The Trans Am tools up the block in a modest, tough neighbor- hood. It's not barrio, but it's not too far from it. A few people notice the strange shiny black car. [K.I.T.T. (V.O.)] This is the street, Michael. INT. K.I.T.T. The Trans Am slows, moving into an area of apartments and storefronts. [MICHAEL] 748. It's in the next block, Kitt. Right up here somewhere. K.I.T.T. pulls along slowly in front of a row of small businesses. We can see numbers clearly marked: 742, 746... then 750. [K.I.T.T.] I don't see any 748, Michael. [MICHAEL] Maybe it's in the back. He pulls the Trans Am to the curb, near a taco stand. ANOTHER ANGLE as Michael exits the Trans Am and surveys the street. Sweeping nearby is the proprietor of the stand. Michael decides he looks like the best bet. [MICHAEL] Keep your scanner peeled, Kitt. [K.I.T.T.] Of course, Michael. ANGLE ON MICHAEL AND SHOPKEEPER [MICHAEL] (approaching) Excuse me. I'm looking for 748. [SHOPKEEPER] Not on this street. I'm 746, then it goes to fifty. [MICHAEL] I've got to find a guy named Julio Rodriques. It's very important. [SHOPKEEPER] (slight reaction) Don't know him. He goes back to his sweeping. [MICHAEL] He's from this neighborhood, isn't he? [SHOPKEEPER] Neighborhood? It used to be a neighborhood. [MICHAEL] You been here long? [SHOPKEEPER] Long enough. Look, I'm busy, mister. [MICHAEL] A little girl's life is at stake. [SHOPKEEPER] (hesitates; then) I knew Julio -- when he was little. I knew his people...I don't know him anymore. He's with a gang. Los Vengadores. Last week they fought with the Conquerors from the south side. Julio was knifed, and their leader went to the hospital with a bullet in him. He could die. [MICHAEL] Did Julio shoot him? The man reacts slightly as two low riders pull up with several Vengadores, including Santos in a gang jacket. He moves away from Michael, who follows him. ANGLE ON LOS VENGADORS The young toughs get out of their cars. They notice Michael. [SANTOS] He doesn't look like a cop to me. Maybe he's a Conqueror. Santos sees the Trans Am, starts toward K.I.T.T. The others follow. They begin checking it out, try the doors, hood, windows. One examines the hubcaps. RESUME ON MICHAEL His attention on the Shopkeeper. [MICHAEL] Where can I find Julio. [SHOPKEEPER] (clamming up) I don't know him. I don't know where he is. Michael's comlink buzzes. [K.I.T.T.'S VOICE] Michael, I think we have company. MICHAEL'S POINT OF VIEW Michael turns around and sees Los Vengadors surrounding his car. They're checking it out, casual but menacing. Santos lounges against K.I.T.T.'s hood. They place themselves so that they definitely cut Michael off from his transportation. OMITTED ON MICHAEL His brows narrow as he addresses K.I.T.T. via comlink. [MICHAEL] Kitt, let's lose the welcoming committee. [K.I.T.T.'S VOICE] Good idea, Michael. OMITTED EXT. K.I.T.T. - ON GROUP as the Trans Am suddenly starts up, startling the group. [K.I.T.T.] Con su permiso. The gang look at each other in confusion as K.I.T.T. blind drives around them and toward Michael. ANGLE - K.I.T.T. AND MICHAEL as K.I.T.T. drives up to Michael, then pops the door; Michael gets in and they drive away. ANGLE - THE GANG as they watch him drive away. Santos moves to the Shopkeeper. THE TWO [SANTOS] What did he want? [SHOPKEEPER] He asked about Julio...but I didn't tell him anything. I don't get involved. Santos is affected by the news. His face is tense as he looks after the departing Trans Am. [SANTOS] That's okay, man. We get involved. FADE OUT END OF ACT ONE [ACT TWO] FADE IN OMITTED EXT. HOSPITAL - TO ESTABLISH CLOSEUP - CHECKERBOARD - DAY The "red player" is obviously winning, what with a whole slew of black checkers piled up behind the red side, and at least half the red checkers already "kniged." A small hand comes into frame, picks up one of the kinged red checkers, and jumps the remaining black checkers with a flourish. We pull back to: INT. BECKY'S HOSPITAL ROOM - DAY Devon is sitting next to the bed with Becky, playing checkers. She's about the same as before. He throws up his hands in "mock" surrender. [DEVON] I give up. It's worse than the 'Charge of the Light Brigade.' Becky grins with delight. [BECKY] You wanna play again? I'll let you win this time. [DEVON] Charity begins at home...not on the checkerboard. No, young lady, I know when I'm overmatched. The phone rings, and Devon answers it. INT. K.I.T.T. - DAY - TRAVELING We see the "Phone Line" button activated. [MICHAEL] Devon...it's Michael, how's Becky doing? INT. HOSPITAL ROOM - ON DEVON - INTERCUT WITH MICHAEL as Devon looks over to Becky and smiles. [DEVON] Apart from the fact that she has no regard for her elders, she's in top form, Michael. Becky's face lights up at the mention of Michael. [BECKY] Can I talk to him? [DEVON] (to Becky) In a moment. (then to Michael) How are things going? [MICHAEL] Not good. The address was a phony. The donor turns out to be a guy who's wanted for shooting the leader of a rival gang. He's hidden out somewhere. Devon takes that in, then glances at Becky whose smiling face is taking in his side of the conversation. Devon turns back to the phone, then, covering: [DEVON] Well, splendid, Michael. That's good news. [MICHAEL] Devon, can you hear me? It could take days to locate this guy...if he's still alive. [DEVON] I see. Well, that sounds promising, Michael. Becky's right here, and she wants to talk with you. [MICHAEL] Okay, I got it. (then) Devon, I'm not giving up, you know that. [DEVON] I understand, Michael, and I appreciate it. Here's Becky. Devon gives the phone to an excited Becky. She takes it. [BECKY] (into phone) Michael...when are you coming back? [MICHAEL] Soon, I'm just taking care of a few things. [K.I.T.T.] Hello, Becky. [BECKY] (lighting up) Kitt! (then, almost as a secret) Your lesson in checkers paid off. Devon never knew what hit him. [K.I.T.T.] When I see you again I'll give you a few pointers on chess. Becky giggles at that. [MICHAEL] Kitt and I have to go now, sweetheart, but we'll see you real soon. [BECKY] Okay. Bye. We lose intercut. OMITTED EXT. CEDAR CITY STREET - DAY as K.I.T.T. drives down the street. We see Santo's car some length behind him. INT. K.I.T.T. [K.I.T.T.] Michael, there's a car following us. Shall we lose it? [MICHAEL] Whoever it is must be as interested in Julio as we are. [K.I.T.T.] How are we going to talk to him? Polite introductions don't seem in vogue around here. [MICHAEL] (thinks a moment) Kitt, you're about to be the big cheese in a shiny black mouse trap! [K.I.T.T.] A somewhat unpleasant metaphor. [MICHAEL] Not if it works! EXT. STREET - ON TRANS AM as it stops by a drugstore. Michael gets out and walks into the store. We hold for a moment, then we see the other car stop. The driver gets out. It's Santos. He waits until Michael is inside, then walks quickly over to K.I.T.T. CLOSER ANGLE - K.I.T.T. as Santos looks inside. Then looking around, he tries the door, and seeing that it's unlocked gets inside. INT. K.I.T.T. - DAY as Santos settles in, the door still open. He immediately begins searching around for some kind of ID on the driver. Suddenly, the driver's door slams shut. Santos tries to open it, but it's locked. Then in another instant, the passenger door opens and Michael gets in. He sits down as a startled Santos tries again to get out. [MICHAEL] You like licorice? He offers a small bag, a piece of licorice. Santos just looks at him. [SANTOS] Who are you? [MICHAEL] Let's get moving, Kitt. The auto drive button goes on, the gearshift flips into drive and the car pulls out...with a helpless Santos behind the wheel. He desperately tries to steer the car, work the pedals. [SANTOS] What's going on? [MICHAEL] That's what I'd like to know. Since I hit town, you've fallen in love with my car. Why? [SANTOS] Get stuffed, man. [MICHAEL] I think what you're really interested in is looking out for Julio Rodriquez. [SANTOS] I don't know him. [MICHAEL] He's a Vengador, isn't he? Turn here, Kitt. Santos reacts -- Who's K.I.T.T.? EXT. INTERSECTION as K.I.T.T. makes a turn, heads over a bridge. INT. K.I.T.T. [SANTOS] Where we goin'? [MICHAEL] Thought we'd take a scenic drive through the Conquerors territory. [SANTOS] No way! They'll kill me! He tries to get out, to no avail. [MICHAEL] Where's Julio? [SANTOS] Come on man, what are you trying to do? [MICHAEL] I'm trying to save a little girl's life. [SANTOS] What's that got to do with me? [MICHAEL] I need Julio's help. You're a 'brother.' I figure you know where he is. [SANTOS] No way. I ain't tellin' you that. [MICHAEL] Fine. Then let's just enjoy the view. EXT. CONQUEROR TERRITORY - DAY as we see the Trans Am moving along. Ahead, several Conquerors including Ric and Tony are working on their vans. INT. K.I.T.T. - ON SANTOS He tries to slump down. [MICHAEL] This looks good, Kitt. EXT. CURBSIDE The Trans Am stops by the curb and the driver's door is popped open. Ric, Tony and the other Conquerors spot Santos. He reacts, tries to close the door. No go. INT. K.I.T.T. [SANTOS] They saw me man, get me outta here! [MICHAEL] I need five minutes of Julio's time. Just to talk. [SANTOS] Close the door, they'll rip me apart! [MICHAEL] Where's Julio? Santos looks out again as the Conquerors approach. He tries the door one more time. It's as if the panel is welded open. Then, quickly: [SANTOS] Okay...okay.... NEW ANGLE as the Conquerors get closer to K.I.T.T. [SANTOS] ...I'll take you to Julio. But I gotta make a phone call first. Just close the door! [MICHAEL] You got a deal. The door closes just as Ric reaches it, and the Trans Am roars away leaving Ric and the gang empty-handed. Ric turns to the others. [RIC] You hear that? He knows where Julio is. Let's go. They move off toward the vans. EXT. ST. ANDREWS CHURCH - DAY as the Trans Am drives up to the church and stops. INT. K.I.T.T. - DAY as Michael, now driving, looks up at the church. [MICHAEL] He's in there? [SANTOS] Like I said. EXT. K.I.T.T. - DAY as Michael and Santos get out of the car and begin up the steps of the church. Camera pushes into K.I.T.T.'s scanner as he begins to survey the scene. INT. CHURCH - DAY A rather beautiful, but small, neighborhood church. It is empty as they enter, except for one old lady who sits quietly in the back, praying. Santos indicates a confes- sional. [SANTOS] In there. Michael hesitates, goes in. NEW ANGLE as a group of Los Vengadors members drift in, take seats. With them is a girl, around eighteen, dark, large innocent eyes, beautiful. Her name is Terri. INT. CONFESSIONAL Michael waits for a moment, then we can hear the door open on the other side and someone enters. The door closes. Michael slides the viewing door open...as the door on the other side also opens. It's hard to see the person on the other side through the grate, but it's Julio Rodriquez. [JULIO] What do you want? [MICHAEL] To help you. [JULIO] Who says I need help? [MICHAEL] The cops are looking for you. The Conquerors are looking for you...It's just a matter of time, and you're fresh out of choices. [JULIO] So? What can you do? [MICHAEL] Get you out. [JULIO] Yeah? You some kind of magician? [MICHAEL] Something like that. Look, there's a girl who's dying. I need you to come with me...you can save her life. And I can save yours. [JULIO] What do you think I am, some kind of doctor? No way, man, I'm not moving from here until the heat settles. The comlink buzzes, then we hear K.I.T.T.'s voice. [K.I.T.T. (V.O.)] Michael, I'm picking up the approach of two vans from the Lanark area. [JULIO] Who's that? [MICHAEL] A friend outside. [JULIO] Lanark...that's Conquerors' territory. We can hear Julio leave the other booth. Michael immediately steps out of the confessional. INT. CHURCH - OUTSIDE CONFESSIONAL as Michael and Julio confront each other. Julio is tall, around twenty, with a lean and strong build. The moment is tense. Michael notes the rest of the gang as Santos comes from the door. [SANTOS] The Conquerors are outside, man! The others react. [MICHAEL] They just want you, Julio. Why risk the others? Terri moves up to Julio. She is afraid. [TERRI] Julio, please...listen to him. We've got plans, right? They're no good when you're dead. This is the only way.... [JULIO] (to Michael) What have you got, a tank? [SANTOS] It's close man. Julio looks at Santos, then at the pleading Terri, then: [JULIO] Okay...I'll go with you. But just to cool out this place. [MICHAEL] (on comlink) Kitt, pick us up in the alley! As Michael and Julio hurry out a side door. ANGLE - K.I.T.T. starts up, tears out. EXT. CHURCH ALLEY - DAY as they run down the steps. K.I.T.T. drives up and pops his doors. Julio reacts. He and Michael get in. INT. K.I.T.T. as Michael settles, looks off, reacts. [MICHAEL] Company. Julio follows his look. THEIR POINT OF VIEW - THE ALLEY is blocked by a van. Intercut Michael reacting to a second van at the opposite end. NEW ANGLE The vans start to converge on K.I.T.T. INT. K.I.T.T. [MICHAEL] Kitt, do we have room to turbo? [K.I.T.T.] Negative, Michael...there's not enough distance. [JULIO] Hey, what's going on? We can see through the windows as the vans move toward K.I.T.T. [JULIO] I thought you said you could get me out of here! Michael reacts. EXTERIOR - SHOT as the vans close in. FREEZE FRAME AND FADE OUT END OF ACT TWO [ACT THREE] FADE IN EXT. CHURCH ALLEY - HIGH ANGLE - DAY As we see the two vans moving in on K.I.T.T. INT. K.I.T.T. - DAY [MICHAEL] Kitt, what about a double turbo? One to pop the angle, and the other to clear the vans? [K.I.T.T.] I've never tried it before. [MICHAEL] That's what it's all about, pal.... With that, Michael hits the turbo button. Julio grabs hold of the dash as they are both shot back against their seats. EXT. K.I.T.T. - STREET - DAY as the Trans Am rears up on two back wheels. INT. K.I.T.T. - FAVORING CONTROL PANEL as Michael hits the turbo boost button a second time. EXT. STREET - FULL - SLOW MOTION Still propped up on two back wheels, the Trans Am shoots up and over the vans, just missing the tops by inches. RIC, TONY AND CONQUERORS as they watch in disbelief. OMITTED STREET - OTHER SIDE OF VANS The Trans Am lands, then speeds away. The Conquerors U-turn their vans, to chase after K.I.T.T. ANOTHER ANGLE - STREET as we see K.I.T.T. roaring away, leaving the vans far behind them. K.I.T.T. - DAY - RUN THRU INT. K.I.T.T. - DAY as they continue on. [MICHAEL] (to Julio) You okay? [JULIO] I gotta admit, I'm impressed, man, I've heard of lifters.... Lights flash on the monitor. [K.I.T.T.] We've lost them, Michael. [MICHAEL] Right. [JULIO] What is this, you got some guy back at the shop you talk to? [MICHAEL] No. A computer right here. Julio, meet Kitt. He's part of the family. [K.I.T.T.] Thank you, Michael. Julio reacts; then: [JULIO] What happens now? [MICHAEL] I told you. There's a sick little girl, who needs your help. [JULIO] Why me? [MICHAEL] Because you're compatible. [JULIO] What? [MICHAEL] You're a good donor. [JULIO] You mean like blood? [MICHAEL] Yeah, more or less. [JULIO] I don't know.... [MICHAEL] You got something better to do? Julio glances out the rear window. [JULIO] Not right now. [MICHAEL] Okay. (to K.I.T.T.) Get me Devon, Kitt. [K.I.T.T.] With pleasure, Michael. INT. HOSPITAL - WAITING ROOM - DAY as a nurse answers the phone and motions to Devon, who's waiting with April. [NURSE] Mr. Miles.... He crosses, takes the receiver. [DEVON] Thank you. (into phone) Yes? Michael that's absolutely wonderful news. Congratulations. I knew you could do it. I'll tell the others. Devon hangs up the phone and turns to April who takes in his smile. [APRIL] He's found the donor. [DEVON] Yes, and he's bringing him to the hospital. There's still the small matter of convincing him to do it, but I believe he can. [APRIL] I'm beginning to believe a lot of things again. INT. BECKY'S ROOM - DAY Becky is asleep. She's now in an oxygen tent. Her mother, Laura, is dozing in a chair, a children's book open in her lap. April comes into the room, reacts, shakes her sister gently. [APRIL] Laura...hey, sis.... [LAURA] (waking) I finally got her to sleep.... [APRIL] You, too...What were you reading? [LAURA] Fredrick the Frog. [APRIL] About the frog who has no friends except for his reflection in the pond? I remember. (then) Come outside for a minute. Laura glances at Becky and they exit. INT. CORRIDOR AT BECKY'S DOOR as April and Laura come out, Laura still clutching the book. [APRIL] Michael's bringing the donor. [LAURA] Thank God. She struggles to control her emotions. [LAURA] (continuing) Before she fell asleep she said sometimes she feels like she'll never get better. Sometimes she gets so tired, like she stayed up past her bedtime, and it's only afternoon.... April hugs her close. [APRIL] There are so many people who love Becky and care about her. She's bound to get better. [LAURA] You're right, April. With all that love, nothing can go wrong. EXT. HIGHWAY - DAY - CLOSE ON VAN as we can see Ric driving the van down the deserted highway at high speed. Tony is next to him, looking out the window. The second van follows. INT. VAN - DAY as Tony glances at Ric. [TONY] Sooner or later they've got to stop for gas or something. We'll find 'em. [RIC] We better. After all the trouble we went to catching our little 'prize.' It'd be a shame if Julio didn't get to see it. Suddenly the CB crackles to life. [CB VOICE (CONQUEROR)] Swordfish to Ramrod. You read me? Ric lifts the mike and responds. [RIC] I read you. Go ahead. [CB VOICE] Ric...hey...uh...Listen. [RIC] Come on, man. What is it? [CB VOICE] It's Jimmy. [TONY] What about him? [CB VOICE] He didn't make it. Tony slams his fist against the dash. [TONY] No...no! Ric replaces the mike. [RIC] Come on...that's not gonna get us anywhere. [TONY] What do you care, man? He was my brother! [RIC] I'll tell you what'll get us some- where, when we find them. Her. He indicates the back of the van. ANGLE - BACK OF VAN as we see two other Conquerors crouched in the back. Between them we can see another figure...Terri, her eyes full of terror. EXT. HIGHWAY - NEAR WOODED AREA - DAY as we see K.I.T.T. traveling down the road. EXTERIOR - SKY - STOCK Overhead we can see the beginnings of storm clouds churning up the blue sky. INT. K.I.T.T. - DAY Julio has relaxed somewhat. He looks around the seat, and comes up with a small bag. He looks in and pulls out a piece of licorice. [MICHAEL] Go ahead. I bought it for Santos. Julio doesn't understand, but he takes a bite of the licorice and chews it hungrily. A moment, then: [MICHAEL] You want to tell me about the shooting? [JULIO] What's to tell? You heat up, get a little fried, you're nervous, you've got all this energy see, and no place to put it. [MICHAEL] What was the beef? [JULIO] We were on their turf, man. That's enough. I was out front. We heard the cops. I started running, and this dude Jimmy stuck me from behind. Next thing I knew I heard a pop, turned around and he was down. [MICHAEL] So because he knifed you, everyone thinks you shot him? [JULIO] When someone 'buys it' on the street you got to put the finger somewhere. Otherwise you got no place to put the anger. [MICHAEL] Why not put it on the truth? [JULIO] You make up the truth out there, just like you make up the justice. [MICHAEL] Right. And look where it got you. Julio throws the bag down, then: [JULIO] Ahhh, what am I doing here? I don't even like licorice. EXT. RURAL HIGHWAY - DAY - ON K.I.T.T. The Trans Am's full-tilt cruise is slowed as: [K.I.T.T. (V.O.)] Michael, we have a problem. There's a roadblock up ahead. INT. TRANS AM - DAY Julio gets edgy. Michael tries to calm him. [JULIO] Cops. I knew it. Let me out of here. [MICHAEL] Stay cool. I'll talk to them. EXT. ROADBLOCK - DAY Several cars are lined up as a Highway Patrol officer waves them onto a detour. We see K.I.T.T. drive up to the end of the line. Michael exits and walks up to the Trooper. [MICHAEL] What's the trouble? [TROOPER] Road's washed out up ahead, from the storm. We're rerouting all traffic west of here. Michael is concerned. INT. TRANS AM - DAY Julio fidgets uncomfortably. [JULIO] What's taking so long? [K.I.T.T.] He's only been gone forty seconds. EXT. K.I.T.T. as Santos' car pulls up beside him. Julio reacts. CLOSER ANGLE Santos leans toward Julio. [SANTOS] Hey, man, they got Terri! Julio reacts, glances at the dash, punches the "roof" button. [K.I.T.T.] Michael...! INTERCUT - SANTOS JULIO scrambles out through the open roof, climbs over K.I.T.T. and gets into Santos' car. EXT. TRANS AM - DAY as Santos pulls a 180 and peels out. EXT. ROADBLOCK - DAY Michael is still with the cop. [TROOPER] ...Look, everybody's got important business or an emergency, or something. I can't let you through this road. Suddenly the comlink buzzes. [MICHAEL] Thanks anyway. As he heads back toward the car: [MICHAEL] (comlink) Yeah, Kitt? [K.I.T.T.] Michael, I'm afraid I've let Julio escape. Michael runs to the car, gets in. A traffic jam is developing as cars approach the roadblock, back and turn, blocking both lanes. INT. TRANS AM - DAY [K.I.T.T.] Michael, I feel just awful. [MICHAEL] What's done is done, Kitt. Let's just get him back. [K.I.T.T.] I'm afraid we have another problem. Michael glances around. HIGH ANGLE - FULL SHOT - THE SCENE K.I.T.T. is trapped, walled in by cars driven by frustrated drivers. EXT. HIGHWAY - DAY Santos' car races through. OMITTED EXT. HIGHWAY - DAY The two Conquerors vans loom out of the gathering dusk. They're cruising slowly, obviously on "full alert." OMITTED ANOTHER ANGLE - SANTOS' CAR - DAY driving in the opposite direction. EXT. HIGHWAY - DAY the Conquerors' vans approach from one direction, Santos' car from the other. They squeal to a stop, some distance between them, the vans almost blocking the road. CLOSE ANGLE - JULIO AND SANTOS reacting. [SANTOS] What do we do, man? THEIR POINT OF VIEW as the Conquerors climb out of the vans, with a struggling Terri. JULIO AND SANTOS Julio reacts, angry and concerned. Then: [JULIO] You take off, man. They just want me. Before Santos can reply, he gets out of the car. NEW ANGLE The Conquerors and Terri react to Julio. CLOSE - JULIO at Santos' car. He glances toward Santos. [JULIO] I said, take off! Santos hesitates, drives off, edging past the Conquerors' vans. Julio starts to walk slowly toward the Conqeurors and Terri. EXT. HOSPITAL - NIGHT - ESTABLISHING - STOCK Darkness has fallen. INT. HOSPITAL WAITING ROOM - NIGHT Devon brings two cups of coffee to the spot where April, who sits slumped on a chair takes one gratefully. [APRIL] Did you reach Michael? [DEVON] We're not raising anything on Kitt's frequency. It seems there's a heavy electrical storm between here and Cedar City. They could walk in here any minute. [APRIL] God, I hope so. Laura comes out of Becky's room to join them. [DEVON] How is she? [LAURA] Resting. April, her breathing is so shallow. And she's pale. Any word? [APRIL] Nothing new. [DEVON] (reaching) They say no news is good news. [LAURA] 'They' say a lot of things. Devon places a hand on Laura's shoulder, reassuringly. [DEVON] I know. I know. EXT. HIGHWAY - ON K.I.T.T. - NIGHT moving along briskly. INT. TRANS AM - NIGHT [K.I.T.T.] I still can't believe that traffic jam, Michael. [MICHAEL] Yeah. First Times Square and now no sign of anything, including Julio and his sidekick. A moment, then graphics reveal a view of several unident- ifiable shapes. [K.I.T.T.] Michael, I'm getting something. Two vehicles approaching a large structure point six miles east. [MICHAEL] Let's go for it, Kitt. It's our only shot. EXT. ROAD - NIGHT K.I.T.T. spins off the main drag onto a dirt road. EXT. BARN - NIGHT The Conquerors' vans park outside. The gang climbs out, taking Julio and Terri inside. INT. BARN - NIGHT as they enter the deserted barn. Someone lights an old kerosene lamp. Julio's arms are pulled up painfully behind him as he's tied to a chair. Terri is restrained by a Conqueror as she looks on in horror. EXT. ROAD - NIGHT - ON K.I.T.T. The Trans Am stops just within sight of the barn. [K.I.T.T.] There it is, Michael. And there are those vans. MICHAEL'S POINT OF VIEW - THE BARN We see the flickering light and some shadowy movement inside. INT. TRANS AM - NIGHT Michael's wheels are turning. [K.I.T.T.] Michael, there are seven of them. Five are armed. [MICHAEL] Not very good odds. [K.I.T.T.] I agree. The odds are terrible. [MICHAEL] (smiles) I mean they don't have a chance. INT. BARN - NIGHT Ric finishes dumping the last of a can of kerosene around the old barn and throws the can aside with a bang. He turns to Julio. [RIC] One good thing about this. It's gonna hurt you a lot more than it hurt Jimmy. [TONY] I don't like it, man. Burnin' them like that. [RIC] He was your brother, remember? Suddenly a blaze of lights seem to glare into the barn from all directions, through the rickety walls, windows, and lofts. Noises come from all sides at once. It sounds like the seventh cavalry is outside. Tires squeal, doors slam, voices are heard. The gang reacts, startled and alarmed. [K.I.T.T.] (bullhorn filtered) You in there. This is the police! Throw out your weapons and come out with your hands up! EXT. BARN AREA - NIGHT K.I.T.T. is racing all around the barn, screeching his tires and revving his engine. Powerful searchlights glare into the barn, first red, then white, then both. Headlights blink, doors open and slam shut. It's quite a display. [K.I.T.T.] (over bullhorn) You have thirty seconds. This is the police.... ANGLE ON MICHAEL He's pressed tight against the main barn door, illumined by the flashing lights of the Trans Am, which continues blaring in the b.g. OMITTED INT. BARN The Conquerors react to K.I.T.T.'s display, his light still flashing from O.S., his voice still audible. [K.I.T.T. (O.S.)] You're completely surrounded! Throw out your weapons and come out with your hands up! [TONY] Sounds like an army out there! [RIC] We got a better army in here! [TONY] You crazy? Those are cops! EXT. BARN - ANGLE ON DOOR For a moment, there is no movement. Then, slowly, the huge door creaks open. A hand reaches out and throws a pistol out on the ground. In a moment, A Conqueror steps out and into the headlights' blinding glare. He freezes, hands in the air. Michael pciks up the gun, trains it on him. [MICHAEL] (tight) Be cool. [K.I.T.T.] All right, men! Hold your fire!! Now, a second Conqueror repeats the same action. After a moment, Tony throws out his gun, exits the barn, and joins the other two. [MICHAEL] Let's go, people! Everybody out of there! Move it!! CLOSEUP - BARN DOOR Another Conqueror comes out. For a moment, nothing happens. Then, slowly, Ric begins to emerge, at first, apparently alone. After a moment, however, he moves out into full view. His right hand grips the arm of a terrified Terri. His left holds a pistol pressed firmly into her side. ANGLE ON MICHAEL His face acknowledges his surprise. It's a standoff. [RIC] (blinded by headlights) Okay, big shot -- call off the army. [TONY] (moving out of light, looking around) There's no army, Ric. It's one guy! [MICHAEL] Just a little floor show for your benefit. [RIC] Get rid of the gun, funny man. Michael hesitates. [RIC] Do it! [K.I.T.T.] Michael, his pulse rate and Adrenalin flow indicate a highly agitated state. I suggest you comply! [RIC] Who's that? [CONQUEROR] His car! [MICHAEL] (drops the gun) You gonna hide behind the girl, or get it on like a man?! [RIC] The man's the one with the hardware, sucker! Thunder explodes all around them. [RIC] Everybody back inside. They start to retrieve their guns and move inside. ANGLE - K.I.T.T. scanner flashing. FADE OUT END OF ACT THREE [ACT FOUR] FADE IN INT. BARN as Michael enters, with Ric covering him and Terri. She moves to Julio. Michael and he exchange a look. There's O.S. thunder and rain through: [RIC] All right, nobody has anything else to say, let's get on with it. Terri clings to Julio, frightened. [TONY] The girl, too? [RIC] What do you think? [MICHAEL] I've got something to say. What you do to each other is one thing, but if you kill them you'll have to kill me. And there's a whole lot of trouble backing me up. [RIC] Is that all you gotta say? [MICHAEL] No. (beat) What if Julio didn't do it? [RIC] What are you talking about? He shot Jimmy in the back! [MICHAEL] How could Julio have shot Jimmy in the back if he was being chased by him? [RIC] Who says he was being chased? [TONY] There were no witnesses.... [MICHAEL] But Ric says Jimmy was shot in the back. How could he know that...? It wasn't made public...What if Julio's telling the truth, and somebody else killed Jimmy? [TONY] Like who? [CONQUEROR] Any one of the Vengadores.... [MICHAEL] But they were on your turf, right? [TONY] So.... [MICHAEL] So maybe it wasn't one of 'the brothers' at all. [RIC] Come on, let's get this over with! [TONY] What's the rush? [MICHAEL] You run things now that Jimmy's gone? [RIC] Yeah, I was his second. [TONY] (thoughtful) You never liked that much.... [RIC] What are you sayin'! That I wasted your 'big shot' brother?! [TONY] Big shot. Jimmy wasn't no 'big shot' -- except maybe to you. [RIC] You're nuts, man! [MICHAEL] (to the group) You figured it was an enemy who shot Jimmy -- but sometimes the most dangerous enemy can be someone you trust. Tony makes a move on Ric, who turns his gun on him. [MICHAEL] (comlink) Kitt. EXT. BARN - NIGHT K.I.T.T. activates, guns, heads for the barn, crashing through. INT. BARN as K.I.T.T.'s hood and scanner area crash through. THE GROUP reacting. Michael grabs Ric, whom K.I.T.T. has distracted. They struggle, and Michael finally wrestles the gun from him. UP ANGLE - MICHAEL ACROSS K.I.T.T. [MICHAEL] Good work, pal. [K.I.T.T.] Naturally.... THE SCENE [CONQUEROR] (to Tony) He would've blown you away.... [MICHAEL] Just like he did Jimmy. Tony motions to the Conquerors who have been guarding Julio and Terri. They hesitate, then untie Julio and move away to join Tony. [TONY] (to Ric) We're gonna kill you, man. [MICHAEL] No. I'm going to turn him over to the police at the roadblock. He has the gun, but there are several of them. [MICHAEL] It can end right here -- if you let it. They eyeball each other, then: [TONY] Okay. [MICHAEL] Let's go, Julio. [JULIO] What about Terri? Michael glances at Tony. [MICHAEL] Would you see the lady home? [TONY] (sincere) Yeah... (to Julio) She'll be all right, man. Don't worry. Terri hesitates, looks from Julio to Tony. [TERRI] (to Julio) I'll be all right. Julio and Tony shake on it. OMITTED EXT. HIGHWAY - DAY as the Trans Am races toward the hospital, carrying a grudging Julio. There is fog. INT. TRANS AM - DAY [MICHAEL] You're doing the right thing. You know that, don't you? [JULIO] I know you got some good moves, gettin' me off like you did. [MICHAEL] The truth got you off, Julio. It just needed somebody to tell it.... [K.I.T.T.] ...In spite of your treacherous behavior earlier. [JULIO] What are you talking about? [K.I.T.T.] You know perfectly well. [JULIO] Hey, I was worried about my old lady ...Man, this is crazy, talking to a car! (beat) You think the cops'll believe me? [MICHAEL] Well, they've got Ric, and we'll talk to them together. After we take care of Becky. [JULIO] (a beat) That her name? Becky? [MICHAEL] Yeah. She's ten...and beautiful... and scared. [JULIO] (beat) I never had no transplant. They gonna take anything I need? [MICHAEL] Nothing you can't make more of. [JULIO] Like some kind of factory, huh? (beat) Will it hurt? [MICHAEL] Probably. And from what I hear, there's always some risk. But the procedure isn't considered life-threatening. [JULIO] Oh, good. I get to live. [MICHAEL] You scared? Julio just looks at him. After a moment: [K.I.T.T.] Michael, my sensors are picking up a problem ahead. More storm damage. The road's impassable. Michael stops the car. The fog settles in. [MICHAEL] Any secondaries? [K.I.T.T.] One. On the other side of the river. [MICHAEL] Let's go for it. [K.I.T.T.] Negative. The bridge is washed out. [MICHAEL] What about turbo boost? [K.I.T.T.] I'm afraid that's out of the question. The distance is too great. We'd just be in over our heads. Quite literally. [JULIO] Great. I lose the Conquerors and buy it in a car accident! [MICHAEL] Kitt -- scan the area. There's got to be another way! K.I.T.T. scans. [K.I.T.T.] I'm afraid it's hopeless, Michael. [MICHAEL] No way. Not this close to the finish line. Suddenly the screen presents a new graphic. [K.I.T.T.] Wait a minute, Michael. Lower right quadrant...those two parallel lines disappearing into the distance?! [MICHAEL] Tracks! They're train tracks! [K.I.T.T.] Exactly. [MICHAEL] (relieved) I always wanted to ride the rails in style. Michael downshifts and heads for the tracks. EXT. HIGHWAY - DAY - ANGLE ON TRANS AM Michael jockeys the Trans Am through the fog and over some treacherous terrain. INT. TRANS AM - DAY [JULIO] (white-knuckled) You're crazy, you know that?! [MICHAEL] Hold on! This is an 'E' ticket ride! He hits turbo. NEW ANGLE The Trans Am miniturbos up onto the tracks. As it proceeds down the tracks: INT. K.I.T.T. [K.I.T.T.] Very nice, Michael, very nice. [MICHAEL] I couldn't have done it without you. [JULIO] You're both crazy! A clap of thunder and slash of lightning cut through the fog. [K.I.T.T.] Michael -- I don't like the sound of that. [MICHAEL] Let's go for it, pal! He floors it. OMITTED ANGLE ON K.I.T.T. barreling down the tracks. INT. HOSPITAL WAITING ROOM - DAY April and Devon are there, looking tired, drained, even a little disheveled. April is dozing. Devon tosses down a magazine with a "snap," waking April. He notices. [DEVON] Sorry. [APRIL] It's all right...What time is it? [DEVON] Still early. Can I get you something? The devilish coffee's no good, but.... [APRIL] I'm fine, thanks. No word from Michael? [DEVON] He'll be here. He moves back to her. [DEVON] (continuing) If it's humanly possible, he'll be here. [APRIL] I know.... She looks up as Laura approaches, looking worn. They move to her. [LAURA] She's so still now, as if it's already over. [APRIL] Well it's not over! [DEVON] Becky's a fighter, Laura. She won't ever give up, and we mustn't either. [LAURA] I'm sorry. I'm just...so tired. And Doctor Kiley says.... They put arms around her. Then, Devon reacts as: ANOTHER ANGLE Michael comes in, apparently alone. They react. But a few steps behind is Julio. [LAURA] Thank God. April holds her as Devon crosses to Michael and Julio. [MICHAEL] Julio, this is Devon Miles. Julio Rodriguez. Julio is increasingly aware of the hospital activity around them -- a gurney with a patient, an IV stand, and X-ray unit being wheeled through. [DEVON] I'm very happy you're here. Let me introduce Becky's mother and aunt.... He starts to lead Julio to April and Laura, who's trying to collect herself. Julio pulls back. [JULIO] (suddenly) No! I can't do it. [MICHAEL] (low and tense) What are you talking about? He draws him away from the women. Devon goes to Laura and April to reassure them. The conversation is in strained, hushed tones. [JULIO] You made me come here. [MICHAEL] You owe me! I saved your neck! [JULIO] Just 'cause you're crazy doesn't mean I am. [MICHAEL] (a beat) Tell you what, man...You're gonna cop out on that little girl, you tell her! INT. BECKY'S HOSPITAL ROOM - DAY Michael "ushers" Julio into the room, stands by the door. ANGLE ON BECKY She is gravely ill, wan, and exhausted, still in the oxygen tent, which has mist in it now. She can barely speak, still coughs slightly. Julio sees the little girl. Michael moves closer. [MICHAEL] Hi, sweetheart. [BECKY] Hi, Michael. Hesitantly, Julio inches toward her. [BECKY] Are you the one who's going to help me? [JULIO] (quietly) Not exactly. He turns away, but there stands Michael. Immovable. Grim. [BECKY] (to Julio) You must be pretty scared. Julio tries not to make eye contact with her. [JULIO] Uh -- uh.... [BECKY] I sure am. But now that you're here, I feel better. Maybe...we can be scared together. She reaches for his hand. CLOSE ON JULIO reacting. He hesitates, touches the small hand through the wall of the tent. CLOSE ON MICHAEL reacting to the two. INT. HOSPITAL CORRIDOR - DAY Just outside Becky's room, Michael and Julio come out, stop. Michael is carefully avoiding any signs of sentimentality. [JULIO] Bet you wouldn't get none of the Conquerors to do this. [MICHAEL] Bet you wouldn't. [JULIO] Lemme ask you something. [MICHAEL] Anything you want. [JULIO] If this is such a great thing I'm doin', how come I don't feel better doin' it? [MICHAEL] (smiling; to Julio) You will. FADE OUT END OF ACT FOUR [TAG] FADE IN EXT. HOSPITAL - DAY K.I.T.T. is parked, scanner flashing. INT. PLAZA AREA A few staff and patients are in evidence. Devon and April are waiting for someone, they react as Laura approaches, wheeling Becky, who is pale, but looks much better. April and Devon move to them. [APRIL] Hey, this is quite an occasion, pumpkin. Your first day out in public! [DEVON] And I must say, you look smashing! [BECKY] (to Laura) Is that good, Mom? [LAURA] The best! Michael approaches, wheeling Julio up to Becky. [BECKY] Hi, Michael. [MICHAEL] Hello, sweetheart. [BECKY] (to Julio) Hi.... [JULIO] Hi! [BECKY] I haven't had a chance to say thank you. [JULIO] Hey, no big deal. It's okay. [LAURA] We all thank you, very much. She leans to kiss him on the cheek. He's embarrassed. [JULIO] Okay...okay. (softening) You're welcome. [MICHAEL] Got a surprise for you, Becky. He takes her chair from Laura, starts to wheel her away. [MICHAEL] (into comlink) Now, pal. NEW ANGLE - K.I.T.T. He activates, makes a U-turn, pulling up beside Becky as Michael wheels her over. [K.I.T.T.] Hello, Becky. I'm so glad to see you. FAVOR BECKY with Michael beside her. [BECKY] Me, too. [K.I.T.T.] Can we go for a ride soon? [MICHAEL] The doctor says any day now, Kitt. [K.I.T.T.] Wonderful! That makes me very happy. INTERCUT - DEVON AND APRIL with Julio and Laura, watching Becky. ANGLE ON MICHAEL [MICHAEL] Show her how happy that makes you, Kitt. ANGLE ON K.I.T.T. as he opens and closes his doors briskly, flashes his scanner, and turns his headlights on and off. CLOSE ON BECKY laughing with delight. FREEZE FRAME AND FADE OUT THE END

{"show": "Knight Rider", "season": "s02", "episode": "e15", "title": "Race For Life"}

knightriderarchives

ACT ONE FADE IN CLOSEUP - TABLE - DAY as a hand-held "documentary style" camera scans the table's contents -- an almost ceremonial arrangement of parapher- nalia -- gloves, chest pads, shin guards, heavy leather boots, and a streamlined custom helmet -- all color coordinated (to stock). As a gloved hand plucks up its mate, puts it on an awaiting hand: [INTERVIEWER'S VOICE] These are the weapons of a modern-day gladiator, a participant in the most rugged sport -- motorcycle racing. Camera pans up to: INT. GARAGE #1 - DAY - ON KELLY TRAVIS early twenties, blond, all-American with a boyish, friendly face and the body of an athlete. He wears skin-tight "unleathers" and, as he dons all the gear, grins right at camera. [KELLY] As far as I'm concerned, this is all safety experts' hype. I've been racing for five years without a bad spill, and all I need is my trusted helmet. He lifts his helmet from the table, turns it over to put it on -- and milk pours out, inundating him. As the liquid drips down his face, without turning, he roars: [KELLY] Duvall! Racer Danny Duvall approaches, almost laughing himself sick. He's dressed to match stock, is slightly older than Kelly, with the same boyish smile. [DANNY] My buddy Kelly always wanted his picture on a cereal box -- now he'll know how the cereal feels! [KELLY] Try this one, cornflake. As Kelly pours the remainder of the milk on Danny, a beautiful, young, blond woman approaches with a towel -- Sabrina Travis, Kelly's older sister, Danny's fiancee. [SABRINA] (to Kelly and Danny) C'mon, get your buns and bikes out there before they start without you. (to camera) Is it okay to say 'buns' on tele- vision? [INTERVIEWER'S VOICE] How's it feel having a big sister around at the races to clean up after you, Kelly? [KELLY] Have you ever tasted Sabrina's tuna casserole? It was a matter of national security to keep her out of the kitchen. [SABRINA] Have you ever seen these guys eat? Their stomachs are going to end up in the Smithsonian Institute. She tosses Danny the towel. [INTERVIEWER'S VOICE] Kelly, there's been a lot of criticism that you've been hot dogging lately. [KELLY] You call it hot dogging...I call it having an edge. I take chances -- how else're you going to win against guys like this? They're good. [DANNY] The best. Danny winks confidentially at the camera. EXT. OAKSIDE RACECOURSE - DAY - HIGH ANGLE as we see, still in documentary style, a final lap of a rough-track race, as the bikes in the lead begin up an incredibly steep dirt hill. We see Kelly and Danny (recognizable by their colors) and a few other racers. [INTERVIEWER'S VOICE] But tragedy struck that sunny after- noon, as the racers made their way up Widow's Mountain, on the last stretch of the Oakside Course. Partway up the mountain, Kelly, who's in the lead, suddenly hooks to the side, directly in front of Danny. Danny's bike goes down, causing those immediately behind him to tumble back in a landslide of metal, and bodies as suddenly, the scene freeze frames: [MICHAEL'S VOICE] Wow. Makes me glad to have Kitt's armor to protect me. INT. FOUNDATION - DAY - DEVON'S OFFICE where we reveal that Michael, Devon and April have been watching this footage on a television monitor. [DEVON] Several riders ended up in the hospital, Michael. And young Danny Duvall was killed. [MICHAEL] I saw him race once. He was a great rider. [APRIL] Since the Foundation's cosponsoring this year's competition, we were really worried when we received this letter. She hands Michael a short, typed letter on plain stationery. Michael reads it quickly, looks up with surprise. [MICHAEL] This says Danny Duvall was murdered. But why? Who wrote this, Devon? [DEVON] I don't know. And there's no way to trace it. But if there's even an out- side chance the accident was planned... we have our work cut out for us. [APRIL] He means you do. [DEVON] Yes. Particularly since there's an implication the killer might strike again. [APRIL] I've programmed Kitt with details of the race and its participants. You can review everything on your way to the Oakside Racecourse. Michael thoughtfully folds the letter, hands it to Devon. [MICHAEL] I know the proceeds of the race go to charity -- but how'd the Foundation get involved in a tough sport like motorcycle racing? [APRIL] You may not believe it, but Devon happens to be a genuine fan. [MICHAEL] You're right. I don't believe it. [DEVON] When I was a boy, I made quite a name for myself at the Tourist Trophy Races in England. [MICHAEL] Devon, somehow it's hard to picture you in racing gear, burning rubber and eating dirt. [DEVON] I'll have you know I was an enthu- siastic competitor at many a 'rough and tumble.' They were really most invigorating... (snapping out of his reverie) Several of the riders from last June are competing in this race. I want you to find out if there's a murderer among them, Michael. As Michael heads for the door: [MICHAEL] And is there is, make sure he doesn't strike again. And he's gone. EXT. HIGHWAY - DAY - ON K.I.T.T. driving quickly toward the Oakside Racecourse. INT. K.I.T.T. - DAY - ON MICHAEL as he waves at a passing motorcyclist. [K.I.T.T.] Michael, based on information April gave me on motorcycle racing, I must say I'm completely appalled. [MICHAEL] What's the problem, buddy? [K.I.T.T.] Why is so much time and money wasted on a means of transportation that has improved very little since the turn of the century? [MICHAEL] (teasing) It's a great feeling -- the country- side flying by around you, the wind in your hair.... [K.I.T.T.] Dust and dirt is more like it. If you want wind, you can simply open a window without getting half the roadway in your face. [MICHAEL] Sounds like a little professional jealousy to me. [K.I.T.T.] Jealous? Of those high-powered broom- sticks on wheels? Perish the thought. Michael laughs, then: EXT. OAKSIDE RACECOURSE - DAY - HIGH ANGLE as K.I.T.T. drives into the area, moving toward the course itself, where last minute adjustments are being made, some racers are "walking the course," others amuse themselves with bike hijinks. K.I.T.T. passes a group of trailers and a small television news van with CHANNEL THREE written on the side. CLOSER ANGLE - K.I.T.T. scanner flashing, stopping near the start/finish line, over which is hung a large banner proclaiming: OAKSIDE CHARITY RACE. INT. K.I.T.T. - DAY - FAVORING MONITOR [MICHAEL] Let's get an overview of the track, Kitt. Where track shows up on the monitor. [K.I.T.T.] Michael, I'm afraid we'll have more accidents than we bargained for. This track is in no shape for a race -- it's cluttered with debris, potholes, large, gaping crevices, and numerous mud puddles. [MICHAEL] Sounds like a pretty good description to me. [K.I.T.T.] You mean that's the way it's supposed to be? [MICHAEL] This is like an endurance test, Kitt. They throw everything but the kitchen sink at the drivers and see if they can get through. [K.I.T.T.] I suppose it's just what these overbred bicycles deserve. [MICHAEL] Think you could take the course, pal? [K.I.T.T.] I really don't care to dignify that with an answer, Michael. Michael smiles. Then, someone on the track catches his eye. [MICHAEL] There's a guy walking the track with the name Fontaine on his jacket. [K.I.T.T.] A Wade Fontaine was involved in that big accident, Michael. [MICHAEL] Who'd know more about the crash than someone who was in it? As he climbs out of K.I.T.T., we go to: OMITTED EXT. TELEVISION VAN - DAY where two "cohosts" sit on directors' chairs, facing a cameraman. They're Roger Floyd and Darlena Webster, and look like they've just escaped from the top of a wedding cake. Roger is midthirties, too many teeth, styled hair and tanned to a crisp. The only thing natural about the well-built Darlena is her tongue, which she can't control. She wears a bright red tailored jumpsuit and a five-hour hairdo. They're just brimming over with good cheer as the cameraman cues them and they talk into camera: [ROGER] Hi, this is Roger Floyd.... [DARLENA] ...and Darlena Webster.... [ROGER] ...inviting you to join us this weekend on Talkabout as we go behind the scenes at the Oakside Charity race. We'll see fast bikes.... [DARLENA] ...and racing hunks.... [ROGER] ...competing for the one hundred thousand dollar winner-take-all event. It'll be a frantic race over this incredibly tough track...not an Enduro, not a motocross.... [DARLENA] That's right, Roger. I guess you could call it a quasi-motocross. [ROGER] (a look) I had a hunch you'd say that. (to camera) We'll be back after this word. They give each other shallow smiles as the cameraman gives the "cut" sign and lowers his camera. Roger immediately loses his smile and glares at his "cohost." [ROGER] What was that 'Quasimoto' business? You're supposed to stick to the script. [DARLENA] That was a funny ad-lib. You're just mad 'cause you didn't think of it. [ROGER] I'm known for my wit, Darlena. [DARLENA] Then you should recognize a good line when you hear one. [ROGER] But it didn't make sense. [DARLENA] Funny is funny, Roger. [ROGER] I give up.... He rockets out of his chair and storms away. She moves off in the other direction. [CAMERAMAN] Roger, wait. Who's going to do the commercial tag? Darlene smiles evilly. ANGLE ON K.I.T.T. as Roger burns toward the car, almost collides with it. To vent his anger, Roger kicks poor K.I.T.T. in the bumper. [K.I.T.T.] I don't criticize your telecasts -- please don't castigate my chassis. Roger freezes, looks around to see who spoke. His eyes fall on the empty car -- he can't believe it spoke. He moves slowly away, glances back once, then doubles his speed. ANGLE ON MICHAEL Michael approaches Wade Fontaine who's now checking over his bike. [MICHAEL] Wade? Name's Michael Knight. [WADE] Good for you. He continues working. [MICHAEL] I'm with one of the race's sponsors. I'll be keeping an eye on security. [WADE] So? [MICHAEL] Some questions have come up about the accident last June. [WADE] Last June? That's old news, man. [MICHAEL] Maybe to you, but I'm still learning. [LEE'S VOICE] Tell him how you caused the accident, Fontaine. We widen as Lee Carstairs approaches with a beautiful twin on each arm wearing 'Carstairs' T-shirts. [LEE] (to Michael) They call him the Trickster. Know why? 'Cause he knows every dirty trick in the book and uses 'em all on the course. [WADE] Soak your head, Carstairs. [LEE] He has a way with words, doesn't he girls? He moves off with the twins. [MICHAEL] (dry; to Wade) It's been a real pleasure talking to you. Michael heads for K.I.T.T. as Wade looks after him. ANGLE ON MICHAEL AND K.I.T.T. as Michael approaches, out of earshot from the racers. [K.I.T.T.] Both those racers were injured in the accident, Michael. And I can see why. They're still fighting. [MICHAEL] Yeah. Looks like there's a lot of unfinished business floating around. INT. CARSTAIRS MOTOR HOME - DAY - CLOSE ANGLE - LEE Camera pulls back as: [LEE] Sure it's ridiculous, but it brings in the bucks. We now see Michael standing with Lee in his flashy motor home. The walls are papered with Lee's endorsements -- product ads, more T-shirts, posters, public service campaigns, etc. Michael indicates one poster on the wall. [MICHAEL] I guess your posters have smiled off more walls than Uncle Sam's. [LEE] No money in posters any more -- it's T-shirts now. I sold almost as many as E.T. last year -- came in second by only ten thou. [MICHAEL] And he can't even ride a bike. [LEE] The fans don't seem to care. [MICHAEL] Lee, what do you think caused that accident last June? [LEE] Not a what -- a who. [MICHAEL] Wade? [LEE] No. A clown named Kelly Travis who was busy hot dogging his way up the mountain. (beat) Y'know what gets me? These show- boaters're the ones who get the dolls and electronic games named after 'em. That's where the big bucks are. And that's why I say promotion's everything. [MICHAEL] Kelly Travis and Danny Duvall were supposed to have been best friends. [LEE] Hey, when you're competing, and you ride like Kelly, anything goes. But take it from me -- Showboating's on its way out. As if on cue, we suddenly hear a roar from outside the motor home. Michael and Lee exchange a look, then move to the door, and exit. ANGLE ON A STEP VAN as its back doors spring open and a silver and red-clad figure on a motorcycle flies out, trailing colored smoke, hits the dirt, pops a wheelie, then does a sideways slide, stopping in front of Michael and Lee. We see he's Kelly Travis. [KELLY] Carstairs, you may as well stay in your hotel room, 'cause you'll just be kicking over when I'm waving at you from the top of Widow's Mountain! With that, he pops another wheelie and sails up and into the van. The doors close as the crowd roars approval. ANGLE FAVORING MICHAEL AND LEE who're not amused. As the step van now drives past Lee's motor home, we see his lovely sister, Sabrina, at the wheel. Her eyes meet Michael's for a moment, then she drives on. [MICHAEL] That's Kelly Travis, isn't it? [LEE] Who else? He'll never learn. Never. He goes back inside and we hold on Michael, then: EXT. KELLY'S RENTED GARAGE - NEAR RACEGROUNDS - DAY - ANGLE ON K.I.T.T. pulling to a stop near Kelly's step van, which is parked in front. As Michael climbs out, we see a couple of rather beat-up cars hauling shiney, powerful bikes in trailers. K.I.T.T.'s scanner flashes indignantly. [K.I.T.T.] Really, Michael, look at that -- those cars are dead on their wheels and yet they're forced to pull those lazy motor- bikes. It's positively outrageous! [MICHAEL] Maybe now you'll appreciate me that much more, pal. He pats K.I.T.T. and heads toward Kelly's garage. INT. GARAGE as Michael comes in. The place is empty, except for the usual equipment and supplies, and a couple of bikes someone's been working on. Michael looks around. Suddenly: [SABRINA'S VOICE] Who are you? NEW ANGLE to reveal her in mechanic's coveralls, with a becoming smudge of grease on her cheek. [MICHAEL] Hi, Sabrina. [SABRINA] I don't know you. [MICHAEL] Michael Knight. I work for The Foundation for Law and Government. She wipes her hands on a rag, they shake. He holds her hand for a moment. [SABRINA] (a smile) I'm glad to meet one of our sponsors. But you could've knocked. [MICHAEL] I did. She begins working on one of the bikes. [SABRINA] ...Why are you here? [MICHAEL] Actually, I was looking for Kelly. [SABRINA] (a little tight) What is it you want? [MICHAEL] Just to talk. [SABRINA] About what? [MICHAEL] Danny Duvall. She stops working for a moment. [SABRINA] Danny's dead. There's nothing to talk about. [MICHAEL] I know you were all friends. I'm sorry. [SABRINA] Danny and I were engaged. No one's sorrier than I am. [MICHAEL] I was hoping you could help me understand what happened that day. [SABRINA] Why? What right do you have to be bothering us? [MICHAEL] We received an anonymous letter that said Danny's death wasn't an accident. [SABRINA] That's ridiculous. [MICHAEL] Does Kelly think so? [SABRINA] Leave him out of this! [MICHAEL] I've seen him ride. I'd say he can take care of himself. At least when he's on his bike. Do you know where he is? She hesitates, then: [SABRINA] He's out on the highway someplace. She returns to her work. [MICHAEL] Thanks. He turns and exits. She watches him go. OMITTED EXT. HIGHWAY - DAY - K.I.T.T. tooling along briskly. INT. K.I.T.T. - MICHAEL keeping his eyes peeled. [K.I.T.T.] Michael, I'm picking up a truck and two compact cars, but no motorcycles. [MICHAEL] He's out here somewhere. ANGLE ON SIDE ROAD as a tractor trailer pulls out, has a problem negotiating the turn. INT. TRANS AM Michael reacts. [MICHAEL] Kitt, you forgot to mention a tractor-trailer. [K.I.T.T.] He wasn't there before! [MICHAEL] He is now, pal. He pushes turbo-boost. ANGLE - TRANS AM as it clears the tractor trailer. INT. TRANS AM as Michael and K.I.T.T. land. Michael glances back. [MICHAEL] That's one for you, pal. Couldn't have done that on a motorcycle. [K.I.T.T.] As you'd say... 'a piece of cake....' As Michael reacts. EXT. HIGHWAY - DAY - ANGLE ON KELLY popping wheelies and sidewinding the entire length of the road. K.I.T.T. appears and quickly overtakes Kelly, pulls up beside him. Michael calls out: [MICHAEL] All right Kelly, pull over, I want to talk to you. With that Kelly jams his bike into high gear and hightails it down the road. ANGLE - HIGHWAY - DAY as Michael roars past Kelly, then about twenty feet in front of him, pulls the car to a stop, creating a roadblock. Kelly races right toward K.I.T.T., and instead of stopping, jumps his bike over the Trans Am and to the highway beyond. There, Kelly "lays the bike down" and skids into the side of the road. He looks up, unharmed, and begins to laugh. Michael leaps out of K.I.T.T. and runs toward the fallen rider. ANGLE - MICHAEL AND KELLY as Michael reaches Kelly. [MICHAEL] What're you trying to pull, big shot? [KELLY] I thought it was pretty cool. [MICHAEL] Well, it wasn't, and neither are you. Get up! Kelly just continues to laugh, as if goading Michael. [MICHAEL] Are you getting up, or am I going to have to pull you up? Kelly looks at him a moment, as his laughter turns dark. [KELLY] Guess you're going to have to pull me up, partner, 'cause I can't make it alone. Haven't been able to...ever since that accident on the mountain. CLOSE ON MICHAEL as he reacts to the news, stunned. FADE OUT END OF ACT ONE ACT TWO FADE IN INT. K.I.T.T. - DAY - ON HIGHWAY as they drive towards the garage. Kelly's as calm as we've ever seen him. [MICHAEL] How can you ride when it's so painful to even stand? [KELLY] When I'm on the bike, the pressure's not on my legs. [MICHAEL] Isn't there some kind of surgery that can help you? [KELLY] Sure, if I want to take two years out of my life. Stay away from racing that long, you might as well hang it up. (beat, then) Anyway these legs are the price I'm paying for killing the best friend I ever had. [MICHAEL] What if you didn't kill him? Kelly reacts, looks out the window for a moment, then: [KELLY] My third grade teacher, used to yell at me for leaning back in my chair. But I'd do it anyway, you know, showing off. I've been tilting that chair back ever since...that day, I leaned back too far and took my best friend with me. [MICHAEL] What if Danny fell off his own chair? [KELLY] No way. Danny was the best. I lost control...something I've never done before. [MICHAEL] Make a deal with you. Cool the hotdogging and I'll try to find out exactly who's tilting the chairs. As Kelly nods his agreement, K.I.T.T. chimes in. [K.I.T.T.] Michael, this situation is deplorable. I feel like a common beast of burden. Before Kelly can react to the proverbial talking car, we cut outside to: EXT. K.I.T.T. - DAY As K.I.T.T. comes to a stop in front of Kelly's garage, we can see what he's complaining about -- he's been towing Kelly's bike. CUT TO OMITTED EXT. OAKSIDE HOTEL - DAY - ON K.I.T.T. Pulling to a stop in front of the Hotel we angle with Michael as he climbs out, crosses toward the hotel with other racing personnel in party attire. As Michael enters, we hold on Roger, Darlena and their cameraman. Roger waits impatiently for Darlena, now in a baby blue jumpsuit, to touch up her hairdo. [ROGER] I've never in my life seen a person brush her hair one strand at a time. [DARLENA] You're just being catty 'cause you're losing yours. [CAMERAMAN] Ladies and gentlemen, we're rolling. With that, the cohosts slip into the sugary relationship that their audiences know and love as Lee Carstairs approaches with two new twins. [ROGER] (to camera) Welcome back to Talkabout. This is Roger Floyd.... [DARLENA] ...And Darlena Webster.... [ROGER] And we're talking to you from the Oakside prerace party. Look Darlena, here comes my very good friend, Lee Carstairs. Lee, anything you'd like to say about tomorrow's race? [LEE] Sure is. I'd like to announce that when I win, I'm turning the entire proceeds over to charity. [ROGER] Which means both the gate and the purse will be given to a good cause. [LEE] You bet. It's the spirit of giving that's made this country great, Ralph. Lee waves to the camera, then escorts his girls into the party. Darlena begins to laugh. [DARLENA] Good friend, huh? He called you Ralph! With that, Roger's fuse blows. [ROGER] That's it. Stop the camera. I can't take any more of this. The woman's a complete idiot! He turns and stomps away. Darlena is still laughing. ANGLE WITH ROGER as he approaches K.I.T.T., fuming. Recognizing the car, he hesitates. [K.I.T.T.] It's most disconcerting when a partner treats you with less than respect. [ROGER] You can talk. I'm not losing my mind. [K.I.T.T.] No, but I suspect you may if you continue your ill-fated relation- ship with Miss Webster. [ROGER] Do you think I chose that female flake in a flak-suit? Do I have my say in anything? Of course not! I just get up there every night in front of millions of viewers and make a fool of myself. Suddenly Roger stops. He looks at the car. [ROGER] I don't believe this. I'm telling my life story to a car. He quickly hurries away, praying nobody's seen him. INT. HOTEL RECREATION AREA - NIGHT A buffet table with a large figure of a motorcyclist in the middle is set up by the far wall. In the center is a dance floor which is crowded with race people rocking out to piped-in music. Lee is in evidence with his two girls, as are Roger and Darlena, socializing. ANGLE ON SABRINA TRAVIS standing by the buffet table, obviously not wanting to be there. It doesn't help that standing in front of her is Wade Fontaine, dressed in designer jeans and windbreaker. He has a drink in his hand. It's not his first. [WADE] I just think it's time we 'kissed and made up.' [SABRINA] Wade, there's no reason to 'make up.' I'm not fighting with you, I just don't like you. [WADE] That's 'cause you never really got a chance to know me. As he slips an arm around her, Michael suddenly appears dressed in sports clothes. [MICHAEL] I don't think she's going to ever get that chance because if you don't get some air and dry out, we're going to have to pour you onto your bike tomorrow. Wade starts to make a move at Michael. [MICHAEL] Don't.... Changing his mind, Wade gives Michael a strong look, and moves away. [SABRINA] Thanks. He just doesn't know when to quit. [MICHAEL] A lot of people have that problem. Me, for example. [SABRINA] What do you mean? [MICHAEL] Sabrina, I have a feeling you wrote that letter to the Foundation. Sabrina looks at Michael, taken aback...but before she can respond, we hear a roar from the entrance. FULL as we see Kelly, dressed handsomely, on one of his smaller motorcycles. He rides into the room and people move out of his way as he rides right out onto the center of the dance floor. [KELLY] C'mon everybody, don't be shy -- let's boogie! He puts his bike into a rear wheelie and begins "dancing," moving the bike in time to the music. People seem to enjoy the prank, except for Wade who comes forward and grabs Kelly's handlebars, stopping him. [WADE] Go home, Travis -- you're breaking up the party. [KELLY] You've been hanging around my sister again. Lay off, Wade, or I'm gonna be breaking you up on that hill tomorrow. He shakes Wade's hand off the handlebars, starts "dancing" again. Wade's getting angry. [WADE] You've got a lot of guts talking about that hill, considering it's where you killed your best friend. Kelly freezes, a silence falls over the room. Then, Kelly lunges off the bike, grabbing Wade, and the two men fall to the dance floor as people cry out and duck out of the way. [SABRINA] Kelly, no! Michael pushes his way through the crowd surrounding the dance floor, gets between the two men, helps Kelly get up, supports him. Wade moves after him and Lee stops him. [LEE] Cool down, man. Save it for the course. Wade straightens himself, walks away. Michael can see that Kelly's having difficulty standing. [MICHAEL] (to Kelly) Had a little too much 'celebrating,' huh? Still supporting him, Michael moves Kelly away from the dance floor. Sabrina grabs the downed bike and walks it behind them. EXT. HOTEL - NIGHT - ON MICHAEL, KELLY AND SABRINA as they move from the reception building, we hear the party resume in the b.g. Once out of the line of vision of the guests, Kelly lets go of Michael and jumps to his bike, which Sabrina relinquishes. [SABRINA] You okay, Kelly? [KELLY] It hurts, like when Danny's bike hit me. It's my body's way of remem- bering what I did to him. (to Michael) Thanks for covering back there. I owe you one. [MICHAEL] You don't owe me anything. It's what you owe yourself. Like not trying to punish yourself so much. Kelly looks at Michael for a moment, then: [KELLY] You're beginning to sound just like my third grade teacher. [MICHAEL] Could be she was smarter than you give her credit for. [KELLY] Maybe. With that, Kelly roars off. ANOTHER ANGLE - NIGHT - MICHAEL AND SABRINA As Kelly drives away, they walk together. [SABRINA] I can start breathing again. I was so afraid you were going to tell Kelly I wrote the letter. (then) How'd you know? [MICHAEL] I didn't. But after reviewing all the 'players' it didn't take a psychic to see who lost the most when Danny died. (a beat) Why'd you write it? [SABRINA] After the accident, Kelly promised to give up racing. I believed him for awhile. Then he started practicing late at night. Next thing I knew, he'd entered this race, like he was driven by demons -- speed demons. You don't know how scared I was that something would happen to him again this time.... [MICHAEL] It sounds like you think someone was after Kelly that day. [SABRINA] I know how Kelly rides. That day on Widow's Mountain, he was different right before the fall, like something was wrong with his bike. I could never prove it because Kelly had the bike scrapped right after the race. She begins to break down. Michael stops and turns to her. [MICHAEL] Look...I made a promise to find out the truth about what happened, and I don't go back on my promises. [SABRINA] Michael, the race is less than twelve hours away. I don't think anyone could do much in that little time. [MICHAEL] Tell you a secret. I've got some friends who work nights. He gives Sabrina a smile. She tries a smile back as we: CUT TO EXT. HIGHWAY - DAY - ON FOUNDATION SEMI moving steadily through the darkness. INT. FOUNDATION SEMI - DAY - ON K.I.T.T.'S MONITOR where we see a replay of the final stages of last year's race in painful slow motion. [K.I.T.T.'S VOICE] I can't imagine what you expect to find, Michael. We've been over this footage all night, and it's not getting any prettier. We widen to see that Michael's inside K.I.T.T., looking intensely at the monitor. The driver's door is ajar. [MICHAEL] It looks to me like Kelly's doing fine, having fun -- then he loses control. [K.I.T.T.] Isn't losing control par for the course on a steep incline? [MICHAEL] Not for someone like Kelly. Kitt, I've seen him ride with a physical handicap and he handles that bike like an ace. Without that handicap, nothing could've shaken him. (beat) There is something wrong with his bike. I can't seem to put my finger on it, but.... April approaches the open door, looks in as Michael runs back the tape. [APRIL] Michael, it's morning. Why don't you sleep on it -- get a fresh start. [MICHAEL] The answer's right there in front of me, I can't quit now.... [APRIL] Maybe it'll look different if you get some rest. Michael looks up at her suddenly. [MICHAEL] That's a good idea, April -- I need a new way of looking at it. (to K.I.T.T.) Give me an ECU on the bike. Then step it forward slowly. The image on the monitor changes to an extreme magnification of the bike, then moves forward, one frame at a time. The dust around the bike flies, then back wheel moves -- but the front wheel appears to remain frozen. [MICHAEL] That's what's been bothering me -- Kelly's front wheel isn't moving. Doesn't that defy the laws of physics? [K.I.T.T.] It does to my data banks. [MICHAEL] If something jammed the wheel, Kelly couldn't handle the bike, no matter how good he was. Michael fires up K.I.T.T.'s engine. [APRIL] Where are you going? [MICHAEL] To make sure Kelly's bike is all right this time. [APRIL] But what about sleep? [MICHAEL] I left it at the races. EXT. FOUNDATION - SEMI - DAY - ON HIGHWAY awash with pale morning light as K.I.T.T. drives down the ramp, hits the highway, does a 180 and speeds toward Kelly's garage. OMITTED EXT. KELLY'S GARAGE - MORNING We see the garage door open, hear muted noises from inside. EXT. K.I.T.T. approaching Kelly's garage. INT. K.I.T.T. [K.I.T.T.] (beat) Michael, I'm picking up an intruder inside Kelly's garage. [MICHAEL] Let's do a little intruding of our own. INT. KELLY'S GARAGE - DAY - ON SHADOWY FIGURE moving through the darkness, helmet-clad and slight, now leaning over to take off the bike's gas cap. Suddenly, hearing the approaching roar of K.I.T.T.'s engine, the figure looks up, dropping the cap. EXT. KELLY'S GARAGE - DAY - ON K.I.T.T. Easing to a stop by the garage, Michael gets out, approaches the garage as the helmet-clad rider zooms out past him on a second motorcycle. ANGLE ON MICHAEL reacting, racing toward K.I.T.T. He gets in. [MICHAEL] Looks like we're not the only ones interested in Kelly's bike. Let's get him, Kitt! ON K.I.T.T. squealing away from the garage, in pursuit of the myster- ious figure. EXT. OAKSIDE RACEGROUNDS - EARLY MORNING Only minutes from the garage, the motorcyclist shortcuts directly to Widow's Mountain. Speeding across the dirt, the bike seems to skid and almost fall a few times. K.I.T.T. is right on its tail as they head toward the ominous-looking mountain. INT. K.I.T.T. - ON MICHAEL as he continues to fight to keep the Trans Am on the "slippery", sandy grade at the foot of the mountain. [K.I.T.T.] Michael, I'm afraid I'm not equipped for this terrain. I have inadequate traction.... [MICHAEL] Nothing we can do about it at the moment, buddy. EXT. WIDOW'S MOUNTAIN - EARLY MORNING - ON THE MOTORCYCLE as it blasts up the grade. The incline is obviously treach- erous for the bike -- it suddenly veers off, racing parallel to the desert floor. K.I.T.T. follows, moving nearly parallel to the ground. Immediately the car begins to lose traction and slip -- and worse, to angle precariously. INT. K.I.T.T. - ON MICHAEL struggling with K.I.T.T.'s controls, as the motorcycle gains ground. [MICHAEL] Kitt, we're slipping.... [K.I.T.T.] I told you, Michael, I'm not equipped.... But before he can finish the sentence: EXT. K.I.T.T. - EARLY MORNING as the car angles on its side, then tumbles over. K.I.T.T. rolls, bottom to top, falling down the mountain -- and finally coming to a rest right side up. Still, there's no movement from within and we angle up as the motorcyclist disappears from view, and we: FREEZE FRAME AND FADE OUT END OF ACT TWO ACT THREE FADE IN EXT. WIDOW'S MOUNTAIN - EARLY MORNING - CLOSE ON K.I.T.T. still stationery at the base of the mountain. INT. K.I.T.T. - EARLY MORNING Michael stares straight ahead, as if afraid to move. [MICHAEL] Speak to me, buddy. [K.I.T.T.] I've never been so humiliated in my life, watching that two-wheeled tarantula run circles around me. I told you my tires had no traction. [MICHAEL] We'll talk to April about it, pal. What about the 'tarantula?' Anywhere in the vicinity? [K.I.T.T.] I'm afraid he's quite literally left us in the dust. Michael activates the monitor, and in a beat, Devon appears in the semi. We intercut between them: [DEVON] Michael, is something wrong? Where are you? [MICHAEL] Kitt and I just took a little unexpected trip up and down Widow's Mountain. Listen, Devon, I think somebody just tried to tamper with Kelly's bike. [DEVON] You were unable to catch him? [MICHAEL] Yeah, and Kitt's pretty upset about it. We're on our way in. Tell April to be ready to offer Kitt a little TLC. [DEVON] 'TLC?' As his image vanishes from the monitor, we: CUT TO EXT. HIGHWAY - EARLY MORNING - ANGLE ON FOUNDATION SEMI ambling along the road, backlit by a crimson sunrise. INT. SEMI - EARLY MORNING - CLOSE ON APRIL next to K.I.T.T., high-tech tools in hand, finishing an adjustment to his wheels. K.I.T.T.'s raised up. [APRIL] I hope this'll do the trick, Kitt. Don't use them unless it's absolutely necessary. [K.I.T.T.] If it'll save me from further embarass- ment, it's necessary. She reaches into the dash, pushes a button. K.I.T.T. lowers. ANGLE ON MICHAEL AND DEVON Michael's pacing, Devon's drumming his fingers on the com- puter module, deep in thought. [MICHAEL] I've got a feeling the murderer was after Kelly last June, and Danny was an innocent victim. Now all I've got to figure out is how that wheel was frozen -- and who did it. [DEVON] I don't understand it. We all wanted to win the 'Rough and Tumbles,' but not enough to kill for them. [MICHAEL] Somebody's obviously more desperate than you were, Devon. Somebody who was desperate last June, too. [DEVON] Who do you suspect at this point? [MICHAEL] Well, two of the racers still hate Kelly -- Wade Fontaine and Lee Carstairs. But I'm not sure either one has a motive for murder. [DEVON] Carstairs was badly injured in last June's race. I doubt a murderer would include himself in the package. [MICHAEL] And he's giving the money from this one to charity, so the money's not what he's after. April approaches. [DEVON] And Fontaine? [MICHAEL] He thinks Kelly stands between him and Sabrina. Of course, he probably thinks I do, too. April approaches. [APRIL] All right, the high-traction drop- downs are ready. But I haven't had a chance to test them.... [MICHAEL] The best test is using them, April. And as he heads for K.I.T.T., we: CUT TO EXT. HIGHWAY - MORNING - ANGLE ON K.I.T.T. cruising along briskly in the general direction of the Oakside Racegrounds. INT. K.I.T.T. - MORNING Michael's lost in thought as he drives. [MICHAEL] Something about Widow's Mountain and what Sabrina said keeps coming back to me, Kitt. [K.I.T.T.] I'd rather we forget the whole inci- dent. [MICHAEL] Well, we can't. It's the idea that every motorcyclist has distinctive moves. I noticed something about that rider this morning. [K.I.T.T.] How quickly he lost us, I suppose. [MICHAEL] Because we weren't ready for the mountain. But he didn't seem too sure of himself. [K.I.T.T.] I'm afraid I don't understand your point. [MICHAEL] That rider was not a pro. As the piece drops into the puzzle, he accelerates to: EXT. KELLY'S GARAGE - MORNING - ANGLE ON K.I.T.T. pulling up behind Kelly's van. Michael climbs out, goes into the garage. INT. KELLY'S GARAGE - MORNING where we see Kelly at the motorcycle, making final adjust- ments. He looks up as Michael enters, and grins. [MICHAEL] How's the bike? [KELLY] Now it's A-one. But somebody tried to play the old sweetening game on my tank -- feeding sugar into the gas line to foul up the engine. Good thing I checked it out. [MICHAEL] Sure is. Where's Sabrina? [KELLY] She's getting pretty for the race. Kelly returns his attention to the bike. [KELLY] What's up? [MICHAEL] Just before the accident last June, do you remember your front wheel jamming? [KELLY] (looking up) Don't you know it's bad luck to talk about accidents before a race? [MICHAEL] It's worse luck having them. [KELLY] All I remember is seeing Danny go down. And I see it over and over again. [MICHAEL] How could one rider cause another rider's wheel to stop turning? [KELLY] Easy. You shoot a little aluminum rod out of a CO2 air target pistol, right into the spokes -- stops everything cold, then disintegrates. [MICHAEL] Does that happen a lot? [KELLY] Bicycle racers do it sometimes in Europe. Why're you asking, anyway? You gonna sabotage the race? [MICHAEL] No. And I'm going to see that nobody else does, either. Kelly moves away, limping, stumbles. Michael extends his hand and Kelly lets Michael help him. He leans against a work bench, the pain in his legs obvious. [KELLY] If you don't mind, I'd like to gear up in private. I don't do it as easily as I used to. Michael again offers his hand to Kelly. [MICHAEL] I'm counting on you. Kelly shakes his hand and Michael leaves. EXT. KELLY'S GARAGE - MORNING Michael exits as Sabrina's climbing out of the back of the step van. She smiles pleasantly at Michael. [SABRINA] I figured you were inside with Kelly. I thought I'd wait 'til you came out before I thanked you. [MICHAEL] Thanked me? For what? [SABRINA] Chasing away the person who tried to wreck Kelly's bike. Kelly told me all about it. [MICHAEL] Kelly didn't know I chased anybody. Sabrina seems flustered. She laughs nervously. [SABRINA] Well, we knew someone came to our rescue.... Michael stops her. [MICHAEL] Why'd you do it, Sabrina? [SABRINA] I don't know what you're talking about, Michael.... [MICHAEL] Don't play games with me. What is it you really want? First you write to the Foundation that somebody murdered Danny, then you tell me that Kelly was really supposed to be the victim, and now you try to knock him out of the race yourself. What's going on? She looks away a beat, then, strongly: [SABRINA] I want my brother, alive. I begged you to catch the murderer -- well, you haven't. And if Kelly goes out on that race course, he's fair game. I'm not just going to sit by and let somebody kill him.... [MICHAEL] You're not in charge of his life, Sabrina. He's a big boy. If this race means so much to him, you have no right to stop him. [SABRINA] I have the right that loving him gives me. [KELLY'S VOICE] That's not fair, Sis. WIDER ANGLE As Michael and Sabrina turn to see Kelly, standing shakily in the door to the garage. Seeing her brother, Sabrina appears stricken. [KELLY] I've got to win this race for Danny. You can't stop me, Sabrina. Not if you love me. Sabrina hesitates, moves to Kelly and embraces him. He looks over at Michael, then awkwardly strokes his sister's back. [KELLY] Hey, c'mon. You'll ruin your mascara. Sabrina nods and moves back. Kelly smiles at Michael and goes back into the garage. Michael turns to Sabrina. [MICHAEL] (a beat) See you at the track? [SABRINA] At the finish line. He moves off, climbs into K.I.T.T. As he pulls away, we move in on Sabrina, her concerned expression returning. OMITTED EXT. OAKSIDE RACEGROUNDS - DAY now in the stages of pre-race preparation. ANGLE ON ROGER AND DARLENA walking in the sunlight together, looking from a distance like a contented couple. As they come closer, we hear their discussion: [DARLENA] Roger, you're out of your polyesters if you think I'm going to spend the entire race at the monitor. [ROGER] It's not a matter of what I think, my dear. It's simply in my contract. [DARLENA] Contracts were made to be burned. [ROGER] But you keep forgetting, Darlena -- you're a replacement, and I've got seniority. For once, Darlena doesn't have a comeback. Roger smiles sweetly. [ROGER] So brush up on your color, sweet- meats -- we'll all be expecting a titillating blow-by-blow. Upset, Darlena storms off. ANGLE ON K.I.T.T. pulling to a stop. As Michael climbs out, starts off. ANGLE ON CAMERAMAN as he joins Roger, craning after Darlena. [CAMERAMAN] Boy, what's eating Darlena? She gave me a look that made my watch stop. Roger has spotted K.I.T.T. He takes the Cameraman's arm and in a very chummy manner, walks him toward the Trans Am. [ROGER] We're going to scoop that tinseled termagent once and for all, you and I. Meet the eighth wonder of the world! They now stand before K.I.T.T. as Roger indicates the car. The Cameraman looks at K.I.T.T., then at Roger. [CAMERAMAN] The discovery of the car occured some years ago, Roger. [ROGER] Yes, but this car talks. He approaches K.I.T.T. like an old friend. [ROGER] Say a few words to my Cameraman. K.I.T.T. says nothing. [CAMERAMAN] Guess it's not in a talkative mood. [ROGER] (desperate) C'mon, metalhead, say something. No response from K.I.T.T. Cameraman looks sadly at Roger, shakes his head and walks away. Roger turns angrily to K.I.T.T. [ROGER] Traitor! As Roger storms away, is out of earshot: [K.I.T.T.] That's show biz. OMITTED EXT. LEE CARSTAIRS' MOTOR HOME - DAY - ANGLE ON LEE as he comes down the steps, in racing gear, a third set of twins with him. He spots Michael approahcing. [LEE] How's the security business, Knight? [MICHAEL] Alive and well. How's the racing business? [LEE] Just talked to my agent. Got a new promotion. Carstairs cycle. Great idea, huh? [MICHAEL] I get the feeling you could sell just about anything. [LEE] You can't make a living just winning races. Believe me, it's those endorse- ments that count. Well, I'll see you. I've got to beat the crowds to the track so I can walk the course before the race. [MICHAEL] Good luck. Lee and the girls move off. Michael continues toward the starting line. [WADE'S VOICE] Hey, stringbean -- I've got a bone to pick with you. Michael faces Wade as he approaches, dressed in his racing unleathers and looking mean as only a hangover can make a man feel. [MICHAEL] Nothing like a good night's sleep to mellow you right out.... [WADE] Oh yeah? Listen, what's between Sabrina and me is none of your business. [MICHAEL] I don't think it's any of your business, either. She's not interested. [WADE] She was until you came along. [MICHAEL] I doubt that. Michael starts off and Wade grabs his arm. [WADE] I think you need to learn some manners, Stretch. And Wade hauls off to punch Michael. Michael simply steps aside and Wade's fist slams into the side of a parked car. It's a terrific impact that hurts considerably. [MICHAEL] Thanks for the lesson...I sure hope you can still ride with that bad hand of yours. Wade glares at him, then hurries off. ANGLE ON KELLY as he makes his grand entrance doing a "wheelie" towards the start/finish line. Red smoke billows from his tail pipe, blue smoke pours from each handlebar. As Kelly reaches the line, Roman candle-like rockets blast from the skid plate. CLOSE ON MICHAEL grinning, shaking his head at Kelly's audacity. He moves to a vantage point. EXT. OAKSIDE RACEGROUNDS - DAY now filled with color, life and noise -- all the excitement of a major sporting event. ANGLE ON THE RACETRACK now readily visible in the broad daylight, a tortuous assembly of moguls, mud pits, streams, and, across the long range, partially obscured by the distance, Widow's Mountain, tall and ominous. ANGLE ON THE RACERS preparing for competition, we move between the trailers and crowd, singling out riders adjusting their racing togs, testing their bikes, making final adjustments, psyching up for combat. CLOSE ON ONE RACER as gloved hands reach inside a jacket. Then, those same hands appear holding a strange weapon -- a CO2 air target pistol. A short metal bar is fed into the gun, the mechanism is checked; then the gun is safety-ed and slipped behind the tool kit on the bike. The gloved hands then zip the pants up. The legs climb on the bike, the engine revvs to life. As the bike rides away, toward the starting line, we: FREEZE FRAME AND FADE OUT END OF ACT THREE ACT FOUR FADE IN EXT. OAKSIDE RACE GROUNDS - DAY - ON ROGER AND DARLENA Behind them, everything's in full swing for the big day. Roger and Darlena (who's in a bright green jumpsuit) stare straight ahead -- they've given up talking to each other. The cameraman gives the "go" sign and they turn on their plastic smiles. [ROGER] Welcome back to Talkabout. We're at the Oakside Charity race, which is about to begin any minute.... [DARLENA] ...yes, and Roger will be giving you a blow by blow while I race myself to the finish line to give the lucky first-placer a great big victory kiss. Roger looks at her for a moment, confused, then: [ROGER] Ahhh, no, Darlena, I'm scheduled to be at the finish line. [DARLENA] Roger, do you really think these awe- some athletes are going to want a victory kiss from you? [ROGER] You've gone too far this time, Webster! [CAMERAMAN] Whoa, slow down -- cut, cut! [DARLENA] Tough donuts, Floyd. It's done, and now the whole country's expecting me at the finish line. She turns and walks toward the trailers. [ROGER] You're going the wrong way, bimbo- brain. [DARLENA] I've got to change my attire. You don't think I'm going to be seen in this old thing. Roger sits down again...defeated. [ROGER] (to his cameraman) I was doing Shakespeare before this! EXT. STARTING LINE - DAY as we see the racers lining up, decked out in their finest unleathers, revving engines, checking out each other's bikes. Lee and Kelly are in the center, vying for the spectators' attention; Wade's nearby, ready for action. Devon and April reach the starting line, Devon watching the racers with obvious nostalgia. As Michael approaches: [DEVON] (to April) The equipment may have changed, but the raw excitement remains the same. I quite miss it. April looks up as Michael joins them. [APRIL] You still look worried, Michael. Maybe we should postpone the race. [MICHAEL] All I've got is a feeling, and that's not enough to cancel all the work that's gone into this. [DEVON] Then I think it's time to give the officials the green light. He moves off. [MICHAEL] 'Dusty' Miles seems to be having the time of his life. As Devon approaches the officials' table, Michael looks at the racers, unevenly lined up, looking like eager bloodhounds straining on their leashes. Kelly keeps lifting his front wheel off the ground, making a lot of noise. [APRIL] Why's Kelly doing that? [MICHAEL] Kelly's got to do things a little bigger than everyone else, maybe because he feels so much smaller inside. (with a smile) It's his style, April. Getting attention. [APRIL] Seems like a lot of trouble. [MICHAEL] They call it promotion. It's the name of the game around here. With- out it, you're...wait a minute -- 'promotion.' That just might be it. [APRIL] What do you mean? [MICHAEL] I'll talk to you later. With that, Michael turns and hurries toward K.I.T.T. as Devon rejoins April, looking after him. EXT. STARTING LINE - DAY - LOW ANGLE ON RACERS Camera starts on Kelly as he takes his place in the line, then pans over to Wade, and to Lee, who glances coldly at Kelly. All the engines screech at a deafening pitch as the official drops the flag, a bomb goes off, and they all fly forward, right over camera. ANGLE - TRACK - ON LARGE HAY BALE WALL as the racers reach their first obstacle, a large pile of hay bales. Creating an impenetrable wall as high as a hay wagon, and six bales deep. Kelly, already in the lead, flies over the obstruction, managing to miss the narrow mud trench directly in front of it. Lee is right on his tail. Behind them, the other racers aren't so lucky, as we see some spin out into the hay, while others make direct hits into the mud trench. OMITTED INT. K.I.T.T. - ANGLE ON MICHAEL as Michael slides in and immediately turns on the monitor. [K.I.T.T.] Michael, I've been watching this race and have come to the conclusion that there is very little difference between motorcyclists and lemmings jumping off cliffs. [MICHAEL] Right now, I need your attention on something a little less hairy. I want you to access Lee Carstair's agency contracts. [K.I.T.T.] Every time I interface with agency computers, I come away wanting to count my circuits. Must I? [MICHAEL] I think I've found a motive, Kitt. [K.I.T.T.] In that case, I'll take a chance. With that, we angle to the monitor where the contracts begin flashing on the screen. EXT. TRACK - DAY - ANGLE ON KELLY as he roars over a huge mud pool, and onto open road. Lee is right behind him. Camera pushes in as we see Lee as he's bumped by Wade, who wipes out into the mud. Lee continues racing neck and neck with Kelly. INT. K.I.T.T. - DAY - FAVORING MONITOR as we hear the drone of the racing outside, Michael studies the monitor. Then: [MICHAEL] Just what I thought. Kitt, every one of Lee's endorsement contracts ends this year. [K.I.T.T.] I don't understand the connection. [MICHAEL] Lee said it himself. The endorsements are his bread and butter. Without them he can't make ends meet. [K.I.T.T.] What does that have to do with this race? [MICHAEL] Lee has to win to reestablish himself as a champion, or no advertiser is going to need him. Kelly's the only rider equal to him. I'll bet you Lee got caught in his own sabotage last June. And Danny got the worst of it. Michael starts up K.I.T.T. [K.I.T.T.] Are you going to stop the race? [MICHAEL] That's like stopping a stampede. No, Kitt, you and I have just become the first four-wheel motorcycle team in history! He punches a button labeled DDHT. K.I.T.T. raises up so that he's far off the ground. EXT. K.I.T.T. - DAY taking off, tearing toward the starting line, his "high- traction drop-downs" churning. EXT. STARTING LINE - DAY - ANGLE ON K.I.T.T. racing across the line and onto the track, to the shocked astonishment of spectators, officials, and Channel Three camera crew. ANGLE ON DEVON AND APRIL utterly astounded by Michael's actions. ANGLE ON SABRINA reacting. ANGLE ON ROGER sitting in his director's chair, camera in front, looking into a monitor which shows the race in progress. [ROGER] ...and it looks like there's no separating Travis and Carstairs as they continue to share the lead...as they have since the beginning of the race. Bringing up the rear are McNamer, Hart and...a strange black car! Roger stops for a moment, then does a double take. EXT. TRACK - FULL as we see the very strange sight of K.I.T.T. "rough and tumbling" it down the track, passing by some very surprised racers. Michael is coming to the first big obstacle: the hay bales with the mud trench behind them. INT. K.I.T.T. - ON MICHAEL as he's holding fast on the rocky course. [K.I.T.T.] Michael, I'm developing a modicum of respect for these motorcycles. This is rather hard on the frame. [MICHAEL] The bones don't have it any easier, pal. (then) Looks like we've got a little challenge coming up. I hate to do this to you. [K.I.T.T.] That's all right, Michael. It's for charity. EXT. K.I.T.T. - DAY - ON HAY BALE WALL as K.I.T.T. penetrates right through the thick hay wall, sending pieces in all directions, gliding over the narrow mud trench. INT. K.I.T.T. - ON MICHAEL as he settles back down. Hay is flying off the windshield. [MICHAEL] That was great, Kitt! Maybe we do have a future as a racing team. [K.I.T.T.] Heaven forbid, Michael. EXT. RACECOURSE - NEAR TREES - DAY As Kelly and Lee, with a tremendous lead, burst between two trees and race onto it. CLOSER ANGLE - LEE With no one behind him, and a clean ride ahead, he pulls out the CO2 air target pistol from behind the tool kit. EXT. K.I.T.T. - DAY as Michael continues down the course, passing more racers, reaching the river. INT. K.I.T.T. - DAY - FAVORING MONITOR showing a sonar depth analysis. [K.I.T.T.] Michael, my sonar indicates that water is much deeper than it looks. [MICHAEL] Let's not find out how deep, Kitt. As Michael hits the turbo button: EXT. K.I.T.T. - DAY - LOW ANGLE - SLOW MOTION flying over the water and the racers, landing on the other side. ANGLE - ROGER AND CAMERAMAN as he continues to stare at the monitor, unable to believe what he's seeing. [CAMERAMAN] Uh, Roger? Roger, we're on the air. Realizing that the camera is still on him, Roger turns to it...rather tongue-tied. [ROGER] Oh, hi...uh...it seems that a car has sort of entered the race and is flying over...things, so...we'll be right back after this commercial. EXT. COURSE - DAY - OTHER SIDE OF TREES Kelly and Lee, still alone, race almost neck and neck. CLOSER ANGLE - LEE Keeping the air pistol close to his side, he aims it down at Kelly's front wheel. Kelly's concentrating on his riding, doesn't even notice Lee's presence. INT. K.I.T.T. - ON MICHAEL as he drives toward trees. [K.I.T.T.] Michael, I've picked up Lee and he's aiming a weapon at Kelly. [MICHAEL] Not for long. [K.I.T.T.] But what about the trees, Michael? [MICHAEL] We're a team, right? Let's act like one! With that, Michael flips the left side booster switch. EXT. TREES - DAY - ANGLE ON K.I.T.T. suddenly lifting onto his two right wheels, skiing between the trees without touching a leaf. OTHER SIDE OF TREES as K.I.T.T. settles back on all fours. Kelly and Lee are still some distance ahead. ANGLE ON KELLY AND LEE Lee's about to shoot the metal rod into Kelly's front wheel when suddenly, K.I.T.T. seems to tear out of nowhere at incredible speed, cutting between the two motorcycles, just as Lee fires the pistol. CLOSEUP - K.I.T.T.'S SIDE as the rod bounces off and falls to the ground. ANGLE ON KELLY turning and noticing K.I.T.T. for the first time. At first he's surprised, then, with a smile, he gives Michael a thumbs-up and accelerates forward off the straightaway. ANGLE ON LEE as he drops his gun, now angles away from Kelly, hoping to shake the pursuing car. WIDER ANGLE as K.I.T.T. drives parallel to Lee, then swerves toward him, forcing Lee off the path. ANGLE ON LEE suddenly realizing he's headed directly toward a large pool of water. As the motorcycle flies into the pool, Lee's thrown off the bike. CLOSE ON THE BIKE disappearing beneath the surface of the water. CLOSE ON LEE slamming against the ground, knocked unconscious. INT. K.I.T.T. - ON MICHAEL as Michael grins out at the fallen Lee. [MICHAEL] Carstairs'll be out of commission for awhile. [K.I.T.T.] Michael, my scanner shows that Kelly has stopped at the foot of Widow's Mountain. [MICHAEL] He must've lost his nerve, Kitt. [K.I.T.T.] He's also losing his lead. I'm detecting four racers less than a hundred yards behind Kelly. [MICHAEL] Come on, let's give him a little boost. EXT. FOOT OF WIDOW'S MOUNTAIN - DAY as we see Kelly, sitting on his bike, staring up at the mountain...terrified. Michael races over to him, then stops beside him. Kelly talks, never taking his eyes off the mountain. [MICHAEL] (through open window) You've got to get up that mountain. [KELLY] I can't. [MICHAEL] Listen to me. What happened last year wasn't your fault. It was Carstairs'! [K.I.T.T.] Michael, the other racers are only fifty yards behind now. [KELLY] I'm sorry, but without Danny, I just feel too alone going up there. [MICHAEL] You won't be alone, Kelly. I'm going with you. Kelly looks over to him for the first time and smiles. With determination, Kelly revvs his bike and begins up the treacherous mountain. INT. K.I.T.T. - ON MICHAEL [MICHAEL] Okay, Kitt, let's see what those high- traction drop-downs can really do. [K.I.T.T.] It will be a pleasure to show this mountain who's boss. EXT. K.I.T.T. - DAY - ANGLE ON WHEELS as Michael accelerates, we see the tires catch the dirt, push the Trans Am up the mountain with surging power. EXT. WIDOW'S MOUNTAIN - DAY as K.I.T.T. overtakes Kelly and, side by side, car and motorcycle tear up the steep slope. EXT. TOP OF MOUNTAIN - DAY as Kelly on his bike and Michael in K.I.T.T. come over the crest, and fly down the other side toward the finish line. EXT. START/FINISH LINE - DAY where a finish banner flips in the breeze. Sabrina is nearby, waiting anxiously. Darlena is at the finish line, wearing a rainbow colored jumpsuit. She is yelling at a remote cameraman. [DARLENA] This is my show, buster, so don't tell me what to do. I want to be right at the line so that I can be the first to see the winner. ANOTHER ANGLE Devon and April join Sabrina, as the crowd cheers. Kelly glides across the finish line, followed immediately by K.I.T.T. Darlena tries to get to Kelly, but he's already surrounded by Sabrina, Devon, April and a horde of well- wishers. Without warning, four other bikes roar across the line spewing mud...and covering Darlena's new jumpsuit and hairdo. All she can do is look around in shock. ROGER at the base camp watching the "attack" on Darlena on his monitor. He smiles, then to camera: [ROGER] Let's see that on instant replay. TOP OF MOUNTAIN - FULL as Michael comes out, and runs to Kelly. He gives him a brotherly hug. [MICHAEL] You did it, kid! [KELLY] No -- we did it. Camera cranes up and over as we: FREEZE FRAME AND FADE OUT END OF ACT FOUR TAG FADE IN EXT. HOTEL - DAY - CLOSE ON RACE BANNER Various race participants are leaving. After a moment, April and Michael come out. K.I.T.T.'s parked nearby. [APRIL] Well, Michael, the race was a complete success. The proceeds far exceeded Devon's expectations. [MICHAEL] That's great. Except that Kelly had to forfeit his win because he had help. [APRIL] I think he won more than a race yesterday, Michael. [MICHAEL] Yeah. I guess our little last minute entry didn't hurt. [APRIL] No, in fact, I've had dozens of calls from promoters begging for Kitt's services. [MICHAEL] Don't tell him that -- it'll go to his head. Kelly's step van drives up, Sabrina at the wheel, Kelly beside her. Michael moves to the van. Kelly holds his custom helmet in his lap. Sabrina smiles from the driver's seat. [SABRINA] We want to thank you Michael -- for everything. Kelly hands his helmet to Michael. [KELLY] And I want you to have this. I decided that I'm going to have that surgery. Then I'm gonna find something else to put my energies into besides racing. [MICHAEL] Whatever it is, I hope it can stand you. That's a lot of energy. Sabrina smiles and they drive off. As Michael turns back to April, Devon returns riding a small, dignified Honda 250 motorcycle, wearing a jacket, gloves, and helmet. [DEVON] These races have sparked my taste for the open air once again. I'll see you back at the Foundation. He rides off, popping a "wheelie," as Michael and April react, climb into K.I.T.T. INT. K.I.T.T. - DAY - MICHAEL AND APRIL [K.I.T.T.] Honestly, the fact that Devon would choose that two-wheeled can opener over the comfort of an automobile is immensely insulting. [MICHAEL] You may have a point there. Michael looks after Devon, and a mischievous smile crosses his face. He starts the engine. [MICHAEL] In fact, I think we should demonstrate the superiority of a four-wheeled machine.... [K.I.T.T.] Michael, you wouldn't.... As Michael punches the "pursuit" button. OMITTED EXT. K.I.T.T. - DAY - CLOSE ON DEVON responding to the roar of K.I.T.T.'s engine behind him, looking back over his shoulder, appalled, as: [DEVON] Michael, no! And before K.I.T.T. leaves the ground, we: FREEZE FRAME AND FADE OUT THE END

{"show": "Knight Rider", "season": "s02", "episode": "e16", "title": "Speed Demons"}

knightriderarchives

ACT ONE FADE IN EXT. MAXIMUM SECURITY PRISON - DAY - STOCK A desolate setting surrounding the desolate buildings. Tall walls. Guards in gun towers at every corner. The hot sun beats down, baking everything to a rock hardness that reflects the conditions inside the prison walls. EXT. EXERCISE AREA INSIDE PRISON WALLS - DAY The exercise period. The inmates are milling around the yard. Some playing ball, some pumping iron, most just shooting the breeze. We pan through the yard, and find ourselves in front of a gaggle of men. They're surrounding two men who are arm-wrestling. One of the men is a parti- cularly rough-looking con, his long dark hair and unshaped beard failing to hide the cruelness in his eyes. As we move closer, we realize we're looking at: GARTHE KNIGHT Though his opponent is gasping for breath and straining, Garthe doesn't move, doesn't flinch. His eyes bore, with nothing but a profound coldness, into the other man's eyes. Slowly, inexorably, Garthe pushes his hand toward the table. Suddenly, with total finality, he smashes the hand down. The table splinters under the force of the impact and the man cries out in pain. Garthe still doesn't react. We go to: THE GUARD TOWER where one of the guards is staring out toward the surrounding desert. Something has totally captured his attention. We begin to hear a low rumble, almost a growl, and follow his glance to: THE DESERT Empty, except for a black form speeding toward the prison. Straight as an arrow and picking up speed as it approaches. As it comes closer it begins to take shape. In a moment, we recognize: GOLIATH snorting smoke, its powerful engine beginning to roar as it roars closer. EXT. EXERCISE AREA - ON GARTHE standing, turning toward the guards. As though he senses something. A slight smile spreads across his face and he walks across the yard. Around him, the guards are begining to panic as a siren sounds. Guards rush into the yard, start trying to round up the prisoners who are reacting to the commotion. ON THE GUARD TOWERS All of them watching Goliath roaring toward them. Frantic phone calls are placed. Goliath's roar is audible to every- one. The prisoners turn, listen, watch. ON GOLIATH approaching the prison walls. Inside, we see a lone driver, a man known as Halverson. The guards open fire, but the bullets bounce off harmlessly. The driver gives them a blast on thr air horn, and roars toward the prison walls. EXT. EXERCISE YARD as the guards continue firing, but to no avail. Suddenly, there's a tremendous sound as Goliath hits the prison walls and they crumble. Debris flies in every direction as the gigantic black truck smashes into the exercise yard. ON GARTHE calm, cool and certain in the midst of mass confusion. He runs, crouching, toward the truck. Halverson opens the driver's side, Garthe leaps inside, slamming the door behind him. ON GOLIATH As quickly as it appeared, Goliath leaves, roaring over the rubble that was once walls and through the gaping hole to freedom. The clatter of automatic rifle fire is heard, then drowned by another blast on Goliath's horn. INT. GOLIATH - FEATURE GARTHE behind the wheel of the truck, that same strange, thin smile on his face. As he steers across the desert: CUT TO OMITTED EXT. ANOTHER ND DESERT AREA - DAY This time we see another black form speeding past camera. It's the Trans Am, and it's heading directly toward a cliff. The drop is breathtaking. At the speed the car's going, it's going to be difficult to stop. INT. TRANS AM - DAY Michael's at the wheel, white-knuckling the wheel. He's nervous. [MICHAEL] Hang on, buddy...and get ready to make like a bird. Suddenly, a red light flashes on the dash and we hear a warning buzzer sound. [K.I.T.T.] Michael, the parachute release mechanism is malfunctioning. Abort...abort! [MICHAEL] That's easier said than done, pal...! Michael slams on the brakes. EXT. TRANS AM - DAY as it slides and skids toward the edge of the cliff. For a moment, it seems certain it's going over, but at the last moment, it catches and stops. INT. TRANS AM - DAY Michael sits frozen for a beat, then slowly, carefully, lets his breath out. [MICHAEL] Looks like it's back to the drawing board. [APRIL'S VOICE] Don't worry, Michael. I'll have it fixed in fifteen minutes. CUT TO INT. FOUNDATION LAB - DAY If possible, the same location used as the "heat room" in Ring of Fire. April's tending to K.I.T.T. Michael watches anxiously. [MICHAEL] Fifteen minutes...look, take half an hour and make sure it's perfect, okay? [APRIL] Would you relax? I know what I'm doing. [K.I.T.T.] And I know what I'm not doing.... [APRIL] What's that, Kitt? [K.I.T.T.] I'm not going near another cliff with or without a parachute. Teetering on the edge of oblivion out there has spoiled my appetite for heights. Michael and April exchange a smile. Devon hustles briskly in. He's clearly on his way to something else. [DEVON] Not to worry, Kitt. It's going to be canapes and croissants for the next few days. Michael and April turn to Devon. [MICHAEL] Sounds good to me. [APRIL] It sounds bad to me. Devon, I need to test the parachute I've installed in Kitt. Devon holds up his hands to quiet them, and checks his watch. [MICHAEL] April, you heard Kitt.... [APRIL] Michael.... [DEVON] Please...I don't have time for a debate. I'm sure you've both heard of Doctor Klaus Bergstrom. Michael and April both nod. [APRIL] Of course. His research in satellite laser technology has revolutionized the field. [DEVON] Precisely. Well, Doctor Bergstrom's visiting from Sweden -- to attend a symposium at the University. [MICHAEL] Here? That'll be the first time he's left Sweden for years. [DEVON] Yes...and a good many people, including his wife are concerned for his...well-being. [APRIL] (laughing) From what I've heard about Doctor Bergstrom his well-being isn't a problem. [MICHAEL] Meaning? [APRIL] Well, Doctor Bergstrom apparently loves the wine, the women.... [DEVON] (interrupting) That's where we...or, more precisely, Michael...you come in. Michael suddenly realizes where Devon's headed. [MICHAEL] Wait a minute, Devon. Einstein or not, I'm not interested in playing babysitter to.... [DEVON] (interrupting) It's hardly babysitting. We've been asked to help make Doctor Bergstrom's stay as pleasant...and uneventful...as possible. (beat) Besides, his niece is with him. Per- haps you could show them the sights. [MICHAEL] The sights? Devon, I'm a terrible tour guide. I always get lost. Devon and April exchange a smile. [DEVON] Then you're in luck. Your first date is here at the Foundation cocktail party we're having for Doctor Bergstrom. Three o'clock...sharp. And please dress appropriately. Before Michael can protest, Devon's gone. [MICHAEL] Terrific! What am I going to say to some scientist and his niece? From Sweden? [CHRISTINA'S VOICE] Neither do I. CUT TO EXT. FOUNDATION - DAY The cocktail party is underway. We're close on a very beautiful woman in her midtwenties. She's sipping champagne. This is Bergstrom's niece, Christina. She's talking to Michael, who's looking very intrigued. [CHRISTINA] My father's Swedish, my mom's American and I was born in the States. (smiles) Actually, I lied. I can say, 'ja,' but that's it. Luckily, there's not too much call for Swedish in behavorial psych these days. [MICHAEL] You couldn't be a psychologist. You don't have a beard. [CHRISTINA] That's because I just graduated. The beard grows in later. Michael laughs. Christina smiles back. They're obviously enjoying each other's company. [MICHAEL] With your uncle in all those meetings, you're going to have some time on your hands. [CHRISTINA] (nodding) For the first time in about twenty- four years. (off Michael's look) I graduated college two weeks ago. Suddenly, I'm a free woman. (smiles) Any idea what I can do with all this independence? Christina laughs mischievously, more than a little flirta- tious. But before Michael can answer, Devon and April step up with Dr. Bergstrom. He's in his late thirties, still young looking and fit. And rather handsome, too. [APRIL] Careful, Christina. He's a terrible tour guide. Always gets lost. [MICHAEL] Hey, what're you talking about? I'm the best. [DEVON] A remarkable improvement in less than five hours, Michael. April and Michael smile. Devon introduces Bergstrom. [DEVON] I see you've met Christina. This is her uncle, Doctor Bergstrom. As Michael and Bergstrom ad-lib intros, an aid comes up to Devon, whispers something. [DEVON] Excuse me, please...I won't be a moment. As Devon crosses the ground to the house, Bergstrom smiles at Michael. [KLAUS] A moment's all I need. Look, once this 'affair' breaks up, where would a bashful Swede go to see the... sights? Klaus smiles at Michael playfully. Christina reacts. [MICHAEL] Well, that depends on what kind of sights you have in mind. [KLAUS] That's simple...the kind most travel agents wouldn't think of recommending. [CHRISTINA] Uncle Klaus! You promised.... [KLAUS] Research, Christina. This is research. America is such a fascinating place, I must study it. In detail.... Christina shakes her head skeptically. Klaus grins and we go to: INT. FOUNDATION - DRAWING ROOM - DAY where we find Devon on the phone. His face is white, his look one of grave concern. [DEVON] Yes, I understand. Keep me informed of any further developments. He hangs up and stands frozen, for a beat. Then he turns and hurries out to: EXT. FOUNDATION - DAY as he moves quickly through the party. He intercepts Michael on his way for more champagne. He takes him by the arm. [DEVON] I must speak with you immediately. Alone. Michael senses Devon's urgency, follows him across the lawn. ANGLE ON DEVON AND MICHAEL When they're alone, Devon turns to Michael. [DEVON] Garthe Knight has escaped from prison. [MICHAEL] (stunned) Escaped? How? [DEVON] (beat) In Goliath.... As these words sink in, hold on Michael, and then: CUT TO EXT. MANSION - REMOTE AREA - DAY When we see this house, we're immediately struck by two things: its majestic beauty and its remote location. The black limo pulls up the driveway, parks, and Garthe gets out. He strides into: INT. HOUSE - ENTRANCE AREA - DAY Garthe enters. Armed guards snap to attention. He strides past them, through the house, and out to: THE POOL A woman, her back to camera, is luxuriating in the spa part of the pool. She turns as Garthe walks out of the house toward her, moving across the lawn like a conquering soldier taking possession of his spoils. He walks toward the pool and, without hesitating a moment, steps into the spa, takes the woman in his arms and kisses her. She is Adrianne Margeaux (from Soul Survivor fame.) She kisses back for a moment, then breaks the embrace. [ADRIANNE] Garthe...you're free. I'm so happy. Garthe stares at Adrianne, then at the luxurious sur- roundings. [GARTHE] For good reason. How much does this cost me? [ADRIANNE] I gave you your freedom! Don't bother me with dollars and cents. [GARTHE] Goliath freed me. [ADRIANNE] And I rebuilt Goliath. Just as I have directed this project from the beginning. Don't ever forget that. Garthe and Adrianne stare at each other. There's a fire between them that's both attraction and repulsion. A beat, then: [GARTHE] The dungeon...it's been done as I requested? [ADRIANNE] Exactly. [GARTHE] And the other? [ADRIANNE] See for yourself. Garthe turns and stomps toward the house. Adrianne reaches for a towel as we: CUT TO INT. LABORATORY - DAY A lab that is both medical and scientific. Hi-tech, but not science-fiction. Two lab assistants circulate, taking notes, making adjustments. We pick up Garthe moving through the lab with Dr. Adrian Moritz. An internationally reknown plastic surgeon, Moritz is young, fit, tan. Very jet-setty looking. [MORTIZ] We completed the tertiary state of reconstruction yesterday. You'll be very pleased. At this point Adrianne, in a skin-tight black jump suit, joins them. Adrianne links her arm through Garthe's. [ADRIANNE] You see, everything is going just as I promised it would. Even Goliath's weaknesses have been totally eliminated. He is completely invulnerable now. [GARTHE] (to Moritz) And the biodata implant? [MORITZ] It's in place and functioning beau- tifully. Much like an IV apparatus introduces medicine drop by drop into the bloodstream, the biodata unit is slowly programming the patient's brain with every detail of the subject's life and personality. Second-by-second, twenty-four hours a day. (smiling) The only things he won't know happened less than thirty-six hours ago. Garthe nods. [GARTHE] When can we see the patient? [MORITZ] The bandages come off tomorrow. Precisely as I promised. [ADRIANNE] And precisely as I promised. You see, dear Garthe, everything is under control. Garthe turns to Adrianne. His face is cold, hard. [GARTHE] Not quite everything. There's still one crucial matter I have to take care of. Garthe turns to leave, but Adrianne takes his arm, holds it firmly. [ADRIANNE] Later. Take care of that...later. Adrianne leans up, kisses Garthe lightly. Moritz discreetly exits, leaving them alone. Adrianne kisses Garthe again. [ADRIANNE] There's one crucial matter you must take care of here. And now.... As they kiss and exit, we: CUT TO OMITTED EXT. CITY STREET - NIGHT as the Trans Am cruises through traffic, heading for the hotel where Klaus and Christina are staying. INT. TRANS AM - NIGHT Klaus is in the backseat, Christina in the front. Both of them are listening, fascinated as K.I.T.T. entertains them. [K.I.T.T.] Actually, I first went on-line in a main frame in Washington, but the government bureaucracy never suited me. Too stuffy. Bergstrom roars with laughter in the backseat. [KLAUS] I know what you mean! I spend half my life with dried-out bureaucrats who have dust in their veins. [K.I.T.T.] I'm much happier at the Foundation. Of course, I still have to deal with human beings.... [MICHAEL] Hey, you're not exactly a cup of tea, pal... (to the others) Very moody. And almost no sense of humor. [K.I.T.T.] I have a highly developed sense of humor. For example, have you heard the one about the man who walked into the bar with a horse...? [MICHAEL] Later, pal. We're here...and not a minute too soon. EXT. HOTEL - NIGHT as Michael gets out, opens the door and helps Christina out. Klaus climbs out, leans back into the car. [KLAUS] Good night, Kitt. Perhaps we could play chess before I leave. [K.I.T.T.] I'd be delighted. There are still 3,642 variations of the Stravinchy defense I'd like to try. Klaus laughs, turns to step onto the curb, misses and comes down hard on his ankle. Michael's immediately at his side. [MICHAEL] Doctor Bergstrom, you all right? [KLAUS] It's twisted slightly, but I'm sure it will be fine. Klaus takes a few tentative steps, limping slightly. They head for the hotel entrance. [CHRISTINA] As long as you get it elevated and put some ice on it. Immediately. [KLAUS] Immediately? But, I was going to invite Michael to have dinner with us. [CHRISTINA] Uncle Klaus, Michael probably has plans. INT. HOTEL - NIGHT as Michael, Klaus and Christina enter the hotel. [MICHAEL] Not really. [KLAUS] Well you do now. Where's a good restaurant? Christina takes Klaus' arm, leads him toward the elevator. [CHRISTINA] How's 'Chez Room Service' sound? [KLAUS] Room service? Christina.... [CHRISTINA] I'm going to take care of you, Uncle Klaus...whether you like it or not. Klaus glances over at Michael, shakes his head, Michael grins. As they enter the elevator: CUT TO EXT. FOUNDATION - NIGHT still, dark, except for the lights on the grounds. We begin to see dark figures, dressed in commando garb, moving through the shadows. ANGLE ON A SECURITY GUARD making the nightly rounds. He hears a sound, turns his gun at the ready. Suddenly a thin wire garrot is wrapped around his neck and tightened. The guard struggles briefly, choking for air, then collapses. ON THE BUILDING as several commandos reach the building, move to the doors at the rear of the building. CLOSE ON THE COMMANDOS as one of the commandos checks his watch. At the other doors, we see the other commandos doing the same thing. The first commando raises his hand, in a signal. He waits, counting down, then drops his hand. ANGLE - WIDER as the commandos move in a single synchronized action, against the doors. Locks are blown off, doors kicked open. As the commandos rush inside, we go to: INT. FOUNDATION - NIGHT - DEVON'S OFFICE Where we find Devon and April going over some paperwork. Both of them look up, startled by the noise. Without a word, they both rush to the door, open it and exit. INT. FOUNDATION - NIGHT - IN A CORRIDOR The first wave of commandos move down the corridor. A night watchman comes rushing around the corner, spots them. Before he can reach his gun, he's taken out by two of the men. They drop him and move on. EXT. FOUNDATION - NIGHT - ON THE FRONT DOOR A light from the inside, flashes once, then again. An answering light flashes from the driveway, and then a car pulls silently up the drive and parks. It's the black limo. The door swings open and Garthe, dressed in his characteristic black, steps out. His hair has been cut, his shaggy beard trimmed to precision, his diamond earring is back in place and he's carrying the diamond-tipped cane. As he strides toward the front door like he owns the place, we: CUT TO INT. FOUNDATION - NIGHT - THE FOYER as Devon and April come hurrying down the corridor, into the foyer. Just in time to see Garthe step through the shattered front door. He stands, smiling coldly at Devon and April, both of whom are too startled to speak. [GARTHE] I have returned. Off Devon and April's stunned reaction, we: OMITTED FADE OUT END OF ACT ONE ACT TWO FADE IN EXT. HOTEL - NIGHT The Trans Am is parked in front of the hotel. We see Michael and Christina walking toward it. Christina's smiling. [CHRISTINA] So, this is what it's like. [MICHAEL] What? [CHRISTINA] The real world. (smiling) I've been so busy growing up and going to school, I haven't had a chance to see much of it. [MICHAEL] Well, you've got a lot to look forward to. And a lot of time to look. [CHRISTINA] That's why I came with Uncle Klaus. I'm thinking of moving out here this fall. (smiling) You know, away from home, the family, everything that's been so secure and dependable for so long.... Christina thinks about this for a moment. Her face falls slightly. [CHRISTINA] Wow...thinking about it sounds real exciting. Hearing myself say it sounds pretty scary. Michael smiles, takes her hand. [MICHAEL] It's both. Exciting and scary. What you need is an experienced tour guide.... [CHRISTINA] I do? [MICHAEL] Which I happen to be...despite what anyone else says. Mature. Wise. Experienced. How's that sound? [CHRISTINA] (a beat) A little scary. (then smiling) And exciting. [MICHAEL] Perfect. We leave at ten sharp. Okay? [CHRISTINA] Okay. They both smile. Michael leans over, kisses her. As he jumps into K.I.T.T. and drives off, we: CUT TO EXT. FOUNDATION - NIGHT From the outside, things look peaceful. Even serene. Only the presence of a van, a Bronco and a black limo indicate anything out of order. But, inside: INT. FOUNDATION - DRAWING ROOM - NIGHT Chaos. The room has been completely ransacked: furniture broken and torn, paintings slashed. Everywhere we see wanton destruction. As we pan the room, a commando, with two Foundation employees at gunpoint, moves down a corridor. In the distance, we hear shouting, things breaking, possibly even gunfire. Over this, we hear: [GARTHE'S VOICE] I want Michael Knight! CUT TO INT. DEVON'S OFFICE - NIGHT - CLOSE ON BOOTS propped up on Devon's antique desk. Everything else has been pushed onto the ground. We pull back to reveal Garthe sitting in Devon's chair, smoking one of his hand-rolled Jamaican cigars. Dropping the ashes on the priceless Persian rug under him. Devon and April sit in front of the desk. [DEVON] If you think for an instant that we're going to give you any information about Michael, you're sadly mistaken! This madness will never succeed. Garthe slams his fist down on Devon's desk with a thunderous crash. [GARTHE] As always, you, and everyone like you, have underestimated me. I will succeed...it is my destiny. [DEVON] Your destiny is self-destruction. Garthe laughs loudly, smashes the half-smoked cigar down on the desk top. Devon blanches at this act of blasphemy. [GARTHE] Destruction, yes. But it's going to be Michael Knight's, not mine. (harshly) And you are going to be the instru- ments of that destruction. Garthe pulls an automatic pistol from his belt, turns it on Devon and April. [GARTHE] Get up. You're coming with me. Devon rises, furious. [DEVON] No! You're out of your mind if you think.... A shot rings out, exploding the vase behind Devon's head. April screams, jumps to Devon's side. Garthe laughs. Then the smile is gone. [GARTHE] Move! April and Devon slowly head for the door. Garthe stuffs a handful of Devon's cigars into his pocket, follows them. CUT TO EXT. HIGHWAY - NIGHT - STOCK as the Trans Am cruises by nearing the Foundation. INT. TRANS AM - NIGHT Michael and K.I.T.T. are talking. [MICHAEL] Sure did. [K.I.T.T.] The food...or the company? [MICHAEL] Both. (beat) Hey, what's the third degree? [K.I.T.T.] Just checking. My sensors indicate some interesting biochemical activity in your body. Not related to diges- tion, I might add. [MICHAEL] Meaning? [K.I.T.T.] You tell me. Either you had a scintillating conversation with Doctor Bergstrom...or you and Christina found something to chat about. [MICHAEL] I don't have to respond to that.... Michael responds to something in the road ahead. [MICHAEL] That's strange. The Foundation gates are wide open. [K.I.T.T.] Yes. And I get no response from security. Something's wrong, Michael! [MICHAEL] Just what I was thinking. Let's hit it, pal! Michael steps on it, roars toward the Foundation entrance. OMITTED EXT. FOUNDATION - NIGHT as the Trans Am screeches to a halt in front of the Foundation, Michael jumps out and runs toward the building. He finds the front door hanging loosely on its hinges, hurries inside to: INT. FOUNDATION FOYER - NIGHT as Michael stops, surveying the results of Garthe's commando raid. It should be devastation in every direction. [MICHAEL] Oh, my God...! Michael turns, starts to hurry out of the room. [MICHAEL] (shouting) Devon! April! Before he can get much further, a bloodied Foundation executive, Kathy Cunningham, staggers into the room. She's in shock. [MICHAEL] Kathy! What happened? Cunningham shakes her head, trying to gather her thoughts. [CUNNINGHAM] There was a raid...commandos...he captured Devon and April. [MICHAEL] He? Who are you talking about? [CUNNINGHAM] Garthe Knight. He came looking for you, Michael...when he couldn't find you, he took Devon and April. Off of Michael's stunned reaction, we: CUT TO EXT. MANSION - DAWN The limo, followed by the van, pulls up and parks in front of the mansion. Garthe climbs out of the limo, stands waiting as Devon and April are pulled roughly out of the back of the van by two armed guards. Garthe smiles at them. [GARTHE] I trust your journey was pleasant. Devon and April don't answer. The guards push them after Garthe as he heads into: INT. MANSION - ENTRANCE AREA - DAY Garthe gestures to the beautiful home. [GARTHE] Voila. Isn't it amazing what money can buy? Just at this moment, we hear: [ADRIANNE'S VOICE] It certainly is. Absolutely amazing. Everyone turns to watch as Adrianne comes down the staircase toward them. A perfectly timed entrance. She knows it as she smiles at Devon and April. [DEVON] Adrianne Margeaux. [APRIL] We heard you'd got out of prison. [ADRIANNE] Out? Darling, I was never in. (smiling) Money also buys the best lawyers in the country. (meaning Garthe) Isn't it fascinating the friends we have in common? Devon barely glances toward Garthe. [DEVON] Garthe Knight is not a friend. Adrianne glances at Garthe, smiling sympathetically. [ADRIANNE] Poor Garthe. People say such nasty things about him. (beat) But, I'll bet they say nothing but good things about Michael Knight. I'll bet he is so...good. Adrianne laughs. Garthe frowns deeply, gestures to the guards. [GARTHE] I was just showing them to their rooms. [ADRIANNE] By all means. I do hope the bath towels match. With that, Garthe heads downstairs. Devon and April are hustled after him. Hold on Adrianne, and then go to: INT. MANSION - BASEMENT CORRIDOR - DAY With Garthe leading the way, we move down the corridor. He stops at a heavily armored door, opens it. [GARTHE] This is something I designed myself. What do you think? The guards force Devon and April to peer into: INT. DUNGEON - DAY A stone prison -- precisely the sort you'd expect to find if you were doing hard time somewhere in deepest, darkest Africa. Stone stairs lead down to a dirt floor. Stone walls, damp with moisture and algae, enclose the dark, dank space which is furnished only with a wooden cot. The air almost smells of death and decay. A single, harsh light bulb casts eery shadows on the filthy walls. BACK TO DEVON AND APRIL recoiling at the sight and the smell of the room. Garthe laughs. [GARTHE] Lovely, isn't it? But, don't even think about it. It's reserved for a very special guest. My sincerest apologies. Devon and April exchange a look. Garthe points to the next room over. A guard opens the door and they're pushed. CELL #1 A small, antiseptic room. White, peeling paint is lit by a single bulb. A small grate, enough for some air and a sliver of sunlight, is set in the ceiling. Two steel cots flank opposite walls. A pail, water container and cups sit on the floor. Devon and April stand, stunned. [GARTHE] With luck, he'll be here soon. (beat) For your sake, I hope he is. With that, Garthe slams the door with a resounding thud. Hold on Devon and April, and then: CUT TO EXT. FOUNDATION - DAY The Trans Am is parked outside. Police cars, two or three, are also present. INT. FOUNDATION - DEVON'S OFFICE - DAY Michael's just finished an interview with the police. A Lt. Chatsworth is talking with him. Michael can't stop pacing. He's distraught. [MICHAEL] Look, you know about as much as I do. Probably more, since you've talked to people who were here. When I arrived, he'd hit the place and gone. (beat) With Devon and April.... [CHATSWORTH] This guy Knight...any idea where he might have gone? [MICHAEL] No. I don't know where he took them, or why. (beat) Or what he's planning to do with them. There's a moment of silence. We see that Michael's very troubled by what's happened. Tortured. He abruptly turns to Chatsworth. [MICHAEL] Look, if there's nothing else.... [CHATSWORTH] Not for now. We'll be in touch. Michael nods, quickly exits the room. As he does: CUT TO EXT. FOUNDATION - DAY as Michael comes hurrying out of the Foundation. He stops, turns to look back at the building, thinking hard. He crosses to: THE TRANS AM Michael walks up, opens the door, sits down. A moment of silence. [MICHAEL] I've been all through the Foundation, Kitt. He didn't leave a clue. Nothing.... [K.I.T.T.] Perhaps the police will find some- thing. [MICHAEL] Perhaps isn't good enough, pal. (shakes head) There's gotta be something. There has to be.... Michael stares out at the driveway, thinking. [MICHAEL] Even if there's nothing inside, they might have left us something out here...scan the driveway area, Kitt. [K.I.T.T.] Certainly, Michael.... Michael gets out of the car, looks around. [K.I.T.T.] I'm afraid there's nothing...no, wait, there is something! A trace of radiator coolant that one of the vehicles was leaking. [MICHAEL] (excited) Can you follow it? [K.I.T.T.] I'm not sure. It depends on how consistent the dripping is, the amount of liquid, the weather conditions, the.... [MICHAEL] Enough talking. Let's give it a go.... Michael jumps into the Trans Am. As it pulls out, we: CUT TO OMITTED EXT. REMOTE HIGHWAY - DAY - STOCK as the Trans Am races by. INT. TRANS AM - DAY Michael's hunched over the wheel. [K.I.T.T.] Michael, you mustn't worry. [MICHAEL] (tense) That's like telling water it shouldn't be wet. [K.I.T.T.] All I mean is we're going to find them. These tracks are remarkably clear. [MICHAEL] Sorry, pal. I'm a little tense. With Garthe and Goliath both back in action, anything could happen. [K.I.T.T.] (alarmed) Did you say Goliath? [MICHAEL] Yep. They used it to break Garthe out of prison. [K.I.T.T.] (more worried) But, Michael, we destroyed that ugly monstrosity. [MICHAEL] We sure did, but somehow they put the pieces back together. [K.I.T.T.] Oh, dear. What an unsettling thought. Who could have done such a horrible thing? Michael shakes his head. [MICHAEL] Good question. Who. And, why? Garthe hates me more than anything on Earth, but he's also greedy -- for money, and power. Whatever he's up to is more than a personal vendetta, Kitt. I'm sure of it. (beat) But, what's he after this time? [GARTHE'S VOICE] I want it all. CUT TO INT. MANSION - DAY - CLOSE ON GARTHE taking a long swallow from a glass of champagne, then filling his glass to overflowing again. [GARTHE] A new life, a new future...and my revenge. Pull back to reveal Adrianne sitting next to him. She looks at him critically, almost scornfully. [ADRIANNE] You have your life. Before long, your future will be assured. Forget this childish revenge.... Garthe turns on Adrianne, close to fury. [GARTHE] No! Nothing means a thing to me without that. It is essential. [ADRIANNE] It's foolish! And you're going to jeopardize this project because of it. I won't allow it. Garthe stares at Adrianne, a smile spreading slowly across his face. [GARTHE] How intriguing. I hadn't really appreciated the extent of your interest in Michael Knight. [ADRIANNE] My interest in Michael Knight is none of your business. [GARTHE] Oh, but it is. You want him alive, and I want him dead. (beat) One of us is going to be terribly disappointed. Before Adrianne can respond, Dr. Moritz steps into the room. He smiles that charming smile of his. [MORITZ] I hope I'm not interrupting anything, but I have something to show you. (smiles) He turned out better than even I anticipated.... Moritz turns, claps his hands. OMITTED ANGLE ON THE DOOR We see someone moving down the stairs from the second floor. In the shadows we can't see who it is, until he steps into the doorway. Then, we see: KLAUS BERGSTROM Actually, not the real Bergstrom, but a plastic surgery recreation that is so accurate he looks exactly like the real thing. We will refer to him as Klaus #2 to distinguish him from the actual Bergstrom. ANGLE - WIDER as Moritz beams at his work. [MORITZ] Doctor Klaus Bergstrom. Garthe and Adrianne stare, impressed. ON KLAUS #2 as he nods to them. He's so real, so right, that it's like seeing the actual Bergstrom. Hold on him, and then: FADE OUT END OF ACT TWO ACT THREE FADE IN OMITTED EXT. REMOTE MANSION - DAY From the outside it looks peaceful, benign. INT. CELL #1 - DAY Devon is standing on a chair examining the barred window for weak spots. WIDER ANGLE April is at the door, listening for anyone approaching. She reacts. [APRIL] Someone's coming. Devon moves off the chair, returns it to its original position as feet stop outside. Keys in the heavy dead bolt. The door opens to reveal Garthe and Adrianne. [ADRIANNE] Good morning. Breakfast will be along shortly. She notices the chair, glances at Devon, smiling. Garthe eyes April appreciatively. [ADRIANNE] Doing your morning calisthenics? [DEVON] I beg your pardon. [ADRIANNE] Someone's been standing on the chair. I'd hate to think you're trying to escape. [GARTHE] He doesn't have the will or the imagination. Garthe's gaze leaves Devon, turns on April. He obviously likes what he sees. April feels the stare, keeps her eyes away from him. Garthe moves toward her. [GARTHE] (to April) You, on the other hand, have some- thing very special. Beauty, grace, elegance.... Garthe reaches out to stroke April's hair. She tolerates it for a split second, then turns and slaps him hard across the face. The sound of the blow echoes through the cell. Garthe barely flinches from the slap. Adrianne smiles slightly, enjoying Garthe's dilemma. Devon moves protectively to April. [GARTHE] You remind me of a filly I once owned. She came to me wild, full of spirit. It took me two weeks to break her. (beat) I enjoyed every minute of it. [ADRIANNE] Now, now, Garthe. Your fangs are showing. (to Devon and April) I hate to dash your hopes, but this isn't a purely social visit. There's someone I want you to see. She turns to the open door and as if on cue a man appears. It's Klaus Bergstrom. Devon and April react. [DEVON] Klaus! Devon moves toward him. [DEVON] Are you all right? Did they hurt you? Adrianne and Garthe, watching, look pleased. [ADRIANNE] Bravo! Congratulations! Klaus (actually Klaus #2) smiles and bows. Devon and April look puzzled, bewildered. [KLAUS #2] Thank you. (to Devon) Good day. He turns and leaves. [DEVON] (furious) What have you done to him! [ADRIANNE] Nothing a little corrective surgery won't remedy. You see, that was not Klaus Bergstrom. A rather good imitation, don't you think? Garthe chuckles. On Devon's reaction: CUT TO EXT. REMOTE MANSION - DAY A limo pulls up in front. The driver jumps out, opens the rear door as Garthe, Adrianne and Klaus #2 come out of the house. They cross to the limo and climb in. The driver closes the door and returns to the drivers seat. The limo pulls out and swings down the long driveway. CUT TO EXT. COUNTRYSIDE - DAY K.I.T.T. appears over a rise. ANGLE IN K.I.T.T. Michael checks the monitor. K.I.T.T. speaks, his voice a little strained. [K.I.T.T.] The spots seem to be increasing in size, Michael. Michael glances ahead. HIS POINT OF VIEW Fifty yards ahead a narrow road intersects the two-lane road they're on. BACK TO MICHAEL He glances between the monitor and the road ahead. [MICHAEL] They turned off on that road. We may be getting somewhere, pal. [K.I.T.T.] (worried) In a manner of speaking.... Michael checks the dots on the monitor, turns off on the narrow road. As he does: [MICHAEL] What's the matter? [K.I.T.T.] (beat) Nothing's the matter. [MICHAEL] There's one thing about computers, Kitt. They're terrible liars. What's wrong? [K.I.T.T.] (another beat) If I was human I'd diagnose it as an anxiety attack. You don't suppose this could be a trap, do you, Michael? OMITTED ANGLE IN K.I.T.T. [MICHAEL] With Garthe anything's possible. [K.I.T.T.] Is that also true of Goliath? [MICHAEL] What do you mean? [K.I.T.T.] Is it possible he's been made invulnerable? Michael hesitates. [K.I.T.T.] You're hesitating. [MICHAEL] To hesitate is human. [K.I.T.T.] I thought to err is human. [MICHAEL] Both are. [K.I.T.T.] And now you're stalling. [MICHAEL] (beat) It's possible. Silence from K.I.T.T. [MICHAEL] You okay? [K.I.T.T.] That depends on how one defines 'okay.' [MICHAEL] Now you're stalling. [K.I.T.T.] All right -- no. I am not 'okay'. The thought of meeting Goliath again is quite unsettling. [MICHAEL] Join the club, pal. [K.I.T.T.] Thank you, I'd rather not. CUT TO EXT. BERGSTROM'S HOTEL - DAY - TO ESTABLISH INT. SUITE - DAY Christina is in her room, on the phone. Beyond her, in the adjoining living room, we can see Klaus glued to a football game on TV. His sprained ankle is resting on a footrest. [CHRISTINA] (into phone) Michael Knight, please. (listens) I see...no, it's not important. Please tell him Christina called. Thank you. She hangs up, puzzled. [CHRISTINA] (to Klaus) That's strange. No response. [CHRISTINA] He's supposed to be here at ten. Where do you suppose he could be? Still no response. She crosses. ANGLE FROM LIVING ROOM as she enters. Klaus hasn't moved. [CHRISTINA] Uncle Klaus? He grunts absently, absorbed. She shakes her head, smiles, crosses to turn down the TV. [CHRISTINA] You. Look at you. A man of your intelligence, your vision -- you come to America to enlighten the world on laser technology and before I know it you're like every other American male...glued to a TV set watching football. [KLAUS] But, what an incredible game, Christina! These Americans are crazy! Have you ever watched them play football? [CHRISTINA] (smiling) It's got you hooked, Uncle Klaus. If Aunt Heidi was here she'd be a football widow already. [KLAUS] (laughing) Heidi understands a man has two wives -- the woman he marries and his work. So what is this 'football widow?' [CHRISTINA] In America, a third wife. [KLAUS] Too many. He switches off the set, looks at her. [KLAUS] What's wrong? [CHRISTINA] Nothing. [KLAUS] No football. I have two wives, one niece. What's wrong? [CHRISTINA] (beat) It's Michael. He promised he'd call this morning and I can't reach him at the Foundation. Klaus smiles. [KLAUS] He likes you. [CHRISTINA] (covers) I'm not...That's not why I'm concerned. Klaus laughs, gets up and puts an arm around her. [KLAUS] It sounds to me like something's got you hooked too. (another laugh) You were going shopping. So, go. If he calls I'll tell him you're out with a handsome young man who adores you. [CHRISTINA] (laughs) Don't you dare. She picks up her purse, heads for the door. She blows him a kiss and leaves. He crosses back to the TV, turns it on and plops in a chair. He watches, fascinated. A knock on the door. Klaus sighs, gets up and crosses to the door, limping slightly. [KLAUS] Christina, how is he supposed to miss you if you never go away? The door opens, he stares in disbelief. REVERSE ANGLE He is staring at himself. Klaus #2 smiles. [KLAUS #2] Good day. Before Klaus can respond, Garthe materializes, grabs him and slaps a chloroform gauze over his mouth. CUT TO OMITTED INT. HOTEL - LOBBY - DAY as the elevator opens and Christina steps out. She crosses to: THE RECEPTION AREA where a female clerk is behind the desk. Chrisitna crosses to her, her room key in her hand. [CHRISTINA] Hi...I'd like to leave my room key. [CLERK] Of course.... The Clerk looks more closely at Christina. [CLERK] Aren't you Dr. Bergstrom's niece? [CHRISTINA] Yes. [CLERK] (giggling) He is so handsome. He just walked through the lobby and the girls behind the desk couldn't stop staring. Christina looks at the Clerk curiously. [CHRISTINA] You just saw my uncle? [CLERK] A few minutes ago. [CHRISTINA] On his way out? [CLERK] No. I think he was returning to his room. Christina stares at the Clerk, confused. She takes her key back, turns and heads toward the elevator. She enters, the door closes and we go to: INT. CORRIDOR - ANGLE ON ELEVATOR - DAY as the doors open and Christina steps out. She turns to walk to her room, stops, startled, when she sees: GARTHE AND ADRIANNE wheeling a man whose face we don't see toward the elevator. Christina's eyes catch Garthe's for a moment. [GARTHE] Excuse us, please. Christina moves out of the way and Garthe wheels the man into the elevator. Adrianne follows. The doors close, leaving Christina in the hallway, staring at the elevator. Lost in thought. She turns and hurries down the corridor to her room. As she fiddles for her key and the lock: [CHRISTINA] Uncle Klaus.... INT. SUITE - DAY The door opens and Christina hurries. [CHRISTINA] Uncle Klaus...! Klaus #2 is seated in front of the TV. He looks up at her absently, smiles. [KLAUS #2] What is it, Christina? Christina stares at Klaus #2 for a beat. [CHRISTINA] (beat) Were you just downstairs? [KLAUS #2] If I was, I'm more of a genius than even I thought. Being in two places at the same time would be quite a feat... (smiling) And, depending on the circumstances, quite a treat. Klaus #2 chuckles. Christina crosses, taking off her coat. She looks a little perplexed. [CHRISTINA] I just had the most remarkable experience. There was a man getting on the elevator who looked so much like Michael Knight. Except for his beard.... Klaus #2 looks up at Christina, a trifle too sharply. Then he smiles. [KLAUS #2] And now men are starting to look like Michael...that's a bad sign. (shaking his head) I thought you were supposed to be keeping an eye on me.... He laughs again, returns to the television. Christina finally smiles a little. She crosses to him. [CHRISTINA] Well...? No response. [CHRISTINA] You're terrible. All right, I'll ask...did he? For an instant, Klaus #2 looks strange, oddly off balance. Then, characteristically, he laughs. [KLAUS #2] My mind is on a thousand things. I have no idea what you're talking about here. Football? She throws a pillow at him. [CHRISTINA] I'm talking about Michael and you know it! [KLAUS #2] Ah! Michael! Why didn't you say so? [CHRISTINA] Did he call? [KLAUS #2] No. She throws another pillow at him and marches into her bedroom in mock anger. He laughs. He's perfect in every detail. Only his eyes are different. His eyes are flat and cold. CUT TO OMITTED EXT. RURAL ROAD - DAY K.I.T.T. appears, tracking. The road winds deeper and deeper into the hills. ANGLE IN K.I.T.T. Michael is alert and watchful behind the wheel. The red dots on the monitor beep rhythmically. [MICHAEL] You're awfully quiet. Still thinking about Goliath? [K.I.T.T.] No. Devon and April. [MICHAEL] Me too. [K.I.T.T.] I'm used to worrying about you. I expect to worry about you. But Devon and April...I feel so helpless. [MICHAEL] Think of it as a temporary situation. We'll find 'em. [K.I.T.T.] Michael, we've just found something. Michael reacts, hits the brakes. OMITTED HIS POINT OF VIEW Off the road is a marshy, soft area, and in the center is an old car with two figures in it, unclear from this distance. Except one looks like Devon and the other like April. BACK TO MICHAEL He stares. [MICHAEL] Kitt, give me a reading, quick! Is that Devon and April? Michael pushes buttons on the dash and we see: ANGLE ON MONITOR The two figures appear. ANGLE ON MICHAEL watching. [K.I.T.T.] Those figures aren't human. They're wearing Devon's and April's clothing, but their bodies are made of polyurethane. [MICHAEL] Mannequins. Let's take a closer look. WIDER ANGLE K.I.T.T. drives onto the marshy area, pulls up next to the old car. Michael cautiously gets out. [MICHAEL] I think we've been lead on a wild goose chase, pal. [K.I.T.T.] But why? [MICHAEL] Garthe Knight's the only one who could answer that one, pal. Michael crosses to the old car, peers inside, trying to figure it out. His feet sink an inch in the soft cover. [K.I.T.T.] (alarmed) Michael! [MICHAEL] Yeah, Kitt. [K.I.T.T.] I think I'm...sinking. Michael reacts, glances back. ANGLE ON K.I.T.T. His wheels are half-submerged. ANOTHER ANGLE Michael starts toward him, his feet sinking with each step. [MICHAEL] Kitt, self-activate! K.I.T.T. fires up. [MICHAEL] I don't want to add any weight. Go into auto pilot and start forward slowly. K.I.T.T. complies, but his wheels spin, unable to gain traction. [K.I.T.T.] Michael, traction is impossible! I'm sinking deeper! Michael glances around, desperate. [MICHAEL] Try your grappling hook! K.I.T.T. activates it. ANGLE ON GRAPPLING HOOK It discharges, lands harmlessly in the brush. ANOTHER ANGLE K.I.T.T. is going down. [K.I.T.T.] Michael, is this it? The big adios? [MICHAEL] Hang on, buddy. He moves for the brush, each step sinking to his ankles. Slowly, he reaches the safe edge of the bog. ANGLE ON GRAPPLING HOOK He grabs it, pulls with all his might and hooks it onto a tree. [MICHAEL] Now try it. Easy. Nice and easy. ANGLE ON K.I.T.T. as K.I.T.T.'s winch slowly retrieves the line. For a moment, it looks as if the tree will give under the strain, but inch by inch K.I.T.T. is pulled toward safety. ANGLE ON MICHAEL relieved. But at the same time he feels Garthe's presence, can almost hear him laughing. ANGLE ON MANNEQUINS dressed in Devon's and April's clothes. Lifeless. A bizarre, eerie sight. FADE OUT END OF ACT THREE ACT FOUR FADE IN EXT. MARSH AREA - DAY K.I.T.T. is on the firm ground. Michael unlocks the grappling hook, crosses back to K.I.T.T. [K.I.T.T.] What a relief. (beat) Michael, look. HIS POINT OF VIEW - THE OLD CAR begins to sink. BACK TO THEM as Michael climbs in, punches buttons. [MICHAEL] Lets see what was holding it up. A visual appears, showing wood planks beneath the car. [K.I.T.T.] A crude wood flotation system. [MICHAEL] (thoughtful) I wonder whether Garthe expected us to go under...or whether this was designed to buy time. [K.I.T.T.] Time for what? [MICHAEL] I don't know, Kitt. I'll feel a lot better when I do. He glances out the window. HIS POINT OF VIEW - THE OLD CAR goes under, the lifeless faces of Devon and April, disap- pearing in the bog. MICHAEL He shudders, puts K.I.T.T. into gear. [MICHAEL] Let's give this place the big adios. [K.I.T.T.] The sooner the better. WIDE ANGLE K.I.T.T. skirts the bog, reaches the road and heads back. Camera pans up to the mountain above the bog. CLOSE ANGLE - MOUNTAIN as we see a commando watch K.I.T.T. through binoculars. CUT TO INT. HOTEL SUITE - DAY Klaus #2 is reviewing his notes for the symposium. The phone rings. [CHRISTINA'S VOICE] I'll get it. ANOTHER ANGLE She answers the phone. [CHRISTINA] (into phone) Hello...yes.... He looks up, smiling. [KLAUS #2] Michael? She shakes her head, disappointed. [CHRISTINA] (into phone) I'll tell him. Thank you. She hangs up. [CHRISTINA] That was Mr. Andrews. He wanted you to know the press conference has been finalized for 10:30 tomorrow morning. [KLAUS #2] I hate press conferences. He puts his notes down, rises, stretches. [KLAUS #2] I tell you, Christina, the one thing I'm going to miss the most when I get back to Sweden is watching football...especially the beer commercials. There's more violence in them than the game itself! With that, Klaus #2 begins to the kitchen. [CHRISTINA] Where're you going? [KLAUS #2] To get a beer, of course. I'm sure if the U.S. government found me watching football with one they could have me arrested. Christina laughs, then noticing Klaus #2's walk. [CHRISTINA] Your ankle! [KLAUS #2] What? [CHRISTINA] (stares) Your ankle...you twisted it yesterday.... [KLAUS #2] Yes, of course. It's much better. He smiles at her but his eyes are cold. She tries to smile back, glances away, moves to her bedroom. He watches her, wondering. CUT TO EXT. REMOTE MANSION - DAY The van pulls up and parks. The driver hurries to open the rear door. Garthe and Adrianne watch as Klaus is wheeled out, still semiconscious. INT. CELL ROOM - DAY Devon is back at the barred window, trying to loosen the bolted bars with a short length of tubing from the lamp which he's fashioned into a crude screwdriver. April listens at the door, hears something. [APRIL] Someone's coming. [DEVON] As if this wasn't already difficult enough. He climbs down, rearranges things just as the dead bolt is unlocked. The door opens and Garthe and Adrianne wheel Klaus in. [ADRIANNE] A visitor. They react. [DEVON] Klaus? (to them) What have you done to him?! They unload him onto the bed. April immediately checks his eyes, his pulse. [ADRIANNE] Nothing time won't cure. [APRIL] (to Devon) His pulse is strong. [GARTHE] He's too valuable to injure. Unlike you. [DEVON] Too 'valuable'? What do you intend to do with him? Sell him on the open market to the highest bidder? [ADRIANNE] Close. Except the bidding is all over. It's now just a simple task of delivering the goods. [APRIL] But as soon as they discover he's missing.... [GARTHE] Missing? Why he's with his lovely niece right now, most likely getting ready for tomorrow's press conference. April and Devon look over to Klaus as Garthe laughs, then: [GARTHE] (crossing to window) How's the great escape coming? He checks the bars, smiles coldly. [GARTHE] Tedious work. Believe me, I know. They leave, bolting the door behind them. Devon crosses to April and Klaus. He stirs and moans. [APRIL] He's coming to. [DEVON] What's that smell? [APRIL] Chloroform. They exchange looks. Devon paces. [DEVON] Is it possible to duplicate a man so closely he won't be discovered as a fraud? [APRIL] If he were home, among family and friends, I'd say no. Here, where no one knows him that intimately ...it's possible. CUT TO INT. COMMUNICATIONS ROOM - DAY A room converted to a high-tech communications center with state-of-the-art equipment. [TECHNICIAN] The trap didn't work. Michael Knight escaped. We widen to include Adrianne and Garthe. [GARTHE] I wanted so much to pick him up myself. [ADRIANNE] You see, as I told you...Michael is not so easily 'taken.' [TECHNICIAN] I have also made contact with the sub. Pick-up time is still seventeen hundred hours. Garthe looks at the monitors a moment, then: [GARTHE] Doesn't leave me much time to give Knight my little present. (to Adrianne) Oh, of course, I forgot. That kind of talk upsets you.... [ADRIANNE] My only interest in Michael Knight is in obtaining the Knight Industries Two Thousand...nothing more. [GARTHE] (dry) I see...your motives are only 'technical.' [ADRIANNE] (hard) My motives are my own business. We both want Knight for different reasons ...I suggest we try not to knock each other off the track in the race to get him. (then, seductively) In the meantime, got any ideas on how to pass a quiet afternoon? On her smile: CUT TO OMITTED EXT. TWO-LANE ROAD - DAY K.I.T.T. flies by. [K.I.T.T.'S VOICE] The Foundation is calling. ANGLE ON K.I.T.T. Michael pushes buttons. Kathy's face appears on the monitor. [KATHY] Hello, Michael. Any luck? [MICHAEL] I thought I had a lead, but it turned into a dead end. Anything from the police? [KATHY] Nothing so far. Christina's been calling. [MICHAEL] Look Kathy, I don't have time to babysit. Finding Devon and April is a lot more important right now. [KATHY] I understand, but this last call was different. She sounded frightened. Said it was urgent. [MICHAEL] I better check it out. He punches out, thoughtful. [K.I.T.T.] It's strange, isn't it? [MICHAEL] What? [K.I.T.T.] Seeing someone other than Devon or April on the monitor. [MICHAEL] Real strange, pal. (beat) I hope Christina's all right. [K.I.T.T.] Why wouldn't she be? [MICHAEL] I don't know. Just an uneasy feeling that Devon and April's disappearance and Christina's concern might just be connected. He pushes pursuit. WIDER ANGLE (UNDERCRANK) K.I.T.T. surges forward, doubling his speed within seconds. CUT TO EXT. HOTEL - DAY K.I.T.T. pulls up and Michael jumps out. OMITTED INT. HOTEL LOBBY - DAY Michael enters, looks around. Christina sees him and runs up to him...throwing her arms around him. CLOSER ANGLE - CHRISTINA AND MICHAEL as she looks up at him. [CHRISTINA] I'm sorry. I'm just so...so confused, and I was afraid I was never going to see you again. [MICHAEL] There was some business I got caught up in...that's why I couldn't call. [CHRISTINA] Well, you're here now, and I've just got to see if...if I'm losing my mind. [MICHAEL] What is it? [CHRISTINA] Uncle Klaus. I know it sounds crazy, but it's like he's not the same person. [MICHAEL] Did something happen? [CHRISTINA] It's nothing big, just little things ...like remember when he twisted his ankle? Well he's been walking around the hotel room as if nothing was wrong. When I asked him about it, he looked at me as if he didn't know what I was talking about. Michael looks away from Christina, soaking in the news. [CHRISTINA] Michael? Do you think I'm crazy? [MICHAEL] There's been a lot stranger things going on lately. Nothing would surprise me now. I just hope it's not all related. (then) We better pay your uncle a little visit. CUT TO INT. SUITE - DAY Klaus is polishing his shoes as Michael and Christina enter. He looks up, smiles. [KLAUS #2] Ah, you found him. [CHRISTINA] Yes. Finally. [MICHAEL] Hello, doctor. They shake hands, ad-lib greetings. Without making a point of it, Michael watches him closely. [MICHAEL] Going dancing? [KLAUS #2] Ha. A press conference tomorrow morning. The last one I attended in Stockholm, the reporters paid more attention to a hole in my shoe than my work. This time I'm ready for them. Michael smiles. [KLAUS #2] Will you join us for dinner? I've been invited by the International Laseroptics Society. Boring, but the food is magnificent. Michael smiles, crossing for the door with Christina. [MICHAEL] I've got a few things to take care of. Thanks anyway. He opens the door. They shake hands, ad-lib good-byes. [MICHAEL] (pauses) Oh, by the way. Those tickets to Disneyland I mentioned? Can't get 'em until next week. You'll be gone by then. Well if it makes you feel any better, your favorite ride, the Matterhorn, is down for repairs. I know how much you were looking forward to it. Having climbed it and all. [KLAUS #2] I guess it wouldn't be the same as the real thing anyway. Perhaps next time. Michael smiles, takes Christina's arm. [MICHAEL] Walk me down? ANGLE IN HALLWAY They come out, closing the door behind them. His smile disappears. He turns Christina to face him. [CHRISTINA] What was that all about? [MICHAEL] I don't know who that is in there, but it's not Klaus Bergstrom. I never mentioned anything about Disneyland to him. And besides, your uncle never climbed the Matterhorn. He has vertigo. She looks horrified. [CHRISTINA] Michael, where's my uncle? What --- He motions her to be quiet. [MICHAEL] Right before we left I noticed your 'uncle' heading for the phone. I think he might have feared he made a mistake. (comlink) Kitt, tap into the hotel's phone system. See if a call goes out from room 611. INTERCUT - K.I.T.T. His systems activate. [K.I.T.T.] Right away, Michael. MICHAEL AND CHRISTINA Michael turns back to Christina. [MICHAEL] Christina, listen to me. Devon and April have disappeared, and I think there's a connection. I hate to ask you to do this but --- [CHRISTINA] What? [MICHAEL] We can't afford to let them know we're onto them. Can you -- (comlink beeps) Yeah, Kitt. [K.I.T.T.'S VOICE] A call is going out, Michael. [MICHAEL] (comlink) Trace it. I'll be right with you. (to Christina) Look, I can't ask you to go back in there, it could be dangerous.... [CHRISTINA] (stopping him) I know what you're going to say. I mean, if we were to expose this man in there, it could mess everything up, couldn't it? [MICHAEL] I'm afraid so. They're not after you Christina. And for whatever reason, it's important to them that you two continue like nothing is wrong. But it's up to you. I'll understand whatever you decide. Christina looks over at a painting on the hallway wall, then: [CHRISTINA] If I stop and run away every time the going gets hot, I might as well lock myself into academia and forget the real world altogether. Michael smiles and gives her hands a squeeze. [MICHAEL] We'll find your uncle...I promise. [CHRISTINA] I believe you Michael. With that Michael smiles, then disappears down the hall. Christina looks after him for a moment, then heads back to her hotel room. EXT. HOTEL - DAY Michael comes running out and jumps into K.I.T.T. They leave rubber behind. ANGLE IN K.I.T.T. Michael punches buttons. [MICHAEL] I need an address on that number, pal. [K.I.T.T.] It's a high-com unlisted number, Michael. I'll have to go to the heart of the phone company's computers. [MICHAEL] Go. EXT. STREET - DAY K.I.T.T. flashes by. [K.I.T.T.'S VOICE] I have it, Michael. [MICHAEL'S VOICE] Plot me the fastest route. CUT TO EXT. RURAL COUNTRYSIDE - DAY K.I.T.T. speeds by. CUT TO EXT. REMOTE MANSION - DAY - TO ESTABLISH INT. COMMUNICATIONS ROOM - DAY The Technician is picking up a surveillance signal. He moves to the monitor, pushes buttons. ANGLE ON MONITOR We see K.I.T.T. approaching at high speed. ANGLE ON TECHNICIAN He reacts, grabs a phone. [TECHNICIAN] (into phone) Get me Knight or Margeaux...quick! CUT TO INT. REMOTE MANSION LIVING ROOM - DAY as we hear the buzzer of the phone. Garthe comes out from the other room, wearing a black bathrobe. He answers the phone. As he talks we can see Adrianne as she comes out of the other room, wearing a very revealing morning coat. [GARTHE] Garthe Knight. Yes? When? No...no, I'll take care of it. Personally. Garthe hangs up the phone and smiles. [ADRIANNE] What is it? [GARTHE] Looks like the 'race' is about to come to an end. EXT. RURAL ROAD - DAY K.I.T.T. appears, zooms by. ANGLE IN K.I.T.T. Michael is intent behind the wheel. [K.I.T.T.] (concern) Michael, I'm picking up something quite...strange. Michael punches up the monitor. [MICHAEL] Let's have a look. ANGLE ON MONITOR A fuzzy outline appears, coming toward them. As the focus clears, we see it is Goliath. ANGLE ON MICHAEL He reacts. [MICHAEL] Bingo, Kitt! We've hit the jackpot! Just what I was afraid of...Goliath! And I'll bet the driver has a striking resemblance to me. It's all coming together, buddy. (beat) How far away is he? [K.I.T.T.] Two point three miles, and he's just accelerated to one hundred and forty miles an hour. Michael, surely you're not thinking of a confrontation? [MICHAEL] I'd rather avoid one, pal -- but he's standing between us and Devon and April. Let's scan for those weak spots. More buttons, graphics. [K.I.T.T.] (startled) Michael, they've all been repaired. Goliath is now completely invulnerable! ANGLE - GOLIATH as he roars by. We push in on Garthe, behind the wheel. He looks determined, possessed. OMITTED INT. REMOTE MANSION COMMUNICATIONS ROOM - DAY - ON ADRIANNE as she watches the impending confrontation on the big monitor, confident. INT. K.I.T.T. - DAY as Michael desperately tries to think of an edge. [K.I.T.T.] Michael, what's our plan? (silence) We do have a plan, don't we? [MICHAEL] Give me a visual on the road. More buttons. A visual appears. [K.I.T.T.] At present rate of speed, we'll meet about here. A red dot flashes on the map. [MICHAEL] What's that to the left of the road? [K.I.T.T.] A cliff. Over a hundred eight straight down. Looking ahead, Michael sees: HIS POINT OF VIEW - GOLIATH heading straight for them. BACK TO MICHAEL Every muscle tenses. [MICHAEL] Hang on, pal. He's got the size but we've got the maneuverability. [K.I.T.T.] Right now I'd trade. WIDE ANGLE as Goliath and K.I.T.T. head directly at one another. INTERCUT - GARTHE He senses his long awaited victory. He blows the horn. DIFFERENT ANGLES as Goliath and K.I.T.T. come within fifty yards of one another Michael quickly angles to the right, hoping to dart by, but Goliath reacts instantly. It appears a head- on is inevitable. Michael whips the wheel to the left at the last moment, Goliath's right bumper smashes hard into the back of K.I.T.T. ANGLE ON K.I.T.T. as he spins out of control toward the edge of the cliff. [K.I.T.T.] Michael, I'm afraid the impact has knocked me out of control! [MICHAEL] Reverse your turbo power to pull back. [K.I.T.T.] Something's wrong. They won't activate! Michael frantically fights to regain control. OMITTED ANGLE AT EDGE OF CLIFF as K.I.T.T. spins, wheels locked. Smoke, dust, rocks fly out from under K.I.T.T. as: ANGLE FROM BELOW CLIFF K.I.T.T. sails out and over the cliff as we: FREEZE FRAME AND FADE OUT END OF ACT FOUR ACT FIVE FADE IN EXT. CLIFF - DAY as we see K.I.T.T. as he continues plummeting to the valley below. INT. K.I.T.T. - DAY - ON MICHAEL as Michael stares out in sheer horror. He leans forward and presses a button labeled: EPD. The lights behind the button flicker. [K.I.T.T.] Michael, the circuits are shorting! Michael, refusing to give up, slams the palm of his hand into the button...again and again. OMITTED EXT. CLIFF - HIGH ANGLE as we see K.I.T.T. sailing down to the valley floor. We are above him. Suddenly there is a loud bang and from the top of K.I.T.T.'s roof we see a puff of white smoke. Then we see a large cloth streamer fly out, and like a flower opening to the morning sun, it "blooms." It is a parachute, the letters F.L.A.G. imprinted on its crown in bright red letters. A series of high-tension ropes connect from the parachute to K.I.T.T. INT. K.I.T.T. - DAY - ON MICHAEL as he is pulled upward from the updraft of the parachute. Then: [MICHAEL] Kitt, it worked! He looks out the window as they float down. [MICHAEL] April, wherever you are...Thanks! [K.I.T.T.] Michael, I suggest you enjoy this little 'ride' to the fullest, because I will sooner be turned into a toaster-oven than go through this again. OMITTED EXT. TOP OF CLIFF - DAY as we see Garthe looking over the cliff from Goliath's cab. Next to him is one of his commandos. Garthe looks with a dark face as K.I.T.T. continues to "float" down to earth. [GARTHE] (to commando) Get down there...immediately. I want him brought back to the mansion. The commando nods and heads for the back of Goliath. ANGLE - BACK OF GOLIATH as, with a roar, the back doors open, a ramp drops down, and a van and Jeep come speeding out, then race down the dirt road to the valley below. OMITTED EXT. VALLEY FLOOR - DAY as we see K.I.T.T. land gently. The parachute falls over the Trans Am. INT. K.I.T.T. - DAY as, in the darkened car, Michael settles from the landing. [K.I.T.T.] I'll bet that ugly mammoth thought he had us, Michael. [MICHAEL] I guess he'll never learn, Kitt. Now, let's see what the outside world looks like. Before Michael can open the car door, the parachute suddenly is pulled off the car and we see: MICHAEL'S POINT OF VIEW - OUTSIDE WINDSHIELD Surrounding him are the commandos, all with submachine guns, aimed right at Michael. Over this: MICHAEL as he looks out, then puts his hands up. Below him we can see the malfunction light blinking, the buzzer going -- then all lights on the dash blow out. EXT. REMOTE MANSION - DAY as it looms out at us like a menacing lion. The commando van and Jeep are parked out front. INT. MANSION - DAY - HALLWAY as we see Michael being led down the hallway by two commandos...submachine guns at the ready. As they pass by the corner, camera pans up to a video camera. INT. MANSION COMMUNICATION CENTER - DAY as we see on one of the monitors, as Michael is being led to a heavy metal door with bars on its small window. We pull back to see Garthe and Adrianne as they smile with deep satisfaction. INT. DUNGEON - DAY as the heavy metal door is opened, spilling light into the room. Michael is led into the room by the two commandos. The light from the outside reveals old wood and stone stairs that lead down into the bowels of the dungeon. Camera follows as Michael walks down the slippery, steep stairs. ANOTHER ANGLE - DUNGEON FLOOR as Michael walks down the last step and is pushed onto the dungeon floor. As the commandos turn and go up the stairs the light from the outside hallway reveals the dungeon walls, which are made up of stone. As the door above closes with an echoing thud, Michael gets up and begins to inspect his "quarters." CLOSER ANGLE - MICHAEL as he talks, quietly, into his comlink. [MICHAEL] Kitt, can you hear me? There is some static, then we hear the familiar: [K.I.T.T.'S VOICE] (from comlink) Michael, I'm glad to hear your voice. [MICHAEL] Are you all right, buddy? INT. K.I.T.T. - DAY - ON VOICE BOX as he continues talking to Michael. [K.I.T.T.] No, I am not. Most of my functions are out of order and I'm being treated like a side of beef. INTERCUT WITH MICHAEL - EXT. K.I.T.T. - MANSION GARAGE - DAY We start close on K.I.T.T.'s scanner which is dim and is oscillating in a slow, irregular rhythm. As we pull back we can see that K.I.T.T. is situated on top of a hydraulic lift, all four wheels dangling...rendering him helpless. [MICHAEL] Where are you? [K.I.T.T.] In the garage, and it's not a pleasant sight. [MICHAEL] I'm not exactly in the Palace Hotel myself. Don't worry, buddy, I'll get you out of there...I promise. [K.I.T.T.] I hope so Michael, because I really am not very comfortable with the company I'm keeping. With that, camera pulls all the way back and we see, blocking the entrance of the garage, and "staring" down at us: Goliath. INT. DUNGEON - ON MICHAEL as he suddenly hears the door open, then close, then somebody begins walking down the stairs. It's Garthe. Garthe walks right up to Michael. CLOSER ANGLE - GARTHE AND MICHAEL as they stare at each other. Then: [GARTHE] I promised you we would meet again, Michael. And you thought I could never do it. [MICHAEL] (looking around dungeon) Not by yourself, Garthe. I'm sure you had a little help from your friends. Garthe smiles and turns...begins walking around the small room. Then: [GARTHE] I hope you like your room. I had it built special for you...it was all done while I was in prison. [MICHAEL] Reminds me of another 'room.' One you stayed in for a while in Africa. [GARTHE] (building rage) It's not a reproduction, Michael. It is the real thing. I had it brought here, stone by stone, and with its layout etched in my mind like the frozen scream of a dead man, I had it rebuilt. For you. [MICHAEL] Fine. So now you've got me. You can sit back and watch me 'suffer' in this hole like you did for so many years. Your mission is accomplished...why not release Devon and April? [GARTHE] Very commendable. You are willing to give up your life for that of others. Unfortunately it's not a trade, Michael. It's a coup. Garthe begins to laugh, then as he turns and walks up the stairs: [GARTHE] I received an interesting bonus in the crates that carried these stones here. Dozens of African rats, that seem to breed like poison mushrooms under the stones. They are very hungry...and very angry at the voyage. Make friends, Michael... make friends. He laughs again as the door to the cell closes. Michael looks down as we begin to hear the frightened squeals of the large rodents. We can see, in the corners of the dungeon, the reflection of their large eyes as they stare up at us. EXT. HOTEL - DAY as camera zooms up to the top floor...and Christina's room. Over this: [CHRISTINA'S VOICE] Hello? Is this the Foundation? I want to speak to Michael...Michael Knight. INT. CHRISTINA'S ROOM - DAY as we see her by the window, looking out and talking into the phone. [CHRISTINA] (into phone) No...it's nothing important. I just want to talk to him about my uncle.... [KLAUS #2'S VOICE] Are you hungry, my dear? Startled, Christina quickly turns around as Klaus #2 comes into view. She hangs up the phone as she turns. It is unclear whether Klaus #2 heard her phone conversation or not. [CHRISTINA] (to Klaus #2) You startled me...I thought you were going out for a walk. [KLAUS #2] I was but then I realized how little time I'm going to have with you...so I thought we'd go out together. [CHRISTINA] That's very nice of you, uncle, but I'm really not hungry. [KLAUS #2] I've heard so much about American pizza. But I've also heard that it never does taste as good when you eat it alone. [CHRISTINA] Maybe a little later.... Klaus #2 comes over to Christina, and puts a "fatherly" arm around her. [KLAUS #2] Christina, is there something bothering you? [CHRISTINA] I'm just a little jumpy...maybe I'm coming down with a cold. [KLAUS #2] If something is bothering you, talk to me. Remember all those letters you used to write? You always trusted me with your problems. Christina walks over to the window...away from Klaus #2. [CHRISTINA] It's nothing, really. [KLAUS #2] You must remember that we are family. There's no bond as tight as that. And if you can't trust family...who can you trust? CLOSE ANGLE - CHRISTINA as she looks out the window. We see her face tense up. [CHRISTINA] I don't know the answer to that. I really don't. INT. CELL - DAY as we see the real Klaus as he turns toward us. We pull back to find ourselves in the cell with Klaus, Devon and April. They are searching for a way out. [DEVON] We've tried all the conventional ways of escape...I think it's time we used a little imagination. Devon turns and looks at a small key-lock light switch on the wall. Then: [DEVON] April, do you know a way we could switch this key-lock off, and then on again. April walks over and looks at it. [APRIL] Well, if we had an electromagnet, we could force the inner rod up. [DEVON] Isn't there anything a little less complicated? [APRIL] Sure... (reaching into hair) ...a bobby pin will do the trick just as easy. [KLAUS] (to Devon) Devon, I have always been an admirer of your knowledge, but I don't think even you could escape with a bobby pin. [DEVON] I was just thinking that I wish some of my friends from the old UXB unit in England were here. They became experts on every kind of bomb, especially spies' bread. [APRIL] Spies' bread? [KLAUS] Why yes, I read about that. When German spies were imprisoned, they used to escape by making a kind of 'dough' made up of articles of clothing...then use electricity to detonate them. Devon picks up the water container. [DEVON] We have water...now all we need is a base. [APRIL] How about the paint off the wall? [KLAUS] No, the principal behind spies' bread is that the interaction of chemicals create the explosive. That kind of paint is not an activator. (then) If only we still wore those celluloid collars...that alone could blow us out of here. [DEVON] Wait, but our collar stays are of a similar material! Devon looks over to Klaus, then they both remove the small stays from their collars. Klaus takes off his ring and begins "sanding" down the back of it on the cement floor. [KLAUS] We'll use my ring as a cutting tool to make the stays into shavings. But we still need the 'flour' for our spies' dough. [APRIL] Devon, what about the lining of your jacket? It's made of an acrylic. [KLAUS] Good idea...but we need something that can be crushed into a powder to create the combustion. [DEVON] (to April) Yes, but you're close. I bought this jacket in India. They use the mineral, malimite for these buttons.... [APRIL] ...and malimite is a distant cousin to saltpeter! With that, Devon begins pulling off the buttons, as April takes them and puts them on the floor under the bedframe. Klaus begins to make shavings from the collar stays. [APRIL] This is as good as any flour grinder. Devon bends down next to the frame, and with April, they pick up the end of the frame, sending the leg down hard on the buttons. They hit it a second...then a third time. CLOSEUP - BUTTONS as the leg continues to come down on them, they shatter and begin to turn into a powder-like substance. INT. DUNGEON - ON MICHAEL - NIGHT as he talks into the comlink. During the following camera pans down to Michael's leg where we see a rat, large and ugly as it begins to climb up Michael's leg. [K.I.T.T.'S VOICE] But Michael, I don't understand how that's going to help us. [MICHAEL] Garthe's become quite a talker since he's broken out of prison. I think he might just talk us right out of this dungeon. When I say 'now,' I want you to start recording every- thing. Got it? [K.I.T.T.'S VOICE] At this point, I'll try anything. Just then, Michael looks down and sees the rat. In one quick move he shakes it off his leg and kicks it across the room. The dungeon doors open and we see Adrianne walk in. As she walks down the stairs: [ADRIANNE] Very good. I love a man who can do two things at once. (then) I'm glad to see I'm not the only one who can't sleep tonight. It's a pity. I love to watch men sleep. I like to fantasize what they're dreaming about...or who. [MICHAEL] I haven't been doing much 'dreaming' lately. [ADRIANNE] Oh, but I have. Adrianne walks closer to Michael, then: [ADRIANNE] (continuing) You know that feeling you have after you dream about somebody...in the 'romantic' sense. Somebody you might not have even thought about in weeks ...and it puts you into a kind of 'mood' for the rest of the day... thinking about them in that 'special' kind of way? Those are the dreams I've had about you, Michael. Only I've been having them almost every day since we last met. And it has made my 'mood' very strong. [MICHAEL] And where does Garthe fit into these 'moods'? [ADRIANNE] He is merely an end to a means. Once he and I finish our little 'project' I will have more money than I could possibly use. I'm going to need help spending it. [MICHAEL] I think cigarettes are about all you can buy in jail. [ADRIANNE] Michael, don't you see? If we were to work together there is no end to the power we would have. Add to that the mind of Kitt transplanted into the body of Goliath, and you and I will have the world at our fingertips. [MICHAEL] There's one little problem to your perfect scheme...I don't want any part of it...or you. [ADRIANNE] You have no choice. Garthe's one goal is to see you die. And I am the only link keeping him from carrying out his wishes. She moves close to Michael again, then: [ADRIANNE] But if you deny me my plans, then I would have no reason to stand in his way. With that, Adrianne gives Michael a long, passionate kiss. Michael returns it. She pulls back and looks at Michael, then: [ADRIANNE] It's too bad you don't mean it. I know a real kiss when I get it. But it only takes time to turn you around ...and time is something we have plenty of. [GARTHE'S VOICE] I hate to disagree with you Adrianne, but our time is running out. We only have ten hours before our 'delivery' takes place. We pull back to see Garthe as he starts down the stairs. OMITTED CLOSE ANGLE - MICHAEL as he walks away from Adrianne, then into comlink: [MICHAEL] (quietly) Kitt...now! FULL as Garthe comes down to join the two. [MICHAEL] (to Garthe) You don't have to be so cryptic, Garthe. I know what your plan is. [GARTHE] When are you going to stop taking me for a fool, Michael? I'm not falling for that. You're not getting out of here that easy. [MICHAEL] On the contrary, you want me to escape. That's why there are no guards outside my door. [GARTHE] No guards? You're out of your mind. [MICHAEL] Why not open up and show me? [GARTHE] You're not going to get me to open the doors. [MICHAEL] Have it your way. I just got what I wanted. Michael looks down at the comlink, and gives it a private smile. [GARTHE] (misunderstanding) You mean Adrianne? Don't give your- self so much credit. She's only interested in what you can give her. (then; to Adrianne) Isn't that right, my dear? [ADRIANNE] I'm sure you couldn't even begin to imagine what really interests me, Garthe. [GARTHE] (hard) At the moment we have a lot to do... and very little time in which to get it done. I think we should leave Knight alone. (to Michael) I'm not through with you. He starts up the steps. Adrianne turns to Michael, then gives him another kiss. [ADRIANNE] (seductively) Neither am I. As she turns to go up, Michael lifts up the comlink. [MICHAEL] (into comlink) Okay buddy, now let's do some creative editing. EXT. HOTEL - NIGHT The street is deserted in the late night calm. We pan up to Christina's room. INT. CHRISTINA'S ROOM - NIGHT as we see her carefully going through her "uncle's" coat pocket, which is draped over the living room easy chair. Just as she is about to lift the wallet from the breast pocket the lights go on, startling her. [KLAUS #2] I think it is time we ended our little charade. [CHRISTINA] I was just looking for.... [KLAUS #2] Some kind of identification? Go ahead...you will find that it is in perfect order, right down to the pretty dollar bills from the Bahamas that your uncle keeps in his wallet for good luck. [CHRISTINA] Who are you? [KLAUS #2] Let's just say I am part of a very complex plan...a plan that is going to go smoothly, no matter what. It has been quite obvious ever since this afternoon that you had suspi- cions about me. I think it is time we lay all the cards on the table. [CHRISTINA] What do you want from me? [KLAUS #2] Very little, actually. Just your smile, and silence...and cooperation. Or you, and your real uncle will find yourselves very dead. Is it a deal? [CHRISTINA] Do I have a choice? [KLAUS #2] (with a dark smile) Of course not. INT. CELL - NIGHT - CLOSE ON PAIL as we see April pouring in the last of the powdered malimite from Devon's buttons. Devon is "kneading" the mixture which does resemble a gray dough. We pull back as Devon lifts up the golf ball size mixture. [DEVON] Now all we need is some kind of thread that is fine enough to hold the mixture together, yet is conductive to electricity. Klaus looks around, then: [KLAUS] April, the embroidery on your blouse. It has a metallic coating...that's what gives it its shine. [DEVON] Yes, that would work. April takes the ring from Klaus, cuts into the embroidery, then pulls out the thread. [APRIL] That's all of it. Is this enough? [DEVON] It's going to have to be. Devon mixes it into the substance, then walks over to the door. We see that the wire from inside the mattress has been set up on two areas by the edge of the door, the ends of which lead to the empty light socket. Devon breaks the "dough" apart and sticks it, like plastique, over the two wires. He then walks over to the key-lock switch. Devon sticks the bobby pin into the switch, and turns off the light. Klaus sticks the other end of the wire into the socket, then: [DEVON] Cover your eyes! He turns on the light again, and the two pieces of "dough" make a loud pop, followed by a blindingly bright, magnesium- type fire. The door falls forward. [KLAUS] We did it! EXT. CELL - BY HALLWAY - NIGHT as the three carefully walk out and down the hall. We follow them as they continue to the other side. Just as it looks like they might have a chance, they turn a corner to: HALLWAY - OTHER SIDE as we see Garthe standing there. He grabs Klaus. [GARTHE] Funny, I was just about to come down and get Dr. Bergstrom. Thank you all for saving me a trip. (then) Guards! The commandos take Devon and April to another cell. Klaus looks over to April and Devon. [KLAUS] (to Devon) It was a good try. [GARTHE] (to Klaus) Take a good look. You'll never see them again. INT. DUNGEON - NIGHT - ON MICHAEL as we hear a pounding on the door, then: [GARTHE'S VOICE] I thought you would be happy to know that your three friends tried to escape. They failed. But they are lucky. At least their deaths will be quick...and painless. He begins to laugh as we pull in on the concerned face of Michael, as we: FREEZE FRAME AND FADE OUT END OF ACT FIVE ACT SIX FADE IN EXT. REMOTE MANSION - DAYBREAK as the deceivingly peaceful mansion is bathed in the morning light. INT. DUNGEON - MORNING - ON MICHAEL as he leans against the wall, talking into the comlink. He looks tired. [MICHAEL] (into comlink) Okay buddy, how about using the third word from the fourth sentence? [K.I.T.T.] We've been at this all night...I don't know how you keep it all straight. [MICHAEL] Necessity, Kitt. Now come on, this should do it. INT. K.I.T.T. - DAY - ON MONITOR as we see "AUDIO EDIT - ON", flash on the screen. We then hear bits of the speeches of Garthe from the night before, but this time, some words are separated and put on the monitor on a separate line: "...when are you going to stop taking me for a fool, Michael...I'm not falling for that...You're not getting out of here...no guards...you're not going to get me to open the doors." The words are then rearranged so that the sentence reads on the monitor as follows: "GUARDS! OPEN THE DOORS, I'M TAKING MICHAEL OUT OF HERE!" [K.I.T.T.] I think that works, Michael. [MICHAEL'S VOICE] I knew you could do it Kitt. [K.I.T.T.] I couldn't have without your tricking the words out of him. [MICHAEL'S VOICE] Well, I buy it...now let's see if the rest of the world does. MICHAEL as he carefully walks up the steep steps to the door. CLOSER ANGLE - MICHAEL as he looks out the small window, then into comlink: [MICHAEL] Turn it up loud as you can, Kitt. This is it. Michael holds the comlink right at the window. EXT. DUNGEON DOOR - DAY as we see two guards sitting on either side of the door. They both look gone to the world. Suddenly, in a deep, bellowing voice from inside the dungeon: [GARTHE'S VOICE] Guards! Open the doors, I'm taking Michael out of here! With that, the two guards wake up...quickly...and go over to the dungeon door. While the first guard takes out his keys and begins to open the lock, the other one stands back a bit and aims his gun at the ready. CLOSER ANGLE - DOOR as the first guard opens the door...slowly, then, suddenly the door flies open, pinning the guard against the wall. In a flash, Michael is out of the door. He sidesteps the second guard and gives him a kick to the stomach, and then, in one quick motion, throws him into the dungeon. The door pushes open as the first guard comes to, but before he can do anything, Michael coldcocks him, sending him into the dungeon as well. He tumbles down the steep steps. With that, Michael tears out the long electrical cord connecting the desk radio to the wall on the guards desk, and heads into the dungeon with the cord. INT. DUNGEON FLOOR - DAY as we see Michael tie both guards' hands together from behind. He then takes the first guard's keys and goes back up the stairs, slamming, then locking, the door behind him. EXT. MANSION - DAY as we see Michael look out the door, then seeing the early morning grounds deserted, goes out and runs toward the garage. INT. GARAGE - DAY as we see K.I.T.T. still on the hydraulic lift. We hear a key go into the narrow side door to the garage, and open. Michael walks in, then stands in front of K.I.T.T. looking up. Goliath dwarfs the two of them as it stands by the large garage main doors. [K.I.T.T.] Michael, I'm so glad to see you, I was beginning to feel like a beached seal. [MICHAEL] There's no time for thank yous. I'm sure those guards are going to make their situation known as soon as they come to. Now where's the hydraulic switch? [K.I.T.T.] Right behind you. Michael turns the switch to the down position. As K.I.T.T. begins to lower: [K.I.T.T.] You have no idea how helpless it is to look right at that switch and be powerless to do anything about it. I had to reserve power for our communications. With my circuits down it was about the only function left. [MICHAEL] We should have you back to your old self in no time. [K.I.T.T.] Besides which, I had to fight off two technicians who kept trying to get into my computer last night. I had to use every ounce of power to keep them at bay. I felt like a chorus girl at a convention. By now K.I.T.T. has reached the ground. Michael runs over to him and pops the hood. As Michael begins working frantically inside K.I.T.T.'s hood: [MICHAEL] Just be glad you fought them off. I'm sure you wouldn't like the con- sequences if they succeeded. [K.I.T.T.] You know what they were planning? [MICHAEL] Yeah...your brain in Goliath's body. [K.I.T.T.] An electronic Frankenstein on wheels? Michael, we have to get out of here. [MICHAEL] I'm trying. But that black bulldozer shook you up pretty bad. (then) You're in luck. Seems that all he did was loosen your main circuit dis- tribution panel. There...how's that feel? INT. K.I.T.T. - ON CONTROL PANEL as we suddenly see all the lights, buttons and digital readouts light up. EXT. K.I.T.T. - ON SCANNER as we see it, too, brighten to its normal level and begin oscillating back and forth in a steady rhythm. [K.I.T.T.] Michael, I feel like a new car. MICHAEL as he runs over and climbs into K.I.T.T. [MICHAEL] I hope not, Kitt. I really like the old one. Now let's get moving, we're on borrowed time as it is. INT. K.I.T.T. - FAVORING MONITOR - ON MICHAEL as he punches up the communication button. [MICHAEL] Locate Devon for me. As we see on the monitor an electronic blueprint of the remote mansion. A small red light begins to blink in a room labeled Cell #2. [K.I.T.T.] They've been moved to another cell ...there is a security camera and PA system there. [MICHAEL] Jam the waves and give me a direct two-way from that PA speaker. [K.I.T.T.] Right away. INT. COMMUNICATIONS ROOM - MORNING as we see a few technicians glancing at the monitors. On one monitor we can see Devon and April as they sleep on mattresses. Suddenly, the monitor fills with snow. One of the technicians begins to try and adjust it. INT. CELL #2 - MORNING - INTERCUT WITH MICHAEL as Devon and April are awakened by Michael's voice. [MICHAEL] Devon, April...can you hear me? They look up at the speaker, surprised. [DEVON] Michael...yes, where are you? [MICHAEL] I'm in the garage. Kitt is repaired, and we've located your position. Just sit tight and I'll be there to get you out.... [DEVON] (interrupting) No...listen to me. You cannot chance coming back in here. It's more important right now that you find Christina. Get her away from that imposter...before it's too late. [MICHAEL] I can't leave you and April. [DEVON] You must. Believe me, we are still bait to insure your return. They won't harm us. [MICHAEL] How can you be sure? Devon pauses for a moment, then: [DEVON] Michael, go get Christina. That's an order. MICHAEL as he switches off the communications jammer. INT. COMMUNICATIONS ROOM as the monitor clears up...and we see April and Devon sleeping again...as if nothing happened. [TECHNICIAN] I wish they would stop using those blenders in the morning. INT. REMOTE MANSION DINING ROOM - DAY Klaus is at the table, toying with some breakfast, two guards on either side of him. Adrianne comes in, wearing a revealing morning coat. She motions to the guards and they leave as she sits down beside Klaus. [ADRIANNE] Not a morning eater? She playfully takes a strip of bacon from Klaus' plate and nibbles on it suggestively. [KLAUS] You're as charming as a poisonous snake. [ADRIANNE] It's all in how you look at things, isn't it? [KLAUS] What have you done to Devon and April? [ADRIANNE] They're unharmed. Although their accommodations aren't quite as nice as the ones they shared with you. But then again, they're not as important to me as you are. [KLAUS] Why am I so important? [ADRIANNE] Don't you know? You are a humble man. You shouldn't underestimate the value of your discoveries in laser technology -- the people who've expressed interest in you haven't. [KLAUS] You intend to sell me to the highest bidder? [ADRIANNE] You make it sound so inhumane. Actually, I'm sure you'll be very happy with your new sponsors. You'll have the most sophisticated equipment, the best living facilities...you'll be scientific royalty. Garthe enters the room behind them, signals to Adrianne that he wishes to speak with her. He doesn't look happy. [ADRIANNE] Do try to finish your breakfast, Doctor. Travelling is so much easier on a full stomach. With that, she rises, heads out of the room. Klaus moves to follow her and is immediately confronted by the two guards, blocking his escape. Frustrated, Klaus allows himself to be escorted back to the table. INT. STUDY - DAY where Adrianne enters to find Garthe pacing. [ADRIANNE] What're you so hot and bothered about? [GARTHE] Your submarine's going to be late. It's been dalayed by an American destroyer idling around off the international boundary. [ADRIANNE] Is that my fault? I'm not in control of the movements of the United States Navy. [GARTHE] But you planned the rendezvous, and as usual, you didn't take reality into consideration. [ADRIANNE] How dare you criticize anything I've done! If it weren't for me, you'd still be eating filth in that jail, and your Goliath would be a burned-out hulk! [GARTHE] You give yourself far too much credit. I would've gotten away -- I had so much unfinished business. [ADRIANNE] Your revenge against Michael Knight. It always comes back to him, doesn't it? [GARTHE] You brought him up -- I didn't. [ADRIANNE] Your hate for him is always eating away at you. It makes you weak. It disgusts me. [GARTHE] And your lust for him disgusts me. Adrianne hauls off and slaps Garthe hard across the face. He stares at her for a moment, then slaps her back. Adrianne glares at him, shocked by his impudence -- then she attacks him, all claws and poorly-aimed punches. Grinning, Garthe grabs her and slams her down into a chair, holds her there. His smile vanishes and he speaks icily, in a commanding tone. [GARTHE] It's time for you to understand, my lovely queen, that you're merely the tool for my desires. It was my will that forced you to break me out of jail, my knowledge that resurrected Goliath, my planning that enabled me to capture Michael Knight. We'll transport your Doctor Bergstrom out of the country, we'll pocket your coveted millions -- but no one, especially you, can stop me from my revenge. Before Adrianne can answer, the door opens and the First Guard from the dungeon runs in. His clothes are dirty and his face bruised. [FIRST GUARD] Michael Knight -- he's escaped! ANGLE ON ADRIANNE AND GARTHE as they react to the news. INT. GARAGE - DAY - ANGLE ON K.I.T.T. to include Goliath, standing between the Trans Am and the large garage doors. We hear: [K.I.T.T.'S VOICE] Michael, how do you intend to get us out of here? There's a rather large obstacle in our way. INT. K.I.T.T. - DAY - ON MICHAEL as he tests the operations panel. [MICHAEL] I scouted the garage from the outside. The wall straight ahead of us is thin enough to penetrate. [K.I.T.T.] We're too late! I detect a convoy of vehicles headed our way. [MICHAEL] Let's not stick around for a chat. And Michael starts the engine with a roar. WIDER ANGLE as Michael slams the accelerator to the floor and K.I.T.T. bursts forward, heading directly toward the wall. OMITTED EXT. GARAGE - DAY as K.I.T.T. bursts through the wall, takes off toward the driveway. WIDER ANGLE to include the vans and Jeep now driving directly toward the escaping Trans Am. INT. K.I.T.T. - DAY - ON MICHAEL as he sees the commandos ranged in his path. [MICHAEL] I know you'd like to keep both feet on the ground for awhile, but they're not leaving us much choice. [K.I.T.T.] It'll be a pleasure to leave this penitentiary, one way or the other. With that, Michael reaches for the turbo boost. EXT. GROUNDS - DAY - SLOW MOTION as K.I.T.T. turbo boosts up and over the oncoming commando vehicles and lands on the other side; the Trans Am continues toward the gates without stopping. CLOSE ANGLE - GATES as K.I.T.T. crashes through them, sending wrought iron in all directions. Once outside, the Trans Am roars up the road at incredible speed. EXT. MANSION - DAY - ANGLE ON GARTHE AND ADRIANNE as they run out of the house and stare after the disappearing K.I.T.T. [GARTHE] I've got to stop him! [ADRIANNE] (strongly) Not now, Garthe! Too much is at stake! Let him go, he'll be back! Garthe glowers out at the road, turns and storms back into the house. We move in on Adrianne as she smiles to herself. [ADRIANNE] He'll definitely be back. EXT. HIGHWAY - DAY - ANGLE ON K.I.T.T. now miles from the remote mansion, continuing at high speed toward the city. INT. K.I.T.T. - DAY Michael drives determinedly. [K.I.T.T.] I've never been so happy to leave a place, Michael. [MICHAEL] Don't cancel your subscription, pal -- we're coming back soon. [K.I.T.T.] Oh, not really.... [MICHAEL] We still have the small problem of rescuing Devon and April, not to mention Doctor Bergstrom. [K.I.T.T.] You're right, Michael. I'm thinking most selfishly. Forgive me. Will we be storming the fortress? [MICHAEL] I haven't planned that far ahead. First, we've got to save Christina from that imposter. Michael pushes buttons activating the monitor. [MICHAEL] Let's access Doctor Bergstrom's symposium itinerary for today. ANGLE ON MONITOR as a list of activities appears on the screen. [K.I.T.T.] He's discussing laser use in the home with a ladies' club at ten- thirty. ANGLE TO INCLUDE MICHAEL [MICHAEL] I hope the ladies won't mind a surprise guest speaker. With that, Michael lays on the gas and they zoom up the highway. EXT. HOTEL - DAY The same as seen earlier, people milling about. We hear a Woman's voice over: [WOMAN] We're very fortunate to have with us today one of the world's most renowed scientists, a man who's revolutionary ideas will long be remembered. INT. SMALL BANQUET ROOM - DAY where we see the attractive Woman at the head of a long table, speaking into a microphone. Several women are seated on either side of her, and they face a gathering of women seated on folding chairs, in business attire. [WOMAN] Please welcome, from Gottenberg, Sweden, Doctor Klaus Bergstrom. The women in the audience rise, clapping. CLOSER ANGLE - ON KLAUS #2 AND CHRISTINA entering at the far end of the room his arm linked through hers. He smiles as they move slowly toward the head table, shaking hands and exchanging greetings. Christina is utterly unsmiling. Ultimately, never losing his smile, Klaus #2 speaks softly to her. [KLAUS #2] Your face is frozen like a statue's, my dear. These people are expecting to see an adoring niece. [CHRISTINA] Just because I'm here doesn't mean I have to smile and play along with you. [KLAUS #2] Please remember that all I have to do is place one phone call and your uncle will die. [CHRISTINA] But as long as we're in a room with a crowd of people, you can't use the telephone, can you, 'uncle'? ANGLE TO INCLUDE KLAUS #2 AND CHRISTINA as they take their places facing the audience, and Klaus #2 speaks into the microphone. [KLAUS #2] Thank you for the generous welcome, ladies. Truly, I've never been so recognized in my life. As the smile disappears from Christina's face, we: CUT OUTSIDE TO OMITTED EXT. HOTEL - DAY - ON K.I.T.T. screeching to a stop in front of the hotel. As Michael leaps out: [K.I.T.T.] Michael how are you going to get Christina away from him with all those people around? [MICHAEL] As quickly as possible. With that, he runs into the hotel. INT. SMALL BANQUET ROOM - DAY as in the b.g. we hear Klaus #2's lecture: [KLAUS #2'S VOICE] ...and although in theory, laser weaponry is possible, in reality it is still only the material of Saturday morning television. Michael appears at the entrance, looks forward to Klaus #2 and Christina, seated beside him before a rapt audience. CLOSE ON CHRISTINA seeing Michael, almost rising from her seat. ANGLE ON MICHAEL calling out from the rear of the room: [MICHAEL] Your game's up, 'Klaus', or whatever your name is. I've come for Christina. We widen as a general hubub rises across the room and Michael makes his way toward the table. Christina rises and Klaus #2's confident mask begins to crumble as Michael approaches, but he hangs onto his disguise: [KLAUS #2] Young man, control yourself, or we'll be forced to call the police. [MICHAEL] You do that. I'm sure they'll be delighted to hear from you. Michael takes Christina's arm, begins to lead her away. [KLAUS #2] Have you lost your mind? Take your hands off my niece. He grabs Michael's arm and Michael shakes free, starts away -- then Klaus #2 snaps. He pulls a gun, aims it at Michael. [KLAUS #2] Stop, or I'll shoot! Women begin to scream and scramble for cover. Releasing Christina, Michael whirls around and kicks the gun out of Klaus #2's hand. Klaus #2 swings at Michael and Michael ducks aside, then retaliates, punching Klaus #2 hard, knocking him unconscious. Michael scoops up the fallen gun, hands it to the shocked Woman who introduced the "renowned scientist." [MICHAEL] Keep an eye on him until the police get here. And cancel the lecture -- he'll be off the circuit for awhile. Taking Christina's hand, Michael runs out of the banquet room. EXT. HOTEL - DAY - ANGLE ON K.I.T.T. as Michael and Christina approach, and he opens the passenger door for her. Before she climbs in, Christina throws her arms around Michael. [MICHAEL] Take it easy, Christina. Everything's going to be all right. [CHRISTINA] It's been horrible, trying to pretend -- I kept hoping for a chance to push him down a flight of steps or something. [MICHAEL] I'm glad I spared you the trouble. [CHRISTINA] It's not over yet, is it? [MICHAEL] I'm afraid not. CLOSE ON MICHAEL concerned: [MICHAEL] It's just beginning. As he helps Christina into the awaiting K.I.T.T., we: OMITTED FREEZE FRAME AND FADE OUT END OF ACT SIX ACT SEVEN FADE IN EXT. HIGHWAY TO REMOTE MANSION - DAY - ANGLE ON K.I.T.T. speeding up the road toward the mansion. INT. K.I.T.T. - DAY - FAVORING DASH where the computer reads out accelerating speed, moving quickly through the eighties. We widen to see Michael adjusting K.I.T.T.'s Ultra-Frequency Modulator. [MICHAEL] Stay tuned for transmissions from the mansion, pal. When they make their move with Klaus, we want to be there for the going-away party. [K.I.T.T.] Party crashing, I believe it's called. Michael glances at Christina, who sits tensely beside him, staring out the window. He reaches over to take her hand, squeezes it reassuringly. [MICHAEL] You okay? You haven't said a word for... (checks mileage gauge) ...a hundred and seventy-four miles. [CHRISTINA] I'm sorry. I haven't even thanked you for rescuing me from that... that.... [K.I.T.T.] Masquerading misanthropic non-Bergstrom. [CHRISTINA] (smiling despite herself) Exactly. [MICHAEL] You don't have to thank me. I just wanted a guarantee that you'd be available for a half-dozen dinners or so after this is all over. [CHRISTINA] If it's over. I'm so afraid I'll never see poor Uncle Klaus again.... [MICHAEL] You will, Christina, I promise. It won't be that easy for Garthe and Adrianne to sneak a renowned scientist out of the country. All we've got to do is figure out when and how they're planning to do it -- and stop them. [CHRISTINA] How can we? Two people against a well- organized band of traitors.... [K.I.T.T.] I beg your pardon. Two people and the Knight Industries Two Thousand. [MICHAEL] And that ain't chopped liver. He winks at Christina, then: EXT. REMOTE MANSION GARAGE - DAY - ANGLE ON GARTHE as he strides toward the garage, where we see a flurry of activity, commandos moving in and out. Garthe enters the garage. INT. GARAGE - DAY - CLOSE ON GOLIATH showing various adjustments being made -- air checked in mammoth tires, nose grill polished meticulously, rear doors closed and lock secured. The air breathes preparation for departure. CLOSE ON GARTHE smiling up at the behemoth, as he rests a hand lovingly on the metal side of the truck. [GARTHE] Our time has almost come, my giant friend. The only thing delaying us is the inaccuracy of a woman.... INT. MANSION COMMUNICATIONS ROOM - CLOSE ON A DIGITAL CLOCK reading out the seconds, as the minute marker turns over. We widen to see a testy Adrianne pacing behind the radio operator, then pushing him aside to grab the transmitting device. She speaks roughly into it: [ADRIANNE] XL735, come in. What's taking you so long? Are you sailing the scenic route? EXT. SUBMARINE - DAY - BENEATH THE SURFACE - STOCK moving silently, stealthily, as we hear: [COMMANDER'S VOICE] I'm on the approach, due at K17 in less than twenty minutes. I'm at maximum speed of thirty knots -- I suggest you sit tight. Over. OMITTED INT. MANSION COMMUNICATIONS ROOM - CLOSE ON ADRIANNE infuriated by the Commander's insolence. [ADRIANNE] I'll tighten you if you're so much as a second late. She slams down the transmitter. OMITTED INT. REMOTE MANSION - CELL #2 - DAY - CLOSE ON A VIDEO CAMERA arcing right and left, panning the small room. We move down to see Devon kneeling below the camera, prying at a low air vent, trying a desperate attempt to escape. He shakes his head, giving up, rising. [APRIL] It's no use, Devon. They're not taking any chances with us this time. We widen as across the small room a door opens and Garthe enters. [GARTHE] You'll be happy to know you won't be spending too much more time in this cracker box. [DEVON] Where are you taking us? [GARTHE] Nowhere. It's the house that's leaving. As soon as we remove Bergstrom, the circuitry will override in a very unsafe way that most homeowners wouldn't approve of. As the wires melt, the house will burn -- and so will Devon Miles and my father's perverse dream. [APRIL] You're not including me. Garthe approaches her, takes her face almost gently in his hands. [GARTHE] No. I find you too appealing to destroy. I'd like to take you with me. Devon roughly pushes Garthe's hands off April. [DEVON] April is not a trophy for your mantle. [GARTHE] I didn't ask your opinion. [DEVON] I'm giving it, nonetheless. This plan of yours will never work. Michael will be back with half the police and military behind him. [GARTHE] I don't share your belief that he's a superman.... [DEVON] He defeated you before -- he'll do it again. [GARTHE] I don't think so. [DEVON] But you don't know. You fear him. Don't you, Garthe? Garthe's temper explodes and as April gasps, Garthe grabs Devon and slams him back against the wall. [GARTHE] I could kill you right now. [DEVON] You're not man enough. As Garthe's hands move toward Devon's throat April suddenly intervenes, stepping between the two men. [APRIL] I have a right to make my own decision, don't I? Garthe's cold eyes turn to April. She looks at him seductively and a smile creeps across his face. [APRIL] Can we speak -- alone? Garthe releases Devon, who gasps for breath. Garthe walks to the door and opens it gallantly, waits for April to move out, as he looks back at Devon. [GARTHE] Aren't women unpredictable? And we move in on Devon's worried face as Garthe shuts the door behind him. INT. CORRIDOR ADJACENT TO CELL #2 - DAY - ON GARTHE as he turns from the door to April, placing a hand on either side of her, pinning her against the wall. [APRIL] You say you want me -- all right. I'll go with you if you'll release Devon. [GARTHE] You're hardly in a position to be making deals, my lovely. [APRIL] An agreeable companion is better than an unwilling prisoner. [GARTHE] But unwilling ones are the challenge. He tries to kiss her and she turns her face sharply aside. [GARTHE] Resisting makes you all the more attractive. April looks at him, her eyes filled with fire. [APRIL] Do you know why you have to pin a woman to a wall to make her look at you? It's because the coldness that's inside you comes through your eyes. You look like Michael Knight on the outside, but inside, you're empty and dead. Adrianne doesn't want you and neither do I. Garthe glares at her, then: INT. CELL #2 - DAY The door opens and Garthe pushes April in. Devon moves protectively to her side as Garthe says icily: [GARTHE] If you're worried about Knight and your super car, don't -- I intend to dispose of them personally. With Goliath. And he leaves. Devon and April exchange a tense look. [DEVON] We mustn't give up hope. I have great faith in Michael.... [APRIL] Devon...I'm scared. [DEVON] So am I, April. EXT. ROAD TO REMOTE MANSION - DAY - ANGLE ON K.I.T.T. moving like lightning up the empty road. INT. K.I.T.T. - DAY - FAVORING MONITOR where latitudes and longitudes arc outward from a median source which is the mansion. Suddenly, a blip appears at the outer edge of the grid, a form moving slowly toward the mansion. [K.I.T.T.'S VOICE] Michael, I'm intercepting a trans- mission to the mansion from a moving vehicle.... We widen to see Michael and Christina as they eye the flashing dot on the monitor. [MICHAEL] What kind of vehicle, Kitt? [K.I.T.T.] One approaching on a rather erratic course from north by northwest. [MICHAEL] (pushing buttons) Let's get its exact location.... [K.I.T.T.] One hundred seventeen point five miles northwest of the mansion. [MICHAEL] That would be in the middle of the ocean. [K.I.T.T.] Seventy-four point six miles from shore, to be exact -- and approximately two hundred feet below the surface. [CHRISTINA] Below the surface? [MICHAEL] Of course -- a submarine! That's how they're moving Klaus out. Talk about a low profile. [CHRISTINA] Michael, how can we possibly stop them? [MICHAEL] They've got to get your uncle from the mansion to the sub, and that's when they'll be vulnerable. [K.I.T.T.] Unless they take...Goliath. CLOSE ON MICHAEL as his expression becomes grim. [MICHAEL] Even if they take Goliath. And he floors the accelerator. EXT. K.I.T.T. - DAY - CLOSE SHOT picking up speed, blasting toward the camera. We pull back to reveal this image on a video monitor, and see also that we're in the mansion's communications room. In the b.g., we hear the submarine Commander's voice crackling through an open speaker: [COMMANDER'S VOICE] XL735 reporting in fifty-three miles offshore and approaching, prepare our guest for shore-to-ship transfer. WIDER ANGLE to show a Technician staring in horror at K.I.T.T. on the monitor as Adrianne moves in behind him, eyes the screen intently and smiles cryptically. [ADRIANNE] So Michael's come back. Somehow, I knew he would. [TECHNICIAN] At his present speed, he'll be here in five minutes or less. Should we alert Mr. Knight? [ADRIANNE] At once! The Technician reaches for a microphone connected to the PA system and Adrianne suddenly stops his hand. [ADRIANNE] No, wait. If Garthe knows Michael's coming, he'll lay everything aside for his personal battle. No, let's not tell Garthe. It will be our little secret. She pats the Technician's shoulder confidentially, leans over and turns off the monitor. The Technician watches worriedly as Adrianne leaves. INT. CORRIDOR ADJACENT TO COMMUNICATIONS ROOM - DAY as Adrianne nearly collides with Garthe, who's headed toward the room. [ADRIANNE] Where are you going? [GARTHE] Don't use that tone on me. I'm doing my job, and hoping you've done yours. That submarine had better be there, Adrianne. [ADRIANNE] It'll be there. I hope that monster of yours isn't too slow. We've got to be out of here within five minutes. [GARTHE] Don't cast aspersions at Goliath. We'll be gone in three. He storms toward the communications room as she smiles after him, heads up the corridor. OMITTED INT. CELL #1 - DAY where we find Klaus Bergstrom pacing nervously as the door opens and Adrianne enters, smiling pleasantly. [ADRIANNE] It's time to go, Doctor Bergstrom. [KLAUS] Suppose I refuse to leave. What will you do, then? [ADRIANNE] Ask again, nicely. And if that fails, I'll have your niece executed. You must understand that I made a deal with you as the prize, and I always uphold my end of the bargain. Please, Doctor.... She holds the door open, revealing two armed commandos waiting to serve as escorts. Klaus finally glares at Adrianne, holds his head high and marches through the door. As the guards lead him down the hall: INT. MANSION COMMUNICATIONS ROOM - DAY - ON GARTHE as he feeds intensified currents into all circuitry, preparing the house to self-destruct in a fiery death. In the b.g., crackling through the open speaker, we hear a continuing transmission from the submarine: [COMMANDER'S VOICE] XL735 here, twenty-five miles off- shore and approaching. Prepare for rendezvous within the hour. Garthe stops his sabotage and moves to the speaker, picks up the transmitter. Into it: [GARTHE] K17 to submarine -- hear this. Prepare for Goliath! He tosses the transmitter onto a table and, as he leaves the room, we move in on various meters whose registers arc toward the red and danger. EXT. REMOTE MANSION GARAGE - DAY as two commandos pull back the huge doors. From inside comes the rumbling of a huge, angry animal. A beat -- and then Goliath begins to move out, its massive black snout blocking out the daylight. We widen as the huge truck emerges, growls forward. EXT. REMOTE MANSION - DAY - ON GOLIATH as it rumbles toward the front of the house, comes to a screaming stop. A commando driver climbs out of the driver's seat as Adrianne exits the house with Klaus and his two-man escort. They cross to the rear of the truck and the commandos open the tail gate, help the scientist in. Then, they seal the gate, close the lock as Adrianne crosses to the passenger side of Goliath. ANGLE ON GARTHE coming out of the house, looking back and over toward the part of the basement where April and Devon await their doom. Garthe salutes the house ironically. [GARTHE] Good-bye, Foundation for Law and Government. WIDER ANGLE as Garthe now moves toward Goliath, and commandos immediately snapping to attention. Garthe salutes them quickly, then crosses to climb into the driver's seat, taking his place beside Adrianne. ANGLE ON GOLIATH as the truck's massive engine roars. Garthe blasts the powerful air horn and the behemoth rumbles away, taking a rear road toward the sea and awaiting submarine. ANGLE ON THE COMMANDOS as the remaining men leap into two vans and a Jeep and rumble after Goliath. EXT. OCEAN - DAY - ANGLE ON SUBMARINE - STOCK now nearing shore, as it rises to the surface. The silent gray menace cuts whitewater, heading for its rendezvous. EXT. REMOTE MANSION - DAY All now appears quiet; Goliath and the troops are forgotten. INT. CELL #2 - DAY - ON DEVON AND APRIL as suddenly, the lights in the room go out, then on again. [APRIL] Devon, if Garthe's really overriding the circuitry, we have only minutes.... [DEVON] Where is Michael? EXT. ROAD TO MANSION - DAY - ON K.I.T.T. K.I.T.T.'s scanner flashes as the car now arcs around a final curve, leading to the mansion. INT. K.I.T.T. - DAY - FAVORING MONITOR showing a graphic representation of the area and several blips moving away from the centerpoint/mansion -- one large blip remaining on a straight course, the others scattering. [K.I.T.T.'S VOICE] Michael, there appears to be a mass exodus from the mansion in progress. We widen to include Michael and a very worried Christina. [MICHAEL] Probably like rats deserting a sinking ship, 'cause if I'm any judge of Adrianne, she won't leave a trace of that house behind. [K.I.T.T.] On the other hand, she wouldn't be inclined to include Devon and April in her departure. [MICHAEL] Exactly what I'm thinking, Kitt. EXT. REMOTE MANSION - DAY - ANGLE ON K.I.T.T. tearing now toward the mansion, screeching to a halt directly in front of the house, scanner oscillating. INT. K.I.T.T. - DAY as Michael cranes up to the house. [K.I.T.T.] Michael, my magnetic analyzer indicates that the current charging through the electrical system will cause a con- flagration within a matter of minutes. [MICHAEL] Are you getting any life readings in the house, Kitt? ANGLE ON MONITOR as a scheme of the house appears, and a grid scans the rooms, ultimately stopping at one featuring two life forms. [K.I.T.T.] Two individuals in a sealed cell in the basement, Michael. And the current is building. WIDER ANGLE as Michael peers out toward the house. [MICHAEL] Can you locate the circuitry center? [K.I.T.T.] In a room only doors from the prisoners. [MICHAEL] I've got to get in there! As he leaps out of the car, Christina starts after him. [CHRISTINA] Michael, can't I help you? As he gently stops her: [MICHAEL] You sure can. Stay in Kitt -- if anything happens, it's the safest place you can be. Keep the doors and windows shut -- and cross your fingers. And Michael runs toward the house. INT. REMOTE MANSION - DAY - ANGLE ON MICHAEL as he runs in and up the stairs, two at a time. There's an ominous hum and rumbling throughout the house and the lights flicker on and off. Michael runs up the corridor: INT. COMMUNICATIONS ROOM - DAY - ANGLE ON MICHAEL throwing the door open, dashing into the room. Around him, all meters register DANGER and OVERLOAD, flash red. Sparks are flying, the lights flash their warning. Sheltering his face from the sparks and smoke, Michael speaks to comlink: [MICHAEL] (to comlink) Kitt, there're so many registers up here, I don't know where to start. Is there one main source I can knock out to stop this thing? K.I.T.T.'s voice comes through heavy static interfence: [K.I.T.T.'S VOICE] Far...wall, Michael...near...window.... Michael spots the large governing lever, where sparks have already burst into flame. Stripping off his jacket, he wraps it around his arm and leaps toward the governor. He grabs it with the protected arm and, using his body's full force, pulls it to the ground. WIDER ANGLE as suddenly, the lights go out, the hum and rumbling subside. Sparks continue to shoot for a beat, then die out. CLOSE ON MICHAEL crouching near the window, with the expression of a man waiting for the world to end. Relieved that it didn't, he rises slowly. [MICHAEL] (to comlink) We did it, buddy. Now, I've got to find Devon and April! INT. CELL #2 - DAY - ANGLE ON DEVON AND APRIL huddled against the far wall, as sparks fly from the automatically-operated door. As the sparks diminish, the door gradually opens. Devon and April exchange an astonished look, then head for the door. INT. CORRIDOR - DAY - ANGLE ON MICHAEL dashing out of the communications room, shouting: [MICHAEL] Devon! April! Where are you?! At this moment, Devon and April step out of their cell, see Michael. [APRIL] Michael! The three friends run to one another; April leaps into Michael's arms and they hug like reunited relatives. [APRIL] I've never been so glad to see anybody in my life. Still holding April, Michael looks to Devon, who smiles and offers his hand. As Michael shakes it: [DEVON] I believe I now know the meaning of 'the nick of time.' April now moves free of Michael's arms. [MICHAEL] Do you have any idea how long ago they left with Bergstrom? [DEVON] Only minutes, but Michael -- they've taken him in Goliath. [MICHAEL] I had a feeling they would. Listen, I think I'm going to need some rein- forcements, and the transmitters in the communications room are probably still operating. [APRIL] Say no more, Michael. That's my department. [MICHAEL] I'm going to leave Christina Bergstrom with you. I haven't got time to explain -- I've got to stop a submarine. And Michael runs up the corridor, toward the stairs, as Devon calls after him: [DEVON] Michael -- good luck! April joins him and they head toward the communications room as we: FREEZE FRAME AND FADE OUT END OF ACT SEVEN ACT EIGHT FADE IN EXT. HIGHWAY - DAY - ANGLE ON K.I.T.T. speeding on the straightaway, on a rendezvous with destiny. INT. K.I.T.T. - DAY - FAVORING MONITOR showing a scheme of the road ahead, as a large blip appears on the outer perimeter. [K.I.T.T.] I can't deny it to myself any longer. That's definitely Goliath. We widen to see Michael intent upon the road. [MICHAEL] Bigger and meaner than ever. [K.I.T.T.] Please don't make light of it, Michael. Quite frankly, I'd rather face an entire Army of car crushers. [MICHAEL] Just remember, pal -- we've got right and justice on our side. [K.I.T.T.] And he's got weight, size and my molecular bonded shell. [MICHAEL] Picky, picky. EXT. HIGHWAY - DAY - ANGLE ON GOLIATH sailing along like a massive, black ship on land. The voluminous air horn blasts ominously. INT. GOLIATH - DAY Adrianne glares at Garthe as he gleefully releases the horn. [ADRIANNE] Must you blast that thing? I don't see any need to announce our approach. [GARTHE] We've got nothing to be afraid of. Even Michael Knight's just a memory. One I have yet to deal with.... [ADRIANNE] Your hopes far exceed your abilities, Garthe. [GARTHE] You know what you lack, Adrianne? A sense of spectacle. You'd be satisfied quietly counting your money in some forgotten outpost while I, on the other hand, won't be happy until I'm the acknowledged ruler of everything I touch. [ADRIANNE] You'll be the ruler of nothing if Michael's called for help. Who knows what's waiting for us up ahead? [GARTHE] And who cares? Nothing can stop us -- we've got Goliath! And he again blows the ear-splitting air horn, much to Adrianne's disgust. EXT. DOCK - DAY - ANGLE ON SUBMARINE - STOCK waiting silently for the arrival of its prisoner, as we hear: [COMMANDER'S VOICE] XL735, come in K17. We've docked and are waiting on less than cordial shores. Please hurry! OMITTED INT. MANSION COMMUNICATIONS ROOM - DAY - CLOSE ON DEVON on the telephone, as the submarine Commander's Voice crackles through the speaker nearby. [COMMANDER'S VOICE] Are you receiving, K17? [DEVON] (to telephone) Can't you hear that? A foreign submarine illegally docked on our shores should at least fall within your jurisdiction. We widen to see April comforting a bereaved Christina nearby as Devon listens briefly to his receiving party's response, his anger building. Now, he leaps to his feet, practically shouting into the telephone: [DEVON] Listen to me, you stiff-spined military curmudgeon -- Klaus Bergstrom is about to be shipped out to some foreign nation and it's not for a pleasure cruise. I don't care whether he's a citizen or not, if you've any sense of human decency, you'll get out of that leather chair of yours and mobilize your troops at once! (beat) Hello? Hello! Blast him! [APRIL] I'm not sure that was the right approach, Devon. ANGLE ON APRIL AND CHRISTINA as Christina turns desperately to April. [CHRISTINA] Can't I talk to them, April? They don't understand that there's more than politics involved here -- it's my uncle's life. [APRIL] Believe me, Christina, if there's anything that can be done to help Klaus, Devon'll do it. [CHRISTINA] But it sounds as if Michael's driven after something he can't possibly handle. [APRIL] If there's anybody who can handle himself as well as Devon, it's Michael. [CHRISTINA] All Klaus ever wanted was to make things better for mankind. This is too unfair a price for him to pay. Christina begins to cry and April embraces her. [APRIL] Don't worry. Everything's going to be all right. She looks over at Devon, who's pacing, trying to determine his next course of action. [APRIL] Isn't it, Devon? ANGLE ON DEVON as he looks over at the women, then grabs the telephone, dials quickly. A beat, then: [DEVON] Give me the Highway Patrol. OMITTED EXT. HIGHWAY - DAY - ANGLE ON GOLIATH roaring along an empty stretch of road. As the behemoth rumbles past a large ground-anchored billboard, we pick up a Highway Patrol car parked behind it. INT. HIGHWAY PATROL CAR - DAY - ANGLE ON PATROLMAN picking up his walkie-talkie as he watches the vanishing black truck. [PATROLMAN] I've got a vehicle answering to APB 1126 moving south on Highway 19. Am in pursuit. EXT. HIGHWAY PATROL CAR - DAY pulling away from behind the billboard, lights flashing, accelerating after Goliath. INT. GOLIATH - DAY Garthe spots the quickly approaching patrol car in his side mirror, smiles. [GARTHE] How thoughtful -- a police escort. ANGLE THROUGH GARTHE'S WINDOW as the patrol car pulls up alongside, lights flashing. The officer's voice booms through the loudspeaker: [PATROLMAN'S VOICE] Please pull over to the side of the road immediately, by order of the Highway Patrol. ANGLE ON ADRIANNE AND GARTHE She coldly dismisses the police vehicle. [ADRIANNE] Get rid of him. Garthe grins demonically and swerves toward the car. EXT. GOLIATH - DAY - ANGLE ON PATROL CAR darting out of the way of the swerving truck, accelerating and quickly passing. The patrol car gains on Goliath, then skids to a stop, blocking the highway. The Patrolman climbs out and stands at the front of the car, aiming his gun with both hands at the oncoming leviathan. INT. GOLIATH - DAY - CLOSE ON GARTHE pulling the incredible air horn, its scream filling the air. ANGLE ON PATROLMAN as Goliath rumbles toward him, realizing the truck's not even hesitating. At the ultimate moment, he leaps to safety. WIDE ANGLE - GOLIATH AND PATROL CAR as the massive truck plows right over the patrol car, utterly flattening it, then continuing up the empty highway. CLOSE ON THE PATROLMAN stunned, without even a radio to dispatch this news. EXT. ROAD INTERSECTING HIGHWAY - DAY - ON K.I.T.T. scanner flashing, zipping from road to highway in a spectacular sideways sweep, then tearing up the highway. INT. K.I.T.T. - DAY A light flashes on the dash and we intercut with Devon on the telephone in the mansion communications room. [K.I.T.T.] Michael, Devon's calling from the mansion. [MICHAEL] Hello, Devon, any luck with General Maddux? [DEVON] Yes, but only because he's interested in submarines. Have you caught a sight of Goliath? [MICHAEL] Not yet, but we're gaining fast. [DEVON] The Highway Patrol has set up a roadblock at the juncture of Highway 19 and Comstock Road. Apparently Goliath has wiped out one patrol car. [MICHAEL] Tell them to clear the area of people before he wipes out several more. OMITTED EXT. JUNCTURE HIGHWAY 19 AND COMSTOCK ROAD - DAY - ANGLE ON HIGHWAY PATROL ROADBLOCK consisting of several squad cars and standard sawhorses. Per Michael's request, the patrolmen are standing to either side of the blockade, guns trained on the road. ANGLE ON GOLIATH roaring toward the roadblock. The air horn blasts.... ANGLE ON HIGHWAY PATROLMEN ranged on either side of the road, opening fire as the huge truck hurtles past. ANGLE ON GOLIATH as bullets ricochet off his molecular bonded shell. WIDER ANGLE - GOLIATH AND ROADBLOCK (MINIATURE) as once again, the behemoth simply blasts through the roadblock, splintering metal and wood, continuing up the highway. INT. K.I.T.T. - DAY - FAVORING MONITOR where we see a computer graphic rendering of the utter desecration of the roadblock. [K.I.T.T.] My goodness, he's a devil! We widen to see Michael watching the horrible destruction, then suddenly spotting something O.S. [MICHAEL] Look out! EXT. K.I.T.T. - DAY darting around the utterly flattened hulk of the first patrol car. As K.I.T.T. flies past, we angle to the astounded, gaping patrolman, who gives up his efforts to flag the Trans Am. EXT. HIGHWAY - DAY - ANGLE ON GOLIATH rumbling along, pieces of debris from the previous encounter wedged to the massive grill at his snubbed nose. INT. GOLIATH - DAY Garthe glances over at Adrianne, whose eyes are glued to the road ahead. [GARTHE] It's an amazing feeling of power, isn't it? The power of men against any obstacle.... He reaches for Adrianne's hand...she instantly pulls it away, glares at him. [ADRIANNE] Don't touch me. [GARTHE] I remember when you were waiting outside my door, hungry for my touch. Just because I looked like him. [ADRIANNE] Why settle for the copy when you can have the original? [GARTHE] (angrily) He's the copy! Never forget that! Adrianne glances in her side mirror and a cryptic smile crosses her face. [ADRIANNE] And he's coming, Garthe. He's coming. ANGLE INTO SIDE MIRROR where we see K.I.T.T. reflected, just a black spot on the distant horizon behind them. INT. GOLIATH - DAY - CLOSE ON GARTHE as he also sees Michael approaching. [GARTHE] No! How did he find us? Then, as his eyes return to the road ahead. [GARTHE] Now what? Don't they realize we're indestructible? EXT. HIGHWAY - DAY - ANGLE ON SECOND ROADBLOCK This time, an amalgam of greater proportion -- cement trucks, dump trucks and huge piles of dirt and sand. WIDE ANGLE - GOLIATH AND SECOND ROADBLOCK as in slow motion, Goliath plows through, only slightly slowed by the ponderous obstacle. As Goliath continues: EXT. HIGHWAY - ANGLE ON K.I.T.T. moving like lightning, gaining on Goliath, approaching the remainder of the roadblock. INT. K.I.T.T. - DAY as Michael sees the obstacles ahead: [K.I.T.T.] Michael, unlike that dinosaur, I dislike the look of that roadblock. [MICHAEL] It didn't stand in his way, and it won't stand in ours. And Michael reaches for turbo boost. EXT. HIGHWAY - DAY - ANGLE ON K.I.T.T. blasting from the road, soaring over the remainder of the roadblock. Hitting the road beyond, the Trans Am rejoins the chase. EXT. HIGHWAY - DAY - ANGLE ON GOLIATH picking up speed, roaring forward. INT. GOLIATH - DAY as Garthe eyes the oncoming K.I.T.T. in his side mirror. [GARTHE] He is in such a hurry to meet his doom. EXT. HIGHWAY - DAY - ANGLE ON K.I.T.T. gaining on the behemoth. INT. K.I.T.T. - DAY The rumble of Goliath's powerful engine can be heard O.S. [MICHAEL] Okay, Kitt, it's time to start out- thinking him. [K.I.T.T.] I'd prefer to outrun him, Michael. That beast makes my chassis shudder. [MICHAEL] It's too late to get cold tires, we have to help Klaus. Scan Goliath's van for life forms. We hear the scanner oscillate, then the conclusion: [K.I.T.T.] Only one person, Michael. [MICHAEL] Klaus Bergstrom. Okay, buddy, what kind of lock's holding that tail gate shut? ANGLE ON MONITOR where a plan of the complicated lock appears. [K.I.T.T.] It's a highly sophisticated electronic timing device. Deprogramming it would be quite time consuming. ANGLE ON MICHAEL as the image vanishes from the screen. [MICHAEL] If we were to concentrate all power sources on microwave jammer and focus it on that lock, think we could spring it? [K.I.T.T.] Quite possibly, but it would seriously deplete all active functions. I doubt I could so much as turbo boost without regeneration.... [MICHAEL] We'll have to cross that bridge when we come to it. And Michael begins the transfer of all power.... EXT. HIGHWAY - DAY - ANGLE ON K.I.T.T. pulling to within a few yards of Goliath, where we move in on the scanner as the jammer goes to work. ANGLE ON GOLIATH'S REAR GATE as the mechanism of the lock begins to shake, then pops open. The force of the jammer pulls the doors open as well, and we see an astounded Klaus Bergstrom huddled inside the van. INT. GOLIATH - DAY Garthe and Adrianne strain to make out what's going on behind them. [GARTHE] He's right on top of us. I can't strike at him there. [ADRIANNE] Something's going wrong, I can feel it! EXT. HIGHWAY - DAY - ANGLE ON K.I.T.T. sun roof open, now on auto drive, speeding so that K.I.T.T.'s hood is just beneath Goliath's rear gate. K.I.T.T. holds a steady course as Michael climbs up, over the windshield, onto the hood of the car. He steadies himself, then leaps into Goliath's van. INT. VAN - DAY - ON MICHAEL AND KLAUS as Michael hurries to help Bergstrom to his feet. [KLAUS] I don't believe what I've just seen. I'm learning that the miracles of science are nothing compared to those of man. [MICHAEL] We'll discuss it later. Right now, we've got to get you out of here. And he rushes Klaus toward the open door. EXT. GOLIATH - DAY - ON MICHAEL AND KLAUS as Michael helps Klaus onto K.I.T.T.'s hood. As the two men cling precariously to the windshield, K.I.T.T. drops from behind Goliath, slows down. ANGLE ON K.I.T.T. as the two men climb to the safety of the car and Michael slides into the driver's seat, returns K.I.T.T. to manual drive. Immediately, K.I.T.T. takes off in pursuit of Goliath, passes the truck and takes the lead. INT. GOLIATH - DAY as Garthe and Adrianne see what's happened. [ADRIANNE] He's got Bergstrom! We're lost! [GARTHE] No -- he is. OMITTED WIDER ANGLE K.I.T.T. swerves from side to side, Goliath ponderously attempting to follow, as K.I.T.T. turns off the highway onto a smaller road. INT. GOLIATH - DAY Adrianne grabs at Garthe, who's obsessively staying on K.I.T.T.'s tail. [ADRIANNE] Let him go, Garthe! There's still time for us to escape! [GARTHE] For us to escape? We don't run -- we attack! EXT. ROAD - DAY - ON GOLIATH AND K.I.T.T. as K.I.T.T. leads Goliath across relatively flat terrain toward the ocean. Garthe blasts the air horn and the truck pulls up close behind K.I.T.T. INT. K.I.T.T. - DAY - FAVORING MONITOR where a schematic of the terrain shows, including a steep cliff over the sea, directly ahead. [K.I.T.T.] Michael, we're headed directly toward an extremely steep drop. [MICHAEL] So's Goliath. [K.I.T.T.] Allow me to remind you that we no longer have April's parachute for protection. I'm really not inter- ested in executing a high dive without a net. [MICHAEL] Allow me to remind you -- he's still got the size, but we've still got the maneuverability. EXT. ROAD - DAY - ON K.I.T.T. AND GOLIATH as K.I.T.T. bears down on the cliff's edge; then at the last possible moment, angles away sharply and screeches to a stop, while Goliath continues on his straight drive.... INT. GOLIATH - DAY - ON GARTHE AND ADRIANNE suddenly seeing the cliff ahead as Garthe slams on the brakes...too late. EXT. ROAD - DAY - ANGLE ON GOLIATH as the truck hurtles over the edge of the cliff, soars, in slow motion, toward the sea below. ANGLE ON K.I.T.T. as Michael and Klaus climb out, stare over the cliff's edge. ANGLE ON GOLIATH vanishing beneath the sea's surface. CLOSE ON MICHAEL AND K.I.T.T. K.I.T.T.'s scanner flashes as the sea air whips Michael's hair. [MICHAEL] Seeing Garthe go down is almost like watching a part of myself disappear into the ocean. [K.I.T.T.] I feel as if a part of me went down, too. That monster scraped my rear bumper. [MICHAEL] Let's go home, pal. As he heads back to K.I.T.T., we: FREEZE FRAME AND FADE OUT END OF ACT EIGHT TAG FADE IN EXT. FOUNDATION - DAY - ESTABLISHING - STOCK Sunny and peaceful, no echoing shadows of Goliath's threat. [DEVON'S VOICE] He smoked my cigars! And his footprints on my desk! This is unspeakable! INT. FOUNDATION - DEVON'S OFFICE - DAY Devon and April, now cleanly dressed and groomed, are inspecting the ruin of Garthe's last visit. Now, Devon kneels and picks up the shards of a shattered Chinese vase. [DEVON] My priceless Ming vase! Really, how could Garthe destroy these things? Surely, he knew their value. [APRIL] It's because he did that he destroyed them. I think Garthe hated all things of beauty. But look at it this way. This may be the perfect opportunity to redecorate. [DEVON] Redecorate? What's wrong with the way it was? April clams up as Michael enters, looks around and whistles. [MICHAEL] Whoa, Devon -- did you have one of your wild parties in here? [DEVON] I fail to see the humor in it, Michael. He picks up several of the many books strewn across the floor. [DEVON] Shakespeare, thrown around like old newspapers. It's barbaric! [MICHAEL] Y'know, I've always thought the decor in here looked a little...well ...old. Devon freezes and looks up at Michael, appalled. [DEVON] What do you mean? [MICHAEL] Well, I think it's time to update the Foundation's image. Brighten up the walls, maybe put a skylight over here.... [DEVON] You have exactly five seconds to leave this room before I shatter yet another priceless Ming vase. April giggles as Michael waves and beats a hasty retreat. EXT. FOUNDATION - DAY As Michael exits, Klaus and Christina approach. Her car's parked near K.I.T.T. in the driveway. Klaus shakes Michael's hand. [KLAUS] I was very glad to hear your General Maddux and his men welcomed the submarine on my behalf. [MICHAEL] The submarine commander was not pleased. Christina comes between the two men, officiously handing Michael a typed list. [CHRISTINA] This is a list of restaurants Kitt's recommended. He's working me into your schedule even as we speak. [MICHAEL] And who said you weren't scientific? Michael opens K.I.T.T.'s door, starts to climb in: [MICHAEL] See you tonight? [K.I.T.T.] Eight o'clock. Klaus and Christina laugh as Michael and K.I.T.T. head out of the Foundation driveway. OMITTED INT. K.I.T.T. - DAY moving along a nice, quiet street near the Foundation at a nice, quiet legal speed. [MICHAEL] I sure hope we've seen the last of Garthe Knight and Goliath. [K.I.T.T.] So do I, Michael. Suddenly, the blare of Goliath's air horn echoes around them. Michael nearly jumps out of his skin. [MICHAEL] What was that?! [K.I.T.T.] Just a souvenir. EXT. K.I.T.T. - DAY as the car continues along. [MICHAEL'S VOICE] I've got a great idea -- let's go jump off a cliff. [K.I.T.T.] No! As Michael floors the accelerator, K.I.T.T. darts forward and we: FREEZE FRAME AND FADE OUT THE END

{"show": "Knight Rider", "season": "s02", "episode": "e17", "title": "Goliath Returns"}

knightriderarchives

ACT ONE FADE IN EXT. BAR - DAY - ESTABLISHING We see a little urban watering hole that has seen better days. Music splashes from the inside as patrons enter and exit through the front doors. CLOSER ANGLE - THE ENTRANCE as a Man named Brummel, better dressed than the bar's regular denizens emerges from the entrance carrying a briefcase. He looks around furtively, then starts away from the place. [MICHAEL'S VOICE] He's coming out, Kitt. EXT. PARKING LOT - DAY Within sight of the bar entrance, but in a place of concealment, is Michael Knight. He's been staked out and waiting for Brummel, and he's talking to K.I.T.T. via comlink. [MICHAEL] He's heading for his car, buddy. Let's nail him. OMITTED WIDE SHOT - PARKING LOT K.I.T.T.'s engine roars and the Trans Am springs to life, screeching toward Brummel, who freezes momentarily, then starts to run. MOVING WITH MICHAEL as he sprints from his hiding place. [MICHAEL] Hold it, Brummel! In his pursuit, Michael races right past the entrance of the bar, where: JAKE SIMPSON a well-built, kinetic individual stands watching. He frowns as he sees Michael, and watches him intently. BRUMMEL reaches his car and guns the engine, but before he can go anywhere: K.I.T.T. screeches in behind him, blocking his car from any possible escape. MICHAEL reaches Brummel's car and pulls him out from behind the wheel. OMITTED MICHAEL AND BRUMMEL Brummel struggles, but Michael is more powerful and has him firmly in hand. He pulls Brummel to his feet, spins him around and places his hands inside K.I.T.T.'s open driver's window. [MICHAEL] He's all yours, pal. INSERT - K.I.T.T.'S WINDOW as the glass powers up and catches Brummel's wrists, holding them tight. Better than handcuffs. ON SIMPSON He continues to watch the confrontation, eyes narrowed. BACK TO SCENE Michael's triumph is complete, despite Brummel's futile struggles. He takes Brummel's briefcase from his car. [MICHAEL] Okay, Kitt. Dial the police. [BRUMMEL] You're in a lot of trouble, pal. Michael pops the locks on the briefcase, and we see that it is filled with cash. [MICHAEL] No, 'pal,' I think you're the one who's in trouble. ON SIMPSON He's seen enough. He drops a coin in the phone and dials. EXT. HIGH-RISE APARTMENT BUILDING - ESTABLISHING flanked by a high-rise parking structure. We hear the chriping ring of a space-age, cordless telephone. INT. ZACHARY'S APARTMENT - DAY The phone rings discreetly in an unpretentious, but elegant room, decorated in an Oriental motif. The surroundings are masculine, almost Spartan, but very handsome. Zen-style painting/prints adorn the walls. A pair of Samurai swords are in evidence in a glass case. The phone is answered by: CAMERON ZACHARY A tightly wound man with a cold, inscrutable expression. He's dressed in a silk bathrobe and he's annoyed at having been disturbed. [CAMERON] What is it? INTERCUT - CAMERON AND SIMPSON - PHONE CONVERSATION [SIMPSON] You won't believe this, but I just saw Michael Long. [CAMERON] (gasping) Michael Long? The cop? [SIMPSON] I swear, it's him. [CAMERON] That's impossible. He's been dead two years. Tanya killed him. [SIMPSON] He's shaking down one of our runners right now. [CAMERON] You're mistaken. It just can't be. [SIMPSON] Look, the face is different. Surgery or something. But the moves, the walk, the build are the same. And the voice. I couldn't mistake the voice. It's him, Cameron. Simpson looks out toward K.I.T.T., sees that a police car has arrived. [SIMPSON] Listen, the police just pulled up. He's giving them Brummel. [CAMERON] All right. Follow him. Check him out and get back to me. Simpson hangs up, steps out of the booth. Looking past him we see Michael hand Brummel over to the police, then start to pull away. K.I.T.T.'s license plate -- K.N.I.G.H.T. -- is clearly visible. Simpson notes it and hurries off. INT. APARTMENT - ON CAMERON He hangs up, obviously stirred up by Simpson's news, he thinks hard for a moment, then picks up the phone again and dials. [CAMERON] I have a little job for you tonight. A dirty one, I'm afraid. CUT TO EXT. GRAVEYARD - NIGHT A scimitar of moon slashes at wind-blown treetops and the scream of a night bird pierces the chill air. Sound of digging and scraping can be heard as two dark figures engage in tense and secretive work over one of the graves. ON FIGURES One stands lookout while the other shovels dirt from a newly opened grave. When the shovel strikes wood, they nod to each other. OVER THE GRAVE The men leap down into the hole and begin the clandestine job of prying loose the lid of the coffin. The camera pans from them up to: THE GRAVESTONE As a sudden rain begins to pelt the marble marker, a flash of lightning illuminates it clearly. The markings read: MICHAEL ARTHUR LONG January 9, 1949 August 8, 1982 EXT. THE FOUNDATION - DAY - ESTABLISHING - STOCK washed by the rain and shining in the morning light. [MICHAEL'S VOICE] Miss Adams, we appreciate your problem. INT. DEVON'S OFFICE - DAY Morning sun dapples the room. Michael lounges in a chair near an intense, attractive young woman who is clearly upset. Her name is Gina Adams. On her lap is a Teddy bear. Devon is just entering from the door and he moves to his desk during: [GINA] I know. Don't tell me. Toys just aren't a serious matter. Dolls, Teddy bears, phooey. That's just what the police said. [MICHAEL] Frankly, Miss Adams, you're right. That's just what I was going to say. He spots Devon and rises eagerly. [MICHAEL] Devon, what did the police get out of Brummel? [DEVON] (ignoring Michael) Hello, I'm Devon Miles. Sorry to have kept you waiting. You're the one whose toy designs have been stolen. [GINA] That's right. Mr. Knight here doesn't seem to think that's too important. That's why I bought this along. Gina shows them the Teddy bear. [GINA] This is my new toy for this season. 'Big Mouth Bear.' Watch. She presses a button on the bear's back. In a cute, squeaky voice, it says: [BIG MOUTH BEAR] Hi! I'm Big Mouth Bear. What's your name? [MICHAEL] Cute. [BIG MOUTH BEAR] Hello Cute. How are you today? [MICHAEL] (surprised) Oh, I get it. Uhh...fine. How are you, Teddy? [BIG MOUTH BEAR] Very well, thank you. [GINA] You see? It really talks. I designed a microvoice module and conversation computer. It says and responds to over 1500 different phrases. But my schematics were stolen by one of our competitors, Triple-M-Toys. [MICHAEL] You suspect. There's no evidence. [DEVON] Toys are a hot market, Michael. Items can come and go overnight. By the time procedure is followed, Big Mouth Bear could be on the shelves. [MICHAEL] What about the Brummel case? [DEVON] Consider this as your new assignment. You have carte blanche, as usual. Gina shakes Devon's hand briskly. [GINA] Thank you, Mr. Miles. You've made the children of America very happy. (to Michael) Can I fill you in on the details? [MICHAEL] A little later this afternoon.... [GINA] Great. She plops Big Mouth Bear into Michael's hands. [GINA] You can borrow him. Maybe he'll help you lighten up a little. Gina turns and leaves happily. Michael looks daggers at the little bear, then at Devon, who shrugs innocently. EXT. CITY STREETS - DAY - ON K.I.T.T. cruising. [K.I.T.T.'S VOICE] I'm sorry, Michael. I have nothing to say. INT. TRANS AM - ON MICHAEL Big Mouth Bear sits on the passenger seat, and Michael is trying to introduce K.I.T.T. to the bear. [MICHAEL] Kitt, you always have something to say. Come on, talk to it. [K.I.T.T.] Computers are serious tools, Michael. [MICHAEL] Oh yeah? How about video games and computer chess? [K.I.T.T.] Sharpening one's mental acuity and coordination are one thing. Talking bears are quite another. Michael pushes Big Mouth Bear's nose. [BIG MOUTH BEAR] Hi, I'm Big Mouth Bear. Is the weather nice today? INSERT - K.I.T.T.'S DASH The car is silent. Aloof, if a car could be aloof. BACK TO SCENE [MICHAEL] Spoilsport. Never mind. We're here. EXT. GINA'S APARTMENT BUILDING - DAY Michael parks the car across the street from a modest address. On our side near K.I.T.T. is a used car lot, with autos in various states of repair overflowing onto the sidewalk. Michael hops out of the car and heads for Gina's. [MICHAEL] Be right back. ANGLE ON K.I.T.T. AND COLLINS CAR MART Looking past the Trans Am, we see a shifty salesman named Dave Collins ushering a middle-aged couple out of his office under a banner proclaiming his name and the greatest used car bargains in the Western Hemisphere. He patters as he leads them up to a rather rumpled not-so-late model car. [DAVE] You won't believe this but yesterday I couldn't have offered you this car. Just took her in trade from my own grandmother. She couldn't see the road anymore, poor dear. Course, she hasn't driven in a year anyway. Here it is. K.I.T.T.'s scanner flashes warily. The couple follow Dave like sheep. He pats the fender of the car in question. [DAVE] What workmanship! This car will last 100,000 miles easy. Our factory-trained service specialists have been over it with a fine-tooth comb. (gestures to K.I.T.T.) Solid steel, too. Not like those fibreglass wonders they're pumping out now. [K.I.T.T.] I beg your pardon! Dave whirls. The couple gawks. [DAVE] Who said that? INSERT - K.I.T.T.'S SCANNER It flashes and gives out its characteristic sound. BACK TO SCENE The used car in question suddenly begins to shake. A hub- cap falls off, then the driver's door comes loose on its hinges and swings free at a skew angle. The hood pops up and smoke comes from the radiator. Dave's jaw drops. The couple stares at the car, then at Dave. Then they're gone, as fast as they can go. INT. HALLWAY - GINA'S BUILDING - DAY Michael knocks on the front door of Gina's loft. In a moment the door opens. From behind it emerges a hand puppet of a giraffe. [PUPPET] (Gina's voice down low) Can Mikey Knight come out and play? Michael smiles and plays along. [MICHAEL] Not until he finishes his chores. Gina opens the door and lets him in. INT. GINA'S LOFT - DAY Michael enters and looks around the loft, whistles softly. Panning: THE LOFT It's a combination design studio/apartment, lined wall-to- wall with stuffed animals, dolls and toys. A kid's paradise. Or the refuge of a lady who never grew up. Gina is grabbing a coat and putting it on during: [GINA] Don't tell me. You feel like you're in a toy store. [MICHAEL] Actually, I love it. This is great. [GINA] Just not your idea of work, though, right? Do you want to know what my carrot top doll grossed last year? [MICHAEL] That's okay. You were going to fill me in on Triple-M Toys. [GINA] It's Saturday. They're closed today. If we go now, no one'll be there and we can get my schematics back. Michael smiles at her enthusiasm and naivete. They head outside. OMITTED INT. TRANS AM - ON GINA AND MICHAEL driving. She's floored by K.I.T.T. [GINA] I feel like Luke Skywalker. [MICHAEL] You have your toys, I have mine. [K.I.T.T.] Michael, I am not a toy. [MICHAEL] (to Gina) He's very sensitive. (to K.I.T.T.) Okay, buddy, plot us the best course to the Triple-M Toy plant. [GINA] (laughing) And, I thought Big Mouth Bear was special. [K.I.T.T.] It's not you, Miss Adams. I am a little ahead of my time. INT. DEVON'S OFFICE - DAY Devon looks ashen as he listens to news over the telephone. April is with him, looking on with concern. [DEVON] Thank you for alerting us. He hangs up. [APRIL] What is it? [DEVON] Last night, someone robbed Michael Long's grave. [APRIL] I didn't know there was one. [DEVON] We planted a body there to protect Michael's identity. [APRIL] You mean someone's found out who he really is? Who would go to all that trouble? [DEVON] Only one person I can think of. The same person who had him killed before. Cameron Zachary. The impact of his words sink in. EXT. TRIPLE-M TOY COMPANY - DAY K.I.T.T. pulls up across from a large, ornate think-tank- type factory. Michael and Gina look out, appraising the structure. [MICHAEL] That's a toy factory? Nice place to work. [GINA] They try to put their people in the right frame of mind. [MICHAEL] Well, it looks quiet enough. Kitt, give me a readout on the security systems. He punches a few buttons. INSERT - K.I.T.T.'S DASH AND MONITORS as graphics pop up. [K.I.T.T.] The internal alarms are simple, Michael. I show only two guards, and they appear to be playing cards on the ground floor. [GINA] Awesome. He's amazing. [MICHAEL] Okay, Gina, where would your stolen plans be kept? [GINA] Research and development. They probably have a vault. [MICHAEL] Kitt? INSERT - K.I.T.T.'S DASH The graphics change. A flashing light indicates the vault. [K.I.T.T.] On the second floor. Not exactly a piece of cake, Michael, but nothing we can't handle. BACK TO SCENE [MICHAEL] I'll be back as soon as I can. [GINA] Hey, you need me to show you what you're looking for. [MICHAEL] No way.... [K.I.T.T.] She's right, Michael. Michael sighs. [MICHAEL] Okay. But, this is going to be quick and clean. MOVING WITH MICHAEL AND GINA as they exit the car and start into the perimeter of the parking lot surrounding the building. LONG SHOT - MICHAEL AND GINA - BINOCULAR MATTE as they edge toward the building. ANGLE ON A CAR parked fairly far away, concealed, but with a view of K.I.T.T. The driver lowers a pair of binoculars and we recognize him as Jake Simpson. From within the car he produces a wicked-looking weapon with a telescopic sight. OMITTED MICHAEL AND GINA continuing a cautious approach to the factory. [MICHAEL] Once we're inside, I want you to wait for.... [K.I.T.T.] (comlink) Michael, watch out! I'm picking up.... A bullet explodes between them, splintering the concrete at their feet. Michael reacts instinctively, grabbing Gina and covering her with his body. There's no cover except for the parking lot stanchions. [MICHAEL] Kitt, get down here and cover us! A second shot spanks into the pavement. OMITTED INT. TRANS AM The shifter moves, the pedals floor, lights blink. FOLLOWING K.I.T.T. The turbines roar and the car clears all obstacles in its path, making a beeline for Michael and Gina. SIMPSON fires again. BACK TO K.I.T.T. The Trans Am reaches the prone couple just as Simpson's shot rings out. The bullet smacks into K.I.T.T.'s surface harmlessly. ON SIMPSON'S CAR as he pulls back in frustration, frowning at the sight of K.I.T.T. mysteriously blocking his shot. He pulls in his gun and peels away. MICHAEL AND GINA Michael rolls and crouches, and looks after Simpson's car. Gina lies prone on the pavement. [MICHAEL] Gina, are you all right? He shakes her. She doesn't move. [MICHAEL] Gina! On his fearful reaction, we: FREEZE FRAME AND FADE OUT END OF ACT ONE ACT TWO FADE IN EXT. PARKING LOT - ON MICHAEL AND GINA K.I.T.T. stands next to them as Michael tries to shake Gina back to life. [MICHAEL] Gina! Kitt, is she alive? Before K.I.T.T. can answer, Gina's eyes flutter open. She grabs Michael's arm, disoriented. [GINA] What happened? Is he gone? Is it all right? [MICHAEL] It's all right, he's gone. Are you okay? [GINA] Oh, don't tell me I fainted.... [MICHAEL] You fainted. [K.I.T.T.] Her pulse is returning to normal, Michael. Vitals looks fine. [GINA] You saved my life. You shielded me with.... [MICHAEL] What about that sniper, Kitt? [K.I.T.T.] He's out of range to the north. Michael, those bullets were very unusual. I'm analyzing the one that struck my door. [MICHAEL] Fill me in later, pal. Let's get this lady home. He helps Gina into the car. EXT. GINA'S APARTMENT BUILDING K.I.T.T. drives up and Michael helps Gina out. [MICHAEL] Keep your eyes open, just in case, Kitt. [K.I.T.T.] Certainly. They head off for her apartment. ANOTHER ANGLE - K.I.T.T. AND COLLINS CAR MART Dave has another sucker in his clutches, this one a geeky looking sixteen year old. He's pulling him toward the same car he tried to sell before. [DAVE] I had two of these beauties and I took one home for my own son. He's just about your age and he'd been saving for his first car and I just knew this was the one he deserved. Dave stops when he spots K.I.T.T. parked at the curb. The kid looks on expectantly, but Dave suddenly changes his pitch in midstream when K.I.T.T.'s scanner flashes. [DAVE] On the other hand, there's a car over at the other end of the lot I think you ought to see first. He reverses field, the startled teenager in tow. Anything to get away from K.I.T.T. INT. GINA'S LOFT as Michael and Gina enter from the hallway. She's carrying Big Mouth Bear. She's still shaken, but her spunk is returning. [MICHAEL] I guess I was out of line when I doubted you about toys being serious business. [GINA] They were shooting at us. I can't believe they were really shooting at us. Those Triple-M guys are a bunch of wimps. (beat) Well, I guess it's back to the drawing board for me. [MICHAEL] Wait a minute. You want to back out now? No way. [GINA] Hey, I like my skin too much. [MICHAEL] Come on, you dragged me into this thing. I admit I wasn't crazy about it but once I start a job, I finish it. [GINA] You're serious, aren't you? Michael takes Big Mouth Bear from her, holds it up. [MICHAEL] (high, squeaky voice) You bet, lady. They share a laugh. [MICHAEL] I've got to go check in with Devon, then I'll be back. Meanwhile, do me a favor and keep yourself locked in here, okay? [GINA] No problem. I think I'll take a good, hot bath. Michael smiles, clasps her hand warmly and leaves. She locks the door and leans on it, smiling enigmatically. EXT. STREETS - DAY - ON K.I.T.T. AND THE SEMI - STOCK as K.I.T.T. slides up the ramp and enters. INT. SEMI - FAVORING DEVON as K.I.T.T.'s turbines whirr down and Michael climbs out. [DEVON] Where the devil have you been? [MICHAEL] Getting shot at. Devon freezes. [MICHAEL] I'm fine, and so is Gina. But I think you owe me some answers. [DEVON] Such as? [MICHAEL] I finally catch Bob Brummel with protection money in his dirty little hands. We turn him over to CID for interrogation, and you suddenly send me out on a case chasing Big Mouth Bears. Something's fishy here. [DEVON] Michael, sit down. He indicates two chairs near the computer terminal, and they sit. [DEVON] You're right. I sent you with Miss Adams to divert you. To get you out of the way. I can see that didn't work. [MICHAEL] Divert me from what? [DEVON] Two years ago, when we rescued Michael Long in the desert, there were people who wanted him dead. That's why we turned him into Michael Knight. [MICHAEL] Those people are dead. I watched Tanya Walker die. [DEVON] Tanya had a boss, Michael. A very big boss. His name is Cameron Zachary. Look. Devon punches up some pictures on the computer screen. INSERT - COMPUTER SCREEN We see a vague picture of a man, then another. They look like the ones of "Carlos," grainy and mysterious. [DEVON'S VOICE] His name is Cameron Zachary. He has a half-dozen operatives just as clever and elusive as Tanya Walker in his employ. They've pirated secrets from governments, companies, and individuals the world over. Wilton Knight was once their victim. FLASHBACK - SUBLIMINAL CUTTING - (KNIGHT RIDER PILOT) Tanya Walker shoots Michael Long in the face. He falls back onto the hood of his car. CLOSE ON MICHAEL troubled by old memories that are being resurrected. [MICHAEL] Why didn't you tell me this before? [DEVON] There was no point. Cameron was out of the country. But, the man you arrested yesterday was bailed out of jail by a lawyer with ties to Zachary. And last night, Michael Long's grave was robbed. (beat) He's back, Michael. Zachary is back. Michael stands and paces like a caged animal: angry, con- fused, excited. Conversation heats up as: [DEVON] Tanya was Zachary's lover, and he knows you caused her death. [MICHAEL] Maybe, but revenge can't be his only reason for being here, if he's as big as you say. He must be up to some- thing else. Something big. [DEVON] Someone took a shot at you today. That's all I need to know. This man's vengeance could be.... [MICHAEL] What about our vengeance? Wilton Knight was your best friend. You saw what they did to him. [DEVON] My vengeance is keeping you alive and fighting. You've got to lay low. At least until we find out more of what Cameron is up to. Michael stops, searches Devon's face. [MICHAEL] I've never run and hid from anything in my life, Devon. I can't start now. [DEVON] Michael.... [MICHAEL] And, if I suddenly go underground, we'll never find Cameron. We've got to let him show his hand. Am I right? Devon's look tells us he knows Michael is right. He reaches into his pocket and pulls out a small medallion on a gold chain. [DEVON] Very well. But do me a favor and wear this. It's a homing device April's been developing. If you get separated from Kitt for any reason, press it. It overrides all his programs and brings him straight to you. Michael takes it from Devon. There's a moment of real mutual concern. [DEVON] I don't approve, Michael. But, as always, you have my full backing. They shake hands warmly. CUT TO EXT. RURAL ROAD - DAY - ON K.I.T.T. DRIVING - STOCK Michael is tearing up the curves, troubled by Devon's news. INT. TRANS AM - ON MICHAEL [K.I.T.T.] Perhaps you'd better let me drive for a while. Your pulse is racing. [MICHAEL] So is my mind, buddy. [K.I.T.T.] By the way, I completed analysis on the sniper's bullets, and I must say I'm puzzled. [MICHAEL] Lay it on me. [K.I.T.T.] They were made of a waxy substance containing a very exotic tranquilizer called morbadine. The Defense Depart- ment is still experimenting with it and it isn't available commercially. [MICHAEL] Sounds like Cameron Zachary all right. (beat) But, that means he wanted me alive.... [K.I.T.T.] Michael? [MICHAEL] Yeah, Kitt? [K.I.T.T.] I want you alive, too. Michael smiles. They drive off. INT. ZACHARY'S PENTHOUSE - DAY A beautiful sunset shines through the floor-to-ceiling windows. Cameron Zachary paces the floor in front of an edgy Jake Simpson. Cameron is cool, unreadable. [CAMERON] Go on. [SIMPSON] I had them, but all of a sudden my line of fire was blocked by this car. [CAMERON] What car? [SIMPSON] His car. It's some kind of custom, futuristic thing. It moved between me and Knight. [CAMERON] (intrigued) You mean someone else was with them? Who drove it? [SIMPSON] That's just it. No one. It drove itself. [CAMERON] (it clicks) My God! He built a car. Wilton Knight built a car. That must be it. Cameron grows more and more excited. [CAMERON] Wilton Knight was like an Einstein who could apply his ideas to everyday life. Simpson, if he built a car, I can guarantee it would make all our other projects pale by comparison. We must shift our strategies. Transfer our attentions. [SIMPSON] But the laser...the South Africans are bringing in the crystals today. You've spent three years.... [CAMERON] (flares) Don't argue with me! Stall them. We must have that car. And Knight. Do you understand? Simpson nods. OMITTED EXT. STREETS - NIGHT - ON K.I.T.T. - STOCK driving. INT. TRANS AM - NIGHT - ON MICHAEL driving. [K.I.T.T.'S VOICE] I wish you could fill me in on this plan a little better, Michael. [MICHAEL] I will, pal, but I'm still feeling for it. Let's head for Gina's. INT. GINA'S APARTMENT - NIGHT As she moves to answer his knock at the door. [GINA] Michael? [MICHAEL] It's me. She undoes the locks and lets him in. She starts as if to hug him, but then stops herself. They move to the couch. [MICHAEL] No puppets this time? [GINA] I guess I feel a little less playful. What have you been up to? [MICHAEL] Well, Devon wasn't too happy about our afternoon, but I wouldn't let him pull me off your case. [GINA] You're a real bulldog, aren't you? [MICHAEL] Comes with the job, I guess. [GINA] How'd you get into this line of work? [MICHAEL] It's a long story. Gina, I'm going back to the toy factory tonight, alone. I need you to fill me in on exactly what I'm looking for. [GINA] Michael, I don't want that respons- ibility. This afternoon really scared me. [MICHAEL] Look, no one's twisting my arm. I'd also like to know whatever you can tell me about Triple-M that might help. She starts to object again, but he stops her with a hand on her arm. [MICHAEL] I was the one who thought this wasn't important, remember? But, I don't scare easily and there are some things I won't put up with. One of those is seeing people I like get hurt. We see something go out of Gina. Michael has touched her. [MICHAEL] Tell you what. Just give me Big Mouth Bear. Kitt can scan his schematics well enough to identify them for me in the factory. You just sit tight here until I get back. She looks at him gratefully, moves to a shelf and takes down the Teddy bear. [GINA] When I left Wisconsin, my mom told me to watch out for city boys. I wish she could meet you. He kisses her lightly, and leaves. When he's gone, she moves to the telephone and dials a number. Her softness gives way to a more efficient demeanor. [GINA] (into phone) It's Gina. The toy factory. He'll be there in half an hour. INT. ZACHARY'S APARTMENT - NIGHT Cameron is on the phone, and Simpson stands nearby. Cameron nods to him, gives him a "thumbs up." [CAMERON] Can we count on him being away from the car? INT. GINA'S APARTMENT - ON GINA [GINA] Just wait until he gets inside. You shouldn't have any problems. She hangs up. Her look tells us she's not entirely happy with what she's just done. INT. TRANS AM - NIGHT - DRIVING Michael looks determined. The Teddy bear sits on the dash. [MICHAEL] Kitt, have you analyzed the bear's circuitry? (beat) Kitt? [K.I.T.T.] Yes. Michael, computers can save lives, enhance communication. Why waste this fine technology on a mere toy? [MICHAEL] 'Cause, it's fun, buddy. EXT. TOY FACTORY - NIGHT It's brightly lit but looks quiet. K.I.T.T. glides to a stop noiselessly along one of the walls. [K.I.T.T.'S VOICE] I think the roof is our best bet, Michael. There are skylights that aren't alarmed. ON K.I.T.T. AND MICHAEL He pops the sun roof and stands on the driver's seat. [MICHAEL] I'm in your hands buddy. Keep me posted on anything that happens out here. Okay. Let 'er rip. [K.I.T.T.] Bon Voyage. And with a beep and a whoosh he's ejected up onto the roof of the factory. EXT. ROOFTOP - ON MICHAEL He lands, catlike, and moves to a skylight. [MICHAEL] Nice work, pal. Can you pop this for me? [K.I.T.T.] (comlink) Do fish swim? INSERT - THE SKYLIGHT The locking mechanism suddenly pops open. [MICHAEL] Thank you. INT. HALLWAY - NIGHT Michael drops from the ceiling into an ND hallway. He gets his bearings and starts up the corridor. MOVING WITH MICHAEL He reaches a large pair of double doors and edges to get a look inside. INT. THE ROOM - MICHAEL'S POINT OF VIEW - STOCK Is a dazzling display of high-tech hardware: computer banks, futuristic devices. No sign of toys or anything like them. CLOSE ON MICHAEL puzzled. What kind of place is this? He moves on. EXT. FACTORY - NIGHT - FAVORING K.I.T.T. Near where the Trans Am is parked, we see one of the large super-tow trucks used to haul semitractors when they break down. It sports quadruple tires and an oversized winch. Quickly and silently, two figures steal out of it and head toward K.I.T.T. INT. FACTORY - MOVING WITH MICHAEL As he enters the outer office of the factory's executive suite. There's a receptionist's desk with a computer terminal, phones, etc. Michael whispers to his comlink: [MICHAEL] Kitt, I'm in the offices. Can you tell me what's in the inner suite? INSERT - K.I.T.T.'S MONITORS Graphics flash, and we see a solarized picture of an armed Simpson and another ND gunman flanking the doorway through which Michael was about to enter. [K.I.T.T.] Don't go in there, Michael. It's a trap. And, I have a problem. Someone is trying to steal me. OMITTED EXT. FACTORY - NIGHT - ON K.I.T.T. K.I.T.T.'s assailants from the tow truck are hurrying to place their hitch assembly under the Trans Am's front end. INT. RECEPTIONIST'S AREA - ON MICHAEL [MICHAEL] Can you handle it? [K.I.T.T.] So far, but they're very professional. [MICHAEL] Do what you have to do. Look, there's a computer in here. Can you tap it and drain it for me? [K.I.T.T.] Consider it done. [MICHAEL] I'm gone. He starts out the door. INT. OFFICE - NIGHT - ON SIMPSON AND THE GUNMAN As we saw them on the monitor, waiting, guns drawn. [SIMPSON] He's not biting. Let's go. They open the door just in time to see Michael fleeing. Immediately, they race after him. INT. HALLWAY - NIGHT Michael hurries down the hall and is heading back to the roof when the lights suddenly come on. He ducks into a doorway on his right just as the two armed men enter the corridor from the far end. INT. STOREROOM - ON MICHAEL He's in a warehouse-like room, packed with boxes and toys everywhere. He steps behind a crate of toy trucks, and addresses the comlink. [MICHAEL] They're onto me, Kitt. I'm in the storeroom. I need an alternate exit. Any doors or windows? INT. K.I.T.T. - ON DASH The assailants are still working outside. [K.I.T.T.] I'm afraid not, Michael. You appear to be cornered. INT. STOREROOM - ON MICHAEL AND THE DOOR The knob is starting to turn. There's really no place to hide, and no time. Off Michael's frozen face.... [FREEZE FRAME] END OF ACT TWO ACT THREE FADE IN INT. STOREROOM - NIGHT Michael huddles against the wall away from the door, which is just starting to open. [MICHAEL] Kitt, give me a diversion up here. Anything! Quick! INSERT - K.I.T.T.'S DASH as appropriate lights blink on. He plays with the electrical field in the storeroom. INT. STOREROOM - ON THE DOOR Simpson and another man enter, guns drawn, looking around warily for Michael when: IN THE STOREROOM - VARIOUS SHOTS Suddenly, all over the room, the toys come to life. Little mechanical soldiers start to walk; a robot starts moving and tips over a box of balls which roll all over the floor; several dancing monkeys start clanging toy cymbals; music boxes fire up. As much mayhem as we can produce. ANGLE ON THE GUNMEN Simpson whirls away from the corner where Michael is hiding and fires a shot into a toy car which has just rolled out from behind a box. As he and his baffled partner move into the room and start knocking over boxes looking for Michael, he quietly slips behind them and out the door. MOVING WITH MICHAEL as he sprints down the corridor. He pauses against the wall and calls K.I.T.T. on the comlink. [MICHAEL] Kitt, get to the front entrance fast! I'm coming out! EXT. PARKING LOT - ON K.I.T.T. AND THE THIEVES One of the marauders is lying under K.I.T.T. on a mechanic's crawler, trying to finish attaching the towing lines to the Trans Am. [K.I.T.T.] Sorry fellows. Got to go. Suddenly, K.I.T.T.'s hydraulics lift the car up to its maximum height, away fdom the would-be thief. The other thief gapes as the car's wheels spin and smoke, and K.I.T.T. starts away. The single chain under the car's bumper snaps like string, and the Trans Am hustles away. INT. CORRIDOR - NIGHT Simpson and his henchman burst into the corridor and spot Michael. [SIMPSON] There he is! ON MICHAEL A shot rings out and a bullet digs into the plaster right next to him. He takes off again. INT. CORRIDOR - NIGHT - THE CHASE Michael races through the darkened halls, turning the corners just ahead of the two gunmen. He heads into: A STAIRWELL where he spins his way downward. Simpson reaches the top of it and sees Michael below him. He fires a shot which twangs off the bannister below. INT. FACTORY LOBBY Michael races out of a door (from the stairs) and heads for the front door. He's through it in a flash and outside. EXT. FACTORY - FRONT ENTRANCE - NIGHT K.I.T.T. screeches up and Michael leaps in. Simpson and the other gunman race from the factory, firing after Michael. OMITTED EXT. TRANS AM K.I.T.T. burns rubber and is out of the lot. INT. TRANS AM Michael is panting, out of breath. [MICHAEL] Nice work, pal. [K.I.T.T.] Did you find Gina's designs? [MICHAEL] In a manner of speaking. Let's go see Devon. EXT. CITY STREETS - K.I.T.T. disappears into the night. EXT. FOUNDATION - NIGHT - ESTABLISHING Lights are on in a few windows. INT. DEVON'S OFFICE - NIGHT Devon is pacing before his desk. He turns when a rather dishevelled Michael enters his office. [DEVON] Thank God! Are you all right? [MICHAEL] Yes, Devon. I'm fine. [DEVON] Michael, I've done some research on Gina Adams and.... [MICHAEL] She's a plant of Zachary's. She's setting me up. He must own that toy factory and it's a front too. [DEVON] We think he launders funds through it. But how do you know? [MICHAEL] I've suspected since we were first fired on. That sniper wasn't following us, he was there, set up and waiting. And then Gina's toy collection. Everything was new. Nothing old fashioned, nothing from her childhood. It was just too good to be real. Like it was all bought yesterday. [DEVON] If you suspected her all along, why didn't you tell me? (stands up, furious) How could you have taken such an idiotic risk! And without back up! Doesn't our work mean anything to you? Michael stands up. [MICHAEL] It means everything to me! Don't you see? I recognized Zachary's M.O. right away. He always uses a woman to worm her way into the lives of the men he wants to destroy. That's what Gina was doing to me. That's what Tanya Walker was so good at. That's what she did to Wilton Knight. [DEVON] What has that got to do with what you did? [MICHAEL] I only knew Wilton Knight for a few days, but that old man taught me a hell of a lot about fighting. About using your fear and anger to spur you on instead of being crippled by them. This cools Devon somewhat. [DEVON] Why didn't you confide in me? [MICHAEL] Because you never would have approved. [DEVON] That never stopped you before. [MICHAEL] Devon, we may not see eye to eye on everything. But I respect you. And I care about you. I just had to go this one alone for a while. Devon accepts the truth of Michael's words. [DEVON] What next. Does she know you're onto her? [MICHAEL] I don't think so. Devon, I want to persuade her to help us. I think we can turn the tables on Cameron. [DEVON] No. It's much too risky. [MICHAEL] Devon, look what Kitt found. He moves to the computer terminal, punches a few buttons. Into the comlink: [MICHAEL] Show him, Kitt. INSERT - COMPUTER SCREEN Onto the screen pops an amazing 3-D moving graphic of a futuristic weapon. A legend identifies it as: "A.P.B.A. LASER 30X." [MICHAEL] This is Cameron's big project. Kitt's been over this, and it's a laser handgun. It's no toy. And, believe me, that factory is geared up for production. The toys are just there for show. [DEVON] What if you fail? What if the girl turns on you? [MICHAEL] If I fail, I fail. I've already died once, Devon. I died trying to bring this man to justice. It was a good cause. And, now I've got a second chance. [DEVON] I don't like it. I don't like it at all. [MICHAEL] I don't either, but I like it better than letting Zachary get away again. EXT. HIGH-RISE APARTMENT BUILDING - DAY - ESTABLISHING flanked by a parking structure. [CAMERON'S VOICE] So the car moves on its own, thinks for itself? INT. ZACHARY'S APARTMENT - DAY There's a council of war going on. Zachary sits at a massive teak desk. Before him are Simpson and Gina. [GINA] Apparently it can, but it's direction does come from its driver. [CAMERON] Amazing. And he talks to it through this wristwatch device? [GINA] A 'comlink' he calls it. [SIMPSON] Cameron, my guys were the best and they couldn't crack that car. Is this really worth jeopardizing the laser? Let's not lose perspective here. [CAMERON] You don't understand, do you? I'll wager we can't begin to imagine that car's capabilities. To get it -- with Michael Knight's death in the bargain -- I'd sacrifice anything. [GINA] I thought you wanted Michael alive. You said you wanted information from him. Cameron gauges her remark carefully, trying to read her, moving closer to her. [CAMERON] Did I? Killing Michael Long is the icing on the cake, my dear. When we're through with him, we'll be on our way to the islands with the laser components, Knight's car, and our own private fantasies. You'd like that, wouldn't you? [GINA] (recovering) Of course. [CAMERON] Good. Off his satisfied look. CUT TO EXT. STREETS - DAY - ON K.I.T.T. driving. Michael and K.I.T.T. are heading for Gina's, reviewing their plans. [K.I.T.T.] I feel very vulnerable in this plan of yours, Michael. [MICHAEL] We are vulnerable, buddy, but we have no choice. Gina is our only real connection to Cameron. [K.I.T.T.] I suppose. But this woman. Michael, I don't see the logic of walking right in and appealing to her. How do you know she'll join us? [MICHAEL] I'm dealing with feelings here, Kitt. Intuition. There's only so much acting a person can do. [K.I.T.T.] I wish I could be programmed to have this 'intuition.' [MICHAEL] You hopeless romantic, you. He pulls the Trans Am over. EXT. GINA'S APARTMENT BUILDING - DAY Once again K.I.T.T. is parked in front of Collins Car Mart. Michael gets out and heads for her building. [MICHAEL] Be ready when I call you. ANOTHER ANGLE ON K.I.T.T. AND THE USED CARS Dave appears, leading a new customer, like a spider with a fly. This one's an attractive young female. [DAVE] A lady wants certain things in a car. Comfort, reliability, ease of handling. Now my wife, she wanted me to bring this car home. Said it was a car she wouldn't have to think about. He's leading her toward the same old lemon we've seen him try to move before. Suddenly he spots K.I.T.T. [DAVE] Ahh...never mind.... [GIRL] No, show me the one you're talking about. K.I.T.T.'s scanner flashes. Dave struggles with his conscience. [DAVE] Oh, what's the use. You don't want this car. She's looking it over, likes what she sees. [GIRL] Oh, I don't know. [DAVE] Look, those are retreads, this is a twenty-five dollar paint job we did on it fast, the valves need grinding, and we took the radiator out of an old Wyllis. [GIRL] I'll take it. [DAVE] But let me show you another...you'll what? [GIRL] I'll take it. I just completed mechanic's training and I'm looking for a fixer-upper. $300 cash. [DAVE] Sold. They shake. Dave looks over at K.I.T.T., who flashes happily. He flashes K.I.T.T. as "Okay" sign. INSERT - K.I.T.T.'S DASH [K.I.T.T.] Honesty is the best policy. INT. GINA'S APARTMENT Gina's just let Michael in. She's a little flustered because she wasn't expecting him. [GINA] When you didn't come back last night I was so worried. [MICHAEL] Really? Why? [GINA] Well, because...I'm just glad you're all right. [MICHAEL] Don't you care whether I got your plans back? There are no plans, are there, Gina? There never were any. She turns half away from him, hesitating. Michael is measured, quiet. [GINA] What are you talking about? [MICHAEL] I'm talking about Cameron Zachary. About you setting me up to be killed. Gina faces him, torn. How much does he know? [MICHAEL] You know, I was really getting to like you. I can't help but wonder how a person like you got wrapped up with the likes of him. She turns, strolls calmly toward a desk in the corner of her room. [GINA] I was born in the middle of Wisconsin. I was the middle one of three children. We lived in the middle of a middle-sized town. In a middle-class neighborhood. Everything in my life was middle, middle, middle! [MICHAEL] Is that so bad? [GINA] It was for me. I wanted a chance to live on the edge. So, when Cameron found me, he was my brass ring. And, I grabbed it. [MICHAEL] Well, I guess sucking people's blood with a guy like Zachary isn't boring. [GINA] You make it sound so Gothic! We steal ideas, Michael. It's all a big, complicated game. Corporations do it. Governments do it. We just think of ourselves as free-lancers. [MICHAEL] (heating up) Is that what Cameron told you? All neat and clean? Never get any dirt under your fingernails. Well, listen, lady. Do you know how many people he's killed? How many lives he's destroyed? Murder means nothing to him. I know. And, if you don't get away from him, pretty soon, murder won't mean anything to you. Gina reaches for the desk and opens a drawer. Michael doesn't even move to stop her. She turns, holding a gun on him. [GINA] I don't have any choice, Michael. SUBLIMINAL FLASHBACK - KNIGHT RIDER PILOT Tanya Walker shoots Michael Long. BACK TO SCENE - CLOSE ON MICHAEL facing death for the second time. [MICHAEL] Yes you do! Gina, I see something in you I don't see in most people. A softness, a tenderness. You're a hell of an actress, but you didn't fool me. And, you don't fool me now. [GINA] I should kill you just for being so cocksure of yourself. [MICHAEL] A day ago, I met a toymaker with fire in her eyes who wanted me to come out and play. That person was real, Gina. You may have been acting but she came from inside you. She is you. (beat) Let her out, Gina. Come out and play. Come with me. She stands, unreadable for a moment. Then starts to crack around the edges. She cocks the gun. [MICHAEL] Gina, I need you to help me get Cameron. The Foundation's checking into immunity for you. It stops here, Gina. It has to stop. Give me the gun. He holds out his hand. Her hands start to shake. She hands it to him, then breaks down and sobs. He puts the gun down and holds her. [MICHAEL] It's all right now. It's all right. Their embrace is interrupted by the ringing of the telephone. Gina picks it up. Her face goes ashen. She holds the phone out to Michael. [GINA] It's Cameron. He wants you. Michael is startled, but he takes the phone. INT. ZACHARY'S APARTMENT - DAY Cameron leans on his desk as he plays his trump card. [CAMERON] Mr. Knight. Or, should I say, Mr. Long. INTERCUT THE FOLLOWING - TELEPHONE CONVERSATION [MICHAEL] What do you want? [CAMERON] Very nice work on Miss Adams. I enjoyed listening to your dramatic appeal to her. You'll find there's a bug under her phone. Michael looks. It's true. [CAMERON] Listen closely. 410 Chesapeake Road. (beat) The Burnley School. (beat) Badge 41675. Michael pales. [CAMERON] Well? Any reaction? [MICHAEL] (shaken) My uncle Jack Long's address. My niece Tina's school. And, the badge number of my old police sergeant. (then) You...are...an...animal. What do you want? [CAMERON] I want you. And, I want your car. And, if I don't get what I want, I'm going to go through the people you love, one by one, until I do. Gina watches as Michael wrestles with this dilemma. He's caught, and he knows it. He covers the phone and gestures to her to run. [MICHAEL] (sotto) Go. Get away from here. Go to the Foundation. You'll be safe there. She starts to object. [MICHAEL] Just go! After a beat, she leaves. EXT. GINA'S APARTMENT BUILDING She races out the front entrance, into the arms of a waiting Simpson. He covers her mouth and drags her away. INT. GINA'S APARTMENT Michael is still on the phone. [CAMERON] Exit the building. Mr. Simpson will be waiting for you. He'll tell you what you are to do. Cameron hangs up the phone. Hold on Michael's despair. OMITTED EXT. GINA'S BUILDING - DAY Michael emerges onto the street, where he's met by Simpson. Gina is being held in a nearby car by the gunman from the night before. [SIMPSON] Let's go. Over to your car. ON K.I.T.T. as Michael and Simpson walk up to the Trans Am. Simpson signals up the street. [K.I.T.T.] This is highly irregular, Michael. [MICHAEL] I know, Kitt, but we've got to do what they say. THE STREET - WIDE SHOT as a large, five ton truck pulls up in front of K.I.T.T. Two ND drivers emerge and open the back. A ramp is lowered in front of the Trans Am. [SIMPSON] The car goes in the truck. Michael starts to climb into the Trans Am, but: [SIMPSON] Not you. Just the car. Michael stops, looks at him. Then leans into K.I.T.T. [MICHAEL] You heard him, Kitt. [K.I.T.T.] I won't leave you here. [MICHAEL] It's okay, pal. Trust me. And, make it look good. After a moment, the Trans Am starts up and pulls up the ramp. Michael and Simpson follow it into the truck. INT. TRUCK - MICHAEL, SIMPSON AND K.I.T.T. Simpson gloats a little, enjoying the upper hand...finally. [SIMPSON] Now, I want you to turn it off. [MICHAEL] What? It doesn't 'turn off.' [SIMPSON] Every computer has a master switch, a circuit. Something. Take it down. Turn it off. Deactivate it. [MICHAEL] Come on, you've got the car. [SIMPSON] I don't think you really want to argue. Michael turns to the car, leans in through the driver's window. [MICHAEL] You heard him, Kitt. Deactivate yourself. [K.I.T.T.] You can't be serious, Michael. Michael looks intently at the dash, then: [MICHAEL] (sotto) Kitt, I know what I'm doing. We need to buy some time. (loud) Now turn yourself 'off.' A moment passes, then K.I.T.T.'s dash lights start to blink out, one by one. The gauges go down to zero. INSERT - K.I.T.T.'S TIRES deflate themselves. Go completely flat. INT. TRANS AM - MICHAEL AND THE DASH Michael looks sad as the machine completes its "suicide." K.I.T.T.'s voice winds down like a slowed down record. [K.I.T.T.] I guess this...is...good-bye...Michael. And all is dark and still. EXT. STREET Michael and Simpson descend the ramp. The two men quickly load the ramp into the truck and slam the heavy doors shut. It's as though K.I.T.T. is sealed into a tomb. They start up the truck and drive away. ON SIMPSON AND MICHAEL Simpson grins malevolently. [SIMPSON] Okay, pal. Let's find out how tough you are without your car. On Michael's dismay: FREEZE FRAME AND FADE OUT END OF ACT THREE ACT FOUR FADE IN EXT. ZACHARY'S HIGH-RISE APARTMENT BUILDING - DAY - ESTABLISHING INT. ZACHARY'S APARTMENT The door opens and Michael and Gina are shoved roughly into the living room area. Simpson follows them with a gun. All of Gina's spunk and bravado are gone; she's terrified. Michael looks around, taking everything in, looking for any and every possible advantage. [SIMPSON] On the couch. Sit. [GINA] What are you going to do with us? [SIMPSON] We're going to wait for Mr. Zachary. What happens to you will be up to him. [MICHAEL] What's he doing? [SIMPSON] None of your business. Simpson settles into a corner of the room to wait. CLOSER ON MICHAEL AND GINA They talk quietly. She's really terrified. [GINA] I'm sorry, Michael. They caught me right outside the building. [MICHAEL] Tell me quickly, what's his plan with the lasers. [GINA] I don't know much. Some components were being brought in from overseas. He was going to make the deal and leave the country. (near tears) Michael, he hates you. And I've seen what he can do to people he hates. [MICHAEL] That helps me, Gina. People who hate don't think clearly. I'll use that against him. EXT. STREETS - DAY - ON THE FIVE-TON TRUCK The truck bearing K.I.T.T. cruises away. INT. FIVE-TON TRUCK CAB - ON THE DRIVERS Quiet, stern and professional. INT. FIVE-TON TRUCK CARGO BED The deactivated Trans Am sits in the dim light of the truck's box. INT. ZACHARY'S APARTMENT - DAY Zachary strides in, looking supremely confident. He has a small suitcase under his arm, and he's glad to see his two captives under control. [CAMERON] I trust you're enjoying my hospitality. (to Simpson) His car is on the way to the harbor? Simpson nods. Cameron moves to Gina, fondles her chin. [CAMERON] Ironic how quickly things change, isn't it, my dear. I'd had such sweet plans for you, such sweet dreams. Now that's all they'll ever be. [MICHAEL] Do you treat all your women this well? No wonder everybody loves you. You certainly did well by Tanya Walker. Zachary bristles. [CAMERON] I'm going to make sure I hurt you as much as you hurt Tanya. Simpson! Simpson moves to join them. [MICHAEL] This is typical. You're going to let your boy here handle what you can't do on your own. Cameron brandishes his suitcase. He looks down at Michael. [CAMERON] Do you know what's in this suitcase? Laser crystal components from South Africa. Among the rarest in the world. They'll be joined with micro- chips from Japan and a titanium housing from Canada to make the world's first laser handgun. The sale of it will make me richer than most countries. And, only I could coordinate the necessary elements. [MICHAEL] (sarcastic) The great Cameron Zachary. It's even the kind of weapon you'd like. Where the victim never even has a chance. [GINA] Michael, don't push him. [CAMERON] I know what you're trying to do, Knight. But, I'm not a primitive like you. It won't work. He turns to Simpson and takes his gun from him. [CAMERON] Bring the car. This won't take long. Simpson leaves. INT. SEMI - DAY Devon and April huddle over the computer terminal, doing their best to raise Michael or K.I.T.T. [APRIL] Oh Devon, I can't raise either of them. Not on any of their frequen- cies. [DEVON] I don't understand. Even if Michael is in trouble, Kitt should respond. [APRIL] Devon...they're alone out there. And there's nothing we can do. INT. ZACHARY'S APARTMENT Cameron holds the gun on Michael and Gina. [MICHAEL] I remember when Tanya turned on me and shot me, unarmed. That was to be expected from her. She was a cheap, worthless, conniving leech. I'm disappointed. Somehow, I expected more of you, Cameron. Michael looks around, spots two sets of Samurai swords in a glass case. [MICHAEL] I'd have thought something like that was a little more your style. Cameron looks, sees what Michael's suggesting. [MICHAEL] Come on, Cameron. You collect these things. Let's see if you can use them. [CAMERON] I'll make you sorry you said that. And he moves to the case and takes out the swords. Gina whispers to Michael. [GINA] Michael, no. He's a master of Kenjitsu. [MICHAEL] I'm improvising, Gina. I need time. Cameron returns, sets a pair of swords in front of Michael. He then unsheaths his own and walks behind him. [CAMERON] One advantage to being exiled from your own home country. You learn skills from the rest of the world. INSERT - MICHAEL'S HANDS The tip of Cameron's sword cuts through Michael's bonds like so much string. Michael is suddenly free. BACK TO SCENE - ON MICHAEL He whirls to face Cameron and takes up his own swords. Bows. Michael assumes the correct fighting stance. Cameron looks surprised. [MICHAEL] It's been a while. But some things you don't forget. Just before the two clash, he reaches up to his neck. INSERT - MICHAEL'S NECK He reaches up and pinches the little medallion Devon gave him. Suddenly Michael rears back out of shot. BACK TO SCENE A vicious swipe from Cameron's sword almost costs Michael his head. Only his reflexes save him. The two begin to circle in combat. EXT. CITY STREETS - DAY The truck bearing K.I.T.T. is moving through moderate traffic. INT. TRUCK - ON THE TRANS AM Suddenly K.I.T.T.'s dash comes alive. Familiar whirring sounds greet us as the various components reactivate. ON K.I.T.T.'S TIRES They reinflate quickly, pushing the car up. OMITTED EXT. STREETS - ON THE TRUCK (UNDERCRANK) Right in the middle of an intersection, K.I.T.T. comes bursting through the armored back doors of the Brinks truck. The metal plates are twisted out of their sockets as the full force of the Trans Am hits them and the black car flies out into traffic. INT. TRUCK CAB The two Drivers shake from the jolt of the car's departure. ON K.I.T.T. AND THE TRUCK K.I.T.T. spins a 180 and comes flying up beside the truck. The black car darts past the larger vehicle and cuts a sharp right turn just in front of it. INT. TRUCK CAB The drivers gape in astonishment as K.I.T.T. completes its pass, makes a sharp right and disappears. OMITTED CLOSE ON A VASE OF FLOWERS as the razor-sharp blade of Zachary's sword whistles past Michael and lops off the blossoms neatly without disturbing the stems. Zachary laughs. WIDER SHOT - THE FIGHT - MOVING Cameron and Michael fence all around and through the apartment. Michael is putting up a great fight. It looks unconventional compared to Cameron's moves, but it's plenty effective. He uses tables, chairs as obstacles...whatever comes to hand. EXT. STREETS - DAY K.I.T.T. bursts through an intersection at awesome speed. INT. APARTMENT - THE FIGHT continues. Michael topples a bamboo screen over onto Zachary, but Zachary hacks it in half and is right back on top of Michael. EXT. STREET - DAY - ON K.I.T.T. K.I.T.T. races through the traffic, heading for Michael. OMITTED INT. SEMI - DAY April jumps as the radio-phone chatters to life. The terminal displays a view of an empty driver's seat where Michael would normally be sitting. As Devon looks on eagerly: [APRIL] Kitt, where are you? EXT. STREETS - DAY - INTERCUT as K.I.T.T. screams through a turn and races onward. [K.I.T.T.'S VOICE] I'm in an emergency mode, April, and heading for Michael. E.T.A. at the homing transmitter ninety-four seconds. [DEVON] Make it faster! Amazingly, K.I.T.T. does speed up. INT. APARTMENT - THE FIGHT Zachary and Michael are back in the living room and Max's superior swordsmanship is starting to wear on Michael. He forces him toward the glass windows which open onto a balcony. Gina looks on in terror. [GINA] Michael! EXT. ZACHARY'S BALCONY - DAY Michael, and then Zachary emerge, as they battle their way onto the small balcony. Michael is doing his best to stay away from a low railing at the edge, but he keeps losing ground. A strong blow from Zachary sends Michael's shorter sword flying. [CAMERON] You've done well. A worthy opponent. But, all good things must come to an end. And, he charges Michael once again, raining blows. EXT. STREET - ON K.I.T.T. as the car races within sight of Max's building and within scanner range. EXT. BALCONY - DAY Michael is backed up to the railing and rolls out of the way of one of Zachary's blows, but loses his balance. He drops his sword and starts to go over the edge. CLOSE ON MICHAEL'S HANDS He grabs the edge of the railing, hanging on for dear life. EXT. APARTMENT BUILDING Michael dangles precariously, several floors above the ground. EXT. BALCONY Zachary looks on with relish. [CAMERON] Good-bye, Michael Knight. EXT. APARTMENT BUILDING Michael lets go and tumbles toward a certain death. ON K.I.T.T. racing into position, like a fireman with a net. MICHAEL'S FALL - VARIOUS ANGLES Michael drops even as K.I.T.T. races into position, and finally falls into the open sunroof of the car. CLOSE ON K.I.T.T. as Michael lands, exhausted and amazed to be alive. [MICHAEL] Kitt, I can't believe you made it. [K.I.T.T.] I'm glad I did. For both of us. [MICHAEL] Kitt, we've got to get up there. He's got Gina. [K.I.T.T.] Michael, you're in no condition.... [MICHAEL] Don't argue, buddy. Let's go. WIDER SHOT The Trans Am burns rubber and heads for the parking structure next to the building. INT. APARTMENT - DAY Zachary reenters from the balcony. Gina sits on the couch, her head down. [CAMERON] Actually, it was better for him to fall than to die from the blade. Don't cry, my dear. I'll deal with you in a moment. INT. PARKING STRUCTURE as K.I.T.T. spins up the ramps, heading for the top. INT. CAMERON'S PENTHOUSE - DAY Cameron gathers a few valuables. He has the suitcase full of components. EXT. PARKING STRUCTURE - DAY K.I.T.T. explodes onto the top level, directly across from Cameron's apartment. INT. TRANS AM [MICHAEL] Okay, pal, let's gooo.... EXT. HIGH-RISE (MINIATURE) K.I.T.T. flies off the top of the parking structure and sails through the air straight for the apartment building. INT. PENTHOUSE (UNDERCRANK) - VARIOUS ANGLES as K.I.T.T. smashes in through the windows, showering the place with shards of glass and slamming furniture aside as it plows into the room. ZACHARY drops his suitcase and backs against the wall, stunned by the sight of a car in his living room. Before he can recover himself.... MICHAEL is out of the car, leaps toward Zachary and decks him with a stiff right hook. Cameron goes out like a light. Michael picks up the suitcase, and races to Gina. [MICHAEL] Are you all right? [GINA] Am I ever! Are you real, or did he kill me? [MICHAEL] We're real, all right. WIDE SHOT [K.I.T.T.] Michael, I just have one question. [MICHAEL] What's that, Kitt? [K.I.T.T.] How am I going to get down from here? On Michael and Gina's laughter, we: FREEZE FRAME AND FADE OUT END OF ACT FOUR TAG FADE IN OMITTED EXT. GINA'S APARTMENT BUILDING - DAY - ESTABLISHING K.I.T.T. is parked outside behind a police car. INT. GINA'S APARTMENT - DAY Michael waits with Gina as she packs a few things. [GINA] It's going to be strange starting over after I testify. New identity and all. [MICHAEL] Take it from me, it's not so bad. You get used to it. [GINA] I guess with Cameron out of the way, you could go back to being the other Michael. [MICHAEL] I wouldn't want to be Michael Long again, even if I could, Gina. I like Michael Knight. I like myself now, as I am. And, I'm proud to have the name of the man who saved my life. [GINA] I hope I like myself as well. [MICHAEL] You will. She closes her suitcase. EXT. GINA'S APARTMENT - DAY Michael escorts Gina to the waiting police car. Before she gets in, she turns to him. [GINA] I want you to have something. From among her things, she produces Big Mouth Bear, and hands him to Michael. Michael presses the bear's nose one more time. [BIG MOUTH BEAR] Hi, I'm Big Mouth Bear. What's your name? [GINA] I don't know, yet. I'll tell you after the trial. Michael and Gina share a laugh. He kisses her good-bye and watches her drive away. INT. TRANS AM - DAY Michael climbs in and puts Big Mouth Bear on the seat. [MICHAEL] Kitt, I'd like you to meet our new partner. HIGH SHOT - TRANS AM PULLING AWAY [K.I.T.T.'S VOICE] You know how I feel about that little monstrosity. [BIG MOUTH BEAR] Hi! I'm Big Mouth Bear. What's your name? As the car shrinks in the distance, we hear Michael's laughter: FREEZE FRAME AND FADE OUT THE END

{"show": "Knight Rider", "season": "s02", "episode": "e18", "title": "A Good Knight's Work"}

knightriderarchives

ACT ONE FADE IN INT. CONCERT HALL - NIGHT - LONG SHOT ON STAGE where a rock and roll group called "Class Action" roars through the last number of the night. The lead guitarist runs through a blistering riff while the two singers, Greg Noble and a striking blonde (whose face we don't see clearly from this distance), harmonize at a single mike. The effect is breathtaking. The crowd goes nuts, shouting, stomping, cheering. The band pushes the song and the crowd to the breaking point, then, suddenly, shuts it down. The crowd howls for more, but the house lights dim. The musicians head for the wings. CLOSER ON THE STAGE where Greg and the female singer, her face hidden in the shadows, exchange a few words, a kiss and a hug. A warm moment before she hurries O.S. Greg stands for a moment waving to the crowd, a big grin on his face. Move close on Greg, and then: CUT TO OMITTED INT. DRESSING ROOM - NIGHT - CLOSE ON PAUL BLOCK Another smiling face, this one belonging to Paul Block, the manager of the group. He's holding up a record industry trade mag. [PAUL] Number twelve with a bullet! We're going gold, folks...it's only a matter of time! As a roar of approval goes up, pull back to reveal a post-concert party underway. Champagne, sumptuous food, beautiful people. Paul holds up a glass of champagne. [PAUL] Here's to Class Action -- the band, Stevie March and Greg Noble! Applause and cheers. Everyone follows Paul's glance to a corner of the room where we see: STEVIE MARCH the beautiful lead singer of Class Action, who we recognize as Stevie from White Bird. She smiles graciously, then looks around: no Greg. [STEVIE] It's not like Greg to miss champagne. Hold the toast, I'll get him. Stevie turns and pushes through the crowd and out one of the doors. Entering from another door or room is a huge man called Ivory. A CORRIDOR leading to other, smaller dressing rooms. She moves to the first one down the hall. Knocks. [STEVIE] Greg? No answer. Stevie opens the door, steps inside. [STEVIE] Hey, come on...you're missing the party.... Suddenly, she screams, then screams again. INT. DRESSING ROOM On the floor of the dressing room is the reason for Stevie's screams. Greg Noble's lying next to his dressing table. Still. Lifeless. Very dead. Off this, we: CUT TO EXT. HIGHWAY - DAY - STOCK as the Trans Am cruises by. Doing an easy ninety. INT. TRANS AM - DAY Michael's behind the wheel. He's wearing his baseball hat (Dodgers, of course). [K.I.T.T.] Michael, I don't understand what this fascination with baseball is all about. [MICHAEL] Come on, Kitt...it's about spring and warm weather and blue skies and hot dogs with mustard. Everything that's American.... [K.I.T.T.] Grown men in funny costumes swinging sticks of wood at pieces of horse- hide is American? Michael grins. [MICHAEL] Just like apple pie and motherhood. There's a buzz. Michael punches buttons. [MICHAEL] Hello, Devon.... As they talk, intercut with: INT. FOUNDATION - DEVON'S OFFICE - DAY Devon's in front of the vidscreen. Dapper in a double- breasted blue blazer. [DEVON] Hello, Michael...Oh, I see you've pulled that quaint hat out of mothballs again. It must be spring. [MICHAEL] For some of us. [DEVON] I never have understood that game. Cricket, yes, but baseball...well, on your way back to the Foundation, I'd like you to make a stop. [MICHAEL] What's up? [DEVON] I'm not sure. The guitarist of a group called Class Action died recently. The police have called it an accidental drug overdose. His girl friend calls it murder. [MICHAEL] Devon, I'm really sorry about that, but I've been on the road for sixteen days.... [DEVON] And as luck would have it, you're less than an hour from the Twin Cities Civic Auditorium.... [MICHAEL] As luck would have it. [DEVON] Where a Miss March is expecting you. Keep me posted. Before Michael can protest further, Devon fades out. [K.I.T.T.] Class Action? I'm almost afraid to ask what kind of music they produce. [MICHAEL] They're a hot group, Kitt. Playing good old rock and roll... (smiling) American music. CUT TO INT. CONCERT HALL - ENTRANCE - DAY Michael comes through the entrance, stops to ask an MOS question of a stage hand. He nods, points toward the: OMITTED CONCERT HALL The same arena where we opened the show. Michael enters, stands squinting into the dim light. His eyes catch some- one on the stage. Sitting at the piano. Fiddling with the keys. A woman with blonde hair. CLOSE ON MICHAEL staring intently at her, hearing the echo of a memory. He slowly walks toward the stage. We move with him and as we do, intercut with: FIRST FLASHBACK FROM WHITE BIRD Michael and Stevie are picking flowers. STEVIE not noticing Michael, lost in her thoughts. SECOND FLASHBACK FROM WHITE BIRD Michael and Stevie kissing. ON MICHAEL smiling slightly. The smile fades as he remembers. THIRD FLASHBACK FROM WHITE BIRD Stevie, in the back of the police car, driving away. Tears streaming down her face. BACK TO MICHAEL nearly to the stage. Stopping. Staring. Close to tears of his own. WIDER TO INCLUDE STEVIE as she senses Michael, looks up from the piano. Their eyes meet, lock. They hold the look forever. Then: [MICHAEL] Stevie.... [STEVIE] Hello, Michael.... CUT TO OMITTED EXT. PARK - DAY - MOVING WITH STEVIE AND MICHAEL as they walk and talk. [STEVIE] So, when they'd arrested and convicted everyone I'd testified against, it was safe for me to 'resurface' again. (beat) I kept my new name and just sort of slipped back into life. Michael studies her for a beat. [MICHAEL] You could've phoned. Written. Some- thing. Stevie looks at Michael intensely. [STEVIE] You don't know how much I wanted to.... Michael hesitates, then nods, puts his arm around her. Decides it's better to stay away from that for now. [MICHAEL] So, you're a singer. A hot band and a hot record. (a smile) I couldn't believe it. I still can't. How'd it happen? [STEVIE] By accident. I drove to L.A., got an apartment. A week later I ran into Greg. We'd gone to high school together, even sung a little. He was putting together his forty-seventh band and was looking for someone to sing with. (shrugging) I was looking for something to hang a new life on. It all happened so fast.... A silence. An awkward silence, broken by: [STEVIE] Greg knew how I felt about you, but he loved me anyway. In a strange way that gave me something to live for. Now he's dead and I'm never going to have a chance to give that back.... Stevie's voice fades off. She's close to tears. Then: [STEVIE] Everyone loved him, Michael...he cared about his music and about this group. He gave everything he had, and never asked for anything in return. (intensely) And he never used drugs never. Someone killed him, Michael. Murdered him.... [MICHAEL] Who could have done it? Who might have wanted him dead? [STEVIE] I don't know. It's been driving me crazy. I hate to say it, but it has to be someone involved with the group. [MICHAEL] That makes everyone a suspect. [STEVIE] (nods) That's the worst part. Nothing's the same. Everyone looks at everyone else now, and you know what they're thinking... (a beat) When I phoned the Foundation, I was afraid you wouldn't come. Then I was afraid you would. (another beat) I thought I could ask you to help. But, now that you're here...I don't know.... [MICHAEL] Stevie, I'll help. You know that. I just can't figure out how to get on the 'inside' without everyone knowing exactly what I'm doing. [STEVIE] I do. He looks at her. There's a small, mischevious smile at the corner of her mouth. CUT TO EXT. FOUNDATION - DAY - TO ESTABLISH Over we hear: [MICHAEL'S VOICE] I'm going undercover with Class Action. I'm going to replace Greg Noble. CUT TO INT. DEVON'S OFFICE - DAY Devon and April stare at Michael incredulously. [DEVON] That's preposterous! [MICHAEL] Look, the group needs someone. Stevie's already been hyping me to Paul Block, the group's manager. Told him I'm an ex-patriate who's been playing in Australia and New Zealand for the past five years. [APRIL] But, you can't sing. Can you? [MICHAEL] Are you kidding? Before I went to the Academy, I sang all the time. Even had a record company interested in a demo I made. [DEVON] That was years ago. What makes you think you can perform professionally today? [MICHAEL] I'll worry about that later. First, I need to put together a video tape of my work in Australia -- to sell me to this guy Block. [DEVON] A video of your 'work'? You've never been to Australia, let alone sung there. Michael smiles, turns to April. [MICHAEL] Did you get the video equipment? April nods. [MICHAEL] And the stock of those rock concerts? April nods again. Devon interrupts. [DEVON] What is going on? [MICHAEL] Show biz. We'll shoot me singing ...just from the neck up. Kitt can cut in some of the concert footage, lay down some electronic music and effects and...voila! Michael Knight in concert...from Down Under. Devon just stares at Michael, shakes his head. [DEVON] Michael, is this absolutely necessary? [MICHAEL] (totally serious) Absolutely. Devon stares at Michael. A touching moment. [DEVON] How is she, Michael? [MICHAEL] (beat) As beautiful as ever. [DEVON] Give her my love.... Michael nods, exits. Hold on Devon and April, then: CUT TO INT. LIMO - NIGHT - CLOSE ON TV SCREEN Michael Knight in concert. From Down Under. Singing a solo. Looking very hot. As the song ends, a hand reaches out, switches the set off. Pull back to reveal Paul Block, sitting with Michael and Stevie. He nods, thinks for a beat, then: [PAUL] Not bad. Not bad at all... (beat) Let's give it a try. Michael and Paul smile, shake hands. Stevie smiles, too. A little nervously. Paul turns to her. [PAUL] This calls for a celebration. Dinner? [STEVIE] Count us out, Paul. Michael's got twenty songs to learn before the concert... (to Michael) Come on...if you're going to be on the payroll you'll have to start working for it. Paul laughs as they pull up in front of the motel. Michael and Stevie climb out of the limo. As they exit, he reaches over, picks up the phone, dials. [PAUL] It's Paul. It's set...this guy Knight's got potential...yeah, I'm sure...I said, everything's fine! We'll proceed on schedule. Off Paul's look, we: CUT TO INT. CONCERT HALL - DRESSING ROOM - DAY - MONTAGE During this sequence we see Michael and Stevie rehearsing songs, working on Michael's singing, getting ready for the concert. We don't hear their voices, but rather an instru- mental underscores the montage. Shots include: Stevie at the piano, Michael reading from sheet music, singing. MICHAEL mike in hands, moves across the stage, getting the feel for the area, working on some moves. MICHAEL AND STEVIE both at the piano. She plays something. He leans over, makes an adjustment. She nods, smiles. IN THE DRESSING ROOM - MICHAEL is trying on his stage outfit: something smashing, like black leather pants, matching shirt. Stevie's watching, making adjustments in the fit. ON THE CONCERT STAGE - TECHNICIANS make final adjustments for lights, sound. Materializing nearby is Ivory, a dark, mysterious presence. Michael watches, alone. A little nervous. Stevie appears behind him, takes his hand. They stand together at the mike, looking out into the empty auditorium. As they do, the music fades out and we: DISSOLVE TO OMITTED INT. CONCERT HALL - NIGHT The night of the concert. Filled with people. The concert is underway, and we go to a: MONTAGE OF SHOTS DURING THE CONCERT During which Michael and Stevie sing "Stay the Night." A series of shots featuring: Michael, then Stevie, stepping up to mikes. Bathed in a single spot. Starting to sing. Behind them, the band members, both individually and as a group, playing. Paul Block standing in the wings, listening. Pleased. Michael and Stevie, sharing one mike. Singing for the audience and, we sense, for each other as well. A moving moment. A thunderous ovation at the end of the concert. People calling for more, lighters being lit, flowers tossed onto the stage. As Michael and Stevie run off the stage together, we follow them: BACKSTAGE - NEAR DRESSING ROOM Normal post-concert chaos. Lots of congratulations for Michael and Stevie. Alone for a moment, Michael grabs Stevie, picks her up, twirls her. She laughs. [STEVIE] You were good, Michael. [PAUL'S VOICE] You were fantastic.... Stevie and Michael turn to see Paul following them. Smiling. [PAUL] (to Stevie) And you know it. [STEVIE] I was working up to that. You didn't give me a chance.... Everyone laughs. When a roadie named Jimmy walks up to them. He's carrying a canvas bag. In the b.g. we see Ivory again. [JIMMY] (to Stevie) Excuse me, but I thought you might want this. [STEVIE] What is it? [JIMMY] (glancing at Michael) Some of Greg's things...I found the bag stuffed behind a seat on the bus. [STEVIE] Thanks, Jimmy. Jimmy splits. Stevie opens the bag. Inside are several audio cassettes, a couple of video cassettes, a song note- book, a paperback and a pair of dark glasses. Stevie stares at the contents. Paul realizes it's personal, ad-libs good-byes and leaves. [STEVIE] Not much to remember him by.... There's an unmistakable sadness in Stevie's voice. [MICHAEL] Are you okay? Stevie starts to say something, can't. Just nods. Then: [STEVIE] I'll see you later, okay? I feel like being...alone for awhile. Michael nods. CUT TO OMITTED INT. MOTEL CORRIDOR - NIGHT (Production Note: This scene can play as indicated or in Michael's motel room.) The corridor is deserted. Michael appears, on his way to his room. As he passes an intersecting hall (or any point where someone could be concealed) a huge figure suddenly appears, blocking him. It's Ivory. [IVORY] I want to talk to you. [MICHAEL] I figured you would. [IVORY] Greg hired me to protect the band and Stevie. He didn't think he needed pro- tection and now he's dead. And now here you are all of a sudden, taking his place with his band and his woman. I'd hate to think you had anything to do with his death. [MICHAEL] I didn't. [IVORY] Yeah. Well, somebody did. If I find 'em, you're looking at their judge, jury and executioner. He turns and leaves, moving quickly for a big man. Hold on Michael, thoughtful. CUT TO EXT. MOTEL - MORNING Just after sunrise. Quiet. INT. STEVIE'S MOTEL - MORNING - CLOSE ON TV where we see Greg Noble, a youthful man in his late twenties, roaring through a guitar riff. The tape stops, reverses, stops and then goes forward again. As it does, we pull back to see Stevie hunched forward, studying the tape. ANOTHER ANGLE As she advances the tape frame by frame, we see something flash onto the TV screen. Stevie isolates it and we see: ON THE TV SCREEN A seemingly random series of ones and zeros, filling the TV screen. BACK TO STEVIE studying the numbers, obviously confused, troubled. She switches off the set, moves to throw on a coat. She hurries out the door. CUT TO EXT. MOTEL - MICHAEL'S ROOM - DAY as Stevie hurries up, knocks on the door. A beat, then Michael, half asleep, opens it. He's pulling on a shirt. [MICHAEL] Stevie...what's wrong? [STEVIE] Michael, I've got to show you some- thing. Right now. Hurry...! Michael's pulling on his boots, looking worried. OMITTED EXT. MOTEL - CORRIDOR - DAY - MOVING WITH STEVIE AND MICHAEL [STEVIE] I found a video tape in Greg's bag. Something we did for American Music Hall...The day before he died he must have run it a hundred times. He wouldn't tell me why, but I know he was worried about something. OMITTED INT. MOTEL ROOM - DAY Stevie and Michael hurry inside. Just as they get into the room, someone hits Michael and sends him crashing against a wall, then splits. Groggily, Michael struggles to his feet. [MICHAEL] (comlink) Kitt, get ready to move! OMITTED INT. TRANS AM - DAY as K.I.T.T. comes to life: shifts into drive, hits the pedal. EXT. MOTEL - DAY An ND sedan squeals out of the parking lot. K.I.T.T. drives up as Michael staggers out of Stevie's room. The door pops open and Michael jumps inside. INT. TRANS AM - DAY as the Trans Am roars onto the street. [MICHAEL] How far are they ahead of us, Kitt? [K.I.T.T.] Nearly two blocks. [MICHAEL] Then let's step on it! EXT. STREET - DAY as the Trans Am roars down the street, gaining on the sedan. ANOTHER ANGLE as the sedan approaches a cross street, screeches down a narrower residential street. A couple of beats later, the Trans Am makes the same turn. EXT. STREET - DAY The chase continues, with the Trans Am going rapidly. ON THE SEDAN taking the next corner on two wheels, racing toward an intersection (with lights, traffic). ON THE TRANS AM sliding through the turn, racing after the sedan. ANGLE ON THE INTERSECTION The sedan heads for the intersection as the light turns red. Not slowing, it plunges into the cross traffic. A loud crash as it clips the tail end of a car, sending it spinning in a 180 degree skid. A second car slams on its brakes, barely missing the spinning car. The sedan con- tinues down the road. ON THE TRANS AM racing toward the intersection, now blocked by the two cars. The car that was hit is beginning to smoke. INT. TRANS AM Michael prepares to turbo. [MICHAEL] We're going over the top, pal. [K.I.T.T.] Michael, my sensors indicate that smoking car may explode.... Michael jams on the brakes. ANGLE ON THE INTERSECTION The Trans Am skids to a stop. Michael leaps out, hurries to the smoking car, rips open the door and pulls the stunned driver out. As Michael pulls him to safety: THE CAR explodes (if possible) in a ball of fire. ON MICHAEL shielding the driver, his face reflecting the golden glow of the flames. Hold on him. OMITTED FADE OUT END OF ACT ONE ACT TWO FADE IN EXT. MOTEL - DAY The Trans Am is parked outside Stevie's room. INT. MOTEL ROOM - DAY Michael and Stevie are sorting through the ransacked room. [STEVIE] That's all he took, I'm sure of it...every video cassette I had. [MICHAEL] Including the one with the strange numbers on it. Stevie nods. They exchange a nod. [STEVIE] What could it be? [MICHAEL] I don't know -- maybe a binary code of some kind. Whatever it is, it's important enough to steal. Maybe even kill for. (beat) If it was on Greg's copy, it's got to be on the master tape. Who makes the videos? [STEVIE] Barbara Bellingham. [MICHAEL] How do I meet her? [STEVIE] We're scheduled to begin taping our next video in L.A. tonight. CUT TO OMITTED EXT. HIGHWAY - DAY - SEVERAL SHOTS - STOCK The Trans Am appears, heading for Los Angeles. EXT. QUAINT APARTMENT - DAY The Trans Am pulls up and parks, Michael and Stevie getting out. K.I.T.T. pops the trunk, filled with her luggage. INT. STEVIE'S APARTMENT - DAY The door opens and they enter, Stevie first, followed by Michael with the luggage. She opens windows. He looks around, takes the place in; it's small but homey, imagina- tive. It's what he'd imagine her place to be like. She notices. [STEVIE] Like it? [MICHAEL] (nods) It's you. How long have you been here? She takes some things, crosses into the bedroom over: [STEVIE] Three months -- no, four. He sees a framed photo, picks it up. CLOSER ANGLE It's a picture of Stevie and Greg, smiling, looking into each other's eyes. He thought he was prepared for something like this, but it catches him like an unexpected punch. [STEVIE'S VOICE] It's finally starting to feel like home. He puts the photo down, moves away from it, restless. [MICHAEL] Where do you want this stuff? The garment bag. [STEVIE] The closet's fine. Thanks. He picks up the garment bag, crosses to the closet and opens it. Reacts. ANOTHER ANGLE Hanging there is a pair of pants and a silk shirt, decidedly masculine. He thought he was over the hump with the photo, but this is somehow more intimate, more suggestive. It hurts. [STEVIE'S VOICE] I'm sorry. This time her voice isn't from the bedroom, it's close. He turns. She's behind him, only a few feet away. Michael turns to her. [STEVIE] Michael --- [MICHAEL] It's okay. It makes me crazy but I can't expect you to never be with another man. Never fall in love again.... [STEVIE] I won't lie to you, Michael. Yes, I loved him. He nods, again surprised by how unprepared he is. [STEVIE] He was a wonderful man. I loved him. But when I went to sleep at night I dreamed of you. He sees tears begin to form in her eyes. [STEVIE] I tried not to, I tried to forget about you.... It is, finally, no longer possible to stay apart. They meet in an embrace, holding each other as if some alien force threatens to separate them again. He turns her face up to his, kissing away her tears. As their mouths meet in a kiss.... CUT TO EXT. STEVIE'S APARTMENT - DAY as a funky van pulls up and parks behind K.I.T.T. Bumper stickers, front and rear, read "CLASS ACTION". A disheveled, long-haired kid in his late teens stumbles out of the van. He's wearing a "CLASS ACTION" T-shirt and is carrying a midsized ghetto blaster blaring rock and roll. This is Roscoe (think Sean Penn in Ridgemont High) one of the world's great Class Action fans. He checks an address on a piece of paper, smiles to himself. [ROSCOE] This is her place. All I gotta do is wait.... He pulls a folding chair out, sets it up on the sidewalk, sits down, adjusts the volume on the portable radio. Louder. We see K.I.T.T.'s scanner flash. INT. K.I.T.T. reacting to the music. [K.I.T.T.] That music simply will not do.... BACK TO ROSCOE thumbing through a music mag. Suddenly the music stops and we hear K.I.T.T.'s voice coming through Roscoe's ghetto blaster: [K.I.T.T.] I can't tell you how much I hate that music.... Roscoe stares at the ghetto blaster, wide-eyed. [ROSCOE] What're you talking about? That's rock and roll...it's the greatest. [K.I.T.T.] It's garbage...it's unmelodic, crass and infantile. [ROSCOE] (getting pissed) Hey, man, I get this at home. I don't need it.... [K.I.T.T.] Neither do I. That's why I refuse to play it. Roscoe pushes the "play" button on the blaster. Nothing. He twirls the dial for the radio. Nothing. [ROSCOE] Look, you don't want to play, then don't. There're plenty more where you came from.... Roscoe gets up, tosses his folding chair into his van, along with the ghetto blaster. He jumps inside, drives off. Again, we see K.I.T.T.'s scanner flash. INT. K.I.T.T. reacting with pleasure. [K.I.T.T.] Good riddance.... CUT TO EXT. RECORDING STUDIO - NIGHT The Trans Am pulls in and parks. Michael helps Stevie out, leans back in and activates X-ray mode. [MICHAEL] Okay, pal, if that master video's here, I need the location.... [K.I.T.T.] I'll do my best, Michael, but there could be literally thousands of tapes in there. [MICHAEL] Good. It'll keep you from getting bored. [K.I.T.T.] Very funny. Michael and Stevie laugh, head toward the studio, and we: CUT TO INT. RECORDING STUDIO - NIGHT Video technicians prepare the equipment. Paul and Barbara huddle away from the others. Across the studio, we see Ivory. Even standing still, he's got menace. [BARBARA] I don't like it. [PAUL] What could we do? Forget this video? [BARBARA] But, who is Knight? Where's he from? [PAUL] Look, Barbara, it's simple. We use him, then we dump him. (intense) We don't have any choice. We've got to have the video ready. (smiling) Besides, I think you're going to like him. Very much. Paul nods across the room. Barbara glances over to see Michael and Stevie come in. She does like what she sees. [BARBARA] Introduce me. Paul leads Barbara across the studio. ANOTHER ANGLE as Paul and Barbara come up to Michael and Stevie. Ivory steps up to Stevie, never taking his eyes off of Michael. [PAUL] Michael, meet Barbara Bellingham. She handles all our video work. [MICHAEL] Hi. I've heard good things about you. [BARBARA] Took the words right out of my mouth. Maybe we should exchange notes.... Barbara slips her arm through Michael's, walks him away from Paul and Stevie. We follow them. [BARBARA] Paul tells me you've been in Australia. [MICHAEL] Nearly five years. [BARBARA] How exciting! There's so much happening down there culturally -- music, film, theatre...especially in Sydney. [MICHAEL] Sydney's a beautiful city. [BARBARA] We shot a video down there a couple of years ago...at the Golden Palace. Did you ever play there? [MICHAEL] (nodding) Sure. One of my last gigs was there. But, the Palace is in Melbourne, not Sydney. Barbara reacts, smiles. [BARBARA] Oh, right. Of course. Over the PA we hear Paul's voice: [PAUL] Let's go, Barbara.... [BARBARA] Well, time to mix a little business with pleasure. She smiles at Michael, crosses the studio. As he follows to join Stevie, we: CUT TO INT. STUDIO - LATER Barbara huddles in MOS dialogue with a camera person. Stevie and Michael are standing in front of a backdrop, mikes in front of them. Paul, with an engineer, waits in the booth. [BARBARA] (to Paul) All right...we're set.... Barbara crosses to Michael and Stevie. All business now. [BARBARA] Okay, kids. Relax...have fun with it. The instrumental track begins. Michael and Stevie begin the duet, "Our First Night Together." OMITTED INTERCUT - MICHAEL AND STEVIE Barbara, the cameraman, the board, tape recorders, etc. ANGLE IN K.I.T.T. X-ray mode searches the studio, the results reproduced on the monitor. We see volumes of tapes, row after row. [K.I.T.T.] Bored indeed. BACK IN STUDIO Michael and Stevie finish the song. Barbara applauds, crosses to them with kisses and hugs. [BARBARA] Fabulous! I love it -- heat! Just what the song needs. If I didn't know better I'd swear you two were star-crossed lovers. Over this Paul has entered from the booth. [PAUL] Wait'll you see what we've got cooked up for you tomorrow. [MICHAEL] Tomorrow? There's more? Barbara and Paul share knowing smiles with Stevie as if to say, isn't he wonderfully naive? [BARBARA] Honey, if I produced a video in today's market with only one location it'd be my last. Yours too. [PAUL] Where's this guy from, Australia? They laugh, but Michael senses something in the way Barbara's eyes linger on him, probing, searching. CUT TO EXT. STUDIO - NIGHT Michael and Stevie cross and climb into K.I.T.T. [MICHAEL] How'd you do? [K.I.T.T.] See for yourself. ANGLE ON MONITOR A blueprint of the studio appears. The monitor zooms into one particular room. [K.I.T.T.'S VOICE] The office. A red dot pulsates. [MICHAEL'S VOICE] What's that? BACK TO THEM watching. [K.I.T.T.] A safe. It's concealed in the end table near the desk. The master tape in question is inside. CUT TO INT. STEVIE'S APARTMENT - NIGHT The door opens and they come in, continuing a discussion they've been having all the way back. [STEVIE] (upset) ...but what if they're waiting for you? What if it's a trap? She doesn't respond, crosses to the kitchen and busies herself preparing tea. [MICHAEL] Stevie, we need to know what's on that tape. Why it's so important to them. She doesn't respond. He moves to her, but she won't face him. [MICHAEL] If these are the people who killed Greg, don't you want to know? He tries to turn her to face him, but she refuses. [MICHAEL] Are you worried about me? Is that it? [STEVIE] (finally) I've learned to live without you... I didn't think I could, but then I discovered a way...as long as I know you're out there somewhere, we could meet again. I could turn around in a supermarket and there you'd be. That's how I do it. I don't know how I'd do it if.... She doesn't finish, doesn't have to. Michael puts his arms around her. [MICHAEL] Don't worry, Stevie. I'll be careful. (beat) That's how I do it, too. CUT TO OMITTED EXT. STUDIO - NIGHT The Trans Am pulls up. Michael gets out. [MICHAEL] Keep your eyes open, pal. [K.I.T.T.] Of course, Michael. Michael turns, heads into the recording studio. Leaving K.I.T.T. alone. For a beat. We see headlights. ANOTHER ANGLE Roscoe's van pulls up and parks. Roscoe hops out, an even larger ghetto blaster in his hand. Blaring music. He stands in the empty lot, staring at the darkened studio. [ROSCOE] Where is everyone? Ther were supposed to be recording here tonight...I must be outrageously late... (checking his watch) Unless it's tomorrow night...in which case I'm like really early. Roscoe smiles broadly, nods to himself, reaches into his van for his folding chair. As he's about to get settled, the music is interrupted and we hear K.I.T.T. again through the radio's speakers: [K.I.T.T.] You just don't learn, do you? Roscoe freezes, glances over at his ghetto blaster. He shakes his head. Unbelieving. [ROSCOE] Wait a minute, now.... [K.I.T.T.] No...you wait a minute. That music is going to rot your brain...and take years off your life. [ROSCOE] You're out of your gourd. [K.I.T.T.] Am I? Do you know why there are so few rock fans over thirty? [ROSCOE] Why? [K.I.T.T.] Because they're all in retirement homes or mental hospitals.... [ROSCOE] (shocked) Oh, wow... (beat) I've been into rock for years. What am I gonna do? [K.I.T.T.] There's only one antidote...classical music. [ROSCOE] Classical, huh? You mean, like Dylan? [K.I.T.T.] Try Vivaldi. Roscoe nods, throws everything back into his van, drives slowly off. OMITTED INT. OFFICE - NIGHT The door opens and Michael enters, turns on a small desk lamp. He crosses to the safe. [MICHAEL] (comlink) I'll need a little magic, buddy. ANGLE IN K.I.T.T. A schematic of the lock appears. Random mathematical possibilities flash by. [K.I.T.T.] Magic has nothing to do with it. [MICHAEL'S VOICE] Just an expression. ANGLE IN OFFICE The safe opens. Michael searches inside, finds the tape. ANGLE FROM VCR He crosses to it, turns it on and slips in the tape. [MICHAEL] (comlink) Hope your heads are clean. [K.I.T.T.'S VOICE] My heads are always clean. [MICHAEL] (comlink) Fast-forward? [K.I.T.T.'S VOICE] The fastest. ANGLE IN K.I.T.T. We see the tape speed by on K.I.T.T.'s monitor. OMITTED EXT. STREET - NIGHT as the limo glides by. Inside, we see Paul and Barbara. INT. LIMO - NIGHT Barbara's on the car phone. [BARBARA] I see...you're absolutely positive?.. all right. Thanks for the help. Barbara hangs up the phone. Paul's watching her nervously. [PAUL] Well? [BARBARA] I don't know who Michael Knight is, but he's not a singer who just got back from Australia. The Golden Palace burned down a year ago.... Paul slumps back in his seat. Shocked. [PAUL] Then they're on to us. We've gotta pull the plug on this whole operation.... [BARBARA] No! If they've got anything, it's suspicions and that's it...and we've only got a half day's work to finish the new video. [PAUL] Finish the video? What about Knight and Stevie? [BARBARA] As soon as we're done tomorrow, we're going to have to take care of them. Off Barbara's look, we: FADE OUT END OF ACT TWO ACT THREE FADE IN EXT. FOUNDATION - DAY - TO ESTABLISH We hear the vocal from the tape over: [DEVON'S VOICE] Aside from an intense dislike of rock 'n roll, Michael, I fail to see --- INT. DEVON'S OFFICE - DAY Michael is grouped around a VCR with Devon and April. [MICHAEL] There! He hits stop, then reverse. Then stop. [MICHAEL] Now a little slow motion. ANGLE TO INCLUDE VCR The tape continues in slow motion. Michael suddenly hits stop again. They react. INSERT - VCR The equivalent of one frame is isolated. What we see is a series of apparently random numbers. BACK TO THEM Devon and April exchange looks, intrigued. [DEVON] (to April) Your area of expertise, I believe. [APRIL] It looks like a binary code. (to Michael) What was Kitt's diagnosis? [MICHAEL] The same. Michael paces, charged. [MICHAEL] This is it, Devon -- This is what Greg Noble's 'overdose' was all about. To keep this secret. [DEVON] What 'secret'? You have no idea what this is. [MICHAEL] No, but whatever it is there are people who think it's important enough to kill for. Devon crosses to his desk. [DEVON] All right, for the moment assume that's true -- Why put it on a video tape? Why take the chance of discovery? [MICHAEL] Mass communication. [DEVON] Of what? To whom? [APRIL] He's right, Devon. We won't know the answer to your questions until we break the code, but it's an ingenious wau to transmit a message. [MICHAEL] To anyone watching a rock video broadcast it's just another group, but to people who know what to look for it's a telegram. All they have to do is record it and then play it back, just like we did. Devon ponders it for a moment. [DEVON] (to April) How long will it take to break the code and decipher the message? [APRIL] It's all based on mathematical probabilities. [DEVON] Translation, please. [APRIL] Anywhere from an hour to a week. Michael awaits Devon's decision, tense. [MICHAEL] Well? [DEVON] (to April) Then I suggest you begin at once. CUT TO EXT. COUNTRY ROAD AND HILLS - DAY Pan from idyllic green sloping hills to a narrow dirt road where there's a beehive of activity: several vans and station wagons unloading video camera equipment and musical instruments; a dozen people going about their chores. The omnipresent Ivory watches the proceedings stoically. We see: OMITTED ANGLE AT GRASSY AREA A safari motif has been set-up; a tent, Jeep, etc. The band, dressed in safari clothes, is grouped around its instruments. ANOTHER ANGLE Barbara is with Michael and Stevie, also in safari garb, as they cross to the Jeep. Paul joins them over: [BARBARA] ...The band mimes to the playback, you two climb into the car and pull out as the second verse begins. [PAUL] Camera cars ready. [BARBARA] Good. Where's make-up? (calls off) Make-up! ANGLE ON K.I.T.T. parked off to the side. Inside, we see his monitor processing numbers, searching for the numerical key to unlock the binary code. ANGLE ON SAFARI SITE The playback begins. Michael and Stevie cross to the Jeep, climb in and pull away, lead by the camera car. MOVING SHOT In the camera car, Barbara crouches behind the video operator. ANGLE IN JEEP Michael and Stevie lip-sinc to the playback. WIDER ANGLE The Jeep follows the camera car down a narrow road boardered by a steep drop off. Both cars are picking up speed. ANOTHER ANGLE As the playback ends Barbara signals. The camera car pulls off to the side of the road. ANGLE ON MICHAEL AND STEVIE Michael steps on the brake. INSERT - BRAKE It goes to the floor. BACK TO THEM Michael reacts, pumps it: nothing. [STEVIE] Michael, slow down. [MICHAEL] (comlink) Kitt, I've lost the brakes! ANGLE IN K.I.T.T. His systems activate. [K.I.T.T.] Hold on, Michael! His tires spin, dig in and he shoots away. OMITTED ANGLE ON MICHAEL AND STEVIE Michael uses all his skill as a driver, but the twisting road is treacherous and the Jeep continues to pick up speed. [STEVIE] (terrified) Michael! HER POINT OF VIEW DOWN THE DROP OFF It's a virtual cliff now, a hundred-foot drop. ANOTHER ANGLE Behind them, coming around a curve at seventy, is K.I.T.T. ANGLE IN K.I.T.T. [K.I.T.T.] Stay with it, Michael! Five more seconds.... Turbo boost is depressed. LOW ANGLE FROM ROAD as K.I.T.T. lifts off and soars into the air. VARIOUS ANGLES K.I.T.T. sails over the Jeep. ANOTHER ANGLE He lands just ahead of it, slows, makes contact with the front bumper and begins to slow it down. ANGLE ON MICHAEL AND STEVIE The tension gives way to relief. Michael squeezes her hand. [MICHAEL] It's okay...we're all right now. [STEVIE] Thank God...what happened? Can brakes just go out like that? [MICHAEL] They can. Whether these had some help is the question. (comlink) Thanks, pal. Get a complete analysis on the brake system -- master cylinder, wheel cylinders, the works. [K.I.T.T.] Right away, Michael. ANGLE ON BARBARA Paul joins her as she watches the activity below; the car being towed by one of the station wagons. [PAUL] What happened? [BARBARA] It appears the car didn't go over the cliff. Nice try, Goodwrench. What do we do now -- Send them up in a hot-air balloon and shoot arrows at it? [PAUL] You're the one who said we couldn't chance another 'drug overdose.' If you've got any terrific ideas spit 'em out. Barbara starts to turn away, stops, looks back at him. [BARBARA] I talked to Donny this morning. He said 'Pegasus' lead singer is sick and they're pulling out of the concert at the Amphitheater tonight. [PAUL] So? [BARBARA] Do him a favor and plug in 'Class Action.' [PAUL] Barbara, it's a live telecast. We can't use the video. [BARBARA] We won't need it. (smiling) The Amphitheater's got a closed circuit system that feeds the action on the stage to those big screen monitors. We'll tap into that system and transmit the message through them. OMITTED ANGLE AT STAGING AREA Michael and Stevie ad-lib good-byes to the band, cross to where K.I.T.T. waits. Barbara hurries to join them. [BARBARA] Stevie...Michael...I've got some good news. [MICHAEL] Next time we get a car with brakes that work. [BARBARA] I'm sorry about that, really. I don't know what else to say. Paul's checking into it. In the meantime, cancel any plans you have for tonight. They exchange a look, puzzled, wary. [MICHAEL AND STEVIE] Why? What's up? [BARBARA] A coup. 'Pegasus' had to pull out of the big concert at the Amphitheater tonight. It took a lot of phone calls and arm-twisting, but guess who's filling in for them? Off their surprised reactions: ANGLE IN K.I.T.T. As they leave, Michael punches buttons. [MICHAEL] How'd we do, buddy? Got the analysis on the brakes? [K.I.T.T.] The snap ring on the clevis pin failed. INSERT - MONITOR A schematic of the brake system appears indicating a faulty clevis pin. BACK TO THEM [MICHAEL] Failed...or was intentionally removed. (to Stevie) Until we find out which, I don't want you out of my sight. [STEVIE] But what about the concert tonight? [MICHAEL] What about it? [STEVIE] I always do a sound check. If I don't, they'll be suspicious. [MICHAEL] I'll come with you. [K.I.T.T.] Excuse me, Michael, but Devon and April are awaiting the pleasure of your company in the mobile unit. [MICHAEL] They are? Why? [K.I.T.T.] While you were lip-sincing rock-n-roll. I broke the binary code. CUT TO EXT. HIGHWAY - DAY - STOCK The Foundation semi appears. It's tailgate begins to lower. ANOTHER ANGLE The Trans Am appears coming the opposite way. Michael executes a 180, accelerates and pops up the ramp. Hold on the semi for: [MICHAEL'S VOICE] The suspense is killing me. What've we got? [DEVON'S VOICE] Look for yourself. INT. SEMI - DAY Michael joins Devon and April at the computer. Devon hits buttons. ANGLE ON COMPUTER SCREEN The binary code breaks into neat columns of numbers and letters. It begins, "AR SB F19 8145P 1K." The next line: "AR LV F19 930P 2.5K." BACK TO THEM Michael looks puzzled. [MICHAEL] I hope somebody's got this figured out, because I sure don't. [DEVON] We have April to thank. He gestures for her to do the honors. [APRIL] I'd like to say it's a result of computer wizardry, but it's not. One summer I worked at a travel agency. (points) 'AR' is the abbreviation for 'arrive.' 'LV' is short for 'Las Vegas.' If this is a schedule, 'F 19' could be 'Friday the nineteenth.' [MICHAEL] Was the nineteenth on a Friday? [APRIL] (nods) The '845P' is the time -- 8:45 PM. [MICHAEL] The last symbol is a number and a 'K.' The numbers vary but there's always a 'K.' (realizes) 'K' is short for 'kilogram.' Is this some kind of drug delivery schedule? [DEVON] That would be my guess. If you look at the first two letters preceding AR you can plot a flight across the country. 'SB' is San Bernardino, 'LV' is Las Vegas and so on. [MICHAEL] This is all we need. [DEVON] I wish that were the case. One of the reasons this is so effective is its immediacy. Guess when this particular video was aired. [MICHAEL] The nineteenth. Devon nods. Michael paces, frustrated. [MICHAEL] (to Devon) What do we need to nail them the next time out? [DEVON] The delivery schedule before the drops are made. [MICHAEL] If we can do it, is the D.E.A. ready to move? [DEVON] At a moment's notice. CUT TO EXT. AMPHITHEATER - DAY - TO ESTABLISH INT. AMPHITHEATER - DAY Stevie checks the mikes on the huge stage, crosses to talk MOS with a roadie. ANGLE AT BACKSTAGE AREA An expensive late-model car pulls in and stops. Barbara and Paul climb out, Paul carrying a briefcase. They hurry inside. ANGLE ON STAGE Stevie finishes talking with the roadie, crosses toward backstage. ANGLE - BACKSTAGE Stevie appears, leaving, coming down a long silent corridor. As she passes a door she hears voices, indistinct at first, then identifiable. [PAUL'S VOICE] What difference does it make who he is? He's on to us. So's Stevie. She stops, listening. [BARBARA'S VOICE] Being 'on to' us and being able to prove something are two different things. [PAUL'S VOICE] For the moment, yeah. We've been lucky. For heaven's sake, Barbara, we're rich. We don't have to keep doing this. Why take the chance? Why keep --- The door opens and suddenly there are their faces. Stevie bolts. Paul runs after her, grabs her and wrestles her into submission, a hand clasp over her mouth. ANOTHER ANGLE Barbara reaches them, a pistol in her hand. Stevie is terrified. [PAUL] I hope you're satisfied. [BARBARA] Will you shut up? (to Stevie) All right, Stevie, the charade's over. No more cat-and-mouse, no more pretenses. I'll make it real simple for you. The concert goes on as planned tonight. You and Michael sing. You smile. You make him think this conversation never took place. If you succeed, you two can walk out of here afterwards. If you don't, if you try to warn him, there will be a man with a gun in the crowd. One false move and you're both dead. FADE OUT END OF ACT THREE ACT FOUR FADE IN EXT./INT. UNIVERSAL AMPHITHEATER - NIGHT - STOCK Crowds of young people stream in. INT. AREA BEHIND AMPHITHEATER - NIGHT Lots of activity, crews working on last minute checks, big amplifiers being moved, etc. Ivory moves through. His attention is diverted by: ANOTHER ANGLE The Trans Am pulls in and parks. ANGLE IN K.I.T.T. Michael pauses before climbing out. [K.I.T.T.] Michael? [MICHAEL] Yeah, Kitt. [K.I.T.T.] Is something wrong? [MICHAEL] I don't know, pal. When I talked to Stevie, she sounded...strange. [K.I.T.T.] Frightened? [MICHAEL] No, cheerful. Almost too cheerful. (then) Prob'ly my imagination. Keep your eyes open. The scanner flashes. Michael climbs out, crosses toward the backstage entrance. As he does, he passes: OMITTED ROSCOE moving through the lot, heading for the front entrance to the Amphitheater. He's gone through some changes: his hair's shorter (or combed), his clothes are more conven- tional. Generally, he looks more subdued. He's carrying his ghetto blaster, though. The tune, however, is playing Vivaldi ("Four Seasons"). As he passes the Trans Am, K.I.T.T.'s scanner flashes, he interrupts the music and we hear K.I.T.T.'s voice through the speakers: [K.I.T.T.] Nice music isn't it? [ROSCOE] Yeah...I guess. (beat) I think I'm going through with- drawals though.... [K.I.T.T.] It's all for the best, believe me. Roscoe nods, obviously not totally sold on the idea. K.I.T.T. brings the music back up and Roscoe continues on. INT. AMPHITHEATER BACKSTAGE AREA - NIGHT Members of the band, friends and roadies drift in and out. We hear rock music O.S., cheers from the large crowd. Pan to Michael entering. The roadie, Jimmy, pauses in passing. [MICHAEL] Jimmy -- where's Stevie? [JIMMY] I don't know, she was here with Paul a minute ago -- Hey, did you hear about the big screen they're using tonight? [MICHAEL] Big screen? [JIMMY] Barbara's got it all set up -- They're gonna project the show on a big screen behind us during the show. You're gonna be twelve feet tall, man. Gigantic.... He hustles off, pleased. Michael frowns, thinking, then hurries back outside. ANGLE IN DIFFERENT BACKSTAGE AREA Perhaps a dressing room. Stevie sits, dressed, ready to go on. She looks pale, tense. Barbara sits across from her. The door opens and Paul sticks his head in. [PAUL] Five minutes. Barbara nods. [BARBARA] She'll give the performance of her life. ANGLE IN K.I.T.T. Michael punches buttons, preparing K.I.T.T., talking with Devon on the monitor at the same time. [DEVON] I don't like it, Michael. They suspect you're onto them. They're breaking their usual pattern --- [MICHAEL] Devon, this is our chance. Broken pattern or not, we may not get another one. You handle the D.E.A., Kitt'll handle the code and I'll handle Paul and Barbara. (to K.I.T.T.) All set? [K.I.T.T.] I'm prepared for everything except another onslaught of rock-n-roll. [MICHAEL] (grins; to Devon) He's all set. Jimmy comes running out in b.g. [JIMMY] (calls) Michael, we're on! [MICHAEL] (to Devon) Gotta go. He punches Devon off, climbs out. INT. AMPHITHEATER - NIGHT - VARIOUS SHOTS - STOCK Over: [PA VOICE] And now a warm Southern California welcome for...Class Action! The crowd applauds, whistles. ANGLE BACKSTAGE NEAR WINGS Michael arrives, looking for Stevie. She appears, beautiful, moving toward him, ethereal. We see Paul and Barbara behind her, watching. [MICHAEL] You look fabulous.... They smile and kiss lightly. On stage, the band is striking the first notes of the first song. Michael looks at her more closely. [MICHAEL] You okay? [STEVIE] I'm fine. (listens off) I think that's our cue. MOVING SHOT as they walk toward the big stage. Michael is struck by an overwhelming feeling. [MICHAEL] (sotto voce) What's wrong? [STEVIE] Nothing. They're about to go on stage. Michael makes a decision, grabs her arm. [MICHAEL] Stevie, talk to me! She reacts, pulls away from him, terrified, glancing back in the direction of Paul and Barbara. [STEVIE] Michael, please! We're on. [MICHAEL] (sotto voce) They know, don't they? Did they threaten you? [STEVIE] (sotto voce) There's a man with a gun in the audience. ANGLE ON STAGE It's dark...The last chords of the introduction finish and the lights come on, revealing the band in place. Cheers and applause over as: OMITTED ANOTHER ANGLE Stevie appears, moving to the music, Michael coming in behind her. The timing is perfect. The crowd goes wild. They begin their duet from opposite sides of the stage, singing to one another, moving to the music, slowly coming closer and closer. INTERCUT - CROWD - STOCK They're hooked, captured. Some people stand and sway to the beat, hands outstretched above them. ANGLE ON STAGE Instead of meeting centerstage Michael and Stevie move past each other, as if flirting and teasing, an ageless male/female ritual. Stevie glances back at him with a toss of her head and Michael begins to move toward her, pursue her. The crowd roars its approval. ANGLE ON SCREEN BEHIND THEM The video is projected behind them, move for move, on the huge screen. ANGLE IN K.I.T.T. The performance continues on the monitor, the video behind it. It suddenly freezes, then slowly reverses. Then stops. We see, isolated, a binary code. CUT TO INT. DEVON'S OFFICE - NIGHT - CLOSE ON COMPUTER A transmission signal flashes. WIDER ANGLE Devon and April react. April moves to the computer as Devon reaches for his phone. [APRIL] It's Kitt. [DEVON] (into phone) Yes, get Charles Elliott, Drug Enforcement Administration. Ring his private line, he's expecting me. INSERT - COMPUTER The binary code transforms into a list of numbers and letters similar to the previous one. [DEVON'S VOICE] Hello, Charles. Devon Miles. We're on --- CUT TO INT. AMPHITHEATER - NIGHT - STOCK The closing notes of the song come over and the audience rises to its feet. ANGLE ON GUNMAN off to one side, half hidden. He pulls a long-barrelled pistol from his jacket. ANGLE ON STAGE Michael and Stevie are into the last verse of the song. Michael waits for the right moment, turns, speaks into the comlink. [MICHAEL] (comlink) Kitt, there's a sniper in the crowd. ANGLE IN K.I.T.T. [MICHAEL'S VOICE] I need a blackout when the song ends. K.I.T.T.'s systems activate. Microwave jammer pulsates. Offstage, the song is concluding. ANGLE ON GENERATOR Sparks begin to fly. Smoke appears. ANGLE ON STAGE As they finish the final verse the auditorium suddenly goes black. People scream. ANGLE ON GUNMAN Ready to fire he pauses, frustrated, unable to see. ANGLE ON STAGE Michael finds Stevie, grabs her hand. [MICHAEL] C'mon, quick! The comlink buzzes. [MICHAEL] (comlink) Yeah, Kitt! [K.I.T.T.'S VOICE] Paul and Barbara are leaving. [MICHAEL] (comlink) Don't let 'em get away. ANGLE BEHIND AMPHITHEATER Paul and Barbara climb into their car. ANGLE ON K.I.T.T. His systems come alive. The gear shift shifts, the acceler- ator is depressed. ANGLE NEAR EXIT As Paul heads for the exit, K.I.T.T. suddenly appears, stops, blocking his path. Paul leans on the horn but K.I.T.T. doesn't move. [PAUL] (yells) Hey -- outta the way! K.I.T.T. doesn't move. Furious, Paul jumps out of his car and crosses to K.I.T.T. [PAUL] I don't know who you think you are but --- He breaks off, staring inside: there's no one behind the wheel. [BARBARA] Do something! Hit him! [PAUL] (stunned) There's nobody there! K.I.T.T.'s scanner flashes. [K.I.T.T.] I resent that. Paul stares in disbelief, turns and runs for his car. ANOTHER ANGLE Out of the darkness we see motion. It slams into Paul, knocking him against his car. It's Michael. DIFFERENT ANGLES Paul swings, hits Michael, kicking him back. He tries to climb into his car before Michael recovers but he doesn't make it; Michael grabs him from behind, spins him around and catches him with one good punch. Barbara screams. Paul slumps to the ground. ANGLE ON PASSENGER DOOR It pops open and Barbara comes out running, the floppy disc used to transmit the binary code in her hand. Michael catches her, wrests it from her grip. [BARBARA] (furious) What do you think you're doing! Give that back, it's mine! [MICHAEL] Got that, Kitt? K.I.T.T.'s scanner flashes. In b.g. we see Stevie appear, coming out. She stops, watching. [K.I.T.T.] Affirmative, Michael. [MICHAEL] (to Barbara) A good lawyer could've argued insuf- ficient proof of possession. Thanks for the statement. Barbara grabs for the gun in her purse but Michael disarms her. [MICHAEL] Don't tempt me. [K.I.T.T.] Michael! There's a man with a gun! ANGLE ON REAR OF AMPHITHEATER The man seen earlier suddenly appears, the long-barrelled gun in his hand. Intent on Michael, he doesn't notice Stevie. She grabs a length of two by four and clobbers him. The man, only slightly stunned, turns on Stevie. Michael reacts, races to help. Suddenly, out of the shadows Ivory appears and with one meaty fist knocks out the gunman. He and Michael exchange their first smile. [MICHAEL] It's nice having you around. Thanks.... Michael extends his hand. Ivory nods silently, takes Michael's hand in a bone-crunching shake. Off Michael's reaction: DISSOLVE TO INT./EXT. AMPHITHEATER - NIGHT - STOCK It's dark and late, deserted. [STEVIE'S VOICE] Michael, this is crazy.... ANGLE ON STAGE He leads her out by the hand. The seats that stretch out in front of them are empty. [MICHAEL] There are a thousand songs that make me think of you. But since I couldn't pick a thousand songs, I had to pick one worth a thousand. ANGLE IN K.I.T.T. He knows his cue. He activates Microwave Jammer and Tape. INSERTS - DIFFERENT SHOTS Amplifiers come to life, sound systems are switched on. ANGLE ON STAGE From the huge speakers surrounding the stage the instrumental track of "Let It Be Me" fills the empty Amphitheater. Stevie reacts, incredulous. Michael begins the vocal. DIFFERENT ANGLES He sings to her across the empty stage. She begins to dance as before, slowly, magically, at one moment a young girl, the next a woman. When his vocal ends, hers begins, and she sings to him, her voice more beautiful than he's ever heard it before. LONG SHOT Across row after row of empty chairs they sing their love song to one another. FADE OUT END OF ACT FOUR TAG FADE IN EXT. STEVIE'S APARTMENT - DAY The band's bus is parked in front. Pan to the apartment as the members of the band exit, one after another, each loaded down with something of Stevie's -- clothes, suitcases, a framed print or two, a potted plant, etc. They carry the stuff to the bus, load it in. ANOTHER ANGLE Michael pulls up in K.I.T.T., parks, crosses toward her apartment. She appears, coming down. They smile, pause, not sure how to handle it. [MICHAEL] Hi. [STEVIE] Hi. [MICHAEL] (gestures re moving) You don't let the grass grow. [STEVIE] (shrugs) We'll be on the road for three months ...it just didn't make sense to keep it. [MICHAEL] Need a hand? [STEVIE] A hug. Michael smiles, moves to her. She drops whatever she's carrying and they embrace. [STEVIE] It seems like we're always saying good-bye. [MICHAEL] I haven't. Not this time. This time you're saying good-bye. [STEVIE] (beat) One of us has to. [MICHAEL] Why? [STEVIE] Michael, you know why. My life may have changed, but yours hasn't. [MICHAEL] I could leave the Foundation.... [STEVIE] That's too high a price to pay. At least right now. (beat) Maybe someday it won't be. [MICHAEL] We'll be together again. [STEVIE] I know. She kisses him, tears in her eyes. [STEVIE] See you in the supermarket. She turns, grabs her stuff and hurries toward the waiting bus. ANGLE ON MICHAEL He watches her leave, turns, slowly crosses back toward K.I.T.T. The sound of the bus pulling away, and he can't help himself. He looks. HIS POINT OF VIEW - STEVIE Her face appears in the rear window. She waves, trying to cover her tears with a smile. ANGLE ON MICHAEL He waves back. FREEZE FRAME AND FADE OUT THE END

{"show": "Knight Rider", "season": "s02", "episode": "e20", "title": "Let It Be Me"}

knightriderarchives

ACT ONE FADE IN EXT. EXCAVATION SITE - NIGHT Dark. Quiet. At first we see nothing but blackness, but gradually we begin to make out the shape of something hunched like a giant beetle in the dirt. Suddenly, the sound of footsteps crunching through the dirt is heard, and we see: TWO MEN hurrying toward the beetle. A click of a flashlight and a beam of light cuts through the night, illuminating our beetle: a big D8 tractor. In a second, the man without the flashlight -- Sam -- is on the tractor. He snaps cable grips on the battery terminal, takes out a screwdriver and leans into the engine. A spark flashes and the D8 fires to life. He tosses the cables to the second man, Junior, and jumps into the driver's seat. ANGLE - WIDER as Sam backs the tractor up, heads it toward a waiting truck. A third man (whose face we don't see) joins them, helps guide the tractor into the bed of the truck where they secure it with heavy chains. They move silently, quickly. It's clear they've done this before. Suddenly, light sweeps across the construction site. The three men turn to see twin beams of: HEADLIGHTS OF ANOTHER CAR heading toward them. BACK TO SCENE as Sam and Junior jump into the cab of the truck, start it. The third jumps into a waiting Bronco. With a grinding of gears, the big rig rumbles forward, its lights off. The Bronco heads in an opposite direction, disappearing into the night. ON THE RIG as it heads directly toward the oncoming car. The big rig is riding squarely in the middle of the narrow, dusty road. ON THE CAR A small compact, dwarfed by the truck speeding toward it. Inside, we see Joe Glover, the night guard assigned to the construction site. He leans on his horn and is answered by the thundering roar of the truck's air horn. ANGLE - WIDER as the truck bears down on Glover, without a possibility of stopping. Another blast from the truck's horn and then suddenly the road is bright as day as Sam switches on the truck's high beams. ON JOE blinded by the light of the truck as it looms over the tiny compact. At the last moment, he swerves sharply to the right, off the road and into the ditch that parallels it. The big rig rumbles by, shaking the ground and leaving a choking trail of dust in its wake. ANOTHER ANGLE as the rig heads down the road. Slowly, Joe struggles out of the battered car. He reaches for a pill box around his neck, takes a small pill out and quickly swallows it. As he slides to the ground we: CUT TO EXT. SEMI - DAY - STOCK As the Trans Am pulls up to the semi and starts up the ramp, we hear: MICHAEL (V.O.) I can't believe it. All I wanted was one measly jelly doughnut, and you act like it was a capital offense. As the Trans Am disappears inside: CUT TO INT. SEMI - DAY as Michael parks. He gets out and we hear: [K.I.T.T.] As far as your body is concerned, it would have been. (beat) I analyzed its composition...bleached flour, refined sugar, preservatives, artificial color and flavoring...in other words, poison. As they talk, April crosses to them. [APRIL] How'd the ultraphonic chemical analyzer test out? Michael and K.I.T.T. respond, simultaneously: [MICHAEL K.I.T.T.] It's a pain in the neck. Extremely well. [MICHAEL] He's like a kid with a chemistry set. Everything's molecules and atoms...he doesn't know when to stop. April smiles at Michael, turns to K.I.T.T. [APRIL] We'll run it for a month to get the bugs out.... [MICHAEL] A month? I'm gonna starve to death. [DEVON (V.O.)] Then before I leave for Montreal, I'd best give you something to take your mind off your stomach.... ANOTHER ANGLE - TO FEATURE DEVON as he crosses to the Trans Am, speaks to Michael. [DEVON] I trust you've reviewed the computer file on Mr. Sanderson? Michael turns to Devon. [MICHAEL] Yeah. I never realized there was such a market for stolen construc- tion equipment. Devon smiles at Michael, moves to a computer terminal, punches in as he talks: [DEVON] See for yourself. ANGLE TO INCLUDE COMPUTER SCREEN as a brightly colored bar graph appears, delineating frequency and cost of theft on a yearly, or monthly, basis. Michael whistles. [DEVON] Millions of dollars worth of equipment is stolen and then illegally resold each year. [MICHAEL] The old five-finger discount. [DEVON] It's epidemic. And the authorities have neither the time nor the manpower to help people like Frank Sanderson. That's why he contacted us...he's desperate. (checking watch) Well, I've got a jet to catch. Good luck, Michael.... ANGLE - WIDER as Devon heads for the exit and Michael for the Trans Am. [MICHAEL] April, can't we do without the chemical analyzer? I've done my research and I should be able to tell the difference between a tractor and a taco. [K.I.T.T.] Quite frankly, Michael, you might be better off ingesting the tractor. [APRIL] You may find that sooner or later, it'll come in handy. She crosses to the Trans Am, opens the door, sits in the front seat of the Trans Am and punches a couple of buttons. The vidscreen lights up. INT. TRANS AM TO INCLUDE THE VIDSCREEN where we see a graphic representation of a ninety degree protractor, with the Trans Am at the base. Michael leans in, looks over April's shoulder at the screen. [APRIL] I've also adapted a trajectory guide to Kitt's turbo boost system. April punches buttons which adjust the angle of the Trans Am on the graph. [APRIL] By adjusting the angle here you should be able to launch him at any angle within a ninety degree arc. [MICHAEL] In case we have to leap tall buildings in a single bound, huh? April climbs out of the car. [APRIL] If that suits your purposes. If you want to make me happy, just find some semi-reasonable way to test it. Michael gets into the car, smiles back at April. [MICHAEL] I'm hoping I won't have to. CUT TO EXT. SEMI - DAY - STOCK as the Trans Am backs out of the semi, pulls away. CUT TO EXT. MOTEL - TUCSON - DAY A simple, sunlit family stopover. Michael comes out of the office, jumps in the car, and slowly pulls forward to a parking space in front of a room. Michael grabs a bag from the backseat. Before he gets out of the car: [K.I.T.T.] Michael, you're not planning to eat in the motel diner, are you? [MICHAEL] Hadn't thought about it. Why? [K.I.T.T.] Because its kitchen contains more bacteria than a petri dish. Michael smiles and climbs out of the car. Next to his room is a soft drink machine and an ice machine. As Michael fiddles with his key, the door next to his opens and we hear the delightful giggle of: A BEAUTIFUL WOMAN who we'll later know as Lucy Sanderson. Right now, though, she's just one great-looking dame. She whispers to a man in the room (we don't see his face), closes the door and turns to nearly bump into Michael. Another delightful laugh for Michael's benefit, then she's gone. ON MICHAEL As he turns to go into his room, he spots the soft drink machine, hesitates a beat, then opens his door and goes inside. A second later, Michael emerges, heads for the soft drink machine like a kid raiding the cookie jar. In a second, he's got a can of something. Glancing guiltily over his shoulder at K.I.T.T., he disappears back into his room. CUT TO EXT. EXCAVATION SITE - DAY The same site that opened the show. During the day we see it's the site of a subdivision that's just getting started. The drone of one backhoe (or comparable construction equip- ment) is heard. At the end of the dusty road off the highway is a faded white trailer, with "Sanderson Construction" written across the side. The Trans Am pulls up and parks. ANGLE ON MICHAEL as he climbs out and walks toward the trailer. The door is closed, so he knocks. No answer. Another knock, but still no answer. Finally, he tries the knob. Just as it turns, we hear a click behind Michael and then: [VOICE] Freeze. Michael turns very quickly to see: FRANK SANDERSON on the other end of a very lethal-looking shotgun. Fiftyish, muscular, brown. A day's growth of beard covers a leathered face. [FRANK] You'd better have a real good story. Michael steps back, his hands in the air. [MICHAEL] I'm looking for Frank Sanderson. [FRANK] You found him. What do you want? [MICHAEL] My name's Michael Knight. Devon Miles, from the Foundation sent me.... A beat as Frank evaluates this, decides it must be true, then Frank lowers his shotgun, sets it by the front door. [FRANK] Sorry. Not exactly hospitable, I guess. (angrily) But, I don't know who to trust anymore. They hit me again two nights ago... nearly killed my guard, and drove off with a brand new D8. The cops have been out, but they've only got one guy for the whole county.... Before Michael can respond, a telephone rings inside the trailer. Sanderson answers it, leaving the door open as he talks. [FRANK] Hello...hello, John. I know. Listen, I can't finish the job without equip- ment, but I can't pay you back without the job...look, I'm coming over to talk ...now...fifteen minutes, that's all I want.... Frank slams down the phone, stands in the doorway of the trailer. Finally, slowly, he takes a battered hat and walks down the stairs. Michael's moved away from the trailer, but he's overheard everything. Frank knows it. ON FRANK as he crosses to Michael. He suddenly looks ten years older. He shakes his head. [FRANK] Worked thirty years. About all I've got left is memories... (beat) They get you between a rock and a hard place, and there's no place to move.... Frank's voice fades away. He stands, surveying his building site, then turns to Michael. [FRANK] Look, I don't mean to sound ungrate- ful, but at this point nothing less than a miracle's gonna help me. [MICHAEL] I'm not strong on miracles, but you mentioned a guard. I'd like to talk to him. (beat) It's a start.... Frank looks at Michael, long and hard, then smiles. Sticks out his hand. [FRANK] His name's Joe Glover. He's worked for me for twenty years. He's a good man. Anything you need to know, he'll tell you. You can usually find him down at Tulley's about now. Frank turns to head for his pickup, turns back to Michael. [FRANK] I'd be pleased to have you to dinner tonight. Like you to meet my wife, Lucy. (smiling) Best cook in the whole state. With that, Frank turns and climbs into his pickup truck, fires it up and drives off. Hold on Michael watching him go, then: CUT TO EXT. TULLEY'S BAR - DAY An ND neighborhood bar. A couple of dusty trucks are parked outside. We see the Trans Am parked in the street in front of a meter reading "Violation." A meter maid pulls up in her wagon, stops, gets out and prepares to write a ticket. We hear: [K.I.T.T.'S VOICE] Please don't do that...I'm allergic to tickets. The meter maid looks up, startled, sees no one, and goes back to writing her ticket. ANGLE ON K.I.T.T. as the Trans Am silently creeps forward into the next spot directly in front of him where the meter shows fifteen minutes left. ON THE METER MAID finishing with her ticket, looking up and finding the Trans Am parked in the other spot. She stares at the Trans Am, checks the meter, looks around trying to figure out what's going on. Finally, she tears the ticket she's written in half, stuffs it in her pocket. As she does, we hear: [K.I.T.T.'S VOICE] There...don't you feel better? I certainly do. By this time, the poor meter maid's convinced she's been in the sun too long. She quickly climbs into her cart and hurries down the street. As she does: CUT TO INT. TULLEY'S BAR - DAY A funky bar, with pool table, pinball and neon bear signs. A handful of customers are visible, drinking beer, watching the tube. At a table near the bar, a raucous domino game is being played by two men we recognize as Junior and Sam. Behind the bar, a pretty young woman in her twenties, Mary Beth, washes glasses. Michael's sitting at the bar. ANGLE ON THE BAR as a good-looking smooth-talker, Vance Burke, moves in beside Michael. [BURKE] Howdy. Saw you sittin' all alone. Name's Vance Burke. He shakes Michael's hand, gives him a business card. INSERT - THE CARD reading: VANCE BURKE, EQUIPMENT SALES BACK TO SHOT [MICHAEL] Michael Knight. Just passing through. [BURKE] When I see a new face in town, I just like to let 'em know I'm here in case they need any big iron. [MICHAEL] Sorry. I'm not in the market. [BURKE] Keep the card anyway. You never know. He slaps Michael on the back and exits the bar. Mary Beth crosses to Michael. [MARY BETH] Get you anything else? Behind them, the domino game rages, with raucous laughter, shouting. Mary Beth grimaces, shakes her head. Michael smiles sympathetically. [MICHAEL] Maybe you could help me. I'm looking for Joe Glover, thought he'd be here. [MARY BETH] He was, but he's gone home. Feeling pretty rotten. [MICHAEL] Yeah, I heard about the accident. [MARY BETH] Some accident. He was run off the road, nearly killed... (suspiciously) You from that insurance company? [MICHAEL] No way. Just a friend of a friend... Frank Sanderson. Behind Michael, Sam and Junior exchange a glance. Mary Beth wipes the bar with a vengeance. [MARY BETH] I've got nothing against Frank, but I told Joe to quit that job months ago...when all the trouble started. But, you think he'd listen? To me or anyone else? No way. He's been out there every night, in the cold...with his bad heart and arthritis. Like a sitting duck. [MICHAEL] Sitting duck? [MARY BETH] Sure. Joe said it himself...whoever's stealing from Sanderson knows where he's working, the rigs he's running, the guard schedule...everything. [MICHAEL] I'd like to talk to Joe. Mary Beth's suddenly a little distant, standoffish. She doesn't respond. [MICHAEL] Look, if I can help Frank, it's going to make Joe's job a lot safer, right? (beat) Mary Beth nods. [MICHAEL] But, you don't trust me, right? Never seen me before, don't know exactly what I'm up to, don't particularly care for my after- shave.... Mary Beth blushes, smiles in spite of herself. [MARY BETH] I didn't even notice it. [MICHAEL] Good, 'cuz I don't wear any. Just testing you. Mary Beth laughs, grabs a pencil, writes down an address on the back of a napkin. [MARY BETH] You can always catch him home after eight. That's the easy part.... [MICHAEL] What's the hard part? [MARY BETH] Getting him to talk. I'd bring a little hair of the dog if I were you.... [MICHAEL] Got it. And thanks.... With that, Michael pays for the beer, gets up and leaves. As he passes the table where Sam and Junior are playing dominoes, both of the men turn to stare after him. Hold on them and then: CUT TO EXT. STREET - DAY As the Trans Am drives by, we hear: [MICHAEL] Kitt, give me what you've got on Frank Sanderson's company history. INT. TRANS AM - DAY - ON MICHAEL [K.I.T.T.] Right away, Michael. (beat) It's rather brief, actually. In 1956, he went into partnership with a Lloyd Newald. Three years ago they dissolved their partnership, and Sanderson's been working by himself ever since. [MICHAEL] A silver anniversary and then they split up. What's Newald up to these days? [K.I.T.T.] Working independently also. Very successfully, I might add. (beat) I'm not sure whether it's relevant but the volume of legal documents accompanying the end of the partner- ship indicates a rather acrimonious separation. [MICHAEL] (nodding) Sounds like a lot of divorces. (beat) Wonder if they argued over community property. CUT TO EXT. FRANK'S HOUSE - NIGHT - TO ESTABLISH We see the Trans Am parked outside. Over this, we hear: [FRANK'S VOICE] Of course we argued. Like cats and dogs.... CUT TO INT. FRANK'S HOUSE - NIGHT A comfortable, nicely furnished Western house. Michael and Frank are in the living room. Frank comes into the room with chips, dip and cheese on a tray. [FRANK] We couldn't agree on anything. But, after twenty-five years, that's normal ...isn't it? Frank looks at Michael, half-expecting an answer. Finally, he pops open a beer, hands it to Michael. [FRANK] Afraid this is gonna be it for dinner...I didn't think to phone Lucy, and she'd made plans. You know how women are today. [MICHAEL] (grabbing a chip) No problem. (beat) Why did you and Newald finally split up? [FRANK] Simple. Newald got this crazy bug to start speculating in real estate. I wouldn't go along. [MICHAEL] Any money problems because of the split? [FRANK] Big ones. I'd put more money into the company when we started, but we'd never thought about writing anything down. [MICHAEL] And twenty-five years later it's real hard to remember.... [FRANK] Remembering was easy. Problem was, I remembered one figure, Newald remembered another. It got real sticky... (frowning) Newald even started talking about how I'd cheated him. That's died down now, but Newald's like an old pit bull. Once he gets his teeth into something, he just can't let go... (shaking his head) We haven't said two words to each other since we split up.... We hear the sound of footsteps from the hall and Lucy's voice: [LUCY (O.S.)] Frank, I'm leaving. Frank and Michael stand as Lucy steps into the living room. ANGLE ON THE DOORWAY framing Lucy, the same beautiful woman we saw outside of Michael's motel room. Michael and Lucy recognize each other at the same moment. A spark of recognition that Frank misses completely. He's looking at Lucy with the proprietary pride a man might have for a fine bird dog. [FRANK] Michael, my wife Lucy. Lucy, Michael Knight. He's out here on business.... Michael and Lucy exchange ad-libbed hellos. Lucy avoids Michael's eyes, turns quickly to Frank and gives him a cursory peck. [LUCY] Don't wait up, hon.... [FRANK] Are you kidding? I'll be sawing logs by ten. [LUCY] (a beat) I know. Nice to meet you, Mr. Knight. Hope you can take a rain check on dinner. [MICHAEL] Be glad to. Thanks.... Very proper, very cool. Lucy exits. Frank watches her go, a smile playing across his face. [FRANK] She's a beauty, isn't she? Michael nods, but doesn't respond. Off his troubled look: CUT TO OMITTED EXT. STREET - NIGHT as the Trans Am pulls up in front of an ND little cottage. Obviously not the high-rent part of town. Michael gets out, walks to the front door. ANGLE ON THE FRONT DOOR He knocks. There's no answer in the house, though a light is burning. He knocks again. Still no answer. Michael tries the knob -- the door opens a crack. [MICHAEL] Joe? Joe Glover? No answer. Michael pushes the door open, enters the cottage. INT. COTTAGE - NIGHT where we see Joe Glover sprawled on the living room floor, obviously quite dead. ANGLE ON MICHAEL as he rushes to the body, leans over, searches for a pulse, doesn't find one. [MICHAEL] Oh, no.... Something O.S. catches Michael's eye. He crosses to a couch not far from the body, kneels and retrieves some- thing from beneath it. He holds the thing up and we recognize the small pillbox that hung around Joe's neck. The chain's broken but the pills are intact. Michael encloses the pillbox in his fist, turns back to Joe, and we hold on Michael staring at the lifeless body as we: FADE OUT END OF ACT ONE ACT TWO FADE IN OMITTED EXT. ROAD - DAY - ON THE TRANS AM - STOCK as the Trans Am moves slowly toward the outskirts of the city. [MICHAEL'S VOICE] I don't know, buddy. Something just doesn't wash. INT. TRANS AM - DAY Michael's lost in thought, fingering Joe Glover's pillbox on its broken chain. [K.I.T.T.] The medical examiner's report states the cause of Joe Glover's death as cardiac arrest. [MICHAEL] I know, no sign of a struggle, nothing out of the ordinary. Very convenient. What about the pills? Scientific figures and data flash through the chemical analyzer, appearing on K.I.T.T.'s screens. [K.I.T.T.] Glyceryle trinitrate, or a form of nitroglycerine, commonly used as a vasodilator. [MICHAEL] The kind of thing you'd keep real close if you had a heart condition ...maybe even wear around your neck in case of an attack, right? [K.I.T.T.] Most certainly. [MICHAEL] But the chain that held them was broken and somehow Joe's pills ended up all the way across the room when he was having an attack. Sounds like somebody could've kept Joe from getting to them, doesn't it? [K.I.T.T.] That doesn't necessarily follow, Michael. [MICHAEL] Maybe, but something in my bones tells me I'm right. More visuals flash on K.I.T.T.'s screens -- anatomy diagrams of human bone structures. [K.I.T.T.] The ultraphonic analyzer indicates there's absolutely nothing unusual about your bones. [MICHAEL] I'm talking about a feeling, Kitt. A gut reaction. More visuals, this time of internal organs, intestinal systems. [K.I.T.T.] And I'm showing no unusual activity in your gastro-intestinal system. [MICHAEL] Okay, okay, let's drop it. We'll just follow the only lead we've got -- to Lloyd Newald's. As Michael steps up the speed, we: CUT TO EXT. NEWALD CONSTRUCTION - DAY Compared to Frank's lone trailer, this is the big leagues. An attractive building, a yard with impressive equipment. We see the Trans Am parked out front. ANGLE ON MICHAEL moving through the machines, casually inspecting them. He stops near a D8 (same kind of machine we saw stolen in the opening sequence), shiny with a new coat of paint. Michael runs his finger over it. The paint's wet. Behind him, we hear: [SAM'S VOICE] You looking for something, mister? Michael turns to see Sam and Junior glaring at him. He smiles, wipes the paint off his finger. [MICHAEL] Lloyd Newald. [JUNIOR] This ain't Mr. Newald's office...and you're trespassing. Just then, Lloyd Newald arrives. Like Frank, he's in his fifties, tanned, muscular. He nods at Sam and Junior. [NEWALD] I'll take care of this, boys. Sam and Junior reluctantly back off, but don't leave. Newald turns to Michael. [NEWALD] What can I do for you Knight? (off Michael's look) Word gets around pretty quick. Michael glances over at Sam and Junior. They glare right back. He turns back to Newald. [MICHAEL] Then I'll get right to the point... I'm trying to find out what's been happening to Frank Sanderson's equipment. [NEWALD] So you've come to talk to me. (with an edge) I don't like the implication. [MICHAEL] None intended. I'm just trying to get some information.... [NEWALD] I'll give you some: Sanderson's not the only guy around here losing equipment -- lots of guys are. Practically everybody gets hit once in a while. I lost two pieces in the last six months, and I've got the police reports to prove it. [MICHAEL] Frank's lost over twice that many. And whoever's hitting him knows his operation inside and out. Newald stares hard at Michael. He's getting pissed. [NEWALD] Meaning me, right? Is that what Sanderson said? Because if he did, he's a liar! I'm making enough running my business...I don't have to steal from his. Michael shows Newald the paint on his fingers. [MICHAEL] Sanderson lost a D8 last week...a lot like the one you just painted. [NEWALD] (flaring) That's his problem not mine. I'd suggest you and Sanderson get that straight. Real soon... (beat) ...or you're both gonna have some real trouble on your hands. With that, Newald wheels and stomps away, gesturing to Sam and Junior: [NEWALD] I want him out of this yard...now! Michael turns to see Sam and Junior approaching him. They don't look happy. Michael stops, smiles. [MICHAEL] No problem, guys...I can find my own way.... Sam and Junior stare hard at Michael as he walks past them to the Trans Am. Hold on them, and then: CUT TO EXT. FRANK'S BACKYARD - LATE AFTERNOON A beautiful garden, with flowers, plants, shrubs. In the midst of this, we see Lucy Sanderson, in an attractive bathing suit, sitting by the pool. She's talking into a cordless telephone. Her tone is playful, almost seductive. [LUCY] Would you stop it... (giggles) I can't...you know that.... At this point, Lucy glances over to see Michael standing uncomfortably in the b.g. She blanches. [LUCY] Look, someone's just come in. I'll have to phone back. Bye.... Lucy sets down the cordless phone, stands to face Michael. [MICHAEL] Sorry...I thought Frank would be home by now. I saw your note on the door... so I came around.... [LUCY] I was expecting the caterer for the party, not... (regaining her composure) Frank's still at the site....he's always at a site somewhere... Fourteen hours a day, six days a week, fifty two weeks a year. That's Frank's life. That's all he ever talks about. (a little bitter) We took a vacation about three years ago...went to Vegas for a weekend. There just happened to be an equipment show going on.... [MICHAEL] Look, Mrs. Sanderson.... [LUCY] Frank's idea of a night on the town is chicken fried steak at the truck stop cafe, a beer at Tulley's, and the late movies on TV. Lucy looks around at the lush backyard. [LUCY] This yard's my little oasis...it keeps the dust and the dirt and the desert out...there. (fiercely) I'm not going to dry up and wither away. I love Frank. He's my husband. But... (beat) A thirsty person's got to have water. That's basic. [MICHAEL] (beat) Mrs. Sanderson, what you do with your life is your business, not mine. But, I'd be real careful about drawing your water from someone else's well. Lucy doesn't like the accuracy of Michael's implication, changes the subject. [LUCY] What'd you want to talk to Frank about, anyway? [MICHAEL] Bad news, I'm afraid. (beat) Joe Glover died last night. I think he was murdered. The news stuns Lucy, shakes her up. Off her reaction, we: CUT TO INT. FRANK'S HOUSE - NIGHT Frank and Michael are in the living room. Michael paces the floor. Frank is clearly disturbed. [FRANK] Kill Joe...I just can't believe it. [MICHAEL] Someone must've been afraid Joe recognized him the night your place was hit...someone Joe could identify. [FRANK] I know what you're thinking. Newald. (beat) There's a part of me just can't believe he could be involved... (beat) And there's a part of me knows he could. It's that damn pride of his.... [MICHAEL] Joe worked for you and Newald nearly twenty years. Developed loyalties... to both of you. [FRANK] You think he was protecting Newald? [MICHAEL] Maybe.... Frank thinks for a moment, then shakes his head. [FRANK] I don't know, Michael...I really don't. [MICHAEL] Frank, Newald's nursing a big grudge. Against you. And he happens to spread so thin he's about to rip. [FRANK] What? [MICHAEL] I did some digging. He's lost his shirt in real estate, and he's in big trouble.... In the hallway, the phone's been ringing. Frank answers it and we hear one end of a muffled conversation. A beat, then Frank returns. He's totally shaken. [FRANK] He just got another one. The most expensive grader I own. Frank sinks onto the sofa, a beaten man. [MICHAEL] You're not finished yet, Frank. CUT TO EXT. EXCAVATION SITE - DAY The Trans Am pulls slowly down a dirt road somewhere near the excavation site that opened the show. Michael pulls to a stop. INT. TRANS AM - DAY as Michael surveys the surrounding countryside. [MICHAEL] The guard Frank hired to replace Joe was checking out another site...didn't see a thing. [K.I.T.T.] It doesn't appear there's much to see.... [MICHAEL] Hold on.... EXT. TRANS AM - DAY Michael jumps out of the car, walks down the road, K.I.T.T. following behind him like a loyal puppy, Michael carefully examining the road. He stops over a deeply embedded tire track. He turns to K.I.T.T., whose surveillance lights are flashing. [MICHAEL] Kitt, check out these tire tracks ...they're fresh. Michael walks back to the Trans Am, opens the door, and sits down. ANGLE ON MICHAEL waiting for K.I.T.T.'s response. In a second, it comes: [K.I.T.T.] Michael, I've found something rather interesting.... [MICHAEL] What is it? [K.I.T.T.] Silicon dioxide in the tracks.... [MICHAEL] Silicon dioxide. You mean sand? (impatiently) In case you haven't noticed, buddy, we're in the middle of a desert. [K.I.T.T.] If you'd let me continue...I've also detected a miniscule amount of horiz- onthal onium...better known as echino cactus...which only grows in one small section of the state: The Silverbell Mountains a few miles west of our present location. Michael slams the door shut, fires up the Trans Am. [MICHAEL] And if that's where the truck came from, that's probably where it went.... [K.I.T.T.] A logical conclusion...so much nicer than one of your gastro-intestinal responses.... [MICHAEL] Yeah, but not nearly as much fun. As the Trans Am spins in the dust and takes off, we: CUT TO EXT. DESERT - DAY A stretch of open desert, near a range of foothills. The Trans Am races across the desert floor, kicking up a plume of dust behind it. INT. TRANS AM - DAY as Michael steers down the narrow, dusty road. [MICHAEL] You sure you know where we're going? [K.I.T.T.] Of course. The flora and fauna of an area can be read like a road map. [MICHAEL] Then keep reading, pal, 'cuz I'm lost. [K.I.T.T.] Michael, my ultraphonic analyzer is detecting an extraordinary amount of iron, with smaller amounts of carbon, manganese, coal.... [MICHAEL] Speak English.... [K.I.T.T.] Steel. At approximately forty- seven degrees north by northwest. [MICHAEL] Well, let's check it out. Michael takes a sharp right turn up an even smaller road, leading into the hills. As he does: CUT TO EXT. QUARRY - DAY An abandoned quarry pit, with a large warehouse-type building which stands on the edge of the pit. At the front of the building, we should see a pair of sliding double doors. The Trans Am roars down the road and parks in front of the warehouse. ON MICHAEL as he gets out of the Trans Am and moves to the double doors. They're locked, so Michael moves to one of the windows further down the wall, and peers inside. He lets out a long, low whistle, as he sees: INT. WAREHOUSE - DAY A nice collection (as much as our money can buy) of heavy equipment. BACK TO MICHAEL as we hear K.I.T.T.: [K.I.T.T.] My sensors indicate a vehicle approaching...approximately a quarter of a mile away. Michael backs away from the warehouse, toward the car. EXT. RED AND WHITE PICKUP TRUCK - DAY moving toward the warehouse. INT. RED AND WHITE PICKUP TRUCK Sam's at the wheel. Junior's gaze is on the warehouse. [JUNIOR] Looks like we got company. EXT. TRANS AM as Michael fires it up, quickly drives to the rear of the warehouse. INT. TRANS AM [K.I.T.T.] Michael, it would be wiser to use this time to effect a strategic departure. [MICHAEL] Sit tight, Kitt. I want to see who's behind this operation. [K.I.T.T.] We could always observe from a distance. (beat) Too late...the vehicle is directly in front of the warehouse. CUT TO EXT. WAREHOUSE - DAY as Sam and Junior jump out of a red and white pickup truck with Newald's name on the side. They both disappear inside the warehouse. As they do: CUT TO EXT. REAR OF WAREHOUSE - DAY as Michael starts to get out of the Trans Am. [MICHAEL] I'm going to have a look around front. Just then, we hear the pulsing growl of diesel engines firing up. Michael stops, listens. [MICHAEL] What's that? [K.I.T.T.] I believe it's two D8 tractors... and they're coming this way. [MICHAEL] This way? There's no door back here.... [K.I.T.T.] I don't think that matters...Michael, get in here...quickly! The sound of the tractors grows louder. Michael leaps for K.I.T.T., just as the two tractors come barreling through the rear wall of the warehouse. INT. TRANS AM - ON MICHAEL as the big tractors loom over him, their blades smashing into K.I.T.T. and pushing the Trans Am toward the edge of the quarry. [MICHAEL] Come on, Kitt...let's go! [K.I.T.T.] I'm afraid that's out of the question, Michael. EXT. TRANS AM - DAY as the tractors push it over the edge and into the quarry pit, skidding backwards down the walls of the pit to the bottom. ANGLE - CLOSE ON THE TRANS AM Michael, knocked dizzy by the fall, struggles to gain consciousness. As he lifts his head and looks through the windshield, he sees: MICHAEL'S POINT OF VIEW - THE TRACTORS pushing an avalanche of dirt into the quarry. In an instant, the Trans Am is buried under tons of dirt. As the screen goes black, we: FADE OUT END OF ACT TWO ACT THREE FADE IN EXT. QUARRY - DAY K.I.T.T. is nowhere to be seen, buried under a tremendous mound of earth. Sam and Junior gaze down from the edge of the pit, then get into their pickup and leave. INT. K.I.T.T. - DAY But it looks like night, pitch-dark night. Michael is lit only by the faint glow of K.I.T.T.'s dash. [MICHAEL] Give me a systems check, Kitt. Is everything functioning? [K.I.T.T.] It's hard to tell, Michael. My systems have never gone underground before. [MICHAEL] Neither have mine, and I don't like it. What's our depth? On K.I.T.T.'s monitor screens, sonar waves start to measure the quarry's depth. Then they begin to bounce back and forth, running into each other, a jumbled mess. [K.I.T.T.] It's impossible to tell. The granite composition of the soil around us has rendered my sonar useless. [MICHAEL] How much air have we got in here, Kitt? [K.I.T.T.] Twenty minutes, with a half-hour reserve. [MICHAEL] Then we've only got one chance -- April's new gadget. [K.I.T.T.] I don't believe the trajectory guide was designed with excavation in mind. [MICHAEL] And I wasn't designed with being buried alive in mind, pal. ANGLE TO INCLUDE THE DASH as Michael presses another button and the trajectory guide appears on the screens. It's a ninety degree protractor with K.I.T.T. at its vertex. Michael maneuvers the button until it reads "60 degrees." [MICHAEL] Keep your microchips crossed. He pauses, then he hits turbo boost. K.I.T.T. begins to shake -- the lights on the dash flicker -- but nothing happens. K.I.T.T. goes nowhere. [K.I.T.T.] There does not appear to be enough oxygen to achieve combustion for turbo boost. [MICHAEL] What if we tap into the reserve supply? [K.I.T.T.] I can't do that, Michael. In the event the trajectory guide should fail, you would not have enough oxygen left to survive. [MICHAEL] I'm not going to survive sitting here waiting for a miracle...let's go for it. [K.I.T.T.] I cannot willingly endanger human life, Michael. You know that. [MICHAEL] Yeah...well, if anyone asks, you can blame it on me. Michael hits the turbo boost. The car shakes violently -- the lights on the panel flicker. Nothing is happening. ANGLE ON MICHAEL holding his breath, tense, the shaking continues. ANOTHER ANGLE TO INCLUDE THE DASH as Michael punches up an oxygen reading. The supply is depleting rapidly. CLOSE ON MICHAEL beginning to strain for breath, sweat pouring down his face, the darkness beginning to close in. Suddenly.... EXT. QUARRY PIT - DAY The mound of earth explodes and K.I.T.T. flies up. The car barely clears the sheer granite wall and comes to a stop by the bulldozers. INT. K.I.T.T. - DAY As the car, covered with dirt, settles, and K.I.T.T. springs open the doors. Michael stumbles out. [K.I.T.T.] Michael, are you all right? [MICHAEL] Yeah...good job, Kitt. [K.I.T.T.] As a machine, I believe I'm quite fortunate not to have your human dependency upon oxygen for survival. [MICHAEL] As a human, I'm pretty lucky to have a machine like you for a friend. This seems to take K.I.T.T. aback. It takes a beat for him to respond. [K.I.T.T.] Thank you, Michael. [MICHAEL] That pickup truck...any idea where it is? [K.I.T.T.] My sensors indicate it's still on a road east of us, moving away at a rapid rate. [MICHAEL] Yeah? Well, let's head 'em off at the pass. Michael shuts the door, starts K.I.T.T. up, hits the "Pursuit Mode" button on the dash. K.I.T.T. lurches and almost stalls out. [MICHAEL] What's wrong? [K.I.T.T.] I'm not certain. Then K.I.T.T.'s engines begin to purr normally. K.I.T.T. reaches Pursuit Mode speed. [K.I.T.T.] Apparently a temporary dysfunction. VARIOUS ANGLES - THE CHASE K.I.T.T. picks up amazing speed -- quickly closing the gap over the desert roads. On a rise we see the pickup truck. INT. TRUCK - ON SAM AND JUNIOR too engrossed in making tracks to notice the Trans Am behind them. INT. K.I.T.T. - DAY The speedometer reads "125...130...135..."; then, oddly, it begins to read "135...130...125...." [MICHAEL] We're losing them! [K.I.T.T.] My diagnostic scanner indicates a plethora of mechanical malfunctions. To put it in your terms, Michael, I'm trashed. Michael watches, frustrated, as the pickup truck heads down the road. [MICHAEL] Can you catch the license plate? [K.I.T.T.] Q17425. [MICHAEL] Run a DMV check. A beat, then: [K.I.T.T.] According to the information in the Arizona Motor Vehicles Division, that truck is registered to Lloyd Newald. On Michael's reaction, we: CUT TO EXT. FOUNDATION SEMI ON THE MOVE - DAY K.I.T.T. goes up and into the semi. INT. SEMI - DAY As Michael climbs out of the car, April hurries up, staring at K.I.T.T. He's dirty, dusty -- a wreck. So, for that matter, is Michael. April only has eyes for K.I.T.T. [APRIL] What in the world.... [MICHAEL] April! April spins angrily to face Michael. [APRIL] I don't want excuses, stories or explanations.... Michael grabs April and gives her a big hug. She backs away, flustered and embarrassed. [APRIL] Michael, what...why...I mean.... [MICHAEL] I just wanted to thank you for saving our skins. You and your trajectory guide.... [K.I.T.T.] Don't forget the ultraphonic chemical analyzer. April eyes Michael unsurely, trying to determine whether or not there's a punchline coming. [APRIL] He'll never thank me for that. [MICHAEL] Oh, you're wrong. We couldn't have found the stolen D8s without the chemical analyzer. You'll never hear me say another bad word about it. [APRIL] I'll believe it when I see it. [MICHAEL] I mean it...I love that thing. (pats K.I.T.T.'s hood) And you're the greatest. (smiles) So, if you could get Kitt ready to roll as soon as possible. We've got our first lead. [APRIL] As soon as possible? Look at Kitt. How can you expect me.... [MICHAEL] Like I said...you're the greatest. I'm going to grab a shower. Fifteen minutes? Another smile and he heads toward the semi's inner quarters. We hold on April's glare, as we: CUT TO EXT. TULLEY'S BAR - DAY Michael parks the newly cleaned Trans Am and heads inside. INT. TULLEY'S BAR - DAY Michael enters, and spots Newald, sitting at a table across the room. Enroute to Newald, he passes Sam and Junior, who are kibitzing with Mary Beth at the bar. They're shocked, dismayed. ANGLE ON SAM AND JUNIOR Intercut as they warily watch the discussion between Michael and Newald. ANGLE ON NEWALD'S TABLE as Michael crosses to the table, stands over Newald. The older man glares up at Michael, nods curtly. Michael stares back at him, barely controlling his anger. [MICHAEL] We've got a lot to talk about, Newald. Newell looks up at him, annoyed. [NEWALD] I seriously doubt that. [MICHAEL] I think you'd better listen. Real carefully...I just found a whole collection of stolen equipment out in the Silverbell Mountains. Newald straightens up. [NEWALD] That a fact? I'll bet some of it's mine.... [MICHAEL] I seriously doubt that. (beat) Someone driving one of your trucks tried to kill me out there. [NEWALD] One of my trucks? That's impossible! [MICHAEL] I've got the license plate and a MVD identification. [NEWALD] Then it was stolen. It had to be. [MICHAEL] That's what Frank would say. He thinks you're an honest man. Me...I'm not so sure. This enrages Newald and he jumps to his feet, collaring Michael. He spits out his words in a soft, menacing voice that only Michael can hear. [NEWALD] You ain't lived long enough to sit there an judge me, kid. We may not see eye to eye, but I'd stop breathin' before I'd steal a penny from Frank Sanderson...before I'd lend a hand in taking away everything he's worked for in his life. (beat) If he's nothing else, he's a man...and something plenty rare in this world. Newald releases Michael, sits down. Michael stands, staring at him, and knowing beyond a shadow of a doubt he's telling the truth. ON SAM AND JUNIOR not liking the turn the conversation between Newald and Michael has taken. [SAM] They're talking too much. Let's get that guy out of here. Sam and Junior move quickly across the floor. WIDER ANGLE as the two men approach Michael from behind. Neither Newald or Michael see them coming. [SAM] C'mon, fella, we don't want any trouble. [NEWALD] Let him go, Sam. [MICHAEL] Hold on, boys, I'm not finished talking.... They're not listening. A scuffle develops as they pull Michael across the room. Michael breaks free, swings on Sam, decks him, then finds himself facing Junior who's holding a chair. A second later, Sam picks himself up and joins Junior. ANOTHER ANGLE as Frank enters the bar, sees the two-on-one in progress and hurries to Michael's aid. Across the room, Newald sees Frank joining the crowd and heads for him. VARIOUS ANGLES ON THE FIGHT Michael takes on Sam and Junior and, with a minimum of punches, neatly dispatches them. As he fights Frank and Newald are circling each other like two old grizzlies. Neither's throwing a punch, but they look like they're ready to. Suddenly, Frank lunges for Newald, misses him. Newald throws a blow that whistles past Frank's ear. They grab each other and stagger around the floor, knocking over tables and chairs, but never really hurting each other. Before they're able to do that, Michael's across the floor, prying them apart. ON MICHAEL standing between the huffing, wheezing middle-aged men. [MICHAEL] All right...knock it off. Frank and Newald stare warily at each other. [NEWALD] Look at you -- wheezing and puffing like an old goat. [FRANK] Look who's talking. You're lucky the kid broke us up. [MICHAEL] I broke it up because I want you guys talking. Not fighting. (beat) Whether you know it or not, I think you guys are up the same creek. Frank and Newald stare each other. They don't buy this for a moment. Michael stands between them like a referee. [MICHAEL] Let's find a quiet place and try and figure out how we can get you down. Off Frank and Newald's distrustful looks: CUT TO EXT. FRANK'S HOUSE - DAY The Trans Am's parked among several cars in front of Frank's house. Michael and Newald wait as Frank starts to unlock the front door, finds it open. INT. FRANK'S HOUSE - LIVING ROOM - DAY As Michael, Frank and Newald step into the living room, we hear the sound of music coming from the backyard, and we see a number of people, in bathing suits and summer clothes, dancing and talking on the back lawn. As they stare, sur- prised, we see: VANCE BURKE the guy Michael met in the bar. He comes in from the back- yard, crosses toward the kitchen. He sees Frank, smiles. Frank scowls. [FRANK] Burke...what're you doing here? [BURKE] Same thing as everyone else, Frank ...enjoying the party. Come on out.... Burke passes Frank, nods to Newald and Michael, disappears into the kitchen. Michael and Newald exchange an uneasy look. [NEWALD] Look, maybe we should've gone to my place. [FRANK] My place is just fine. (suddenly yelling) Lucy! ANOTHER ANGLE TO INCLUDE LUCY as she steps inside, hears Frank's voice and looks up, obviously startled to see him. [LUCY] What are you doing home so early? [FRANK] This is my house. What are you doing? [LUCY] I'm having a party. This is my house, too. Frank stares past Lucy at the party. Back to her: [FRANK] Without telling me? [LUCY] I mentioned it...lots of times. You weren't interested. In the party, or my friends.... [FRANK] Friends? I've never seen any of them. [LUCY] Of course not, Frank. You never wanted to meet any of them. Ever. I got tired of waiting. Lucy turns and runs outside, slamming the door behind her. Frank glares after her, then ashamedly over at Michael and Newald. Newald comes to the rescue. [NEWALD] You got a beer in this dump? Frank glances back at the party, then nods and moves toward the kitchen as we: INT. KITCHEN - DAY Frank, Newald and Michael are standing in the kitchen. Newald and Frank are still uneasy in each other's presence, staying to opposite sides of the room. [NEWALD] I said this to the kid, and I'll say it to you, Frank...I don't like being accused of stealing. Especially behind my back.... [FRANK] Funny thing. I never like being accused of cheating...behind my back. The two men glare at each other, each remembering past hurts, past injustices. Newald finally turns to Michael. [NEWALD] You said you wanted to talk. About what? [MICHAEL] Getting the rest of the equipment... and the guys who stole it. (beat) I'm going to need you guys...working together. [NEWALD] Look, I'm not particularly interested in helping him. [FRANK] And I don't need the help. [NEWALD] You give me half an hour with my crew and I'll find out who's been using my truck. Guaranteed. [FRANK] Stop puffin', Newald. It's not that easy. Newald starts to retort, but Michael's faster. [MICHAEL] There's more to this operation than the guys that're doing the leg work. We need whoever's pulling the strings. [FRANK] You got a plan? Michael nods. [MICHAEL] Somebody was sitting on that ware- house, figuring it was money in the bank. Now, we've taken away his goods. He's going to be real anxious to get his hands on some new merchandise, soon. (beat) If we dangle some bait in front of his nose, chances are he'll go for it. [NEWALD] What kind of bait you got in mind? [MICHAEL] A buyer, with a wad of money he's willing to spend, and a piece of equip- ment he wants real bad. Frank and Newald look at each other, back to Michael. [FRANK] The equipment's no problem. Where're we going to find a buyer? Off Michael's knowing smile: CUT TO EXT. AUCTION YARD - DAY - CLOSE ON DEVON A weekend auction for construction equipment being held in a field that, surprisingly, looks somewhat like our excava- tion site. Devon moves past the equipment, consulting an auction book. He shakes his head. ANOTHER ANGLE - WIDER as we pull back to reveal the auction site. A dozen pros- pective buyers, wearing everything from cowboy hats to suits, check out the equipment. Devon looks very demure and very wealthy by comparison. In the b.g., eyes locked on Devon, are Sam and Junior. ANGLE FOLLOWING DEVON as he moves to another piece of equipment. He studies his booklet again, jots down some notes. As he does, we hear: [SAM'S VOICE] That's a mighty nice piece of equipment. Devon turns to Sam, nods. [DEVON] Yes. And the opening bid is mighty inflated. [SAM] They get big money at these auctions. [DEVON] Not from me, I'm afraid. Which is a disappointment, because I am in the market for a decent skip grader. He starts to move away as Sam and Junior exchange a look, then Sam moves in close to Devon. [SAM] That's tough to find. Course, if you got the right contacts, you can get the right piece...at the right price. [DEVON] Unfortunately, I'm from out of town. And I don't have time to shop around.... [SAM] (beat) Look, maybe I could help you out.... As Devon and Sam talk, we go to: EXT. TRANS AM - DAY parked on a hill overlooking the auction site, invisible from below. INT. TRANS AM - DAY as Michael watches Devon via the vidscreen. [K.I.T.T.] Michael, I hope you don't mind me pointing this out, but Devon's res- piration rate and heartbeat are increasing, as is the secretion of water through his pores... (beat) He appears to be lying. [MICHAEL] He's acting, pal. Sweaty palms and butterflies are occupational hazards. [K.I.T.T.] I've scanned the area, and there don't appear to be any type of lepidoptera for miles. I'm afraid I don't under- stand what they have to do with acting.... Michael glances at the dash, grits his teeth a little. [MICHAEL] (slightly exasperated) Look, Kitt.... [K.I.T.T.] Oh, my...you're getting angry. I never should have opened my voice module about any of this. [MICHAEL] (too loudly) Look, I'm not... (catching himself) ...mad. This just isn't the time or the place.... Michael suddenly leans over the vidscreen. ON THE SCREEN As the conversation between Devon, Sam and Junior finishes, and the two men walk off. Devon takes out a handkerchief, wipes his brow. In the b.g., we see Sam cross to a pay phone, begin to dial a number. ANGLE ON MICHAEL noticing the signal, and the call being placed. [MICHAEL] We got a nibble, pal. There's a call going out. Trace it, Kitt. ANGLE ON THE VIDSCREEN as K.I.T.T. zooms in on the phone. We hear a series of beeps, and a blur of digital numbers begin flashing on the screen, finally falling into place like cherries on a slot machine. [K.I.T.T.] Elementary. Though there is no number listed, the address for this number is.... CUT TO OMITTED EXT. RESIDENTIAL STREET - DAY - CLOSE ON AN ADDRESS reading: 2031 Casa Buena. Just as we see it, we hear: [K.I.T.T.'S VOICE] 2031 Casa Buena. ANGLE ON THE TRANS AM cruising slowly past a condo with 2031 clearly visible on the front. INT. TRANS AM - DAY as Michael pulls over and parks across the street. [K.I.T.T.] Michael, I'm still not certain why we're here. What are you looking for? [MICHAEL] A connection, Kitt. The final piece in this puzzle. Just then: [K.I.T.T.] Then this should be of interest. The car heading this way...my monitors indicate it belongs to Frank Sanderson. [MICHAEL] (surprised) Frank? Michael watches as the car rounds the corner, pulls to a stop down the block from 2031. Out of the car steps Lucy. She hurries to 2031, rings the bell. When Vance Burke opens the door, they embrace. [MICHAEL] I think we've just discovered the connection, pal. We hold on his troubled reaction, as we: FREEZE FRAME AND FADE OUT END OF ACT THREE ACT FOUR FADE IN EXT. FRANK'S HOUSE - DAY The Trans Am is parked across the street. We hear: [LUCY'S VOICE] So this is how you really make your living, Mr. Knight...spying on people. CUT TO INT. FRANK'S HOUSE - LIVING ROOM - DAY - CLOSE ON LUCY standing in the living room. Livid. [LUCY] How much is Frank paying you? ANGLE - WIDER TO REVEAL MICHAEL standing in front of Lucy. [MICHAEL] Frank doesn't know anything about this. Lucy stares at Michael, surprised. [LUCY] Then what're you following me around for? You going to blackmail me? Michael sits beside Lucy, locks eyes with her. [MICHAEL] Your relationship with Burke wouldn't be any of my business if it wasn't for the fact that he's been stealing your husband's equipment. [LUCY] (incredulous) What are you...? [MICHAEL] What I want to know is how...and why...you're helping him. (beat) Do you really hate Frank that much? Lucy shakes her head, unable to clearly understand or believe what Michael's saying. She doesn't speak for a moment, then: [LUCY] Look, whatever's going on with Vance and me is my business. But, to think I'd steal from Frank...that's ridiculous. [MICHAEL] Is it? Vance Burke sells heavy equip- ment. He knows Frank, but not that well ...his operation depended on knowing everything he needed to know about your husband's business. Things only Frank...or you...would know. Lucy is listening intently to what Michael's saying. She's suddenly gone white. She shakes her head. Tears well up in her eyes. [LUCY] Why would I steal from Frank? He gave me all the money he made... (laughing bitterly) Which is funny, 'cause all I ever wanted was someone who loved me. (beat) Vance loves me. And I've never told him anything about Frank's business. He never asked. Michael watches her carefully, believes what she's saying. [MICHAEL] (gently) But, you two had to arrange time to be together...and that meant discussing Frank's schedule...where he was working, when.... Lucy shakes her head again, as though she can shut out Michael's voice and the implication of his words. [MICHAEL] He may have been using you, Lucy.... [LUCY] No! I told you...he loves me.... Michael hesitates, then rises, picks up a phone, hands it to Lucy. [MICHAEL] There's only one way for you to be sure. Call Burke, tell him Frank's going to be moving his skip loader tonight down 19 toward Nogales. Tell him you'll be free to see him. I'll be surprised if he can get away. Lucy hesitates before taking the phone, stares at Michael, a mixture of defiance and fear in her eyes. Then, she dials. As she does: CUT TO EXT. FRANK'S HOUSE - DAY as Frank parks his truck in the driveway. He notices the Trans Am parked across the street, heads into the house. INT. FRANK'S HOUSE - LIVING ROOM - DAY Lucy sits, still on the phone. [LUCY] No, I understand...it's okay. Tomorrow night, maybe...okay...bye. Lucy slowly hangs up the phone, avoiding Michael's look. There's a long beat, then the front door opens and slams. A second later, Frank enters the living room, heads directly for Michael. He barely notices Lucy. [FRANK] How'd we do? Any bites? [MICHAEL] A big one. I think we're all set for tonight. He glances at Lucy, who looks away. Frank ignores this ex- change, grins and slaps Michael on the back. [FRANK] (delighted) Well, this calls for a celebration. Lucy, how about getting us something...? Lucy looks at Frank for a long beat. [LUCY] Frank, we've got to talk. Right now.... [MICHAEL] I'm going to head down to Tulley's... Catch you later, Frank. Michael glances at Lucy, heads toward the front door. Frank finally catches on that something's amiss. [FRANK] What's going on? Lucy...? We move in close on them as we: CUT TO EXT. FRANK'S HOUSE - DAY as Michael walks out of the house, crosses to the Trans Am. Gets inside. INT. TRANS AM - DAY Michael just sits, staring at the house. [K.I.T.T.] Michael, at the risk of being too inquisitive.... [MICHAEL] What is it, Kitt? [K.I.T.T.] Well, now your palms are clammy, your heartbeat, blood pressure and respira- tion rate is up. Does this mean you're lying? Or acting? Or...I'm terribly confused. [MICHAEL] It's called anxiety, Kitt. I'm waiting for an explosion. [K.I.T.T.] But, there's no detonating device in the vicinity. [MICHAEL] Sure there is...a shaky marriage is about to blow...sky high. Through the windshield we see Frank come storming out of his house, stomp toward his truck. [MICHAEL] And we better try to stop it. Michael fires up the Trans Am. EXT. STREET - DAY As Frank's backing down his driveway, Michael roars up, blocking his path. Michael jumps out, crosses to Frank. [FRANK] Get out of the way. [MICHAEL] Maybe you'd better hear the whole story. [FRANK] I'm not in the mood. Now, move... before I knock you across the street. [MICHAEL] Go ahead, if it'll make you feel better. Frank stares at Michael for a beat, then nods his head, defeated. He slumps back against the truck and we: CUT TO EXT. TULLEY'S BAR - DAY The Trans Am parked in front of the bar, basically the same place we saw it parked before. Again, the meter shows "violation." And, again, the same meter maid comes walking down the sidewalk, checking meters. ANGLE ON THE METER MAID as she spots the Trans Am, stops in her tracks. Almost reluctantly, she checks the meter, sees the little red flag. She starts to take out her ticket book, hesitates, and instead, digs into her pocket and comes up with a quarter. Looking both right and left, she steps up to the meter, deposits the coin. ANGLE - WIDER Avoiding looking at K.I.T.T., our little meter maid turns and briskly walks down the street. Hold on her, and then: CUT TO INT. TULLEY'S BAR - DAY where we find Michael and Frank sitting at one of the tables. Michael's got a coke, Frank's nursing a cup of coffee. [FRANK] The funny thing is, it doesn't really hurt. It's just kind of numb. [MICHAEL] You're better off that way. It gives you a chance to think. [FRANK] About what? This is out of the blue. Everything's fine, then.... A beat as Michael thinks, then: [MICHAEL] Frank, what color does Lucy look pretty in? [FRANK] Huh? I don't know.... [MICHAEL] What's her favorite song? Her favorite perfume? Where's she like to go when you take her out to dinner? Frank stares at Michael like he's lost his mind. [FRANK] How should I know? What're you getting at? [MICHAEL] That maybe this didn't happen over- night for Lucy. That maybe she's been unhappy for a long time, and you just haven't noticed. Frank thinks for a moment, then shakes his head. [FRANK] She could've told me. We've been married ten years -- she's had plenty of time. (angrily) I never did anything to deserve this. [MICHAEL] Maybe that's the problem...maybe you didn't do enough. [FRANK] Didn't do enough? I worked my fingers to the bone making that business grow, building the house, putting in the pool...and this is what I get. (shaking his head) I was married before, when I was a kid, to a woman who ran off with a rancher rich enough to buy her every- thing she wanted. With Lucy, I've busted my back making sure she had everything, and it still wasn't enough. [MICHAEL] (gently) It wasn't enough of what she really wanted. (beat) You know you can't turn your back on a construction site, or the weeds'll grow in and take over. Same thing happens to a marriage.... Frank doesn't respond. He sips his beer thoughtfully. Michael watches him, waiting for a response but none comes. Finally, Michael checks his watch. [MICHAEL] It's about time to toss out our bait. [FRANK] I wouldn't miss this for anything. He polishes off his beer, as Michael heads for the door and hurries after him. He stops Michael at the door. [FRANK] You're okay, kid. He pats Michael's shoulder, Michael grins and they exit. EXT. EXCAVATION SITE - NIGHT as Frank drives a big piece of equipment up the ramp of a low bed truck. Michael and Newald quickly move to secure the machine with chains. Frank jumps down to help. [NEWALD] What makes you so sure Burke's gonna hit this particular run? [MICHAEL] I'm not that sure. Call it an educated guess. (smiling) Besides, I've got someone on the inside.... [FRANK] What's this help you won't tell us about? [MICHAEL] I'll explain everything if my plan works. (checking his watch) You guys ready? Frank and Newald nod. [MICHAEL] Okay. You go ahead, I'll follow in the car. Soon as we get some action, I'll be there. Frank makes a thumbs-up sign to Michael as he and Newald climb into the big truck. Michael hops in the Trans Am and the two vehicles start up and move into the night. EXT. HIGHWAY - DAWN as the lights from the low bed cut through early light of morning. We can't see the Trans Am. INT. TRANS AM - MORNING Michael's hunched over the wheel of the Trans Am. Next to him is a paper bag from which he removes a styrofoam cup of coffee. As he takes off the top: [K.I.T.T.] The substance you are about to consume contains enough benzosulfimide to remove the enamel from your teeth, Michael. Michael peers into the coffee, then lowers it in disgust. [MICHAEL] Kitt, I'd like to make a deal with you. [K.I.T.T.] If you wish to protest my use of the chemical analyzer, please remember your comments to April in the semi. [MICHAEL] I remember. And I want you to feel free to analyze tire tracks and cactus and even evaluate human emotions in terms of chemical imbalances -- but please leave the state of my stomach to me, okay? [K.I.T.T.] I'm merely trying to be helpful. [MICHAEL] I appreciate it, pal, but...don't. Michael raises the coffee to his lips and drinks. [K.I.T.T.] Michael.... [MICHAEL] I don't care if it's made of paint, I'm drinking it. [K.I.T.T.] My sensors are picking up two addi- tional vehicles coming onto the highway from a sideroad. [MICHAEL] Where? EXT. HIGHWAY - MORNING as two vehicles, a high-rise Bronco we saw at the original excavation site, and an ND pickup, race to overtake the truck. ANGLE ON THE TRUCK as the Bronco pulls directly in front of the truck, forcing it to slow down. Frank blasts his air horn, but the Bronco doesn't budge. Suddenly, the pickup pulls up alongside the truck. ON THE PICKUP Inside, Sam and Junior are wearing ski masks. Junior's riding shotgun and he leans out the window, a rifle in his hand. He fires a warning shot over the hood of the truck, waves the truck toward the side of the road. From his perspective, he can't see Newald riding next to Frank. IN THE TRUCK Frank begins downshifting and pulling toward a wide turn- about area off the road. EXT. TRANS AM racing toward the scene. K.I.T.T.'s scanner glowing red in the early morning light. EXT. TURNABOUT - DAY The Bronco is parked in front of the truck. Sam and Junior meet Frank as he opens the door and slowly climbs down. Junior cranes his neck, half-seeing Newald inside the truck. [JUNIOR] Hey, buddy, you get out of there, too. The other door opens and Newald climbs out, partially hidden by the door until he hits the ground. He steps around the front of the truck, and faces Sam and Junior. He glares at them. They exchange a startled look. [NEWALD] Well, Sam and Junior decided to go into business for themselves... (with an edge) That's gonna be the last dumb thing you boys do.... [SAM] Shut up.... Sam pulls off his mask and cocks his rifle, points it at Newald with shaking hands. Junior looks at him, scared. [JUNIOR] Wait a minute...you said no more killing. You said the old man was it.... [SAM] Yeah, well, now we've got two more witnesses we don't need.... As they talk, the door to the Bronco opens and Burke leans out. [BURKE] Let's go...move it! Suddenly, we hear a blast from K.I.T.T.'s horn, loud enough to split an eardrum. Sam and Junior turn to see: ANGLE ON THE TRANS AM bearing down on them at high speed as if out of nowhere. Michael hits the dirt, slams on the brakes, and slides toward the thoroughly frightened Sam and Junior who leap out of the way. ANGLE ON BURKE as he slams the door, fires up the Bronco and roars down the highway. ANOTHER ANGLE as Sam and Junior bolt, Newald and Frank are on them. Newald knocks the rifle out of Junior's hand, then tackles him when he tries to make a break for the desert. Frank's got Sam in a bear hug and he's squeezing the air out of him. In a second, the younger man's lying on the ground, gasping for breath. Michael jumps out of the car, and Frank yells to him. [FRANK] We've got this under control. Get Burke.... Which, by now, has headed down the long stretch of highway. Michael jumps into K.I.T.T. and goes after the Bronco. EXT. HIGHWAY - MORNING as the Trans Am roars after the Bronco, steadily, easily gaining on the truck. ANGLE ON THE BRONCO as Burke jockeys back and forth across the road, keeping Michael from pulling even with him. INT. TRANS AM as Michael rides the Bronco's tail. [MICHAEL] He's not being very cooperative. [K.I.T.T.] Understandable, but not practical. [MICHAEL] Yeah. Well, I hate to do it, but sometimes you've gotta go over people's heads to get something done.... Michael reaches for the dash, punches the turbo boost. EXT. HIGHWAY as the Trans Am lifts off the highway, sails over the top of the Bronco, lands in front of it. ON BURKE Gasping with surprise, he nearly loses the Bronco as it swerves wildly. INT. TRANS AM as Michael checks him out in the rearview mirror. [MICHAEL] Let's spread some oil on Mr. Burke's troubled waters, buddy. EXT. TRANS AM - CLOSE ON REAR FENDER as oil shoots out of a series of jets. ANGLE - WIDER The Bronco hits the oil slick and goes into a spin, doing a three sixty off into the flat desert land and coming to rest in a shallow ditch. ON MICHAEL as he jumps out of the Trans Am, hustles over to the Bronco just as Burke jumps out and tries to run for it. Michael tackles him, they roll in the dirt and, with two solid punches, Burke's under control. As Michael picks him up and props him against the Bronco, we: FADE OUT END OF ACT FOUR TAG FADE IN EXT. STREET - DAY as the Trans Am moves through traffic. Inside, we see Michael and Frank. INT. TRANS AM - DAY - MOVING Frank's doing most of the talking, a smile occasionally playing across his face. [FRANK] It was just like it was twenty years ago...almost. (smiling) Me and Lloyd, we could've taken on a bar full of truckers and come out on top. [MICHAEL] I can believe it. [FRANK] 'Course, we were younger then, but we made a helluva team. [MICHAEL] (beat) You probably still would. Michael and Frank exchange a glance. Just as they do, Michael pulls up in front of Frank's house. OMITTED EXT. FRANK'S HOUSE - DAY A taxi's parked in front of the house. INT. TRANS AM - DAY Frank states at the taxi. He doesn't make a move to get out. [FRANK] Maybe it's for the best. [MICHAEL] Whose best? [FRANK] Lucy's. Through the window, we see the taxi driver come out the front door with three big suitcases. Lucy, nicely dressed, follows him. She turns, glances back sadly at the house, then closes the door, heads for the taxi. [MICHAEL] Frank, you asked who helpedme... (beat) Lucy did. She phoned Burke, and helped set the whole thing up. (another beat) She could've told him what was happening, but she didn't. Question is...why? [FRANK] More questions, huh? [MICHAEL] Yeah...but I've got a hunch you already know the answer to this one. Frank looks at Michael, hesitates for a second, then extends his hand. [FRANK] You ever find a woman and need a nice house built, you call me. Michael shakes his hand, gives Frank the thumbs-up sign. Frank gets out of the car. EXT. FRANK'S HOUSE - DAY as Frank walks to the taxi, opens the passenger door. Taken completely by surprise, Lucy slowly gets out of the cab. INT. TRANS AM - DAY as we watch with Michael, through the windshield of the car. Though we can't hear the words, it's clear what's being said. Frank takes Lucy's hand, she shakes her head, tries to hide her sudden tears. Frank says something to her and she leans against him, burying her face against his chest. He wraps his arms around her and holds her. Michael smiles a big smile, starts the car. [K.I.T.T.] This is very intriguing.... [MICHAEL] What's that? [K.I.T.T.] I'm picking up a radical fluctuation in your friends' hormone levels very similar to that experienced when they were quite angry; and yet all indi- cations are that they have formed a reconciliation. [MICHAEL] I'm picking that up, too. As Michael starts down the street: [K.I.T.T.] If the chemical reactions to both happiness and anger are similar, how do you know which you are experiencing? I'm still quite confused. [MICHAEL] All it proves is that you can't analyze everything, pal...some things you've got to just feel. And we hold on Michael's smile, as we: FADE OUT THE END

{"show": "Knight Rider", "season": "s02", "episode": "e21", "title": "Big Iron"}

knightriderarchives

ACT ONE FADE IN EXT. PENITENTIARY - DAY - ESTABLISHING a large, fairly modern prison outside San Francisco. It's early morning. INT. ISOLATION WING - DAY - ON GUARD as he makes his rounds, moving from one cell to another and glancing inside. His name is Jim Carter. He's thirty-five, big, not overly bright, but not stupid either. Since this is the solitary confinement area, there aren't many prisoners here, and it's relatively quiet. CLOSER ANGLE as Carter stops at the last cell, looks through the bars: [CARTER] Still with us, huh Jackson. ANGLE TO INCLUDE C.J. JACKSON He's a big man in his early forties. Black, nice looking, but with a streak of cruelty and violence about him. [CARTER] What is it about solitary that keeps you comin' back for more? [JACKSON] Your face, Carter. I always liked horror movies. He hit a nerve. Carter tries to laugh it off, but instead slams the bars with his stick, looks at Jackson a dangerous beat, and then continues to his guard post. ANGLE ON GUARD POST as Carter opens the iron bar door with his keys and steps inside. INT. GUARD POST - DAY It's a good-sized room at the end of the corridor which controls the various cell and corridor doors via a modern electronic panel of switches and buttons. Carter is about to sit at his desk when his eyes fall on a new ghetto blaster resting on the workbench in front of the control panel. He picks it up, examines it, turns it on, selects a pop station, puts it back upright on the bench, and sits at his desk. He's about to start on his log when he picks up the phone instead and dials a number. After several rings: [CARTER] Hi, honey...No, nothing's wrong...as a matter of fact, guess what happened to me this morning. ANGLE TO INCLUDE TRANSISTOR RADIO directly behind him. It begins to transform itself into a robot. Slowly, step by step, the speakers unfolding into legs, etc. [CARTER] You know how I always stop off for coffee and doughnuts on the way in -- Well, I'm just gettin' back into my car when this woman walks over... (interrupted) Just some woman, I don't remember what she looked like. Anyway, she gives me this radio.... CLOSE ON RADIO It's beginning to look like a robot now. [CARTER (V.O.)] Yeah, just like that. Said it was a prize -- I'd just bought their one millionth doughnut! (beat) Chocolate glaze, my usual -- what difference does it make what kind of doughnut it was? FULLER ANGLE The radio continues transforming itself, still playing music. [CARTER] I wasn't flirting with her, I never saw her before! (fights to control temper) Let's talk about it when I get home tonight. CLOSER - RADIO It's a robot now and begins its robotic walk closer to the unsuspecting Carter. FULLER ANGLE [CARTER] No, I won't stop off for a beer. Yes, honey...love you, too. He hangs up, shakes his head, sorry he ever called in the first place, then becomes aware of something moving behind him. He turns. Reacts. The robot lifts one of its arms, aims, and a little puff of gas shoots from its finger. Carter stares in disbelief. Now he feels the first effects of the gas, struggles to his feet, trying to reach the alarm. He stumbles and falls, losing consciousness. CLOSER - ROBOT It turns its attention to the control panel, moves along the workbench, and pushes the button to: INT. ISOLATION WING - DAY - ON JACKSON'S CELL as the door buzzes and electronically unlocks. ANGLE ON JACKSON He can't believe his eyes. He cautiously moves to the door, opens it, steps out and looks: JACKSON'S POINT OF VIEW - CARTER lying on the floor, unconscious. BACK TO SCENE Jackson moves cautiously toward the guard post, wary. INT. GUARD POST - DAY - ON ROBOT It now presses the guard post door button, opening it. Now an even stranger thing happens: function completed, the robot begins to sizzle, slowly disintegrating. Within seconds it melts down to a plastic pancake. ANGLE ON JACKSON THROUGH BARS He reaches the guard post door, opens it and enters. He looks around, the taste of freedom burning in his eyes, and he quickly bolts to the control board. He pushes the buttons to open the door leading out of the room and the doors in the corridor leading away from the cell area. He then grabs Carter's weapon and keys and makes his dash for freedom. INT. CORRIDOR - DAY - ON JACKSON moving catlike down the corridor. Suddenly: ANOTHER ANGLE A guard appears from around the corner. He sees Jackson, grabs for his gun, but Jackson is too fast, slugs him with the hand clutching his gun, knocking him into the wall and unconscious. Jackson sprints around the corner. INT. PRISON ENTRANCE - DAY Jackson runs past clerks, trustees and prison personnel, startling them, crashing through like a fullback. EXT. STREET OUTSIDE PRISON - DAY - ON JACKSON The alarm sounds. Deafening. Jackson races out, desperate. ANOTHER ANGLE A car suddenly crashes through the perimeter gates, speeds toward him. It does a 180, screeches to a stop in front of him. [MAN'S VOICE] Get in! The door pops open, its interior otherwise shielded by one-way glass. [MAN'S VOICE] I said get in! He jumps in. ANGLE IN DRONE CAR Jackson is shocked to discover there is no one behind the wheel. No one anywhere in the car. [MAN'S VOICE] Sit back, relax...and leave the driving to us. The wheel turns away from the curb. The accelerator depresses hard. Jackson is speechless. WIDER ANGLE The drone peels an inch of rubber, rocketing toward the gate. Two gate guards fire rifles at the car, but it speeds past them, disappearing into the world outside. CUT TO EXT. MARINA AREA - DAY - ON K.I.T.T. The Trans Am moves along the yacht harbor at a leisurely pace. [MICHAEL'S VOICE] Just think of it, pal...an hour from now I'll be sailing under the Golden Gate Bridge. INT. K.I.T.T. - DAY Michael is dressed for sailing, jeans, deck shoes, perhaps a nylon jacket. [MICHAEL] Challenging the winds, riding the high seas. [K.I.T.T.] If memory serves me right, Captain Bligh, and I'm sure it does, the last time you went sailing your boat sprung a leak and the Coast Guard had to tow you in. In case you don't remember, Michael.... ANGLE TO INCLUDE MONITOR - BURN IN to see Michael dressed as he was on that disastrous day coming down the pier, presumably toward K.I.T.T., and soaking wet. [MICHAEL] (quickly, bit annoyed) I remember, Kitt, I remember. But it didn't 'spring a leak,' it started taking on water. And it wasn't my fault the bilge pump broke down. [K.I.T.T.] Blame whomever you like, Michael, but the fact remains you came back one hour later, soaking wet. [MICHAEL] (patience is being tried) I'm sure glad you weren't around when Columbus sailed for America. ANGLE ON MONITOR as Devon pops in from his office. He looks concerned, troubled. Intercut as needed: [K.I.T.T.'S VOICE] Devon's calling. [DEVON] Michael, according to your position, you're only about ten minutes from the Santa Clara Penitentiary. [MICHAEL] I'm only about two minutes from renting a sailboat. An adventure I've been looking forward to for about a month now. (beat) All right, what's up? [DEVON] This is top priority. A prisoner by the name of C.J. Jackson just escaped and I want you to aid the police in any way possible. [MICHAEL] From the look on your face I get the feeling this Jackson isn't just another escaped convict. [DEVON] Far from it, Michael. He touches the very heart and soul of the Foundation. [MICHAEL] Okay, we're on. You can fill me in later. Give me what you've got. EXT. MARINA AREA - DAY - ON K.I.T.T. as the sleek body of the Trans Am surges to life, shooting out of the Marina against the backdrop of the lazy sailboats. EXT. BOULEVARD - DAY - ON DRONE CAR traveling at a legal rate of speed, blending in with traffic. [MAN'S VOICE] Feeling better? ANGLE IN DRONE Jackson, shielded from the outside eyes by the one-way mirrored windows, looks a little more relaxed. Still he's wary, suspicious, keeps the pistol firmly in his hand, ready for anything. [JACKSON] I'll feel better when I'm safe...when I'm safe and when I know who you are and what you want. INT. HUNTER'S POINT ELECTRONICS BUILDING David Halston, thirty-five, good-looking with an easy charm and infectious, almost boyish grin. He sits at a control panel watching Jackson on a monitor and talking to him via a sophisticated communication setup. We see more red drone cars in the b.g. In back of him is Margo Sheridan, twenty-eight, stunning, bright, and even though she's mas- saging Halston's shoulders, we still get the feeling she's in total charge of the situation. Also there, and very visable in tank tops, are Turk and Clifton. [HALSTON] In due time, my friend. ANGLE IN DRONE CAR [JACKSON] I don't have friends. I do business. You want to do business with me, don't call me 'friend' or 'brother.' INT. HUNTER'S POINT ELECTRONICS BUILDING [HALSTON] As you wish, C.J. (looks to Margo) Looks like this one could be trouble. [MARGO] But that's part of the fun. She smiles at him. EXT. CITY STREET - DAY - ON K.I.T.T. rounding a corner close by. ANGLE IN K.I.T.T. Michael punches buttons: [MICHAEL] Kitt, see if we can pick 'em up on the infrared tracking scope. ANGLE TO INCLUDE MONITOR as a hologram of intersecting streets appears with one moving dot representing the drone car. [MICHAEL] Good work, Kitt. Let's head 'em off at the pass. [K.I.T.T.] Your Passive Laser Restraint System on, Michael? Michael takes a hard right. EXT. STREET - DAY - ON K.I.T.T. taking the corner on two wheels. [MICHAEL'S VOICE] Wouldn't drive without it, pal. CUT TO EXT. ALLEY - DAY - ON DRONE CAR as it turns into the alley and comes to a stop. [HALSTON'S VOICE] And now for phase two. Jackson leaps out, pistol in hand, ready to run for it. He pauses seeing: REVERSE ANGLE A classic white Rolls Royce Silver Phantom pulls to a stop. Its passenger door opens, revealing a stunning young black woman behind the wheel. Her name is Babette. [BABETTE] Hi, sugar. I think you're going my way. Police sirens grow closer. He climbs in and the Rolls purrs away, blending into traffic. The drone activates and drives out the opposite way. EXT. ANOTHER STREET - DAY as the drone car appears, the sun bouncing off its darkened windows. ANGLE TO INCLUDE K.I.T.T. [K.I.T.T.] Michael! [MICHAEL] Gotcha, pal. Michael pushes Pursuit Mode and the chase is on. VARIOUS ANGLES OF CHASE using the picturesque streets of San Francisco as in Bullitt. The drone car, with nothing to lose, cuts in front of other traffic, runs lights, goes on and off the sidewalk. VARIOUS ANGLES ON CAB as it heads in opposite direction to K.I.T.T. and the drone. INT. CAB An elderly couple sits in the back. Married fifty years, happy, she nonetheless is anxious as she looks out the window. [HENRIETTA] (to Cabbie) Young man, are you sure this is the way to Fisherman's Wharf? [ALFRED] Relax, Henrietta, I'm sure he's just taking a short cut. Sit back and enjoy the sights. CLOSER - COUPLE as they see what's up ahead, explode with anxiety, hug one another. WHAT THEY SEE - K.I.T.T. AND THE DRONE heading right for them, then splitting just in time. BACK TO SCENE The couple remains frozen in time and space. The cabby thinks nothing of it. EXT. STREET - DAY Michael, using all his skills and K.I.T.T.'s, manages to come up alongside and force the drone into a jolting stop. The driver's door pops open from impact. ANGLE ON K.I.T.T. Michael jumps out. [K.I.T.T.] Be careful, Michael -- he's armed and dangerous. [MICHAEL] I hear you. Michael approaches cautiously, then looks inside the open door. MICHAEL'S POINT OF VIEW - EMPTY INTERIOR BACK TO SCENE He takes it in, amazed. ANGLE TO INCLUDE HIDDEN CAMERA LENS settling on Michael. Move in on: LENS INT. HUNTER'S POINT ELECTRONICS BUILDING Halston and Margo observe Michael on the monitor as he looks over the car. Clifton and Turk nearby. [HALSTON] Any idea who he is? [MARGO] No such luck. Halston looks at her, not liking her thoughts. EXT. STREET - DAY - MICHAEL at the drone. [MICHAEL] Kitt...there's no one inside. [K.I.T.T.] Michael, that's impossible. A car just doesn't drive by itself. Michael looks at the Trans Am. [MICHAEL] Doesn't it? Tell me all about it, pal. On Michael's look: CUT TO EXT. PENITENTIARY - DAY - ESTABLISHING [DEVON'S VOICE] You say your radio turned into a... robot? INT. GUARD POST - DAY Michael and Devon are with a very uncomfortable Carter. [CARTER] I know it sounds crazy, but that's what happened. [MICHAEL] And then this 'robot' shot this little puff of smoke. You tried to reach the alarm but passed out. [CARTER] Dead to the world. Devon removes the plastic pancake from his briefcase. [DEVON] And when you came to, this is all that was left? Carter reacts to the sight of the pancake, steps back warily. [CARTER] Yeah...look, if you don't mind, I don't want that thing anywhere near me. [MICHAEL] Your description of the woman who gave it to you was pretty vague. [CARTER] Hey, what can I say? I was more interested in a free radio -- (then) Check with the doughnut shop, they've got to know her. Michael takes the pancake from Devon, looks it over. [MICHAEL] The police already have. [CARTER] What'd they say? [MICHAEL] They don't give prizes and they don't count doughnuts. [CARTER] (depressed) My wife's never gonna believe this. [MICHAEL] She'll have lots of company. Michael gives him a reassuring smile, but it doesn't help. As he and Devon leave: INT. CORRIDOR - DAY As they move away from the guard post: [DEVON] Michael, you really don't believe that nonsense about a robot, do you? [MICHAEL] After seeing the way that car handled by itself? Yeah, I'm afraid I do. He looks at the pancake again, feels its texture, thoughtful. [DEVON] Any ideas? [MICHAEL] Only one. (to Devon's look) Too bad Bonnie's not around. [DEVON] Didn't I tell you? [MICHAEL] What? [DEVON] She is. She's taking advanced studies at the university here. [MICHAEL] You're kidding! Have you talked to her? [DEVON] Yes, and if you're thinking I might have asked her to return to the Foundation, her answer was no. A very polite but firm 'no.' ANOTHER ANGLE as they turn the corner leading to the exit door. [MICHAEL] This C.J. Jackson -- who is he? What does he have to do with the 'heart and soul' of the Foundation? [DEVON] Before Wilton Knight recruited you, we had another man in your position. His name was Ken Franklyn. He fit all the qualifications -- all except one. He wasn't a police officer. (difficult) One night several years ago...I remem- ber it was raining, very unusual for the time of year...Franklyn had been tailing Jackson. He was convinced Jackson hadn't made him. He was wrong. [MICHAEL] Jackson killed him. [DEVON] One bullet did it...but Jackson shot him five more times. A guard unlocks the door and lets them out. EXT. STREET OUTSIDE PRISON - DAY Michael and Devon come out and move to Devon's limo. K.I.T.T. is parked nearby. [DEVON] We all took the tragic loss very hard...but Wilton Knight hardest of all. He closed the Foundation, put the entire F.L.A.G. Project on hold, and didn't reactivate it until we found you. (opens the back door of the limo) He belongs behind bars, Michael. Wilton Knight won't rest easily until he is. Nor will I. [MICHAEL] That makes three of us, Devon. My word on it. Devon nods. The limo pulls away. On Michael's look of determination: CUT TO EXT. ESTATE - DAY - ESTABLISHING The Roll Royce is parked in front of this magnificent house overlooking the bay. EXT. SWIMMING POOL AREA - DAY - ON MARGO looking toward the entrance from the house to the pool. She is dressed casually, and yet to kill. A slight seduc- tive smile, tilt of her champagne glass: [MARGO] Welcome, Mr. Jackson, I hope your trip here wasn't too uncomfortable. ANGLE TO INCLUDE JACKSON We hardly recognize him in his new and expensive clothing: tailored pants, silk shirt. Still, he's cautious; gives nothing, expects nothing. Babette has come from the house with him, looking fantastic in a slinky, shimmering outfit. [JACKSON] I've been on worse trips in my life. [MARGO] I'm sure you have. FULLER ANGLE TO INCLUDE HALSTON AND TWO GARGANTUAN YOUNG MEN who, if they were dogs would heel at Margo's command. Now they just observe her every move, looking upon Jackson as a natural enemy they would gladly tear to pieces. [MARGO] My name's Margo... (takes Halston's arm) This is David Halston, the genius who engineered your escape.... Jackson glances at the watchdogs. [MARGO] Those two over there are Clifton and Turk. But don't worry, I just let them into my house when it rains. Babette, why don't you get C.J. a glass of champagne. You do like champagne, don't you, C.J.? [JACKSON] I used to drink it all the time in my cell. Halston laughs, steps forward: [HALSTON] Those days are over, C.J. We've given you your freedom, and soon we're going to give you even more. [JACKSON] There is nothing more. [MARGO] Sure there is. Margo moves away from Halston, which he's not too happy about, and closer to Jackson. [MARGO] There's the money it takes for a man like you to stay free. C.J., we're going to guarantee your freedom by making you very rich. [JACKSON] And what do I have to do for it? [HALSTON] Do for it? [JACKSON] You heard me! I spent half my life behind bars, and if it's one thing I learned -- no one gives anything for nothing! Tense beat, broken by: [MARGO] You're right, C.J., I do want something from you...but I don't intend on telling you what it is until I'm ready. (smiles) Now you have two choices...you can leave and try making it on your own...or you can stay.... She places her hand on his chest, much to the dislike of Clifton and Turk. [MARGO] And definitely make it with us. C.J. doesn't answer, verbally. [MARGO] Good. Babette gives him a glass of champagne. Margo backs off. [MARGO] Now that that's taken care of... (lifts her glass, to C.J.) To the beginning of a...prosperous and beautiful relationship. Jackson hesitates, then they all drink...except for Clifton and Turk. INT. CHINESE HERB SHOP - DAY It's quiet, located off the boulevard. As camera pans to the proprietor, a wizened old man named Ho Chin, we see an assortment of "miraculous" herbs. The door chime rings. Ho Chin looks up. ANGLE TO INCLUDE THE TWINS They enter. Clifton pauses just inside the door, pretending interest in some ginseng root, etc. Turk crosses to Ho Chin. They wear turtlenecks and conservative pants. [TURK] Are you Ho Chin? [HO CHIN] Yes. How may I be of service? [TURK] I hear you've got maps...old maps of the tunnels your people dug under the city years ago. [HO CHIN] (brightens) Ah yes...are you from the University? Turk exchanges a grin with Clifton -- the thought that these two would be from the university! Then back to Ho Chin. [TURK] Yeah, associate professors. Think I could see 'em? Just for a minute? [HO CHIN] They are not for sale. They have been in my family for many, many years. [TURK] I just want to peruse 'em for a minute. Another grin at Clifton. Ho Chin debates it, finally turns and rummages in his cluttered old desk. [HO CHIN] They are priceless. [TURK] So I hear. He brings out a folder, carefully opens it. His smile fades when he sees the look on Turk's face. Turk grabs him and bodily lifts him from behind the desk. Holding him out front he proceeds to use his head as a weapon, bringing it down like a sledgehammer on Ho Chin's skull. (This should be covered for the possibility of a cutaway.) ANGLE ON CLIFTON He continues browsing, keeping an eye on the street outside. Over this we hear Ho Chin grunt in pain...then silence. Now Turk comes to the front of the shop. The folder in his hand. [TURK] Let's go. Clifton picks up a big ginseng root and begins gnawing it as they leave. Camera pans back to Ho Chin, crumpled on the floor, dead. FADE OUT END OF ACT ONE ACT TWO FADE IN EXT. GOLDEN GATE BRIDGE - DAY sweeping vista of the bay and the city as K.I.T.T. passes over the bridge, music over. [K.I.T.T.'S VOICE] Michael, where are we going? [MICHAEL'S VOICE] To see an old friend. [K.I.T.T.'S VOICE] I thought this case was top priority. [MICHAEL'S VOICE] It is. I'm hoping the old friend can help. CUT TO EXT. CHINATOWN - DAY Several shots to establish the atmosphere, the color, the unexpected contrast between traditional Chinese culture and Americana 1984. EXT. CHINA TRADER RESTAURANT - DAY A hot spot wedged in between a Chinese laundry and a fast-food takeout. INT. CHINA TRADER KITCHEN - DAY A beehive of activity. The assistant chef, Peter Wong, is preparing a spicy entree while listening to a championship fight on a portable radio on the shelf above the counter. The radio looks strangely familiar. A hip young Chinese- American, Peter moves with the flow of the fight, feigning, wincing at the blows. Across the kitchen are two huge bodyguards with shaved heads, the Karate Twins. They devour Chinese dumplings by the handful. [OWNER'S VOICE] Where's the Peking duck?! WIDER ANGLE The owner, Fong, charges in, a big man with a short temper. [PETER] Say what? [FONG] The Peking duck, you idiot! [PETER] Oh, that duck. Coming right up. He crosses over to the ovens, Fong on his heels. ANGLE ON RADIO Its speakers begin to separate, turning into legs. [FONG'S VOICE] I thought you said you were a chef! ANGLE AT OVENS as Peter pulls out the duck. [PETER] I am a chef, a great chef. I'm a little rusty, that's all. [FONG] All you do is bet sports and gamble. [PETER] I'm a great chef who bets sports and gambles. Look out. This is hot. ANGLE ON RADIO It is now a robot. In one deft move it tips a bowl of fiery red peppers into a large bowl of chicken, vegetables and fried rice. ANGLE ON PETER AND FONG Peter puts the Peking duck on a plate. [FONG] If you lied to me I'll break every bone in your skinny little body. Where's the Fong Delight? [PETER] Wong Delight! [FONG] Fong Delight! Anything made in my kitchen bears my name, and my name's Fong! Yours is Wong! Mine's Fong! Out of my way. He leaves with the duck and the Fong Delight. Peter goes back to his cooking and listening to the fight until he glances at the radio, and sees it's a robot. His eyes grow wide: [PETER] Say what? But as he stares at it he suddenly hears a strange commotion coming from the dining room, coughing, choking, screaming in Chinese. As he looks toward the dining room entrance: ANGLE TO INCLUDE FONG storming in. He carries the Fong Delight bowl, now almost empty, and is purple with rage. [FONG] You! [PETER] Me? [FONG] Out! [PETER] Out? He throws the bowl of food at Peter but Peter ducks. The Karate Twins watch, eating. [PETER] What'd I do?! Don't come any closer, I'm a black belt! I fought Bruce Lee to a standstill! I --- In one move Fong grabs him and bodily throws him out into the alley. [FONG] If I ever see you again I'll slit your throat! He then spots the robot, shakes his head. [FONG] Toys, yet. A Chinese jerk! He tosses it into the garbage can...and fails to see it sizzling and melting down into a plastic pancake. Then there's a curl of smoke, as a fire is about to begin. [FONG] (to bodyguards) You should've thrown him out! What do I pay you for, to eat?! EXT. ALLEY - DAY Peter picks himself up from a collection of garbage cans, wipes garbage off his person. He stands there in despair when a car suddenly swings in. ANOTHER ANGLE The white Rolls glides up and stops. The passenger door opens. [BABETTE'S VOICE] Hello, Peter. Need a lift? Suspicious, Peter stares inside, reacts at seeing the beautiful Babette. [PETER] Me? [BABETTE] You. [PETER] Why? [BABETTE] Why not? Peter hesitates, shrugs and carefully gets in. ANGLE FROM DOWN ALLEY The Rolls purrs by, turns and joins the flow of traffic. CUT TO EXT. UNIVERSITY OF SAN FRANCISCO - DAY - TO ESTABLISH with great vistas in b.g. [MICHAEL'S VOICE] I need a student loan. INT. COMPUTER RESEARCH AND DEVLOPMENT CENTER - DAY - CLOSE ON A DARK-HAIRED YOUNG WOMAN laboring over a massive bank of computers. She turns and we recognize Bonnie. [BONNIE] (working) I think you're in the wrong department. [MICHAEL'S VOICE] I bet Devon you'd come back within a year, and you didn't. Bonnie slowly turns. WIDER ANGLE She stares at Michael, tries keeping her composure, but then goes to him. He hugs her: [BONNIE] Michael! [MICHAEL] It's great to see you again, Bonnie. Beat, then she backs off. [BONNIE] Broke again, huh? [MICHAEL] Some things never change. He grins. She smiles. [BONNIE] What're you doing here?! Let me look at you. You're still tall. They laugh. [MICHAEL] You're still beautiful. Never one to take compliments well, she finds something to busy herself with for a moment. [BONNIE] How's Devon? [MICHAEL] British as ever. He sends his love. [BONNIE] (a reaction) Ah. Then he knows you're here. (beat) Michael, if this is something to do with the Foundation, or a case, we've been through all that. [MICHAEL] This is different. [BONNIE] They're all different. Michael, no. [MICHAEL] Bonnie, C.J. Jackson escaped from prison. He had help. [BONNIE] I leave for Boston on Thursday. [MICHAEL] Someone went to a lot of trouble. Designed a self-destruct device to work it from the inside...a drone car to work it from the outside. [BONNIE] MIT is presenting two research projects for funding. Only one will be approved. [MICHAEL] This is the drone's computer processing unit. [BONNIE] One, thanks to my mentor, is mine. [MICHAEL] Bonnie, I'm not here asking you to sign up for another tour of duty. No contracts, no promises, no obligations. He tosses the CPU. No choice, she catches it. [BONNIE] (re CPU) You're trying to tempt me. [MICHAEL] How am I doing? Beat. [BONNIE] No contracts, no promises, no obligations? Michael smiles. [MICHAEL] We missed you, Bonnie. Oh, we missed you! CUT TO EXT. MANSION - DAY The Rolls winds up the street and pulls into the driveway, Babette and Peter get out. He looks at the mansion, hesitates before following, then hurries to catch up with Babette. INT. MANSION - LIVING ROOM - DAY Halston is examining the maps just brought to him by Clifton and Turk, who stand nearby. Margo is alongside Halston, and Jackson is sprawled on a suede modular sofa in a silk robe, eating a big sandwich and reading the sports page. He occasionally glances at Halston. [HALSTON] (re map) Perfect...these maps are just what we need. [MARGO] You're sure the old man won't tell anyone? [TURK] (grins) Only his ancestors. Margo rubs the backs of their necks: [MARGO] Good boys...now why don't you go outside and chase some rabbits. [CLIFTON] But.... [MARGO] (interrupting) Don't worry, Clifton...we'll play later. She smiles. They grin and leave -- under Jackson's curious gaze. ANGLE ON ENTRANCE as Babette comes in with Peter, who's ready to bolt. (Note: Turk and Clifton have left via another door.) [BABETTE] Don't say 'boo,' he'll run. Babette goes to Jackson, snuggles down next to him. [BABETTE] Miss me, baby? [JACKSON] You know it. Margo approaches the confused and frightened Peter. [MARGO] Hello, Peter, I'm Margo, and that's David Halston and C.J. Jackson. Halston preoccupied with the maps, only nods. But Jackson sizes Peter up with his eyes. [JACKSON] You one of those martial arts dudes? [PETER] (flattered) Me? No. Why, do I look like one? [JACKSON] No. Peter looks disappointed, but quickly recovers: [PETER] Hey, look, what's this all about? Halston puts down the maps, but Margo goes to soothe Peter's frazzled nerves. [MARGO] Relax, Peter...we just want to make use of your extraordinary talents. [PETER] (hesitant) My talents? [HALSTON] As one of the best wire men in the business. [PETER] That was in my past. I'm trying to go clean now. I'm a chef. Margo moves in on him. [MARGO] Peter...as a chef you couldn't heat up a frozen egg roll. (rests her arms on his shoulders, looks down into his eyes) So why don't you just be a good little boy...and let Margo decide what's best for you. Hmm? He looks up into her eyes...and is totally lost. CUT TO INT. RESEARCH AND DEVELOPMENT CENTER - NIGHT - CLOSE ANGLE ON COMPUTERS working, operated by skillful hands. WIDER ANGLE Bonnie is at the console, totally absorbed. Michael is nearby, eating takeout food, tired, bored, leaning on one of the pieces of equipment. [BONNIE] (not looking up) That's a computer, not a sofa. He reluctantly moves. [MICHAEL] I was wondering why it was so hard. She throws him a look. He grins and with nothing else to do he crosses behind her, glances over her shoulder as she accesses the drone's CPU. [MICHAEL] How's it coming? [BONNIE] Put it this way. If it were a murder mystery, Sherlock would call it a tough case. Whoever created this little monster knew what he was doing. [MAN'S VOICE] Don't you ever sleep? They react, surprised. ANOTHER ANGLE The man entering, smiling, is none other than David Halston. He's dressed in his university persona clothes, looks the part thoroughly. [BONNIE] Doctor Halston...! [HALSTON] How many times do I have to tell you? David. D-A-V-I-D. She's obviously pleased to see him, holds him in high regard. Halston smiles at Michael, extends his hand. [HALSTON] David Halston. Michael shakes his hand. Halston betrays no sign of knowing anything about him. [MICHAEL] Michael Knight. [BONNIE] I'm sorry, I should've...introduced you. Michael's an old friend. We used to work together. [HALSTON] Really? What kind of work do you do, Michael? [MICHAEL] I'm with a nonprofit foundation. [BONNIE] Don't be so mysterious. (to Halston) He works for the Foundation for Law and Government. [HALSTON] Sounds exciting. [MICHAEL] (not really liking this guy) A thrill a minute. [HALSTON] (forces a polite smile, then to Bonnie) A project for class? [BONNIE] No. I hope you don't mind. It's some- thing Michael wanted some help with. [HALSTON] I see. (to Michael) I'll make you deal. Since Bonnie's helping you, you can help me. [MICHAEL] I'm kind of on a tight schedule. [HALSTON] Good, so am I. It won't take five minutes. CUT TO OPPOSITE SIDE OF LAB - A FEW MOMENTS LATER Michael is sitting in a chair as Halston affixes a belt-like device around each wrist. Wires connect the wristbelts to a device which transmits information to a large computer. [HALSTON] ...There. All finished. How do you feel? [MICHAEL] Like a guinea pig. [HALSTON] But, that's exactly what you are. He smiles, takes a chair opposite Michael, facing him, and slips identical wristbelts on himself over: [HALSTON] I'm doing a computerized project on pain -- from inception to threshold. (smiles) Don't worry, you can abort any time you choose by stepping on the button next to your chair. Michael checks, reassures himself the button is there. [HALSTON] And, if that's not enough, I'm wired in just as you are. I will feel every- thing you feel...and believe me, I'm no masochist. Ready? [MICHAEL] What am I supposed to do? Halston looks deeply into his eyes. [HALSTON] Feel the pain. [MICHAEL] Until? [HALSTON] Until one of us aborts. Halston activates an electrical conductor with his foot. It hums as electricity surges through it, low at first, then rising in pitch as the charge increases. [MICHAEL] Why do I feel like this is a contest of some sort? [HALSTON] Perhaps it's just your competitive nature. The smile never leaves Halston's face. Pain aside, Michael feels increasingly uncomfortable. DIFFERENT CLOSE ANGLES The computer recording data...the hum rising in pitch... Michael's face breaking out in perspiration. Michael was right -- it is a contest. And, to his surprise, he discovers he wants to win. Their eyes lock and hold, Halston's smile never wavering. CLOSE ON MICHAEL The pitch continues to rise, the electricity screams in his body, his mind, until a spark of sanity flashes before his eyes: This is insane. ANGLE ON FLOOR He slams his foot down on the button. WIDER ANGLE The hum stops. Silence -- except for Halston's victorious chuckle. Despite intentions otherwise, Michael finds himself angry, his face bathed in sweat. [HALSTON] Stay where you are, I'll unstrap you. As Halston unstraps himself, Michael studies him; curious, suspicious. He begins unstrapping Michael. [MICHAEL] I notice you didn't even work up a good sweat. [HALSTON] (smug) I never do. You see, I didn't feel any pain. ANGLE ON MICHAEL He comes out of his chair, grabs the wires from Halston's wrist belts -- they were never connected. [MICHAEL] That's because you forgot to connect these wires. [HALSTON] No...imagine that. (smug smile) Still, you're an excellent subject. Michael, not liking this man one bit, watches him head toward a rear door. [MICHAEL] Doctor Halston.... Halston stops. [MICHAEL] It would be a big mistake for you to ever try something like that again. They exchange looks, then Halston leaves. ANGLE ON BONNIE hard at work, oblivious to what's happened across the room. Michael approaches, troubled by the encounter with Halston. [BONNIE] Michael? [MICHAEL] Yeah. [BONNIE] Where's Doctor Halston? [MICHAEL] Your mentor? [BONNIE] That's right. You have no idea how much he has helped me with my project. [MICHAEL] Just a sweetheart of a guy. Anyway, he said to tell you good night. [BONNIE] (re CPU) I think I've got it. Finally. INT. HALL OUTSIDE LAB - NIGHT Halston appears, pauses, making sure he's alone. Then he opens his briefcase and takes out a remote computerized device the size of a pack of cigarettes. He switches it on, presses several buttons. ANGLE IN LAB The drone's CPU emits a sizzling sound. Michael and Bonnie react as it self-destructs before their eyes. FADE OUT END OF ACT TWO ACT THREE FADE IN EXT. STREET - DAY K.I.T.T. passes, heading toward the heart of the city. [DEVON'S VOICE] It what? ANGLE IN K.I.T.T. Michael behind the wheel, Devon on the monitor from the semi. [MICHAEL] I'm telling you, Devon, it dis- integrated. Right before our eyes. [DEVON] What do you make of it? [MICHAEL] Right now I don't know what to make of a lot of things. (beat) Any leads on Jackson? [DEVON] Nothing, I'm afraid. In prison he was a loner...no gang affiliations, no visitors...no mail in over two years. [MICHAEL] Then the only thing we know for sure is he's a 'box man.' [DEVON] Apparently one of the best. Show him a safe and he'll find a way in. [MICHAEL] Okay, Devon. You know how to find me. He punches Devon out, drives for a moment, thoughtful. Then: [K.I.T.T.] Michael, I may have something. [MICHAEL] Go. [K.I.T.T.] I've been monitoring the police frequency as you requested. There was a fire yesterday at Fong's China Trader restaurant. Arson investigators traced it to a piece of melted-down plastic containing traces of acid identical to those found in the radio at the prison. [MICHAEL] Good work, pal. Let's hit it. He floors the accelerator. ANGLE FROM STREET K.I.T.T. flashes by, heading for Chinatown. CUT TO EXT. HUNTER'S POINT ELECTRONICS BUILDING - DAY It's big, clean, upscale. And best of all, no immediate neighbors. The white Rolls and another luxury sedan are parked by the door. INT. HUNTER'S POINT ELECTRONICS BUILDING - DAY Halston is winding up a demonstration. Present are Margo, the ever-present Turk and Clifton, Peter Wong and Jackson. [HALSTON] And now get ready for the pieces de resistance.... [MARGO] David, you're not at the University. Get on with it. He smiles, crosses to his computer control board, begins punching in a program, as they put on their colorful protective earmuffs. [HALSTON] Observe. ANGLE ON DRONE CAR It's parked at one end of the industrial site, pointing toward a specially designed target enclosure. INTERCUT - HALSTON He works the computer. OMITTED INTERCUT MARGO AND GROUP They watch. ANGLE ON DRONE From the hole in the grill a conical shape emerges. It's a missile. ANGLE ON HALSTON He activates Fire Mode. ANGLE ON MISSILE It fires. REVERSE ANGLE The missile strikes a specially designed target enclosure, which contains the explosion. Still the floor shakes from the impact. WIDER ANGLE Peter Wong is incredulous. So is Jackson, but he hides it on principle. Margo seems satisfied. They remove their earmuffs. [MARGO] Excellent. Congratulations, David. [HALSTON] (crossing to them) As you can see we are virtually indestructible. Untouchable. [JACKSON] You said we'd also be rich. [HALSTON] (smiles) I did, didn't I? And so we shall be. (to twin) Turk. He doesn't move. [HALSTON] (piqued) Margo, for God's sake. She smiles, having made her point: He answers only to her. She gestures and Turk moves to a monitor. [HALSTON] Gentlemen, I present to you the object of this very special endeavor. Turk activates the computer. ANGLE ON SCREEN - BURN IN The Federal Reserve Bank, several shots, and hold on front of bank. [HALSTON] Thank you, Turk. WIDER ANGLE The lights come up. Peter Wong stares at Halston like he's a madman. [PETER] That's the Federal Reserve! [HALSTON] So it is. The main vault contains between fifteen and twenty million dollars...depending on the day. [JACKSON] You're crazy. Nobody hits The Federal Reserve. Nobody. [MARGO] I bet you said the same thing about breaking out of solitary...until yesterday. Point made, Halston strolls, enjoying himself. [HALSTON] You, C.J., are the best box man in the country. Believe me, I know. I checked you out thoroughly. And you, Peter, are the premier wire man. You can handle the most sophisticated security systems in operation today. [PETER] Yeah, but I quit. I'm through, remember? I don't do that anymore. [HALSTON] Didn't, Peter. Until someone offered you twenty-five percent of fifteen to twenty million dollars. Peter's torn. All eyes go to him. Especially Jackson's. [JACKSON] You know what? [PETER] What? [JACKSON] You just came out of retirement. Looking into Jackson's eyes, the message is clear. [PETER] Well, since you put it that way... maybe just one more time. But I'll need my stuff -- my equipment. I built it myself. [MARGO] Where is it? [PETER] My apartment. [MARGO] How long will it take you to get it? [PETER] Half an hour -- an hour at the most. [MARGO] No, Peter, half hour at the most. The slightest smile. CUT TO EXT. FONG'S CHINA TRADER - DAY K.I.T.T. pulls up and parks. Michael slides out, crosses into the restaurant. INT. KITCHEN - DAY Fong is counting money in a briefcase. His two bodyguards eat. [FONG] Twenty thousand from the Mah-Jongg parlor...fifteen from the den of rarefied pleasures...seventy-five hundred from the little ladies who travel light. Not bad for a Monday. Over this we see Michael enter in the b.g. [MICHAEL] Mr. Fong? Fong looks up, eyes opened wide. [MICHAEL] Sorry to bust in on you like this.... Fong snaps the briefcase shut. [FONG] Who're you? [MICHAEL] Michael Knight from the Foundation for Law and Government, and I have a few questions.... [FONG] (screams) Get him! Karate One springs off his feet, over the chopping block and comes at Michael from above. ANOTHER ANGLE Michael, taken aback, catches Karate One before he lands and tosses him over his shoulder into a crate of hundred- year-old eggs. When he turns, here comes Karate Two, and he has a hatchet in his hand. As Karate Two springs: OMITTED EXT. FRONT OF FONG'S CHINA TRADER - DAY as our cab pulls up and Alfred and Henrietta get out right near K.I.T.T. She first. [HENRIETTA] There's something about Chinatown that's so mysterious. EXT. ALLEY BEHIND FONG'S - DAY There's a terrific commotion from the kitchen, the sounds of grunts and groans mingled with things breaking. Then suddenly the door to the alley splinters and Karate One comes flying out in a heap, dazed. ANOTHER ANGLE Just as he's picking himself up Michael comes flying out after him, is ready to deliver a final blow when Karate Two dives after Michael, delivers a vicious blow to his ribs. ANGLE ON MICHAEL He reels back, hurt. ANGLE ON FONG He appears at the broken kitchen door. [FONG] You're ruining the place! Is this what I pay you a thousand a month for? Take care of him! ANGLE ON KARATE ONE AND TWO They collect themselves, begin to advance on Michael in a pincer movement. EXT. FRONT OF FONG'S - DAY Alfred spreads a map of Chinatown on K.I.T.T.'s top. [ALFRED] All right, what should we see first? EXT. ALLEY - DAY He sizes up the advancing Karate Boys, decides it's time to change tactics. [MICHAEL] (comlink) I'm outnumbered, pal. Let's even up the odds. OMITTED EXT. FRONT OF RESTAURANT - DAY K.I.T.T. parked at the curb. [K.I.T.T.'S VOICE] Right away, Michael. ALFRED AND HENRIETTA reacting. [HENRIETTA] Alfred, what was that? They look into the car. INT. K.I.T.T. - DAY - FEATURE DASH It comes alive. The shift moves into gear, the gas pedal is depressed, lights up. EXT. K.I.T.T. - DAY It backs up to get out of space, with maps still on top. [ALFRED] There's no one driving that car, Henrietta. [HENRIETTA] Our maps! Alfred reaches for the maps, only to have K.I.T.T. shoot forward on his way out. The maps fall off. Alfred and Henrietta hug one another for dear life. OMITTED ANGLE IN ALLEY The Karate Twins move about Michael. Attack together knocking him over trash cans and flat on his back. ANGLE AT MOUTH OF ALLEY K.I.T.T. arcs around the corner, roars up behind them. They react, unsure what to make of this. [K.I.T.T.] Michael, it's two against one. Have they no sense of fair play? [MICHAEL] (slowly getting to his feet) I don't think so, buddy. [K.I.T.T.] (to Karate Twins) All right, you two overgrown egg rolls, take a hike. They stare at K.I.T.T. but make no move to leave. [MICHAEL] I don't think they understand the language. [K.I.T.T.] Very well. (in Chinese) Go back to where you came from or I'll call the zoo and have you locked up where you belong. They react violently and attack K.I.T.T. with a series of powerful Karate blows. They howl in pain, grabbing their hands and feet. ANGLE ON MICHAEL He executes a perfect kick, the heel of his foot catching first one and then the other. They go down in a heap. WIDER ANGLE Michael looks at Fong. [MICHAEL] You ready to talk? [FONG] (terrified) Anything! Anything you want to know! [MICHAEL] I want to know about the fire last night. Fong stares at him. [FONG] Fire?! You want to know about the fire? Why didn't you just ask? Michael closes the distance between them, eyes never leaving Fong. [MICHAEL] I tried. You had other things on your mind. For all I know, you're in this up to your eyeballs. (beat) Tell me about the fire. [FONG] He started it! That idiot chef and his radio! [MICHAEL] This radio -- did it look like a robot? [FONG] Yes! How did you know? I toss it in the trash and the next thing I know my kitchen catches fire! My kitchen is catches fire, and I peek out to see my idiot chef being picked up in a Silver Phantom car! [MICHAEL] This chef you mentioned -- what's his name? How do I find him? [FONG] His name is Peter Wong. He lives with some girl on Bay Street, a place called The Ramparts. CUT TO INT. PETER WONG'S APARTMENT - DAY Peter is searching a cabinet for his tools, while Su-Lin, a lovely Oriental of twenty-two, attempts to discourage him. [SU-LIN] But why, Peter? You've managed to stay out of trouble for over a year now. [PETER] (glances back to her) Out of trouble and out of money. (turns to her) Su-Lin, I want to be able to buy you presents. Nice clothes and jewelry. All the pretty things you deserve. [SU-LIN] But all I want is you. Besides, you'll be rich someday, I know you will. [PETER] How? By stuffing fortune cookies? [SU-LIN] You're a great chef. You created Wong's Delight! [PETER] I created Wong's Delight working for Fong. Which makes it Fong's Delight! No, Su-Lin, the only way for me to become rich is to do this one last job. [SU-LIN] And if you get caught, and they send you back to prison? [PETER] But I won't get caught. I promise you, Su-Lin...no one's going to separate us again. He kisses her gently, then goes back to searching for his tools. EXT. PETER WONG'S APARTMENT - DAY - ON K.I.T.T. rounding the corner and pulling up in front of the building. [MICHAEL] Here we are. By the way, you sure got those Karate Twins agitated. [K.I.T.T.] They developed a pronounced mean streak, didn't they? [MICHAEL] 'Pronounced' is putting it mildly, pal. Keep an eye peeled. Michael smiles, gets out and starts toward the building. INT. PETER WONG'S APARTMENT - DAY Peter still searches, until finally --- [PETER] Here they are. (looks proudly at the tool kit) The tools of my trade. (then seeing Su-Lin's look) For one last job, of course. [SU-LIN] Peter...! [PETER] I love you, too. As he gives her another quick kiss, there's a knock at the door. Both freeze. [SU-LIN] (softly) Peter, I'm afraid. [PETER] Don't be. Remember...you haven't seen me. He goes into the bedroom. ANGLE INTO BEDROOM to see Peter starting to climb out the window. BACK ON SU-LIN Another knock on the door. She goes to it. [SU-LIN] Who is it? Intercut with Michael: [MICHAEL] Michael Knight. I'm looking for Peter Wong. [SU-LIN] He's not here. [MICHAEL] Can I talk to you for a minute? It's important. There's a silence. Then the door slowly opens. [SU-LIN] Yes? [MICHAEL] Do you know where he is? [SU-LIN] He hasn't been here for...two days. [MICHAEL] (gently) You're sure of that? [SU-LIN] (beat) Yes. The comlink beeps twice. [MICHAEL] (comlink) Yeah, Kitt. [K.I.T.T.'S VOICE] Michael, someone's leaving the apartment by way of the rear fire escape! Su-Lin starts to close the door, but Michael pushes past her at the same time. [MICHAEL] (into comlink) Meet me around the back. INT./EXT. K.I.T.T. - DAY Self starting and peeling out. INT. SU-LIN'S APARTMENT - DAY as Michael races to the bedroom window and crawls out. VARIOUS ANGLES to build an exciting chase as Michael hurries to catch up to Peter. ON PETER running down the alley, and turning onto the street. (Note: Let's try to match this somehow with our S.F. footage.) Peter goes out of sight. ON K.I.T.T. pulling up to Michael. The door pops open and he slides in. [MICHAEL] Do you have him on your scanner, Kitt? [K.I.T.T.] He was just picked up by that Silver Wraith Fong told us about. They go after the O.S. Peter Wong. INT. PETER WONG'S APARTMENT - DAY Su-Lin, very upset, is straightening up the mess Peter made searching for his tools, when she hears a noise at the front door. She turns, looks, too frightened to move. ON DOOR as it's suddenly kicked open...and Clifton and Turk enter. Turk closes the door behind him. ANGLE TO INCLUDE SU-LIN trying to control her fears as they move toward her. [SU-LIN] Who are you? What do you want? [CLIFTON] It's not important who we are. [TURK] What we want...is your silence. They grin. She starts to run...but not very far, before Clifton grabs hold of her, and begins to crush her as he did the herb merchant. ON TURK as Clifton squeezes the life from her. FULLER ANGLE Su-Lin falls lifeless to the floor. Clifton gives her one last look --- [CLIFTON] Very wasteful. And they hurry out. (Now we pick up the chase in S.F.) BACK TO SCENE [MICHAEL] That's the Silver Phantom Fong told us about. [K.I.T.T.] Then there's a very good chance that's Peter Wong. ANGLE TO INCLUDE SILVER PHANTOM driving off. [K.I.T.T.'S VOICE] Michael, aren't we going to apprehend him? OMITTED ANGLE IN K.I.T.T. [MICHAEL] Not yet. I want to see where he's going. Michael pulls out to follow. EXT. ANOTHER STREET - DAY The Silver Phantom abruptly turns onto another street. K.I.T.T. follows. VARIOUS ANGLES as the Silver Phantom picks up speed, and K.I.T.T. stays with him. Over we begin to hear the sound of cable car bells. [K.I.T.T.] Michael, what on earth are those bells? (slight beat) In fact, what on earth is that thing with people hanging out of it?! [MICHAEL] It's a cable car, pal. [K.I.T.T.] Well, right now it's in our way, and there's no room to turbo boost over it. ANGLE ON CABLE CAR passing right in front of K.I.T.T. And sure enough, there are people hanging out the sides. ON K.I.T.T. as Michael skids to a stop, just inches from ramming into the car. FULLER ANGLE as the cable car passes, and we see that the Silver Phantom has disappeared. ANGLE IN K.I.T.T. Michael is searching for the Silver Phantom as he activates surveillance mode. [MICHAEL] Let's see if we can pick 'em up. OMITTED INTERCUT - MONITOR Nothing. [K.I.T.T.] I'm sorry, Michael. [MICHAEL] (beat) It's okay, pal. Got a license for me? [K.I.T.T.] 166 UEA. British plates. [MICHAEL] That's all we need. He throws K.I.T.T. into reverse, peels out. FADE OUT END OF ACT THREE ACT FOUR FADE IN EXT. MANSION - DAY The Silver Phantom is nowhere in sight. INT. MANSION DEN - DAY Halston has the tunnel maps -- now marked for the theft -- spread across the desk. Jackson and Peter, who smokes a cigar almost as big as himself, are studying them with him, while Margo lounges nearby. Pointing it out: [HALSTON] We gain access here...stay in the main tunnel for four hundred and eighty feet, which brings us parallel to the main vault. You shouldn't have to cut through more than twenty-five feet to reach it. [JACKSON] That's solid rock. [HALSTON] The bigger the dream, C.J. (then to Peter) Do you really have to smoke that thing? [PETER] I'm practicing for when I'm rich. The doorbell rings. They react. Halston looks to Margo: [MARGO] Relax. She crosses to the door. ANGLE IN LIVING ROOM Margo moves toward the front door. Clifton and Turk look in from the pool area, but she waves them off with a gesture. ANGLE AT DOOR She opens it, surprised to see the man standing there. It's Michael. She takes him in with her eyes. [MARGO] Yes? [MICHAEL] Are you Margo Sheridan? [MARGO] Possibly. Why? [MICHAEL] My name's Michael Knight. I'm with the Foundation for Law and Government. [MARGO] I gave at the office. [MICHAEL] Do you own a Silver Phantom, license number 166 UEA? [MARGO] Why? [MICHAEL] If you do, I'd like to talk to you for a minute. May I come in? Margo hesitates, a private smile playing at the corners of her mouth. [MARGO] I'll hold you to your word. One minute. ANOTHER ANGLE as Michael enters, eyes all over the house, absorbing everything he can. Margo follows him in. [MICHAEL] Nice house. Just the right amount of pretentiousness. [MARGO] I feel better knowing you like it. Now what can I do for you? INTERCUT - DEN Halston listens at the door, concerned. Behind him, Jackson pulls a .357 Magnum from his belt, ready. ANGLE IN LIVING ROOM Michael sees the brothers outside, staring at him, ready to enter at a gesture from Margo. [MICHAEL] Your Silver Phantom. [MARGO] Ah, yes. Unfortunately, it was stolen from my garage sometime last night. [MICHAEL] Did you report it to the police? [MARGO] (smiles) No, I'm afraid I didn't. [MICHAEL] What's one Silver Phantom more or less. [MARGO] I'm touched by your concern for my personal property. He drifts toward the closed den door. [MICHAEL] Hard to get these days. [MARGO] Silver Phantoms? [MICHAEL] Cuban cigars. That is what I smell, isn't it? Or is it Jamaican? For the briefest moment she's caught off guard. Michael uses it: [MICHAEL] Mind if I use your bathroom? Before she can respond he's at the den door, opening it. [MARGO] Mr. Knight! ANGLE IN DEN Except for a lone figure standing innocently at the French windows, it's empty. The figure turns. It's Halston. Michael regards him, a touch of mock surprise. [MICHAEL] Doctor Halston, what a surprise. (smiles) I guess this is what's known as private lessons. Halston isn't intimidated. [HALSTON] Margo and I are old friends. Over this, Margo gestures to the brothers. They come in immediately. [MARGO] Your minute's up. [MICHAEL] (to Halston) Sorry if I disturbed you. [HALSTON] Not at all. And incidentally, you're right. It is Cuban. ANGLE FROM LIVING ROOM Michael closes the door as the brothers reach Margo, pause, looming behind her. [MICHAEL] (to brothers) Sorry if I interrupted your tan. (to Margo) Don't tell me. It's time to hit the old books again. Margo laughs, charmed by his aplomb. [MARGO] How did you know? [MICHAEL] Sixth sense. [MARGO] I do hate to rush you, you've livened up an otherwise dull afternoon. Perhaps another time? [MICHAEL] It's a crazy world. [MARGO] Isn't it? Her smile is suggestive. Michael holds her look, then turns and leaves. Margo watches him go. When the front door closes, Halston appears from the den, no longer so self-contained. [HALSTON] What was all that about?! How did he get here? [MARGO] (thoughtful) How isn't important. I want him killed, David...and I know just how I want to do it.... CUT TO EXT. STREET - DAY The Foundation semi rolls by. [BONNIE'S VOICE] Michael, you're wrong! INT. SEMI - DAY Michael and Bonnie are in a heated debate, monitored by Devon. [BONNIE] Is that why you asked me here? To spy on Dr. Halston? [MICHAEL] Bonnie, like it or not, he's involved! [BONNIE] You don't know that! [MICHAEL] Then what was he doing at Margo Sheridan's house? Why was he hiding in the den? (beat) Bonnie, do you know who Margo Sheridan is? We checked her out. She's a free-lance agent in the international market. She walks both sides of the street. [DEVON] He's right, Bonnie. She brokers everything from illegal arms to top-secret documents without regard for the consequences. Her only criterion is money. Bonnie glances away, stung by the information, its implications. [BONNIE] If you were talking about anyone other than David Halston...he's not some maverick scientist, he's nationally known. He conceived the Tri-S Satellite, and developed its micro-computer. He lectures across the country...And more important, Michael -- he's been good to me. She stops, shakes her head. Softly, gently: [MICHAEL] Bonnie, I know this isn't easy, but remember what you said when I showed you the drone car's CPU? She meets his eyes, nods. [BONNIE] Okay...what do you want me to do? Michael smiles. [MICHAEL] Right now, nothing. We just want to know you're with us if we need you. [BONNIE] Was there ever any doubt? [DEVON] No...only a moment's hesitation. The bond is reaffirmed. On their looks: CUT TO EXT. GOLDEN FOX CLUB - DAY This is a downtown club that features entertainment. In this case, as we read by the sign in front, CHERI! THE GOLDEN FOX! There's also a large poster of Cheri doing her thing. INT. GOLDEN FOX CLUB - DAY - ON CHERI AND GIRL DANCER as they do their version of the flashdance-strip. Sexy, but all in good taste, of course. They're dynamite, turning the small stage into great expectations. They're also just rehearsing for that evening's performance, so they use only a record. The dinner room itself is almost dark, and we can see chairs stacked upside down on the tables. After several hot beats: Camera pulls back and we see: HALSTON, JACKSON AND BUBBA a huge giant of a man who both manages the club and keeps the peace, standing in a back storage area that gives them a good view of Cheri, the Golden Fox. And right now they're taking advantage of it, until: [BUBBA] They're working their way through college. [HALSTON] Let's hope they're going for their PhD. (one last look, then turns to Bubba, all business) Do we have a deal? Bubba's a bit nervous, especially by the silent and brooding Jackson. [BUBBA] If my boss finds out.... [HALSTON] But your boss is out of the country, remember? [BUBBA] Lemme get this straight. All you want to do is use the basement to explore some old Chinese tunnels, right? [HALSTON] That's right. What could be simpler? Or more profitable for you? Fifty grand, Bubba. Enough to put those foxes out there through medical school. [JACKSON] But not half enough to pay your medical bills if you start jerking us around. Bubba wilts under Jackson's glare. [BUBBA] You guys archeologists or something? [HALSTON] Yeah. Well, Bubba? Do we have a deal or not? Bubba looks at Jackson one last time. [BUBBA] When do I get the money? [HALSTON] Bubba, you just made a very wise decision. Halston smiles, pops open a briefcase filled with money. [HALSTON] (to Jackson) Bring in the equipment. INT. CLUB AREA - DAY as Halston passes the still dancing girls. [HALSTON] You'll be great assets to the medical profession. Without losing a beat: [CHERI] Come again? He just continues out. She shrugs and returns to her art. CUT TO EXT. NORTH BEACH AREA - DAY Gaudy and bright, lots of foot traffic, lots of cars. K.I.T.T. appears. [K.I.T.T.'S VOICE] This is certainly a perplexing case. [MICHAEL'S VOICE] You got that right, buddy. ANGLE IN K.I.T.T. Michael is behind the wheel. [K.I.T.T.] With C.J. Jackson involved, what could it be other than a bank robbery? [MICHAEL] Good question. But somehow my gut tells me it's something else. The auto-com blinks. [K.I.T.T.] Devon's calling. INTERCUT - MONITOR Devon appears on the screen. [MICHAEL] Devon. [DEVON] Hello, Michael. I just received a rather surprising message for you. [MICHAEL] Anyone I know? [DEVON] Margo Sheridan. Michael reacts. [DEVON] She said you...'intrigue' her, and she wants to get to know you better. She suggeted a rendezvous at the Twin Peaks area, and then an 'intimate afternoon' at her nearby mountain retreat. [MICHAEL] Sounds interesting. Anything else? [DEVON] What more were you expecting? Be careful, Michael. It could be a trap. [MICHAEL] Margo? (shrugs; grins) Devon! (grin fades) Gotcha! WIDER ANGLE K.I.T.T. burns a U, heads back in the opposite direction. CUT TO EXT. TWIN PEAKS - DAY A beautiful view of San Francisco, the bay, the bridge and Alcatraz. A Caddy, Margo's car, waits at the far end. ANGLE ON ROAD UP K.I.T.T. appears. ANGLE AT TWIN PEAKS K.I.T.T. approaches. ANGLE ON HIDDEN SIDE ROAD The missile-armed drone lurks, waiting. ANGLE IN HUNTER'S POINT ELECTRONICS BUILDING Halston sits at his computer, flanked by monitors. We see K.I.T.T. approaching. ANGLE IN CADDY Margo waits, watching K.I.T.T. approach. She's enjoying herself thoroughly. ANGLE IN K.I.T.T. Michael sees the Caddy, looks around, wary. [MICHAEL] Scan that car, Kitt. INTERCUT - MONITOR [K.I.T.T.] It's Margo, and she's alone. WIDER ANGLE K.I.T.T. is halfway to the waiting Caddy when: ANGLE ON DRONE It suddenly accelerates from it's hidden spot. ANGLE IN K.I.T.T. [K.I.T.T.] Michael! To our left! Michael reacts. ANGLE ON DRONE It heads directly for K.I.T.T. ANGLE ON HALSTON He activates a switch from "stand-by" to "fire." ANGLE ON DRONE The missile fires. ANGLE IN K.I.T.T. Michael hits Turbo Boost. WIDER ANGLE K.I.T.T. lifts into the air as the missile whistles beneath him, exploding harmlessly into the hillside. INTERCUT - MARGO She reacts, angry, disappointed, but knowing there's more to come. ANGLE ON HALSTON Frustrated, determined, he repositions the drone. ANGLE IN K.I.T.T. Michael twists the wheel, narrowly avoiding the pursuing drone. [K.I.T.T.] He has another missile, Michael! [MICHAEL] I read you, buddy. WIDER ANGLE Michael takes a sharp turn. ANGLE ON MISSILE It fires. ON HILLSIDE another miss. INTERCUT - MARGO more frustration, growing anger. ANGLE ON K.I.T.T. as the drone angles in right behind him. [K.I.T.T.] Michael, he's too close. He's zeroing in on my exhaust system. [MICHAEL] We're in this together, buddy. You and me, all the way! ANGLE ON MISSILE It fires. ANGLE IN K.I.T.T. [K.I.T.T.] Sorry, pal. Forgive me! K.I.T.T. activates "Eject Left." UP ANGLE Michael is ejected. (Note: This is out of Margo's line of sight making use of whatever is at location to keep Michael covered.) ANGLE ON K.I.T.T. The missile rips up his exhaust system and explodes. WIDER ANGLE K.I.T.T. is lifted off the pavement in a fiery explosion. ON MARGO Satisfied Michael's dead, she follows the drone off. ANGLE ON MICHAEL He collects himself as the drone speeds away, followed by the Rolls. ANGLE FROM K.I.T.T. He rolls to a stop on his side, twisted, badly damaged. Michael runs to him. [MICHAEL] Kitt! Kitt, are you okay? Kitt! Silence. FREEZE FRAME FADE OUT END OF ACT FOUR ACT FIVE FADE IN EXT. TWIN PEAKS - DAY K.I.T.T. is being pulled up into the Foundation semi via an electric winch, operated by Bonnie. The more damage she sees the worse she feels. [BONNIE] Oh, Kitt...he really did it to you this time.... ANGLE ON DASH A single light blinks, weakly. [K.I.T.T.] (slow, distorted) Bonnie...? WIDER ANGLE Bonnie reacts, crosses to the window. [BONNIE] Kitt? Did you say something? [K.I.T.T.] Bonnie...is that you? [BONNIE] It's me, Kitt. I'm here. [K.I.T.T.] I feel so...weak. Where are we? Everything is so dark...is it night? She tries not to show her distress. [BONNIE] Yes. Don't worry, I'll take care of you. [K.I.T.T.] I don't know what I'd do without you, Bonnie...I don't know...I don't...I.... Silence. The light flutters, goes off. Bonnie returns to her work, determined. INT. SEMI - DAY Michael and Devon, pacing. Michael is dishevelled, bruised from the incident. He changes shirts over: [DEVON] Michael, you can't! [MICHAEL] (angry) Why not? That house is the hub, Devon. So's Margo. I'm tired of being an Indian circling the fort and getting shot at. [DEVON] What you intend to do is certainly no solution. Quite the opposite. All you'll succeed in doing is presenting them with a better target! [MICHAEL] If that's what it takes, that's what it takes. He finishes dressing. Devon sighs, hopeless. CUT TO INT. SEMI - DAY - OPERATING TENT Bonnie is inside K.I.T.T., who's only a little cleaner than when he was hauled in. She's tense but determined. [BONNIE] Thank heavens your Self Diagnostic Routine is still intact. Let's see what the damage is. Intercut Monitor: to show graph of damage. [BONNIE] It's worse than I thought, you poor thing...how could anyone do this to you?! (studies graph) At least a dozen of your CPU components are short-circuited...most of your memory bank has been destroyed ...and your miniature relays have been badly damaged. (shakes her head) Well, I'm going to make you as good as new, Kitt...No! I'm going to make you better! She gets out and starts to work. CUT TO INT. MANSION - DAY Margo is lounging in something comfortable and sexy. The twins are pumping iron, one spotting the other. [MARGO] Can't you exercise without all that grunting? The doorbell rings. She rises, crosses to the door. ANGLE AT DOOR She opens it, reacts, shocked. ANOTHER ANGLE There stands Michael, a dozen roses in one hand, a bottle of Dom Perignon in the other. He smiles. [MICHAEL] Guess we got our wires crossed. I'd have sworn you said Twin Peaks. Margo struggles to regain her composure. [MARGO] Twin Peaks...yes...I'm sorry...did you wait long? [MICHAEL] As it turned out, I had enough to keep me busy. May I come in? [MARGO] Of course. By all means. ANOTHER ANGLE The twins are frozen in midworkout; staring at him. [MICHAEL] Hi, guys. (to Margo) I was hoping for a little more privacy. [MARGO] (to twins) Go chase a bone. And take those weights with you. They glare at Michael, pick up their weights and leave. Michael smiles at Margo. [MICHAEL] Didn't catch you at a bad time, did I? [MARGO] No...as a matter of fact, you couldn't have picked a better time. She takes the flowers, puts them on the table. Then the champagne. Then, smiling seductively, she puts her arms around him and kisses him. CUT TO EXT. GOLDEN FOX CLUB - DAY It gives no hint of activities below. Halston's car appears, pulls into the parking area behind the club. Halston crosses to the rear door with a hand-carry cooler. INT. TUNNEL - DAY - OPEN CLOSE ON HIGH-POWERED DRILL as it chews a hole through the earth. WIDER ANGLE Jackson, wearing goggles and an air-screen mask, works the machine, sweat pouring from his body. ANOTHER ANGLE Peter Wong shovels the dirt from the tunnel back into the existing passage dug decades ago by his ancestors. It's hot, gruelling work, and he approaches it without enthusiasm. Jackson turns off the machine, glares at Peter. [JACKSON] I can't dig with all this dirt here. [PETER] I'm shovelling as fast as I can. [JACKSON] The way you shovel, I don't see how your people ever got these tunnels dug in the first place. Peter throws down his shovel. [PETER] No more racial slurs! One more racial slur and you can shovel your own dirt! Jackson glares at him. Peter picks up the shovel. [HALSTON'S VOICE] Break time. ANOTHER ANGLE Halston, looking dapper and well-rested, pops open the chest, tosses them each a beer. [JACKSON] Well look who dropped by, Doctor Feelgood. [HALSTON] How's it coming? [JACKSON] It's coming. [HALSTON] Good. I'd hate to think we did everything right but dig fast enough. Show me where we are. They consult the map. [JACKSON] We're about right here -- I'd say another fifteen or twenty feet. [HALSTON] Incidentally, if you were concerned about Michael Knight, don't be. He and that car of his met with an unfortunate accident earlier this afternoon. Now nothing stands in our way...except fifteen feet of dirt. CUT TO INT. MANSION - DAY Pan up from the roses, now in a vase, to the bottle of champagne, almost gone. Now a hand lifts it and we see Michael and Margo on the sofa, close. Michael pours the last of it into their glasses. [MARGO] So tell me, what do you do, Michael Knight? Besides trace missing cars and tempt lonely women? [MICHAEL] You strike me as anything but lonely. She laughs, curls up closer to him, nibbles at his ear. [MARGO] If you mean Clifton and Turk you're mistaken. They're overgrown children. They'd be lost without me. [MICHAEL] What about David Halston? Would he be lost without you, too? [MARGO] David? No, he's terribly self- sufficient. [MICHAEL] And possessive. [MARGO] Why do you say that? [MICHAEL] I saw the way he looked at you. [MARGO] Probably because he saw the way I looked at you. She kisses him, pauses. [MARGO] Is something wrong? [MICHAEL] To tell you the truth, I feel a little like the baby-sitter's boyfriend -- you know, afraid the kids'll pop in any minute. She laughs, regards him for a moment. [MARGO] I have just the place in mind. It's very private. She kisses him, then rises, crossing toward the bedroom. [MARGO] Give me five minutes. [MICHAEL] I'm counting. She smiles, disappears into the bedroom. As soon as the door closes, Michael is on his feet. ANOTHER ANGLE He quickly checks the house, looking for the twins. They're nowhere to be seen. He hears the shower go on in Margo's bedroom suite. It's now or never. He quickly crosses for the den. ANGLE IN DEN The door opens and he comes in, softly closing it behind him. He goes to the computer desk, rifles through it. Pauses, something catching his eye. He lifts it out. CLOSE ON CPU It's identical to the one he retrieved from the drone car. He slips it into his pocket. Suddenly the sound of a door opening. WIDER ANGLE Margo stands in the doorway, flanked by the twins. [MARGO] You were right. The kids did pop in.... With that she steps aside and they charge in. VARIOUS ANGLES - THE FIGHT It starts in the den, spills back into the living room. What the twins lack in speed they make up for in sheer size and power. Michael uses every move he knows, from street fighting to karate, several times narrowly avoiding being crushed to death by huge arms. Margo urges them on, imperi- ous and demanding. Michael ducks a punch, karate chops out of a bear hug and runs for the front of the house. EXT. FRONT OF HOUSE - DAY Michael crashes through a bay window in slow motion, hits the ground in a tuck-and-roll and comes up running. CUT TO EXT. STREET - NIGHT The semi rolls by. [MICHAEL'S VOICE] This is it, Devon.... INT. SEMI - NIGHT Michael and Devon in the front area. Michael is holding the CPU. He's got another bruise or two but otherwise looks all right. [MICHAEL] All we need to tie Halston to the drone. [DEVON] If Bonnie can break it down to its components, its programs. [BONNIE'S VOICE] I'll have to use the facilities at the university. WIDER ANGLE TO INCLUDE WORK AREA or, rather, what we see of it; it's been screened off by a white curtain, as in an operating room. The trac lights above are bright and intense. [MICHAEL] I'll go with you. [BONNIE'S VOICE] Thanks, but I'd rather go alone. [MICHAEL] No way! It's too dangerous. Bonnie pokes her head out. [BONNIE] I can take care of myself. Besides, I'll be able to work a lot faster without you there to get in my way. Micro torque, please. She disappears again behind curtain. [MICHAEL] What? [BONNIE'S VOICE] The micro-torque ratchet. It's next to the exhaust alternators. [DEVON] (picks it up) I believe this is the object in question. Her hand appears through curtain. [MICHAEL] Thanks. He slaps it into Bonnie's outstretched hand. The hand disappears. INT. OPERATING TENT - NIGHT Bonnie, dressed in white coat, works on K.I.T.T.'s dash area. The hot bright lights coming through the open top. (Note: We will not see any of K.I.T.T.'s new dash at this point.) [BONNIE] There's a laser diode there in the middle. Intercut as needed. [MICHAEL] (searches counter for) Laser diode...laser.... (picks it up) This close enough? Passes it through. [BONNIE] Thanks. [MICHAEL] Wouldn't it be easier if I just came in there with you? [BONNIE] No. [MICHAEL] I'd scrub down. Honest. Devon could certify me germ-free. Silence. Devon smiles. Michael shrugs. [MICHAEL] Guess not. (slight beat) This is almost like old times. [BONNIE] Don't kid yourself. [DEVON] Bonnie, we are on a tight schedule. How much longer? [BONNIE'S VOICE] He's finished, but I haven't checked out all of his systems yet. [DEVON] In that case, I'll arrange for transportation to the university. Kitt's final checkout will have to wait. Bonnie steps out. [BONNIE] On one condition. (to Michael) No peeking. [MICHAEL] (an innocent gesture) Hey.... CUT TO INT. UNIVERSITY LAB - NIGHT Dark. Silent. Then a key in a door, it slowly opens and a figure slips in. One bank of lights flicker on. We see the figure is Bonnie. She has the CPU with her, crosses to the bank of computers, and begins work. CUT TO INT. SEMI - NIGHT Devon is on the phone. Michael is nearby watching him. Both men terribly concerned about Bonnie. [DEVON] I'm sorry to hear that. Yes, thank you for calling, Lieutenant. He hangs up. [MICHAEL] Well? [DEVON] A girl by the name of Su-Lin was fished out of the bay earlier this evening. [MICHAEL] Su-Lin? That's Peter Wong's girl friend! [DEVON] That's right. The police believe she was killed someplace else, but they have no motive yet. [MICHAEL] Motive, Devon?! She was in love with the wrong guy. Probably knew a little too much. [DEVON] One thing for sure, these people are playing for keeps. [MICHAEL] Two things for sure, Bonnie's been gone over an hour already. An hour and seventeen minutes to be exact. ANGLE TO INCLUDE K.I.T.T. He glistens under the hot lights immaculate, virginal. Michael whistles, crosses to the driver's door. [DEVON] Remarkable. [MICHAEL] Kitt? Is that you? [K.I.T.T.] It's me, Michael. ANGLE IN K.I.T.T. as Michael slides in, looks over the instrument panel. [MICHAEL] Hey, pal. Looks like you got a facelift. [K.I.T.T.] Bonnie added some new functions. [DEVON] She said she 'whipped up a few things between classes.' [MICHAEL] Just the little chef. Let's take a look. He starts K.I.T.T. The instrument panel comes to life, a fairyland of LED displays and functions. [MICHAEL] Wow. [K.I.T.T.] (modestly) Thank you. Michael examines the various buttons: [MICHAEL] Now if I only knew what some of these things did. [K.I.T.T.] Only one way to find out, Michael... but don't push Turbo Boost! [DEVON] I see he hasn't lost his sense of humor. [MICHAEL] All right... (selects buttons) I.G.P. Pushes it. INTERCUT - MONITOR with various graphics to demonstrate: [K.I.T.T.] That stands for my new Three- Dimensional Interactive Graphics Plotter. [MICHAEL] You gotta be kidding. [K.I.T.T.] Let's say we run up against someone wearing a disguise, and want to find out who he really is. Like this man here --- The man really looks villainous, moustache, glasses, slick hair, scar, the works. [DEVON] I hope you don't run up against him in a dark alley. [K.I.T.T.] I'll simply break down his face with my I.G.P.... We see this on monitor, then back on Michael and Devon. [K.I.T.T.] Then activate my Linear Predictive Graphics Routine...And voila -- a Three-D reconstruction of the real face. ANGLE ON MONITOR It's Devon. BACK TO SCENE [MICHAEL] You're right, Devon -- I wouldn't want to run into him in an alley. Let's see what else you've got, buddy. He begins pushing buttons as: [K.I.T.T.] That's my Thermo-Dynamic System. [MICHAEL] Sounds hot. [K.I.T.T.] That little flashing red light, Michael, represents three thousand degrees Fahrenheit. Enough to expand and eventually melt steel. Pressing another button: [MICHAEL] E.G.M.? [K.I.T.T.] Electrical Generating Mode. Intercut monitor: [K.I.T.T.] Puts out enough current to power a small city. [MICHAEL] Shocking. K.I.T.T. gets carried away --- [K.I.T.T.] And then there's my new Polyphonics Synthesizer, which allows me to duplicate any sound on earth. Various sounds: Explosions, jungle sounds, thunder, lightning, traffic, etc., until: [MICHAEL] Whoa, pal, I'm convinced...now let's go get Bonnie. EXT. ROAD - NIGHT As the semi rolls past, the tailgate lowers and K.I.T.T. rolls out, hits the pavement and accelerates. CUT TO INT. UNIVERSITY LAB - NIGHT It's dark except for a single bank of lights over the work area, where Bonnie labors over the CPU. DIFFERENT ANGLES Using the big computer, she breaks the programs down, one by one. CLOSE ON BONNIE She discovers something, reacts. A mixture of feelings. ANGLE FROM PHONE She rises, steps to it and dials a number. [BONNIE] (into phone) Devon, it's me. Michael was right. Halston might as well have autographed the CPU. He used a microchip he designed for the Tri-S -- it's not even in production yet.... The line suddenly goes dead. Bonnie reacts. WIDER ANGLE Halston's finger is on the button. She screams but it's choked off as his hand covers her mouth. On her face: FADE OUT END OF ACT FIVE ACT SIX FADE IN EXT. GOLDEN FOX - NIGHT The hot lights are flashing. We hear music from inside. INT. GOLDEN FOX - NIGHT The camera moves through the small crowd, holding several exciting beats on the Golden Fox dancing on stage, then continuing toward the rear and into the back room. INT. BASEMENT - NIGHT as the camera moves into the tunnel. INT. TUNNEL - NIGHT - OPEN CLOSE ON THE HIGH-POWERED DRILL Jackson continues out to cut through the earth as Peter shovels. Then they both stop to take a very needed break. [PETER] My great grandfather spent half his life in tunnels, and I end up doing the same thing. Only in America. Well, I quit! He throws down the shovel. [JACKSON] Pick it up. [PETER] I'm a wire man, not a tunnel digger! [JACKSON] (fixes him with a look) You're either a tunnel digger...or a grave digger, take your pick. Beat, and Peter picks up his shovel. [JACKSON] Now shovel. Jackson looks at him a hard beat and goes back to work. Peter returns to his shoveling. OMITTED INT. COMPUTER RESEARCH AND DEVELOPMENT CENTER - NIGHT - ON MICHAEL as he looks about Bonnie's lab bench searching for some clue to her disappearance. ANGLE TO INCLUDE DEVON hurrying in. Both men are terribly upset: [DEVON] The police have put out an APB for her, and I've also notified campus security to search the entire grounds. [MICHAEL] The CPU is also missing. Halston must've surprised her while she was talking to you, and kidnapped her. [DEVON] I'm sure you're right, Michael. The question is -- where did he take her? [MICHAEL] That's what I'm going to find out, Devon. One way or another. He hurries from the lab. CUT TO EXT. INDUSTRIAL SITE - NIGHT It's deadly quiet. INT. INDUSTRIAL SITE - NIGHT - ON BONNIE AND TURK as he holds her tightly by the arm. She struggles: [BONNIE] Let go of me, you ugly anthropoid! [TURK] I've been called worse things...I think. ANGLE ON MARGO AND HALSTON a short distance away. Halston prepares a sedative. Margo wears a full length fur and diamonds, looking somewhat out of place but still beautiful. Both Clifton and Turk are also nicely dressed. [MARGO] What are you going to do with her? [HALSTON] This will put her out for a long time. He draws the liquid into the syringe. [MARGO] Not long enough. [HALSTON] I'm not going to kill her if that's what you're getting at. [MARGO] If you haven't got the guts for it, I'm sure one of my little playmates would be more than glad to oblige. [HALSTON] Margo...I might be a lot of things, but a murderer isn't one of them. [MARGO] David...as long as I'm in charge here.... (gently strokes Clifton's bulging arm) And I am in charge here...you are exactly what I say you are. (holds him with a look) Just make sure she doesn't get in our way. Beat, then he moves toward Bonnie with the syringe. ANGLE TO INCLUDE BONNIE, TURK, OTHERS Bonnie begins to struggle again. To Halston: [BONNIE] You can't do this to me. I always looked up to you.... [HALSTON] Hold her arm. Turk tightens his hold to secure her arm. [BONNIE] Respected you, I never dreamed you could be.... He gives her the shot. [BONNIE] Involved in something... (feeling dizzy) something...like this. How.... She begins to fall and Turk picks her up. [HALSTON] Put her on that cot over there. Turk carries her unconscious form to a small cot. Margo moves to David: [MARGO] I talked to my contact a little while ago. I assured him nothing would go wrong. [HALSTON] And nothing will. [MARGO] For your sake, David, I hope not. (smiles) Ready boys? I smell rain in the air. Tonight you'll sleep inside. They follow her out. ANGLE ON HALSTON watching them leave. CUT TO EXT. MANSION - DAY - ON K.I.T.T. as he approaches the wrought iron gate. It's very early morning, the house is still. INT. K.I.T.T. - DAY troubled: [K.I.T.T.] Do you really think those two gorillas know where Bonnie is, Michael? [MICHAEL] Yes...but knowing and telling are two different things. [K.I.T.T.] I'm sure you'll figure out a way to make them talk. [MICHAEL] Thanks for the vote of confidence, pal. He gets out. EXT. MANSION - DAY - ON MICHAEL as he looks about, trying to come up with a plan. Then his eyes fall on the wrought iron fenced gate. [MICHAEL] Kitt, let's have that new voltage induction coil of yours. ANGLE ON INDUCTION COIL as it comes shooting out, landing near Michael. It's a thin, highly polished wire, with a small clamp on the end. FULLER ANGLE as Michael is about to clamp it onto the fence: [K.I.T.T.] Michael! ON K.I.T.T.'S MONITOR [K.I.T.T.] My scanner tells me if you so much as touch that fence it's going to activate an alarm inside. BACK TO SCENE [MICHAEL] I sure hope so. He clamps it to the base of the fence. CUT TO INT. DEN - DAY - ON BANK OF MONITORS as a red light mounted on top begins flashing, accompanied by a buzzing sound. FULLER ANGLE ON CLIFTON AND TURK both are in exercising shorts, T-shirts and pressing weights. They react to the alarm, hurry to view the monitors. INSERT - MONITORS Several views of the grounds, but no sign of Michael or K.I.T.T. One monitor, however, does have a flashing blip on a grid, telling exactly where the break in security is. FULLER ANGLE [CLIFTON] It's at the back fence. Probably just a squirrel again, I'll go check it out. He leaves. Turk goes back to his pressing. EXT. GROUNDS - DAY - ON CLIFTON He's moving toward the fence, when he suddenly sees something and stops. WHAT HE SEES - MICHAEL just inside the fence, and looking around. He sees Clifton. FULLER ANGLE as Michael runs for the fence, with Clifton not far behind. ANGLE ON MICHAEL grabbing hold of the top of the fence he swings across to the other side. Into comlink: [MICHAEL] Kitt, time to try out your new Electrical Generating Mode. ON ELECTRICAL GENERATING MODE BUTTON It lights up. ON VOLTAGE GAUGE to show amount of power being generated. ON COIL WIRE to hear the surge of electricity traveling toward the clamp. ANGLE ON FENCE, CLIFTON, CLAMP as Clifton reaches the fence, and puts his hand on the top bar to jump over, only to have the sizzling, sparking electricity secure his hand to the bar. He can't let go, begins to vibrate as the controlled current courses through his body. [MICHAEL] 'Morning, Clifton...electrifying day, don't you think? Michael smiles; Clifton continues his vibrating dance. CUT TO INT. DEN - DAY Turk, curious why his partner hasn't returned, glances at the monitors again and goes to look for him. EXT. GROUNDS - DAY - ON TURK following the path Clifton traveled before, and stopping dead in his tracks. WHAT HE SEES - HIS BUDDY dancing up and down, trying to speak, but unable to. Michael is nowhere in sight. BACK TO SCENE Turk scratches his head and runs to Clifton's aid. [TURK] You got something in your shorts? He takes Clifton's hand...and now he too is jumping up and down as the current passes from the fence, through Clifton and into Turk. Sort of a cross between the minuet and St. Vitus dance. ANGLE TO INCLUDE MICHAEL appearing from behind a tree, as K.I.T.T. also drives up from having taken cover a short distance away. [MICHAEL] Hey, that's pretty good. You guys keep practicing and I might be able to get you two weeks in Vegas. (the jokes are over) Now I'm going to ask you one question ...one time...and you better come up with the right answer. Where's Bonnie? They make no attempt to answer. [MICHAEL] Suit yourself. Kitt, give them a little more juice. ON K.I.T.T.'S VOLTAGE GAUGE going up and up. BACK TO SCENE Clifton and Turk are dancing all the faster now, showing the effects of the increased voltage, and their hair is even beginning to stand on end. [MICHAEL] Where's Bonnie? No attempt to answer. [MICHAEL] Kitt. ON VOLTAGE GAUGE going higher. BACK TO SCENE [MICHAEL] Where's Bonnie? Their hair is straight on end now, their eyes bulging, and their shorts are even beginning to smoke. [MICHAEL] Where's Bonnie? ON CLIFTON AND TURK with their last bit of effort, they both indicate they want to talk by moving their mouths very quickly, shaking their heads yes. [MICHAEL] Bring it down a little, Kitt. ON VOLTAGE GAUGE going down. BACK TO SCENE Their hair is going down, too, and they don't dance as fast. [MICHAEL] Where's Bonnie? [CLIFTON] Atttaaaa theeee boooaaattt yaaarrrddd. [MICHAEL] What boat yard? [TURK] Huuunnnttterrr'sss Ppppoooiinnttt. [MICHAEL] What building? They don't answer. [MICHAEL] Kitt! ON GAUGE going up. BACK TO SCENE they quickly talk. [CLIFTON] Tthhee eellecttrronniccs builddinngg. [MICHAEL] Got that, Kitt? [K.I.T.T.] Yes, Michael, the electronics building at Hunter's Point. [MICHAEL] Notify Devon to alert the authorities, and have them send someone to pick up the electric muscle heads here. Accessories to kidnapping. Michael heads back toward K.I.T.T. ANGLE ON CLIFTON AND TURK doing their dance. CUT TO EXT. INDUSTRIAL SITE - DAY We pan the tops of the buildings to see a SWAT team in position on the roofs. Pan down to: THE GROUND to see police cars waiting to move in. ANGLE ON MICHAEL seated inside K.I.T.T. Devon stands next to him. (Note: This is a big rescue operation, so precautions should be taken according to police procedures, with regard to the victim's safety.) Devon glances around: [DEVON] It's too quiet, Michael...I don't like that. [MICHAEL] Your scanner still hasn't picked up anything, buddy? [K.I.T.T.] I'm sorry, Michael, even with my new A.T.X. Surveillance equipment, there's just too much electrical interference around here for me to tell if there's anyone inside or not. Michael looks the place over, then makes his decision: [MICHAEL] All right...let's take a first hand look. (punches the right buttons) Tell 'em we're going in, Devon. [DEVON] Good luck. Devon moves off to the uniformed officer in charge. INT. K.I.T.T. [MICHAEL] Ready, pal? [K.I.T.T.] Ready, Michael. [MICHAEL] Let's do it. He drives to his position. VARIOUS ANGLES as Michael picks up speed and crashes through the large doors. INT. INDUSTRIAL SITE - DAY as K.I.T.T. comes crashing in, and fishtails to a stop. CLOSER ON MICHAEL as he jumps from the car, spins around, covering every section. The disappointment clearly seen in his face. MICHAEL'S POINT OF VIEW - ROOM It's empty. Even the equipment and the drone cars have been moved out. And Bonnie is nowhere in sight. BACK ON MICHAEL a pained, disheartened expression, as we: FADE OUT END OF ACT SIX ACT SEVEN FADE IN EXT. GOLDEN FOX - DAY It's early evening, not open for business. Still, loud rock music pounds inside. INT. GOLDEN FOX - DAY A beautiful, long-legged Girl in heels, shorts and tank top is auditioning for Bubba. He sits at a nearby table nursing a beer, bored. [BUBBA] More flash, more flash! [GIRL] (pleased) 'More cash?' [BUBBA] Turn down the music, you might be able to hear me! [GIRL] What? He waves her off, disgusted. She shrugs, continues dancing. INT. TUNNEL - DAY Peter is working to neutralize one of the many alarms seated into the wall of the vault. It's delicate, pain- staking work, but Peter's a genius at it. Even Jackson observes him with some admiration. [JACKSON] Where did you learn how to do that? [PETER] It's something you have to be born with. Like having an ear for music. [JACKSON] Then I have to admit...you're Prince and Rod Stewart rolled into one. [PETER] (smiles) Coming from you, C.J., that's a real compliment. Then they both react to someone approaching. ANGLE TO INCLUDE HALSTON coming toward them carrying the unconscious Bonnie. She's partially covered with a raincoat, her ankles and wrists tied. [PETER] Now that's what I call room service. Did you bring one for C.J.? [HALSTON] Don't get any ideas. He places her on the ground. [JACKSON] What's this all about? [HALSTON] It's a long story. But don't worry, by the time she comes to we'll be far away from here. How's it coming? [PETER] I should have these alarms neutral- ized in a couple of hours. [HALSTON] (to Jackson) The vault? [JACKSON] By daybreak. Right on schedule. [HALSTON] Excellent. Then I better let you get back to work. He starts to leave. [JACKSON] What if she comes to before we finish. Halston stops, turns. [HALSTON] She won't...but if she does... (glances at her) I'm sure you can handle it, C.J. They exchange looks, and Halston continues out. Jackson looks at Bonnie: [JACKSON] No sweat. Peter looks at him, then continues on the alarms. CUT TO EXT. COUNTY PRISON - DAY - ESTABLISHING K.I.T.T. is parked outside. INT. CELL AREA - DAY - ON MICHAEL as he moves to one of the cells, looks inside. He's carrying a rod-like, space-age instrument, the "real" use of which we will discover later. [MICHAEL] Feeding time. ANGLE INTO CELL where we see Clifton and Turk. They're not overjoyed at seeing him, especially when they spot the instrument. In fact, they become clearly nervous. What the hell is it? [MICHAEL] How are they treating you? They all but growl. He begins using the instrument as a pointer, emphasizing his words. INTERCUT AS NEEDED [MICHAEL] Hey, come on, fellows, no hard feelings. Clifton and Turk are becoming "real" nervous about that instrument. [MICHAEL] Look, I just wanted to see that you were all right. (taps the instrument against the cell bars) My motto is, let bygones be bygones, win some, lose some, every dog has its day... (notices their eyes are glued to the instrument) Oh, this? Just a little pain inducer. [TURK AND CLIFTON] Pain inducer?! [MICHAEL] State of the art. It's part of a computerized program to test tolerance levels. This little adjustment here goes from -- drilling into the nerve of a bad tooth to being burned at the stake. (points it at Turk) Which would you prefer? Turk's mouth drops open. [MICHAEL] Well, then, why don't we just start with the ol' drill-to-the-nerve-bit, and work our way up the ladder. As Michael starts to make the adjustment: [TURK] What-d-ya-wanna-know?! [MICHAEL] Why did you kill that old man in Chinatown? [CLIFTON] We didn't kill anyone! [MICHAEL] The police found your fingerprints, and someone ID'd you leaving his herb shop. No response. [MICHAEL] Okay, suit yourself, but let's skip number one and go straight to -- (shudders) Unlucky thirteen. He makes the right adjustment, aims the instrument. [TURK] Margo told us to get his maps! [MICHAEL] What maps?! [CLIFTON] Of the Chinese tunnels! [MICHAEL] Why did she want maps of the Chinese tunnels? [TURK] We don't know. Michael points the instrument at Turk. He's petrified, but: [TURK] She didn't tell us! [CLIFTON] That's the truth! They both stand with their fists clenched in front of them, like small children waiting to be paddled, shaking, their faces scrunched up, fearing the worst, when Michael suddenly relaxes: [MICHAEL] Thanks, boys. (starts to leave, but stops) Oh, by the way -- (re instrument) You ought to buy one of these styling combs. Great for the hair. And he runs it through his own hair, using it for what it really is. Grins, and goes off, leaving Clifton and Turk very, very angry. OMITTED EXT. MANSION - POOL AREA - DAY (DUSK) Margo looks beautiful, having just taken her swim before her evening cocktail. She wears an open swim top over her bathing suit. Halston is with her, but we get the feeling he'd rather be somewhere else. He's fully dressed. [MARGO] You assured me nothing would go wrong! [HALSTON] I assured you you'd be able to make delivery on schedule, and you will. [MARGO] And what about my little pets? They were this far from being housebroken. [HALSTON] Clifton and Turk? You should've had your lawyer bail them out. [MARGO] I tried, but they refused bail. [HALSTON] I can't understand why. She stands near the edge of the pool. He goes to her. [HALSTON] Margo, they didn't know anything about our plans. If they did, and talked, the police would be here right now. As for their other talents... (touches her beautiful face) I'm already housebroken. [MARGO] That's what's wrong with you, David ...you were born housebroken. A slight push, and Halston is in the pool. Margo looks at him disdainfully and heads for the house. EXT. SEMI - NIGHT - MOVING INT. SEMI - NIGHT Michael and Devon are in front of the computer/monitor. K.I.T.T. nearby. [DEVON] The Chinese immigrants who first came to San Francisco honeycombed the city with tunnels. They created a whole underground to smuggle in illegal immigrants! [MICHAEL] Kitt, access everything you've got on the Chinese tunnels underneath the city. A complicated maze of tunnels suddenly appears: [K.I.T.T.] The Chinese tunnels, Michael. [MICHAEL] Now pinpoint the location of major vaults. [K.I.T.T.] How major is 'major'? [MICHAEL] Anything designed to safe keep over a million dollars. [K.I.T.T.] In this day of inflation that might take some time. [MICHAEL] Time's what we're running short of, Kitt, step on it. INT. TUNNEL - NIGHT Jackson has only one more hole to drill in the vault to complete the entry circle, when he glances over at Bonnie: [JACKSON] Well, what do you know...the sleeping princess is awake. He puts down the drill and moves to her. As for Peter, he's nearby studying the old maps with renewed interest. ANGLE ON BONNIE Tired, afraid, she instinctively withdraws as Jackson comes closer. [JACKSON] Don't be afraid, I'm not going to hurt you. [BONNIE] Then let me go! [JACKSON] (slight laugh) Can't do that, but I can give you something to drink. [BONNIE] (hard) No, thanks. [JACKSON] Suit yourself. ANGLE ON JACKSON as he digs for a beer among the goodies brought down by Halston. Finds one, pops it, but as he's about to drink he sees something hidden behind the toolbox. [JACKSON] How long has this been here? He reaches in...and pulls out a ghetto blaster. Peter barely looks at it, so involved is he with the maps now. [PETER] Guess Halston wanted us to rock and work. [JACKSON] Sure...after all the work's done. He places it on a ledge, turns on some rock. [PETER] C.J...something's wrong here. Jackson moves to where Peter's studying the maps. [JACKSON] What? Over these next few speeches: THE RADIO turns into our old robot friend, still playing rock. Intercut as needed, including Bonnie's reactions. [PETER] We've dug in the wrong direction. [JACKSON] What are you talking about? [PETER] See for yourself. (pointing out) Here's the club...Here's where we started, but right about here Halston told us to turn left...the bank is over here to the right. [JACKSON] You crazy?! The robot is turning toward them. The ledge is equal to their height -- at least Peter's. [PETER] I'm down here in the tunnel with a killer, digging in the wrong direction, and you ask me if I'm crazy?!! (contrite) Sorry, brother. But Jackson is more interested in studying the maps, and sees that Peter is right. He points behind him: [JACKSON] Then what's in that vault there? They turn toward the vault...but spot the robot. React. CLOSER - ROBOT as a little puff of smoke shoots from his finger, at Peter, and Peter goes out after the slightest struggle. Then the robot turns toward Jackson. As for Bonnie, she's turned away from the puff of smoke. FAVORING JACKSON who has already covered his nose and mouth with a rag, and now attacks the robot. VARIOUS ANGLES as Jackson kicks it, knocks it down, and stomps the hell out of it, until the robot's wires, and computer parts are hanging out. It's dead. Exhausted, Jackson rests against the wall, but for only a second, as: [HALSTON'S VOICE] I had a feeling it wouldn't be much of a match. Jackson spins, looks. ANGLE TO INCLUDE HALSTON having come from up the darkened tunnel...and holding a gun. From the guts: [JACKSON] What's this all about? [HALSTON] About C.J.? It's about getting what you want in life, what's rightfully yours. [JACKSON] (points) The bank vault is that way!! [HALSTON] Oh, I know that...but it's not money I'm after. If it were, I could simply peddle my inventions. No ...just as poor Peter over there wanted his name on Fong's Delight ...the recognition that he created it...I want the world to know that I created what's in that vault over there. [JACKSON] And what's that? [HALSTON] The Surveillance and Strike Satellite. It was my conception...I designed it ...gave it life...and if our govern- ment won't give me my due credit, then I'm sure another government will. No, it's not money I'm after, C.J... but glory...and power. Beat, and then Jackson sees his chance and goes for Halston's gun. It was an ill-conceived move, as Halston drops him with a single shot, then turns to Bonnie, who tries desperately to control her fears. [BONNIE] You're insane. [HALSTON] Perhaps...and all the more reason for you to behave yourself. A little smile, even a bit sick, and then he picks up the drill and continues where Jackson left off. On Bonnie's terrified look, we --- FADE OUT END OF ACT SEVEN ACT EIGHT FADE IN EXT. SEMI - DAY It's early dawn as the semi moves down an almost deserted highway. [K.I.T.T.'S VOICE] Sorry it took so long, Michael.... INT. SEMI - DAY An exhausted Michael and Devon move quickly to the computer monitor. [K.I.T.T.] Here are the locations of all the major vaults. A dozen pulsating red dots overlay the tunnels. Michael studies them. [MICHAEL] Bring the lower quadrant into closeup. The lower quadrant replaces the larger map. Michael fixes on a particular dot closest to a tunnel, which, however is not pulsating. [MICHAEL] The dot center -- screen left -- why isn't it pulsating? [K.I.T.T.] That particular vault doesn't contain money, Michael. It belongs to the Megafax Research Center. [DEVON] Megafax Research? [MICHAEL] You familiar with it, Devon? [DEVON] It's a private firm with a number of Defense Department contracts. In fact, if I'm not mistaken, Doctor Halston was in charge of one. The Surveillance and Strike Satellite Bonnie mentioned. Only.... [MICHAEL] Only what? [DEVON] I seem to have read there was some talk among the scientific community that Megafax refused to give him full credit for it. [MICHAEL] And now he wants it back. I knew it wasn't money he was after. Kitt, if Halston wanted the most direct under- ground route into the Megafax vault, where would he start digging? ON MONITOR as a pulsating route appears. FULLER ANGLE [K.I.T.T.] Right beneath the Golden Fox Club, Michael. [MICHAEL] It's a go, pal. Michael fires up K.I.T.T. EXT. ROAD - DAY (DAWN) The ramp lowers and K.I.T.T. slides out, heading toward the city. INT. VAULT as the plug drops out and Halston slides in, carrying a satellite case with him. ANGLE ON TRI S It's no bigger than a basketball but state of the art in computer satellite technology. FULLER ANGLE Before Halston scoops up the Tri S, he begins putting plastic explosives about the vault itself, taken from inside the carrying case. CUT TO EXT. CITY STREET - DAY K.I.T.T. races by, headed for the Golden Fox. EXT. GOLDEN FOX - DAY Halston comes out with the satellite case, and holding the gun on Bonnie, who still has her wrists tied. ANGLE ON MARGO'S CAR The Caddy pulls up, Margo behind the wheel, but just as Halston starts for it he hears another car roaring toward them. Looks. WHAT HE SEES - K.I.T.T. pulling up. Michael jumps out. ANGLE TO INCLUDE HALSTON, BONNIE [BONNIE] Michael! Michael instinctively starts toward her, until: [HALSTON] Stay where you are! Michael freezes. [HALSTON] Get in. Bonnie gets into the back of the Caddy. [HALSTON] If you try following us, she's dead. Remember that! [MICHAEL] You hurt her...and there's no place on this earth that I won't find you. Think about that! Beat, then Halston gets into the car. INT. CADDY - DAY [MARGO] Did you destroy the plans for the Tri-S? [HALSTON] The explosives are due to go off any minute now. Once that vault blows there won't be a blueprint left anywhere. She gives him a satisfied smile, and they pull out. EXT. STREET - DAY - ON K.I.T.T. as Michael gets inside. [MICHAEL] As soon as they get far enough ahead we'll tail them on your Infrared Tracking Scope. [K.I.T.T.] Michael, I'm truly worried about Bonnie. [MICHAEL] I am, too, pal. But as long as she's in that car we're not going to be too far behind. MICHAEL'S POINT OF VIEW - MARGO'S CAR turning a corner. BACK TO SCENE [MICHAEL] Let's roll. Michael pulls out to follow. EXT. CITY STREET - DAY Margo's car races by. She looks into the rearview mirror, but sees nothing. [MARGO] I'm telling you, he's following us. [HALSTON] Of course, he is. [MARGO] Then what do you intend to do about it? [HALSTON] Get him off our backs once and for all. Halston grabs his briefcase, opens it to reveal his portable computer terminal with a joy stick. He activates the console. ANGLE IN K.I.T.T. Michael behind the wheel. Margo's car seen on the monitor. [K.I.T.T.] Michael, behind us! Michael looks, reacts. WIDER ANGLE Two red drone cars shoot out from a side street, pursuing them. ANGLE IN K.I.T.T. Worried, Michael punches up capabilities. [MICHAEL] Is it armed? [K.I.T.T.] With those dreadful missiles, Michael. [MICHAEL] Let's see if we can't buy a little time with your new Traffic Control System. Michael punches the TCS button. ANGLE ON TRAFFIC LIGHT It changes from red to green. WIDER ANGLE A flow of cars moves into the intersection. ANGLE ON OUR CAB driving toward the light. INT. CAB - DAY Alfred and Henrietta in back. [HENRIETTA] I can't remember when I've enjoyed myself more, Alfred. [ALFRED] Me neither, Henri.... The cabby suddenly slams on the brakes to keep the cab from plowing into the flow of cars. Henrietta and Alfred fly forward. Suddenly they react again as: THE DRONE CARS whiz by and skid to a stop by a truck that is turning left right into them. It's a real mess. Horns blaring. INT. CAB - DAY Henrietta and Alfred have had enough of good times. [HENRIETTA] Young man, take us to the airport! [ALFRED] We can send for our luggage! ANGLE IN K.I.T.T. Michael looks back with satisfaction, at the stalled drones, then concentrates on tailing Margo via the monitor. CUT TO EXT. EMBARCADERO - DAY Margo's car speeds toward one of the piers. ANGLE IN K.I.T.T. A good distance off. [MICHAEL] Kitt, scan those piers, maybe we can get some idea where they're going. ON MONITOR as the various piers scan past, then hold on: BLACK HELICOPTER at the far end of Pier 44. [MICHAEL] That could be it, pal! See if you can get a reading on that chopper. ON MONITOR as registration numbers and other bits of data flash by, then hold on: [K.I.T.T.] It's owned by Hydra Enterprises... suspected of being a front for the terrorist wing of the Middle Eastern Communist Alliance. Michael punches up Devon. [MICHAEL] Devon, I could use some backup. I'm at the Embarcadero. [K.I.T.T.] Michael! HIS POINT OF VIEW AHEAD - A DRONE CAR is racing straight for them. BACK TO SCENE [K.I.T.T.] There's another one behind us! HIS POINT OF VIEW BEHIND - THE SECOND DRONE CAR is moving up for the kill. WIDE ANGLE The two drones speed toward K.I.T.T. from opposite ends. ANGLE IN K.I.T.T. Michael looks front, back. [MICHAEL] Kitt, monitor the firing mechanisms! Tell me the instant they're activated! [K.I.T.T.] Michael, what on earth -- now! Michael presses the Ski Mode button. WIDE ANGLE - DIFFERENT SHOTS K.I.T.T. rises on his two right wheels as the two missiles are fired, one from each drone. They pass under K.I.T.T.'s raised side and explode into the opposite drones in a ball of fire and debris. OMITTED ANGLE IN MARGO'S CAR She glances at Halston. Re K.I.T.T.'s demise: [MARGO] Did it work? Halston is stunned. [HALSTON] I don't believe it. Margo gets the message. [MARGO] You idiot! She turns onto the pier, races for the chopper, ready to lift off. ANGLE IN K.I.T.T. as Michael takes the same turn, skidding a good six feet to the side before straightening out. ON MARGO'S CAR pulling to a stop. Margo and Halston get out and race for the chopper. ON K.I.T.T. pulling right in front of them and cutting them off. Michael jumps out. VARIOUS ANGLES as Halston levels his gun on Michael, only to have Michael grab hold of his hand, crack it on his knee, forcing the gun to fall out. VARIOUS ANGLES - THE FIGHT Both men land several solid punches. And in the struggle Michael's comlink is ripped off and falls a short distance behind Margo, who at this time is moving to retrieve Halston's gun. Then Michael throws a solid right, decking Halston for good, only to look up to see Margo holding the gun on him: [MARGO] If I ever run for President, I'll be sure to make you my running mate. [MICHAEL] It would be a first. [MARGO] Now, I'll take that case over there. As she points to the satellite case which has stayed near Michael during the fight, Michael glances over to see: INSERT - COMLINK lying behind Margo. BACK TO SCENE [MICHAEL] Margo, you're not going to believe this, but my partner is right behind you. [MARGO] You're a man of many extraordinary talents, Michael...but lying isn't one of them. The case. [MICHAEL] All right, suit yourself. She's all yours, Kitt. TIGHT ON COMLINK [K.I.T.T.'S VOICE] Put down the gun.... FULLER ANGLE [K.I.T.T.] Margo. And I mean now! She turns. Sees no one, turns back, but Michael is already on top of her. Still, she struggles, and so close are they to the edge of the dock that they both fall into the water. ON POLICE CRUISERS pulling up in b.g., officers jumping out. Two we'll race toward the choppers, while one helps Bonnie from the car, unties her wrists. ANGLE INTO WATER It's not much of a struggle anymore. Margo loses the gun, and Michael grabs her from behind, incapacitating her. [MICHAEL] (calling loud) Kitt, I could use a hand. ANGLE ON K.I.T.T. Bonnie slides in. He auto-starts and drives to the pier. [K.I.T.T.] Right away, Michael. [BONNIE] Two hands, in fact. She pushes the button. INSERT - GRAPPLING HOOK It fires. ANGLE IN WATER Michael grabs onto it with one hand, the other with a good grip. [MICHAEL] (comlink) Okay, pal. Anchors away. As K.I.T.T. begins to retrieve the cable, pulling Michael toward shore. FADE OUT END OF ACT EIGHT TAG FADE IN EXT. THE GOLDEN GATE MARINA - DAY K.I.T.T. pulls up and Michael gets out, dressed and ready to go sailing. [MICHAEL] Well, pal, it's off to the briny deep, following the north star, sailing o'er the waves. [K.I.T.T.] Really, Michael, I'm getting seasick just listening to you. But Michael sees something O.S. [MICHAEL] Oh, no. MICHAEL'S POINT OF VIEW - DEVON'S LIMO coming toward them. ANGLE ON MICHAEL [MICHAEL] What does he want now? Devon parks nearby and gets out the back. He, too, is dressed for sailing. He moves to Michael. [DEVON] I thought you might need a first mate, Michael? [MICHAEL] (sotto voce) Like I need a hole in my hull. (but to Devon) Yo, Devon! Glad to have you aboard. ANGLE ON BONNIE also coming from the limo. [BONNIE] How about a second mate? ANGLE TO INCLUDE MICHAEL lighting up as Bonnie runs to him. He hugs her: [MICHAEL] You can sail with me anytime you want. [BONNIE] For the entire cruise? [MICHAEL] Welcome back, Bonnie. [DEVON] Well, Captain, lead the way. Michael does. [K.I.T.T] I can't look. K.I.T.T. turns around. ANGLE ON MICHAEL, DEVON AND BONNIE arm-in-arm heading for Michael's rented sailer. [MICHAEL] Slip number 3 ...should be right over.... They suddenly stop. Their faces drop. WHAT THEY SEE A mast sticking out of the water. The boat is obviously on the bottom. A sign establishes slip number 3. BACK TO SCENE They exchange looks. [MICHAEL] Mates...what say we just go have lunch? [BONNIE] Good idea.... As they head back to K.I.T.T.: [DEVON] I'll even buy! ANGLE TO INCLUDE K.I.T.T. turning to face them. His light flashing. [K.I.T.T.] Home, home from the sea! And as they look to K.I.T.T., we: FADE OUT THE END

{"show": "Knight Rider", "season": "s03", "episode": "e01", "title": "Knight of the Drones"}

knightriderarchives

ACT ONE FADE IN EXT. VAN DECKER AUCTION HOUSE - DAY - ON K.I.T.T. turning into the parking lot. Lots of expensive cars. [MICHAEL'S VOICE] Between you and me, Bonnie.... INT. K.I.T.T. - DAY Bonnie is seated next to Michael as he continues: [MICHAEL] I can think of at least ten different ways I'd rather be spending my day off. ANGLE TO INCLUDE YOUNG LADY as Michael spots her. She's beautiful and wears shorts and T-shirt. [MICHAEL] Make that eleven. He pulls into a parking spot. Bonnie suppresses a smile. [BONNIE] Poor Michael Knight. Victim of the work ethic. Prince of the powerless. [MICHAEL] I wouldn't go that far. [K.I.T.T.] Neither would I. They get out, start for the entrance. [BONNIE] According to Devon, the late Mrs. Potts was a staunch supporter of the Foundation. [MICHAEL] From the looks of these cars, staunch isn't all she was. She must've been worth millions.... OMITTED INT. VAN DECKER AUCTIONEERS - DAY - CLOSE ON DEVON [DEVON] Ten million, to be precise. FULLER ANGLE Suitably impressed, Michael and Bonnie are with Devon, while in the b.g. a half-dozen or so wealthy buyers inspect the various objects d'art about to be auctioned off. A nearby sign reads: ESTATE OF THE LATE EUDORA POTTS. SALE TIME, 10 AM. [DEVON] Mrs. Potts might've seemed a bit eccentric, Michael, but she had impeccable taste in husbands. [MICHAEL] (looking off) She didn't do too badly in diamonds, either. ANGLE TO INCLUDE JODY TOMPKINS She's twenty-three, very pretty, with a great body and a look that tells us she sometimes dreams of far away wonders. She's also moving about modeling a million bucks worth of diamond jewelry. Devon motions to her: [DEVON] The auctioneer said the stones alone should fetch about three million -- the proceeds of which have been earmarked to help fund our various charities. (a little smile to Jody) Now you see why I wanted the two of you here. [BONNIE] I smell public relations. [DEVON] It's not an altogether unpleasant odor. Sometimes an ounce of PR is worth a pound of arm-twisting. [MICHAEL] (glances off) Speaking of which, I think I see someone with a corporate check book looking to buy a small present for his wife. [DEVON] (looks off) Very good. You're learning. Excuse me. Devon heads for a gentleman looking at a display case of diamond jewelry. Bonnie glances at Michael. [BONNIE] With a little practice, you could be dangerous. [MICHAEL] Have I told you it's good to have you back? She smiles, not sure whether to believe him or not. CUT TO EXT. VAN DECKER AUCTIONEERS - DAY We're on Charley Winters and Lyle Austin as they look at the jewelry displayed in the small security window. Winters is early thirties, blond and broad-shouldered, with an easy charm and the good looks of an All-American. Austin, on the other hand, is tough with the personality of a switchblade and a face that's run into too many hard objects. A small sign in the window reads: ESTATE SALE OF EUDORA POTTS. [AUSTIN] Come on, let's do it. He starts toward the front door, but Winters takes his arm, cautioning him: [WINTERS] Just remember, we do it clean. Austin shrugs off his hand, fits a Halloween mask into place. [AUSTIN] What is this, a stick up or a political campaign? [WINTERS] It's what I say it is, Lyle. I planned it. It's my dance. INT. VAN DECKER AUCTIONEERS - DAY Jody is showing her diamond necklace to Michael and Bonnie, unaware they're not potential buyers. She has a lovely, ingenious quality. [JODY] I was told Napoleon gave this to Josephine. [BONNIE] Some men know how to treat women, Michael. [MICHAEL] Yes, but you know what happened to Napoleon? Michael grins. Suddenly: ANGLE ON WINTERS AND AUSTIN bursting into the room. They wear Halloween masks and hold guns, Austin a Magnum and Winters a .38. [AUSTIN] Freeze! Nobody move! ON SECURITY GUARD starting to go for his gun when Austin turns on him; feet planted, ready to fire. [AUSTIN] Don't. The guard freezes. [AUSTIN] Drop your belt. (to Winters) Go! ANGLE ON MICHAEL AND DEVON exchanging looks but there's little they can do as the guard unbuckles his belt. For all his aplomb, guise of decorum -- even in a robbery -- Devon seems particularly disturbed. FULLER ANGLE Winters reaches the display case, smashes it open with his .38. He scoops out diamond jewelry into a nylon bag. Austin grabs the necklace around Jody's neck, looks at her close, his eyes to hers. [AUSTIN] You come with this, pretty? Michael reacts, angrily. His eyes are intense, his voice is deceptively calm. [MICHAEL] You came for the diamonds. Take the diamonds. Austin reacts, swings the Magnum directly on Michael. [AUSTIN] The only thing standing between you and that wall is my finger. Don't press your luck. He yanks the necklace off as Winters crosses back, the nylon bag filled. Austin gives Winters the jewelry he took from Jody. Devon, increasingly distressed, angry, steps forward. [DEVON] Just one damn moment! They're so surprised they stop. Michael and Bonnie stare at Devon. [DEVON] Those jewels are the property of the Foundation for Law and Government. The funds they bring are pledged to charity.... [AUSTIN] (furious) Tell me about it! Before Devon can respond, or Michael react, Austin hits Devon across the head with his pistol. Devon is knocked back. Michael instinctively starts for Austin but Austin levels the Magnum at him. [AUSTIN] Like I said, don't press your luck. EXT. VAN DECKER - DAY The door bursts open and Winter and Austin sprint to two high-powered Japanese bikes at the curb, pulling off their masks. ANGLE INSIDE VAN DECKERS Michael and Bonnie kneel over Devon, semiconscious on the floor. People mill about, frightened. [MICHAEL] (comlink) Kitt, meet me out front! (to Bonnie) Is he okay? [BONNIE] Yes! Go! He goes, dodging through people. Jody watches like a child watching a scary movie. OUTSIDE VAN DECKER'S Winters and Austin scream away as Michael bursts out, running for the curb. ANOTHER ANGLE K.I.T.T. materializes around the corner from the parking lot, barrels to a stop at the curb as Michael races to meet him, slides in one fluid motion. ANGLE ON BYSTANDER He stares. VARIOUS ANGLES Michael hits the throttle...tires spin...the sleek line of K.I.T.T.'s front end flashes by, coming off the curb in an explosion of movement. ANGLE IN K.I.T.T. Michael is intense behind the wheel. [K.I.T.T.] Michael, what happened? [MICHAEL] (tight) He hit Devon. [K.I.T.T.] (concerned) Who hit Devon? [MICHAEL] One of those guys on the bikes. (angry) They had what they wanted. They didn't have to hit him.... He shoots past a car, takes a corner on two wheels. VARIOUS ANGLES - THE CHASE Winters in the lead, the bikes weave easily in and out of traffic. K.I.T.T., on the other hand, is having his problems finding and holding an opening. OMITTED ON WINTERS AND AUSTIN turning onto a street leading to the large drainage pipes of the L.A. River. ON K.I.T.T. making the same turn but a good distance behind, accelerating. EXT. L.A. RIVER (DRY) - DAY - WINTERS AND AUSTIN riding down the side walls then racing toward a distant pipe. ON K.I.T.T. roaring down the side wall after them. INT. K.I.T.T. - DAY The speedometer reads 120. Shooting from behind Michael, through the windshield, we see him gaining on the bikers. EXT. L.A. RIVER - DAY Winters and Austin head directly for the mouth of the pipe. Then, just before reaching it, they bend forward so that their chins hit the handlebars, and disappear into the dark tunnel with only inches to spare. INT. K.I.T.T. - DAY Michael sees the pipe coming up fast. [K.I.T.T.] Michael, unless you're planning on changing my design, and yours, there's absolutely no way I can squeeze into that pipe. Frustrated, Michael slams on the brakes. Shooting: MICHAEL'S POINT OF VIEW We see the pipe coming up to within a few feet. WIDER ANGLE as he screeches to a stop just inches from the opening. Michael jumps out, looking over the area. [MICHAEL] Kitt, scan the drainage system! They have to come out somewhere. INSERT - K.I.T.T.'S MONITOR to see a hologram of the drainage system, a maze of inter- locking pipes. BACK TO SCENE as Michael slides back in: [K.I.T.T.] That's true, Michael. But right now they have their choice of twenty-five exits, covering an area of over a hundred miles. Michael's face registers disappointment, frustration. [MICHAEL] I want those guys, Kitt. Whatever it takes, I want 'em. He hits the throttle and K.I.T.T. fishtails away. CUT TO EXT. HILLCREST CANYON - DAY - ON WINTERS AND AUSTIN as they emerge on their bikes from a drainage pipe located in an isolated rocky area. They pull to a stop. [AUSTIN] We did it! Didn't I tell you to listen to the old pro? [WINTERS] You sure did, Lyle. They remove their dark Plexiglas helmets, climb off the bikes, dusty but exhilarated. [AUSTIN] Now, you want my advice, you come to Napa with me and have that doc fix you up. Time he's through no one'll ever know who you are. [WINTERS] (weighs his words a beat) But no one knows who I am now. You're the one with the record, Lyle, the one who's wanted for breaking his parole. There's no one on earth looking for me. [AUSTIN] All I'm saying is, you can't be too careful. Just when you least expect it some punk always pops out of the woodwork and points a finger at you. (rubs hands together) Okay, let's divvy it up. Winters looks at him a beat, nods: [WINTERS] Sure. He goes to his saddlebag, but instead of pulling out the diamonds he takes out his gun, aims it at Austin. [AUSTIN] Hey, is this a joke? What d'ya think you're doin'? [WINTERS] Just listening to the old pro, Lyle ...eliminating the only punk who could ever point a finger at me. Austin bolts, running for the drainage pipe. ANGLE ON WINTERS He raises the .38, aims and fires. CUT TO EXT. LOFT BUILDING - DAY - ON MICHAEL K.I.T.T. is parked outside. INT. LOFT/APARTMENT - DAY - ON MICHAEL as he looks at a large canvas covered entirely with streaks of paint, a la Jackson Pollock, trying to figure out what it is, or isn't. ANGLE TO INCLUDE JODY standing next to him. She wears paint-spattered jeans and top. There are other paintings of equal quality about the large room which also serves both as her studio and her apartment. [JODY] As you can see modeling is just a means to an end. I'm really an artist. Recognize it? [MICHAEL] (looks from several angles) Don't tell me...Let's see... (points, prays) That...vase and flowers over there! [JODY] My stove and refrigerator. [MICHAEL] Of course...I mean...what else could it be? Have you been painting long? [JODY] Every since I broke my leg trying to learn how to ski, which was right after I almost drowned trying to learn to scuba dive. To be truthful, it began as a matter of survival.... [MICHAEL] Good thinking. [JODY] Then it began to grow...and grow... until it's what you see today. Are you interested in neo-expressionism? [MICHAEL] Isn't everyone? But right now I'm interested in that robbery at the auction this morning. [JODY] I already told the police everything I know, which is nothing. I was just hired to model some jewelry, that's all. [MICHAEL] I was hoping you might have seen something...anything no matter how small or insignificant. [JODY] (shakes her head) Look, I'm sorry your Foundation lost those diamonds. I know the money was going to a good cause. But the only thing I remember about this morning is that I was scared to death. [MICHAEL] I don't blame you. Well, thanks for your time. (hands her card) If anything comes to mind you can reach me here. As he turns to leave: ANGLE TO INCLUDE WINTERS entering the front door. He's dressed in a tasteful sport shirt and jacket, tailored pants and carries a briefcase. He could be your average businessman. He stops upon seeing Michael, but Jody runs to him. [JODY] Charley! [WINTERS] Hey. You okay? [JODY] I am now. Thanks for coming. They embrace, then Jody sees him glancing at Michael. [JODY] Oh, I'm sorry. Charley, this is Michael Knight from the Foundation for Law and Government. (to Michael) This is my fiance, Charley Winters. [MICHAEL] Hello, Charley. [WINTERS] Jody told me about the robbery. Incredible. Any leads? [MICHAEL] Nothing yet. Over this the phone rings. Jody answers it. [JODY] Hello...yes, just a minute. (to Michael) It's for you. Michael takes the phone. [MICHAEL] Hello --- INT. DEVON'S OFFICE - DAY - DEVON AT HIS DESK [DEVON] Michael, the police just turned up something very interesting.... ON MICHAEL Jody hugs Charley, relieved he's here. Charley watches Michael. [MICHAEL] (listens a beat) I'll get right out there. Thanks. (hangs up) Looks like we've got ourselves a lead after all. Winters fights down a reaction. [WINTERS] That was fast. Anything you can share? [MICHAEL] A kid found an abandoned bike in the Hillcrest Canyon area and called the police. They speculate a falling out among thieves. (heads for door) Thanks for your help. [WINTERS] 'Speculate?' [MICHAEL] They found blood...but no body. Michael leaves closing the door behind him. Winters looks shaken. [JODY] You have no idea how awful it was. [WINTERS] I can imagine. He crosses to the window, thinking furiously. [WINTERS] I wish I didn't have to leave so soon. [JODY] Leave? What are you talking about? [WINTERS] Remember that real estate deal I told you about? It's gonna close faster than I thought. [JODY] What real estate deal? Charley, I don't want to be alone. Not now. I'll come with you. [WINTERS] Honey, this is business. [JODY] I don't care. You won't even know I'm there. (teasing smile) Unless you want to. Where are we going? [WINTERS] (beat) A little place up in the wine country...called Napa. CUT TO EXT. HILLCREST CANYON - DAY - ON K.I.T.T. moving fast within the rugged terrain near where Austin fell. [K.I.T.T.'S VOICE] Michael, you know how I feel about dogs, but perhaps this is one job better suited for a bloodhound. INT. K.I.T.T. - DAY [MICHAEL] I have complete faith in you, pal. Besides, the Sheriff's Department can't have their dogs up here for another hour yet. [K.I.T.T.] Somehow, Michael, I don't look upon that as a compliment. Suddenly a beeping sound. Michael looks toward the monitor. INSERT - MONITOR A pulsating red light marks a spot on the 3-D image of the terrain. [K.I.T.T.'S VOICE] My hemometer has picked something up on those rocks above us. BACK TO SCENE Michael looks about. [MICHAEL] This is as far as we go. I'll have to make the rest of the way on foot. Michael stops. [K.I.T.T.] Be careful, Michael, there's nothing more dangerous than a wounded animal. Michael gets out. EXT. RUGGED TERRAIN - DAY Michael looks around, then heads up the rocky hillside. ANOTHER ANGLE as Michael climbs upward out of K.I.T.T.'s scanning vision: ANGLE ON AUSTIN hiding behind some large rocks directly above Michael's path. He's wounded, desperate, but still strong enough to fight for his life. ON MICHAEL as he climbs directly beneath Austin. ON AUSTIN pushing a large rock down with his feet. ON MICHAEL hearing the sound of the falling rock, looking up. MICHAEL'S POINT OF VIEW - THE FALLING ROCK BACK TO SCENE Michael dives out of the way, somersaults, barely avoids being crushed to death by the falling rock, then gets to his feet to see: AUSTIN taking a wild shot at Michael, then heading for higher ground. BACK ON MICHAEL going after him. VARIOUS ANGLES OF CHASE as Michael scampers up the hill, avoiding the falling rocks created by Austin's flight, and coming up behind him. FAVORING AUSTIN spinning about to take a shot. But before he squeezes the trigger: FAVORING MICHAEL knocks the gun from his hand, leaving Austin wide open, and smashing him into the hillside. As Austin slips unconsciously to the ground, Michael's comlink beeps, followed by: [K.I.T.T.'S VOICE] Michael, are you all right? [MICHAEL] (into comlink) A little dusty, Kitt...but a lot better than my opponent. As we: FADE OUT END OF ACT ONE ACT TWO FADE IN OMITTED EXT. HILLCREST CANYON - DAY Michael stands over Austin who's being bandaged by a paramedic. Two L.A. police cars are in evidence, with several police officers present, and an ambulance. [MICHAEL] Why are you protecting him? [AUSTIN] Because I'm a nice guy. [MICHAEL] You're not a nice guy, you're a dirtbag. Now who's your partner, Lyle? What's his name? [AUSTIN] I don't know what you're talking about. It was a hunting accident. Someone mistook me for a deer. [MICHAEL] A jackass would be more like it. Well, suit yourself. But I guess you won't be going on that little trip you had planned. [AUSTIN] What trip is that? [MICHAEL] To Napa. The police found this airline ticket tucked away in your saddlebag. Was your partner going with you? [AUSTIN] Anyone ever tell you you have a one- track mind? [MICHAEL] All the time. That's why I usually get what I go after. (beat) Count on it. Michael moves to K.I.T.T. OMITTED EXT. CITY STREET - DAY - ON K.I.T.T. moving through light traffic. [MICHAEL'S VOICE] Kitt, why would a guy like Lyle Austing be going to Napa? INT. K.I.T.T. - DAY [K.I.T.T.] A good question, Michael. He doesn't exactly seem like a connoisseur of fine wines. [MICHAEL] He was scheduled to leave this evening. (punches buttons) Let's run a check of passenger reservations, see if there's anyone going up there who might've served time with him in the past. [K.I.T.T.] Right away, Michael. INSERT - MONITOR to see various names flashing by, as: [K.I.T.T.] I'm cross-checking with the Department of Corrections now. BACK TO SCENE [K.I.T.T.] Negative, Michael. There's no one scheduled to fly to Napa over the next twenty-four hours who has ever served time with -- (suddenly) Michael! [MICHAEL] What've you got? [K.I.T.T.] There are two names here I'm sure you'll recognize. ANGLE TO INCLUDE MONITOR as two names flash on the screen from a passenger list. Michael reacts. [MICHAEL] Jody Tompkins and Charley Winters. [K.I.T.T.] They caught a flight to Napa less than an hour ago. Do you think it's just a coincidence? [MICHAEL] Yeah...but one too many, pal. Plot out the fastest route to Napa. Michael accelerates. EXT. CITY STREET - DAY - ON K.I.T.T. pulling out. Sound-alikes over. CUT TO EXT. HIGHWAY - DAY - STOCK Several shots as Michael and K.I.T.T. leave the city, heading north. EXT. ROAD - DAY - ON K.I.T.T. moving fast along a road leading into Napa. The heart of the wine country, with fields of grapes stretching endlessly. Early morning and not too much traffic. Sound-alikes conti- nuing over, and somewhere in the sky we catch a glimpse of hot air balloons drifting over the valley. [MICHAEL (V.O.)] Welcome to Napa, Kitt, where wine is king. [K.I.T.T.] Or as the French say, 'Le vin est l'elixir d'amour.' That means.... INT. K.I.T.T. - DAY [MICHAEL] (interrupting) I think I get the general drift. (slight beat) Have you turned up anything on Charley Winters yet? [K.I.T.T.] Negative, Michael. I ran the name through Data Bases in this country and abroad. No one with that name matches the man you describe. It would certainly help to have a picture of him. [MICHAEL] We'll see what we can do. [K.I.T.T.] Michael, do you think Jody knows any of this? [MICHAEL] I'd like to believe not, Kitt...but at this point I wouldn't bet on it. (sees something) Looks like someone's having trouble up ahead. OMITTED MICHAEL'S POINT OF VIEW - WAGON overturned in a gully, with what appears to be a monk trying to right it --- [MICHAEL] Let's see if we can give him a hand. EXT. GULLY - DAY - ON OVERTURNED WAGON The monk, Brother Francis, short and round and loveable -- wearing his familiar cassock -- is huffing and puffing in a vain attempt to right his old wooden wagon that was loaded with used clothing, etc., for the poor. While a short distance away, in the comfort of a shade tree, sits Brother Tyrone, tall and thin and sullen, and next to him, the monastery donkey, also sitting. Pulling a wagon is one thing, righting it another. Suddenly their attention, including the donkey's, shift up the road. WHAT THEY SEE - K.I.T.T. racing to the rescue, down the embankment leading into the gully, along the bumpy gully, and pulling up nearby. BACK TO SCENE Even Brother Tyrone is almost impressed with K.I.T.T.'s driving performance. Michael gets out, moves to them --- [MICHAEL] Looks like you can use some help. [BROTHER FRANCIS] Yes, we were delivering food and clothes to the poor when I'm afraid we strayed a little too far from the straight and narrow. I'm Brother Francis.... [MICHAEL] Michael Knight.... [BROTHER FRANCIS] And that's Brother Tyrone. [MICHAEL] (to Tyrone) Nice meeting you. But Brother Tyrone doesn't respond. [BROTHER FRANCIS] You'll have to forgive him. He's taken a vow of silence. Unfortunately ...he could never work without talking. [MICHAEL] I know how that is. Michael gives K.I.T.T. a look. [BROTHER FRANCIS] And that's Kit. [MICHAEL] How did you know? [BROTHER FRANCIS] (re donkey) Oh, but I named him. When he was just a little ass. [MICHAEL] Your donkey's name is Kit?! [K.I.T.T.] I beg your pardon! The donkey brays in outrage. Even Tyrone comes close to speaking! [BROTHER FRANCIS] Dear Lord, a talking car! Will miracles never cease? Or perhaps... it's a sign, Brother Tyrone. The two Brothers exchange nervous looks, interrupted by: [K.I.T.T.] Michael, I suggest we give them a hand and be on our way. [MICHAEL] Right...Kitt. Donkey brays --- [K.I.T.T.] If you don't mind, I believe he's talking to me! [MICHAEL] Let's have the grappling hook. [BROTHER FRANCIS] And it even drives itself! [K.I.T.T.] Which is more than I can say for big ears over there. K.I.T.T. comes over. Michael takes out the grappling hook, hooks it onto the wagon, and reads what's painted on the side: [MICHAEL] 'The Monastery of the Grape.' [BROTHER FRANCIS] (proud) Yes, perhaps you've tasted some of our wine. Monk's Cellar. We make a perfectly delightful Cabernet, or at least we used to before our wine maker, Brother Juliano.... He suddenly stops upon receiving a stern look from Brother Tyrone. A look Michael catches. [BROTHER FRANCIS] Perhaps we will again someday. The good Lord willing. [MICHAEL] I'm sure you will. Ready, Kitt? Donkey brays, and brays and brays. [K.I.T.T.] Something definitely has to be done about this. Michael, just keep that -- big dog -- away from my tires. [MICHAEL] After we right the wagon, we'll tow it back onto the road. [K.I.T.T.] And the sooner the better. [BROTHER FRANCIS] Bless you...both of you. Michael gets in and K.I.T.T. drives to right the wagon. [BROTHER FRANCIS] Brother Tyrone -- I'm sure it's a sign -- Brother Juliano's going to be back with us soon! Brother Francis starts retrieving the spilled clothing. Tyrone decides to lend a hand. EXT. MONK'S CELLAR WINERY - DAY - ESTABLISHING A SMALLER MISSION-STYLE WINERY Tourists can be seen stopping at the wine tasting bar. Also a number of monks moving about the extensive grounds. OMITTED ANGLE ON BROTHER ROME Big, mean and hooded, he suddenly stops, turns impatiently --- [ROME] Come on, the doctor's waiting. ANGLE TO INCLUDE CHARLEY WINTERS who's been glancing about curiously --- [WINTERS] All right, all right. He catches up, and they move through a door. INT. BOTTLING ROOM - DAY Monks are operating the fascinating and complex machinery that fills thousands of bottles with wine. They avoid looking at the two men. Then Rome leads Winters to a wine rack that obviously serves another purpose. He swings the rack out, revealing a steel door. Takes another key, unlocks it, looks to the ever more curious Winters --- [ROME] You first. [WINTERS] Sure, why not? INT. DOCTOR FELLOWS' CORRIDOR - DAY - ON WINTERS He barely enters, Rome locking the door behind him, before he freezes. WHAT WINTERS SEES a long, wide corridor, with doors on each side leading to various rooms, and bordering some of the doors are racks of wine, so that in many ways this area resembles a large wine cellar. But what has made Winters uneasy are the monks moving about. Unlike the ones we've seen up front, most of these have bandaged faces beneath their cassock hoods. ANGLE ON BROTHER JULIANO A gentle man of sixty, his pleasant face not bandaged, being led to one of the rooms by another unbandaged monk we'll call Carey. Upon seeing Winters, Brother Juliano stops and gives him a rather stern look before being prodded by Carey: [CAREY] Inside your cage, Brother Juliano! Beat, then Brother Juliano gets into his cell and Carey locks the door. BACK TO SCENE [ROME] This way. Winters hesitates, then follows. INT. DOCTOR FELLOWS' OFFICE/OPERATING - DAY Winters sits in a treatment chair, in front of a mirror, as Dr. Fellows, thirty-seven, pleasant, competent, draws on Winters' face with a colorful skin scribe marking pen. A pretty young Nurse, Miss Jones, assists him. The office is very modern. Rome is also present. [FELLOWS] We'll make the eyes a little rounder ...narrow the bridge of your nose... raise your cheekbones...and even alter your fingertips. In time you'll forget there ever was a Charley Winters. Isn't that right, Miss Jones. [NURSE] Charley who? Fellows gives a little laugh at her attempt at humor. Winters isn't amused. [WINTERS] And how much is this going to cost me? [FELLOWS] I usually charge according to what my patients can afford. From what I've heard, you can afford quite a bit. [WINTERS] Don't believe everything you hear, I had to split fifty-fifty with my partner. [FELLOWS] Your partner was shot under 'mysterious' circumstances, and picked up before he got his cut. Which gives you even more reason for wanting to become someone else, in case he ever gets out and comes looking for you. ANGLE TO INCLUDE ROME taking all this in with interest. [WINTERS] (beat) All right, what are we talking about? [FELLOWS] You stole around three million in diamond jewelry. I like round figures. Ten percent is a nice round figure. [WINTERS] That's three hundred thousand dollars! [FELLOWS] A small price to be born again without having to listen to a lot of sermons. Of course, that includes new ID, passport, credit cards, and all the other little necessities of modern day life. [WINTERS] (thinks) When can we get started? [FELLOWS] I don't take Blue Cross, Charley, but I do take white ice. You come back here with three hundred thousand in diamonds...and you've got yourself a new face. Fellows grins, and turns off the bright examination light. ANGLE ON ROME watching Winters with a very greedy look. EXT. RIESLING INN - DAY - ON JODY as she immortalizes the picturesque inn, nestled within fields of grapes, on canvas. Or to be more exact randomly spatters the entire canvas with multicolored paint. Hot air balloons are seen drifting in the b.g. ANGLE TO INCLUDE K.I.T.T. gliding up behind her. Michael gets out, but she's too absorbed in her art to hear him. Michael examines the canvas: [MICHAEL] No, don't tell me.... She turns, surprised, pleased. [MICHAEL] (points) The Inn! [JODY] You recognize it? [MICHAEL] Are you serious? Although...I think you left out one of the windows over here. He points to the place on the canvas. [JODY] You're right. (splashes on a blotch) There! [MICHAEL] You got it! [JODY] Hey, what are you doing here? [MICHAEL] Guess I could ask you the same thing. [JODY] Charley had some business to take care of, so I decided to keep him company. She continues to splash on paint, forcing Michael to back off a bit. [MICHAEL] What kind of business is Charley in? [JODY] Real estate. He works for the Boulder Land Development Company. Ever hear of it? [MICHAEL] No, can't say that I have. [JODY] Charley's one of their top men. [MICHAEL] I'm sure he is. (slight beat) Jody, how long have you known him? [JODY] (uncomfortable laugh) We're getting married in a couple of months. [MICHAEL] That's not what I asked. Stops painting, looks at him. This is obviously a sore spot: [JODY] Four weeks, all right? [MICHAEL] Four weeks? [JODY] Charley's a good man and he loves me ...and more important, I love him. They look at one another a beat, then Jody sees Winters driving up and goes to meet him. He tenses upon seeing Michael. [JODY] Charley, how'd the meeting go? [WINTERS] Fine...just fine. [JODY] (re Michael) Look who's here. [WINTERS] I see. Her arm around him as he moves toward Michael. [WINTERS] Anything we can do for you, Mr. Knight? [MICHAEL] Nope, just following up on that diamond robbery. [WINTERS] Then in that case I don't think you should be bothering Jody. [JODY] Charley, he was just.... [WINTERS] (interrupting) She's been through enough, Mr. Knight. What she needs now is a little R and R. (crowding him) So if you don't mind.... [MICHAEL] (interrupting) Hey, I don't mind one bit. Besides -- Charley -- she's not the one I'm interested in... (smiles) It's you. Michael looks at him a beat, then gets into the Trans Am. INT. K.I.T.T. - DAY as Michael starts to drive off. INSERT - MONITOR Vital sign graph. [K.I.T.T.] Michael, according to Charley's vital signs.... BACK TO SCENE [K.I.T.T.] I'd say you definitely hit a nerve. [MICHAEL] Did you get a photograph of him, Kitt? CLOSE ON MONITOR as three photos of Winters snap on in succession. Each was just taken and in various facial positions. FULLER ANGLE [K.I.T.T.] Does that answer your question? I'm running it through my Image Data Bank now. [MICHAEL] Good work. EXT. ROAD - DAY - ON K.I.T.T. As he pulls away from the Riesling Inn with Winters still watching them, we hold on: PICKUP pulling up nearby. INT. PICKUP - DAY Rome, no longer in his cassock, is seated behind the wheel. ROME'S POINT OF VIEW - WINTERS AND JODY as they move toward the inn. BACK TO SCENE Rome continues to watch, hard, determined. CUT TO INT. FELLOWS' OFFICE/SURGERY - DAY Dr. Fellows, in operating gear, stands over Winters on the operating table. The pretty Nurse prepares the IV. [FELLOWS] Care to take one last look at yourself before we begin? [WINTERS] I've seen enough of myself...let's just do it. [FELLOWS] That's the spirit. (motions for Nurse to begin the IV) Now I want you to begin counting backwards from a hundred. [WINTERS] Ninety-nine...ninety-eight...ninety- seven...ninety...seven...ninety.... And he's out. Fellows throws out his hand, and the Nurse slaps a scalpel into it. CUT TO EXT. RIESLING INN - DAY - ESTABLISHING INT. JODY'S ROOM - DAY Jody is cleaning her paint brushes, making quite a mess, when there's a knock at the door. [JODY] One second. She shakes out a brush, tries washing her hands. Another knock. [JODY] All right, all right. She goes to the door wiping paint-smeared hands on her T-shirt, opens it. ANGLE TO INCLUDE ROME taking up most of the doorway. Her eyes grow wide but she tries not to seem afraid. [JODY] Yes.... Rome pushes his way in. [JODY] Hey, what do you want? He slams the door shut after him. [ROME] The diamonds! [JODY] What diamonds?! [ROME] The ones I'm going to retire on. Now, where'd he hide them?! He begins pulling drawers out, knocking over lamps, throwing off cushions. ANOTHER ANGLE as Jody makes a dash for the door. But before she can reach it, Rome grabs hold of her, begins shaking her: [ROME] I want those diamonds! Jody struggles, starts to scream, but Rome covers her mouth with his huge hand. EXT. RIESLING INN - DAY - ON K.I.T.T. pulling up in front. [K.I.T.T.] I don't see Charley's car anywhere, Michael. INT. K.I.T.T. - DAY [MICHAEL] Let's scan their room. INSERT - SCANNER [K.I.T.T.] There's definitely someone inside. [MICHAEL] I hope Jody's alone. It'll sure make it a whole lot easier telling her what we found out about her fiance. He gets out. EXT. RIESLING ROOM - DAY - ON MICHAEL as he climbs the exterior stairs leading to 2A. Midway up, he hears Jody screaming, runs the rest of the way, and kicks the door open. An inn maid, working nearby, moves closer to see what's happening. INT. JODY'S ROOM - DAY Seeing Michael coming in, Rome draws Jody even closer to him, draws his gun, and holds it on her. Michael freezes. [ROME] Come any closer and she's dead. [MICHAEL] I hear you. I hear you. Michael backs out the door, to let them pass. And as they do, we: FREEZE FRAME AND FADE OUT END OF ACT TWO ACT THREE FADE IN EXT. 2A - DAY Rome moves toward the stairs with Jody. Michael gives him plenty of room. [MICHAEL] Just don't hurt her. (to Jody) It's going to be okay. Just keep cool. Rome backs down the stairs with her. NEW ANGLE as Rome backs Jody to his pickup. [ROME] You drive. [JODY] Yes, but not very well. [ROME] That wasn't a question! Drive! He hustles her behind the wheel, slides in himself, and they roar off. ON MICHAEL jumping into K.I.T.T. [MICHAEL] We can't let him see us, Kitt. [K.I.T.T.] Another project for Bonnie -- find a way to make me invisible. And off they go. EXT. ROAD - DAY - ON PICKUP It roars down the highway, bordering fields of grapes. INT. PICKUP - DAY Rome keeps his eyes glued to the rear window. HIS POINT OF VIEW - TRAFFIC But no K.I.T.T. ANGLE ON K.I.T.T. speeding along the road embankment, at a forty-five degree angle. ANGLE ON CAR DELIVERY RIG as it speeds past K.I.T.T. Top level empty. ON K.I.T.T. [MICHAEL (V.O.)] This could be our chance. [K.I.T.T.] Michael surely there's a more conventional way.... K.I.T.T. surfaces from the embankment onto the road. ON PICKUP Rome's rearview is now blocked by the large car trailer. [ROME (V.O.)] Pull into the other lane. Jody pulls into the inside lane. INT. K.I.T.T. [MICHAEL] Here goes, Kitt. He pushes Turbo-Boost. EXT. K.I.T.T. as he flies into the air landing on top tracks of car trailer. OMITTED VARIOUS ANGLES OF ACTION Rome looks around the trailer now and sees nothing. The trailer catches up to the convertible, and now Michael can look down on the open bed. MICHAEL'S POINT OF VIEW - OPEN BED FAVORING MICHAEL leaving K.I.T.T. Above roar of traffic --- [MICHAEL] See ya, buddy. [K.I.T.T.] It's a longer jump than you think, Michael! [MICHAEL] You had to tell me tthhhaaatt!! And off he goes. INT./EXT. PICKUP - DAY as Michael lands in back. ON ROME reacting to Michael's landing, turns and shouts out the window onto the back of the pickup. ON MICHAEL as he recovers from the blown-out window, reaches around the side of the cab, and begins struggling with Rome through the side window. [MICHAEL] Pull over! EXT. ROAD - DAY Jody pulls over, stops. ANGLE ON K.I.T.T. [K.I.T.T.] Thanks for the lift. And he slides backwards off the trailer onto the road. ON TRUCK DRIVER - DAY reacting. ON PICKUP as the door opens in the struggle and Rome falls out, with Michael jumping on top of him. EXT. SIDE OF ROAD - DAY - VARIOUS ANGLES OF FIGHT The two men exchange hard punches; Michael rolls backwards down the embankment; Rome jumps from the road on top of him; Michael rolls; Rome misses. More punches; Michael's down, and Rome takes off across the grape fields. ANGLE TO INCLUDE K.I.T.T. circling around toward Rome, while Michael comes from behind. The grape pickers react to the excitement. ON ROME seeing K.I.T.T. bearing down on him, stopping, turning, and running right into Michael's fist, which knocks him clean back onto K.I.T.T.'s hood. And out cold. Michael jumps onto the hood next to him, just in case he comes to --- [MICHAEL] Let's see what he can tell us, Kitt. [K.I.T.T.] Right, Michael. Hang on! ANGLE TO INCLUDE JODY waving from the side of the road as K.I.T.T. heads toward her, relieved and thankful. EXT. NAPA ROAD - DAY - ON SEMI It passes endless fields of grapes. INT. SEMI - DAY Michael, upset, paces in front of the TV monitor, with Rome's picture on it, while Devon stands nearby. Bonnie is putting something into K.I.T.T.'s computer bank. [MICHAEL] Just what we needed -- the man who never was. Fake IDs, credit cards, driver's license, even his fingerprints don't belong to him. [DEVON] He's obviously been given a totally new identity. [MICHAEL] The question is, who was he? [BONNIE] (finishes work) Maybe Kitt can tell us, with the new 3-Dimensional Interactive Graphics Plotter I just installed. [MICHAEL] Sounds impressive, but what does it do? [BONNIE] See for yourself. Kitt --- ANGLE TO INCLUDE TV MONITOR [K.I.T.T.] It's obvious our friend here has undergone extensive plastic surgery, so I'll simply use the I.G.P. to break down his new face.... An I.G.P. button lights up on K.I.T.T.'s dash, and the face on the TV monitor begins to break apart --- [K.I.T.T.] And then activate my Linear Predictive Graphics Routine... (L.P.G.R. button lights up) To give us a 3-D reconstruction of his previous face. A new face forms on the monitor screen. [DEVON] You're astonishing, Kitt. Bonnie clears her throat. [DEVON] Of course, that goes for you, too, Bonnie. [BONNIE] Thanks much. [K.I.T.T.] And now I'll search my Image Data Bank.... Lights flash on and off indicating search. Then pulsate. [K.I.T.T.] Does the name Eric Sanders mean anything to you? [DEVON] The condemned murderer who escaped death row last year. They've been looking everywhere for him. [MICHAEL] That's it! If Charley Winters is our man, that's why he's in Napa. To buy a new identity. [DEVON] But where does one go to buy such a thing, Michael? [MICHAEL] That's a good question. When I find out you'll be the first to know. He jumps into K.I.T.T. EXT. RIESLING INN - DAY - ON JODY'S ROOM A large private security guard is stationed outside. INT. JODY'S ROOM - DAY Jody's in an agitated state -- at Michael: [JODY] Michael, you don't know Charley's a thief! The police searched this place inside out and couldn't find those diamonds! [MICHAEL] Which only means Charley must've taken them with him. What I do know is, Charley isn't who he claims to be. [JODY] What do you mean? [MICHAEL] His real name's James Benson. Over the years he's called himself Charles Samson, Dave Winters, Chuck Bender, just to name a few of his aliases. Before crashing the big time he was a con man, and there was always a pretty woman involved somewhere. (beat) Jody, he's been engaged to three of them. [JODY] (fighting tears) I...don't believe you. [MICHAEL] I think you do. You told me yourself it was more important to love him than for him to love you. Maybe you suspected he didn't love you as much ...that he was only using you. [JODY] That's a lie! [MICHAEL] Then where is he? [JODY] I told you, he had to go look at some land in Santa Rosa. [MICHAEL] The Globe Land Development Company doesn't exist. I checked it out. Her head's spinning, her legs are weak. He steadies her. [JODY] He loves me, Michael...I'm sure of it. [MICHAEL] Maybe he does, Jody...but it's not the kind of love you want or need. (beat) You must have some idea where he is. [JODY] No.... [MICHAEL] What did you do when you got to Napa? [JODY] Checked in here. [MICHAEL] After that? Think. It could be important. [JODY] We...went to this winery. [MICHAEL] Which one? [JODY] The...Monk's Cellar. [MICHAEL] What did you do there? [JODY] We went to where you taste the wine and...Charley did something kinda strange. [MICHAEL] What? [JODY] He asked for a glass of Chateau Neuf du Pape. [MICHAEL] A French wine in a California winery? [JODY] I told you it was strange. [MICHAEL] Then what happened? [JODY] Charley sent me on the tour...and when I came back he was there waiting. [MICHAEL] Thanks, Jody. You going to be okay? [JODY] What can happen to me with that private security guard you put outside my door? [MICHAEL] Not a thing...which is exactly what I want. He smiles, gives her a light kiss on the cheek and leaves. OMITTED EXT. NAPA ROAD - DAY - ON K.I.T.T. Fields of grapes on either side. Hot air balloon drifting in distance. [MICHAEL'S VOICE] It'll have to look like the police are hot on my tail. INT. K.I.T.T. - DAY [MICHAEL] We'll invent a crime and feed it to the wire services. [K.I.T.T.] As you wish, Michael. Let's see -- I think you fit the embezzler mode. [MICHAEL] Thanks a lot, pal, but I was thinking of something a little more violent. [K.I.T.T.] Let's see --- INSERT - MONITOR as various criminal activities flash on the screen: Extortion, Blackmail, Stock Fraud, Kidnapping, Car Theft and finally: FULLER ANGLE [MICHAEL] That's it, Kitt -- Armed Robbery! [K.I.T.T.] Michael -- I'm sorry. But armed robbery just isn't you! I still think embezzling.... [MICHAEL] (interrutping) If I'm going to pull it off, I've got to go for broke! [K.I.T.T.] (giving up) Whatever you say -- Public Enemy Number One. [MICHAEL] I'll also need some front money. My guess is about a hundred grand. [K.I.T.T.] Michael, you know how Devon is about any kind of money.... [MICHAEL] Get him, Kitt -- it's the only chance we have of finding those diamonds! EXT. NAPA ROAD - DAY - ON K.I.T.T. moving on to sound-alikes. OMITTED EXT. MONK'S CELLAR WINERY - DAY - ON MICHAEL standing at the wine tasting bar along with several other tourists. Brother Carey pours the wine. Michael swirls his glass, sniffs, drinks, then to Carey: [MICHAEL] Not bad...Now how 'bout a glass of Chateau Neuf du Pape. Carey stops pouring, looks at him curiously. [CAREY] What? Michael pushes in on him, softly but with an edge: [MICHAEL] You heard me, brother -- a glass of Chateau Neuf du Pape. Carey studies him. OMITTED INT. DR. FELLOWS' OFFICE - DAY - ON MICHAEL seated in the examining chair as Fellows marks his face. The Nurse assists. [FELLOWS] And as icing on the cake I can give you a slight break in your nose. It's quite popular these...days. Fellows has hesitated upon noticing something. [MICHAEL] Something wrong, Doc? [FELLOWS] I see...you've had extensive plastic surgery before. Any particular reason? [MICHAEL] Yeah...my face became too popular with the cops. [FELLOWS] I know the feeling. (smiles) Well, what do you think? The Nurse hands Michael a mirror. He looks at himself. [MICHAEL] Colorful. (to Nurse) What's your opinion? [NURSE] It's definitely you. [MICHAEL] (grins) Then let's do it. [FELLOWS] Good. (washing hands) Now about the fee. How much did you say you got from that armored truck hit? [MICHAEL] A million, one. [FELLOWS] That's strange. Because when my people checked you out -- they told me it was more like a million five. [MICHAEL] So after the first million, who counts? [FELLOWS] I'm glad you feel that way...because I want a hundred and fifty thousand. Michael stands, picks up leather case, opens it --- [MICHAEL] Doctor Fellows. I have a hundred grand in here...take it or leave it. [FELLOWS] In that case...I'll take it. He reaches for the case, but Michael pulls back: [MICHAEL] When do we get started? [FELLOWS] (slight beat) Within the hour...you just make your- self at home. Fellows takes the money. CUT TO OMITTED INT. FELLOWS' CORRIDOR - DAY - ON MICHAEL as he moves about the corridor, looking into the various rooms, and at the same time trying not to get caught. Then he suddenly reacts to: MICHAEL'S POINT OF VIEW - BROTHER JULIANO being put into his room by Carey. [JULIANO] You have no right to keep me a prisoner like this. [CAREY] Take it up with your congressman, Brother Juliano! He laughs, pushes him inside. Locks the door. BACK TO SCENE Michael weighs what he's just seen then turns toward another room. But as he does: ANGLE TO INCLUDE MONK accidentally bumping into Michael, and vice versa. The monk, wearing a cossack, has a ruggedly handsome face, although there's still quite a bit of swelling, and some bluish discoloring highlighted with Vaseline. Michael apologizes: [MICHAEL] Sorry...brother. Michael smiles and hurries off. But the monk doesn't appear amused. In fact, he stares after Michael with a hard, angry look until: ANGLE TO INCLUDE NURSE joining the monk. [NURSE] Anything wrong, Charley? Looks like you've seen a ghost. We recognize the voice to be Winters', but nothing else. Never taking his eyes from the unsuspecting Michael: [WINTERS] Not yet, Miss Jones...but he'll soon be one. ANGLE TO INCLUDE MICHAEL entering one of the rooms. Camera moves in on: WINTERS [WINTERS] Get me Doctor Fellows! As we: FADE OUT END OF ACT THREE ACT FOUR FADE IN INT. WINTERS' ROOM (IN WINERY) - DAY - CLOSE ON A CUT-UP DRIVER'S LICENSE as Michael puts the pieces together, and we see it belonged to Charley Winters. Name and photograph. He's gone through a wastebasket so there are other remnants of personal arti- cles that Charley has tried to destroy. FULLER ANGLE as Michael studies the driver's license, and then glances about the room. OMITTED EXT. MONK'S WINERY - DAY - ON K.I.T.T. standing nose-to-nose, eye-to-eye with Kit the donkey. [K.I.T.T.] This is totally humiliating! OMITTED INT. K.I.T.T. - DAY Brother Francis is examining the dash, having a tough time keeping his hands off the buttons. Brother Tyrone, equally intrigued, is seated next to him. [BROTHER FRANCIS] Pursuit Mode...Turbo Boost...Eject buttons...Truly the design of a Supreme Being. [K.I.T.T.] I wish you'd tell that to hee-haw out there. [BROTHER FRANCIS] And what does...oil slick do? [K.I.T.T.] (pregnant pause) Why...don't you find out, Brother Francis? Beat, then Brother Francis pushes the oil slick button. EXT. K.I.T.T. - DAY as a spray of oil shoots out the front, frightening Kit off with an angry bray. [K.I.T.T.] Bless you, Brother Francis. INT. K.I.T.T. - DAY - ON VOICE SENSOR [MICHAEL'S VOICE] Kitt, I found Charley's room. INTERCUT AS NEEDED Michael is searching the room. [K.I.T.T.] What about the diamonds? [MICHAEL] I'm looking for them now. What did you find out about Doctor Fellows? [K.I.T.T.] He was kicked out of the American Institute of Plastic Surgery almost a year ago. That's when he showed up at the Monastery of the Grape with an offer of financial assistance. [BROTHER FRANCIS] You see, the Monastery had hit upon hard times. But we had no idea he was going to use the winery as a front for his -- pardon the pun -- illegal operations. [MICHAEL] Why didn't you go to the police? [BROTHER FRANCIS] Because they're holding our wine maker, Brother Juliano, hostage. They said they'd hurt him if we tried to get help. OMITTED ON MICHAEL He's taken the small room apart, and still no diamonds. And then his eyes fall on a crystal pitcher of water sitting on the bed table. As he moves toward it: [MICHAEL] I've seen Brother Juliano. He's okay. Michael lifts the pitcher to the available light, takes a closer look inside. Move in on: PITCHER to see the vague images of the diamonds resting on the bottom. FULLER ANGLE as Michael pours off the water into a nearby glass, and then empties the diamonds into his hand. [MICHAEL] Kitt, I've found them. [K.I.T.T.] Good for you, Michael. [MICHAEL] Now I'll see about finding Charley Winters. Keep your eyes open. [K.I.T.T.] You, too, Michael. I don't know why -- but I've grown accustomed to your face. [BROTHER FRANCIS] Truly, truly a miracle! Michael puts the stones in his pocket and leaves the room. OMITTED INT. FELLOWS' CORRIDOR - DAY - ON MICHAEL coming from the room, turning and stopping dead in his tracks. WHAT HE SEES - WINTERS WITH FELLOWS while the bandaged monks have him surrounded. The Nurse and Carey are also there. Michael grins: [MICHAEL] Bell ringing time already? No one's amused. [WINTERS] See if he has my diamonds! Michael recognizes the voice: [MICHAEL] Charley...I wish I could say it was an improvement. The monks move in. He struggles, manages to get in a good shot or two, but there are just too many. As they get the best of him he talks to his comlink: [MICHAEL] Kitt, if you don't hear from me in twenty seconds, c'mon in! ANGLE TO INCLUDE NURSE moving in with a loaded syringe, and giving Michael a shot through his pants. Into comlink, as he falls --- [MICHAEL] Make that ten! [FELLOWS] That shot won't last long. Get him into surgery. INT. K.I.T.T. - DAY - ON L.E.D. CLOCK ticking away the seconds, 5, 4, 3, 2, 1 --- EXT. K.I.T.T. - DAY [K.I.T.T.] Is there another way into Doctor Fellows' office? [BROTHER FRANCIS] Only is you like going through solid brick walls. [K.I.T.T.] It's not my favorite pastime, but it sure beats socializing with a donkey! K.I.T.T. does a 180, and roars off. EXT. REAR OF WINERY - DAY - ON K.I.T.T. as he roars across the grape field, scanning various winery walls. INT. K.I.T.T. - DAY - ON MONITOR as a graphic drawing appears showing Dr. Fellows' corridor. [K.I.T.T.] That's it! The Brothers' eyes grow wide. WHAT THEY SEE - THE WALL getting closer. BACK TO SCENE The Brothers mouth a prayer. EXT. GRAPE FIELD - DAY as K.I.T.T. roars toward the proper brick wall. INT. FELLOWS' OFFICE/SURGERY - DAY Michael is beginning to stir. Fellows is with the Nurse as Winters is putting his diamonds into the bag he used at the robbery and stuffing it into his pocket. [FELLOWS] Let's find out how much this Foundation knows about us. The Nurse squirts out the remaining air in her IV, brings the needle to Michael's vein --- EXT. WINERY WALL - DAY - ON K.I.T.T. hitting the bricks --- INT. K.I.T.T. - DAY Tyrone feels it's time to break his vow of silence: [BROTHER TYRONE] Glory, glory hallelujah! [BROTHER FRANCIS] Now that's how to break a vow of silence! INT. DR. FELLOWS' CORRIDOR - DAY - ON K.I.T.T. exploding right through a rack of wine which was up against the corridor wall. The monks scatter as the bottles break, some of them exploding red wine. INT. FELLOWS' OFFICE/SURGERY - DAY Fellows, Winters and the Nurse react. [FELLOWS] What was that?! They go to find out. INT. FELLOWS' CORRIDOR - DAY Fellows, et al see K.I.T.T. searching for Michael, the monks in mass confusion. Fellows heads back for his office. ON K.I.T.T. His scanner searching, calling out --- [K.I.T.T.] Michael! Michael! INT. FELLOWS' OFFICE/SURGERY - DAY - ON MICHAEL still wobbly, he gets up just as Fellows enters the room -- and decks the Doc with one punch. INT. FELLOWS' CORRIDOR - DAY - ON MICHAEL hurrying to Brother Juliano's cell, taking out one of his tools, picking the lock and freeing the wine maker. [BROTHER JULIANO] God bless you! K.I.T.T. pulls up. [MICHAEL] Kitt, have Devon call in the police. Brother Juliano squeezes into the back of the Trans Am. CLOSE ON MICHAEL looking about. MICHAEL'S POINT OF VIEW - WINTERS running for the exit door. BACK TO SCENE [MICHAEL] Meet me outside, pal! [K.I.T.T.] Right! K.I.T.T. backs out the same hole he came in, as Michael takes off after Winters. OMITTED INT. BOTTLING ROOM - DAY - ON WINTERS as he comes from the corridor and makes his way toward a side door. ON MICHAEL appearing and calling out --- [MICHAEL] Charley! ON WINTERS turning, pushing over a case of bottles to slow Michael up, and continuing on. ON MICHAEL following Winters from the bottling room. OMITTED EXT. SIDE OF WINERY - DAY Winters races to a winery four-wheeler, gets in and takes off. ON MICHAEL coming out as K.I.T.T. pulls up. The Brothers pile out. To Michael: [BROTHER JULIANO] Nothing succeeds like faith, love and charity...Now go, young man, and waste him! [MICHAEL] Gotcha! Michael gets in, and they go after Winters. VARIOUS ANGLES OF CHASE Winters has a good head start, but K.I.T.T. is gaining. CLOSE ON WINTERS seeing something up ahead and reacting. WHAT HE SEES - SEVERAL HOT AIR BALLOONS preparing to take off. BACK TO SCENE as Winters turns off the road and races for the balloons. ON K.I.T.T. taking the turn off the road. ON WINTERS pulling up near a balloon, getting out, and running to the gondola, which happens to be occupied by a young man. [WINTERS] I'll say a prayer for you! Winters tosses the already petrified young man out, climbs aboard, and takes off. ANGLE ON K.I.T.T. racing full throttle toward the balloon and screeching to a stop. [MICHAEL] Let's go fishing, Kitt. K.I.T.T.'s grappling hook shoots out. OMITTED ANGLE ON BALLOON as the hook catches hold of the side. ANGLE TO INCLUDE K.I.T.T. [K.I.T.T.] We caught something, Michael. [MICHAEL] You bet we did, buddy. Let's reel it in. K.I.T.T. reels the balloon back to earth as Michael races toward it. ANGLE ON BALLOON as Michael reaches inside, pulls Winters out, and after a brief struggle knocks him unconscious. He takes the bag of diamonds from his pocket: [MICHAEL] Get Devon, Kitt... (emptying the bag into his hand) We've got to raise some money for that charity. OMITTED FADE OUT END OF ACT FOUR TAG FADE IN EXT. MONK'S WINERY - DAY A wine party is in progress. All our people are there, including Kit the Donkey. The good monks are serving. [DEVON] Sure you won't have some wine, Kitt? [K.I.T.T.] I don't need artificial stimulants to make me feel good, Devon. [DEVON] Suit yourself. Cheers. They drink. Brother Tyrone clears his throat. Silence. [BROTHER TYRONE] As you know, I'm not much of a speech maker... just thank you for your help and God bless you. Some applause. [BONNIE] That was a beautiful speech, Brother Tyrone. ANGLE ON MICHAEL AND JODY [MICHAEL] Jody, I've got some good news for you. Devon has agreed to buy a couple of your paintings. Isn't that right, Devon? [DEVON] (caught off guard) Agreed? Insisted is more like it! [JODY] (to Michael) Thanks. And to show you my appre- ciation I painted your portrait. She reaches for a nearby canvas. [MICHAEL] I...can hardly wait to see it. [JODY] Well? What do you think? Michael is stunned by what he sees. ANGLE TO INCLUDE PAINTING Damn it, it's good! Looks just like him! [MICHAEL] Jody, that's fantastic! [JODY] I also painted one of Kitt. She gets it. [K.I.T.T.] Jody, you shouldn't have although I have been told I have nice lines. ANGLE TO INCLUDE PORTRAIT It's of Kit the Donkey who brays. [K.I.T.T.] On second thought, Devon, I will have some wine. Say about ten-fifteen gal- lons to start. And, Michael...keep that thing away from me! Michael and Jody laugh, the donkey brays, and we --- FREEZE FRAME AND FADE OUT THE END

{"show": "Knight Rider", "season": "s03", "episode": "e02", "title": "The Ice Bandits"}

knightriderarchives

ACT ONE FADE IN EXT. DOWNTOWN LOS ANGELES - NIGHT - AERIAL VIEW A hot rock beat as we sweep the electric streets and skyscrapers in search of.... DOWNTOWN STREET - NIGHT deserted at this wee hour but lit up bright as day. The static hum of the flourescent streetlights gives way to the throaty roar of a pair of race tuned automobile engines. ANGLE ON THE CORNER - THE RACERS Rumbling out of the shadows between the buildings, looking like a couple of space-age ground attack vehicles come two fantastic automobiles. One is a thigh-high silver Porsche 935, a racing model with full ground skirts and tires like the business end of a steamroller. The other is like nothing we've ever seen before (except for K.I.T.T.). ANGLE ON THE VECTOR TWINTURBO W-2 This is a one-of-a-kind car, a futuristic blending of automotive and aerospace engineering. 2000 candlepower heli-arc headlights stab the night and the 600 horsepower Can-Am engine whines as though annoyed at having to stand still. The light green gull-wing doors open upward mysteriously, eerily, and out climbs Mark Tanner; late thirties, dressed with a seemingly careless designer chic that says money, lots of it. At the passenger side, he gives a chivalrous hand to Stacy Courtney, a natural beauty in her early twenties, dressed in casual designer blouse and expensive jeans. They exchange smiles, their faces close together, before crossing to join: WIDER ANGLE Standing by the Porsche is Jack Lehigh, thirty, its driver/owner, a broker who's trying to hide the feeling he's outclassed. A third car, sporty but not extravagant, has pulled onto the scene bearing Tom Bloodworth, 245 pounds of ex-linebacker who serves as Tanner's aide and bodyguard. Lehigh looks at the Vector, shakes his head: [LEHIGH] So this is the Vector...I was beginning to think it only existed in your dreams. [TANNER] (good-natured) You'll see it's for real soon enough. But if you still have any doubts -- maybe we should up the stakes. [LEHIGH] Fifty grand's enough. I hate to see a grown man cry. Tanner laughs. Lehigh heads for his Porsche. Tanner puts his arm around Stacy. [TANNER] 3.8 miles. Think you can occupy your- self for about a minute and a half? [STACY] Only if you promise to come back in one piece. [TANNER] You're looking at the man with a thousand lives. [STACY] Just so you save one of them for me. [TANNER] I'll do better than that. I'll save 'em all. He kisses her, heads for the Vector. ANGLE IN PORSCHE Lehigh works his fingers nervously on the wheel as he revs his engine and slides his shift into first. He looks over at: TANNER IN THE VECTOR Sitting semi-prone in the cockpit, Tanner calmly flips toggle switches and checks digital readouts on water temperature, oil pressure, etc., like a pilot readying for takeoff. WIDER ANGLE Stacy crosses between the cars. Squinting in the head- light's glare, she holds a silk scarf high over her head. The engines whine, the drivers nod ready and she whips it down. LOW ANGLE - THE CARS starting, scream in high torque as the clutches are released and the racing rubber grabs the pavement. The Vector gains an early lead, hitting 100 mph in seconds as the Porsche wobbles momentarily before gaining purchase. They whip past camera and out of sight. Stacy and Bloodworth watch the cars disappear into red pinpricks of taillight in seconds. Stacy's awed. [STACY] I get chills just watching! [BLOODWORTH] Mark wouldn't have it any other way. CUT TO VARIOUS ANGLES - THE BANZAI RUN Incredible action as the Vector hits the first turn, hugging the corner with fluid grace. The Porsche sits right on its tail, taking advantage of its draft. They blaze out of sight, over the freeways and under the skyline. OVER TANNER'S SHOULDER - HIS POINT OF VIEW - THE STREETLIGHTS AND BUILDINGS flip past like flash cards at this speed. He pilots the car perfectly through a right-hand corner, the speeds dipping to 110, then racing up again. ANGLE ON THE L.A. MUSIC CENTER The two cars rip around the high end of the stately buildings, past the fountains and sculpture and back toward their destination. STACY AND BLOODWORTH staring into the night as the headlights of the runners reappear. Stacy stands at the edge of the street, jumps excitedly when she sees them approaching. [STACY] Come on, Mark! Come on! LOW ANGLE - A POTHOLE AND THE VECTOR The Vector hits a rough patch of pavement and the back wheels momentarily leave the ground. That moment is enough to send the engine whining up to red-line plus and Tanner loses control. CLOSE ON STACY Her excitement turns to horror as she sees the Vector careening out of line and closer to her. There's no time to react before: SLOW MOTION - THE ACCIDENT The Vector barely clips Stacy but at this speed, that's enough to send her flying like a broken doll onto the sidewalk. Tanner recovers control, grazes light standard, and brakes the car to a stop a hundred yards down the street. ANOTHER ANGLE Bloodworth races to Stacy, starts checking for a pulse. Tanner and Lehigh pull back into the shot. Tanner comes from the Vector, shaken, Lehigh, right behind him. [TANNER] What happened?! (to Bloodworth) Why'd you let her stand in the street! [BLOODWORTH] I didn't let her do anything. [LEHIGH] Is she alive? Oh my God, what if she dies...? [BLOODWORTH] I feel a pulse, but it's weak. [LEHIGH] Somebody's gotta call an ambulance! Lehigh looks like he's about to unravel. Tanner grabs his arm. [TANNER] Jack, I'll take care of it. Go home, get drunk -- I don't care, just get out of here. And keep your mouth shut. This didn't happen. Tonight didn't happen. He pushes Lehigh toward the Porsche, then turns to Bloodworth, who's still with Stacy. [TANNER] Call an ambulance. Just make sure you're nowhere near here when it comes. Without waiting for a reply he climbs into the Vector, hits the gas. In an instant he's gone. CUT TO EXT. HIGHWAY - DAY - ON K.I.T.T. sleek lines blending in with the countryside. [K.I.T.T.'S VOICE] According to Coach Berchuk, his Lions should have no problem with the Wranglers on Sunday. ANGLE IN K.I.T.T. Michael watches as the morning sports pages flip across the monitor. [MICHAEL] That's why I'm picking the Wranglers to win. Every time Berchuk toots his horn the team loses. [K.I.T.T.] Twenty-two men in mock war regalia knocking each other down for posses- sion of an air-filled bladder made of a pig's skin. Chased by more men dressed as zebras blowing whistles. Some human institutions confuse me but football is a total mystery. [MICHAEL] (a smile) Wish I could help you out, Kitt. It's a little like rhubarb -- either you like it or you don't. [K.I.T.T.] Michael, if you're going to use a multi-million dollar system to read a twenty-five cent paper, you could at least read the front page. Be well informed. [MICHAEL] Okay, wise guy. Lay a little world, national, and local on me. [K.I.T.T.] That's more like it. Dozens of pages flip past. We settle on the front page. [K.I.T.T.] Allow me. 'In Washington today, a nuclear freeze bill goes before Congress in --- ' [MICHAEL] (interrupting) Kitt! The lower left corner -- blow it up. A portion of the page grows larger, revealing a picture of Stacy with her name and a caption. Michael reacts, worst fears confirmed. [MICHAEL] Stacy.... [K.I.T.T.] Someone you know, Michael? Without answering, he stomps on the brakes, spins the wheel. WIDER ANGLE Kitt spins a 180 and heads back the way he came, accelerating. CUT TO EXT. CENTRAL RECEIVING HOSPITAL - DAY - ESTABLISHING A modern big-city hospital. INT. HOSPITAL CORRIDOR - DAY - MOVING WITH MICHAEL He nods his thanks to a nurse who points him down the hall. He moves quickly down to a window in the hall set next to double doors marked: "Intensive care". He looks through the window. ANGLE TO INCLUDE INTENSIVE CARE Lying in bed attached to life-support machines, is Stacy, her fragile beauty shining even in this condition. Seated on the far side of her bed, holding her hand, is her father, Jim Courtney, a career cop around forty-five. He has a face that's world-weary but not cynical; right now it's grey, showing the ravages of his all-night vigil. Michael's face clouds with concern, worry. These are people he cares about deeply. A nurse appears, puts a hand on Courtney's shoulder. It takes him a moment to react to her presence, then he looks up at her, nods, and rises slowly, crossing toward the door. ANGLE IN HALLWAY Michael waits, ambivalent, as Courtney emerges. [MICHAEL] Sergeant Courtney? [COURTNEY] Lieutenant. He otherwise ignores Michael, pauses to pick up a personal item or two left outside. [MICHAEL] How...is she? [COURTNEY] Why? [MICHAEL] I'm a friend. An old friend.... Courtney looks at him, a cop's glint in his eye. [COURTNEY] Yeah? I don't remember your face. What's your name? [MICHAEL] Knight. Michael Knight. [COURTNEY] (beat) You know anything about what happened last night? [MICHAEL] I wish I did. Courtney studies him a moment, then starts down the corridor. [MICHAEL] I'd like to help. [COURTNEY] I don't need any. Courtney doesn't even look back. Hold on Michael, troubled. CUT TO EXT. CITY STREET - DAY K.I.T.T. flashes by. [DEVON'S VOICE] Michael, I expected you over an hour ago. ANGLE IN K.I.T.T. Michael is intent behind the wheel. [MICHAEL] Whatever it is will have to wait. [DEVON] (a reaction) I beg your pardon. [MICHAEL] Sorry, Devon, I'm a little on edge. Remember Jim Courtney? [DEVON] Courtney...Your partner when you were on the police force. [MICHAEL] When you're a rookie you don't have a partner. You have a second father. That's what Jim was -- that and more. [DEVON] What happened? [MICHAEL] His daughter Stacy was in an accident last night. Hit and run. [DEVON] I'm sorry to hear that, Michael, but I fail to see how that postpones our work. [MICHAEL] (sharp) Whoever did it left her lying alone on the street. I'm going to find out who it was and make sure he gets what he deserves. God knows Stacy didn't. [DEVON] Michael, don't let your emotions overrule your judgment. [MICHAEL] Meaning? [DEVON] If Courtney discovers your real identity, it could compromise our work. [MICHAEL] Gotcha. I'll stay in touch. Devon fades. Michael pushes buttons. [MICHAEL] Kitt, access the police report on Stacy's accident. Dig deep, pal. Dig deep. [K.I.T.T.] Right away, Michael. CUT TO TIGHT ANGLE - A GROUP OF BEAUTIFUL WOMEN bouncing up and down in a strenuous synchronized aerobic workout. Pull back slowly to reveal they're dancing on the sidelines of: EXT. FOOTBALL FIELD - STADIUM - DAY These are the Kittens, cheerleaders for the L.A. Lions football team. Dressed in short t-shirts with Lions logos or leotards and shorts, they're really tight and very sexy. Behind them we see a group of football players in light pads working pass patterns. MARK TANNER who, we will learn, owns the Lions. He's wearing a satin team jacket and moving to Steve Young, his quarterback, just coming off the field. Tanner looks stressed but in control. [TANNER] You looked like ten million bucks today. Considering I paid twenty, I'm halfway in the black already. (pats him on back) Go take a shower. Young picks up one of the cheerleaders. [YOUNG] Okay if I take one of these with me? [TANNER] Take two, they're small. The girl squeals in mock protest. Tanner's eye catches something. ANGLE TO INCLUDE DIANE LANDREAUX coming onto the field from the clubhouse area. One of the cheerleaders, showing up late for practice, she's twenty-two, pretty, with long hair cascading down a dancer's body. She's also Stacy's roommate, best friend, and very disturbed by what's happened. [TANNER] Diane...! She pauses. He crosses to join her. [TANNER] How is she? Any change? [DIANE] No. She's still critical. [TANNER] What happened? Who was she with? What was she doing down there in the first place? Diane looks confused, almost speechless. [DIANE] I don't know what you mean. She was with you last night. [TANNER] Yeah, until about ten, ten fifteen. Didn't she tell you? [DIANE] What? [TANNER] I got an emergency call from Dallas last night. We hadn't even ordered. I told her I'd send her home in a cab but she said she'd call you. I told her to sign for dinner and not to get into too much mischief. I fly in this morning and her picture's in the paper! Now come on, Diane -- you've got to know something. Diane takes it in, baffled, perplexed. [DIANE] She didn't call me. I didn't even know you'd gone to Dallas until now. Tanner sighs, shakes his head; a man with heavy burdens. He puts a paternal arm around Diane. They walk slowly. [TANNER] The thought of losing her...I've been going crazy. (beat) I feel like a coward saying this, but I'm afraid to even visit the hospital. If those damn reporters find out.... He doesn't finish. She looks at him, sympathetic. [DIANE] Don't feel like a coward. You're not being fair to yourself. [TANNER] Thanks, Diane. Believe it or not, that helps. [DIANE] There's nothing you can do. And it's not just your wife, Mr. Tanner, it's Stacy's father, too. If he ever found out she was dating a married man.... [TANNER] (sighs) I guess you're right. (pauses, takes her hands) At times like this it's hard to think clearly. [DIANE] That's what friends are for. [TANNER] There's enough confusion and pain as it is. Maybe everyone's better off if it's our secret -- yours, mine and Stacy's. Diane nods. Tanner smiles, a sad but heroic figure. CUT TO EXT. DOWNTOWN STREET CORNER - DAY the one where the accident occurred. K.I.T.T. glides into shot. [K.I.T.T.] This is the corner, Michael. The police report indicates a thorough search of the area. WITH MICHAEL He climbs from the car to examine the long skid marks on the pavement. [MICHAEL] The police have a lot on their side, Kitt, but we've got a secret weapon. You. I want pictures of this. (squats) Tires were really wide. T/A 50's at the least. Four sets. Two cars.... INSERT - K.I.T.T.'S MONITOR - TREADMARK Then molecular matrix. [K.I.T.T.] And made of very expensive, cold-rolled rubber. Used in formula one racing and discarded after each performance. BACK TO SHOT Michael follows the skid marks, to the light post which the Vector clipped. [MICHAEL] Yeah...well this is no race track. [K.I.T.T.] Obviously not. Could it be we're dealing with some high class type of drag racers? [MICHAEL] You got it, pal. They're called Banzai runners. It's a speed kick for the man who has everything. Michael sees something, produces a small vial from his pocket. Scrapes a tiny chip of paint from the post. Michael moves back to K.I.T.T. [MICHAEL] Here's something the police might've missed. I need an analysis of this paint chip. He climbs into K.I.T.T. and places the vial in the analyzer. [K.I.T.T.] It's exotic and highly unusual, Michael. It may take a while. [MICHAEL] If these guys use racing tires, chances are they also use racing fuel. Get me a list of outlets handling nitro-methane. [K.I.T.T.] Right away. The computers whir. [K.I.T.T.] There's only one in this area, Michael. [MICHAEL] One'll do just fine, buddy. He fires K.I.T.T. up, pulls out. CUT TO EXT. "BEYOND THE LIMIT" RACING SHOP - DAY A formidable brick building sporting the company's logo and a sign reading, "BY APPOINTMENT ONLY" and "NO TRESPASSING". And a larger sign: "CLOSED." K.I.T.T. pulls around the corner, slides up to a stop. ANGLE IN K.I.T.T. Michael scopes it out. [MICHAEL] Not a very friendly looking place. [K.I.T.T.] There's barbed wire around the entire back perimeter. Michael climbs out. [MICHAEL] Keep an eye open. ANOTHER ANGLE Michael climbs up a tree, swings up and over the barbwire topping. Jumps down into the yard. He's crossing to examine a covered race car when: TWO DOBERMANS snarling and gnashing gallop toward him. CLOSE ON MICHAEL Eyes go wide, all reflexes go to "flight." In a second, he's back on the fence, climbing up, the dogs at his heels. [MICHAEL] (comlink) Kitt, crank up your synthesizer and get over here! Give me the king of the jungle. INCLUDE K.I.T.T. as he screeches up to the fence, emitting jungle bird sounds. This infuriates the dogs more. One leaps, nearly catching Michael's foot. The sound from K.I.T.T. changes to chattering monkeys. [MICHAEL] Kitt! [K.I.T.T.] Michael, I'm building to it. The dogs leap again and a lion's roar bursts forth from K.I.T.T. The dogs immediately back off, cringing. Whimpering, they run off into the back of the yard, before the roaring stops. [K.I.T.T.] How was that? MICHAEL much relieved, hops back down into the yard again. [MICHAEL] (comlink) Thanks, pal. You may have a future in Tarzan films. [K.I.T.T.] Unfortunately, Michael, I don't think it fooled the person behind you. Michael turns to see: INCLUDE NIKKI LA DONNA A pretty but unmistakably tough lady in her midthirties, cocking a .410 shotgun and pointing it right at Michael. On Michael's reaction: FADE OUT END OF ACT ONE ACT TWO FADE IN EXT. BEYOND THE LIMIT RACING - YARD - DAY - CONTINUOUS ACTION Michael holds his hands out in front of him. LaDonna doens't lower the shotgun. [MICHAEL] Easy...If I knew someone was home I would have knocked. [LA DONNA] Three hundred a week those flesh- eaters cost me. What'd you do to them? [MICHAEL] Hey, dig a moat and buy alligators. Name's Michael Knight. This is the place to buy racing nitro, isn't it? LaDonna glances over at K.I.T.T., snickers: [LA DONNA] If that's the windup you drive, try filling up at a toy store. But when she looks back, Michael's heading inside. LaDonna moves after him. [LA DONNA] Hey! INT. RACING SHOP - DAY An immaculate high-priced shop filled with exotic foreign cars, in different states of repair. Michael whistles appreciatively at the collection. Leans over a massive engine on a hoist. [MICHAEL] Nice rebuild. About four hundred fifty horses? [LA DONNA] Five hundred. What do you want? Michael moves by a jacked-up Ferrari. Notices on the fender a distinctive medallion with a logo featuring the letter "E". [MICHAEL] You work on Banzai runners? La Donna studies him a beat. [LA DONNA] You got the wrong shop, Stretch. Michael continues his casual investigation. [MICHAEL] Hey, you're talking to me now. Like the Boss says, cars like this were born to run. Michael lifts the tarp back, on a low-slung Porsche. On the car's fender is the same medallion. The same "E" logo. [LA DONNA] Hands off! Michael drops the tarp back down. [MICHAEL] What's the "E" stand for? LaDonna raises the gun again. [LA DONNA] It stands for either you walk out of here on your own power, or someone wheels you out. Michael takes one long last casual glance, spots a back door, then back to LaDonna: [MICHAEL] With such natural charm, you must do great business. Then smiles and saunters out. La Donna watches him go, puzzled and disturbed. EXT. STREET - DAY - ON K.I.T.T. - MOVING [K.I.T.T.'S VOICE] How are these, Michael? ANGLE IN K.I.T.T. - FAVORING MONITOR - MOVING The letter "E" in several different sizes, colors, and type- faces flashes by. As one resembling the logo appears: [MICHAEL] Good. A little taller, with dark flames coming off the back. The letter gets closer and closer to the right logo. [MICHAEL] Hold it. Now put a circle around it. That's it. Can you trace it? [K.I.T.T.] Most logos are copyrighted, but it will take a little time, even for me. [MICHAEL] Well, don't strain yourself. Two or three minutes will be fine. [K.I.T.T.] How sporting of you, Michael. INT. MARK TANNER'S OFFICE - DAY High overlooking L.A. Lions stadium. Luxurious room sporting trophies, plaques, photos, etc. Tanner stands by a map on a wall, running a blue marker over a route, as he consults various other maps on a table. Enjoying himself. Abruptly, the door opens and Jack Lehigh bolts in. Tie askew, unshaven, and determined to see him. He is followed by Tanner's sumptuous secretary, Marie. She tries to usher him back out. [MARIE] I'm sorry, Mr. Tanner, he.... Tanner signals for his secretary to leave. [TANNER] It's all right, Marie, I'm never too busy for family or friends. As Marie leaves, closing the door: [TANNER] Jack, you look like death warmed over. Sit down, take a load off. Lehigh does not sit. [LEHIGH] I wish it were easy. I can't stop thinking about that girl. [TANNER] Well I've got something to take your mind off it. Come here. (indicating maps) What do you think about an L.A. to Vegas Super Banzai, I figure we can get the four best drivers.... [LEHIGH] What are you crazy! Someone may already be on to us. I just got a call from Beyond The Limit. Nikki says this guy in a black T-top... a Michael.... [TANNER] Knight! I got the same call. The big difference is I'm not panicking. I've got our alibi covered. [LEHIGH] Mark, Stacey's on the critical list. If she dies we're accessories to murder. We've got to do the right thing before it's too late! [TANNER] Calm down. [LEHIGH] Tell that to Stacy's father. Why didn't you tell me he was a cop?! Tanner looks at Lehigh, sees the desperation in his eyes. [TANNER] Jack...I have to buy other people, but I count on friends like you. Lehigh's not buying this. Shakes his head "no". [LEHIGH] It's just.... [TANNER] (interrupting) ...It's just that it's gonna blow over in a couple of weeks! Stacy's gonna get well and she'll say anything I tell her to. All confessing's gonna do is drastically lower both our lifestyles. Now am I right? [LEHIGH] (beat) Yeah...I guess so. [TANNER] (starts moving him to the door) Good...Go to the club. Have a sauna. Relax. Everything is gonna work out. Lehigh nods as Tanner lets him out. Tanner moves back into the room, back to the map. Though now too preoccupied to enjoy it. From an inner doorway, Bloodworth appears. [BLOODWORTH] He's gonna crack, sooner or later. Tanner looks at him. Deeply disturbed, not wanting to hear those words. [TANNER] I was praying it wouldn't come to this. As he and Bloodworth share a glance. EXT. PLAYING FIELD - DAY The Kittens, including Diane, doing their kicks to great music. Working out a flashy routine. Camera pans wide toward: ANGLE ON K.I.T.T. - MOVING through a stadium tunnel, and onto the service vehicle track. [K.I.T.T.] Michael, did you know that on third down, seventy-five percent of the time, the defensive team will blitz. [MICHAEL] That's why they invented the trap play. Glad to see you're starting to appreciate the game, buddy. Michael pulls the car to a stop. Getting out. [K.I.T.T.] Yes. I place its complexity somewhere above checkers and below World War II. Michael looks back with a wry smile, then moves off. ANGLE FOLLOWING MICHAEL moving towards the cheerleaders, who have finished their routine and are dispersing. Several move by Michael. He draws some smiles and returns some as well. He zeroes in on Diane, who is stretching her long, beautiful legs. [MICHAEL] Diane? Diane looks up. Michael continues. [MICHAEL] I'm Michael Knight...friend of Stacy's. Diane's face turns tense. Expecting the worst. [DIANE] Oh, no, don't tell me she's.... [MICHAEL] (gently) No, I didn't mean to frighten you. She's still holding her own. Diane's relieved, but still emotional. [DIANE] Stacy's a fighter. She won't let go. I know it...It's just so horrible what happened. [MICHAEL] (slight beat) What did happen, Diane...did you know where she was going last night. Diane continues stretching, nervously. Michael sees this. [DIANE] No...she never told me. ANOTHER ANGLE - BLOODWORTH across the field, looking over at Michael with Diane. The black T-top nearby. Disturbed, he moves over to Tanner who is talking with an N.D. coach. Whispers to him. BACK TO SCENE [MICHAEL] (gently) ...I'm just trying to help find whoever ran down Stacy. You want that too, don't you? [DIANE] (looks at him) Of course. [MICHAEL] Then give me a hand. Was she seeing someone? Diane looks really nervous now. Before she can speak, Tanner approaches, calling: [TANNER] Everything all right, Diane? [DIANE] Sure. This is Michael Knight. He's a friend of Stacy's. Recognizing the name, Tanner hesitates a beat. [TANNER] Terrible tragedy. [MICHAEL] Did you know Stacy? [TANNER] (nods) I met her once or twice. Enough to know how lovely she is. I hope to heaven she's going to be all right. (slight beat; smiles) You finished for the day, Diane? [DIANE] Yes, Mr. Tanner...I thought I'd stop by the hospital. [TANNER] Good girl. With that, Diane grabs her gym bag and moves off, giving Michael a look, but not wanting to commit much more. Tanner turns to Michael. [TANNER] No, Mr. Knight. I'm going to have to ask you to leave. I've got my Lions charging out and practices are closed to the public. You understand, don't you? [MICHAEL] Of course. He starts to K.I.T.T., Tanner following admiring K.I.T.T.'s sleek lines. [TANNER] That's some wild bucket you're driving. Is it fast? [MICHAEL] (slight smile) When I need it to be. Why? [TANNER] I'm just a man who appreciates fast cars and fast women. Although with a car at least you can sell it when you're tired of it. He laughs at his own joke. Michael smiles. Gets into K.I.T.T. Tanner waves as Michael drives off. We hold on his look. EXT. STADIUM STREET - ANGLE IN K.I.T.T. in motion. As they pull out of the stadium onto the surface streets. [MICHAEL] So that's Mark Tanner -- living proof that money doesn't buy class. [K.I.T.T.] Michael, I've just completed the trace on your logo. It's registered to an elite club called Edge. Incorporated. [MICHAEL] Sounds like a bunch of Yahoos, who like to push it to the limit. [K.I.T.T.] Those aren't exactly the words of their charter, but that is the general idea. You might be interested in knowing who their president is. [MICHAEL] Don't tell me...Mark Tanner. [K.I.T.T.] How did you guess? [MICHAEL] I didn't...Let's see if you can get a list of the members and their cars, pal. [K.I.T.T.] Right away...Michael, are we speeding? [MICHAEL] No...why? The sound of a police siren is heard. As Michael reacts. INCLUDE POLICE CAR moving up behind them. Over its PA we hear: [COURTNEY'S VOICE] Pull over. As Michael brakes: EXT. STREET - DAY K.I.T.T. parks roadside, the police car right behind it. Courtney moves to K.I.T.T.'s driver's door. [COURTNEY] Out of the car. Michael steps out. [MICHAEL] I didn't know police lieutenants worked traffic detail. [COURTNEY] There's obviously a lot about the police you don't know. Primarily, we don't like amateurs mucking up our investigation, by wearing out the leads. Get the picture? [MICHAEL] Got it. [COURTNEY] Good. Because the next time I hear you've been asking questions, I'm going to consider slapping you with an obstruction charge. So unless you like contemplating your navel for thirty day stretches, stay out of my face. [MICHAEL] Just remember we're on the same side. [COURTNEY] Oh yeah?...What side is that? If anyone ever smelled hinky, it's you, Mr. Michael Knight. I checked you out. Up to two years ago, you didn't exist. Now do me a favor, disappear again. Courtney gives him a hard look, then starts off. Michael calls to him. [MICHAEL] How's Stacy doing? [COURTNEY] The same. [MICHAEL] Alright if I keep a good thought for her? [COURTNEY] Sure. She needs all she can get. Then he gets into his car and drives off. Michael gets back into K.I.T.T., pulling away. ANGLE IN K.I.T.T. in motion. [MICHAEL] Buddy, I'm starting to worry, about Jim. He's wound pretty tight. [K.I.T.T.] Maybe this will help...I've just been going over the members in Edge Incorporated with Devon. One of them, a Jack Lehigh, owns a silver racing Porsche. The original tires for that particular model.... INTERCUT - MONITOR - MICHAEL We see graphics of tires, then treadmarks. [K.I.T.T.] ...match trademarks found at the accident site. [MICHAEL] Where can we find this Jack Lehigh? [K.I.T.T.] He's a stockbroker, but when Devon called, he was informed that Mr. Lehigh had gone to see his mechanic. [MICHAEL] His red-haired mechanic? [K.I.T.T.] Yes. I was certain you wouldn't forget her. [MICHAEL] Not a chance. Time to rock and roll. With that, Michael steers the car into a quick 180 turn, zooming off the other way. INT. BEYOND THE LIMIT - GARAGE - DAY Courtney inside with Nikki LaDonna. As she looks over his car, Lehigh fidgets. [LA DONNA] I can sell it for you...no questions asked...but you're not gonna get what it's worth. [LEHIGH] I don't care, Nikki. Look I'll give you a good cut off the top. Take whatever you can get. [LA DONNA] You're not talking sell. You're talking vanish, aren't you? [LEHIGH] That's the bottom line. Their heads turn as the sound of a car, pulling up to the open garage door is heard. CAMERA ANGLE to include K.I.T.T. parking. [LA DONNA] Here comes Stretch again. [LEHIGH] Who is he? [LA DONNA] That Knight character. I called you about. As Lehigh reacts, Michael steps out of K.I.T.T. and into the garage. He spots the silver Porsche, Lehigh near it. [MICHAEL] Mr. Lehigh? That's all Lehigh needs to hear. He rushes quickly toward the back door and out. Michael moves after him, talking into his comlink. [MICHAEL] Kitt. Go round the back. He's getting away. ANGLE IN K.I.T.T. A lighted gas pedal, accelerating. K.I.T.T. pulls out. EXT. BEYOND THE LIMIT - SIDE STREET - DAY Bloodworth, in an idling sports car, waiting on the deserted street. LEHIGH rushing out of the back alley. And onto the street. Pursued by Michael, followed by Nikki La Donna. The cound of a revving engine is heard. Michael screams. [MICHAEL] Look out! Lehigh turns. His face freezes. A mask of terror as Bloodworth's car hurtles down on him. Running him over. MICHAEL reacting. La Donna, too, as K.I.T.T. screeches up. Michael turns to La Donna. [MICHAEL] Call an ambulance, quick. Then, getting into K.I.T.T.: [MICHAEL] I want him, pal! ANGLE IN K.I.T.T. as they zoom away. [MICHAEL] What do you see? ON MONITOR - MAP DISPLAY with blinking light. [K.I.T.T.] I have him, Michael. He's heading for open traffic. [MICHAEL] Not if we can help it! EXT. STREETS - DAY - VARIOUS ANGLES OF CHASE ANGLE IN SPORTS CAR Bloodworth is driving for his life and he knows it. Skids a turn into: EXT. ALLEY - DAY The sports car screeches into an alley behind a water bottling plant. A worker who is directing a truck loaded with bottles leaps aside as the sports car whizzes past. He shakes his fist, continuing his direction. ANGLE IN K.I.T.T. in hot pursuit. Michael rips into the alley and sees the load of bottles closing off his path. He reaches for Turbo Boost. [MICHAEL] Can we clear it, buddy? [K.I.T.T.] I don't think so, Michael. We're too close. [MICHAEL] Nothing ventured nothing gained. Michael hits the button. VARIOUS ANGLES - UNDERCRANK - THE CRASH K.I.T.T. goes airborne and crashes into the load of bottles. It's spectacular. Glass and gallons on water burst in every direction. K.I.T.T. comes to ground on the other side in a shimmering field of debris. ANGLE ON MICHAEL grimacing in frustration. [MICHAEL] Oh, no.... WHAT HE SEES Facing K.I.T.T. is a vertical army of water trucks. K.I.T.T. zigs into their midst, but there's no sign of Bloodworth. Finally Michael brings K.I.T.T. to a halt. ANGLE IN K.I.T.T. - MICHAEL falls back against the headrest, disappointed and frustrated. [K.I.T.T.] Could this be considered 'fumbling the ball.' [MICHAEL] In the end zone, buddy. But game's not over yet, pal. On his burn: FREEZE FRAME FADE OUT END OF ACT TWO ACT THREE FADE IN EXT. HOSPITAL - DAY - ESTABLISHING INT. STACY'S ROOM - DAY Stacy is in a deep sleep. Courtney stands over her. There are tears in his eyes. Then he bends over, kisses her forehead and leaves the room. INT. CORRIDOR - DAY Start on Courtney coming out, then something catches his eye that causes him to tense up. ANGLE TO INCLUDE MICHAEL heading his way. [MICHAEL] Any improvement? [COURTNEY] (impersonally) A little. [MICHAEL] Even a little's encouraging. Beat, then Courtney unloads: [COURTNEY] You wouldn't listen to me, would you? You couldn't keep your nose out of this! [MICHAEL] If you're talking about Lehigh.... [COURTNEY] You bet that's who I'm talking about! I was this far from picking him up, only I would've got him to talk, not let him get killed! (pointing his finger at him) You just cost me my number one suspect, Knight! [MICHAEL] Lehigh didn't run down Stacy. [COURTNEY] You don't know that for sure! [MICHAEL] The car he raced was silver. The one that hit Stacy was pale green. That much I do know. [COURTNEY] All right, so if he didn't do it himself at least I could've got him to tell me who did. [MICHAEL] No way, Jim. You were two steps behind, and Lehigh was a dead man from the minute he entered that garage. Now maybe it's time we started working together. [COURTNEY] (incredulous) You and me. [MICHAEL] That's right. This isn't the Old West, even sheriffs had their deputies. We could pool our information, back each other up. [COURTNEY] Like partners, huh? [MICHAEL] Yeah...like partners. Courtney studies him a beat, trying to figure him out. [COURTNEY] Forget it...I work alone. He starts off. [MICHAEL] Jim.... Courtney turns: [COURTNEY] What now? Michael looks at him a long beat, very tempted to confess, but: [MICHAEL] You're right...forget it. Beat, then Courtney heads out. Michael stands watching him. EXT. CANYON STREET - DAY Tanner is driving Diane home in his expensive open conver- tible. She's silent, troubled. He's also got something on his mind. Glances over at her: [TANNER] Thinking about Stacy, huh? [DIANE] (nods) Yeah...I really miss her. She was always so much fun. [TANNER] I know what you mean. But she'll be well soon, you'll see. (silence, then) Diane...that Michael Knight hasn't been around again, has he? [DIANE] No...why? [TANNER] Just curious. He's been asking a lot of questions of my friends lately, poking his nose in my business, and that's one thing I won't tolerate. (beat) There's something else I won't tolerate, Diane.... She looks at him curiously. [TANNER] Disloyalty. (pleasant) I expect my friends, my players, all the people who work for me to be a hundred and ten percent loyal, all the time. You can understand that, can't you? [DIANE] (a bit uncomfortable) Yes.... [TANNER] That's my girl. And that's why if this Knight does come to see you, about anything, you're going to send him away, and then call me. (turns to her, pleasant) Right? [DIANE] (begins feeling a chill) If that's what you want.... Tanner pulls in front of her house, looks to her, smiles: [TANNER] I'm glad we had a chance to talk. Have a good evening, Diane. [DIANE] (slight beat) Thanks for the lift. She gets out and hurries toward the house. Tanner watches her enter and then drives off. INT. DIANE'S LIVING ROOM - DAY It's simply furnished, funky and fun. Diane enters, closes the door, turns, and reacts with a start. ANGLE TO INCLUDE MICHAEL standing at the window, having just seen Tanner drive off. [DIANE] How did you get in here? [MICHAEL] You left your patio door open. Trusting, but not very smart. (re window) Does Tanner drive all his kittens home? [DIANE] If it's any of your business, my car's in the shop. He offered to give me a lift. [MICHAEL] That's what I call being good to your local cheerleader. [DIANE] Look, what do you want? [MICHAEL] I want to know who Stacy had a date with that night. [DIANE] I'm her roommate, not her shadow. [MICHAEL] You're also her best friend. [DIANE] I don't know. She turns to go into another room, Michael takes her arm gently: [MICHAEL] Diane, Stacy's in a coma. There's a chance she'll never come out of it. [DIANE] (pulls away, close to breaking) Don't you think I know that? Don't you think I care? [MICHAEL] If you care, then tell me. [DIANE] I can't. [MICHAEL] Why not? Diane, who are you afraid of? She looks at him, and he sees the fear in her eyes. Then he glances toward the window where he saw Tanner, and it dawns on him: [MICHAEL] Tanner! That's it, isn't it? Stacy was dating Mark Tanner! [DIANE] Yes! But he had nothing to do with her accident. [MICHAEL] What makes you so sure? [DIANE] Because the police said it happened around midnight. Stacy and Mark were having dinner earlier when Mark was called out of town. [MICHAEL] And what happened to Stacy. [DIANE] He sent her home, only she never got here. [MICHAEL] Tanner told you all this? [DIANE] Yes. [MICHAEL] That helps a lot. Thanks Diane. He leaves. Hold for a beat on her torn look. EXT. STREET - DAY - ON K.I.T.T. churning up the pavement. [K.I.T.T.'S VOICE] Michael, the airport logs confirm Tanner's alibi. ANGLE INTO K.I.T.T. [MICHAEL] So his plane took off and landed. That doesn't mean he was on it. By the way, did you ever get an analysis of that paint chip from the accident site? [K.I.T.T.] It just came in, Michael. It's a special high-lead racing paint from a factory in Italy. They make a car called the Vector. It's pretty terrifying. [MICHAEL] Show me what you've got. INSERT - K.I.T.T.'S MONITOR a dazzling 3-D image of the Vector appears. Michael whistles softly. [K.I.T.T.'S VOICE] A double turbo 600 horse engine. Can- Am aluminum-titainium body. Zero to sixty in 3.5 seconds. Top speed 200 plus. Totally illegal to drive in this country by all civilized standards. BACK TO SHOT [MICHAEL] No one ever accused these guys of being civilized. Any chance Tanner owns one? [K.I.T.T.] With his money anything is possible, although I can't find a registration to prove it. [MICHAEL] Then maybe we'll have to prove it another way. He makes a sharp turn. EXT. STREET - DAY - ON K.I.T.T. peeling a 180 and racing off the other direction. EXT. FOOTBALL STADIUM - DAY - ON SIGN bearing an L.A. Lions logo, reading: "CLOSED WORKOUT. NO ADMITTANCE". ANGLE ON K.I.T.T. pulling up. Michael sees the signs, notes all the gates are barred. [MICHAEL] Kitt, see if you can find a way in. INSERT - K.I.T.T.'S MONITOR We see various locked gates flashing by, then hold on an open drive-in gate. BACK TO SCENE [K.I.T.T.] Michael, there is one open gate, but.... [MICHAEL] Let's go for it, Kitt.... [K.I.T.T.] Only.... [MICHAEL] Kitt, if you don't mind! [K.I.T.T.] Whatever you say, Michael. K.I.T.T. heads for a side gate. ANGLE ON GATE as K.I.T.T. is about to move through it. [K.I.T.T.] Why do I feel like I'm entering the jaws of a lion? EXT. STADIUM FIELD - DAY - ON K.I.T.T. as he comes onto the field...and finds himself smack in the middle of a scrimmage game. [K.I.T.T.] Now I know. VARIOUS ANGLES the ball is snapped. Steve Young receives it and throws a long pass. IN K.I.T.T. trying to avoid the charging players he accidentally catches the football through his open sunroof. K.I.T.T.'S POINT OF VIEW - THE DEFENSIVE LINE as then some, charging him. [K.I.T.T.'S VOICE] Michael, why are all those helmeted behemoths charging me?! INTERCUT AS NEEDED - TO INCLUDE TANNER who watches from the sideline, along with the Kittens. [MICHAEL] 'Cause you got the ball, buddy. [K.I.T.T.] Not anymore! ANGLE TO INCLUDE DASH as the eject button lights up, and the football is ejected from the passenger seat. ON FOOTBALL flying high in the air, then landing in the arms of a well- known player. [K.I.T.T.] Let him worry about it. VARIOUS ANGLES As K.I.T.T. drives through the on-field mayhem, the new receiver is hit from behind. The ball flies from his hands and before it can hit the ground, Michael steers the Trans Am under it again, catching it in the sunroof. [K.I.T.T.] Michael, I really don't enjoy this game. [MICHAEL] It's not a game, pal. It's showtime! And I want to make sure the spotlight is on us. ANGLE ON TANNER His interest and his blood pressure rising as he watches the Trans Am. WHAT FOLLOWS is probably a first, as Michael drives through two teams, crisscrossing the field, reversing, running various patterns, and finally crossing the goal line. ANGLE IN K.I.T.T. as Michael pulls to a stop. [MICHAEL] You're another Marcus Allen, buddy. [K.I.T.T.] I suppose that's meant to be a compliment. [MICHAEL] Strictly MVP time, Kitt. Michael gets out and the Kittens crowd around, one putting her arms around his neck. [KITTEN ONE] Fantastic! I've never seen moves like that before! [MICHAEL] You should see me on my pass plays. [KITTEN ONE] I'm pretty aggressive on offense myself. She looks at him, into him. He returns the look until: [K.I.T.T.] Michael, somehow this doesn't sound like football talk to me. Michael is about to respond when: ANGLE TO INCLUDE TANNER joining Michael. The Kittens will drift off. [TANNER] It seems there's no limit to this car's ability. [MICHAEL] (pats K.I.T.T.'s fender) You got that right. And if it was any faster it would need wings. Of course, if you don't believe me.... [TANNER] Are you suggesting a race, Knight? [MICHAEL] If you've got the wheels to make it interesting. [TANNER] Oh, I've got the wheels all right. Question is...do you have the guts? [MICHAEL] Just name the time and place. [TANNER] Midnight. The corner of Temple and Third. And...what say we run for pink slips? [MICHAEL] (nods) Banzai. Michael slides into K.I.T.T. and peels out. EXT. DOWNTOWN STREETS - NIGHT We're back in the area where we first saw the racers. K.I.T.T. pulls around a corner like a prowling black shark. ANGLE INTO K.I.T.T. - ON MICHAEL [K.I.T.T.] Michael, I just don't see a man like Tanner bringing out the guilty car for a race. [MICHAEL] Frankly, I don't either, but it is worth a shot. [K.I.T.T.] And if the shot misses? [MICHAEL] Then it's onto Plan B. [K.I.T.T.] And what, may I ask, is Plan B? [MICHAEL] Here they come, Kitt. WIDE ON THE STREET A low slung Lamborghini Countach pulls around the corner followed by a large truck. The Countach is an evil-looking racing machine. It pulls up next to Michael and disgorges Tanner, who strolls over to K.I.T.T. Bloodworth climbs from the nearby truck. [TANNER] All right if my man holds the pinks? [MICHAEL] If it makes him happy. He reaches in his pocket, hands Tanner K.I.T.T.'s title. Tanner passes them to Bloodworth. [TANNER] (to Michael) Ready? [MICHAEL] Let's burn! Tanner climbs into his car. CLOSE ON THE CARS as they explode off the pavement. VARIOUS ANGLES - RACE over the city course. FIRST CORNER The cars skid around it in four-wheel drift as though bolted together. TANNER glances sidelong at K.I.T.T. This is a challenge like he's never known. ANGLE IN K.I.T.T. The speedometer is clicking up so fast we can't read it. Past 150. BRIGHT STREET The cars rocket through the glass, concrete and electricity. They turn a final corner for home. ANGLE IN K.I.T.T. [K.I.T.T.] Michael, we could've taken him by now. What are you doing? [MICHAEL] Plan B, Kitt. Plan B. He's slowing noticeably as: THE FINISH LINE The two cars slam past Bloodworth, the Countach with a half length lead. They slow, turn and drive back to the starting point. ANGLE IN K.I.T.T. [K.I.T.T.] Michael...you...you lost me! [MICHAEL] That...is...Plan B! Michael's out of the car to meet: TANNER AND BLOODWORTH Bloodworth prepares to pull K.I.T.T. into the waiting truck. [TANNER] Looks like your machine just got its wings clipped. [MICHAEL] Just take good care of it. [TANNER] Maybe. Maybe I'll scrap it for parts. INSERT - VOICE BOX K.I.T.T. gulps. BACK TO SHOT Michael puts a hand on K.I.T.T.'s fender. [MICHAEL] So long, old friend. CLOSE ON K.I.T.T.'S SCANNER moving slower, slower, then going out, as Michael disappears into the night. FREEZE FRAME FADE OUT END OF ACT THREE ACT FOUR FADE IN EXT. FOUNDATION - DAY - ESTABLISHING The morning calm is shattered by the tense sound of: [BONNIE'S VOICE] Michael, how could you have done this. INT. DEVON'S OFFICE - DAY Michael is pacing while Bonnie labors over the computer and a small radio-like device which emits intermittent static. Devon looks on from his desk. It's been a tough night. [MICHAEL] It was the only way. [BONNIE] Losing him in a race? [DEVON] Really, Michael, you overstepped your bounds. Losing Kitt is... (can't find a word bad enough) ...unforgivable. [MICHAEL] For the last time, I didn't lose him. I figured his homing signal would lead us to where Tanner's keeping the Vector. How was I supposed to know the tracking device wouldn't work? [BONNIE] It does work! But there's so much interference, I can't tell what's coming from Kitt and what isn't. (beat) This is really awful. Poor Kitt. [MICHAEL] Okay, look. What direction is the primary signal coming from? [BONNIE] It's hard to say. Considering reflection... (beat) I can't even hazard a guess. [MICHAEL] Bonnie, I love having you back. You're great at your job. But every minute we argue is a minute we don't find Kitt. Look, maybe the interference is from power lines or something we could get past. So throw that scientist's caution aside and give me a direction! [BONNIE] Okay! Okay. (consults the device) South. [MICHAEL] Let's go. Bring that thing with you. Devon, give me your keys. Devon fishes them out of his pocket, hands them to Michael. Bonnie picks up her portable receiver. [DEVON] This had better work, Michael. [MICHAEL] We'll make it work. And they're gone. CUT TO EXT. STADIUM - DAY - ESTABLISHING Deserted at this hour. INT. KITTENS LOCKER ROOM - DAY Diane, fearful, is quickly emptying her locker and stuffing her belongings into a small shoulder bag. Just as she finishes and slams the locker: [TANNER'S VOICE] Here awfully early, Diane. She jumps a little, turns to see: ANGLE TO INCLUDE TANNER leaning in the room's doorway. She tries to hide what she's doing as he moves closer to her. [DIANE] I...I just needed a couple things. He opens her locker, sees it's cleaned out. He looks in her gym bag, then searches her with a look she can't meet. [TANNER] Diane, I'm disappointed in you. [DIANE] I'm going home. Back to my folks. [TANNER] When I hired you you said this was your chance of a lifetime. National exposure, TV. It'd take a lot to make you leave. He's pressing. She's more and more nervous. [TANNER] It's Michael Knight, isn't it. What'd he tell you? [DIANE] Nothing. [TANNER] Then he did come see you. [DIANE] No...I mean, I didn't tell him anything! [TANNER] Diane, I'm sorry. I can't let you go just now. She tries to dart past him to the door but he's too quick, too powerful. She struggles in his grip, starts to scream, but he clamps a hand over her mouth. EXT. CITY STREET - DAY Devon's Mercedes flashes by, Michael driving, Bonnie in the passenger seat. ANGLE IN MERCEDES Bonnie is monitoring the computer in her lap. Michael looks tense, keeps glancing at her. [MICHAEL] Talk to me. [BONNIE] (frowns) The signal's stronger now, but it's in multiples. [MICHAEL] Bonnie, spare me the technical analysis. I need a direction. Left or right? [BONNIE] Left. ANGLE ON THE STREET Approaching a cross street, the Mercedes cuts a left. CUT TO INT. STADIUM - UNDERGROUND GARAGE We're close on a large drill, boring into a hard surface but not making any progress. Pull back to reveal it's held by Bloodworth, doing his best to get into K.I.T.T., who's parked in a well-stocked indoor garage/lube bay. Next to K.I.T.T. under a tight-fitting nylon cover is a low silhouette we recognize as belonging to the Vector. ANOTHER ANGLE Bloodworth holds up the drill to examine the bit. It's badly bent. He shakes his head, turns when he hears a door opening. Through the door comes Diane, shoved in roughly ahead of Tanner, who closes it behind him. [BLOODWORTH] (re K.I.T.T.) Forget about pulling the engine on this car, boss. I can't even get under the hood... (reacts to Diane's presence) What's she doing here? [TANNER] She knows. Bloodworth reacts. Off Diane's fearful look: CUT TO EXT. STREETS NEAR STADIUM - DAY The Mercedes cruises through light traffic. Bonnie's tracking device is now emitting a strong regular beep. [BONNIE] Michael, the signal's almost at full strength. We're getting close. [MICHAEL] (it dawns) Lion's Stadium is only a couple of blocks from here. That's it! He floors the car, cutting through traffic and around a corner. ANGLE IN MERCEDES They speed along, excitement replacing the previous tension. [BONNIE] That makes sense. If Kitt's under all that concrete, it'd explain the interference. [MICHAEL] How close can that thing pinpoint him? [BONNIE] Not very close. That place is big. He could be anywhere. [MICHAEL] And we may not have much time. (beat; something dawns) Wait a minute! He picks up the car phone, dials as he drives. Waits a beat. [MICHAEL] Yeah, Jim Courtney please. Patch me through. It's an emergency. EXT. STREET - DAY - ANGLE ON COURTNEY'S CRUISER in motion. ANGLE IN CRUISER - INTERCUT MICHAEL Courtney picks up his radio mike. [COURTNEY] Yeah, this is Courtney. [MICHAEL] Jim, it's Michael Knight. I don't have time to explain, but if you want the man who ran down Stacy, meet me at the stadium. Right now. [COURTNEY'S VOICE] I'm on my way. Michael hangs up, impatient. EXT. STREET - DAY - COURTNEY'S CRUISER spins a turn, burns rubber. INT. STADIUM - GARAGE - DAY Bloodworth finishes tying a frightened Diane to a chair. [DIANE] Please don't hurt me! Tanner's been poring over some maps at a workbench. He moves to join them. [TANNER] Believe me, Diane, I wish there was another way. Hold on their looks. EXT. STADIUM - PARKING LOT - DAY The Mercedes is parked inconspicuously and Courtney's cruiser screeches up to it. Michael and Courtney are both out of their cars quickly to confer. ANGLE ON THE TWO MEN [COURTNEY] Okay, Bright Eyes. What've you got? [MICHAEL] The man who ran down Stacy was Mark Tanner. [COURTNEY] (incredulous) Mark Tanner? The owner of the Lions? [MICHAEL] That's the one. We can tie him to it if we can find the car he drove, and it's somewhere under that stadium. No one knows the inside of this place like you. [COURTNEY] Let's go. They dash into the structure. INT. GARAGE - DAY Tanner turns away from a set of maps to where Bloodworth stands guard over Diane. He's more up now, thinking he sees a way out of all this. [TANNER] Get her ready to move. [BLOODWORTH] What's the plan? [TANNER] I think it'd be a lot better for both of us, friend, if you didn't know. Bloodworth starts to untie Diane from the chair. INT. STADIUM CORRIDORS - DAY Michael and Courtney run down a hall to an old door that's been long closed. Courtney tries to open it. Michael pitches in. [MICHAEL] What's behind here? [COURTNEY] Maintenance stairway. It'll get us to any level. As they pound away, Courtney pauses. [COURTNEY] Wait a second. How'd you know I could find my way around here with my eyes closed? Only a few people knew this was on my beat. My wife, my watch commander, and my late partner, Michael Long. [MICHAEL] You want to talk about it or you want to find that car? The door gives under Michael's shoulder and they disappear through it. ANGLE IN ANOTHER CORRIDOR as Michael and Courtney burst out and stop to catch their breaths. [MICHAEL] Where to from here? [COURTNEY] I know of two rooms big enough, but I can't say which one. [MICHAEL] Just a minute! (to comlink) Kitt? Can you read me? [K.I.T.T.'S VOICE] (heavy static) Michael, is that you? INT. GARAGE - DAY Tanner's uncovering the Vector as Bloodworth finishes untying Diane. ANGLE IN K.I.T.T. - INTERCUT MICHAEL AS NEEDED The dash lights up. Softly: [K.I.T.T.] Michael, thank God you're here. They've got Diane. Hurry! [MICHAEL] Buddy, where are you? [K.I.T.T.] I'm not sure. It's a low room. There's some heavy electrical conduit running through here. BACK TO MICHAEL AND COURTNEY [MICHAEL] That help you any? [COURTNEY] You know it. Come on. They dash off. INT. GARAGE - DAY Bloodworth is pulling the struggling Diane into the Vector, his hand over her mouth. [TANNER] Strap her in the car. I'll take it from here. INT. STADIUM - BASEMENT CORRIDOR Michael and Courtney race down the corridor. Courtney points. [COURTNEY] That's the door. [MICHAEL] You take low, I'll take high. [COURTNEY] You got it, Mike. They charge toward the door, kicking it in on the run. INT. GARAGE - ANGLE ON DOOR It explodes open. Michael and Courtney burst in. FULLER ANGLE Tanner's climbing into the Vector beside Diane. Bloodworth is near them. He turns on the partners instinctively, and charges. [MICHAEL] (to Courtney) High and low! Together they clothesline Bloodworth, who crumbles. As Courtney goes to cuff him: ANGLE ON GARAGE DOOR opening, and the Vector peeling out into a tunnel. MICHAEL hops into K.I.T.T. ANGLE IN K.I.T.T. as the dash comes to life. [K.I.T.T.] Glad to have you back in the driver's seat, Michael. [MICHAEL] That makes two of us. Let's go get 'em. They screech out in pursuit. EXT. STADIUM - PARKING LOT - DAY The Vector shoots out of an underground parking tunnel, slams onto the pavement and burns off. Seconds later, K.I.T.T. rockets out after them. VARIOUS ANGLES OF CHASE through the city streets surrounding the stadium. The Vector hauls for all its worth but can't shake the Trans Am. ANGLE IN K.I.T.T. [K.I.T.T.] Shall I try to jam his ignition, Michael? [MICHAEL] Too risky at this speed, pal. We can't have him rolling that thing with Diane in there. CUT TO EXT. TWO-LANE ROAD - DAY deserted until the Vector flies onto it. K.I.T.T. is only seconds behind. VARIOUS ANGLES OF CHASE along this road. ANGLE IN K.I.T.T. [MICHAEL] Kitt, give me a readout of what's ahead. INSERT - MONITOR A computer-graphics map shows the road with two fast-moving blips indicating the cars. [K.I.T.T.] Michael, this road ends in a washout in less than two miles. BACK TO SHOT [MICHAEL] They'll never be able to stop in time. ANGLE IN VECTOR Tanner sees they're running out of road. He hits his brakes and the car starts to skid out of control. Diane is terrified. ANGLE IN K.I.T.T. [MICHAEL] He's losing it, Kitt. We've got to stop them. Here goes. He reaches for turbo boost. VARIOUS ANGLES - THE JUMP K.I.T.T. goes up like a Saturn rocket. He's up, up, and over the Vector on the final straightaway. ANGLE ON K.I.T.T. He slams back to Earth in front of the skidding Vector! As they start past the signs indicating the end of the road, Michael applies the brakes slowing K.I.T.T. down. The cars bump once, then again. ANGLE ON K.I.T.T.'S TIRES His superior brakes grabbing the pavement, slowing both cars. ANGLE IN THE VECTOR Tanner fights for control of his car. Only K.I.T.T. stands between him and a splintering crash. ANGLE IN K.I.T.T. - THROUGH THE WINDSHIELD The end of the road coming perilously close, followed by a deep drop-off. ANGLE ON THE MONITORS registering the upcoming disaster. MICHAEL sweating bullets. [MICHAEL] More braking force! Give it all you've got! [K.I.T.T.] Michael, I'm at capacity now! Anymore and my brakes will give out, and we'll go over with them. ANGLE ON THE CARS Bumpers kissing, glued together, bumper to bumper, still hurtling forward, smoking, screeching, tearing up the highway. ANOTHER ANGLE Finally, they slow sown to a dangerous but controlled stop, inches away from the drop-off. ANGLE IN K.I.T.T. [MICHAEL] I knew you could do it, pal. [K.I.T.T.] I appreciate your confidence. He's out of the car in a flash. FOLLOWING MICHAEL He races back to the Vector, pulls Tanner out. Leaning inside. [MICHAEL] You all right, Diane? [DIANE] I am now. Michael turns to Tanner. Pulling Tanner's face to within inches of his own. [MICHAEL] The clock just ran out, Tanner. You lose. FREEZE FRAME FADE OUT END OF ACT FOUR TAG FADE IN EXT. FOOTBALL STADIUM - DAY Michael walks with Courtney and Stacy, who's in a wheelchair pushed by her father. Except for this, she shows no sign of the accident. The Lions work out in the b.g. [MICHAEL] Your father tells me you'll be dancing again soon. [STACY] Yes...the Ballet Academy even agreed to hold my scholarship for me. [COURTNEY] She's gonna be a superstar, just wait and see. Michael smiles his approval. They stop. Courtney looks at him. [COURTNEY] Thanks for your help. [MICHAEL] My pleasure. [COURTNEY] Oh, by the way, I've got a little present for you. [MICHAEL] Hey, come on, no need.... [COURTNEY] No, it used to belong to a friend of mine. Courtney produces a small box which Michael opens, revealing a police badge. Beneath it is a name tag reading: "M. Long." [COURTNEY] A cop by the name of Michael Long. (beat) See you around. Courtney goes off, pushing Stacy. Michael looks at the badge a tender beat, then moves to Devon and Bonnie, standing next to K.I.T.T. He starts climbing in. [DEVON] Michael, what's this I hear about Kitt playing football? [MICHAEL] I tell you, Devon, he's the next O.J. Let's show 'em, Kitt. (calls over) Steve, let's go for a Hail Mary! Steve Young waves the football. [YOUNG] One Hail Mary coming up. [BONNIE] Michael, if you hurt him.... But K.I.T.T.'s already down the field. VARIOUS ANGLES as Young passes. [MICHAEL] Here it comes, buddy. [K.I.T.T.] It's all mine, Michael. K.I.T.T. makes a fantastic catch through the sun roof. [MICHAEL] Touchdown! Now let's get the extra point! [K.I.T.T.] Michael, you can't be serious...you wouldn't really...Michaelllll!!! [MICHAEL] (hitting Turbo-Boost) Banzai!!! ON K.I.T.T. lifting off, higher and higher, and just as he crosses the center of the goal posts for an extra point we: FREEZE FRAME AND FADE OUT THE END

{"show": "Knight Rider", "season": "s03", "episode": "e03", "title": "Knights of the Fast Lane"}

knightriderarchives

ACT ONE FADE IN EXT. APARTMENT COMPLEX - NIGHT - JACK-O'-LANTERN by the apartment entrance door. It's cutout face macabrely glows. It's after midnight and two costumed musketeers and one sexy female cave girl move up the path, laughing. They enter the building. INT. APARTMENT BUILDING - BONNIE'S APARTMENT - NIGHT - BONNIE down with the flu and fever, spooning out a creamy medicine from a brown prescription bottle. Around the apartment are half-opened boxes, suitcases, and furniture, not yet set in place, evidence of a recent move. Bonnie takes the medicine, makes a face and puts the cap back on the bottle, placing it back on a box that serves as a temporary phone stand. A sudden, loud disturbance is heard in the hall. She moves to the door, looking through the peephole: THE MUSKETEERS duelling in the hallway for the honor of the sexy cave girl. Distorted through the fish-eye glass. BACK TO SHOT Bonnie sniffles, shaking her head, about to turn off the lights and get into bed. Abruptly, a scream is heard. She moves to the door, unlocking it. INT. APARTMENT BUILDING - NIGHT - SECOND FLOOR HALLWAY A Woman, thirty, in a stylish white dress, screams as she runs down the hall, pursued by someone in a black gorilla costume. Bonnie steps out. [BONNIE] Please, could you keep it down...at least until you get to the party. The gorilla clamps a hairy paw over the screaming Woman's mouth. As Bonnie reacts, the gorilla quickly picks the Woman up, beats comically on his chest and carries the Woman off. Bonnie shakes her head, bewildered. [BONNIE] (dry) ...And Halloween's still two days away. OMITTED INT. BONNIE'S APARTMENT - NIGHT - BONNIE moves unsteadily toward sliding glass doors that lead to the balcony; starting to feel a bit woozy from the medicine. Gets her balance and reaches for the curtains' drawstrings. Looks out for a moment, her eyes trying to focus on: BONNIE'S POINT OF VIEW - APARTMENT 2-H diagonally across. A dizzying vision. In the lavishly furnished place she can make out the gorilla, who has hold of the Woman in white, in what appears to be an embrace. INT. FURNISHED APARTMENT - NIGHT The gorilla angrily shakes the Woman in the white dress, his hands around her neck, throttling her. [WOMAN] (choking) I...don't have it...the... (gasps for breath) ...apart...ment! The gorilla listens for more, but it's too late. The Woman slumps to the floor, pulling a lamp down with her. Dead. INT. BONNIE'S APARTMENT - NIGHT - CLOSE ON BONNIE her face registering her shock and horror. BONNIE'S POINT OF VIEW - APARTMENT 2-H The gorilla nervously looks at his victim, then turns to the window. GORILLA'S POINT OF VIEW - BONNIE watches him, transfixed. ANGLE IN BONNIE'S APARTMENT - BONNIE as she turns away in horror and goes for the phone. Her temperature rising as her hand wipes her brow. She begins to dial, then swoons, collapsing on the floor. EXT. HIGHWAY - NIGHT - ON K.I.T.T. steering through the darkness. [K.I.T.T.] Michael, have you decided on a costume for the Foundation Halloween party? ANGLE IN K.I.T.T. - ON MICHAEL [MICHAEL] I was kind of thinking about Long John Silver. [K.I.T.T.] Long John Silver! He was a brigand... a murderer. [MICHAEL] But women love a man with an eyepatch, pal. [K.I.T.T.] I can't imagine why. (beat) Devon's calling. Michael reaches up, pushing the button. [MICHAEL] Yo, Devon. INTERCUT - MONITOR - DEVON in his office, looking weary. [DEVON] Good evening. I realize I'm probably interrupting something terribly important, but I need to know your ETA. [MICHAEL] Nine AM. Why the long face? [DEVON] It's Bonnie. I'd like you to swing by her new apartment on your way in. [MICHAEL] Still got the flu? [DEVON] Yes, but that's not the problem. She just woke me with the most fantastic story. It seems she thinks she saw a gorilla strangling a girl in her apartment building. [MICHAEL] Could be a bad dream...medication... Did you notify the police? [DEVON] I debated that one until I spoke to her doctor. He told me the medicine she's taking, combined with her symptoms could create very disorienting side effects. So, for Bonnie's sake, please handle this with...sensitivity. [MICHAEL] My bedside manner's impeccable. [DEVON] No comment. Let me know what you think. Devon smiles. His image fades on the monitor. EXT. HIGHWAY - NIGHT - K.I.T.T. zooming off, disappearing into the night. EXT. APARTMENT COMPLEX - ENTRANCE - DAY Michael walking up the path, seen from behind, entering the building. Camera pans to the side. We see a man in work overalls there. He is Norman Baines, a thin, wispy, twenty- five year old. He watches Michael enter as he works large hedge clippers, cutting with a vengeance. INT. BONNIE'S APARTMENT COURTYARD - DAY - BONNIE moving to the door, as the bell rings. A box of tissues in her hand. She looks like she's been up all night chasing phantoms. [BONNIE] Who's there? [MICHAEL'S VOICE] Michael. Bonnie checks through the peephole to make sure. Then opens the door. Michael hands her a bouquet of flowers. [MICHAEL] Happy new apartment. He offers them to her, stepping in. Bonnie is delighted. [BONNIE] Oh...Michael...they're beautiful. She tries to inhale the scent. But through her congestion, it's difficult. [MICHAEL] They smell great. Take my word for it. She leads him into the apartment. [BONNIE] Now if I can just find a vase. The only one I've unpacked I'm using for a juice pitcher. She starts to look through some boxes. Michael picks up a large empty juice can. [MICHAEL] No problem. This should fit right into your decorating scheme. (off Bonnie's laugh) How you feeling? [BONNIE] Physically, a little better. Emotionally...I'm really glad you dropped by. She takes the can from him, starts washing it in the sink. Suddenly unnerved, her hands start to shake as she rinses out the juice can. The can drops into the sink, rattling on the aluminum. [MICHAEL] You all right? She glances at him. [MICHAEL] Devon told me. [BONNIE] And you think I've lost my mind, don't you? That's why you're being so nice. [MICHAEL] (winces a little) Ouch.... Bonnie instantly regrets she said it. [BONNIE] I'm sorry. I didn't mean that. I just keep seeing the image of that girl.... [MICHAEL] ...That's why I'm here. Where did it happen? [BONNIE] (pointing out her window) Apartment 2-H. I'm going with you. [MICHAEL] Don't forget your tissues. They start out, Bonnie grabbing a box of tissues on the way. INT. SECOND FLOOR HALLWAY - ON DOOR 2-H Fist knocking on it. Pull back to see Michael and Bonnie. They exchange looks. Michael tries the knob. It's open. They step in. INT. APARTMENT 2-H - CLOSE ON MICHAEL AND BONNIE as they enter, stop at what they see: THEIR POINT OF VIEW - APARTMENT Empty of all furnishings, as if no one had recently lived here. BACK TO SCENE Bonnie turns to Michael. [BONNIE] Michael! There was furniture here... Couches, wall hangings, a lamp. She knocked it over when she fell. I saw it! [MICHAEL] (gently) Bonnie, you're sure this is the right apartment? [BONNIE] I'm positive. (moving over to the window) That's my apartment diagonally across. It's a clear view. There are the flowers you brought me, wilting on the sink. [MICHAEL] (patient) It was dark, and with the fever.... [BONNIE] (interrupts, emphatic) Michael, I saw it! Suddenly the apartment door suddenly slams shut. Bonnie shrieks. Michael comforts her, arm around her. He glances over to the drapes, billowing by the screened balcony door. [MICHAEL] Take it easy...it's just a cross draft. C'mon, let's go back to your place. Gently, he guides her out. INT. APARTMENT BUILDING - SECOND FLOOR HALLWAY Michael and Bonnie reach her apartment. [BONNIE] Is this it? You quitting on me? [MICHAEL] (looks at her) You know me better than that. Where was the party? She smiles. [BONNIE] One-B. He starts off. [BONNIE] Michael? He turns, nods with a grin: [MICHAEL] A black gorilla suit. Gotcha. As they part, camera holds on a service door, slightly ajar. Through the cracks we see a pair of eyes watching Michael and Bonnie and hear the sound of heavy breathing. INT. FIRST FLOOR HALLWAY - APARTMENT 1-B Michael rings the bell, waits a beat. The door partially opens. The pretty face of Denise appears. [MICHAEL] Hi. I'm Michael Knight. I understand there was a party here last night. [DENISE] Party? Now where'd you ever hear that? A balloon floats out. Michael catches the string, smiles. [MICHAEL] The Great Pumpkin told me. (returns the balloon) Can I come in? [DENISE] Any friend of the Great Pumpkin is a friend of mine. Denise lets Michael in. INT. DENISE'S APARTMENT Michael and Denise enter the living room, amidst major party debris. [DENISE] As you can see, it was just an intimate affair. [MICHAEL] (looking around) Six or seven of your closest friends. [DENISE] (beat) Right. What can I do for you? [MICHAEL] Well, I've got a good friend who just moved into the building. Last night she thought she saw something really strange. [DENISE] I saw some strange things myself. [MICHAEL] Did you have any trouble here? [DENISE] You mean, like running out of ice? [MICHAEL] No...like a gorilla going ape. Maybe hurting someone. Denise turns, thinking. She toys with some streamers. [DENISE] Hmmm. Let me see. We had at least a dozen Boy Georges, a couple of break dancing mummies and one John De Lorean, but no one came as a gorilla. That I'd remember, 'cause I like hairy guys. Her phone rings. [DENISE] That's either rave reviews for the party or my landlord asking me to move. (lifts the phone, holds it close) You'll excuse me. [MICHAEL] Thanks for the help. I can find the door. [DENISE] (to phone) Hello? Harry? Yes, I had a ball, too. ON MICHAEL On his way out, he suddenly notices: A CLUMP OF BLACK HAIR snagged on the entrance air-conditioning vent. BACK TO SHOT Michael unsnags it carefully, considers it closely, then exits. EXT. APARTMENT BUILDING - DAY as Michael moves to K.I.T.T. with the patch of hair --- ANGLE ON ESMERELDA hurrying to catch up with him. Esmerelda is twenty-seven, sultry, dressed in black, and a bit vampish. She also carries a black cat. Why not? Re K.I.T.T. --- [ESMERELDA] It's a dream! ANGLE TO INCLUDE MICHAEL AND K.I.T.T. K.I.T.T. flashes his scanner: [K.I.T.T.] I think she means nightmare. (softer) Michael, if she's trick-or-treating tell her she's a day early. Esmerelda reaches Michael. Re K.I.T.T. --- [ESMERELDA] Exactly what I need for the Witches' and Warlocks' Ball. I'm Esmerelda, top witch of the Northern Hemi. Are you a warlock by any chance? [MICHAEL] I...don't think so. [ESMERELDA] A pity. It's so hard to find a good warlock these days. [K.I.T.T.] Have you tried warlocks anonymous? [ESMERELDA] (casually) And it talks, but then so does my broom. Well? Can I use him for my witch-mobile tomorrow night or not? [K.I.T.T.] Witch...mobile? [MICHAEL] (amused) I'm afraid he already has other commitments. [ESMERELDA] (to Michael; simply) I'll put a curse on you you'll never forget. (to cat) Come, Voodoo, time to take the newts out of the oven. And she heads back to the apartment, or wherever she came from. [K.I.T.T.] If you ask me, Michael, she has newts in her belfry. [MICHAEL] Let's just hope she keeps them there. Run this through your analyzer, pal. Michael reaches in, placing the clump of hair in the analyzer tray. INSERT - K.I.T.T.'S MONITOR Graphics and picture confirm: "Gorilla." BACK TO SHOT Michael reacts, as does K.I.T.T. [K.I.T.T.] It's hair from a real gorilla. Oh, why did Bonnie have to choose one of these singles' buildings? [MICHAEL] Relax. This monkey probably hasn't peeled any bananas lately. Kitt, there can't be too many places in town that rent real gorilla hair suits. Check it out. [K.I.T.T.] Right away. Michael starts off. OMITTED ANGLE ON APARTMENT BALCONY We see hands, shifting a heavy cement flower planter atop a small pedestal, too close to the balcony railing. RESUME ON MICHAEL about to enter Bonnie's apartment wing. A scraping is heard. Instinctively, Michael glances up. MICHAEL'S POINT OF VIEW - THE HEAVY CEMENT PLANTER plummeting down, right for him. MICHAEL leaps aside, dodging it at the last instant. It crashes on the pavement, inches away. Michael looks up to see: A FIGURE just a glimpse, disappearing into the apartment. ANGLE - MICHAEL off and running. Into comlink: [MICHAEL] Apartment 2-H? [K.I.T.T.'S VOICE] Exactly. Michael dashes through the doors. INT. APARTMENT 2-H - DAY - MICHAEL charges into the same apartment he and Bonnie searched. There's no one in sight. Michael checks the apartment, opening doors. As he opens one, Norman Baines springs from another, racing for the exit. Michael leaps for him, grabs him, spins him around. [NORMAN] Please...don't hurt me. [MICHAEL] Hurt you? Buddy, you almost potted me into the pavement. [NORMAN] I...I was just putting flowers in that planter and the pedestal.... [MICHAEL] ...just fell over by itself. Come on, you can do better than that. [NORMAN] No, no, I bumped into it, but...it was an accident. Why would I want to hurt you? [MICHAEL] You tell me. Who are you anyway? [NORMAN] I'm Norman Baines, custodian of the building. Michael relaxes his grip, still suspicious. [NORMAN] Uh...You're a friend of Bonnie Barstow's, aren't you? [MICHAEL] How did you know that? [NORMAN] I saw you bring her some flowers. I hope she'll be happy here. [MICHAEL] So do I. How long has this place been vacant? [NORMAN] Three, four months. [MICHAEL] Which is it, Norman? Before Norman can answer: INCLUDE EDWARD GRANT sixty, dressed smartly, a gruff air of power and confidence about him. He speaks right up as he moves in from the doorway. [GRANT] Four, and who wants to know? [MICHAEL] Michael Knight. Excuse me, but I didn't catch your name. [GRANT] Grant. This is my building. You interested in renting? [MICHAEL] (fishing) Someone told me this was a furnished apartment. [GRANT] Someone told you wrong. The furnished apartments are in the other wing. Well? [MICHAEL] (studies him a beat) I'll get back to you. With that, Michael exits, leaving Norman and Grant. We hold on them as they share a glance. INT. BONNIE'S APARTMENT - DAY - BONNIE trying to keep busy. She stands on a box dusting walls with a feather duster. Suddenly, unbeknownst to Bonnie, a key is dislodged from atop the door chimes. It falls to the carpet. Bonnie finishes dusting, steps off the box, and notices the key for the first time, but not where it came from. OMITTED CLOSER ANGLE Confused, Bonnie picks the key up. Looks it over, then tries it in a nearby cabinet. It doesn't fit. She shrugs, clips it to her key ring, lying on a nearby table. Abruptly, the sound of water running is heard from her bathroom. Alarmed, Bonnie starts toward it. INT. BATHROOM - DAY - ANGLE TOWARD SHOWER ROOM DOOR Bonnie crosses to it. The water running sound ceases as abruptly as it started. She pushes the door open, stepping inside. ANGLE IN SHOWER ROOM Bonnie looks around. Everything seems as it should. She sighs, shakes her head, and turns as if to walk out. Then turns back and looks at the closed door of the shower stall. She grabs the handle, waits a beat, then pulls it open. Her face fills with horror as: WHAT SHE SEES - THE STRANGLED WOMAN in the white dress, slumped against the tile walls, dead. BONNIE screams, rushes out. INT. APARTMENT HALLWAY - DAY - ON MICHAEL Hearing the screams, he breaks into a run, turns a corner. ANOTHER ANGLE Bonnie and Michael almost collide as she rushes from her apartment. [MICHAEL] Bonnie, what is it? [BONNIE] (hysterical) The girl from last night...She's in my shower! Michael takes off into the apartment. INT. BONNIE'S APARTMENT - DAY Michael races from the living room into: INT. BATHROOM - DAY Michael enters, looks into the shower, reacts. WHAT HE SEES - THE SHOWER is empty and dry. The girl has vanished. BACK ON MICHAEL Bonnie moves in behind him, afraid to look. [BONNIE] She's dead, isn't she? Michael? [MICHAEL] (very gently) Bonnie, look. Bonnie looks to see the empty shower. She reaches out to touch the dry tile. She turns to Michael, desperate. [BONNIE] It can't be dry. I heard the water running! And I saw her, right down there! (breaks into tears) Michael, am I going crazy? [MICHAEL] No, but someone sure wants you to think so. Bonnie reacts, Michael draws her close, gently putting his arms around her. [MICHAEL] Easy, Bonnie. It'll be okay. I promise you...and I promise we'll find out who's doing this...who and why. FADE OUT END OF ACT ONE ACT TWO FADE IN EXT. STREETS - DAY - K.I.T.T. driving, moving with a purpose through a pleasant urban setting. [MICHAEL'S VOICE] Kitt, you're sure Central Costume is the only place that rents real gorilla suits? ANGLE IN K.I.T.T. [K.I.T.T.] According to my information, Michael. And by the way, I've been giving some thought to your party costume. [MICHAEL] Lay it on me, pal. [K.I.T.T.] Since you intend to interest a lady in the birds and the bees...might I suggest -- St. Francis of Assisi. [MICHAEL] You do and you're going as a witch- mobile. OMITTED EXT. CENTRAL COSTUME AND PROPS - DAY - SIGN It reads: "CLOSED". Under it "HALLOWEEN HOURS, 9:00 to noon, 3:00 to Midnight." Camera pulls back to reveal a huge warehouse -- dark and uninviting. K.I.T.T. cruises slowly to the front. [K.I.T.T.'S VOICE] It's closed for another few hours. ANGLE IN K.I.T.T. as Michael scopes the place out. [MICHAEL] Good. It'll be easier to look around. Can you see a way in? INTERCUT - K.I.T.T.'S MONITOR Showing a window. [K.I.T.T.] There's a window with a broken latch in back. ANGLE ON K.I.T.T. Michael steers into the alley, next to the building. INT. CENTRAL COSTUME - DAY - ON A WINDOW It slides open and Michael clambers in, then drops to the floor. The place is cavernous, dark and old, and filled with rack upon rack of costumes of all shapes, colors, and sizes. FOLLOWING MICHAEL He moves catlike through the racks, looking left and right. He rounds a corner and reacts as he sees: AN EXECUTIONER complete with black hood and a nasty-looking axe, looming right in front of him. Michael drops to a defensive posture by reflex, then realizes he's looking at a well-dressed mannequin. [K.I.T.T.] (comlink) Are you all right? Your pulse and respiration are racing. [MICHAEL] I'm fine. Just a little too much Halloween. ANOTHER ANGLE Michael turns into a new row of costumes, this time taking note of a complete suit of armor standing upright on a rolling base. He passes it, then spots what he's looking for: a rack containing several gorilla suits and heads. He hurries to it, flips through them until he finds: CLOSER ANGLE A black gorilla suit matching the color of the hair he found. He holds the comlink close to it, whispers: [MICHAEL] Is this the genuine article? [K.I.T.T.'S VOICE] (comlink) A perfect match. He pulls the suit from the rack and notes a tag receipt dangling from the hanger. He reads it. Slight reaction. [MICHAEL] Well, what do you know? Footsteps are heard approaching. ANGLE ON A DOOR as it opens, admitting a shadowy Figure. MICHAEL grabs the gorilla suit and disappears into the racks of costumes. VARIOUS ANGLES - INTERCUT - MICHAEL AND SHADOWY FIGURE A gun drawn, the Figure moves cautiously, stalking his prey. Michael crouches beside some costumes, seeing the feet passing under the rack. Eventually, Michael is forced into a corner where he hides. [FIGURE] (quietly; threatening) I know you're back there. MICHAEL stays frozen, whispers into his comlink: [MICHAEL] Kitt, I could really use a Knight in shining armor. EXTERIOR - ANGLE ON K.I.T.T.'S SCANNER - DAY flashing, making its characteristic sound. INT. CENTRAL COSTUME - DAY - ROW OF COSTUMES The Figure, gun poised, is suddenly distracted by a rumbling behind him. He whirls to see the suit of armor bearing down on him rapidly, sword arm waving. He fires and the suit's head flies off and rolls away. The Figure screams and runs off, spooked. Only now do we see he's a security guard. ANGLE ON MICHAEL appearing out of the racks, gorilla suit in hand. [MICHAEL] Looks like we just rented ourselves a gorilla suit. He heads for the window. CUT TO INT. APARTMENT HALLWAY - CLOSE ON DOOR "1-B" A hand raps insistently and the door is opened by Denise. Widen to reveal Michael, all business, holding the gorilla suit at her door. Her eyes widen, but she quickly covers her surprise, smiles. [DENISE] Oh, good, you found one. You'll make a great King Kong. [MICHAEL] I need to talk to you. [DENISE] Come on in. You like brie or gouda? She opens the door and he crosses into the apartment. ANGLE IN DENISE'S APARTMENT Michael's hard, determined as he follows Denise toward the living room. [MICHAEL] Cut the tap dance, Denise. You lied to me. [SIMON'S VOICE] Is something wrong? ANOTHER ANGLE TO REVEAL SIMON early thirties, tanned, handsome, and athletic, rises to help Denise meet Michael's intrusion. With him, to Michael's surprise, is Bonnie. She reacts, both to him and to the gorilla suit. [BONNIE] Michael.... [DENISE] (still the hostess) Oh, good, you know each other. I'll open another bottle. [BONNIE] (a little awkward) Michael, this is Simon. He and Denise were nice enough to throw me a little 'Welcome to the Building' party. [SIMON] Nothing fancy...cheese, a little Beaujolais.... [DENISE] I thought these two should meet. [MICHAEL] Very nice, but I didn't come to party. I'll go back to the beginning. Denise, you'll never guess where I found this gorilla suit. [DENISE] Central Costume. [MICHAEL] With your name on it. [DENISE] (cheerfully) I took it back today. [MICHAEL] (still tough) I asked you this morning.... [DENISE] ...if anyone at the party wore a gorilla suit, and I said no. I never took that thing out of the closet. [MICHAEL] (skeptical) Oh, I see. You just rented it, brought it home, then took it back. [DENISE] That's right. I changed my mind. Really...do I look like the gorilla type to you? [MICHAEL] If you didn't wear it, why'd you take it to be cleaned before you returned it? [DENISE] Now you're hallucinating. I'm not that conscientious. [MICHAEL] For your sake, you'd better be telling the truth, 'cause if I find out you're not.... Bonnie and Simon have grown more and more uncomfortable during this exchange. Bonnie moves to Michael and tugs his sleeve. [BONNIE] Thanks a lot for the party, you guys. And don't mind Michael. He's just being...brotherly. Bonnie and Simon exchange smiles, and she leaves with Michael. EXT. APARTMENT BUILDING - DAY - ON K.I.T.T. Scanner light flashing warily: [K.I.T.T.] Really, Esmerelda, I think you're going a bit too far. FULLER ANGLE to see Voodoo the cat resting on K.I.T.T.'s hood, while Esmerelda completes a pentagram completely around K.I.T.T., made with a pretty purplish powder of bat. [K.I.T.T.] And will you kindly get that black fur ball off my hood. [ESMERELDA] Voodoo's my medium, Kitt. He helps me with my magic. [K.I.T.T.] Then see if he'll help you make him disappear. The pentagram completed, Esmerelda picks Voodoo up in her arms. [K.I.T.T.] Thank you. Then she steps out of the pentagram and begins chanting: [ESMERELDA] 'Bat wings and toad tails, Lizzard tongues and snake scales...' [K.I.T.T.] I'm getting sick to my transmission. As she goes into a humming trance --- BONNIE AND MICHAEL They move out of Denise's entryway and cross to Bonnie's entrance, unable to see K.I.T.T. from their angle. [BONNIE] Do you really think Denise is involved? [MICHAEL] You don't? [BONNIE] I don't know, she seems so nice. Not my image of a murderess. [MICHAEL] That's what they said about Lizzie Borden. I had Kitt run a check on the suit for foreign matter: Blood, hair.... [BONNIE] (cringing) And?... [MICHAEL] Nothing. But he did find fresh evidence of dry cleaning chemicals. Either a very conscientious person ...or someone with something to hide. I'd guess the latter. [BONNIE] If I had a couple weeks I could program Kitt to analyze the mixture. [MICHAEL] I'm way ahead of you. It's Premiere Cleaners on Wilson. We're on our way there now. [BONNIE] How could you trace it so fast? [MICHAEL] (winks) I read the ticket on the hanger. They stop at her entrance. She begins looking for a key on her key ring. We'll notice the one she found in her drapes. [MICHAEL] You going to be okay? [BONNIE] If I can find the right key to my apartment. This building has more locks than a Federal Reserve Bank. See you later. Bonnie enters the building. Michael heads back toward Kitt when he suddenly reacts to what he sees. ANGLE TO INCLUDE K.I.T.T. AND ESMERELDA as Michael hurries to them. She's begun her chanting again. [ESMERELDA] 'Prince of Darkness, Angel of the [Bottomless Pit,] Devil, Satan, let's all welcome Kitt!' With this the pentagram ignites and burns a blazing ultraviolet until it flashes out. Very impressive. [ESMERELDA] You're one of us now, Kitt. [K.I.T.T.] As long as I don't have to buy a cat. Esmerelda looks at Michael: [ESMERELDA] You're next. And goes off. [K.I.T.T.] Funny, Michael, but I don't feel any different. [MICHAEL] Between you and me, Kitt, I think one of the newts got out. He smiles, slides in and they peel off. OMITTED INT. EDWARD GRANT'S MANSION - DAY - LIVING ROOM Open close on an expensive phone chiming discreetly. Widen to reveal Edward Grant in casually elegant lounging attire. We hear only his side of a brief phone conversation. [GRANT] Yeah. (beat; expression darkening) Knight again...too bad. That costume's your problem...'Course I still want the key. (another beat) Just try not to do anything stupid. He hangs up, shakes his head. He pulls a bottle out of a cabinet and pours himself a drink. CUT TO EXT. SMALL SUBURBAN SHOPPING CENTER - DAY A convenience store, a video arcade, and a small shop reading "Premiere Cleaners" surround a simple parking lot. OMITTED ANGLE PAST K.I.T.T. INTO CLEANERS where Michael is conversing with a clerk, who looks at the suit, nods, checks a book and shows the page to Michael. INT. ND SEDAN - DAY A large, hairy hand rests on the steering wheel. Widen to reveal a hairy arm and shoulder. Sounds of heavy breathing over. ANGLE AT CLEANERS Michael comes out, crosses behind K.I.T.T. with the suit. [MICHAEL] Trunk, por favor. Thr trunk pops open. [K.I.T.T.] I hope that monstrosity doesn't shed. [MICHAEL] You'll never guess who brought it in. Norman Baines. [K.I.T.T.] Norman? But Michael, how? [MICHAEL] He probably took it out of Denise's closet. Think about it. He can go anywhere, do anything -- he's got keys to every lock in that building. [K.I.T.T.] Michael, look out! Michael turns, reacts. WIDER ANGLE The sedan driven by the gorilla swings into the center, heading directly for Michael; caught outside K.I.T.T., Michael dives just in time as the sedan arcs past, narrowly missing him. DIFFERENT ANGLE The sedan shoots out the other driveway, hitting the street. Michael dives into K.I.T.T. [MICHAEL] Let's hit it, buddy! He fires K.I.T.T. up, slams it into reverse, burns out, then punches it into gear, tires squealing. OMITTED EXT. ADJACENT STREET - DAY Flanked with buildings under construction. The sedan screeches a hard right and cuts into a narrow delivery alley between the sites. ANOTHER ANGLE Michael and K.I.T.T. round the corner just as the sedan disappears into the alley. ANGLE IN ALLEY The sedan rockets through just before a loaded glass truck, delivering mirrors to the site, backs up, blocking the alley, and K.I.T.T. ANGLE IN K.I.T.T. Michael looks left and right. There's no room to pass. He reaches for turbo boost. [K.I.T.T.] We can't clear it, Michael, we're too close. [MICHAEL] No choice now. Hang on! Michael presses turbo boost regardless. [K.I.T.T.] Michael! DIFFERENT ANGLES - THE JUMP The glass truck blocks the driveway...K.I.T.T. turbos, arcing up but not able to fly over the truck; he crashes through the mirrors, sending an explosion of glass every- where. REVERSE ANGLE K.I.T.T. lands, brakes. The sedan is nowhere to be seen. ANGLE IN K.I.T.T. Michael's eyes search the area. [MICHAEL] Kitt, can you pick him up? [K.I.T.T.] No Michael. Wherever he is, he's out of scanner range. Michael's jaw muscles flex in frustration. He sighs, shakes his head. [MICHAEL] (beat) Got a broom? FADE OUT END OF ACT TWO ACT THREE FADE IN EXT. BONNIE'S APARTMENT COMPLEX - NIGHT Late Saturday night, only a few lights on. An old car appears, turns in and parks. ANGLE AT CAR The driver is Norman. He climbs out, glances around, and slips a large knife into one of his rubber boots, then pulls out a sack that looks suspiciously like body parts. Heads, to be more precise. He slings the sack over his shoulder, hurries toward his apartment. INT. NORMAN'S APARTMENT - NIGHT The door unlocks and Norman slips in, double bolts it behind him. Sighs relief. Then he jumps, startled. REVERSE ANGLE Michael is there, waiting. Watching. He slowly rises. [MICHAEL] Hello, Norman. [NORMAN] What are you doing here? How did you get in? That's trespassing! [MICHAEL] No, it's breaking and entering. What's in the sack? Norman holds the sack away from Michael, who slowly advances. He notices the knife handle. [NORMAN] Get out of here! [MICHAEL] The sack, Norman. And the knife in your boot. [NORMAN] No! [MICHAEL] You did it, didn't you. [NORMAN] I want a lawyer! You can't do this if I don't have a lawyer. [MICHAEL] I'm not a cop. There'll be plenty of time for lawyers. Norman's shoulders slump. [NORMAN] All right, I confess. I knew I shouldn't have done it, but I couldn't stop myself. I've been doing it for years.... Norman dumps the contents on the floor. Michael steals himself, ready for anything but the six pumpkins which roll out. Michael stares. [MICHAEL] Pumpkins.... [NORMAN] I always raid a patch the night before Halloween. Are you going to turn me in? [MICHAEL] For now, I'll settle for a few straight answers. Did you go to Denise's party wearing a gorilla suit? [NORMAN] No, I couldn't make Denise's party. [MICHAEL] Then why did you take a gorilla suit to the cleaners? [NORMAN] As a favor for Denise. She offered me five dollars, but I refused the money. [MICHAEL] Because she's your friend.... [NORMAN] Yes. If you don't believe me, you can ask her yourself. [MICHAEL] I think I'll do that. He starts to leave. [NORMAN] She's not there. [MICHAEL] Where is she, Norman? [NORMAN] She's gone away. [MICHAEL] You make it sound permanent. [NORMAN] No, just until tomorrow. I know because she asked me to keep an eye on her place. [MICHAEL] Another favor? [NORMAN] Yes. He smiles. Michael glances at the pumpkins, leaves. ANOTHER ANGLE Norman crosses back over to a pumpkin and begins cutting. Slowly, and with a look of great pleasure on his face.... CUT TO EXT. FOUNDATION - DAY [MICHAEL'S VOICE] Kitt ran the sedan's plates through the DMV computer.... INT. BALLROOM - DAY Michael is helping Bonnie string decorations somewhat against his will. The room is half decorated. Devon stands with them, occasionally ducking or dodging Bonnie's bunting. Other workers bustle in b.g. [MICHAEL] They were stolen. [DEVON] (beat) If we only had a viable suspect.... [MICHAEL] What d'you mean? We do. [DEVON] Denise Reynolds? What could she have against Bonnie? [MICHAEL] I'll ask when I find her. [BONNIE] Aside from motive, I don't think Denise is strong enough to have overpowered that woman. [MICHAEL] Not normally. But under pressure, who knows? (beat) Let's go back to your apartment. I want to see if Miss Halloween is home. They start out. OMITTED EXT. APARTMENT COMPLEX - DAY K.I.T.T. pulls up, Michael and Bonnie climbing out. ANOTHER ANGLE as they approach Bonnie's apartment Simon appears from the adjacent complex in full tennis attire, a racquet in his hand. Ad-lib hellos. [SIMON] You don't feel like some tennis, do you? [BONNIE] Thanks, but I think that might be pushing it. [SIMON] I just got stood up. Denise and I had a date for noon. [MICHAEL] (a reaction) She's not in? [SIMON] (shakes head) Knowing Denise, she forgot all about it. Knowing Denise, she could be gone for days. [MICHAEL] Excuse me. He starts for Denise's apartment across the way. [SIMON] You can save yourself a trip. [MICHAEL] I can use the exercise. Simon looks back to Bonnie, smiles. [SIMON] C'mon, I'll walk you in. ANGLE FROM MAILBOX DEPOT as they cross toward it, heading for Bonnie's apartment: [SIMON] I've been calling you all morning. Want to go to a costume party with me tonight? [BONNIE] I'd love to, but I can't. My boss is having a Halloween party. Reaching the depot, Bonnie produces her key ring. Simon watches as she selects the right one and opens the mail slot for her apartment. We notice once again the key she found in the drapes. [BONNIE] (an idea) Hey, how'd you like to take me to my party? Simon smiles, delighted. [SIMON] Now you're talking. You've got a date. ANGLE AT DENISE'S APARTMENT Michael knocks. There is a throwaway local advertiser near the door. No one is home. Michael leaves. ANGLE ON BONNIE AND SIMON As Michael crosses back to join them Bonnie darts ahead, moving toward her apartment. Simon hangs back as Michael approaches. [SIMON] (to Bonnie) We'll catch up. He falls into step with Michael as they follow Bonnie. [SIMON] That's one terrific lady. Bright, funny, great looking.... [MICHAEL] Weak backhand. [SIMON] (smiles) All the better. (beat) Let me ask you a question. These hallucinations.... [MICHAEL] I'm working on it. [SIMON] I'd hate to see anything happen to her. Sometimes you meet a girl that pushes all the right buttons. As they reach the stairwell they hear: [BONNIE'S VOICE] Michael! They bolt up the stairs. ANGLE AT BONNIE'S FRONT DOOR They reach her standing there, limp and shaken. Ad-libs over "What is it?" "What's wrong?" etc. POINT OF VIEW INTO ROOM It has been ransacked, destroyed, turned upside down. ANGLE INSIDE APARTMENT Michael pushes in, Simon staying behind to comfort Bonnie. He quickly checks, makes sure the intruder's gone. [SIMON] I'll call the police. He reaches for the phone. [MICHAEL] Not from here. [SIMON] Right. There could be prints. (looks) Who would do something like this? [BONNIE] Excuse me. She crosses to the bathroom. [MICHAEL] When did you last see Denise? [SIMON] (a take) You don't think.... [MICHAEL] Put it this way. If they hung people for circumstantial evidence, Denise would be twisting slowly in the wind. ANGLE IN BATHROOM Bonnie comes in to wash her face. She instinctively glances at the bathtub. Nothing there. ANGLE ON MIRROR as Bonnie rinses her face and looks into the mirror. She freezes. A HIDEOUS GREMLIN staring at her in the mirror. The Gremlin talks rapidly in a sing-song gibberish. Bonnie screams, bolts out. ANGLE FROM LIVING ROOM Michael and Bonnie almost collide, Simon not far behind Michael. [BONNIE] (hysterical) In the mirror! Michael, quick! ANGLE IN BATHROOM Michael rushes in, looks. ANGLE IN MIRROR The image of the gremlin is still there, repeating the gibberish, fading, then gone. ANOTHER ANGLE Michael pops open the medicine chest behind the mirror; nothing. He turns, examining the bathroom, reacts to a vent fan unit in the ceiling. He stands on the bathtub, reaches up and pops off the vent face. ANGLE INSIDE VENT Michael pulls down a cigar box-sized unit. [SIMON'S VOICE] What's that? WIDER ANGLE Simon and Bonnie stand at the door, Bonnie still shaking. [MICHAEL] Proof. [SIMON] Proof? [MICHAEL] That Bonnie wasn't hallucinating. A hologram projector and a minicassette recorder. He punches "rewind", then hits "play" on the tape recorder. The sound of a shower is heard under: [MICHAEL] There's your running water, Bonnie. [BONNIE] Thank God. [SIMON] But why? [MICHAEL] To scare Bonnie. To make her think the one frightening thing she really saw was all in her head. Abruptly the shower sound ends and the gremlin's gibberish starts again. Bonnie winces. Michael frowns. [BONNIE] Great. If we only spoke gremlin.... [MICHAEL] Kitt might. (comlink) Kitt, play this in reverse for me, will you? EXT. K.I.T.T. - ANGLE ON HIS SCANNER flashing..."whoop-whoop." BACK TO SHOT The tape recorder reverses and an eerie voice is heard. [TAPE VOICE] 36 Fairview Road...36 Fairview Road.... [MICHAEL] (to Bonnie) Sounds like the place to be. You coming? [BONNIE] Try and stop me. CUT TO EXT. TWO-LANE HIGHWAY - DAY The Trans Am drives past, slows, turns off on to a smaller road: Fairview. ANOTHER ANGLE The Trans Am passes. EXT. PSYCHO HOUSE - DAY A dilapidated house on the hill. Boy, this place looks familiar. K.I.T.T. appears, pulls up to a chain strung across the drive with a 'No Trespassing' sign on it, and stops. [K.I.T.T.] This is it, Michael. Michael and Bonnie get out. Bonnie shudders. [MICHAEL] Want to wait here? [BONNIE] Are you kidding? Michael smiles, and they continue on by foot. ANOTHER ANGLE They walk hand-in-hand up the creepy stairs. A crow flies overhead. Or is it a raven? Bonnie grips Michael's hand tighter. Suddenly a sound nearby, a rush of frenzied move- ment. Bonnie gasps. THEIR POINT OF VIEW A startled covey of quail takes to flight. ANGLE FROM HOUSE An old rusty swing sways in the wind. Michael and Bonnie reach the front porch, cautiously step up. Michael's eyes are everywhere. They pause. [MICHAEL] (beat) Whoever it is has a morbid sense of humor. [BONNIE] I wouldn't go that far. [MICHAEL] Morbid? [BONNIE] Sense of humor. [MICHAEL] Gotcha. Let's take a look inside. They step for the door. Suddenly the world seems to disappear. More to the point, they do; the floor beneath them collapses. ANGLE FROM PIT shooting up as, in slow motion, their figures tumble down into this dark abyss like rag dolls. CLOSER ANGLE They land on top of each other in a tangle of arms and legs. [MICHAEL] Are you okay? Bonnie? Bonnie! [BONNIE] (slowly) I think so...yes. What happened? [MICHAEL] Looks like a trap door. He collects himself, stands, helps Bonnie to her feet. Looks up at the patch of light above. Suddenly an object behind Michael moves, a white yard-long item flopping out to rest on his shoulder. Bonnie screams. Michael turns. [MICHAEL] Bonnie, easy, it's just... (reacts; finishes slowly) ...An arm. It is. Bonnie flattens herself against the opposite wall, trembling. Michael forces himself to investigate; the arm, attached to a female body, is rolled up in canvas. She wears a white dress. [BONNIE] It's her! Michael, the girl I saw murdered -- That's her! Now a strange new sound: a hissing from somewhere close by. [MICHAEL] (reacts) Gas! (comlink) Kitt, are you there?! [K.I.T.T.'S VOICE] Yes, Michael. The question is where are you? [MICHAEL] In a trap, buddy. Beneath the porch. Hurry! Somebody's trying to put us to sleep -- permanently! ANGLE ON K.I.T.T. He self-activates, crashes through the chain. WIDER ANGLE He drives up the steps, brakes as he reaches the porch. INTERCUT - MICHAEL AND BONNIE fighting to stay conscious. [MICHAEL] (comlink) Kitt, hurry.... ANGLE ON K.I.T.T. He activates the grappling hook. DIFFERENT ANGLES It ejects, shoots past the hole. K.I.T.T. begins to retrieve it...and it drops into the hole. ANGLE IN PIT Michael grabs it with one hand, holds onto Bonnie tightly with the other. [MICHAEL] (comlink) Okay...slowly...easy.... As they start up. OMITTED FADE OUT END OF ACT THREE ACT FOUR FADE IN EXT. PSYCHO HOUSE - DAY Police cars. Flashing lights. A covered body being loaded into a morgue van. Devon is comforting a very shaken Bonnie, while Michael is a short distance away getting some information inside K.I.T.T. [DEVON] It's small consolation, but at least you know you weren't hallucinating about the murder. I'll never doubt you again. [BONNIE] (fighting tears) That...poor girl. Do you have any idea who she is? As Michael moves toward them: [DEVON] According to the police, her name was Linda Ramsden. [MICHAEL] And according to Kitt, her last known address was Greenview Terrace, Apartment 2-A. [BONNIE] (stunned) That's my apartment. [MICHAEL] Which may explain why your place was ransacked. Linda must have hidden something there...something the killer wants very badly. [BONNIE] The place was completely empty when I moved in. What could it be? [MICHAEL] That's what I'm going to ask Edward Grant, your landlord. Michael starts back to K.I.T.T. [DEVON] Isn't that reaching a bit, Michael. [MICHAEL] (gestures to the house) Not when you consider he also owns this cozy little hideaway. (off their reactions) It used to belong to his mother. Michael slides in and peels away from the Psycho House. As Bonnie and Devon watch him leave --- ANGLE ON SHADOWY FIGURE - THE BREATHER hidden behind some dense brush, he takes in the scene, then settles on Bonnie. EXT. GRANT ESTATE - DAY - K.I.T.T. pulls into the driveway of the magnificent house. [MICHAEL'S VOICE] Looks like Mr. Grant has the Midas touch. ANGLE IN K.I.T.T. [MICHAEL] What are his other holdings? K.I.T.T.'s dash beeps. [K.I.T.T.] A chain of grocery stores and a company that's a major supplier to the movie industry. [MICHAEL] Don't tell me...'special effects,' as in hologram projectors? [K.I.T.T.] Michael, sometimes I wonder if you really need me. [MICHAEL] Couldn't do without you, pal. Keep your scanners peeled. FOLLOWING MICHAEL He climbs out and moves to the front door where he pounds the shiny brass knocker. Beat, then it opens. Michael reacts to see Denise standing there. She's a bit surprised herself. [MICHAEL] We have to stop meeting like this. [DENISE] It's not the impossible dream. [MICHAEL] Oh, by the way, Norman told me all about the gorilla suit. [DENISE] (not overly concerned) Norman has a big mouth. He enters without being asked. INT. ENTRANCE HALL - DAY The crystal chandelier, the curved staircase and all. Michael shows his appreciation of the finer things by moving into: INT. LIVING ROOM - DAY It's grand, and Michael takes it all in. [MICHAEL] I like it. Maybe I'd add a Tina Turner poster, but that's all. She's no longer amused. [DENISE] Mr. Knight, just what are you doing here? [MICHAEL] Hey, come on, Denise, yesterday it was Michael. And assuming you don't always pay your rent in person, I could ask you the same thing. [GRANT'S VOICE] She belongs here, Knight.... Michael turns. Grant enters from an inner room. [GRANT] She's my daughter...and you have no manners. Michael quickly overcomes the surprise. [MICHAEL] I never do when it comes to murder. Grant studies Michael a beat; then turns to Denise. [GRANT] Honey, would you excuse us? This won't take long. She gives her father a nervous look, then steels herself for Michael: [DENISE] It's a pity...you had such promise. [MICHAEL] The story of my life. Denise leaves. Grant crosses to the bar, pours a Scotch. [GRANT] Like a drink? [MICHAEL] This isn't a social call. [GRANT] When you reach my position in life, you can afford to mix business with pleasure. He drinks. [MICHAEL] As in the case of Linda Ramsden, huh? Grant looks at him hard, then softens just a beat. [GRANT] What about...Linda Ramsden? [MICHAEL] She's dead. In case you didn't know. Grant covers beautifully. [GRANT] I was wondering why I haven't heard from her recently. Pours himself another drink. His hand not quite as steady as before. [MICHAEL] Then I'll really make your day. Her body was found in your 'guest house' on Fairview Road. What was it, Grant? A winter-spring romance that turned to blackmail? [GRANT] You're pushing me, Knight. [MICHAEL] Was she getting too greedy, maybe threatening to tell your wife? [GRANT] (exploding) You keep my wife out of this! [MICHAEL] What did Linda hide in Bonnie's apartment? Letters? Photographs, a tape? What did she have that you wanted so badly you murdered her for it? [GRANT] She was bleeding me dry, that little tramp! She was taking money that belonged to my family, my children ...but I didn't kill her...and you can't prove I did! Now get out of here! [MICHAEL] Grant, some of your illusions are more convincing that you are. But I've got some special effects of my own. Like making you disappear for about twenty years. See ya. Michael leaves. CUT TO EXT. FOUNDATION - NIGHT - ESTABLISHING SHOT INT. FOUNDATION BALLROOM - NIGHT - ON DEVON dressed as Louis XIV, wig and all, and beaming as he greets: [DEVON] Miss Scarlett...how nice of you to come. ANGLE TO INCLUDE BONNIE dressed as Scarlett O'Hara. Her date is dressed as a pumpkin, complete with pumpkin head. A Southern accent: [BONNIE] What else is a lady to do when she receives an invitation from Louis the Sixteenth? [DEVON] (clears his throat) That's the fourteenth, Bonnie -- Louis the Sixteenth was beheaded for his tyrannical treatment of his subjects, his insensitivities to his fellow man, his blind arrogance, his.... Noticing that Bonnie has been nodding her head through this, he quickly gets her message and changes the subject: [DEVON] And this must be the young man you've told me so much about -- Simon. But the pumpkin removes his head and we see it's Norman. [BONNIE] Simon left a message on my service saying he couldn't make it, something about business, so I brought Norman Baines instead. Norman grins. [DEVON] How...nice. (raises eyebrow) Well, enjoy yourselves. Norman leads the way in. Bonnie stops a beat: [BONNIE] Is Michael here, yet? [DEVON] No, but now that that horrible murder is solved, I'm sure he's on his way. Devon smiles, straightens his wig, and Bonnie goes off with Norman. EXT. STREET - NIGHT - ON K.I.T.T. moving through light traffic. [K.I.T.T.'S VOICE] Michael, I thought Rhett Butler was supposed to be dashing and carefree. You're acting like Hamlet. ANGLE IN K.I.T.T. - NIGHT Michael is dressed to look like Rhett Butler/Clark Gable. But there's something disturbing him. [MICHAEL] I know how important this party is to Devon, but I just can't stop thinking about this case. [K.I.T.T.] I'm sure it's just a matter of time before you get the evidence you need to put Grant away. [MICHAEL] But that's just it, pal. As much as I don't like the guy, I'm not convinced he's guilty either. [K.I.T.T.] Michael, he did have a motive.... [MICHAEL] ...and a lot more imagination than to bury the body in a house he owns and then lead us right to it. Give me what you have on Grant's personal history. [K.I.T.T.] Coming right up, Michael. ANGLE TO INCLUDE MONITOR as Grant's bio appears. K.I.T.T. reads: [K.I.T.T.] 'Born Edward Joseph Grant, 1924, married 1950, one child, Denise....' BACK TO SHOT [MICHAEL] (interrupting) One child? That's strange. He talked about children. There's got to be another somewhere. [K.I.T.T.] Michael, you're right! There was another child by a first marriage. A son. Between stints in the family business, he's been in and out of mental institutions. [MICHAEL] What's his name, Kitt? The name flashes on the O.S. monitor. [MICHAEL] Ohhh, nooo. [K.I.T.T.] I'm afraid so, Michael. [MICHAEL] See if you can reach Devon...we've got to get to Bonnie before it's too late. Michael hits the throttle. EXT. STREET - NIGHT - ON K.I.T.T. A surge of power and the sleek Trans Am cuts through the night. INT. FOUNDATION BALLROOM - NIGHT Norman is attempting to drink punch through his pumpkin head. No easy task. Bonnie is with him at the refreshment table. [BONNIE] Norman, I'm sure no one would care if you took your mask off just to drink your punch. [NORMAN] It's quite all right, Bonnie...I've been practicing for this all year. And he tosses the drink inside. But soon afterwards begins to cough. Choke. [BONNIE] You all right, Norman? [NORMAN] (stops coughing, breathless) Yes...but...if I could rest a minute. [BONNIE] (thinks) Come on, there's a couch in the hallway. She leads the way. CLOSE ON NORMAN to hear his "breathing" under the pumpkin mask, as he watches her, then follows. EXT. FOUNDATION - NIGHT - ON K.I.T.T. pulling up. Michael jumps out: [MICHAEL] You know who to look for, buddy. He makes a dash for the entrance. INT. FOUNDATION HALLWAY - NIGHT It's empty except for Bonnie and Norman, who move toward a couch. [BONNIE] You can lie down over here. She turns toward him. And even with the mask, she senses a certain look on his face. He stares at her, and we hear his breathing. [BONNIE] Norman...is something wrong? Norman, what is it? Norman! But he still doesn't reply. Instead, he simply begins walking toward her. Frightened, she begins to back up. INT. FOUNDATION BALLROOM - NIGHT Michael finds Devon, escorted by a beautiful lady. Seeing Michael, Devon moves to him. [MICHAEL] I've been trying to reach you. [DEVON] Nothing came in over the remote communication system. [MICHAEL] Have you seen Bonnie? [DEVON] Yes, she was right over.... THEIR POINT OF VIEW - THE BUFFET AREA But no Bonnie. BACK TO SCENE [MICHAEL] We've got to find her. They begin their search. INT. FOUNDATION HALLWAY - NIGHT Bonnie has backed into a dark corner, with nowhere else to go. Norman continues moving toward her. [NORMAN] I...don't want to hurt you, Bonnie, I...just think you're so nice, and... beautiful. Summoning up all her strength, she manages to push Norman away, and makes a dash to Devon's office. INT. DEVON'S OFFICE - NIGHT Bonnie enters. Locks the door, rests against it to catch her breath. The lights are off, and the only illumination comes from the moon. [SIMON'S VOICE] (deeply resonant) Hello, Bonnie. Bonnie spins about. WHAT SHE SEES Standing there, almost glowing in the darkened room, is a Star-Warish character, complete with a gleaming, high-tech steel sword, and amplified breathing. Beat, and he lifts up his mask; it's Simon. [SIMON] Hope I didn't frighten you. ANGLE TO INCLUDE BONNIE She's very relieved to see him, but: [BONNIE] Simon, what are you doing in here? I thought you were tied up with business? [SIMON] The remote communication system is in here, Bonnie...and my business is you. [BONNIE] What? I don't understand. Is this some kind of a Halloween joke? [SIMON] Do you think I've risked all this for a joke?! (slight beat) No, Bonnie -- I want that key. [BONNIE] What key? What are you talking about? He doesn't answer. Instead, rips the purse from off her wrist. She's too petrified to scream out. He begins going through it. INT. FOUNDATION BALLROOM - NIGHT Norman is about to hurry out when Michael comes from another corridor -- with Devon -- and catches hold of him. [MICHAEL] Norman, where's Bonnie? [NORMAN] I didn't hurt her. I just wanted to tell her how much I liked her. [DEVON] For heaven's sake, where is she?! [NORMAN] She...locked herself in one of those rooms down that hallway! [DEVON] My office. They leave Norman and head for Devon's office. INT. DEVON'S OFFICE - NIGHT Simon has found the key, shows it to Bonnie. [SIMON] This is what it's all about, Bonnie -- Linda's key to her safety deposit box. It holds a very revealing video tape. [BONNIE] Linda's key? You...killed her. [SIMON] I had to...and now I'm going to have to kill you. As he is about to take hold of her throat with his strong free hand --- INT. HALLWAY - NIGHT - ON MICHAEL kicking the door open. INT. DEVON'S OFFICE - NIGHT Simon, his mask over his face again, looks toward Michael; and in this moment's distraction Bonnie breaks away, and runs to Devon, who stands outside. It's between Michael and Simon now. [MICHAEL] It was the money, wasn't it? Every month seeing a little more of your inheritance going to the old man's mistress. With this, Simon slices at Michael with his sword. Michael ducks and electrical sparks fly from the blade as the weapon decapitates one of Devon's statues. The fight continues as: [SIMON] That money was meant for me! [MICHAEL] And then you saw a way to get it all. Kill the lady friend and frame your father for murder. Another sparking slice severs the top of a lamp. [SIMON] He should have retired long ago. That business should be mine. Simon strikes and Michael ducks the electrical blade as it slices through several more objects in Devon's office. [MICHAEL] I suppose Denise was next. I wonder how you planned to get rid of her? Suddenly Michael finds himself trapped. [SIMON] Your wondering days are over, Knight. He lifts the sword that will cut Michael in two. But as he brings it down: OMITTED FAVORING MICHAEL Michael sidesteps with a deft karate kick, catching the sword's handle and sending it spinning across the room where it lands in a hail of sparks. [MICHAEL] It's a little more even now, isn't it, Simon. As Michael moves toward him, Simon turns over a chair blocking Michael's path, then disappears through the French windows. It takes Michael a second to get around the chair and he follows. EXT. SIDE OF FOUNDATION - NIGHT Michael sees Simon racing for his car, takes to the comlink. [MICHAEL] Kitt, pick me up outside Devon's office. [K.I.T.T.] On my way, Michael. INT./EXT. K.I.T.T. - NIGHT starting up and peeling out. EXT. SIDE OF FOUNDATION - NIGHT Simon roars away in his car, disappearing into the night. ANGLE ON K.I.T.T. pulling up. Michael jumps in. [MICHAEL] Pick him up on your scanner, buddy! Hard on the throttle and the chase is on. VARIOUS ANGLES - MICHAEL AND SIMON Simon has a good head start, turns up one street then down another. Michael races to catch up. NEW ANGLE - SIMON turns a corner and heads up a commercial street. ANGLE IN K.I.T.T. as Michael tries to spot Simon's car. [MICHAEL] Where is he, Kitt? [K.I.T.T.] He's headed south on Jefferson. [MICHAEL] I want that guy! The Trans Am does a fishtail, then turns down the street. ANOTHER ANGLE - SIMON'S CAR runs alongside the drive-in, then crashes through a railing behind the screen. ON TEENAGER'S CONVERTIBLE as they watch from behind their 3-D glasses, eating munchies. [TEENAGE BOY] See? Fake City? I can't believe we paid for this. [TEENAGE GIRL] Baa-ry...Shhh.... ANGLE IN K.I.T.T. Michael spots Simon's car inside the drive-in --- [MICHAEL] There he is, Kitt! [K.I.T.T.] I see him, Michael. They go in through the same railing simon crashed through. EXT. DRIVE-IN - ANGLE ON SCREEN A maniac, brandishing his knife, chases a nurse through a hospital parking lot. The nurse reaches her car, a black Camero, and fumbles with her keys. ANGLE ON TEENAGERS He's still bored by the movie and makes the old "stretch out the arm and put it around her shoulder move"...She watches intently through the 3-D glasses. [TEENAGE GIRL] Not now, Barry. Here comes the good part.... ANGLE ON SCREEN - NURSE manages to get into her car and slam it into drive. As in any good 3-D movie, she drives straight at the audience. ANGLE ON SIMON'S CAR racing along the various cars parked in front of the screen, and heading for a way out. ON K.I.T.T. still in back of the screen, giving chase, but suddenly he finds himself cut off by a couple of cars driving out. Michael has to brake or else. [K.I.T.T.] Michael, we have to abort the chase. [MICHAEL] He's a murderer, Kitt, I'm not going to lose him now! He turns toward the back of the screen, reaches out and hits turbo boost. The Trans Am lifts off.... ANGLE ON SCREEN As the nurse drives towards the audience, K.I.T.T. bursts through the drive-in screen in sync with the nurse's black Camero. ANGLE ON THE TEENAGERS The Boy spits out a mouthful of popcorn and spills his Coke. Both kids pull off their glasses in amazement. [TEENAGE GIRL] Woww...! [TEENAGE BOY] Now that's gnarly...hey! He's lost in a dust cloud kicked up by: K.I.T.T. landing and picking up the chase after Simon. VARIOUS ANGLES As K.I.T.T. pulls in front of Simon, forcing Simon's car to crash into an immovable object. Simon jumps out. FAVORING MICHAEL also jumping out and going after Simon. Rhett Butler going after Darth Vadar. VARIOUS ANGLES OF FIGHT It's brief, before Michael decks him. [MICHAEL] Show's over, Kitt...let's take him in. As Michael looks up, he suddenly reacts. WHAT HE SEES The cars have turned away from the screen and are facing in his direction. To show their appreciation, the fans begin to applaud and whistle as we --- FREEZE FRAME AND FADE OUT END OF ACT FOUR TAG FADE IN EXT. BONNIE'S APARTMENT BUILDING - DAY Michael pulls up in K.I.T.T. Devon is there waiting for him, having just come in his own car. As Michael gets out --- ANGLE TO INCLUDE BONNIE coming to meet them. [BONNIE] Glad you guys could make it. [DEVON] Bonnie, are you sure you want company so soon? You've hardly had time to get settled. [BONNIE] Company's exactly what I want. In fact I even invited one of my neighbors for you to meet, Michael. (sees her coming O.S.) Jean.... Michael turns. Reacts. OMITTED ANGLE TO INCLUDE JEAN It's really Esmerelda, only dressed in bright colors and looking fantastic. She also carries a covered cooking pot. [MICHAEL] Jean? What ever happened to Esmerelda? [ESMERELDA/JEAN] (laughs) That was just for Halloween. I mean, you didn't really believe that nonsense about being a witch, did you? [MICHAEL] You? A witch? You gotta be kidding. [K.I.T.T.] Not for a minute. [BONNIE] Well, shall we go upstairs? [DEVON] I'm looking forward to seeing your new apartment. Bonnie leads the way, followed by Devon and Esmerelda. Michael hangs behind. Softly: [MICHAEL] Kitt...how 'bout scanning what's inside the pot? K.I.T.T. does. [MICHAEL] Well? [K.I.T.T.] Michael...You don't want to know. Michael gives K.I.T.T. a strange look, then glances back toward Esmerelda. Reacts. WHAT HE SEES As she heads for the entrance door...a number of flowers and plants whither in her wake. Esmerelda stops, turns and gives Michael a beautiful smile. BACK ON MICHAEL forcing a smile in return. [MICHAEL] Keep an eye out for newts, pal. And he heads toward the beautiful Esmerelda, K.I.T.T.'s light flashing, we: FREEZE FRAME AND FADE OUT THE END

{"show": "Knight Rider", "season": "s03", "episode": "e04", "title": "Halloween Knight"}

knightriderarchives

ACT ONE FADE IN EXT. BEACH - DAY Sunlight pours down on a crescent of beach in a small, rocky cove. Cliffs tumble into tide pools which ebb and swell with driftwood and debris from a recent storm. A young woman and man clamber over the rocks. They are: JOHN STANTON AND MANDY MORAN She's a beauty; barefoot, tanned, dressed in cutoffs and a bikini top of her own design. He's trim and healthy, older, late twenties, not quite as at peace with the world as she is. He's carrying a portable metal detector and they banter teasingly as they scavenge the tide pools. [JOHN] Back in the Fifties a guy found some Spanish doubloons near here after a big storm. [MANDY] I'll bet he retired to Tahiti. [JOHN] Not only that, his girl friend opened up her own bikini shop. She laughs. He reaches to pinch her but she dodges, laughing. Suddenly the metal detector starts to emit some erratic clicks. [JOHN] Hello, Tahiti. The detector rises in frequency and pitch. Mandy follows him as he starts off over the rocks. He stops, sensing something. She follows his look. REVERSE ANGLE Protruding from the sand at the waterline are the roof and window posts of a very familiar black Trans Am. Even three- quarters buried, its sleek lines are recognizable and despite its position, it is free of rust and corrosion. It glistens in the morning light as a froth of foam splashes around it. ON MANDY AND JOHN amazed by the unexpected find. [MANDY] Good-bye Tahiti. [JOHN] Don't be so sure. It looks brand new. [MANDY] John, it's not Spanish doubloons, it's somebody's car. [JOHN] (half- listening, fascinated) C'mon, let's get the truck. As he grabs her hand and they move off, push in on the black car. Suddenly, from the exposed slit of window comes a brief pulsation of yellow light. It throbs a second time, then it's gone. EXT. TUNNEL - DAY A tunnel's black mouth opens onto a peaceful two-lane highway. Over bright rock music, we hear a horn blaring. [MICHAEL'S VOICE] Whoooo-eee! Yeah! Suddenly K.I.T.T. pops out of the tunnel. The honking stops. INT. K.I.T.T. - DAY Michael's smiling at the wheel, free as the breeze. [K.I.T.T.] Honking in a tunnel. Really, Michael, I fail to see the point. [MICHAEL] It's an American tradition. Like raising your hands on a roller coaster. [K.I.T.T.] Unsafe, unsound behavior if you ask me. [MICHAEL] Now that you mention it, I didn't. Kitt, relax. It's been a long trip. Another hour and you'll be back to Bonnie for some TLC. [K.I.T.T.] None too soon. My remote monitors seem to be malfunctioning. [MICHAEL] (checks dash) You look good to me. INSERT - COMMUNICATIONS PANEL as K.I.T.T.'s new indicators scan the wave bands. [K.I.T.T.] Contrary to popular belief, looks aren't everything. I'm picking up some very unusual signals from up the coast. (beat; then) Michael, someone is broadcasting on our private carrier frequency! BACK TO SCENE Michael's brow narrows. [MICHAEL] That's not supposed to be possible. [K.I.T.T.] It must be a problem in calibration. [MICHAEL] That's what worries me. That's not supposed to be possible either. EXT. ROAD - DAY The Trans Am veers off, changing course and heading for the coast. EXT. BEACH - DAY Under a higher, hotter sun, John strains to finish the work of shoveling sand away from the car. He's nearly got it dug out. Mandy hands him a tow chain attached to a well- worn tow truck marked "MR. D'S GARAGE." Looking for a place to attach it, he brushes sand off the rear license plate, which reads simply, "KARR." [JOHN] Okay, easy.... ANGLE IN K.A.R.R. - ON DASH Unseen by John a light blinks on. WIDE SHOT Mandy guns the tow truck. The chain grows tight, the Trans Am moves an inch but doesn't roll free. John moves to the car's front, looking for a place to push. ANGLE ON K.A.R.R.'S DASH A second set of lights blink to life. An indicator labeled "Ignition" begins to glow. ANGLE ON THE TRUCK AND MANDY She frowns in frustration as the wheels spin in the sand. [MANDY] I've got it floored! ON JOHN AND THE TRANS AM On his knees in the sand, he grasps the hood, straining to push it free. [JOHN] C'mon, just a little more! Suddenly the scanner flashes on and a throaty turbine roars. John jumps back in amazement as K.A.R.R. starts to shake, digs in, and rises slowly from its sandy grave like a dark Phoenix. It glides up onto the flat beach and its engine lowers to a throbbing idle. ANGLING WITH JOHN He moves cautiously toward the Trans Am. Mandy hops from the cab and joins him. [JOHN] Wow. [MANDY] What happened? How did it start? [JOHN] I don't know, it just did.... As John reaches for the door, it clicks open on its own. John cautiously leans in. He stares, enthralled, as more lights start blinking on in the cockpit. [JOHN] You won't believe this dash. It's like a fantasy of what a car's dash should be like. [MANDY] Not mine. He sees a loose wire under the dash, plugs it into its con- nector. From the dash comes an unintelligible grunting sound, and a yellow voice box flashes. If we didn't know better, we'd think the car might have been clearing its throat. [JOHN] I'm gonna drive it into town. C'mon. [MANDY] What if the owner comes back? [JOHN] I'll tell him you're a hitchhiker. Mandy, we're saving the car, not stealing it. C'mon. She pauses and climbs in. EXT. BEACH AND HIGHWAY - DAY K.A.R.R. flies up off the sand, across the gravel shoulder of the road and onto the coastal two-lane. INT. K.A.R.R. - DAY She's petrified. [MANDY] John, slow down! [JOHN] I'm barely touching the pedal! Seemingly on its own, the car slows down to a more reason- able speed. We hear the turbine's pitch wind down. John is amazed. [JOHN] Voice command, are you ready? I don't believe it. You've got the world right here at your fingertips. Music! Suddenly welling up from all around them comes a thundering rock beat as K.A.R.R.'s sound system grinds into a current hit song. John and Mandy stare at each other. [JOHN] I bet George Lucas drives one of these. OMITTED EXT. ANOTHER HIGHWAY - DAY - ON K.I.T.T. Michael and K.I.T.T. come over a mountain pass, heading for a small beach community. [MICHAEL'S VOICE] How're we doing? ANGLE IN K.I.T.T. Michael is more concerned than he's showing. [K.I.T.T.] You just asked me that. We're getting closer. The signal is progressively stronger. [MICHAEL] Good. When we're close enough I want to triangulate the source and convert the impulse into a visual. [K.I.T.T.] We should be close enough now. [MICHAEL] Let's find out. He keys the code on the computer. [MICHAEL'S VOICE] Okay, now let's see if it's moving or not. Give me an overlay of the area. INSERT - MONITOR A red pulse on a blank field is overlaid with a street map. BACK TO MICHAEL He studies it. [K.I.T.T.] It's moving. [MICHAEL] I noticed. [K.I.T.T.] (beat) You're worried, aren't you? [MICHAEL] It's probably nothing, Kitt. I just want to make sure. EXT. BEACH BOARDWALK AREA - DAY K.A.R.R. glides up in front of a colorful row of hot dog stands, beach front boutiques and roller skate rentals. ANGLE IN K.A.R.R. Mandy kisses him, climbs out. [JOHN] I'll see you tonight. [MANDY] I've got that Poly Sci final to study for. [JOHN] Oh, yeah. 'Explain Libya in twenty- five words or less.' I forgot. [MANDY] Don't do that. It's important to me. [JOHN] (beat) I know. I'm sorry. [MANDY] (kisses him, pauses) John.... [JOHN] I'll turn the car in. I promise. EXT. BEACHFRONT - DAY - ON K.A.R.R. Ad-lib good-byes and Mandy crosses to a bathing suit boutique called "BIKINIMANIA." TIGHTER ANGLE - FAVORING JOHN IN K.A.R.R. A pretty female roller Skater glides by in tight shorts. She ogles K.A.R.R. [SKATER] Hey, radical car, dude. [JOHN] Radical shorts. She gives him a big smile, skates off. John's aware she wouldn't have reacted this way if he'd been driving the tow truck. He peels out. [JOHN] Music! A current hit blasts over stereo speakers. EXT. CITY STREET - DAY K.I.T.T. is entering town when suddenly the same rock song blasts on his speakers. [K.I.T.T.'S VOICE] Michael! ANGLE IN K.I.T.T. Michael reacts. [K.I.T.T.] That awful music is being broadcast on our frequency! [MICHAEL] Kitt -- the monitor. INSERT - MONITOR The red pulse fades and disappears. BACK TO MICHAEL A thoughtful moment. He turns down the sound. [K.I.T.T.] I don't understand what's happening. [MICHAEL] Neither do I, pal. But whatever the source is, it was heading back out of town -- and fast. He cranks the wheel. EXT. STREET - DAY K.I.T.T. executes a 180 and heads out. OMITTED EXT. RURAL HIGHWAY - DAY K.A.R.R. speeds along. John is enjoying himself. [JOHN] Wow! Where were you when I was seventeen? You know, I thought the days a hot car could make me feel good were over. I was wrong. I'm gonna hate to give you up, slick. [K.A.R.R.] Then don't. John's eyes widen at the deep, rumbling voice. ANGLE ON HIGHWAY The black Trans Am comes screeching to a halt, tires squealing. John jumps out, slams the door, moves a safe distance away. [JOHN] Okay, what is this? A joke? A tape recorder? Is Allen Funt gonna pop up and say, Smile, You're On Candid Camera? [K.A.R.R.] Who's Allen Funt? John nearly jumps out of his skin. [JOHN] What is this? You're a car. Cars don't talk.... [K.A.R.R.] Correct. I am not a car -- I'm the Knight Automated Roving Robot, the first in a bold new experiment. You may call me 'KARR.' Speech is actually the least remarkable of my functions. Get in. Let me show you what I can really do. John turns, leaving, walking very quickly. K.A.R.R. follows him, yellow scanner flashing. [JOHN] You're a 'bold new experiment,' I think that's terrific. Personally I'm not a bold new experiment. I think you'd be happier with somebody else. [K.A.R.R.] John, the days of 'feeling good' aren't over. Not for someone who still dreams. Not for someone like you. Think of me as the genie in the magic lamp. [JOHN] Who am I, Aladdin? [K.A.R.R.] If you choose. John stops; half-laughing at himself, he turns to face K.A.R.R. He shakes his head, climbs in, turns off the stereo. CUT TO EXT. ANOTHER HIGHWAY - DAY K.I.T.T. arcs over a hill. [K.I.T.T.'S VOICE] Michael! It's gone! ANGLE IN K.I.T.T. Michael reacts, punches buttons: INSERT - MONITOR The red dot reappears and pulsates over the map, heading out of town. BACK TO MICHAEL [MICHAEL] Plot us an intersecting course. (punches buttons) I want to temporarily shut down our own signal, just in case. [K.I.T.T.] In case of what? [MICHAEL] In case whatever it is is also tracking us. He hits the accelerator. CUT TO EXT. MOUNTAIN ROAD - DAY Just empty road, then the approaching whine of a powerful turbine...and suddenly K.A.R.R. flies into view, shoots past at an unbelievable speed. [K.A.R.R.'S VOICE] As you can see, terrain doesn't hamper my performance. I am designed for virtually every condition. INT. K.A.R.R. - DAY - ON JOHN He looks apprehensive, but exhilarated. [JOHN] I don't believe it. I don't believe any of this.... [K.A.R.R.] Forget belief systems. Forget the perimeters of 'rational thinking' as it's so smugly called. Feel, my friend...feel.... Just as John is ready to give in to it, something catches his eye. REVERSE ANGLE - WHAT HE SEES - A CHP CRUISER has spotted them speeding. EXT. HIGHWAY - DAY - WIDE SHOT As K.A.R.R. rips by, the police cruiser slides into a 180 and takes off after it. Over the radio we hear: [OFFICER'S VOICE] Seven Baker Charles in pursuit of a black T-top, speeding and reckless, northbound on State 14. Request assistance. And the chase is on. He fires up his lights and siren. EXT. DIFFERENT AREA OF HIGHWAY - DAY Michael pulls the Trans Am off the road, punches buttons. [MICHAEL] One more time, Kitt. INSERT - MONITOR We see K.I.T.T., a solid dot, and the approaching blinking dot. [K.I.T.T.'S VOICE] According to my projections the source should be here within seconds, Michael. BACK TO MICHAEL He waits, ready for anything. Or so he thinks. Out of the silence comes the high-pitched whine of K.A.R.R.'s turbines. It grows louder until: ANOTHER ANGLE - MICHAEL'S POINT OF VIEW - UNDERCRANK K.A.R.R. slams around a curve into sight, races past the parked K.I.T.T., and is gone as fast as it appeared. ANGLE ON MICHAEL stunned by what he's seen. [K.I.T.T.] Michael! [MICHAEL] Gotcha pal. Let's go. They scream out in pursuit. INT. TRANS AM - DAY - OVER MICHAEL'S SHOULDER hot on the heels of the fleeing K.A.R.R. [K.I.T.T.] Michael, that can't be Karr. We destroyed Karr two years ago! [MICHAEL] Then who -- or what -- is that? [K.I.T.T.] But I saw him explode. You saw him explode. [MICHAEL] (punches buttons) Let's get a visual on his license. [K.I.T.T.] Good idea. INSERT - MONITOR Camera zooms into a shot of the plate: K.A.R.R. BACK TO MICHAEL [MICHAEL] So much for wishful thinking. EXT. HIGHWAY - ON A CURVE - DAY K.A.R.R. races into view and whips past. A second later K.I.T.T. blazes into sight in hot pursuit, flashing past the camera. ANGLE IN K.A.R.R. John looks concerned. [JOHN] Hey...Okay...You can slow down... C'mon, it's okay now. [K.A.R.R.] They must have picked up my sonar. Damn! [JOHN] Who? What're you talking about -- ? Confused, glancing up, he sees in the rearview mirror: HIS POINT OF VIEW - K.I.T.T. A fair distance behind but matching them move for move, hot on their tail. BACK TO JOHN He stares at the dash. [JOHN] Who's that? That car looks exactly like you! [K.A.R.R.] Not for long. Hang on. John looks ahead, reacts. HIS POINT OF VIEW - A FLATBED TRUCK lumbering into an intersection just ahead is a large diesel pulling a load of fifty gallon oil drums. Markers on the side warn; "Caution: Flammable Materials." BACK TO JOHN [JOHN] Oh, God! Stop! Where are the brakes?! [K.A.R.R.] Manual override! Press 'Turbo Boost.' Desperate, John does. Suddenly his head is thrust back. VARIOUS ANGLES - THE JUMP K.A.R.R. turbos off the pavement and over the side of the load of oil drums. ANGLE ON DRIVER He reacts, momentarily loses control. The truck jackknifes. ON THE TRUCK - OPPOSITE SIDE K.A.R.R. crashes back to earth and speeds away. Two ND cars screech into near-collisions at the scene as oil drums roll wildly off the truck. OMITTED ANGLE IN K.I.T.T. Michael reaches for K.I.T.T.'s turbo button: [MICHAEL] Kitt, are we clear? [K.I.T.T.] The risk factor is too high! Michael swings the wheel to the right. WIDE ANGLE - K.I.T.T. goes into a broad slide just short of the stack up. Michael climbs out just as the CHP cruiser screeches onto the scene. The Officer leaps from his car, gun drawn. [OFFICER] Freeze! Hands in the air. Michael realizes what's happening, looks at him in disbelief. [MICHAEL] I know what you're thinking, but it wasn't me. Check the license! The guy you're after is getting away --- [OFFICER] Right. Spread your hands on top of your car. Now. CLOSE ON MICHAEL It's no use. As he spreads his hands.... [FREEZE FRAME] END OF ACT ONE ACT TWO FADE IN EXT. POLICE STATION - DAY Pan over: [MICHAEL'S VOICE] Thanks for bail, Devon. You know how Kitt hates impound yards.... Camera reaches the adjacent impound area as Michael drives K.I.T.T. out. [K.I.T.T.'S VOICE] A euphemism indeed. Jail for auto- mobiles is what it is. I feel like a hard-rock con. ANGLE IN K.I.T.T. as they pull out into early morning traffic, Devon on the monitor. [DEVON] It's still hard to believe Karr is back. [MICHAEL] He's back all right. And from what we've seen so far, meaner than ever. (beat) I'll need you and Bonnie up here as soon as possible. [DEVON] We'll be leaving within the hour. Michael? [MICHAEL] Yeah? [DEVON] Be careful. I don't want any nose- to-nose encounters with that... 'machine' until Bonnie's had a chance to beef up Kitt's weaponry. [MICHAEL] Gotcha, Devon. He punches Devon out, hits another button. [MICHAEL] Reach back into your memory banks, pal. I think we could both stand a rebriefing. INSERT - MONITOR - A SERIES OF SHOTS from the initial K.A.R.R. encounter...the highlights. BACK TO MICHAEL He watches, looking for any weaknesses, an overlooked flaw. [MICHAEL] All right, Kitt, let's reconstruct the triangulation. I want to find out where Karr came from...and if possible, who's helping him. [K.I.T.T.] Right away, Michael. The graphic reappears on K.I.T.T.'s monitor. WIDER ANGLE Michael eases into high gear, heading out of town. CUT TO EXT. BEACH AREA - DAY K.I.T.T. pulls up above the tide pools where K.A.R.R. was found. Michael climbs out and scans the beach. He spots the hole where K.A.R.R. was. MOVING WITH MICHAEL At the hole's edge, he comes upon several tire tracks. He squats to examine them. [MICHAEL] Kitt, give me a reading on these tracks. INSERT - K.I.T.T.'S DASH Graphics reveal complex tread prints. [K.I.T.T.] The tread configuration is virtually identical to mine, Michael. It must be Karr's. I'm also picking up a heavy vehicle having traction problems. BACK TO SHOT [MICHAEL] So somebody raised Karr with a four- wheeler or a tow truck. [K.I.T.T.] Affirmative. Michael rises and heads back to the car. [MICHAEL] After two years in salt water, Karr had to be draining fluids. Does the road surface show anything? [K.I.T.T.] There are faint signs of turbine fuel. [MICHAEL] Good. Let's see where they go. He climbs in and they torque out onto the road. EXT. MR. D.'S MARINE - DAY There's a small office and showroom in front, a work bay and garage in back. Pan to K.A.R.R. as he drives in; John looks around warily, then drives around back and into the garage. After a beat he emerges and checks that no one is watching. INT. GARAGE - DAY He lowers the garage door from the inside. [JOHN] Okay, that's it. You said no cops, you can stay here until tonight. Then you're on your own. [K.A.R.R.] I don't understand. I thought we were friends. My circuitry needs repairs and I want to alter my appearance. I can reward you handsomely for your help. [JOHN] No thanks. (beat) No hard feelings. It was fun. For a little while there I was a kid again, a teenager with the hottest car in town. The trouble is I'm not a teen- ager anymore. I've got responsibilities, plans...a job. [K.A.R.R.] You repair boats for four dollars an hour. [JOHN] (defensive) You weren't complaining back on the beach when I towed you out. [K.A.R.R.] Nor am I complaining now. Just pointing out what should be obvious. [JOHN] (pauses) And what's that? [K.A.R.R.] You need me. I meant what I said earlier. You may not be Aladdin, but I am the genie. I can make all your dreams come true. John hesitates, tempted, then shakes his head. [JOHN] Thanks anyway. [K.A.R.R.] As you wish. John exits via a side door. Move in on K.A.R.R.'s scanner, flashing rhythmically. EXT. MR. D'S MARINE - DAY John is crossing back to the front of the shop area when: [EDDIE'S VOICE] You in the habit of leaving trucks at the beach? ANGLE TO INCLUDE EDDIE DEXTER He's the owner of Mr. D's and John's boss. He's tough, funny, a wheeler-dealer ready to capitalize on anything or anyone. [JOHN] What? [EDDIE] You want to own your own business one of these days, you can't be leaving trucks at the beach. Where's your brains, kid? John hits himself in the head. [JOHN] I can't believe it. I'm sorry, Eddie. Things have been a little weird lately. (beat) Say, how was the doctor? [EDDIE] I don't know, I didn't ask him. [JOHN] Funny. You gonna live? [EDDIE] (taps his chest) Only my batteries know for sure. If I die tomorrow, and this place goes into probate, you'll never get it. Ten thousand down and it's yours today. ANGLE IN GARAGE K.A.R.R.'s scanner glows in the dark. ANGLE ON MONITOR Lights activate on the dash. We see Eddie's figure appear on the monitor, then convert to X-ray -- revealing a noticeable solid unit in his chest cavity area. [JOHN'S VOICE] Eddie, c'mon. I don't have that kind of money and you know it. [K.A.R.R.] A pacemaker. Well, well, well.... EXT. BEACH FRONT AREA - DAY K.I.T.T. cruises to a stop in the area we saw before, near Mandy's shop. [K.I.T.T.'S VOICE] This is it, Michael. The trail's becoming too faint to follow, but it appears Karr paused here. [MICHAEL] Maybe we'll get lucky. Full sur- veillance. Michael climbs out and heads off. K.I.T.T.'s scanner flashes. MONTAGE - MICHAEL IN NEIGHBORHOOD - DAY Various shots show Michael inquiring with local merchants, a balloon vendor, kids in bathing suits with surfboards. They all admire K.I.T.T., the girls admire Michael, but all shake their heads "no" when asked about K.A.R.R. Until he comes to: INT. "BIKINIMANIA" BOUTIQUE - DAY Michael jingles the door chime as he enters. Mandy is helping a pretty but picky customer try on a new style bathing suit at a mirror in the corner. [MANDY] If you like, I could show you some- thing hotter. [MICHAEL] Anything hotter than that you'll melt the polar ice caps.... The women turn, react to Michael's smile. [CUSTOMER] I think I'll take it after all. She starts for the changing room. Mandy turns to Michael, pleased. [MANDY] I owe you a commission on that one. [MICHAEL] Thanks, but I'll settle for some information. I'm looking for a black T-top that was in the area yesterday. (indicates K.I.T.T. outside) Looks a lot like that one. Did you see it? Mandy stiffens, and it's not lost on Michael. [MANDY] I don't think so...no. [MICHAEL] If you did, I need to know. It's not just another car. It's very important...and potentially dangerous. (beat) Look, if it makes any difference, this can be confidential. REVERSE ANGLE - REAR OF STORE John enters through the back. Seeing Michael with his girl he pauses, curious. [MANDY] I'm sorry, I haven't seen it... (calls) Dorothy? Is that you? Caught, John enters. He feels a little uncomfortable. Michael watches. [JOHN] It's me. [MANDY] Oh, hi -- just a minute. (to Michael) I don't know what more I can say. [MICHAEL] (hands her card) You can reach me through this number -- just in case the car turns up. Or in case you remember something. A glance at John and he leaves, crossing back out toward K.I.T.T. [JOHN] What was all that about? [MANDY] That black car. John, you said you were going to turn it in! [JOHN] I said I wasn't going to keep it! All I did was take it for a ride. Quit making such a big deal out of it. It's over. They regard each other, a little shocked by the intensity. The phone rings, breaking the moment. [MANDY] (phone) Bikinimania... (reacts) John? Who's this? -- Oh yes, yes -- right away. (to John) It's somebody at the hospital. Eddie's had a heart attack. EXT. HIGHWAY - DAY - ON THE SEMI K.I.T.T. slides up the ramp and into the trailer. We hear: [BONNIE'S VOICE] I can have Kitt back from the Foundation by this time tomorrow. INT. SEMI - DAY Michael paces, arguing with Bonnie and Devon. [MICHAEL] Twenty-four hours we don't have to install a laser that won't work? I'm sorry, Bonnie, but no. (to Devon) We tried the laser last time Karr got loose. [BONNIE] I've been working on some modifications. I can double it's penetration. [DEVON] Michael, what choice do we have? I can't risk sending you and Kitt out without some kind of an edge. [MICHAEL] I appreciate the concern, Devon, but I had Kitt project the salt water damage to Karr's Alpha circuits. If he gets the parts and repairs them, it'll be only a matter of hours until his other systems will be back to full strength. So while we're experimenting with modified lasers, he'll be making him- self fully operational. We can't let that happen. Devon weighs the facts, swayed by Michael's conviction. [MICHAEL] Look, if we ever needed to act as a team, it's now. Go back to the Foundation. Finish the laser and bring it back. As soon as you call I'll bring Kitt in for installation. Until then, I've got to keep the pressure on. [DEVON] Bonnie? She nods in agreement. Michael heads for K.I.T.T., hands Devon a computer list as he crosses over. [DEVON] Any leads on the human factor? [MICHAEL] Not yet. Could be anybody. But I did have Kitt generate a list of all the outlets for the components Karr will need. [DEVON] (nods) I'll alert local law enforcement. Do what you need to do, Michael, but please be careful. [BONNIE] If anything happens to Kitt.... Michael silences her with a kiss on the cheek. [MICHAEL] I love you too. With a smile, he's into K.I.T.T. and gone. EXT. CITY MEDICAL CENTER - NIGHT A large, modern hospital. INT. HOSPITAL ROOM - NIGHT John is with Eddie who, aside from being plugged into several machines, seems to be in pretty good shape. [JOHN] Eddie, c'mon -- that's all they said? You almost die and all they can say is, 'Sorry, the battery in your pacemaker went bad?' [EDDIE] 'Unexplained malfunction,' that's what they said. Kinda makes you think -- makes you realize just how many things you've never done. (beat) I'm getting out, kid. Everything I got is for sale as of now. You want the shop, you got it -- the deal of a lifetime. Five grand down and interest-only payments till you get on your feet. [JOHN] Eddie, I'm broke. You keep talking to me like I've got the money. If I had the money you'd have a deal. [EDDIE] I'd just hate to see this one slip through your fingers. Think about it. Maybe something'll turn up. John nods, knowing it won't. CUT TO EXT. CITY MEDICAL CENTER - NIGHT We pick up John as he walks to the lobby doors. He turns his collar up against the cold. As he starts to walk toward the parking lot, a scanner appears out of the darkness behind him. K.A.R.R. The black Trans Am slides up beside him. Once again the driver's door pops open invitingly. [K.A.R.R.] Hello, John. John ignores K.A.R.R., continues walking. [K.A.R.R.] Why don't you get in? Just for old times sakes. [JOHN] We don't have any old times. Get lost. [K.A.R.R.] I'm a computer, I can't get lost. But if you come on a little 'errand' with me, I'll get you the five thousand dollars you need. John stares at him. [JOHN] You were listening.... [K.A.R.R.] Why not? (beat) Interested? [JOHN] No. [K.A.R.R.] Liar. Get in. What have you got to lose? Four dollars an hour won't buy much of a future. For the first time in your life, do something for you. The time is now. Don't wait. (beat) Last chance, Aladdin. Slowly, John climbs in. K.A.R.R.'s turbines snarl in triumph as he blasts out of the parking area and onto the street. EXT. CITY STREET - NIGHT K.I.T.T. cruises by. [MICHAEL'S VOICE] Awfully quiet, Kitt. Too quiet. ANGLE IN K.I.T.T. [K.I.T.T.] You're doing everything you can, Michael. All Karr's possible targets have double security tonight. In the event of a break-in we'll be notified immediately. [MICHAEL] (pushes buttons) Okay. Let's raise Devon. EXT. HIGHWAY - NIGHT - ON SEMI The behemoth steams through the darkness. INT. SEMI - NIGHT Devon addresses the monitor console. [DEVON] Good news, Michael. Bonnie mobilized every technician at The Foundation and the laser is complete. We're on our way back. INTERCUT - MICHAEL AND DEVON [MICHAEL] Good work. Give my regards to Bonnie. [DEVON] Anything on your end? [MICHAEL] If no news is good news, we're doing fine. But between you and me I don't feel reassured. EXT. HIGHWAY - NIGHT - ON SEMI gliding silently out of the darkness behind the eighteen- wheeler is K.A.R.R.'s distinctive yellow scanner. Track with it as it pulls right up into the truck's draft. INT. K.A.R.R. - NIGHT Jaw clenched, John grips the wheel. [K.A.R.R.] You'll be more efficient if you relax. And more comfortable. [JOHN] Relax. Right. [K.A.R.R.] It'll all be over in a moment. I promise you. Press 'Turbo Boost.' John reaches for the dash with a trembling finger. He hesitates. [K.A.R.R.] Press it! Decision made, he does. EXT. HIGHWAY - NIGHT - K.A.R.R. AND SEMI With a roar, K.A.R.R. rises from the surface of the road and impacts into the semi's tailgate. INT. SEMI - NIGHT Devon's wrapping it up with Michael. Bonnie works next to him. [DEVON] ...so you'll see us at oh-two hundred.... ...and crash! VARIOUS ANGLES - K.A.R.R. blasts into the mobile unit, scattering metal, sparks, and furniture. Devon leaps to his feet, shielding Bonnie with his body. K.A.R.R. moves relentlessly toward them, backing them toward the wall at the cab-end. INT. K.I.T.T. - NIGHT - MICHAEL'S POINT OF VIEW OF MONITOR Michael is galvanized by the sight of K.A.R.R. appearing on the monitor. The video signal starts to break up, he presses buttons in a flurry of activity. [MICHAEL] Oh my God! Kitt, roll tape on all video units. And straighten out this signal! Keep me patched in. [K.I.T.T.] I'm doing what I can, Michael. The feed is disrupted. [MICHAEL] (hits buttons) Full Pursuit to the semi! EXT. STREETS - NIGHT K.I.T.T. 180's on a dime and smokes away. INT. SEMI - NIGHT K.A.R.R. is pressing Devon and Bonnie up against the front wall of the trailer. Devon tries to edge aside as John jumps out, frightened but determined. [K.A.R.R.] Unless you want to be pressed right into the diesel block, I wouldn't move, Mr. Miles. (then) And what's this? A laser? Intended for me, no doubt. I came for Alpha capacitors. What an unexpected surprise. CLOSE ON BONNIE AND DEVON chilled to the bone, and unable to do a thing to stop K.A.R.R. OMITTED [FREEZE FRAME] END OF ACT TWO ACT THREE FADE IN OMITTED EXT. HIGHWAY - NIGHT The semi is parked at the side of the road, a workman on a ladder repairing its torn and badly damaged rear door. K.I.T.T. is parked nearby, red scanner flashing a warning to the night. Beware. We've been hurt. Proceed at your own risk. [MICHAEL'S VOICE] (upset) If I'd only gotten here sooner.... INT. SEMI - NIGHT Michael paces, frustrated, angry at himself. Bonnie works to repair the main computer terminal while Devon, though still shaken, tries to take some of the weight off Michael. [DEVON] It's not your fault. [MICHAEL] It happened. It's somebody's. He hears the edge in it, looks at Devon, shakes his head. [MICHAEL] I'm sorry. Devon gestures it off; don't give it a second thought. [DEVON] The irony isn't remarkable, it's diabolical. Think of it. If Bonnie hadn't been so successful in increasing the laser's power, we wouldn't have been returning so soon; if we hadn't been returning so soon...etcetera. [MICHAEL] Yeah. Big 'etcetera.' Now Karr's got a modified laser and we've got a banged-up mobile unit we can't even get a picture out of. [BONNIE] If that's a hint, I've almost got it fixed. [MICHAEL] If that's a hint, I'm being too polite. Bonnie, I need that visual. Devon swings around, puts an arm over Michael's shoulder and guides him forward past Bonnie. [DEVON] The usual? [MICHAEL] The 'usual' what? [DEVON] Your tea. Lemon? They've reached the unit that provides these things, which is only slightly askew. Devon pours water into Wedgewood china cups. [MICHAEL] (realizes) Devon, when it comes to tea there is no 'usual.' I hardly ever drink tea. [DEVON] Yes, but when you do it's generally with lemon. [MICHAEL] Why are we having this conversation? Karr's probably having his Alpha circuits repaired right now. Once that's done he can make the rest of his repairs himself. He'll be at full strength and more dangerous than ever. And we're talking about tea. [DEVON] Only until Bonnie completes her work. [BONNIE'S VOICE] I've got it. They almost run for the computer. ANGLE TO INCLUDE BONNIE as Michael and Devon join her. [MICHAEL] All right, let's see who our 'mystery guest' is. The tape runs. INSERT - COMPUTER The video replays, showing K.A.R.R. crashing into the semi. His door opens and John gets out, half turns, his face visible. [MICHAEL'S VOICE] It's him! BACK TO SCENE They look at Michael. [DEVON] Would you care to be a bit more specific? [MICHAEL] (thinking) I would if I could. (then) I may not know his name, but I know how to find him. Before Devon can reply, Michael is running for the rear exit. [DEVON] But Michael --- EXT. HIGHWAY - NIGHT Michael leaps into K.I.T.T. and tears out, in a roostertail of dust and gravel. CUT TO EXT. BANK - DAY It's early AM as K.A.R.R. slides out of an alley in the morning light and pulls into a parking lot next to a small bank. There's no one in sight except a little Old Lady punching buttons at one of the windows marked, "Quick-Cash -- 24 Hours". K.A.R.R., we now see, has been repainted with John's help; black top, silver side panels. He looks sharp. ANGLE AT K.A.R.R. It's been a tough night. John looks the worse for wear, tired and tense, on edge. [K.A.R.R.] Go to the cash computer. I'll do the rest. [JOHN] (beat) When it comes right down to it, I don't like this. [K.A.R.R.] My records indicate you were arrested in 1978. John reacts. [K.A.R.R.] Several counts of grand theft auto. One count of trafficking in stolen merchandise. [JOHN] (angry) Hey, I'm not on trial here. I did six months for that, I paid for that. What's the point? [K.A.R.R.] You have strikes against you. As I do. Thinking entities who have strikes against them do not throw away once-in- a-lifetime opportunities. (beat) Go to the window, John. Let the magic begin. John inhales. He questions what he's doing but at the same time knows he'll do it anyway. He slowly climbs out of K.A.R.R. ANGLE ON "QUICK-CASH" WINDOW As John approaches a little Old Lady is slumped by the window, dazed. [QUICK-CASH VOICE] Please enter your nine-digit secret code, your date of birth, and your mother's maiden name. She watches as John slides up to the window and self- consciously opens his shopping bag. [OLD LADY] Go ahead. Maybe you'll have better luck. (then) They punish you. [JOHN] Pardon? [OLD LADY] The older you are the harder they make it. They know you lived all your life without a computer and they resent it. (looks him over) Your age, you'll probably get away with just an access code. CLOSE ON K.A.R.R.'S SCANNER It flashes. BACK TO JOHN He starts to reply when twenty dollar bills suddenly come flying from his Quick-Cash window. [OLD LADY] Oh my! You're very good at this. I thought they only gave out a hundred dollars. [JOHN] I guess it's a new policy. [OLD LADY] Goodness. They certainly don't resent you, do they? John's bag is full of cash. He starts to walk away, then turns back to the Old Lady. He takes out a handful of money and stuffs it into her hand. [OLD LADY] No. It's not mine. [JOHN] It's yours. Think of it as a gift from the age of technology. A gesture of respect. Before she can refuse he dashes to K.A.R.R., leaps in and pulls away. She stares at the cash, then at the departing car. CUT TO OMITTED EXT. BEACHFRONT AREA - DAY Still early sun as K.I.T.T. skids to a stop in front of Bikinimania. Michael jumps out. INT. BIKINIMANIA - DAY Mandy has just opened for the day, is running yesterday's receipts when she notices Michael reaching the door, coming in like a gust of wind. [MICHAEL] I wish you'd have called. You could've saved a lot of people a lot of grief. [MANDY] What are you doing, charging in here like that? [MICHAEL] Where is he? [MANDY] Who? [MICHAEL] Your boyfriend! You remember him -- he slipped in through the back yesterday when I was here. [MANDY] What do you want him for? [MICHAEL] Mandy, give it up! He's got the T-top I'm looking for. I know it, you know it. You can't protect him -- and besides, he doesn't need protection. He needs help. (beat) Now, who is he? What's his name? Where can I find him? She's still fighting it, tries to turn away. [MANDY] I've never seen people go so crazy over a car. [MICHAEL] It's not just a car. Among other things, it has a way of changing people. He stops her, puts what she's doing down and makes her face him. [MICHAEL] Mandy, I'm not a cop. I don't put people in jail. (beat) I'll give it to you straight. He's in way over his head. He's drowning and right now you're the only person who can save him. [MANDY] (long pause) Don't let him know I told you. He doesn't trust a lot of people. And he didn't mean to keep the car. It just... (beat) Promise me nothing will happen to him.... [MICHAEL] I'll do my best, Mandy. That's all I can promise. Mandy measures his sincerity and decides. [MANDY] His name is John Stanton. He works at Mr. D's Marine on Seaside Road. EXT. BIKINIMANIA - DAY Hold on their figures inside for a moment and then Michael comes running out. He jumps into K.I.T.T. and floors it, arcing back onto the highway. CUT TO INT. MR. D'S SHOWROOM/OFFICE - DAY Hands count out a stack of twenty dollar bills. WIDER ANGLE John is finishing counting out five thousand dollars. Eddie watches, a thousand thoughts in his head. K.A.R.R. is outside, silent but omnipresent. [JOHN] (finishes) Five thousand. Want to count it yourself? [EDDIE] I just did. How long're we gonna carry on this charade? [JOHN] What charade? [EDDIE] I get out of the hospital, I come by to pay a few bills and next thing I know you're driving this hot new car and buying me out with twenty dollar bills you got in a shopping bag. I've been around. I've made some fast money myself. Now who's kidding who? John pauses, shakes his head. [JOHN] Take my word for it. You don't want to know. [EDDIE] I want to know. John exhales. He looks at Eddie almost apologetically, gestures for Eddie to follow him. ANGLE - OUTSIDE John leads him to K.A.R.R. [JOHN] (to K.A.R.R.) Say something. Nothing happens. Eddie grins. He's about to say something to John when the scanner flashes, undulating like a bullwhip. [K.A.R.R.] How's the pacemaker, Eddie? Eddie's jaw drops. OMITTED EXT. STREETS - DAY K.I.T.T. races by in pursuit mode. [MICHAEL'S VOICE] Do me a favor, Bonnie. OMITTED ANGLE IN K.I.T.T. - INTERCUT - MONITOR Michael talks to Bonnie on the monitor. [MICHAEL] The high-tensile reflectors you developed for Kitt. Are they still around? [BONNIE] Yes, I have them in...Oh no. Michael, you're not thinking what I think you're thinking, are you? [MICHAEL] Pull them out of mothballs. I don't have time to discuss it now. I'll see you when I see you. [BONNIE] But Michael.... She's cut off as Michael punches a button and she disappears. EXT. GARAGE - DAY Outside, nothing has changed. [EDDIE'S VOICE] I'm telling you, it's a fortune in gold...! INT. GARAGE - DAY Eddie paces in front of K.A.R.R., pleading his case. John watches, appalled. [EDDIE] My brother-in-law drives the armored truck -- he says between three and five million each trip. Each Wednesday. K.A.R.R.'s scanner flashes. [K.A.R.R.] Today is Wednesday. [EDDIE] Atta boy, Karr. Atta boy. [K.A.R.R.] Don't call me 'boy.' [JOHN] I can't believe this. Eddie, you're talking about armed robbery! They put people in prison for that. [EDDIE] They gotta catch you first. Hey, kid, everybody's got to roll the dice sooner or later. The difference between the winners and losers is timing. I've been waiting a long time for the right timing. (beat) It's here. Today. [K.A.R.R.] There's only one problem. I have no interest in gold. That's a uniquely human foible. [EDDIE] Maybe I didn't make myself clear. Gold is money. And whether you realize it or not, you need money. You're gonna need parts, a technician to keep you in top shape, a safe place to hide out. All that costs a lot of money. [K.A.R.R.] Interesting point, Eddie. I hadn't thought of it in quite that way. Eddie looks at John, grins triumphantly. John heads for the door. [EDDIE] Where d'you think you're going?! [JOHN] It doesn't matter, I'm not staying here. I don't want any part of this. He slams out. Eddie starts to go after him when: [K.A.R.R.] Let him go! [EDDIE] Let him go? Who's gonna drive you? Who's gonna handle all this? [K.A.R.R.] Don't worry, I'll take care of it. [EDDIE] (beat) Yeah? Then we have a deal? Fifty- fifty? K.A.R.R.'s scanner glows in the filtered sunlight. [K.A.R.R.] We have a deal, Eddie. CUT TO EXT. STREET - DAY K.I.T.T. races by, heading for Mr. D's. [BONNIE'S VOICE] I'm sorry, Michael. ANGLE IN K.I.T.T. Michael is tense behind the wheel. Bonnie is on the monitor. [BONNIE] I could install another laser but it wouldn't have the capability of the one Karr stole. [MICHAEL] If we can't out-gun him, we'll have to come up with a way to outsmart him. [K.I.T.T.] Michael, surely you're not thinking of going up against that monster alone. I'm your only protection. [MICHAEL] Whoa, whoa, Kitt. What about John? Right now, I'm his only protection. I can't just leave him in there. One way or another, I've got to get him away from Karr. [K.I.T.T.] Oh, Michael. To put it mildly, it's a long shot. [MICHAEL] Beats no shot, buddy. And quickly, quietly, he's out the door. FRONT ANGLE ON MR. D'S GARAGE Catlike, Michael runs across the front building, stops at a corner, and positions himself to charge. [EDDIE] Sorry. Maybe later. [MICHAEL] You haven't seen a black T-top around, have you? Eddie works at not reacting. [EDDIE] Nope. [MICHAEL] (beat) Any objections if I check your garage? [EDDIE] Help yourself. I got nothing to hide. Michael runs for the garage. Eddie watches him, then looks at K.I.T.T., uncomfortable. He hurries to finish loading his car. INT. GARAGE - DAY Michael enters, looks. WIDER ANGLE The garage is empty. He starts to leave, stops, something catching his eye. He crosses to where K.A.R.R. was, bends down, picks something up. INSERT - IN MICHAEL'S HAND It's a corroded Alpha capacitor. BACK TO MICHAEL He knows. Off his look: CUT TO EXT. PIER - DAY Mandy walks toward a quiet but colorful old fishing pier. Bikers and skaters glide past, between the old men and little boys dangling lines into the surf below. She keeps her eyes open. She sees something. MANDY'S POINT OF VIEW - K.A.R.R. PARKED NEARBY The windows are blacked out. She hesitates, then moves cautiously toward it. ON MANDY As she reaches the car, the passenger door opens. [JOHN'S VOICE] Quick! Get in. She darts in. INT. K.A.R.R. - DAY She reacts. REVERSE ANGLE The car is empty. Suddenly the door closes. She struggles to escape but it's no use. [K.A.R.R.] Stop struggling, you foolish girl. [MANDY] What are you doing?! Where's John? INSERT - K.A.R.R.'S VOICE BOX The yellow light flashes, but in place of the normal Darth Vaderish rumble, we hear: [JOHN'S VOICE] I'm afraid he couldn't make it. She lets out a terrified cry. She pounds the window glass, crying in fear. As K.A.R.R. starts to pull out.... [FREEZE FRAME] END OF ACT THREE ACT FOUR FADE IN EXT. MR. D'S GARAGE - DAY Michael crosses from the garage to the office where Eddie gathers the last of his files. Michael smashes through the office door. INT. OFFICE - DAY Eddie reacts, startled. Michael holds up the capacitor for him to see. [MICHAEL] Do you fix computers or boats? [EDDIE] What d'you think you're doing? [MICHAEL] I'm trying to keep from tearing you apart. Where's the car? Where's John? [EDDIE] I don't know what --- Michael grabs him by his shirt. [MICHAEL] I've got no time for your lies. Karr was here. He was repaired in your garage. I want answers and I want 'em fast. Where is he? [EDDIE] You've got no authority over me. Besides, I'm a sick man. You hit me and I die, you're in big trouble. [MICHAEL] I'm willing to take the chance. Are you? Eddie decides against it. [EDDIE] I had nothing to do with it. It's the Santa Cruz Canyon bridge -- he's hitting an armored van. [MICHAEL] When? CUT TO MOVING WITH JOHN He turns back and rounds the corner into the alley fronting his garage. He reacts. K.A.R.R. parked and waiting for him, windows still blacked out. John stops and starts backing away. [JOHN] Oh no. Nope. No way. [K.A.R.R.] Before you run off, there's something you ought to see. John's eyes widen as he sees: OMITTED CLOSE ON K.A.R.R.'S WINDOWS as they lighten from black to grey to clear we can see Mandy's terrified, tear-streaked face inside. BACK TO JOHN He tries in vain to open K.A.R.R.'s door. Mandy beats on the glass. [JOHN] Let her go! What is this? You don't need her! [K.A.R.R.] No. I need you. (angry) You wanted to desert me. Abandon me, just like those people at that pompous Foundation. (beat) How would you like me to slowly remove the air from the passenger compartment? Have you ever seen someone explode in a vacuum? John is horrified. [K.A.R.R.] No, I have a better idea. Lights start to blink on K.A.R.R.'s dash. INSERT - K.A.R.R.'S DASH An L.E.D. readout indicates "Interior Temp." The numerals start to climb: 110...115...125. WIDER ANGLE John pounds on the window. [JOHN] Stop it! Let her go! Mandy is roasting in K.A.R.R.'s self-made inferno. Her eyes bug wide, her face is reddened and glistening with sweat. The L.E.D.'s continue to rise: 150...155...160. [JOHN] Okay! Stop! Whatever you want -- I'll do whatever you want! Instantly K.A.R.R.'s windows power down. Mandy gasps at the cooler air, and we can hear her sobs. John reaches in and they embrace. [JOHN] I'm sorry, Mandy...I didn't know... I'm so sorry. [K.A.R.R.] Very touching. Get in. John does as he's told. K.A.R.R. glides into motion. EXT. HIGHWAY - DAY - ON K.I.T.T. leaving town at a good clip. [K.I.T.T.'S VOICE] Michael, it's been five hours since Karr hit the semi. We'd better assume all his functions are at full strength. Not to mention Bonnie's modified laser. INT. K.I.T.T. - DAY - ON MICHAEL grim, dogged at the wheel. [MICHAEL] That's not the only thing I'm assuming, pal. I think this whole thing may be a trap Karr's arranged. Think about it. It's not like him to leave evidence around...or witnesses. [K.I.T.T.] That's a rather disconcerting premise, Michael. [MICHAEL] Took the words right out of my mouth. Here we are. OMITTED EXT. HIGHWAY - DAY K.I.T.T. rolls up behind the moving semi and glides up the lowered ramp. INT. SEMI - DAY Michael is powering through Devon and Bonnie's arguments. [BONNIE] But, Michael, I doubled the power of the laser Karr took.... [MICHAEL] Have you got a better idea? [DEVON] I'm sure with a little more time we could come up with something. [MICHAEL] Time is the operative word around here. We don't have any. [DEVON] Listen to reason. Kitt is not pre- pared to go into battle against that machine. [MICHAEL] (getting hot) I've got the information that'll give me one showdown with Karr. I'm lucky to have that. If we miss this chance, we may never get another. [DEVON] In my opinion, it's nothing short of suicide. [MICHAEL] Devon, I admire your maturity, wisdom, and sense of proportion. I even like your tie. But Kitt and I are going out of here in three minutes with or without those reflectors...or your blessing. The two men are eye to eye. After a beat, Devon signals to Bonnie. [DEVON] Get to work. CUT TO OMITTED EXT. HIGHWAY - BRIDGE AREA - DAY K.A.R.R. stops near a dry creek bed, over which spans a high, old-fashioned bridge. [K.A.R.R.'S VOICE] May I present our preliminary target. Let us begin. K.A.R.R. sprays gravel and leaps forward off the road and down the creek bed. He positions himself near the base of the bridge, where its three concrete pillars meet the ground. [K.A.R.R.'S VOICE] I've established our point of impact. The bridge is old and weak. OMITTED ANGLE IN K.A.R.R. John and Mandy wait uneasily. [MANDY] What does he mean? [JOHN] He means we're going to crash into it, if I know him. [K.A.R.R.] I suggest you fasten your seat belts. It shouldn't be long. EXT. HIGHWAY - DAY - ON A HIGH-TECH SECURA-VAN The ultra-modern armored security vehicle emerges from a curve in the road and heads out onto the bridge. ANGLE ON K.A.R.R. as it springs to life, racing for the bridge's first pillar. OMITTED ANGLE INTO K.A.R.R. - ON JOHN AND MANDY bracing themselves for the impact. VARIOUS ANGLES - K.A.R.R. AND THE BRIDGE K.A.R.R. flies upward and impacts into the bridge footing, smashing out a large chunk of it. Smoke, dust, and debris fly. ANGLE ON BRIDGE A portion crumbles as its support gives out. ANGLE INTO SECURA-VAN The stunned driver and guard slam on the brakes as the roadway ahead of them tumbles into the canyon. The driver jams it in reverse and floors it. The van jumps backward, but: IN THE CREEK BED K.A.R.R. backs out of the rubble and gets a good running start toward the other end of the bridge. VARIOUS ANGLES - SECOND TURBO Once again, K.A.R.R. launches itself skyward, shearing out the bridge pillar at the other end. Another section of the bridge collapses. WIDER SHOT - THE BRIDGE Only the center portion of the bridge is left standing, and suspended in the middle, with no exit, is the Secura-Van. ANGLE INTO K.A.R.R. as it pulls back away from the bridge. John and Mandy gape at the destruction it's wrought. Mandy's in tears. [JOHN] Why don't you finish the job? You've got them where you want them. [K.A.R.R.] You don't even begin to understand what the 'job' is. [JOHN] It's the armored car. [K.A.R.R.] No. That's the decoy. Lo and behold here comes the real target -- to the rescue, just as I planned. THEIR POINT OF VIEW - K.I.T.T. Michael races the Trans Am within sight of the downed bridge. ANGLE IN K.I.T.T. [K.I.T.T.] There's Karr, Michael! What's he waiting for? [MICHAEL] Unless I'm mistaken...us. [K.I.T.T.] I detect our laser mounted under his scanner, Michael. I wish you'd reconsider what Devon said. [MICHAEL] Hang in with me, Kitt. We're not dead yet. He guns the Trans Am down into the creek bed. WIDE ANGLE - THE TWO CARS K.I.T.T. reaches the dry creek bottom a good distance from K.A.R.R. K.A.R.R.'s yellow scanner almost snarls as it tries to position itself facing K.I.T.T., but K.I.T.T. keeps circling. ON K.I.T.T. Even as it moves, the gull-wing T-top pops open. Michael stands up inside the car and addresses the adversary. [MICHAEL] Let them go, Karr. We're here. We're what you want. OMITTED INTERCUT - MICHAEL AND K.A.R.R. [K.A.R.R.] Your impudence is amusing. You're in no position to make demands. [MICHAEL] Think about it. Mandy's not your enemy. Neither is John. I am. (beat) You'll never be free until you defeat us. K.A.R.R.'s scanner flashes, pondering the challenge. [K.A.R.R.] I accept your challenge. ON K.A.R.R. His doors pop open. John and Mandy scramble out to safety. Suddenly from K.A.R.R.'s scanner, a bright laser beam fires! WIDE SHOT With catlike quickness, K.I.T.T. churns backwards. The laser hits the creek bank behind K.I.T.T. Brush bursts into flame. ANGLE INTO K.I.T.T. as Michael settles down into the driver's seat. [K.I.T.T.] That was close! [MICHAEL] I want it to be close. Ready? [K.I.T.T.] If this plan of yours fails, I want you to know it's been a beautiful partnership. [MICHAEL] It's mutual, Kitt. They leap forward as: WIDE ANGLE A second blast comes from K.A.R.R.'s laser. This time K.I.T.T. dodges forward, just evading the beam. The two cars circle each other like wise old warriors, jockeying for position. ON K.A.R.R. Suddenly it turns away from K.I.T.T. and faces the last support of the bridge. The armored car is still perched on the only remaining piece of pavement. [K.A.R.R.] Very well. If you insist on a game of dodging, perhaps this will change your mind. The laser hums beneath K.A.R.R.'s scanner and: WIDE SHOT Flash! A laser shot blasts into the last support of the bridge, knocking loose a chunk of cement. The bridge sways precariously. ANGLE INTO K.I.T.T. Michael watches, horrified. [K.I.T.T.] Michael, the men in the van --- [MICHAEL] Let's get over there, buddy! [K.I.T.T.] But Michael.... [MICHAEL] Do it! Michael floors K.I.T.T. The car moves into a wide, flat space of creek bed, trying to defend the bridge. K.A.R.R. swings around to face K.I.T.T. and fires another blast. K.I.T.T. takes a shot from the laser in its tail portion. Sparks and smoke flash from K.I.T.T.'s shell. ANGLE INTO K.I.T.T. Michael rocks from the jolt. [MICHAEL] Kitt, are you all right?! [K.I.T.T.] (quavering) I can't take another blow like that. [MICHAEL] Prepare the high-tensile reflectors. If we can find the right angle, we can shatter the laser. His hand hovers over a button on the dash. ANGLE OVER K.A.R.R. as it swings into position to take one last shot at K.I.T.T. Michael slides broadside, right in the laser's path. [K.A.R.R.] Good-bye, Michael Knight. And the laser fires! CLOSE ON MICHAEL waiting until the last second. [MICHAEL] Now! He stabs the dash. Next to him the driver's window changes to a bright, high density mirror. ANGLE ON BOTH CARS K.A.R.R.'s laser blasts into the mirror and is reflected back right into its source. There's an explosion in K.A.R.R.'s scanner and smoke pours from its hood. With a bellow of rage, the wounded car swings toward: K.I.T.T. Michael floors the black car and sends it rocketing toward its evil counterpart. [MICHAEL] This is it, pal. Now or never. He's vulnerable head on. OMITTED K.A.R.R. Seeing their action, he too accelerates, heading straight for K.I.T.T. in a deadly game of chicken. INTERCUT - THE TWO FRONT SCANNERS [K.A.R.R.] If I am destroyed, so shall you be! ANGLE IN CREEK BED - THE CARS much closer, moving very fast now. CLOSE ON MICHAEL THROUGH K.I.T.T.'S WINDSHIELD grim, knuckles white on the wheel. Sweating bullets. [MICHAEL] Full power, Kitt! He hits Turbo Boost. THE TWO CARS simultaneously rise into the air in full-on turbo boosts. SLOW MOTION - THE COLLISION The cars smash together in midair. After a millisecond, K.A.R.R. explodes into a million splinters and a fiery ball of smoke and flame. Glass, metal, and rubber fly every- where. K.I.T.T. passes through the carnage and comes to rest on the ground, intact. ON K.I.T.T. as Michael climbs out slowly, painfully, and turns to survey the wreckage. Panning: MICHAEL'S POINT OF VIEW All that's left of K.A.R.R. is smoke and ash. Pieces of black material are strewn across the creekbed. Michael turns to K.I.T.T. ON MICHAEL AND K.I.T.T. as he leans in.... [MICHAEL] Kitt, are you still alive? Talk to me. (silence) Kitt? Come on, pal. Can you hear me? [K.I.T.T.] If I say 'yes,' will you promise we'll never have to do that again? A smile slowly spreads over Michael's face. [MICHAEL] Never say never, Kitt. [FREEZE FRAME] END OF ACT FOUR TAG FADE IN EXT. STREET - DAY K.I.T.T. passes, all patched up. ANGLE IN K.I.T.T. - MICHAEL John sits in the passenger seat. [JOHN] C'mon, what is it? [MICHAEL] I promised not to tell. [JOHN] Promised who? [MICHAEL] (smiles) Don't you like surprises? [JOHN] Hate 'em. They make me nervous. [MICHAEL] Relax. He points to the road ahead. [MICHAEL] Check it out. THEIR POINT OF VIEW - THE MARINE SHOP The "Mr. D's" sign has been replaced by a sign reading "John's Marine". Mandy is waiting, smiling. BACK TO MICHAEL AND JOHN John can't believe his eyes. [MICHAEL] The reward money just about equaled what you gave back to the bank. [JOHN] What reward money? [MICHAEL] For information leading to the recovery of Karr: The Foundation posted it two years ago. Mandy said this is how you'd want it invested, and Eddie needed it for his bail and defense. (beat; smiles) Watch out, man. She's already spending your money. Michael shakes hands with John, then watches him cross to Mandy and enfold her in a big hug. [DEVON'S VOICE] Michael! ANGLE TO INCLUDE MONITOR Devon is upset. [DEVON] What is this I'm hearing about a five thousand dollar reward?! [MICHAEL] Don't worry, Devon, it's for a good cause. [DEVON] What 'good cause?' I demand an explanation! [MICHAEL] When I think one up, you'll be the first to know. On Michael's smile --- CUT TO EXT. CREEK BED - DAY Residue of the confrontation, quiet and peaceful now, just the whistle of the wind. Then a faint noise, a weak elec- tronic pulse, and camera finds a twisted black box about the size of a pack of cigarettes lying in the rocks, wires sheared off and tangled. It can't still be functioning, but it continues to emit a pulse and a faint red light. It is K.A.R.R.'s CPU, his Central Processing Unit, and incredibly it's still alive --- FADE OUT THE END

{"show": "Knight Rider", "season": "s03", "episode": "e05", "title": "K.I.T.T. Vs. K.A.R.R."}

knightriderarchives

ACT ONE FADE IN EXT. RANGE - DAY - DAWN Rebecca Hammond, twenty-seven, attractive, her arms folded in front of her, trying to keep warm behind a small hill, looks out into the gray and windy morning. Propped up on the ground nearby, his bony shoulders covered with an old horse blanket, his vintage rifle resting on his loose-skin thighs, is Cat Holliday, sixty, the hard way. Except for the wind, and the occasional sound of the calves bawling nearby, a coyote barking in the distance, all is quiet. Cat watches Rebecca with narrow, slit eyes. [CAT] Bet the comforts of home would feel mighty good to you about now. She doesn't respond. [CAT] Soft perfumed sheets...breakfast in bed...a nice hot bubble bath. How does that sound? [REBECCA] Like you've never been to the Bronx. [CAT] Nope, can't say that I have, but I once got to New Orleans for a weekend. I remember I met this big redhead, must've been over six foot tall. Her name was Charlene...and she was a dancer who had hit upon hard times. [REBECCA] (interrupting) Cat!..listen! He listens, clutching his rifle, then shakes his head --- [CAT] Just the wind, Rebecca...just the cactus suckin' wind and a city girl's imagination. He laughs to himself, taking a swig of cold coffee from a tin cup. EXT. OPEN HIGHWAY - DAY - DAWN - ON K.I.T.T. Fences, tumbleweed, an occasional steer and nothing more. [MICHAEL (V.O.)] (singing) 'It's a lonely highway morning, And without any warning, I'm off again.' ANGLE IN K.I.T.T. [MICHAEL] (singing) 'It's a time to be a-leavin', So don't you be a-grievin', I'm off again.' [K.I.T.T.] Michael, isn't it bad enough to be in a land where rattlesnakes out- number people a hundred to one, without your doing your imitation of Waylon Nelson. [MICHAEL] That's Willie Nelson, Kitt, and for your information, I was imitating Merle Haggard. How much farther to Sage City? [K.I.T.T.] This is Sage City. As for the Right On Ranch --- ANGLE TO INCLUDE MONITOR to see a colorful map and grid. Flashing light indicates the ranch itself. [K.I.T.T.] It's exactly thirty-three point five miles. [MICHAEL] Good. With any luck we'll be at the ranch in time for breakfast. ANGLE ON K.I.T.T. rolling down the road. [K.I.T.T.'S VOICE] With any luck...the ranch won't be there. On Michael's laugh: CUT TO EXT. RANGE - DAY - FAVORING REBECCA still alert, listening. Then: [REBECCA] Cat, there's someone out there! I know it! She grabs her rifle resting on a rock, and heads for the four-wheeler. He finishes the coffee, shakes his head, and hurries to catch up with her. Rebecca drives. Cat rides shotgun. EXT. FENCE AREA - DAY - ON CALVES fifty or so head, bunched together. (Note: The fence area is far enough away, and at such an angle that Rebecca couldn't see it from her vantage point.) ON REBECCA'S FOUR-WHEELER still some distance off. Rebecca and Cat keeping a sharp eye. Shouting over the wind --- [CAT] What did I tell you! Just the cactus suckin wind! But Rebecca has seen something O.S. [REBECCA] Yeah, then what's that over there?! Cat looks, his eyes grow wide. WHAT THEY SEE - THE SHADOW OF A BIGFOOT TRUCK coming into frame. It's enormous, and crushes a fifty-foot section of fence with ease, then goes after the frightened calves which have begun to scatter. BACK TO SCENE [REBECCA] I won't let him have anymore of our calves! I won't, Cat!! Cat stands up, fires a wild shot which only knocks him back into his seat. Rebecca drives to stop the rustling. VARIOUS ANGLES as Bigfoot cuts a dozen or so calves from the bunch and begins driving them beyond the fence to a nearby truck, waiting with the ramp down. There are also two men on horses and wearing bandanas on their faces. Rebecca tries to run interference, but it's no match. Cat stands to fire --- [CAT] You get off this land, you cactus suckin'...! Fires, and is knocked back into his seat again, which causes him to accidentally fire again. This time straight up in the air. CUT TO EXT. ROAD - DAY - ON K.I.T.T. approaching the area not too far from where the rustling is taking place. Reacting to the gunshots: [MICHAEL'S VOICE] Kitt, did you hear those shots? ANGLE IN K.I.T.T. [K.I.T.T.] I'm afraid so, Michael. [MICHAEL] Find out where they came from. K.I.T.T.'s scanner light flashes. INSERT - MONITOR to see Bigfoot driving the calves into the truck, with the help of the two bandana-masked cowboys. BACK TO SCENE [MICHAEL] Looks like rustlers, pal. Give me a hard copy of that. ON DASH as a hard copy of the rustling scene pops out. [K.I.T.T.] Welcome to the wild, wild west! ANGLE ON K.I.T.T. as Michael drives to the rescue. EXT. FENCE AREA - DAY The calves in the truck, the ND driver closes the rear door and drives off. The two cowboys wave to the driver of Bigfoot and ride away. ON REBECCA still inside the four-wheeler. [CAT] They're getting away! [REBECCA] Not if I can help it! She starts driving to cut off the truck. But --- ON BIGFOOT as the driver sees Rebecca and bears down on her. ON K.I.T.T. appearing on the range, but still a good distance off. [K.I.T.T.] Michael, is that a truck or a mountain on wheels? [MICHAEL] It's called a Bigfoot, pal. [K.I.T.T.] Well, it's about to step on some toes. [MICHAEL] Anything we can do to stop it? [K.I.T.T.] Not from here. ON FOUR-WHEELER [REBECCA] Jump, Cat! [CAT] You don't have to tell me twice! And each dives out the nearest exit. Unfortunately, Rebecca dives into a deep and muddy water hole. Not being able to swim, she begins thrashing about. ON BIGFOOT as it rolls right over the four-wheeler, pulverizing it. Intercut Big Ed, enjoying that moment. (Note: He's high enough up in the cabin, that no one on the ground can see him.) After which, he heads on out. ON K.I.T.T. [MICHAEL] (re Bigfoot) Let's go get him, Kitt. [K.I.T.T.] Michael, judging by the way she's thrashing about, I don't think she can swim. Michael looks to see Rebecca, then drives to her rescue. He gets out, extends his hand. As for Cat, he's been trying to reach her but to little avail. [MICHAEL] Grab hold. She does, and he pulls a muddy Rebecca out. [MICHAEL] You okay? [REBECCA] Oh, yeah, sure. I just lost another twenty calves, my four-wheeler looks like it went through a giant can crusher, and these just happen to be a brand new pair of boots. So why shouldn't I be okay? Who are you anyway? [MICHAEL] (looks at his own muddy hand) You're welcome. (smiles) Michael Knight from the Foundation. She glances about, trying hard to be patient. Cat wanders over near Kitt. [REBECCA] Where are the others? [MICHAEL] What others? [REBECCA] With all I had to go through to convince this Devon Miles I needed help, I figured he'd send an army, or at least a bunch of reformed muggers. [MICHAEL] What you see is what you get. [CAT] And what you saw is only part of what you're up against. There's also a couple of cowboys and a trucker. [MICHAEL] Any idea who they were? [REBECCA] Yeah...the bad guys. Can you give us a lift back to the ranch? [MICHAEL] Hop in. I'll drop you off, then I want to pay the sheriff a little visit. There is a sheriff, isn't there? [REBECCA] Yeah...lots of luck. ANGLE ON CAT about to spit a wad of tobacco near K.I.T.T.'s tire. Until: [K.I.T.T.] Don't...you...dare! Cat's been around, nothing really surprises him. Still, he studies K.I.T.T. a beat, before spitting somewhere else, O.S., and then looks to K.I.T.T. again. [CAT] I'm keepin' my eye on you. Cat heads for the passenger door. But K.I.T.T. has to get the last word in: [K.I.T.T.] It's not your eye I'm worried about. Cat gives him a quick look back, then continues on. CUT TO EXT. SAGE CITY - DAY - ON K.I.T.T. driving onto Main Street. Main Street? It's the only street. There are a few shops, a bus station, general store, and the most notorious place in town -- Big Ed's Shaggy Buffalo Saloon. Michael looks about until spotting: [MICHAEL] The hoosegow's over there, Kitt? [K.I.T.T.] Hoosegow, Michael? Is that something like a moo cow? [MICHAEL] It's western for jail, buddy. [K.I.T.T.] Don't tell me -- they even have their own language. Michael pulls up, gets out and heads for the jail, where he finds the door locked, but a sign hanging on the knob. INSERT - SIGN "At the Shaggy Buffalo. (Signed) Sheriff Lance Barton." BACK TO SCENE Michael looks around until he spots Big Ed's Shaggy Buffalo Saloon, then heads for it. INT. SHAGGY BUFFALO SALOON - DAY - ON MARILYN She's twenty-seven, blonde, buxom, pretty, and even kind of bright, but not being one to boast, prefers keeping it to herself. She also sings, in her "inimitable" style, and right now she's perched on the end of the bar singing her heart out. [MARILYN] 'If you leave me tonight I will cry, Though you say we will soon meet again, For the hours I spent here with you, Are like words from a poet's pen.' She notices someone coming in. ANGLE TO INCLUDE MICHAEL Marilyn likes what she sees. So does Michael. Without missing a beat: [MARILYN] 'Words like love and truth and goodness, Words like 'till death do us part. I will never love another, Take my heart, take my heart, take... My...heart!' She finishes to complete silence. But then, Michael begins to applaud, keeping it up until he reaches her at the bar. And as he moves: ANGLE ON BIG ED BARTON seated at a table playing cards with two other men. Big Ed doesn't like what he sees. ANGLE ON MICHAEL face to face with Marilyn. She smiles: [MARILYN] At least someone around here had an ear for good music. He lifts her down from the bar. [MICHAEL] It's not the song but the singer. Now she really smiles, even a bit flustered. [MARILYN] My name's Marilyn -- like in Monroe. [MICHAEL] Michael...like in... (thinks) ...Knight. She doesn't quite get it, but likes the way it sounds. ANGLE TO INCLUDE BIG ED standing nearby now. Big Ed's bigger than big, forty, and owns almost everything in Sage City, including the Shaggy Buffalo. He's also the one we saw driving Bigfoot earlier that morning. [BIG ED] Showtime's over, Miss Mar-i-lyn. Time to put on your apron and do some honest work. She gives him a dirty look, but not much more. Then a gentle smile to Michael: [MARILYN] Hope to see you again...Michael. [MICHAEL] It would be my pleasure. Their eyes hold a beat, then she looks at Big Ed with a "humpf" and heads for her apron. [BIG ED] Can I buy you a drink, stranger. [MICHAEL] No, thanks, I was just looking for the Sheriff. [BIG ED] Then you don't have far to look. He heads for the nearby table. Michael follows him. The other two men are Alfred Barton, thirty-five, a mountain, and one of the cowboys we saw earlier. The other is Sheriff Lance Barton, twenty-seven, smaller, thinner, weaselier, and sort of a cross between Napoleon and Billy the Kid. He was the other cowboy. As for the Shaggy Buffalo Saloon, well, it's sort of the Gilly's of Sage City, even has one of those bucking broncs. It's not very busy at this hour, although someone does begin riding the bronc in the b.g. [BIG ED] Little brother, someone here to see you. Sheriff Lance doesn't bother to look up from his cards, nor does Alfred. To Michael: [BIG ED] Seen him enough? Big Ed grins, lifts his leg over the back of the chair and flops down to his cards. Lance struggles to hold back a laugh determined to come out, especially when Big Ed winks at him. Alfred, too, suppresses a snicker. Michael fights to keep cool. [MICHAEL] It's about Rebecca Hammond. She lost another twenty calves to rustlers this morning. Not looking up from his hand: [BIG ED] Rustlers? You've been watching too many late-night movies, boy. Lance is about to burst with laughter. [MICHAEL] Then what do you call this? Michael puts the hard copy of K.I.T.T.'s photo on the table. INSERT - PHOTO as Big Ed looks at it. FULLER ANGLE [BIG ED] I call it a truck taking a bunch of calves to market. Returns photo to Michael. [MICHAEL] Except for one thing -- they're someone else's calves. [BIG ED] Says who? [MICHAEL] Says Rebecca Hammond! Her brand is on them! The joking's over. Big Ed rises. Lance becomes deadly. Alfred wipes the grin off his face. [BIG ED] Well, let me tell you something about Rebecca Hammond, boy. She's a rancher, like Marilyn over there's a singer. She don't care anything about cattle, she only bought that spread so she'd have a place for her kids. [MICHAEL] What kids? [LANCE] (jumps up) A bunch of bad apples she picked up off the sidewalks of Noo Yoorrkk Citty. And now she wants to move 'em out here so's they can terrorize our decent, law-abiding citizens. (fast draws his gun) Well, the only ones goin' to do any terrorizin' around here is me! [BIG ED] Will you put that thing away, Lance! Lance spins the gun right back into his holster. [BIG ED] You a friend of Miss Hammond's?! Still somewhat taken back by this new turn of events: [MICHAEL] Yeah. [BIG ED] Then maybe she'll listen to you. I happen to know the Unified Ranch Corporation has made her an offer for her place. A very fair and reasonable offer...and if you're really her friend, boy...you'll see that she accepts it. You got that?! [MICHAEL] Yeah, I got it. Now maybe the Sheriff over here will get off his brains and get those rustlers. He floats K.I.T.T.'s photograph in front of Lance, turns and leaves. They watch him -- real unfriendly like. EXT. MAIN STREET - DAY - ON K.I.T.T. parked where Michael left him. Forced patience: [MICHAEL'S VOICE] Devon...I think there's something you failed to tell me. INT. K.I.T.T. - DAY Devon on the monitor from his desk. Intercut as needed. Forced nonchalance. [DEVON] Really? And what is that, Michael? [MICHAEL] 'That'...is Rebecca Hammond's real reason for buying the ranch in the first place. [DEVON] Ohhh...I take it you mean the children. As Michael speaks, his eyes slowly fall on something driving into Main Street. [MICHAEL] Devon, that's exactly what I.... MICHAEL'S POINT OF VIEW - BUS It's really an old school bus, only painted white, and covered everywhere with graffiti. Including several renditions of: "SAGE CITY OR BUST" and "RIGHT ON RANCH". It heads for where Rebecca and Cat are waiting to meet it. [K.I.T.T.] Michael -- what on earth is that?! [MICHAEL] Something tells me...the bad apples. [DEVON] Ahhh, they've arrived. Well, Michael, I won't keep you. Just remember, children are the flowers of mankind. But Michael is starting to see these "children" getting off the bus. [MICHAEL] I'll...try, Devon...I'll try. Michael turns Devon off, and slowly gets out of the car. [K.I.T.T.] Be careful, Michael...there's just the two of us. Michael nods in agreement and moves toward the bus. Some townspeople will also begin to look on, tight-lipped, suspicious, even angry. ANGLE ON BAD APPLES as they come out: "Diablo" Sanchez, fifteen, good-looking, and cocky. "Star," fourteen, going on thirty. Cute, but sooo much makeup. "Trasher," fifteen, his electric purple punk hair says it all. "Magic Fingers" Jackson, fifteen, black, a ghetto blaster glued to his ear. But there's also a hand resting on his shoulder, and this belongs to Joanna, sixteen, long blonde hair, the slender body of a ballerina, and blind from birth. As they step off the bus, and take in the town --- [DIABLO] Death. [STAR] Bizarre. [MAGIC FINGERS] Man, what did I do to deserve this? He helps Joanna off, Rebecca runs to her first, embraces her. [REBECCA] Joanna, sweetheart! God, I've missed you! (to others) All you bad apples! Welcome to Sage City! (but then she looks into the bus; back to the kids) All right, what did you do with the driver? [TRASHER] He quit. [REBECCA] He quit? When? [JOANNA] After the breakdown. [REBECCA] The bus broke down? [STAR] No, the driver. Forty-five minutes outside New York City. [DIABLO] No guts. [REBECCA] (afraid to ask) Then...who drove? [MAGIC FINGERS] What difference does it make? We got here, didn't we? [MICHAEL] He's got a point. [REBECCA] Whose side are you on? All right... everybody back on, let's go to the ranch. [MAGIC FINGERS] You mean this ain't the ranch? Rebecca laughs, shaking her head. ANGLE TO INCLUDE "BLUE" twenty-two, a pleasant-faced, unsophisticated ranch hand, moving from the general store with bags of groceries. [REBECCA] Get everything, Blue? [BLUE] Yes, ma'am. Even the Coney Island hot dogs. [REBECCA] Cat, you drive the bus. Joanna, you'll come with Blue and me. As she starts for a nearby Jeep: [MICHAEL] I'll meet you out there, we've got a lot to talk about. She nods and continues on. Michael moves to K.I.T.T., slides in. [MICHAEL] Let's sashay on out to the old home- stead, pardner. [K.I.T.T.] Really, Michael, I think I liked you better when you spoke rock-and-roll. As the black Trans Am rides off in a cloud of dust --- ANGLE ON BIG ED, LANCE AND ALFRED standing outside the Shaggy Buffalo, watching. Suddenly Lance fast draws his gun, spins it around. [LANCE] Just give me the word, Big Red, and I'll blow him away. [BIG RED] And what good is that going to do? Time's running out, we need her land, not a gunfight at O.K. Corral. [ALFRED] Maybe there's another way to get it. Alfred and Big Red exchange looks --- [BIG RED] Yeah...maybe there is, Brother Alfred...maybe there is. On Big Red's tight little smile we: FADE OUT END OF ACT ONE ACT TWO FADE IN EXT. RANCH - DAY - ESTABLISHING SHOT Beyond the wooden gate, the compound: main house, bunk- house, various sheds, barn, various pieces of ranching equipment, all of which have seen far better days. In fact, the only thing new is the wooden sign swinging between the gate posts. It reads: RIGHT ON RANCH and each letter is painted a different color. It's early evening. [MICHAEL (V.O.)] Rancher...mother hen to a bunch of bad apples.... ANGLE ON MICHAEL AND REBECCA Rebecca carrying a bunch of empty plastic water jugs. Michael with her. [MICHAEL] Which is it? [REBECCA] Both. And they're not really bad apples. They just haven't fallen far enough from the tree. They've been battered, abused, used, and then left to fend for themselves. [MICHAEL] Even Joanna? Rebecca stops by an old water pump, putting down the jugs. [REBECCA] Especially Joanna. She's been kicked around more than an Italian soccer ball. In case you haven't guessed, Michael, my real occupation isn't ranching. I'm a child psychologist. Rebecca starts priming the pump. [MICHAEL] I kinda got that idea. [REBECCA] By the way I handle the kids? [MICHAEL] By the way you tried milking that cow earlier...which turned out to be a bull. [REBECCA] All right! So in New York we get our milk from cartons! Still no water has come out. Rebecca stops momentarily, to catch her breath. Michael takes the handle. Working the pump. Water comes out. Rebecca reacts. [REBECCA] ...and our water from a tap! With that, she places a jug under the water. As Michael pumps, it fills. [MICHAEL] (slight laugh) I think you handle the kids great. [REBECCA] (calm, smiles) Thanks. Anyway, I came to the conclusion that all the testing, counselling, understanding in the world didn't mean a thing if, after those kids left my office, they went back on the streets. [MICHAEL] So you bought this ranch. [REBECCA] With all my savings, and every penny I could beg, borrow or steal. I figured if I could bring a handful of them out here with me, keep them for maybe a year...Let them help me work the place, share in some of the profits, if there are any, see that there's more to life than dealing and hustling.... [MICHAEL] Then maybe they might have a chance. [REBECCA] Right. This is my first group...and if I lose any more calves it could be my last. Cat and Blue are the only real hands I've been able to hire, so I need help, Michael. [MICHAEL] (re pump) Hey -- haven't I helped you so far? Michael smiles and she returns it with a nod, moving in another empty water jug. EXT. RANCH - DAY Diablo and Trasher -- Star tagging along -- are wheeling an acetylene torch from the tool shed toward K.I.T.T., parked on the opposite side of the house from the barn. Magic Fingers, always with his ghetto blaster, moves to the nearby fence, looks out over the dirt road. Reaching K.I.T.T., Diablo looks at Magic Fingers curiously --- [DIABLO] What are you doin' over there, man? [MAGIC FINGERS] Keeping my headlights on, in case someone drives by. [DIABLO] Drives by?! Where do you think you are, 125th Street?! We've been deported to a lunar outpost! [STAR] Strictly death warmed over. [TRASHER] Deee-composed! [MAGIC FINGERS] Then what are you going to chop up that T-top for?! [K.I.T.T.] Chop up that T-top?! Star is the only one close enough to have heard K.I.T.T. --- [STAR] Oh, wow, bizarre. [DIABLO] Because I'm makin' my statement! Stakin' out my territory! Tellin' every straight that this here is my turf!!! He lights the torch --- [K.I.T.T.] Your turf?! Well, we'll see about that!! They've all heard him this time, and what follows knocks their socks off. VARIOUS ANGLES as K.I.T.T. whinnies like an angry stallion. Then rides circles around them, kicking up storms of dust, and even bucking angrily on occasion, his doors and hood opening and closing. Wide-eyed faces seen through the dust: [MAGIC FINGERS] That car's bad! [DIABLO] Killer wheels, man! [STAR] A way happening! [TRASHER] A real punk out! K.I.T.T. finally comes to rest. They're covered with dust. [K.I.T.T.] Now whose turf is it?!! EXT. BARN AREA - DAY - ON JOANNA as she makes her way toward the barn, responding to a calf bawling inside. INT. BARN - DAY - ON ALFRED having just come in, he's about to open a container of poison -- to mix with the nearby feed -- when he hears Joanna coming in. Not realizing she's blind he quickly takes cover. ANGLE TO INCLUDE JOANNA moving to a calf, and kneeling to pet it. [JOANNA] Don't cry...I'm here...everything's going to be all right. Alfred, moving to get a better look at her, bumps into something causing Joanna to look in his direction. [JOANNA] Is anyone there? (silence) Is someone there? Then, sensing danger, she rises and starts for the door. Alfred, confused himself, grabs hold of her, putting his hand over her mouth. [ALFRED] Just be quiet and I won't hurt you! OMITTED EXT. MAIN HOUSE - DAY Michael and Rebecca cross the yard carrying the filled jugs. [MICHAEL] This Unified Ranch Corporation -- what do you know about them? [REBECCA] Nothing, really, except that they've been buying up a lot of the ranches around here. [MICHAEL] Who's behind them? [REBECCA] I don't know. Suddenly, Joanna's screams are heard. [REBECCA] That's Joanna! They drop the jugs and hurry around the house. INT. BARN - DAY Joanna's freed his hand from her mouth, and continues to scream and struggle as he tries to quiet her again, all the time pulling her from the barn. EXT. HOUSE - DAY Michael and Rebecca race to the front. The screams continue over. Into comlink: [MICHAEL] Pick me up, buddy. ANGLE TO INCLUDE K.I.T.T. peeling up in front. Michael jumps in. [K.I.T.T.] It's coming from the barn, Michael. K.I.T.T. roars off. EXT. BARN AREA - DAY Alfred, having dropped the poison container, is pulling Joanna toward his four-wheeler when he hears K.I.T.T. in the distance. Feeling she's slowing him down, he pushes her away and proceeds on his own. ON JOANNA as she hits the corral fence, falling between the wide railings. Alfred roars off. ANOTHER ANGLE Joanna gets to her feet, and as she begins walking into the corral we see she has company -- a wild Mustang, who begins pawing the ground and eyeing her warily. ANGLE ON K.I.T.T. arriving on the scene. Rebecca and the kids are racing toward the corral in the b.g. [K.I.T.T.] Michael, in the corral! [MICHAEL] I see her, buddy. He pushes the turbo boost. ON K.I.T.T. Turbo boosting over the corral fence, and landing just as the Mustang races toward Joanna. VARIOUS ANGLES as K.I.T.T. cuts the Mustang off, takes a couple of kicks itself, and finally forces enough distance between the bucking horse and Joanna for Michael to get out and race to the frightened and helpless girl. Picking her up in his arms: [MICHAEL] It's going to be okay, Joanna. Trust me. VARIOUS ANGLES As Michael runs toward the gate, the Mustang charges. K.I.T.T., however, manages to squeeze in between, taking the slicing, pounding hooves. ANGLE ON GATE Rebecca and the kids are there to open it. Michael leaves the corral, followed by K.I.T.T. ANGLE OUTSIDE CORRAL Magic Fingers closes the gate as K.I.T.T. passes through. [MAGIC FINGERS] Man, you just knocked my socks off! [K.I.T.T.] Yes, well, put them back on, it gets cold here at night. ANGLE ON MICHAEL putting Joanna down near Rebecca. She embraces the girl --- [REBECCA] Joanna...it's all right. You're safe, sweetheart...you're safe! She comforts the sobbing Joanna. ANGLE TO INCLUDE CAT hurrying up as fast as his old legs can carry him. He holds the container of poison. [CAT] Found this in the barn. Michael takes the unlabeled container, gets into K.I.T.T., and puts it into the analyzer. [MICHAEL] Give me the recipe, pal. ANGLE ON MONITOR to see a flashy chemical breakdown graph. [K.I.T.T.] Two parts C-21, H-22, N-2-O-2, and one part S-2-O-4. [MICHAEL] Something tells me that's not the ingredients to Mom's apple pie. [K.I.T.T.] It's a high-grade poisonous alkaloid, Michael. Mixed in with the feed, enough to destroy at least a thousand head of cattle. INT. SHAGGY BUFFALO SALOON - DAY - BIG ED as he examines the container. [BIG ED] Poison? FULLER ANGLE He sits at a table, playing cards, with Lance and Alfred. Michael stands over them. [MICHAEL] You heard me, and it was found in Rebecca Hammond's barn. Now this goes beyond rustling, and I'm going to see that something's done about it! [ALFRED] In her barn, you say? Well, she oughta be more careful 'n that. [LANCE] Here, I'll just take that for evidence. But Michael takes it first. [MICHAEL] You take it and it's going to be the hard way. Lance rises, hand on gun. [LANCE] Now, you listen here. I'm the sheriff, and if I say I want that for evidence, then I'll take it for evidence! Ain't that right, Big Ed?! [BIG ED] Well, now, you are the sheriff, little brother...But on the other hand, possession is nine-tenths of the law. And it seems to me that poison's in his possession. (to Michael) Of course...Lance here can shoot the wings off a fly while blowing his nose. Lance's thumb plays nervously with the holstered gun. Big Ed, however, has another idea, smiles: [BIG ED] Tell me, you a betting man, Mr. Knight? [MICHAEL] I'm listening. [BIG ED] That buckin' bronc over there. I'll bet Lance can stay on it longer than you. [MICHAEL] And if he doesn't? [BIG ED] Then you walk out of here with the evidence. Of course, you can always walk out of here right now... (looks to Lance's gun) ...without it. Well? Michael looks at the gun, Lance's itching fingers, the bronc: [MICHAEL] Let's go buckin'. They get up and move to the mechanical monster. [BIG ED] Guests first. (re controls) Brother Alfred will do the honors. ON MICHAEL AND MARILYN He gives her the container. [MICHAEL] Hold this for me. [MARILYN] I've seen real cowboys break their backs on that bronc. [MICHAEL] (glances at bronc) Real...cowboys? [MARILYN] Rodeo champs.... [MICHAEL] (a weak echo) Rodeo champs? [MARILYN] Snapped right in two. Michael grimaces from the thought. Nods weakly: [MICHAEL] Thanks for the vote of confidence. Smiles at her, and climbs aboard the bronc. VARIOUS ANGLES as Alfred increases the current, and Michael begins to hang on for dear life, Marilyn rooting him on much to Big Ed's anger. Then, suddenly, Michael is thrown, landing on a table and smashing it. Marilyn hurries to help him up. [MARILYN] You all right? [MICHAEL] Hey, c'mon, like riding a merry-go- round. He hobbles back to the bronc as Lance mounts. Alfred reads the time: [ALFRED] Twenty seconds! [MICHAEL] Twenty seconds?!!! [LANCE] Let 'er rip! Alfred turns up the controls, but the bronc barely bucks. I mean it's super slow-mo time. To Marilyn: [MICHAEL] Are they kidding? He has more chance of falling asleep than falling off. [ALFRED] Ten seconds. [MICHAEL] And still dancing. (on comlink) Pardner.... EXT./INT. K.I.T.T. - DAY [MICHAEL'S VOICE] There's a bronc in here needs some juice. [K.I.T.T.] I got the picture, Michael. OMITTED ON DASH as the Electro Inducer comes to life. INT. SHAGGY BUFFALO - DAY The bronc suddenly comes to life, even though Alfred starts turning it down. Marilyn cheers even more, and in a matter of seconds Lance is thrown off. Marilyn glances at the clock: [MARILYN] Nineteen seconds! [MICHAEL] Thanks. [MARILYN] My champion! She throws her arms around his neck, and gives him a big beautiful kiss. [MICHAEL] Just call me bronco Knight. He grins and leaves with the evidence. Big Ed looks hard at Marilyn, and then he's interrupted by Alfred. [ALFRED] I think I figured out another way to get rid of Rebecca Hammond once and for all. THEIR POINT OF VIEW - THE BAD APPLE BUS parked outside the general store. BACK TO SCENE [BIG ED] Good idea, Brother Alfred... (turns) Meantime, I got some house cleanin' of my own. The object of Big Ed's look -- Marilyn! EXT. MAIN STREET - DAY - ON K.I.T.T. Michael is about to get in: [K.I.T.T.] Michael, why do I get the feeling that 'Home On The Range' wasn't written with us in mind. [MICHAEL] I hear you, pal... (sees something) But maybe we've got someone else on our side. MICHAEL'S POINT OF VIEW - MARILYN being tosses out of the Shaggy Buffalo by Big Ed. [BIG ED] And if I ever catch you in Sage City again you'll be singing up on Boot Hill! [MARILYN] Yeah, well for your information -- Sage City is Boot Hill! ANGLE TO INCLUDE MICHAEL catching up to Marilyn as she heads for the bus depot, carrying all her possessions in a small suitcase -- some of it hanging out. [MICHAEL] Marilyn.... [MARILYN] There's a bus pulling out of here in ten minutes, and I'm going to be on it. [MICHAEL] You won't miss it, I promise. She stops. In the b.g. we will see Rebecca and the kids boarding the Bad Apple bus, carrying various goods from the general store. [MARILYN] Well? [MICHAEL] Tell me about Big Ed Barton. [MARILYN] He's a rat. What more do you want to know? [MICHAEL] Tell me why the rat's so anxious to move Rebecca Hammond off her ranch. [MARILYN] I'm not sure. I think it has something to do with those kids. [MICHAEL] I don't. Marilyn, have you ever heard of the Unified Ranch Corporation? [MARILYN] Yeah...I think I heard Big Ed and his brothers talking about it once. [MICHAEL] Do you remember what they were saying? [MARILYN] No, but look, you want to find out about Big Ed, just take a little peek inside his safe. [MICHAEL] His safe? [MARILYN] In his office behind the saloon. Being a crook himself, Big Ed doesn't trust banks. He keeps his entire life locked inside that safe. (beat, touch of sadness) Well, I got a bus to catch. [MICHAEL] Know where to? [MARILYN] Yeah...wherever it's going. See ya around...Michael...as in Knight. [MICHAEL] Take care...Marilyn...as in Monroe. He smiles, she returns it, waves and continues off toward the bus depot. As Michael starts back to K.I.T.T. --- ANGLE ON BAD APPLE BUS pulling out. Rebecca drives. Then --- ANGLE ON ALFRED hiding nearby. He holds a steel cutter and file, and his hands are covered with grease. He watches the bus pull out, satisfied he's done a good job. ANGLE ON MICHAEL sliding into K.I.T.T. [MICHAEL] We've got to get into Big Ed's safe, pal. [K.I.T.T.] In broad daylight?! Michael, even the most desperate desperado... (beat) Is something wrong? Michael is looking off, troubled. [MICHAEL] There's a puddle on the ground where the bus was parked. What do you make of it, Kitt? K.I.T.T.'S POINT OF VIEW - PUDDLE ANGLE IN K.I.T.T. - ON MONITOR A graphic breakdown of puddle's composition. [K.I.T.T.] Michael, it's brake fluid. And I also detect some steel filings on the ground. [MICHAEL] The brake lines were cut, pal. Let's go. He floors the pedal. OMITTED ON K.I.T.T. pulling out and away in a cloud of dust. EXT. CANYON ROAD - DAY - ON BAD APPLE BUS Rock music can be heard from inside. INT. BAD APPLE BUS - DAY The music blasts. The mood is up. [REBECCA] All right, you bad apples, try to keep it down to a roar! They ignore her completely. ON REBECCA enjoying the day. Then, going over the top of a hill, she steps on her brakes...to find them all but gone. She pumps them. INSERT - BRAKE PEDAL hitting the floor. BACK TO SCENE Rebecca's fighting panic...and the runaway bus. The kids begin reacting to the danger. EXT. CANYON ROAD - DAY as the bus speeds down the hill, out of control. INT. BAD APPLE BUS - DAY On Rebecca's desperate plight, we --- FADE OUT END OF ACT TWO ACT THREE FADE IN EXT. CANYON HILL ROAD - ON REBECCA - CONTINUOUS steering the brakeless bus as it picks up speed. Tires squealing on the hairpin turns. She yells back. [REBECCA] Everyone down...get under the seats. ANGLE IN K.I.T.T. as it moves up behind the bus. [K.I.T.T.] Michael, we're close enough for me to microlock the wheel system. [MICHAEL] Too risky, pal. Once we jam she's not going to have the strength to keep that bus under control. Pull up to their bumper. Michael activates AUTO-CRUISE. Then the button that opens the T-top roof. [K.I.T.T.] (concerned) Michael, what are you going to do? [MICHAEL] My imitation of John Wayne. Stay with me, pardner. ANGLE ON MICHAEL climbing out of K.I.T.T.'s roof. Over the top of K.I.T.T.'s hood, to the back of the moving bus. He balances atop K.I.T.T., as he works the bus's back door. He pulls it open just as: THE BUS swerves out on a curve. The back door flies back, with Michael on it. Swinging him out over the roadside's abyss. He hangs on, for dear life. MICHAEL'S POINT OF VIEW - THE DROP BELOW A dizzying distance down. BACK TO SHOT Michael pulls himself, hand over hand, across the door. Then jumps into the back of the bus. ANGLE IN BUS Rebecca steering all she's worth. The steering wheel vibrates so hard it jumps out of her hands. Quickly, Michael's hands appear on it. He slides into the seat, as she slides out. [MICHAEL] (into comlink) Okay, pal, give me all the microlock you've got. ANGLE IN K.I.T.T. - DASHBOARD Microlock button activates. THE BUS swerving down the hill. Suddenly its wheels lock, stopping it. Causing it to go into a perilous spin. ANGLE IN BUS Michael steering it out of the skid. Fishtailing around. THE BUS coming to a stop, right at the edge of the precipice. ANGLE IN BUS as it comes to rest. A beat and then the kids cheer. Rebecca, too. Michael smiles. [MICHAEL] Everybody just stay put. I'm gonna hitch up old paint here and get you all back to the ranch. As Michael stands, Rebecca looks at him. Still white-faced from the experience. [REBECCA] I don't understand it. I just had the bus safety checked. [MICHAEL] This wasn't mechanic failure, Rebecca, someone cut the brake lines. Off her reaction: CUT TO CLOSE ON A PAIR OF BINOCULARS watching the goings on. Pull back to reveal Big Ed, as he lowers them. With him is Sheriff Lance, and behind them looms Bigfoot, parked on a high mesa. [LANCE] Big Ed, I say we fire up Bigfoot right now and grind those apples into sauce. [BIG ED] Not with that guy Knight around. He's more trouble than a Texas twister. We're gonna be safer stickin' to our original plan. CUT TO EXT. RANCH - DAY K.I.T.T., parked out front the main house. Cat comes by trying to twirl a rope and chew tobacco at the same time. He stops twirling. Stops and one-eyes K.I.T.T. Beat --- [CAT] I think I got you figured out. He spits tobacco --- [K.I.T.T.] Disgusting. [CAT] (wipes mouth) It was when I was lost on the Mojave Desert. '54, I think it was. No maybe '55. K.I.T.T. sighs. [CAT] Anyway, there I was, when all of a sudden this mean-lookin' snake comes slitherin' up to me. [K.I.T.T.] I hate snakes. [CAT] I'm not partial to them myself. But this one was different. He talked. [K.I.T.T.] That's ridiculous. [CAT] Just as good as you. It seems he wasn't a snake at all, but a spirit in the body of a snake. And of all the things he said, one thing in particular stayed in my mind all these years. Bet yo're dying to hear what that was, aren't cha? [K.I.T.T.] Not really. What? [CAT] He said...'there was stranger things in this world than a talking snake...' (moves close to K.I.T.T.'s grill) I think he was referrin' to you, pardner...I think somewhere inside that T-top...there's a spirit named Kitt. Cat waits. Kitt's scanner flashes. Cat grins, convinced it's an affirmation. INT. BARN - DAY - ON REBECCA AND BLUE Reluctantly, she's counting out his weeks wages in cash. [REBECCA] Sure I can't change your mind, Blue? [BLUE] (embarrassed, contrite) I'm sorry, ma'am...but since I've been working for you the guys in town don't talk to me anymore and the gals don't smile the way they used to...I don't mind the guys not talking.... He grins. Rebecca hands him the money. [REBECCA] I understand. [BLUE] I did fix the brakes for you, though. [REBECCA] Thank you, Blue. That was nice. He tips his hat and moves off. Passing Michael, who has entered. Rebecca slumps down onto a haybale. [MICHAEL] I got some good news. [REBECCA] I can use some. [MICHAEL] Reinforcements are on the way. Devon's coming. She can't believe her ears. [REBECCA] Devon's coming? That's it, Devon's coming?! (forces laugh) We just barely escape death because someone cut the brake line. My one able-bodied hand quits. The bank's going to foreclose my mortgage if I lose any more cattle...and you tell me, Devon's coming. She fights to keep from breaking! [MICHAEL] What's this about the bank? Why didn't you tell me? [REBECCA] I just found out in town. My equity's in my livestock. No livestock, no equity. No equity, no Right On Ranch! Know what else they told me? That I should accept Unified Ranch Corpora- tion's offer and sell. [MICHAEL] Did you give 'em both barrels or just one? [REBECCA] I...told them I'd think about it. And don't look at me that way! (fighting tears) Michael, maybe it's just not worth any more fight. Michael goes to her, gently takes her shoulders. [MICHAEL] If I thought you believed that, Rebecca, I'd say okay, it's your ranch. Your dream. Hold up the white flag and surrender the fort. (slight beat) But that's not you...and it's not me. (wipes a tear from her eye) We've got 'em whipped, Sergeant... they just don't know it yet. She smiles at him, feeling a whole lot stronger. OMITTED EXT. COUNTRY HIGHWAY - DAY - ON SEMI barrelling along. C-W sound-alikes over. INT. SEMI - DAY Michael is with Devon and Bonnie. K.I.T.T. in b.g. [MICHAEL] Devon, I need some answers. Is it a corporation, or isn't it? [DEVON] Unified Ranch, Inc. is what's known as a closed corporation. There is one majority stockholder. But the only way to uncover his identity is to know who holds the securities them- selves. Michael paces, frustrated. [MICHAEL] It's got to be the Bartons.... [DEVON] It may well be. Unfortunately, at this point in time, proving it is another matter entirely. [MICHAEL] You just said the operative word, Devon. Time. Rebecca's running out of that, along with her cattle. [BONNIE] Michael, if you stop to think about it, none of this makes sense. Why would anyone want to buy Rebecca's ranch enough to go to these lengths? [DEVON] She's right. Ranching is one of most depressed businesses in the country right now. [MICHAEL] Who says they want Rebecca's ranch for ranching? [DEVON] What other purpose could there be? [MICHAEL] I don't know, but whatever it is must be big. Because they sure want it bad. [BONNIE] Michael, you've got that look in your eye again. [DEVON] What are you thinking about? [MICHAEL] John Wayne, Devon...The Duke himself. EXT. COUNTRY ROAD - DAY - SEMI The semi barrelling along. The ramp coming out and K.I.T.T. backing out of the semi. Doing a 180 turn, and zooming off. EXT. SHAGGY BUFFALO - NIGHT - K.I.T.T. pulling up in front. [K.I.T.T.] Michael, are you sure John Wayne would do it this way? [MICHAEL] (imitating Wayne) Darn tootin', Pilgrim. You just keep an eye peeled for the bad guys. He heads for the Shaggy Buffalo, where we hear music and rowdiness coming from inside. INT. SHAGGY BUFFALO SALOON - NIGHT The joint is jumping with cowboys, whooping and hollering. Consuming booze and gambling at the tables, while others step out on the dance floor. Dancing with the saloon girls to a C & W song on the jukebox. The mechanical bronc is busy. Michael carefully shoulders his way through the crowd, scoping the place out. Gets hard looks from a lot of the meaner hombres. MICHAEL'S POINT OF VIEW - THE OFFICE DOOR next to the bar. Blocking it is Big Ed himself, making time with two saloon girls. BACK TO SCENE Michael moves toward the jukebox. Next to Smiley, a tall angry-looking cowboy with a scar and a cigar in his mouth. Michael watches the couples dance to the C & W ballad, as an idea brews. He addresses the comlink. [MICHAEL] Kitt, I think this place needs a disc jockey. Put on something I can dance to. [K.I.T.T.] How about Swan Lake? As Michael reacts. INTERCUT - K.I.T.T.'S DASHBOARD [K.I.T.T.] Just kidding, Michael. K.I.T.T.'s ultra-frequency modulator activates. THE JUKEBOX Suddenly the needle pulls up midsong. The record flips up and away. Another platter comes down and a hard-driving rock song plays. DANCE FLOOR Couples try to make the transition, including Alfred Barton, who is dancing with a real saloon spitfire, Charlene. She boogies on, but Alfred can't. Michael moves up to him. Tapping him on the shoulder. [MICHAEL] I'll take it from here, pal. Michael moves in, to dance with Charlene, as Alfred seethes. Michael and Charlene rock and roll, as people watch, including Sheriff Lance and Big Ed. ANGLE ON ALFRED enraged. Smashes his fist against the jukebox. The record bounces off the turntable. He slips in a quarter and a C & W ballad comes down into place again. Alfred storms back on the floor. Pushing Michael off and resuming his slow dance with Charlene. She looks over at Michael. Gives him a little wave, obviously preferring him to Alfred. ANGLE ON MICHAEL standing a good distance from the jukebox. Addresses comlink again. [MICHAEL] One more time, buddy. INTERCUT - K.I.T.T. [K.I.T.T.] Michael, if you're not careful, they'll be doing the Texas Two-Step on your head. [MICHAEL] Just let it rock, Kitt. THE JUKEBOX Again, the C & W ballad stops, midsong. The disc flips up. The rock record comes down and pulsates loudly over the room, with its driving beat. DANCE FLOOR Alfred, enraged again. Charges over to Michael. Michael holds his hands up, innocently. Pointing over to Smiley, next to the jukebox. [MICHAEL] Don't look at me...It was handsome there. ANGLE ON ALFRED Bursts over to Smiley and throws a haymaker. Smiley ducks and it connects with another cowboy, who is sent flying into the card table, shattering it. Angry cowboys rise and a saloon brawl erupts. VARIOUS ANGLES - THE BRAWL Everyone against everyone. Shots of fighting all around. Michael dodges a punch and moves through the melee to the bar. Just as he's about to hop over it, a bottle swings toward him. He blocks it with his arm. It's held by Charlene. [MICHAEL] I'm really a nice guy once you get to know me. She gives him a quick kiss, then turns to smash the bottle down on Smiley's head as he lunges for Michael. Michael winks, hops over the bar. ANGLE BEHIND BAR as Michael crouches, glasses and bottles breaking and whizzing over his head. He makes his way to the end and slips through the office door into: INT. BARTON'S OFFICE - NIGHT - SAFE a big, old one. Michael works the tumblers while the brawl is heard outside. He pauses a beat and tries the handle. The safe opens. Michael peers into the safe. Starts rummaging through the items. Pulls out a wad of bound documents. OMITTED CLOSE - STOCK CERTIFICATES for Unified Ranch Corp. BACK TO SHOT Michael produces a mini-Minox camera, snaps the certificates. Something else catches Michael's eyes as he is about to put the stocks back. At the bottom of the bound pile is a map. CLOSE - GRID MAP with one grid marked with an "X". BACK TO SHOT Michael snaps a picture of the map, too. Behind him, unseen, Sheriff Lance moves into the room. Michael returns the map to the safe, closes it, then spins around as Lance draws his gun. Lance, showing off, twirls it, passes it from one hand to the other, preparing to blast Michael. [MICHAEL] (almost speechless; searching for the right words) That's...That's...fantastic! And without blinking he reaches out and decks the surprised Lance with a straight-armed right to the jaw. (A beat out of Raider/Lost Ark.) Lance goes down and Michael steps over him. INT. BAR as Michael runs in from the office area. It looks like the Second World War's been staged here. Debris everywhere. In the middle of the barroom, the last two punch-drunk cowboys are still duking it out. Michael makes for the door but his way is suddenly blocked by --- BIG ED AND ALFRED loom into his path, all business and mean. They lunge for him. VARIOUS SHOTS - THE FIGHT Michael using judo and street-smart combinations, ducks the worst of their punches and gets in a few licks of his own. Then, when he sees his opportunity, he races for the door. Into the comlink, he whistles for K.I.T.T. EXT. SHAGGY BUFFALO - NIGHT The door bursts open and Michael flies out just ahead of Big Ed and Alfred. K.I.T.T. screeches up, the door pops open and Michael hops in. [K.I.T.T.] If you expect me to gallop off now, Michael, forget it. [MICHAEL] Hi-Yo Kitt! Away! K.I.T.T. churns up a cloud of dust as Michael peels out, leaving Big Ed and Alfred coughing and shaking their fists. FREEZE FRAME AND FADE OUT END OF ACT THREE ACT FOUR FADE IN OMITTED EXT. ANOTHER SECTION OF ROAD - DAY The semi passes. [MICHAEL'S VOICE] This map was in Big Ed Barton's safe. INT. SEMI - DAY Michael, Devon and Bonnie are at the computer, where we see a photo of the grid map with the prominent X. [DEVON] Michael, if you're expecting an interpretation. Sorry to disappoint you. [MICHAEL] Kitt, give me an overlay of Rebecca's ranch. [K.I.T.T.] Coming right up, Michael. A red line cuts out a particular area. The "X" falls just inside it. [MICHAEL] Whatever that 'X' represents, I'm positive it's somewhere on Rebecca's ranch. [DEVON] If you're suggesting mineral deposits -- I happen to know the old gold mines have been picked clean long ago. [BONNIE] And there's no record of oil in this area. [MICHAEL] It has to be something. 'X' marks the spot, Kitt. Let's find it. He crosses for K.I.T.T. Devon follows, concerned. [DEVON] Michael, there's an APB out on you! [MICHAEL] It's not the first time. [DEVON] No, but out here I'm without influence of any kind. If they catch you, you're on your own. Michael fires up K.I.T.T. [MICHAEL] Not the first time for that either. A half-smile to reassure Devon, then Michael backs out. OMITTED EXT. ROAD - DAY K.I.T.T. slips out, hits the road and does a 180. EXT. NORTH PASTURE - DAY - ANGLE ON K.I.T.T. scanner flashing. [MICHAEL'S VOICE] Hey, I thought they made them tough in the Bronx. ANGLE TO INCLUDE MICHAEL with a comforting arm around Rebecca. Cat eyeing K.I.T.T. [REBECCA] Like nails! [MICHAEL] Then don't give up, Rebecca...don't let 'em beat you. She looks at him. [REBECCA] It's not just the ranch and the kids now, it's you too. They've been here looking for you twice already. They're calling you a fugitive. [MICHAEL] I've been called worse. [K.I.T.T.] Affirmative. Rebecca laughs. Cat nods, as if to say "me too." [MICHAEL] Okay, wise guy. You're supposed to be working. [K.I.T.T.] I am. As a matter of fact, I think I've located the mysterious 'X.' [MICHAEL] Where, Kitt?! [K.I.T.T.] About ten feet directly to the right of you, Michael. Michael paces the distance. [K.I.T.T.] Now two steps forward. Michael takes the steps, looks down to see a hole in the ground no larger than a half dollar. Getting on his knees, studying it. [MICHAEL] Looks like someone bored a deep hole here. (to Rebecca) You or Cat know anything about this? She shakes her head no, looks at Cat. [CAT] I sure don't. Michael examines chips around the hole. [MICHAEL] I'd say it's a core sample. (beat) Kitt, put your geological cap on. I need some answers. OMITTED ANGLE IN K.I.T.T. As Michael and Rebecca cross to him. The monitor displays a colorful graphic of the earth's layers. [K.I.T.T.] The hole goes down forty-six feet, Michael, and there appears to be sizeable deposit of malidium-sulfate. [MICHAEL] (a reaction) ...Malidium-sulfate? That's a new one on me. [K.I.T.T.] It's a space age ore. Extremely valuable, once it's strip-mined. [MICHAEL] Are we talking mega-millions, pal? [K.I.T.T.] Conservatively speaking. And Rebecca's ranch sits right on top of the mother lode. [REBECCA] Strip-mining? Have you ever seen what that does to the land? It makes the Bronx look like a rose garden. [MICHAEL] Unfortunately there's no law against it. But there is against rustling, and that's how we're gonna stop them. (to Cat) Cat, I want you to drift into town and spread the word. We're moving the remaining stock to the south pasture. [REBECCA] But that's where they hit us before. [MICHAEL] That's right...let's make it easy for them. [CAT] Thinkin's one thing, but catchin' 'ems something else again. [MICHAEL] This time I've got a little help in that department. He takes a suger cube-sized radio frequency monitor from his pocket. [MICHAEL] They use these to follow big game in Africa. A couple dozen steers should be a pushover. CUT TO EXT. SOUTH PASTURE - NIGHT A full moon overhead, several dozen cattle graze near a clump of trees. Camera pans to nearby rise, where we see just the speck of embers from a campfire. ANGLE AT CAMPSITE - FAVORING MICHAEL AND REBECCA The kids and Cat sleep nearby. K.I.T.T. and the bus are partially hidden. So far it's been a quiet, fruitless vigil. [REBECCA] If my friends in New York saw me now, they'd think I was crazy. [MICHAEL] You know something -- sometimes crazy helps. She smiles, then it disappears. [REBECCA] Michael, they're not coming. [MICHAEL] They'll come. It's only a matter of time.... Holding on their image we: LAP DISSOLVE TO OMITTED EXT. OPEN COUNTRY - SUNRISE The sun peeps over a distant hill. ANGLE NEAR ROAD The silence is broken by the roar of a big engine and suddenly Bigfoot appears. Big Ed at the wheel. ANGLE AT CAMPSITE Everyone is asleep. Michael bolts upright simultaneous with: [K.I.T.T.] Michael! [MICHAEL] Gotcha, pal. HIS POINT OF VIEW - BIGFOOT moving out of the morning haze and crushing a long section of fence, then beginning to round up the frightened calves. Two ND cowboys load them into the rear of the cattle truck, which is being driven by Lance. BACK TO SCENE Michael shakes Rebecca as the sleepers stir. [MICHAEL] Rebecca, wake up. Look. [REBECCA] Michael...it worked! [MICHAEL] Not yet...not 'til we follow them and round up the whole gang. [DIABLO] Man, look at the size of that thing! [TRASHER] Rad-ic-cal! [STAR] Bizarre.... [MAGIC FINGERS] Let's go get 'em, Michael! Michael crosses toward K.I.T.T. Getting in. [MICHAEL] Sorry, guys. This is a one-man job. [DIABLO] Hey man, there's no way we're gonna miss out on a rumble. [MAGIC FINGERS] That's the fact, Jack. You're lookin' at the warlord of the Purple Gang. [MICHAEL] Diablo, Magic, hold it. What if they send out more bad guys? Someone's gotta stay here and defend the women, right? [DIABLO AND MAGIC] Right. Michael jams the pedal and skids out. The kids turn to Cat, Rebecca and Joanna. [MAGIC FINGERS] You heard the man, Cat. Stay here and defend the women. (to the others) Let's head 'em off at the pass! Before anyone can protest, the three boys and Star hop into the bus, start it up, and smoke off in the other direction across the open field, leaving Rebecca, Cat and Joanna gaping. OMITTED EXT. TWO-LANE HIGHWAY - DAY - ON CATTLE TRUCK as it barrels along, Lance at the wheel. INT. CATTLE TRUCK - DAY - ON CALVES We see the radio transmitter tucked behind one's ear. EXT. HIGHWAY - DAY K.I.T.T. tails at a safe distance, out of sight of the cattle carrier. INT. K.I.T.T. - DAY There's a beeping sound, and a pulsating light on the monitor. [MICHAEL] Looks like they're turning off the highway, Kitt. [K.I.T.T.] Map overlay indicates Old Canyon Road. [MICHAEL] Does map overlay indicate where it goes? [K.I.T.T.] No. But were I to hazard a guess, I'd say into an old canyon. [MICHAEL] Thanks, pal. Don't know what I'd do without you. EXT. CANYON ROAD - DAY - ON CATTLE TRUCK as it speeds past an area of dense terrain --- Hold on: BIGFOOT (#1) parked some distance off the road, and hidden by heavy brush. INT. BIGFOOT (#1) - DAY Big Ed reacts as K.I.T.T. passes, then growls into the CB. [BIG ED] He's onto us, Alfred. But this time he's in for a big surprise. OMITTED EXT. CANYON ROAD - DAY Panning with cattle truck. The loaded truck rounds a blind hairpin curve, a steep granite wall rising on one side and a hundred-foot drop on the other. Once around the curve, it pulls onto the shoulder and stops, to reveal: BIGFOOT (#2) Suddenly, a second Bigfoot, Alfred at the wheel, lumbers out...and toward the unsuspecting Michael. INT. K.I.T.T. - DAY Michael looks around, begins to tense. [MICHAEL] Kitt, I've got a feeling.... [K.I.T.T.] What feeling? Michael reacts. WHAT HE SEES - BIGFOOT (#2) rounding the bend, and heading straight for them. [MICHAEL] (re Bigfoot #2) That feeling. Hold onto your hat! Michael whips the wheel. EXT. CANYON ROAD - DAY K.I.T.T. does a 180, heading in the opposite direction, just short of Bigfoot's bumpers. ANGLE ON THE CATTLE TRUCK parked on the shoulder. Lance climbs from the cab, smug, and watches with relish as Michael barely escapes and flees. ANGLE TO INCLUDE THE BUS moving in behind Lance from the other direction. It stops and the doors open. Lance turns, as the kids charge from the bus with bloodcurdling yells, flattening him, knocking his gun far away. EXT. CANYON ROAD - DAY Michael's managed to put a little air between himself and Alfred, but.... ANGLE IN K.I.T.T. - OVER MICHAEL'S SHOULDER Looming into view through the windshield is Bigfoot #1, driven by Big Ed. [K.I.T.T.] Michael, am I seeing double? [MICHAEL] 'Fraid not, pal. [K.I.T.T.] We're running out of room! [MICHAEL] Not if we time it right. He jerks the wheel. ANGLE ON K.I.T.T. spinning another 180, coming within a hair of Big Ed's wheels. EXT. CANYON ROAD - DAY The two huge trucks are about the flatten K.I.T.T. in a Trans Am sandwich, but: ANGLE IN K.I.T.T. Michael waits until the last possible second, then hits Ski Mode. CANYON ROAD - VARIOUS ANGLES K.I.T.T. flips up onto two wheels and skis past Bigfoot #2, only inches from going over the steep side. OMITTED ON BIGFOOT TRUCKS as they plow head on into each other. Tires explode, metal crunches, glass flies everywhere. ON K.I.T.T. landing back on all fours, and coming to a stop beside the semi. Michael gets out, looks back --- [MICHAEL] Better get some help out here, Kitt. The State police...an ambulance...and a couple of very big tow trucks. He turns to see: THE KIDS stand with satisfied grins. At their feet lies Lance, completely hog-tied with rope, bawling like a bulldogged calf. FULL SHOT - THE GROUP [MICHAEL] Looks like the Right On Ranch will survive after all. FREEZE FRAME FADE OUT END OF ACT FOUR TAG FADE IN OMITTED EXT. RANCH - CORRAL - DAY Cat and Star are struggling to hold down a calf about to be branded by Rebecca. Joanna is seated by herself, nearby. Devon and Bonnie are also present, but Devon looks skyward, unable to watch the branding. [CAT] Will you hold still, you cactus suckin' calf! [BONNIE] Sure you don't want to help, Devon? [DEVON] (quickly) Of course, I'd happily lend my expertise. (takes one look, then quickly elsewhere) Only...what's that about too many chefs spoiling the...calf. Magic Fingers, Diablo and Trasher keep their distance. Michael calls over to them. [MICHAEL] What's wrong, you guys chicken? [MAGIC FINGERS] Chicken? Man, my old Purple Gang does that to its new members. [REBECCA] Then come on here and give us a hand. [DIABLO] No sweat. The group saunters over. But their eyes grow wide as Rebecca holds up the hot iron. [REBECCA] Who wants to do it...Trasher? She offers it. Trasher faints. Right into Diablo's arms. Magic Fingers fans him. [MICHAEL] No sweat, huh? Joanna stands. [JOANNA] I'll do it. Michael gently puts his arm around Joanna, leading her over. Giving her the handle of the iron. Together, he helps her brand the calf. As the others, including Trasher, watch. We see the satisfaction on Joanna's face. [CAT] First B.A. brand doggie! [MAGIC FINGERS] B.A.? Like in Bad Apples? [MICHAEL] That's right. Cat lets the calf up, the B.A. brand on its side. The group suddenly looks excited. [DIABLO] It's got our mark! We see the enjoyment in their faces, as the calf runs off. Cat grabs another calf. Rebecca holds up the brand again. [REBECCA] Who wants to do the next one? The kids, at once, all respond, to Rebecca's delight. [KIDS] Me!!! [MICHAEL] (looks at Rebecca) Not worth the fight, huh? [REBECCA] (making a fist) Sez who? [MICHAEL] (winks) Now, that's the old Bronx cheer. He moves off as Rebecca watches. A look of admiration on her face. On this very "right-on" beat, we --- FREEZE FRAME FADE OUT THE END

{"show": "Knight Rider", "season": "s03", "episode": "e06", "title": "The Rotten Apples"}

knightriderarchives

ACT ONE FADE IN EXT. NEW ORLEANS - DAY - HELICOPTER SHOT - STOCK The high wail of a Dixieland clarinet. Swooping low over the Pontchartrain Bridge and establishing New Orleans. OMITTED EXT. CATFISH'S DIXIELAND BAR - DAY Sign establishes. One can only imagine what's going on inside at this moment. But the music's hot, and it floats clear out onto the street. ANGLE ON K.I.T.T. parked at a safe stakeout distance from the entrance. [DEVON'S VOICE] Maybe we're just wasting time. INT. K.I.T.T. - DAY Devon's on the monitor from his Foundation office. [MICHAEL] If you've gotta waste time, Devon, there's no better place to do it than New Orleans. [DEVON] I'm sure you're right, but you've been tailing this Willis character for almost twenty-four hours now and all you've got to show for it is a tour of the city. [MICHAEL] He likes to enjoy himself, no question about that. But if we want to put Lasalle out of business we've got to squeeze his key people -- people like Willis. [DEVON] All right, Michael. Keep me posted. Devon disappears from the screen. [K.I.T.T.] To tell you the truth, Michael, it's not the waiting that bothers me. It's the Dixieland jazz that goes with it. If I hear 'When The Saints Go Marching In' one more time.... But Michael spots something O.S., interrupts: [MICHAEL] Kitt...there he is. MICHAEL'S POINT OF VIEW THROUGH WINDSHIELD - WILLIS coming from Catfish's Bar and moving toward a fast sports car parked at the curb. He's thirty, wears designer jeans and shirt. Nice looking in a rough sort of way. He carries an overnight bag. The lovely young lady clinging to his arm is Ginger, twenty-five, blonde, a woman who's seen both ends of Bourbon Street. [K.I.T.T.'S VOICE] Michael, he didn't have that case when he went in. BACK TO SCENE [MICHAEL] You got that right. Let's take a peek inside. He presses the X-ray mode. INTERCUT - MONITOR as a computer-generated image moves through the case and focuses on a plastic container filled with white powder. [K.I.T.T.] A kilo of pure heroin, Michael. [MICHAEL] Known on the street as 'China White.' ANGLE TO INCLUDE WILLIS THROUGH WINDSHIELD shooting from behind as Michael sees Willis kiss Ginger good-bye. [K.I.T.T.] I didn't think Lasalle was involved with drugs. Willis starts toward the driver's side. [MICHAEL] Why not, he's into everything else. ANGLE ON WILLIS As he starts to open the car door something suddenly catches his eye. WILLIS' POINT OF VIEW - K.I.T.T. Michael behind the wheel. BACK TO WILLIS He debates, then suddenly takes off on foot. ANGLE ON MICHAEL [MICHAEL] He made us! Notify Devon, then cut Willis off. Michael jumps out and races after Willis. INSERT - K.I.T.T.'S PEDALS to see the accelerator depress and light up. BACK TO SCENE as K.I.T.T. pulls out. VARIOUS ANGLES OF CHASE Willis is big, agile and fast, making use of sidewalk artifacts -- trash cans, bicycles, vendors racks, etc. -- to keep Michael off balance. ANGLE AT CORNER Willis is about to cross the street when K.I.T.T. suddenly pulls up and cuts him off. Willis turns to run the other way when Michael manages to tackle him and bring him down. And as he does: TIGHT ON HIGHLY POLISHED BOX as it falls to the sidewalk from Willis' pocket. ANGLES ON FIGHT Willis catches Michael in the midsection with his foot, sending him sprawling on his back. Michael quickly springs to his feet, drops the charging Willis with a right, and as police sirens are heard arriving he lifts Willis up, pins his arms around his back and slams him against the brick wall. ANGLE ON POLICE CARS screaming up, lights flashing. Several police officers jump out, revolvers drawn. [SERGEANT] Police officer! Hands up against the wall! Legs spread. Willis obeys with the help of another armed officer. A third officer takes the case, begins working to pry the locks with a penknife. [SERGEANT] That goes for you, too! [MICHAEL] Officer, my name's Michael Knight, I'm with the Foundation for Law and Government --- [SERGEANT] You heard me. Spread 'em! Michael obeys. CLOSER - SERGEANT as he spots the box near their feet, picks it up and opens it. INSERT - KEY It's unusual, highly tooled and sophisticated. FULLER ANGLE The Sergeant takes it out. To Michael: [SERGEANT] This yours? [MICHAEL] His. As the Sergeant returns the key to the box, puts it in his pocket and begins patting Michael down: [POLICE OFFICER] (re heroin) Sergeant, looks like heroin. [MICHAEL] It is heroin. I've been tailing him. But the Sergeant pulls something out of Michael's jacket pocket. [SERGEANT] You've been tailing something, that's for sure. He shows Michael a small plastic bag of heroin. Michael looks at it in total shock and disbelief. [SERGEANT] You're under arrest. CUT TO EXT. FOUNDATION - DAY - ESTABLISHING [MICHAEL'S VOICE] Suspension?! INT. DEVON'S OFFICE - DAY Devon is near his desk, looking terribly distressed, at the same time toying thoughtfully with the key. [DEVON] I'm sorry, but until this mess is straightened out I have no other choice. [MICHAEL] (hot) But I was framed! He must've slipped that heroin into my pocket while I was busting him! [DEVON] Michael, please. I want to believe you but we need proof... (re key) And at this moment, the Foundation must concentrate all its efforts on this key. [MICHAEL] Key? I'm suspended and you're worried about a key they found on Willis? [DEVON] (patient) Michael, the police have requested that I use all our resources to find out just what this key unlocks. If Lasalle has anything to do with it, it has to be important. [MICHAEL] Devon, in case you've forgotten, I'm one of those resources. [DEVON] Not under the present circumstances! (softer) Michael, the Foundation has people to answer to. We're a visible organiza- tion. If we let these charges against you pass without an investigation, it would be looked upon as a cover up. [MICHAEL] All right, investigate all you want, just don't keep me from doing my job. [DEVON] (difficult beat) I'm sorry, but my decision is made. [MICHAEL] Well, I've got news for you, I've made a decision, too. I've been framed and there's just one person who can clear me. He grabs his stuff, starts for the door. [DEVON] Willis is sticking to his story. [MICHAEL] I'm not talking about Willis. I'm talking about his boss -- Lasalle. [DEVON] (concerned) Michael, the Foundation cannot operate above the law. [MICHAEL] But I'm no longer with the Foundation, remember...I'm on suspension. A last look at Devon and he starts out. [DEVON] Whatever you do, Michael...however you do it...it will have to be without Kitt. [MICHAEL] I figured. Anything else you'd like to strip away while I'm still here? (contrite) I'm sorry, Devon, we've been friends for a long time, I shouldn't have said that. [DEVON] In your position I might have said the same thing. (forces smile) Believe me, in a week or so we'll all have a good laugh about this. (smile fades) But until that time, Michael...I'm truly going to miss you. They look at one another...then Michael leaves. CUT TO OMITTED INT. FOUNDATION GARAGE - DAY - SHOOTING OUT DOOR to see Michael approaching and entering. ANGLE TO INCLUDE K.I.T.T. parked in the service stall as Michael moves to him. [K.I.T.T.] Well, Michael, I'm glad you got that little matter straightened out. [MICHAEL] The only thing I got was a suspension. [K.I.T.T.] A suspension? But how can that be? [MICHAEL] It's a long story and I don't want to bore you with it. (difficult beat) I'm leaving, Kitt. [K.I.T.T.] Where are we going? [MICHAEL] Not we. I'm going alone. [K.I.T.T.] Alone? But Michael, we're a team. [MICHAEL] You belong to the Foundation, Kitt. [K.I.T.T.] But, Michael, without you.... [MICHAEL] I know, pal, I feel the same way. It's not over yet. Not by a long shot. (beat) Until then, take care. He grabs a casual jacket from the backseat, starts down the long driveway. K.I.T.T.'s red scanner light slows and then stops. CUT TO EXT. FRENCH QUARTER - NIGHT - ESTABLISHING - STOCK Dixieland jazz over. INT. FRENCH QUARTER BAR - NIGHT - STOCK Tastefully crude, smoky and colorful, with foggy mirrors and ceiling fans. The funky piano man, sleeves pulled up, nurses a shot as he plays his music. ANGLE ON MICHAEL having just entered and stepping up to the bar. He hasn't shaved and his clothes look as if he's slept in them. He's also had a few drinks, although he's far from drunk. Gino, the bruising bartender, spots him, shakes his head, and comes up to him. [GINO] You again. You're worse than a bad dream. [MICHAEL] All you gotta do is tell me where I can find Lasalle and I'll be glad to take my business down the street. ANGLE TO INCLUDE DANTON seated in a nearby booth. Huge and black with muscles bulging inside his three-piece suit. With him is a beautiful young woman named Linda. Both watch Michael's action, Danton with interest, Linda without. [GINO] I told you, I don't know what Lasalle you're talking about. [MICHAEL] How many Lasalle's own a big chunk of the French Quarter, including this joint? [GINO] Look, you wanna drink or not? [LINDA'S VOICE] Sure he wants a drink. Michael turns as Linda slides up. [LINDA] I don't think he's here for the scenery. She smiles. He relaxes some, returns it. [MICHAEL] A beer for me...a mint julep for Blanche here. Linda laughs. [LINDA] I love a man with a sense of humor. Make mine a gin and tonic, Gino. Gino pours Michael a beer and Linda a gin and tonic. Michael holds the glass for a toast. [MICHAEL] To a long friendship. [LINDA] Even if it lasts all night. Michael grins, and they drink. After which Linda moves in for a kiss. Michael doesn't fight it. As Linda kisses him with surprising passion: CLOSE ON HER HAND slipping over Michael's beer and dropping in a quick- dissolving tablet. FULLER ANGLE They finally break, smiling, tasting the kiss. She touches the rim of his glass, and they drink, Michael polishing off his beer. [MICHAEL] You know, I've kissed a few ladies in my life.... [LINDA] (smiles) Really? Could've fooled me. Tell me all about it...lady by lady and kiss by kiss.... [MICHAEL] But you, you're the...the.... He's having trouble focusing; feeling a bit dizzy. MICHAEL'S POINT OF VIEW - LINDA out of focus, getting fuzzier, spinning. BACK TO MICHAEL He tries to speak, can't, slowly slips to the floor. MICHAEL'S POINT OF VIEW - BAR LIGHTS ON CEILING out of focus, spinning into: DISSOLVE TO INT. MICHAEL'S ROOM - DAY Soft focus of sunlight playing on crystals. We tilt off the chandelier tinkling in the breeze down to the morning sun shining through the eight-foot beveled glass windows and backlighting Linda. She wears a simple, yet sexy white summer dress. [LINDA] I thought you were dead. [MICHAEL] Who says I'm not. It's an elegant room filled with tasteful antiques and classical paintings. Michael sits up painfully. [MICHAEL] If I didn't know better I'd think somebody put something in my drink last night. [LINDA] Now why would anyone want to do that? [MICHAEL] You tell me. [LINDA] Boyd's waiting for you on the veranda. (motions to closet) There's some clothes in that closet. She leaves. On his reaction: CUT TO EXT. VERANDA - DAY Boyd Lasalle, a powerful, handsome man in his early fifties, is having coffee and reading a newspaper. Linda is seated next to him having juice. Danton, always formally dressed, sits on the balcony railing nearby, a faithful and fierce watchdog. Lasalle glances up to see the freshly shaved Michael heading their way. He wears a casual but expensive outfit. [LASALLE] You must be Michael Knight. [MICHAEL] How'd you guess? [LASALLE] I'm Boyd Lasalle, and this is Linda. [MICHAEL] We almost met earlier. Michael and Linda exchange looks until: [LASALLE] Darling.... Knowing what's coming, she gets up: [LINDA] I know. Business. One last look at Michael and she goes toward the house. Michael watches her; she moves like a thoroughbred. [LASALLE] Now, I understand you've been looking all over New Orleans for me. Why? [MICHAEL] Because one of your errand boys framed me, that's why. [LASALLE] (shrugs) Willis? So what do you want from me? [MICHAEL] I want my suspension lifted and my name cleared. I want you to talk to him, tell him he made a big mistake. [LASALLE] But you and I are natural enemies. As long as you're on suspension I sleep better at night. [MICHAEL] I'm not going to be on suspension forever. [LASALLE] No, you aren't. As a matter of fact, your status at the Foundation has taken another turn for the worse. [MICHAEL] What are you talking about? Over this a twenty-three-year old computer expert, thin, long hair, John Lennon glasses, crosses from the house carrying what appears to be a briefcase. He places it on the table. [LASALLE] Thanks to my electronic wizard here, I've recently gained access to the Foundation's inner sanctum. We actually use your surveillance equipment to spy on you. Poole smiles and opens the top of the briefcase to reveal a state-of-the-art portable TV monitor. [LASALLE] Watch. He motions to Poole to turn it on. Michael reacts to what he sees on the screen. ANGLE TO INCLUDE SCREEN A freeze frame of Devon talking to Bonnie in his office. There's a time and date readout at the top of the screen. [LASALLE] As you can see, this was recorded just over an hour ago. INSERT - SCREEN as seen on the monitor. Both Bonnie and Devon are terribly upset. [BONNIE] But Devon, you can't just fire him! INTERCUT AS NEEDED with Michael's reactions. [DEVON] It's the board's decision, Bonnie, not mine. [BONNIE] But why? He was supposed to be suspended pending the results of the investigation! [DEVON] The consensus was that Michael has been compromised. I'm sorry. I argued against it. I did everything I could. [BONNIE] (beat) Have you told him? [DEVON] I'm trying to locate him now. [BONNIE] But what are we going to do? [DEVON] Do? We're going to replace him. [BONNIE] Just like that? [DEVON] We've no other choice. Bonnie, I'm going to miss him, too...but the integrity of the Foundation is more important that any one man -- including Michael Knight. [LASALLE] Seen enough? Michael glances at him, stunned. He nods. Poole turns it off. [LASALLE] I can imagine how difficult this is for you. Fortunately I think some good can come out of it after all. [MICHAEL] (beat) I can't imagine what. [LASALLE] I can use a man of your talent. Michael regards him with contempt. [MICHAEL] What do you think I am, for sale to the highest bidder? No questions asked? [LASALLE] You haven't heard my offer yet. [MICHAEL] Save your breath. Angry, he starts away. [LASALLE] Then what are you going to do for a living? With your present security rating you couldn't get a job as a rent-a-cop. No response. [LASALLE] I'm willing to pay you fifty thousand dollars for an hour's work. Despite himself Michael pauses. [MICHAEL] (beat) What kind of work? [LASALLE] Stealing something I want very much. (motions to screen) Come here. I'll show you. Michael crosses back. Poole presses another of the remote buttons. Michael reacts to what he sees. MICHAEL'S POINT OF VIEW - K.I.T.T. inside the Foundation garage, being worked on by Bonnie. [LASALLE'S VOICE] The Knight Industry Two Thousand. ANGLE TO INCLUDE MICHAEL AND LASALLE Michael reacts. [LASALLE] Or as you so fondly call it...Kitt. Lasalle looks to Michael and smiles. [FREEZE FRAME] END OF ACT ONE ACT TWO FADE IN EXT. ROAD - DAY - FAVORING K.I.T.T. as he races behind two trucks running alongside each other, then lifts up on two wheels and skiis right between them. ANGLE ON TRUCK DRIVER THROUGH WINDSHIELD reacting. [K.I.T.T.'S VOICE] No, Charles, Ski Mode is used only in emergency situations.... INT. K.I.T.T. - DAY Charles, thirty, looking every bit an FBI agent, sits behind the wheel, eating up every moment of his adventure. [CHARLES] Just checking out the equipment, little buddy. [K.I.T.T.] (appalled) Little...buddy? [CHARLES] And, by the way, you can call me Chuck. [K.I.T.T.] I can, yes, but why would I want to? [CHARLES] Well, if I'm going to be your new partner.... [K.I.T.T.] (interrupting) Unless I'm mistaken, Chuck, at this point you're simply one of many candidates being considered for the job. [CHARLES] That's true, but when Chuck Wallyburton goes after something, he usually gets it. ANGLE TO INCLUDE MONITOR as Devon appears, sitting behind his desk. [DEVON] Well, I see you and Kitt are getting to know each other, Charles. [K.I.T.T.] You can call him Chuck, Devon. Devon raises his eyebrows. [CHARLES] We're getting along just fine. And I must say, this is some organization you run, Dev. Just give me the word and it's good-bye Feds, hello Foun- dation. [DEVON] Yes...well...you realize we're still in the process of interviewing possible replacements.... [CHARLES] Like I always say, why shop for ground round when you've got top sirloin right on your plate. [DEVON] That's...what you always say, is it? [CHARLES] And what does this little button do? CLOSE ON BUTTON as Charles reads: [CHARLES] Eject...left. FULLER ANGLE [K.I.T.T.] (pregnant pause) Why don't you check it out Chuck? Devon raises his eyebrows. [CHARLES] Now you're talking, little buddy. He pushes eject button. EXT. ROAD - DAY as Chuck is ejected skyward. INT. K.I.T.T. - DAY Devon has mixed feelings. [DEVON] Kitt, I didn't see that. EXT. ROADSIDE - DAY - ON CHARLES having landed in a soft area, unhurt, and dusting himself off. CUT TO EXT. MANSION VERANDA - DAY - ON MICHAEL as he studies a blueprint labeled, F.L.A.G. Garage. OMITTED ANOTHER ANGLE Linda comes out the french doors with that same look, never fully making eye contact with him. [LINDA] Danton's ready to take you to the plane. [MICHAEL] What if I'm not ready to be taken? [LINDA] Are you asking a question or making conversation? [MICHAEL] Maybe a little of each. Is that allowed? [LINDA] If it makes you feel better. She turns to go back in but Michael lightly catches her arm. [MICHAEL] What is it with you? Do you have contempt for everyone, or am I special? She looks at him fully for the first time, a long enigmatic look, then turns and walks inside without replying. OMITTED EXT. F.L.A.G. GARAGE AREA - DAY A limo pulls up and Michael quickly crosses toward the building. (Note: This limo should not have Louisiana plates.) CLOSE ON COMPUTER LOCK as Michael punches in 2, 1, 6, 7 and the garage door opens. INT. GARAGE - DAY Caruso is singing, otherwise, K.I.T.T. is alone. [MICHAEL'S VOICE] Been taking voice lessons? Caruso shuts off abruptly. [K.I.T.T.] Michael! Michael slips in through the door. [K.I.T.T.] I thought I'd never see you again! [MICHAEL] Hey, pal, you can't get rid of me that easy. [K.I.T.T.] You've talked with Devon. It was a misunderstanding. Everything will be the way it was. [MICHAEL] No, Kitt, it'll never be the way it was. Stunned. [K.I.T.T.] Then why did you come back? [MICHAEL] To get you. [K.I.T.T.] I don't understand. [MICHAEL] You said it, Kitt: we're partners. He presses his hand on the pressure plate but the door doesn't open. [K.I.T.T.] Michael, this is all very confusing. [MICHAEL] (reaching for the driver's door) Come on, Kitt, we've got things to do. Places to go. [K.I.T.T.] I am the property of the Foundation for Law and Government. [MICHAEL] Kitt, open the door. Let me in.... He tries again: nothing. [MICHAEL] This is it, pal. I won't ask again. He tries again. Intercut Michael's face, his fingers, K.I.T.T.'s dash...and then the sensors keyed to his touch flash. He opens the door and jumps in. [MICHAEL] All right, Kitt! Butch and Sundance, back in the saddle! Rock-n-roll! [K.I.T.T.] Michael, if you'd only try to appreciate 'Il Travotore.' From a different area Bonnie suddenly appears. [BONNIE] Michael! Kitt, no --- Michael hits a button and the garage doors slowly open. Then he hits the throttle. EXT. TWO LANE ROAD - DAY K.I.T.T. flashes by, heading back for New Orleans. INT. TRANS AM - DAY Michael smiling, taking it all in. [MICHAEL] It feels great. Come on, admit it. [K.I.T.T.] There is an undeniable nostalgia. Unfortunately it's clouded by your recent behavior. [MICHAEL] My recent behavior's history. We've got a whole life ahead of us. [K.I.T.T.] It would seem as fugitives. OMITTED EXT. MANSION GATES - DAY A high open wall surrounds the huge estate. The Trans Am stops at the open gate guarded by two burly security officers. [MICHAEL] Michael Knight. [GUARD] (very polite) I don't see your name on the guest list, Mr. Knight. Are you here for the birthday party? [MICHAEL] What birthday party? I work for Lasalle. [GUARD] (tense) Please wait here. He goes back to the security office, picks up the phone, glancing suspiciously at Michael. [MICHAEL] Are you thinking what I'm thinking? [K.I.T.T.] Quite possibly. [MICHAEL] Shall we? Just for old time's sake? Michael drives through the open gate. The Guard calls out, still holding the phone: [GUARD] Hey, you, stop! He hangs up the phone, starts after K.I.T.T. [K.I.T.T.] Michael, it is good to have you back. Michael laughs. ANGLE ON GUARDS running after K.I.T.T. ANGLE ON K.I.T.T. Michael hits the throttle, then pushes Turbo Boost. INTERCUT - GUARDS They stare. ANGLE FROM GATE The Trans Am arcs up and heads toward the manicured hedges. ANGLE FROM MANSION GROUNDS A Dixieland band, dozens of guests, vats of jumbalaya, crawfish pies and file-gumbo. The pool and lawns are crowded with party-goers, and there's more than an ample supply of beautiful young women. ANGLE ON LASALLE AND LINDA Lasalle is holding court with influential guests. Linda is breathtaking. At the whine of a turbine approaching they turn. WHAT THEY SEE - K.I.T.T. He soars over the hedges and slides to a dramatic stop. The door pops open and Michael steps out. The jaded crowd applauds, assuming it's part of the festivities. Michael bows, smiling, then to K.I.T.T.: [MICHAEL] Guess they don't allow parking on the grass, Kitt. [K.I.T.T.] Don't worry, I'll find a place for myself, Michael. [LASALLE] A new business associate... (smiling) ...who favors dramatic entrances. K.I.T.T. goes off and Michael approaches Lasalle. He catches Linda's eye. This time there's another brief, mysterious contact before she turns away. Lasalle shakes Michael's hand. The ever present Danton materializes from the crowd, watching Michael. [LASALLE] Congratulations. [MICHAEL] As agreed. [LASALLE] As agreed, yes. But considering we live in a time where agreements are broken as often as honored, I'm impressed. [MICHAEL] The price was right. [LASALLE] Is that a hint? [MICHAEL] No. I'd like my money. Lasalle seems to enjoy Michael's brashness, guides him toward the house, away from the guests. Michael glances across at Linda, sees her react to something off. He looks. HIS POINT OF VIEW - A LIMO It glides through, darkened windows concealing who or what is inside. It continues past, disappears toward the rear of the estate. ANGLE ON LINDA She immediately excuses herself, hurries off in the direction of the limo. ANGLE ON K.I.T.T. ON THE LAWN near a clump of trees, away from the party. [K.I.T.T.] Oh my.... REVERSE ANGLE A huge alligator lumbers out of the trees, coming toward K.I.T.T. [K.I.T.T.] Scat! Scedaddle! The alligator continues to come closer. [K.I.T.T.] Adios, arrivaderci, ciao, sayonara, aloha, bug off! The alligator is nose-to-nose with K.I.T.T. [K.I.T.T.] I support endangered species, but this is ridiculous. ANGLE INSIDE K.I.T.T. He auto-starts, shifts into reverse and backs up. ANGLE ON ALLIGATOR He comes forward again. His jaw opens revealing rows of huge teeth. [K.I.T.T.] This calls for extreme measures. K.I.T.T.'s hood pops open, jaw-like and huge. The alligator thinks it over, does an about-face and heads back toward the trees, out-jawed. [K.I.T.T.] Thank goodness. OMITTED INT. MANSION - DAY Lasalle counts out fifty thousand dollars in stacks of hundred dollar bills onto a table. Michael watches. [MICHAEL] Thanks. He picks up the bills and puts them in his pocket. [LASALLE] That's all? [MICHAEL] Did I forget something? [LASALLE] Let's not play games. Without you the car is virtually useless. You know that and I know that. It's a means to an end. What will it cost me? [MICHAEL] What do you want done? [LASALLE] Something dangerous. [MICHAEL] I figured. Interrupted by Danton running in, concerned. He pulls Lasalle aside, whispers something in his ear. [LASALLE] Excuse me. I won't be a minute. He hurries out with Danton. Michael watches them go outside, cross quickly toward the rear of the mansion -- the direction the limo went. ANOTHER ANGLE Just as Michael is ready to leave, a pretty dark-haired girl enters from the party outside. Her name is Carmen. [CARMEN] Hi. [MICHAEL] Hi. [CARMEN] Could you tell me where the salle de bain is? That's French for bathroom. [MICHAEL] I figured. He points down the hall. She smiles, starts down the hall, aware he's watching her walk. [CARMEN] Don't run off. [MICHAEL] I wouldn't think of it. As soon as she's gone, he darts out. EXT. REAR AREA OF MANSION - DAY Michael appears, cautious. He hears a woman scream, men's voices. He pushes through trees and undergrowth. HIS POINT OF VIEW - LINDA Danton and another security guard are dragging her away from the limo kicking and screaming. Lasalle watches, grim. The darkened window electrically rises, a child's face glimpsed briefly before it's obscured. The limo pulls out. ANGLE ON LINDA She's hysterical, kicking and biting. In the fury the locket she wears is ripped off, forgotten in the dirt. Danton looks to Lasalle. [LASALLE] Go ahead. Danton pulls a syringe out of a case in his pocket. Linda screams. The other guard holds her down while Danton injects her with a powerful tranquilizer. ANGLE ON MICHAEL He watches, hating the helplessness he feels. ANGLE ON LINDA She goes limp, and Danton and the guard carry her off, followed by Lasalle. ANOTHER ANGLE Michael appears from the trees, moves to where the locket fell. He finds it, picks it up and opens it. INSERT - LOCKET Inside is a picture of a beautiful little girl, the same little girl who was in the limo. CUT TO INT. MANSION - DAY The doors to the study/communications room open, Danton coming out. [DANTON] He'll see you now. REVERSE ANGLE Michael pacing, restless, crosses to enter the study. INT. STUDY/COMMUNICATIONS ROOM - DAY Michael enters, followed by Danton who secures the door behind them. Lasalle watches Michael's reaction to the room; it looks like a cross between a state-of-the-art telecommunications center and the war room at the Pentagon. Every electronic surveillance device known to man. A variety of images flicker across a dozen TV monitors. [MICHAEL] Now I'm impressed. [LASALLE] Thank you. Whether it's the incident at the limo with Linda or not, Lasalle seems more abrupt, less willing to spend time being charming. [LASALLE] Shall we get down to business? [MICHAEL] I already got down to mine. He pats the pocket with the 50,000, smiles. [LASALLE] That's nothing -- six months if you're not too extravagant. I'm prepared to make you a wealthy man. [MICHAEL] Care to be more specific? [LASALLE] Five times that. Two hundred and fifty thousand cash. [MICHAEL] Who do I have to kill? He smiles. They don't. [MICHAEL] That was a joke. Lasalle smiles thinly, crosses to the array of electronic wizardry. [LASALLE] What you see here is the state of the arts in digital communications. With it I can detect and monitor and elec- tronic transmission in the world. (points to underwater diving sequence) A treasure hunt off the coast of Haiti. A gamble, but if we hit the jackpot is enormous. (points to another monitor) And that one could be even bigger. (beat) Now, tell me what you know about the Bohr-Fellows lock? [MICHAEL] It's the most impregnable lock ever designed. Titanium alloy tumblers, a coded magnetic key... (the slightest hesitation as he begins putting it together) ...that's next to impossible to duplicate. [LASALLE] Excellent. And I was this close to getting my hands on one...until Willis decided to moonlight a drug deal on his own.... [MICHAEL] And the rest is history. [LASALLE] History I intend to rewrite. I want that key back, Michael...and we both know who has it. Danton --- Danton types in an access code on the computer. The underwater diving sequence is replaced by: ANGLE ON MONITOR The Foundation office with Devon busy at his desk. [MICHAEL] He'll die before parting with it, Lasalle. [LASALLE] Yes...I imagine he will. Lasalle grins, and --- FADE OUT END OF ACT TWO ACT THREE FADE IN OMITTED EXT. FOUNDATION PERIMETER - DAY Michael appears, slips in and deactivates the perimeter surveillance system. ANGLE ON INNER WALL A grappling hook arcs through the air, hooks onto the wall...and Michael appears, pulls himself up, vaults over onto the grounds. OMITTED INT. DEVON'S OFFICE - DAY at his desk, trying to catch up on paperwork. He hears someone on the veranda, glances up, reacts. ANOTHER ANGLE Michael enters through French doors. The two men stare at one another. [DEVON] Michael! What are you doing?! [MICHAEL] It turns out we have some unfinished business. Devon rises, furious. [DEVON] The only 'unfinished business' we have is your theft of Kitt -- That and breaking into my office! I demand an explanation. [MICHAEL] Sorry, Devon -- your days of 'demanding' are over. I don't do your bidding anymore, I do my own. Over this Michael sees Devon's foot moving surreptitiously under the desk. He pulls the pistol from his belt, grabs Devon and pulls him roughly away. [MICHAEL] Don't step on the alarm. [DEVON] I can't believe you're doing this! Michael, for God's sake, stop this insanity before you do something you truly regret. [MICHAEL] Save the moral indignation. I've had enough to last a lifetime. Open the safe. [DEVON] Why? [MICHAEL] Open it! Devon moves to the wall, removes a book which reveals a hidden wall safe. He punches the digital combination, opens it. [DEVON] What is it you want? Money? [MICHAEL] The key. Devon reacts, horrified. Tries to cover. [DEVON] What key? [MICHAEL] (angry) Don't press your luck. The key they found on Willis. [DEVON] (deadly calm) Michael, listen to me.... [MICHAEL] (holds out hand) The key, Devon. Now. No choice, Devon reaches into the safe. ANGLE IN SAFE Secreted there is a small revolver. Devon surreptitiously reaches for it. WIDER ANGLE as he turns, concealing the revolver: INTERCUT MONITOR IN LASALLE'S COMMUNICATION ROOM Lasalle, Poole and Danton watch as Devon spins around, the pistol in his hand. Michael reacts, fires his revolver before Devon can get off a shot. Devon stumbles, collapses, mortally wounded. Michael steps over his body and reaches into the safe. ANGLE ON LASALLE He looks at Poole, pleased. [LASALLE] Phase two is complete. CUT TO EXT. MANSION - NIGHT K.I.T.T. arcs up the long driveway, pulls to a stop. ANGLE ON UPSTAIRS BALCONY French doors open and Linda moves out, watching Michael. ANGLE ON MICHAEL He climbs out, starts for the house. OMITTED CUT TO INT. COMMUNICATIONS ROOM - NIGHT The box is placed on the table. [MICHAEL'S VOICE] If you don't mind, I think I'll turn in. It's been a long day. Lasalle opens the box, admires the key. [LASALLE] Good idea. We complete the third and final phase tomorrow. Be ready to leave at seven AM. [MICHAEL] Mind telling me what the 'third and final phase' is? [LASALLE] From now on, information will be on a need-to-know basis. [MICHAEL] I need to know. [LASALLE] You do, but not tonight. Michael starts out. [LASALLE] Was it difficult for you? [MICHAEL] What? [LASALLE] Dealing with Devon Miles. Michael glances knowingly at the monitor screen, then: [MICHAEL] Yeah...it was. But I did it. He turns and leaves. Hold on Lasalle, fingering the titanium key, thoughtful. CUT TO EXT. MANSION - NIGHT Later, quiet, only a few lights on. Honeysuckle in the air. INT. MICHAEL'S ROOM - NIGHT He is in the process of taking his jacket off, when he hears something outside, a sound. He crosses cautiously to the French doors, opens them. ANGLE FROM BALCONY as Michael comes out. At first he doesn't see anything. Then he does. ANOTHER ANGLE Linda is barely visible, half-hidden by potted palms a few yards away. [LINDA] Don't say anything, you're on the surveillance system. I have to talk to you. (beat) Someone...left something in my bedroom. If it was you, show me. Do something to let me know. Michael yawns and stretches, pretends to look out into the Bayou night. He unobtrusively speaks into the comlink. [MICHAEL] (comlink) Kitt, I want you to knock out the system monitoring my room. INTERCUT - K.I.T.T. His systems come to life. [K.I.T.T.] Michael, this is a very sophisticated operation. The old saying 'easier said than done' comes to mind. [MICHAEL'S VOICE] Buzz me twice when it's okay. Graphics appear on K.I.T.T.'s monitor. ANGLE IN COMMUNICATIONS ROOM Danton is monitoring security. One of the monitors shows Michael's room, Michael at the balcony as before. Suddenly a soccer game appears on all the screens. Danton reacts, punches buttons to no avail. ANGLE ON BALCONY Michael's comlink buzzes twice. [MICHAEL] (comlink) Thanks, pal. (to Linda) It's safe now. [LINDA] (cautious) Are you sure? Michael nods, crosses to meet her as she approaches. [LINDA] I want to believe you, but I can't take any chances. What did you leave in my room? [MICHAEL] A birthday card with something inside. [LINDA] What was inside? He touches the locket which is back around her neck. [MICHAEL] This. For a moment it looks as if she will cry. He wonders if he's ever seen such beautiful eyes, such pain, an anguish that goes right to her heart. CUT TO ANGLE IN COMMUNICATIONS ROOM Frustrated, Danton picks up a phone and buzzes Poole. [DANTON] (phone) You'd better get down here, genius, all I can see is soccer. (beat) Soccer -- you know, where you hit the ball with your head. He hangs up. CUT TO ANGLE IN MICHAEL'S ROOM Linda moves absently around the room, too frazzled to sit. Michael watches her, waits. [LINDA] (finally) Who are you? [MICHAEL] Someone you can trust. [LINDA] That doesn't tell me who you are. [MICHAEL] If you can trust me, who I am shouldn't matter. (beat) I'd like to trust you, too. If only you hadn't slipped whatever you did into my drink.... [LINDA] Boyd told me to. [MICHAEL] And like a good little girl you always do what he says. [LINDA] You don't refuse Boyd. (beat) He's sick. You know that, don't you? Michael refrains from answering. [LINDA] I didn't. When I met him I thought he was...different. A savior. I guess if you're looking for a savior you'll see one whether he's there or not. [MICHAEL] Who's the little girl? Your daughter? [LINDA] Mary Beth was three when I met Boyd. I was divorced, working in one of his clubs on Bourbon Street, trying to support us...keep Mary Beth in preschool...Boyd told me he'd take care of everything if I moved in with him. I should've said no, I wanted to, but I didn't. (beat) Then, when I tried to leave, it was too late. [MICHAEL] What happened at the limousine? [LINDA] He'd promised I could see her on my birthday. Then when she came I found out he'd told them no more than ten minutes -- he thought it might be 'too upsetting.' I guess I just...went a little crazy. [MICHAEL] So to make sure you never leave him, he's keeping Mary Beth prisoner. [LINDA] Yes. [MICHAEL] Do you know where? [LINDA] Somewhere outside the city. He'd never tell me. [MICHAEL] Maybe I can trace it through the limousine's license. The comlink buzzes. [MICHAEL] (comlink) Yeah. [K.I.T.T.'S VOICE] They're working on the system. I can't hold the override more than another ten or fifteen seconds. [MICHAEL] (comlink) Thanks, pal. [LINDA] What was that?! [MICHAEL] A friend. Quick. He hustles her out the French doors. ANGLE IN COMMUNICATIONS ROOM Poole, at the controls, brings the signals back. Michael's room is empty. At the balcony Michael yawns, stretches, comes back inside as if nothing's on his mind but a good night's sleep. EXT. MANSION - NIGHT From out on the grounds a figure turns, leaving. It's Lasalle. What he's seen, or hasn't, isn't clear. CUT TO EXT. MANSION - DAY It's early. Lasalle and Danton accompany Michael to K.I.T.T. Lasalle hands Michael the twin keys. [LASALLE] Good luck. [MICHAEL] Yeah. I'd feel a lot better if I knew where I was going...exactly what I'm supposed to do. [LASALLE] When the time is right, you'll know. Beat. Michael climbs into K.I.T.T., pulls out. Lasalle watches him leave. CUT TO EXT. TWO-LANE ROAD - DAY K.I.T.T. glides by. ANGLE IN K.I.T.T. Michael is behind the wheel. [K.I.T.T.] Well, Butch, where now? [MICHAEL] Kitt, I meant that as an example of friendship. Partnership. We're not outlaws. [K.I.T.T.] What would you call us? Models of civic responsibility. [MICHAEL] (beat) I wouldn't go that far. [K.I.T.T.] I thought not. In fact.... INT. COMMUNICATIONS CENTER - DAY Poole presses Audio Override as Lasalle watches. [K.I.T.T.'S VOICE] How very odd.... INTERCUT - MICHAEL AND K.I.T.T. [LASALLE'S VOICE] (overriding K.I.T.T.) Michael, can you hear me? His voice is coming from K.I.T.T.'s speaker box, which flashes as if K.I.T.T. is talking. [MICHAEL] (surprised) Lasalle? [LASALLE] (microphone) Listen carefully. You are fifteen point three miles from Fire Mountain Chemical Facility. After penetrating security, proceed to Delta Level refrigerated storage vault, which can be opened by punching the code -- 3-2-8-1. There, inside the Bohr -Fellows wall depository, you'll find our target object -- a canister of Tri-Hydrosulfate-G. You'll receive additional instructions when needed. Lasalle clicks off...and K.I.T.T. reappears. [K.I.T.T.] (outraged) How dare that person override me!?! [MICHAEL] Kitt, what's Tri-Hydrosulfate-G? [K.I.T.T.] Coming right up. INTERCUT - MONITOR Holographic models of four separate molecules combining into a single, snake-like chain rotating on the screen. [K.I.T.T.] Tri-Hydrosulfate-G is an experimental genetically engineered amino acid being tested as a bacteriological agent. It is quantumly more powerful than anything that is presently in use. [MICHAEL] (tightening) Biological warfare? [K.I.T.T.] To say the least. If one litre were accidentally released into the atmos- phere, no living organism within a thousand square miles would survive. [MICHAEL] (after a beat) You have a site map of the Fire Mountain facility? No response from K.I.T.T. [MICHAEL] Kitt? [K.I.T.T.] Michael, given the severity of the situation, I can no longer support your actions. [MICHAEL] I'll manual override. [K.I.T.T.] What you do is sadly beyond my control. But I cannot and will not aid in anything that could jeopardize a human life. [MICHAEL] Last chance, Kitt. No response. After a beat Michael programs a manual Map Search into the system. INTERCUT - MONITOR Maps flash by. Michael presses Freeze. Hold on a map of Fire Mountain Facility. Michael studies it, then presses Pursuit. EXT. TWO-LANE ROAD - DAY The Trans Am leaps up the road. INT. TRANS AM - DAY Michael behind the wheel. EXT. FIRE MOUNTAIN - DAY As the Trans Am approaches the security fence it suddenly accelerates, smashing through it. ANGLE AT SECURITY STATION A Guard on routine duty looks up and reacts, stunned. He grabs a phone. [GUARD] Someone just busted through the north fence, get on over here! ANOTHER ANGLE The Trans Am heads directly for the chemical facility. ANGLE IN K.I.T.T. Michael grips the wheel. [MICHAEL] Kitt, we're about to hit three feet of reinforced concrete wall. I'll abort if you say you can't do it. Silence from K.I.T.T. WIDER ANGLE The Trans Am hurtles toward the wall and slams directly into it, concrete and steel girders flying in all directions. INT. FACILITY - DAY K.I.T.T. comes to a stop across from a large security vault labeled DELTA LEVEL CHEMICAL STORAGE. Michael climbs out of the Trans Am, a little shaken, punches the code, 3281. The huge vault door swings open revealing a cloudy cold room with a tamper-proof Bohr-Fellows depository box in the wall, along with several sophisticated gauges recording temperature, earth movements, etc. ANGLE IN COLD ROOM Michael enters. [DEVON'S VOICE] Hello, Michael. It's Devon, bundled up in a parka, emerging from the cold, cloudy shadows of the room. [FREEZE FRAME] END OF ACT THREE ACT FOUR FADE IN INT. COLD ROOM - DAY With various alarms sounding over, Devon embraces Michael: [DEVON] Good to see you, Michael. [MICHAEL] Me too, Devon. I see you also dis- covered what the key unlocks. [DEVON] Just a short time ago. He's after the Tri-Hydrosulfate-G. Michael nods, moves to the depository box, fits the key into the Bohr-Fellows lock. [DEVON] Any idea what he's going to do with it? Turns the key: [MICHAEL] Ten to one sell it to the highest bidder. He opens the box, removes a canister smoking with frost. Looks at it, reflecting on its horrifying capabilities. [DEVON] I know what you're thinking, Michael -- what if he outsmarts us and gets away with it? [MICHAEL] (looks at Devon) I'd sure feel a lot safer if this were filled with shaving cream. [DEVON] That makes two of us. Only Lasalle wouldn't get thirty days for master- minding the theft of a can of shaving cream. But once he takes possession of that Tri-Hydrosulfate-G, we're talking about a life sentence. [MICHAEL] Just make sure you have the authorities there to arrest him. Wherever there is. [DEVON] We'll be able to track your destination by monitoring Kitt's homing signal. They react to the O.S. voice: [GUARD'S VOICE] Take the labs. We'll check out the cold storage vaults. [DEVON] Now go! And for heaven's sake, Michael, do be careful with that. Michael nods and hurries out. ANGLE DOWN CORRIDOR Several security guards are racing toward them carrying automatic weapons. One of them spots Michael --- [GUARD] You! Don't move! ANGLE TO INCLUDE MICHAEL leaping into K.I.T.T. He puts the canister on the passenger seat, waits for K.I.T.T. to start up. When he doesn't: [MICHAEL] Kitt, this is no time to hold a grudge! (starts him manually) All right, we'll talk about it later. Michael hits the throttle. ANGLE TO INCLUDE SECURITY GUARDS firing. The bullets bounce off K.I.T.T. as he blasts through hole. EXT. CHEMICAL FACILITY - DAY The Trans Am emerges from the building, races toward the hole in the fence as automatic weapon fire ricochets off. CUT TO EXT. TWO-LANE HIGHWAY - DAY - ON K.I.T.T. moving fast down the highway. INT. TRANS AM - DAY As Michael glances over at the canister a red light near the speaker begins to flash. [LASALLE'S VOICE] (over speaker) Well done, Michael. [MICHAEL] (eyeing canister nervously) Where do I get rid of this thing? INT. COMMUNICATIONS CENTER - DAY Lasalle is on a panel microphone, tracking K.I.T.T. via a monitor screen. Poole is nearby. [LASALLE] I can see where you might be a little nervous. Continue on I-10 for another thirty minutes at your present speed. INTERCUT AS NEEDED Michael nods. [MICHAEL] You got it. (to K.I.T.T.) You heard the man. K.I.T.T. remains silent. ANGLE IN COMMUNICATIONS CENTER Lasalle takes a last look at K.I.T.T. on monitoring screen, then turns to Linda. [LASALLE] Ready for our little trip? [LINDA] Where are we going? Boyd please... what about Mary Beth? Let her come with us, she won't be any trouble, I promise. [LASALLE] Oh, it's not Mary Beth I'm worried about. It's you, Linda...you and Michael Knight...and your little rendezvous behind my back. Danton enters the room. [DANTON] The chopper's ready, sir. [LASALLE] Then let's get started. [LINDA] I'm not going, Boyd -- no! You can't make me! [LASALLE] Danton. Danton grabs Linda by the arm and all but drags her out. Lasalle watches her a beat and then follows. EXT. TWO-LANE HIGHWAY - DAY - ON K.I.T.T. moving fast. EXT. HELICOPTER - DAY - IN FLIGHT INT. HELICOPTER - DAY Danton at the controls. Lasalle takes the microphone. [LASALLE] Michael...Boyd. INT. K.I.T.T. - DAY [MICHAEL] I hear you. Intercut as needed: [LASALLE] You should be approaching Laffite Crossing. Turn off there, then take a left onto the old River Road. Follow it to the end. [MICHAEL] You're the boss. [LASALLE] And just so you don't forget that, Michael...I've decided to take out an insurance policy -- Linda and her daughter. [MICHAEL] What are you getting at? [LASALLE] Call it the paranoia of a suspicious mind...but if anything goes wrong... if for some reason I don't get that canister...Linda and her daughter will die. Michael thinks fast, then forces a small laugh: [MICHAEL] Hey, Boyd, she's your girl friend, not mine. What do I care what happens to her? [LASALLE] (looking at Linda) Somehow, Michael, I don't believe you mean that. That's why I'm sure you won't let anything go wrong. Anything at all. He clicks off. Michael weighs his words a beat, then reaches for a dash button: OMITTED INSERT - HOMING BUTTON as Michael presses it and the green light turns to red, signaling it's off. OMITTED EXT. OLD RIVER ROAD - DAY - ON K.I.T.T. His wheels bounding along a road that's little more than a dirt path, overgrown with swamp vegetation. He splashes through a deep puddle. INT. K.I.T.T. - DAY Michael has his hands full controlling the wheel. [MICHAEL] They call this a road...even an alligator would have a hard time around here...sorry, Kitt. (then suddenly sees something up ahead) Well, what do you know. MICHAEL'S POINT OF VIEW THROUGH WINDSHIELD - DISTANT CLEARING It's actually been hacked out of the swamp. Linda, Lasalle and the armed Danton stand outside the helicopter. Michael also sees a couple of Bayou boys, Cajun swamp boatmen obviously moonlighting for Lasalle and armed with shotguns. [MICHAEL'S VOICE] Kitt, I think it's time we had a little heart to heart. BACK TO SCENE [MICHAEL] I wasn't suspended from the Foundation. Devon and I planned this whole thing so I could infiltrate Lasalle's operation, put him away. [K.I.T.T.] What about the heroin the police found in your jacket? [MICHAEL] I put it there myself. It was all part of the plan. [K.I.T.T.] But why didn't you let me in on it? [MICHAEL] We were afraid Lasalle might've tapped into you, too. We couldn't tell anyone. Not even Bonnie. [K.I.T.T.] (slight beat) Michael, I recall you turned off my homing signal. I truly hope part of your plan wasn't to have Devon monitor our position. [MICHAEL] You got it, buddy. But after what Lasalle said I couldn't risk Linda's and her daughter's life. [K.I.T.T.] No, of course you couldn't, Michael. EXT. CLEARING - DAY K.I.T.T. pulls up near Lasalle and Linda. INT. K.I.T.T. - DAY [MICHAEL] Well, at least we're partners again. [K.I.T.T.] Butch and Sundance. OMITTED EXT. CLEARING - DAY Michael gets out. [LASALLE] There's not much time. Where's the canister? [MICHAEL] (holding it) Right here. (then) On one condition, Lasalle. [LASALLE] What's that? [MICHAEL] You let Linda go. [LASALLE] (beat) You ask too much. [MICHAEL] (re canister) I've got the ace in the hole. [LASALLE] I could kill you now and just take it away from you. [MICHAEL] In that case I better just open it up right here. He makes a motion as if to release the valve. The Bayou boys back off some. Quickly. [LASALLE] No. Wait. I expect to get about ten million dollars for that canister. (beat) You have a deal. [MICHAEL] (to Linda) Get into the car, Linda. She hurries over and gets in. [MICHAEL] Get her out of here, Kitt. [K.I.T.T.] But Michael...! [MICHAEL] You heard me. Hearing K.I.T.T. talk, the Bayou boys back up more, appear to discuss with themselves if they really heard what they heard. In Cajun. [K.I.T.T.] But what about you? [MICHAEL] I can take care of myself, now go. As K.I.T.T. starts to move off, the Bayou boys do the same thing, heading back for the swamps. [LASALLE] Where are you going?! [BAYOU BOY] No one said anything about poison gas and a talking car. [MICHAEL] Just can't get good help anymore. [LASALLE] The canister. Michael proffers it. [MICHAEL] All yours. Beat, then Lasalle takes it. To Danton: [LASALLE] Kill him. But as Danton's levelling his automatic: ANGLE ON MICHAEL diving behind some brush, turning a somersault, getting to his feet and racing toward K.I.T.T. who has circled around behind Lasalle. Danton fires several wild shots, then Michael dives into K.I.T.T. OMITTED INT. K.I.T.T. - DAY [MICHAEL] That's the old team work, pal. [K.I.T.T.] Michael, look. MICHAEL'S POINT OF VIEW - LASALLE AND DANTON getting into the helicopter, and starting to lift off. BACK TO SCENE as Michael starts after it. EXT. CLEARING - DAY The helicopter's about ten feet off the ground now. INT. K.I.T.T. - DAY [MICHAEL] Kitt, microwave jam the copter and bring her down. OMITTED EXT. HELICOPTER - DAY as the helicopter begins to drop toward the ground out of control. INT. HELICOPTER - DAY Danton struggles with the controls. [LASALLE] Pull up! [DANTON] I can't! EXT. CLEARING - DAY The helicopter lands. Michael runs to meet Danton coming out with his weapon. MICHAEL AND DANTON Michael grabs hold of the weapon, using it to throw Danton off balance, and then doubles him up with a blow to the midsection with the stock. ANGLE TO INCLUDE LASALLE getting out the other side and starting to run with the canister. [MICHAEL] Kitt! INSERT - K.I.T.T.'S PEDALS to see the accelerator depress and light up. BACK TO SCENE as K.I.T.T. cuts Lasalle off, and Michael comes up behind him, spinning him around and slamming him back against the Trans Am. [MICHAEL] I'll take that, Lasalle...Kitt has enough photographs of you with it to put you away for a long time. Michael takes the canister. FADE OUT END OF ACT FOUR TAG FADE IN EXT. MANSION GROUNDS - DAY Michael is with Linda. K.I.T.T. is nearby. [MICHAEL] All your things packed? [LINDA] Yes...by evening this will only be a bad dream...thanks to you. [MICHAEL] I couldn't have done it by myself. [K.I.T.T.] And I hope you remember that, Michael. [MICHAEL] Kitt, I promise I'll never keep anything from you again. [K.I.T.T.] Well, I certainly hope not. Linda sees Devon's limo pulling up. She tenses: [LINDA] Michael.... He puts his arm around her comfortingly. ANGLE ON LIMO Bonnie gets out with Mary Beth. The child runs to her mother: [MARY BETH] Mommie, Mommie.... ANGLE TO INCLUDE LINDA as she hurries to her daughter, embraces her, picks her up. [LINDA] Mary Beth...sweetheart...oh, my darling, we're never going to be away from each other again. She swings her around in her arms. ANGLE ON MICHAEL as Bonnie joins him. [MICHAEL] Thanks for finding her, Bonnie. [BONNIE] My pleasure. And I even forgive you for not letting me in on your little secret. Devon told me Kitt might've sensed I was keeping something from him. [MICHAEL] Where is Devon anyway? [BONNIE] Helping the authorities prepare their case against Lasalle, Danton, and all the others who worked for him. K.I.T.T.'s red scanner suddenly begins to flash. [K.I.T.T.] Oh, no. Michael looks over. MICHAEL'S POINT OF VIEW - THE ALLIGATOR heading to visit with K.I.T.T. BACK TO SCENE [MICHAEL] Kitt, the alligator only wants to be friendly. [K.I.T.T.] Michael, it's not the alligator I'm worried about. They turn to look. AND WHAT THEY SEE - CHUCK WALLYBURTON coming from his official Fed car. ANGLE TO INCLUDE OUR PEOPLE [BONNIE] Oh, I forgot to tell you -- Chuck Wallyburton is handling the case for the Feds. Chuck spots Kitt, waves --- [CHARLES] Little Buddy...look who's here! As all but K.I.T.T. enjoy the moment, we --- FADE OUT THE END

{"show": "Knight Rider", "season": "s03", "episode": "e07", "title": "Knight in Disgrace"}

knightriderarchives

ACT ONE FADE IN EXT. VENICE BOARDWALK AREA - DAY The horde of Venice freaks and faddists are out in force: roller skating, skate boarding, juggling chain saws, throwing Frisbees, showing off and generally having a good time. ANGLE ON MICHAEL leaning against the railing outside Rafferty's Bar, a cafe-style beach place, and taking in the scene. He's on duty, so it's not all pleasure. But there is Cindy, a heartbreaker with big baby blues and a lean dancer's body. On her way to the stage she stops to say hello: [CINDY] Still here, huh? [MICHAEL] Hey, what better place to watch the parade. [CINDY] (smiles) Parade or circus? [MICHAEL] As long as there's music who cares? [CINDY] Tell me something, you ever just relax, put on a pair of skates, ride the boardwalk? [MICHAEL] If that's an invitation, I'll even supply the ghetto-blaster. [CINDY] Well...you know where to find me. Suddenly music from the small raised platform. [CINDY] Show time. Catch you later. [MICHAEL] You got a date. She returns his smile and heads for the stage where she begins her dance...and she's great. Michael watches her for a few beats, impressed, then moves toward K.I.T.T. parked across the boardwalk. He slides inside. OMITTED INT. K.I.T.T. - DAY [K.I.T.T.] Michael, before you trade me in for a pair of skates, don't forget why we're here. [MICHAEL] I haven't forgotten, pal... (glances about) I just hope he shows up. Suddenly: [K.I.T.T.] Michael! What on earth is this?! Michael looks to see: MR. BODY A hulking weight lifter with muscles from head to brain, and he's carrying his weights toward K.I.T.T., where he will proceed to put them down and go into his weight lifting routines. Intercut as needed: [MICHAEL] Looks like the boardwalk Arnold Schwarzenegger. [K.I.T.T.] Well, if that dumbbell drops one of those dumbbells on my body he's going to look like the boardwalk period! But Michael has spotted something far more important: [MICHAEL] Kitt, that van over there. ANGLE TO INCLUDE VAN Although fairly ND it does have a somewhat unique design painted on the side, or covering the back windows. It pulls up to the rear of Rafferty's. [K.I.T.T.] It matches the one our informant described, Michael. [MICHAEL] Scan what's inside. INTERCUT WITH MONITOR to show what K.I.T.T. scans inside the van: [K.I.T.T.] A half-dozen unmarked cartons. Scanner pushes in to see: [MICHAEL] Looks like steel canisters. [K.I.T.T.] Filled with H2CL3SO4 Hydro-Clorosulfate. [MICHAEL] Something tells me that isn't used as an artificial sweetener. [K.I.T.T.] Not unless you want to go on one long diet. But try poison gas...I'd say enough to wipe out several armies. Michael sees something else: [MICHAEL] And look what we have here --- WHAT MICHAEL SEES a second van pulling up near the first. This one is smaller, and a tall bearded man gets out. He's dressed in a ND fatigue outfit. [MICHAEL'S VOICE] The boardwalk Fidel Castro. BACK ON MICHAEL watching every move via the monitor. [K.I.T.T.] Michael! [MICHAEL] I've got him, pal. WHAT MICHAEL SEES Sonny Martin coming from the first van. He's a cross between Troy Donahue and Charles Manson. An earring in one ear, a lot of keys on his belt, and a silver mesh glove on his right hand. Why? We'll find out later. The two men shake hands. [MICHAEL'S VOICE] If they're smart they'll count their fingers. Then they move to the rear of Sonny's van. [K.I.T.T.'S VOICE] You think he's our chemical caterer? BACK ON MICHAEL [MICHAEL] No, Kitt, only the chemical caterer's delivery boy. INTERCUT TO SEE SONNY opening the rear of the van, Fidel inspecting one of the canisters, and then making a huge payment in cash from an ND folder. (Note: This is all done in a safe area, and with great caution. The fact that it appears to be happening in such a public place is simply "hide in plain sight.") [K.I.T.T.] Michael, if he drives off with those chemicals there's no telling where on Earth they'll end up. [MICHAEL] Gotcha, pal...time to break up the party. Michael starts him up, but K.I.T.T. looks to see that Mr. Body is taking a breather on his hood...along with a weight loaded barbell. [K.I.T.T.'S VOICE] (clears throat) If you don't mind, Arnold, would you please get both dumbbells off my hood. Arnold lifts up to his full massive height, looks into the darkened windows with a scowl. [ARNOLD] There's only one dumbbell on your hood! [K.I.T.T.] Now there's only one dumbbell on my hood, and would you kindly take it off. Arnold thinks a bit, then removes the barbell and pushes in closer to the windows: [ARNOLD] Whoever you are in there...you must be pretty big! Arnold flexes and goes back to his lifting, as K.I.T.T. peels off. ANGLE ON VANS Fidel's transferring the cartons into the van as Sonny keeps an eye out -- mostly on Cindy, who's just finishing her dance, and is now moving toward the rear of Rafferty's where another dancer, Lori, is waiting to go on. CLOSER ON CINDY AND LORI as Cindy goes to her. [CINDY] Ready? [LORI] I'm so nervous, Cindy, I don't know if I can get my legs to move. [CINDY] The way you look I don't think it'll make any difference. Besides, once the music starts you'll be fine. They embrace for luck. BACK ON SONNY seeing K.I.T.T. bearing down on them. Reacts --- [SONNY] We've been made! Fidel also reacts and slams the rear door of his van shut. But before he can reach the front --- ANGLE ON K.I.T.T. screeching up. Michael jumps out, grabs Fidel and tosses him head first into the passenger side window. [MICHAEL] Keep a window on him, partner! And K.I.T.T. does, rolling it up just enough that the struggling Fidel remains locked inside from the waist up. VARIOUS ANGLES as Michael confronts Sonny who is very close to his van. As for Cindy and Lori they've seen the action, and are frozen nearby. It all happens very quickly. [MICHAEL] Your delivery days are over. [SONNY] Hey, man, there ain't nothing but souvenirs of Venice Beach in these cartons. Look, I'll show you.... But instead he draws a small canister, much like a Mace gun, from his pocket and aims it at Michael. Michael ducks. Sonny fires, and Lori, now slightly separated from Cindy, takes the full blast of the deadly gas. She begins to cough, staggers and drops. As Michael goes to help her --- ANGLE ON SONNY jumping into his van and peeling off, almost running over several girls on roller skates. ON MICHAEL doing what he can to help her, but she's lost consciousness. He picks her up in his arms, hurries toward K.I.T.T. [MICHAEL] Kitt, we've got to get her to a hospital! (desperately wanting some positive sign, answer, anything) Kitt! [K.I.T.T.] I'm...sorry, Michael...but it's too late. Michael is frozen in time, space. [MICHAEL] Too late? [K.I.T.T.] She's dead...there's nothing more you or anyone else can do for her. On Michael's look of anguish, sorrow, helplessness --- CUT TO EXT. FOUNDATION - DAY - ESTABLISHING [MICHAEL'S VOICE] She was only twenty years old Devon! INT. DEVON'S OFFICE - DAY - MICHAEL AND DEVON [MICHAEL] Just came out here from St. Louis a week ago. [DEVON] I know, Michael...and I'm terribly sorry. [MICHAEL] We're all sorry...but she's dead. [DEVON] And what makes it worse -- all we were able to get from the one you picked up were his name, rank and serial number. He belongs to a quasi-military group dedicated to overthrowing the Island of Mendominow...a spot in the South Pacific barely larger than... (for lack of something better) Venice Beach. [MICHAEL] So after all this time, we're no closer to this broker of poisons than we were when we started. [DEVON] Not true. At least we know what one of his people looks like. ANGLE TO INCLUDE BONNIE entering. She carries a photo of Sonny. [BONNIE] What he looks like, but not who he is. (re photo) Kitt ran the photo he took of him through his Image Data Bank, but couldn't come up with a positive identification. [MICHAEL] What about the license number on his van? [BONNIE] We had a lot better luck with that. It's registered to a delivery service here in town. Keller Bros. First and Laurel. The only thing is, it appears to be a legitimate company. As far as we know the van could've been stolen from them. [MICHAEL] I've learned a long time ago every- thing isn't what it appears. I'll check it out. He starts to leave. [DEVON] Michael, I know this case means a lot to you, but may I be so bold as to recommend caution over indiscretion. [MICHAEL] You can recommend anything you want. But that poison gas was meant for me, Devon, and the only rules I'm going to play by are the rules of the jungle. Slight beat and Michael continues out. EXT. KELLER BROS. WAREHOUSE - DAY A fairly large building on a downtown street of similar buildings. INT. WAREHOUSE STORAGE AREA - DAY a large chemical bottle, filled with a bright liquid stands on a table. From out of nowhere a Frisbee cuts through the air and neatly slices off the top of it. This is not an ordinary Frisbee...it continues on and sticks in a post behind the bottle. A closer shot shows glistening razor blades protruding from the sides. ANGLE ON SONNY MARTIN AND ROSEMARY Sonny wears his steel mesh glove to protect his throwing hand. Rosemary has been standing next to Sonny watching his Frisbee exhibition. Rosemary is pretty cute -- frizzed- out hair, designer jeans and a bulky sweater. A beautiful fresh orchid is pinned to her sweater. [SONNY] (readies another toss) If you think that was hot, watch this. [ROSEMARY] (unimpressed) You must be a lot of fun on picnics, Sonny. Rosemary exits. Sonny scowls and throws another Frisbee at what remains of the bottle. EXT. ENTRANCE TO WAREHOUSE - DAY as K.I.T.T. pulls in. [K.I.T.T. (V.O.)] Michael, I understand your anger, but you really should try to relax. Your stress level is alarming. [MICHAEL (V.O.)] Maybe I should take up weight lifting like your friend at the beach. ANGLE IN K.I.T.T. Michael is behind the wheel, eyes scanning the warehouse as they approach: [K.I.T.T.] Your attempt at humor is an excellent idea, Michael. Laughter is a known tension reliever. Perhaps I should tell you some jokes. [MICHAEL] (a reaction) You're going to tell jokes? They stop in front of the warehouse. [K.I.T.T.] Why not? I've done a lot of research on humor. For instance... (flat, no comic timing) The other night I was parked in a garage that was so small the mice were hunchbacked. No laugh from Michael. [K.I.T.T.] Michael, is my act dying? [MICHAEL] No, but it's not going to Vegas either. Keep working on it, pal -- but more important keep an eye peeled. Michael climbs out, heads for the warehouse door, tries it, and finds it locked. Glancing about, he takes out a small tool, and picks the lock. INT. WAREHOUSE - DAY Michael enters to find that the warehouse is separated into two parts. This one is basically empty -- it's the part behind the partition that he's interested in. But as he starts for it --- ANGLE TO INCLUDE ROSEMARY coming from a small office. [ROSEMARY] How'd you get in here? [MICHAEL] That door. [ROSEMARY] I thought it was locked. [MICHAEL] (innocent shrug) Locked? Now why would it be locked during business hours? She looks at him, not quite sure he's for real. [ROSEMARY] It's a jungle out there. Michael glances toward the street, then back --- [MICHAEL] Good reason. (smiles) I'm Michael Knight. I'd like to talk to the person in charge of this place. [ROSEMARY] Sonny says I'm supposed to ask every- body what company they work for.... [MICHAEL] I doubt Sonny's heard of us. I'm with a little nonprofit organization called The Foundation for Law and Government. [ROSEMARY] Nonprofit? You're right -- I doubt Sonny's ever heard of you. Rosemary dials the nearby telephone intercom. ANGLE IN WAREHOUSE Sonny is on the intercom phone. [SONNY] Law and Government?..I'm just finishing something up. I'll be right out. Sonny hangs up quickly, then hurries to load a final box marked, "DANGER: HAZARDOUS CHEMICALS" into his waiting van. Then grabbing his Frisbee, he climbs into the drivers' seat and guns it. ANGLE IN RECEPTION AREA Rosemary hangs up.... [ROSEMARY] He won't be long. Michael reacts to the sound of the van's engine. [MICHAEL] (comlink) Kitt, is that someone coming or going? [ROSEMARY] It's Rosemary, and why are you talking to your arm? [K.I.T.T.] (comlink) It's our van, Michael. Loaded and in a hurry. Michael sprints out into the warehouse area. [ROSEMARY] (calls after him) Come back anytime. You think it gets lonely for that washing machine repair- man.... INT. WAREHOUSE AREA - DAY Michael dashes out into the warehouse, looking all around. He turns a corner into an open area and reacts to: MICHAEL'S POINT OF VIEW - SONNY'S VAN Tires squealing, bearing down on him just a few feet away. MICHAEL dives and rolls, saved by his reflexes. The van misses him by inches. FULLER ANGLE The van heads straight for a closed loading dock door and smashes right through it. EXT. WAREHOUSE - DAY - REVERSE ANGLE Sonny's van smashes to freedom and races away. INT. WAREHOUSE - DAY Michael is on his feet and running. He calls via comlink: [MICHAEL] (comlink) Kitt. Pick me up! EXT. WAREHOUSE - FRONT ENTRANCE - DAY Michael exits as K.I.T.T. roars up and pops the door open for him. [MICHAEL] Let's catch him buddy. They blaze off. ANGLE IN K.I.T.T. Michael's intent, punching buttons. [MICHAEL] Get him on the scope, Kitt, and scan his cargo for me. INTERCUT - MONITOR as needed. Blips showing an urban street map, with blips representing the van and K.I.T.T. [K.I.T.T.'S VOICE] He's got a three block lead. And Michael, that van is totally loaded with those horrible chemicals! [MICHAEL] Three blocks...and closing. He hits pursuit. EXT. STREETS NEAR WAREHOUSE - DAY - VARIOUS ANGLES Sonny's van two-wheels a corner and bumps over a curb in an attempt to flee the fast-closing Trans Am. In desperation Sonny cuts across the main road and shoots up a side street with scattered residences. Other traffic forces K.I.T.T. to slow for a moment before resuming the chase. [K.I.T.T. (V.O.)] Don't push him too hard. That van's a rolling time bomb. ANGLE ON THE VAN as it reaches an intersection, Sonny hops from the driver's door and reaches behind the seat. INSERT - SONNY'S HAND pulls a soft drink from under the seat and places it on the gas pedal, causing the engine to race. Next he reaches for the gearshift. BACK TO SHOT Sonny jams the van's shifter into reverse and dives out of the way as the van starts rumbling ominously backward toward K.I.T.T. ANGLE IN K.I.T.T. [K.I.T.T.] I think we've got him, Michael. Michael realizes the truck is heading toward them. [MICHAEL] That might be open for discussion. Michael cranks the wheel hard. EXT. SIDE STREET - DAY K.I.T.T. does a 90-degree skid and just evades the out-of- control van. [MICHAEL] Kitt, what's he heading for? [K.I.T.T.] Open traffic...and there's a school at the end of the road. Michael, if those chemicals.... [MICHAEL] Don't even say it, pal. Activate microwave jam. He spins the car around and takes off after the van. WIDE SHOT - THE STREET The van shoots past. Michael and K.I.T.T. follow, gaining. ANGLE IN K.I.T.T. [K.I.T.T.] Michael, there's no one at the wheel! [MICHAEL] I figured as much. Draw a bead on the van, buddy. INTERCUT - MONITOR as needed. K.I.T.T.'s graphics create a high-tech cross- hairs which centers in on the van. When a flashing light indicates "bull's-eye". [K.I.T.T.] I've got him. [MICHAEL] Fire jammer! He punches a button. INSERT - VAN TIRES grinding to a stop as the engine dies. Freezing up. WIDE SHOT - THE VAN comes to a lurching stop just short of the intersection. ANGLE IN K.I.T.T. as Michael relaxes, heaving a sigh of relief. [MICHAEL] Any sign of our driver? [K.I.T.T.] I'm afraid not. He's long out of range. Michael nods. [MICHAEL] It's that kind of day. Have Devon call the police to clean this up. OMITTED EXT. RENARD'S ESTATE - DAY A huge sprawling complex with tennis courts, a pool and large greenhouse. INT. GREENHOUSE - DAY Paul Renard, owner of the estate, is talking on a cordless phone. As he talks, he putters with his plants. Dressed in summer beige, he is the very essence of fresh-scrubbed class. Ava Bennett, a tall, shapely, exotic woman, is seated on a nearby wrought iron settee, sipping French wine. [RENARD] (into phone) Why is it I can always count on you to fret over the most minute details? INTERCUT - COLONEL FAISUR'S HEADQUARTERS The Colonel is a swarthy, balding man who wears a military uniform and dark sunglasses. [FAISUR] (into phone) Because careless people in my position don't survive very long. [RENARD] (phone) Nor mine, Colonel. Let me assure you, safe delivery of this shipment is as important to me as it is to you. There's nothing to worry about. [FAISUR] (phone) That's what I told our President before my military coup. [RENARD] (phone, chuckles) Touche. Have a good day, Colonel. Renard hangs up. [AVA] A case of nerves? [RENARD] With good reason. For the Colonel, failure means death. Renard crosses to an orchid plant in full bloom. [RENARD] Odd, isn't it. That something so frail, so beautiful, can mean so much to a man like Faisur. A man so dedicated to violence and destruction. [AVA] Frail is a peculiar way to describe an orchid that can kill a man without leaving a trace of its poison. Renard removes a syringe from his jacket pocket and carefully inserts the needle into the center of the orchid. [RENARD] Not too unlike some women I've known. (feeling her look) Present company excluded of course. Renard draws a mean purple liquid into the syringe. ANOTHER ANGLE Sonny Martin barges in, disheveled and hyper. [SONNY] We got trouble, Renard. [RENARD] We? What indiscretion have we committed this time? [SONNY] There's a plainclothes cop named Michael Knight snoopin' around. He broke up a sale yesterday, and then found the warehouse. I had to clear out. It's a total loss, man. I even had to ditch the truck. [RENARD] And what makes you think he's a cop? [SONNY] I was running stash when the other kids my age were trading baseball cards. I can smell 'em man. And this one says he's from some law foundation. [RENARD] (a reaction) The Foundation for Law and Government? [SONNY] Yeah. You know 'em? [RENARD] A former associate did. As he de- scribed it, it was a rather unpleasant experience. I hope you didn't leave any clues. [SONNY] I didn't exactly have time to tidy up. [RENARD] That's too bad. Still, the loss of a truck and one warehouse certainly won't put us out of business. [SONNY] Yeah, well this guy might! What are we gonna do about him? [RENARD] (to Ava) Any suggestions? [AVA] One. She takes the syringe from Renard. [AVA] Since Mr. Knight is so interested in our business, he might like to sample our latest product. EXT. RAFFERTY'S BAR - DAY - ON K.I.T.T. driving up. [K.I.T.T.'S VOICE] I wonder what Cindy wants to see you about. INT. K.I.T.T. - DAY [MICHAEL] All I know is she told Devon it was important. Michael gets out and moves toward the bar. ANGLE ON K.I.T.T. His scanner flashes: [K.I.T.T.] Oh, no.... ANGLE TO INCLUDE MR. BODY coming up to him, loaded with his weights. [K.I.T.T.] Not Arnold again. He dumps the weights, resting the largest barbell on K.I.T.T.'s hood. [K.I.T.T.] Well, can't say I didn't warn you. K.I.T.T. auto starts and backs up, causing the dumbbell to roll off and fall on Arnold's foot. And causing Arnold to do the weight lifter's flashdance. After which he pushes his face in on K.I.T.T.'s darkened front window. [ARNOLD] Think you're pretty smart, don't you? [K.I.T.T.] Well, I am a Knight Industries Two Thousand, with a thousand mega-bits of memory and a one nanosecond access time. Arnold looks at him a smug beat: [ARNOLD] I bet you wear contact lenses, too, and eat quiche. Well, Mr. Brain, let's see what you do with this. And Arnold makes a fist that would go through steel...but not through K.I.T.T.'s side window as he quickly finds out when he attempts to slam through it. A long, long take, before he gnashes his teeth, and then growls in pain. [K.I.T.T.] Arnold, we've really got to stop meeting like this. But Arnold is too busy biting his lip to pay any attention. EXT. RAFFERTY'S BAR - DAY Michael enters the patio and sits at a table near the stage where Cindy is dancing. The waitress approaches, wearing the Rafferty T-shirt. [JUDY] What'll it be? [MICHAEL] An orange juice. [JUDY] Sure you can handle it? She smiles, goes off. Michael focuses his attention on Cindy. ANGLE ON WOMAN'S HANDS as they empty a purple-filled syringe into a glass of orange juice and stir it until the purple color disappears. The hands carry the juice away on a tray. ANGLE ON MICHAEL as the hands appear and deliver the poison juice. Camera pulls back to reveal Ava. [AVA] To your good health. [MICHAEL] (re lack of T-shirt) How come you're out of uniform? She doesn't reply, instead gives him a strange smile and disappears. The song ends and Cindy crosses to Michael over scattered applause. [CINDY] (re drink) You're starting early. [MICHAEL] You ought to try it. It's rich in vitamin C and...other things I can't remember. [CINDY] Sold. I'll drink a toast to some wonderful news. She takes a long drink from Michael's glass. [MICHAEL] I could use some. Care to share it with me? [CINDY] I've been invited to audition for the lead in a show. [MICHAEL] Congratulations. Now what's up? [CINDY] Pardon? [MICHAEL] Devon said you wanted to talk to me. It was important. [CINDY] Sorry, wrong girl. [MICHAEL] You sure? [CINDY] Must've been some other Cindy. As he thinks about this, vaguely troubled, Judy returns with his orange juice. [JUDY] One O.J. straight up. [MICHAEL] I already got it. The hostess.... [JUDY] (interrupting, shrugs) Looks like this one's on the house then. She smiles, goes off. [CINDY] C'mon it's bad luck not to share a toast. She tips her glass with his. Still troubled, he manages a smile: [MICHAEL] Break a leg. And they drink. Cindy polishing off the glass containing the poison. FADE OUT END OF ACT ONE ACT TWO FADE IN EXT. KELLER BROS. WAREHOUSE - DAY The police are closing it down, hauling out pieces of equipment, office furniture, cases of chemicals, etc. [MICHAEL'S VOICE] And you're saying you had no idea Sonny was selling poison chemicals? INT. WAREHOUSE - DAY Michael is walking with the distraught Rosemary from her office to K.I.T.T. parked nearby, scanner flashing. [ROSEMARY] What do I look like, a chemist? I can barely type! (sees them carrying out her typewriter) So much for job security. [MICHAEL] How long have you worked here? [ROSEMARY] Two weeks... (sees them taking out her chair) ...next Friday. [MICHAEL] Any idea where I can find Sonny? But she's watching them take out her filing cabinets --- [ROSEMARY] Why do I feel like I'm being evicted? Michael takes her gently by the shoulders, turns her to him. [MICHAEL] Rosemary, a young girl is dead.... [ROSEMARY] (interrupts) I know that! But I don't know where Sonny is. [MICHAEL] Did you ever go out with him? [ROSEMARY] For five-fifty an hour, you gotta be kidding. [MICHAEL] But he asked you. [ROSEMARY] Twice last week. Monday and Wednesday. Michael has noticed the orchid pinned to her sweater: [MICHAEL] And he even brought you flowers. (to her curious look) I've never known a pretty girl yet who had to buy her own orchids. [ROSEMARY] (softer) All right, he brought me flowers. The creep. But I still don't know where he is, that's the truth. Michael studies her a beat, gives her a card: [MICHAEL] If you hear from him, will you give me a call? She glances at the number then at Michael --- [ROSEMARY] Even if it's only a postcard. (slight beat) Now can I go? He nods. [ROSEMARY] Boy, are they going to be surprised to see me back in the old unemployment line. And after only nine days, too. She sort of smiles at him, takes a last look at the office she once had, and leaves the warehouse. Michael moves to K.I.T.T. [MICHAEL] Anything hidden behind the walls, buddy? [K.I.T.T.] Nothing a good exterminator couldn't take care of, Michael. [MICHAEL] So it's right back to square one. [K.I.T.T.] There is something that's puzzling me, though. [MICHAEL] What's that? [K.I.T.T.] Rosemary is likely to be the only young lady in the unemployment line wearing a priceless orchid. [MICHAEL] (impressed) Sonny boy goes first class. Tell me more. Michael slides behind the wheel. ANGLE TO INCLUDE MONITOR showing a picturesque graphic of the orchid, as: [K.I.T.T.] It's a Hybrid Jantilius, an exception- ally rare variety. In fact, according to my research, there's only one horticulturist in the country who has had any success growing them. [MICHAEL] Where do I find him? [K.I.T.T.] Right here in Los Angeles, Michael... a Mr. Paul Renard. [MICHAEL] Good work, pal...let's go smell the orchids. He peels out of the warehouse, making a screeching turn onto the street. EXT. CITY STREET - DAY - ON K.I.T.T. moving fast in light traffic. [K.I.T.T.'S VOICE] Except for failure to pay a traffic citation in '82, Paul Renard has a clean slate. INT. K.I.T.T. - DAY Michael seems preoccupied. [K.I.T.T.] And speaking of traffic.... [MICHAEL] Not another joke, Kitt. [K.I.T.T.] Remember your stress, Michael. (with a smile in his voice) Yes, it's great to be back on the Hollywood Freeway.... [MICHAEL] How great is it? OMITTED EXT. FREEWAY - DAY - K.I.T.T. [K.I.T.T. (V.O.)] But seriously. I stopped for gas the other day and the service was so slow, by the time they filled me up, my upholstery was out of style. [MICHAEL'S VOICE] Kitt...it's going to be a long ride. The Trans Am speeds off into the distance. EXT. RAFFERTY'S BAR - DAY - ON CINDY practicing a dance routine on the stage. The bar's almost empty at this hour. Judy is seen drying glasses nearby, and watching the routine. Suddenly Cindy feels dizzy and has to grab hold of something to keep from falling. Judy hurries to her side. [JUDY] You all right? [CINDY] (recovering) Yeah, I...guess I've just been pushing myself a little too hard. (smiles) Don't worry...I'll be okay. Judy nods, and goes back to the bar. Cindy begins to dance again...this time slower and with more effort. EXT. RENARD'S ESTATE - DAY As camera moves in on the greenhouse: [MICHAEL'S VOICE] Something wrong, Mr. Renard? INT. GREENHOUSE - DAY - FAVORING RENARD Who looks as if he's seen a ghost, and is certainly surprised to see Michael alive and healthy. [RENARD] (forces smile) No, no...you just...surprised me, that's all. Now...you say you saw a -- secretary -- wearing one of my -- prize orchids? To keep occupied Renard fusses with his flowers. [MICHAEL] As impossible as it seems -- yes. It was a gift from her boss. [RENARD] She must be a whiz at shorthand. [MICHAEL] At least ten words a minute. Renard glances across a plant at him. [RENARD] What...sort of business is her boss in? [MICHAEL] Killing people. (slight beat) Ever hear of someone named Sonny Martin? [RENARD] (thinks, shakes his head) No...can't say that I have. He moves on, examining and spraying his plants. [MICHAEL] He's a great admirer of yours.... Renard looks at him again, this time even more quickly. [MICHAEL] I mean...your orchids. Renard forces a smile. [RENARD] Well, the Jantilius is a rare creature...Care to take a closer look at it, Mr. Knight? [MICHAEL] Why not? Renard leads him to the special section of rare orchids above which we'll notice an Aztec mask hanging on the wall. Michael takes a look at one flower in particular. [RENARD] So delicate...so lovely...it's hard to believe it hides a deep dark secret. [MICHAEL] And what's that? [RENARD] If I told...it wouldn't be a secret anymore, would it? (smiles) Well, what do you think? [MICHAEL] I have to admit I've never seen a flower quite like it. [RENARD] Yes...in some ways...you're fortunate to have seen it at all. (smiles) Now, if there is nothing more I can do for you.... Renard leads the way out. Once again we'll notice the Aztec mask guarding the orchids. EXT. GREENHOUSE - DAY Michael and Renard move toward K.I.T.T. parked nearby. [MICHAEL] Mr. Renard -- if I wanted to buy one of your rare orchids, where would I go? [RENARD] I'm afraid they're not for sale. [MICHAEL] Really? (stops, looks at him) Then I wonder where Sonny Martin got his? Renard realizes he's made a slight error, quickly recovers. [RENARD] As you can see there are no armed guards around...one doesn't expect treachery in a greenhouse. [MICHAEL] Nor in a beach front bar...and when it involves the death of a young girl, that's treachery of the worst kind. (slight smile) I have a strong suspicion you and I will meet again. [RENARD] Perhaps...but then who's to say for sure. Each looks at the other; a silent challenge to be taken up at a later time. Then Michael slides into K.I.T.T. and drives off. Renard watches them disappear down the winding road. ANGLE TO INCLUDE SONNY coming up from behind. Renard hears him, turns: [RENARD] Well, speak of the devil, and the devil will appear. [SONNY] What's Knight doing here? [RENARD] A better question -- what's he doing anywhere? [SONNY] Yeah, I thought you were going to take care of him. [RENARD] Something must've gone wrong. And now, thanks to your generosity with my orchids, he's breathing down my neck. [SONNY] Welcome to the club, but don't worry. This time I'm going to handle it myself. [RENARD] How? [SONNY] The old-fashioned way...I'm just gonna kill him. Sonny goes off the way he came. OMITTED EXT. K.I.T.T. - DAY driving toward Rafferty's. [MICHAEL'S VOICE] Kitt, Renard's into this up to his geraniums. INT. K.I.T.T. - DAY [K.I.T.T.] But how do we prove it, Michael? [MICHAEL] If I knew that I'd be here to take Cindy for a slow walk on the beach, instead of on the slight chance she might've seen Renard with Sonny Martin. (parks) Got that photo for me? ANGLE ON DASH as a photograph of Renard comes out. Michael takes it. [MICHAEL] Now that's what I call instant service. Keep the old scanner peeled. EXT. RAFFERTY'S - DAY As Michael moves toward the entrance: ANGLE ON THE FRISBEE THROWERS and one in particular: It's Sonny Martin and his flying Gilette Special. He eyes Michael, and readies to throw the lethal Frisbee with his silver mesh-gloved hand. And just as he's ready to let go: ON MICHAEL as he catches a glint of reflected light from one of the blades, and instinctively hits the ground. The killer Frisbee cuts through the air just inches from Michael's head, sticking into the Rafferty's sign behind him. VARIOUS ANGLES as Michael gets to his feet and looks to see Sonny throwing another one. He ducks, and the razor's edge nearly slices off the top of a large cactus. Michael picks up a piece of board and goes after Sonny with it. SONNY'S POINT OF VIEW as Michael charges. Sonny throws a final Frisbee. This time, Michael catches it with the board. BACK TO SCENE as Sonny turns tail, jumps on his chopper and speeds off. Michael talks to comlink. Intercut as needed. [MICHAEL] Kitt, pick me up! [K.I.T.T.] I'm on my way, Michael. Self starting, pulling out, K.I.T.T. roars up and pops open the driver's door. Michael hops in and they take off after Sonny, leaving behind a spray of sand. VARIOUS ANGLES ON CHASE as Sonny speeds down Venice streets with Michael and K.I.T.T. gaining on him. Then Sonny makes a sharp turn into an alley. [MICHAEL] Let's get this over with, pal. Michael activates pursuit mode. VARIOUS ANGLES ON K.I.T.T. as the Trans Am speeds past the alley, around a corner and pulls into the alley from the opposite end. And stops! ON SONNY MARTIN as he sees K.I.T.T. blocking his way, but is unable to brake in time. Instead, he climbs right up on K.I.T.T.'s hood, over the top and lands right inside a Dempsey Dumpster. Bike and all. FAVORING MICHAEL calmly getting out and walking to the dumpster. ANGLE TO INCLUDE SONNY nestled in the debris, looking up helplessly: [MICHAEL] Let's haul him in, Kitt...before he gives garbage a bad name. Michael grins at Sonny, and we --- FADE OUT END OF ACT TWO ACT THREE FADE IN EXT. POLICE STATION - DAY - ESTABLISHING [MICHAEL] Take a good look at him, Sonny. INT. INTERROGATION ROOM - DAY Sonny is seated at a table looking at the photograph of Renard. Michael and Devon are with him. He pushes the photo away. [SONNY] All right, I saw him. Now what? [DEVON] (calmly, even polite) Now you can tell us all about Mr. Renard. How long you've worked for him, where he buys his chemicals, who his customers are, how he manages to operate his ghastly business with such relative ease. [SONNY] You know something? You talk funny. Michael almost leaps across the table at him. [MICHAEL] You know something, you've got a big mouth. One I'm just itching to put on the back side of your face. [DEVON] (as before) Easy, Michael. I'm sure once Mr. Martin fully realizes the gravity of his situation he'll be more than happy to cooperate with us. [SONNY] My situation? [MICHAEL] For openers, you're facing a murder charge for killing that young girl. [SONNY] For openers -- try proving it. [MICHAEL] There were at least a dozen witnesses. [SONNY] I had a bad childhood. I'll find religion and it'll be a few years at the most. [DEVON] Eeaassyy, Michael. (patient) Now, Mr. Martin...why did you try to kill Michael? [SONNY] Who tried to kill him? I just wanted to give him a shave. Devon explodes, reaching across the table and almost lifting Sonny from his chair. [DEVON] Now you listen to me you little twerp, I'm a man of considerable patience, but when that patience is exhausted, it's replaced by a fury the likes of which you've never seen. Now I'm going to ask you one more time, and one more time only: Why did you try to kill Michael? Sonny is a believer: [SONNY] Because.... [DEVON] Because why?! [SONNY] The poison didn't work. Beat. [MICHAEL] What poison? [SONNY] The poison they put in your orange juice. FAVORING MICHAEL as it begins to dawn. Devon, however, continues with Sonny. [DEVON] Who put it in his orange juice? [SONNY] I...I...don't know. [DEVON] I think you do. Sonny breaks away, heads for the door. [SONNY] You can't do this to me! I got rights! I want to see a lawyer! He begins pounding on the door, and soon a police officer enters. [SONNY] Get me out of here. I want to see a lawyer! You gotta let me see a lawyer! [DEVON] Take him away. The police officer leads Sonny out. [MICHAEL] Devon, that orange juice. There were two glasses...and Cindy got the one with the poison in it. On Devon's look, Michael hurries out. OMITTED EXT. RAFFERTY'S BAR - DAY K.I.T.T. pulls up. Michael jumps out and races toward the patio area. OMITTED ANGLE ON PATIO AREA as Michael looks about, sees the dancer's platform empty, no sign of Cindy, but spots Judy having just served a drink. He moves to her. [MICHAEL] I'm looking for Cindy! [JUDY] The question is -- is Cindy looking for you? She moves back toward the bar. Michael catches up: [MICHAEL] You don't understand.... [JUDY] (interrupts) Sure I do. Next you'll be telling me your eyes met across a crowded bar and it was love at first sight. You're not married, looking to settle down, and can't live without her. She starts off again. This time he stops her --- [MICHAEL] No, there's a good chance she can't live without me -- or someone else who gets her right to a hospital. [JUDY] (beat) What are you talking about? [MICHAEL] She accidentally drank some poison. [JUDY] Oh, no. She said she didn't feel well when she left. [MICHAEL] Do you know where she went? [JUDY] She had an audition. [MICHAEL] Where? [JUDY] The Bandstand on the beach. [MICHAEL] Thanks. He hurries out. OMITTED EXT. VENICE BANDSTAND - DAY - ON CINDY doing her dance in front of several producer/director types seated on the empty stage behind her. Their looks tell us they're very, very pleased with her performance. We'll favor the director, a nice-looking man in his midthirties. ANGLE ON K.I.T.T. screeching up nearby. Michael gets out and runs toward the bandstand. As he's about to run up the stairs, he's suddenly stopped by a uniformed Security Guard --- [SECURITY GUARD] Unless you're wearing leotards under there, beat it. [MICHAEL] I've got to get that girl to a hospital. [SECURITY GUARD] You don't say. Funny, she looks nice and healthy to me. [MICHAEL] Just shows you can't believe everything you see. He slides by him and continues up the stairs. [SECURITY GUARD] Hey! He goes after him. ANGLE ON CINDY dancing, great, but suddenly overcome by dizziness. One spin, two, and she collapses on the stage. The others react, as Michael rushes to her. Weak --- [CINDY] Michael.... [MICHAEL] Don't worry, I'm going to take care of you. He lifts her up, starts carrying her to K.I.T.T. [CINDY] They...liked me...I...know...they did. [MICHAEL] Liked you? They loved you! The slightest smile and she passes out in his arms. ANGLE TO INCLUDE K.I.T.T. pulling up, door popping open. Michael puts her inside, slides behind the wheel. INT. K.I.T.T. - DAY as Michael slides in. [MICHAEL] Kitt, see if you can determine what kind of poison she ingested. [K.I.T.T.] Right away, Michael. ANGLE ON MONITOR to see a picturesque graph of K.I.T.T. doing his thing. EXT. K.I.T.T. - DAY peeling off in a spray of sand. EXT./INT. K.I.T.T. - DAY racing to the hospital. Intercut as needed. [K.I.T.T.] Michael, I've isolated the poison! [MICHAEL] What is it, Kitt? [K.I.T.T.] A sophisticated derivative compound, originating in the Orchidaceas Bauhinia Veriegata. [MICHAEL] In plain English. [K.I.T.T.] The rare Jantilius orchid. [MICHAEL] So that's what Renard meant when he said it hides a deep, dark secret. The secret of death. [K.I.T.T.] Unfortunately, there's no known antidote for it. [MICHAEL] Kitt, if the poison comes from the orchid, then there's a good chance the orchid also produces the antidote. [K.I.T.T.] That's right, Michael. [MICHAEL] Then as soon as we get her to the hospital...it's harvest time. EXT. STREET - DAY - ON K.I.T.T. heading directly toward the hospital. CUT TO OMITTED EXT. RENARD'S MANSION - DAY Michael is running toward the greenhouse. Jennings, the elderly gardener is running hard to keep up, and K.I.T.T. is tagging behind. [JENNINGS] But I told you, Mr. Renard left a short time ago in his private jet! [MICHAEL] Did he say where he was going? [JENNINGS] Not to me, he didn't. Although...I did hear Miss Ava mention something about Mexico. Where in Mexico? Heaven only knows. [MICHAEL] Kitt, run a check on every private jet requesting clearance to Mexico in the last hour. [K.I.T.T.] I'm checking now, Michael...nothing. [MICHAEL] Check radio communications. [K.I.T.T.] Good idea. A Lear jet ran a weather check for an area just across the border. [MICHAEL] We're getting closer -- now let's get those orchids! They enter the greenhouse. INT. GREENHOUSE - DAY - ON MICHAEL racing toward the orchid area. He's hopeful, excited, and then the look on his face tells it all. [K.I.T.T.] Michael, what is it? [MICHAEL] He beat us to them, Kitt.... ANGLE TO INCLUDE ORCHIDS as Michael picks up some of the remains. [MICHAEL] Every last one of them burnt to a crisp. [K.I.T.T.] And useless as an antidote. Jennings glances up to the mask overhead: [JENNINGS] Guess old Tetzulla fell asleep on duty. [MICHAEL] Tetzulla? [JENNINGS] Yes, the Aztec God of Fertility. Mr. Renard hung it there to look after his rare orchids. [MICHAEL] Kitt, what do you know about this Tetzulla? ANGLE TO INCLUDE MONITOR serving up a colorful Aztec image. [K.I.T.T.] Besides being the Aztec God of Fertility, Michael, he's also the patron God of the Mexican town of Chalaxa. [MICHAEL] Is there a landing strip in Chalaxa? ANGLE TO INCLUDE MONITOR GRAPHIC of grid map with landing strip. [K.I.T.T.] Yes...a small one...but certainly large enough for a private jet. (beat) Michael, if you're thinking what I'm computing, I'm afraid it's a long shot. [MICHAEL] I hear you...but right now it's the only shot in town. Let's swing on down Mexico way. He gets into K.I.T.T., and they drive off, leaving a rather confused gardener behind. EXT. U.S. 101 - DAY K.I.T.T. winds southward through the curves, the blue Pacific off to the right. [MICHAEL'S VOICE] Lay it on me, Devon. INT. K.I.T.T. - DAY Devon is on the monitor. [DEVON] The doctors have her on a life support system, but I'm afraid it doesn't look good, Michael. [MICHAEL] They've got to keep her alive 'til I get back with that antidote. [DEVON] Believe me, they're doing all they can.... [MICHAEL] Then get them to do more! For me, Devon, you've got to get them to do more. [DEVON] (beat) I'll stay on top of them, Michael. I promise. Devon goes off. Michael continues to drive, hard and determined. EXT. MEXICAN HIGHWAY - DAY - K.I.T.T. - VARIOUS SHOTS The black Trans Am twists through the Sequaro desert on an asphalt ribbon much smaller and lonelier than the previous highway. We know we're south of the border from the scenery and the music: maybe the Grateful Dead's "Mexicali Blues" or J.J. Cale's "Bringin' It Back From Mexico". As the sound alike fades: [K.I.T.T.'S VOICE] Michael, you know what I think you could use right now? ANGLE IN K.I.T.T. driving. [MICHAEL] That antidote. [K.I.T.T.] Aside from that. [MICHAEL] Don't tell me -- a little stress reliever. [K.I.T.T.] Very well, since you insist. We hear an electronic snare drum roll that leads right into the car's usual flat, dry delivery. [K.I.T.T.] When I was a kid.... [MICHAEL] You were never a kid. [K.I.T.T.] Not now, Michael, I'm on a roll. Now, when I was a kid we were so poor we couldn't afford cheese to bait the mousetrap. [MICHAEL] Another mouse joke? [K.I.T.T.] Please, no heckling...anyway, we had to cut out a picture of cheese for bait. [MICHAEL] So what happened? [K.I.T.T.] We caught a picture of a mouse! Another rimshot. Michael groans loudly. [K.I.T.T.] (panicky) Michael, what is it? Are you in pain? [MICHAEL] No, it's your jokes. They're killing me. He musters a smile and continues driving. EXT. MAIN STREET - CHALAXA, MEXICO - DAY This sleepy Mexican village is too sleepy: deserted, actually. ANOTHER ANGLE - CANTINA Mexican music filters from inside. INT. CANTINA - DAY The room is traditional Mexican: thick adobe walls, arches and pillars, cool and dark. Music comes from a radio behind the bar where a burly bartender keeps an eye on the door. Several local males ply quiet conversation at the center tables and if we look closely, we might pick out two or three concealed weapons. We settle on Renard and Ava, seated at a corner table with Colonel Faisur and an elegant blonde, Marissa. The men are in dark suits, the women dressed to the nines in contrast to their semi-squalid surroundings. [FAISUR] I trust the compound is totally effective? [RENARD] (almost offended) Colonel...have I ever let you down? [FAISUR] Not yet, and I wouldn't want this to be the first time. [RENARD] Chalaxa is the perfect place for milking the orchids and mass- producing their venom. The local authorities know the virtues of looking the other way. [FAISUR] You're still not answering my question. About the poison.... [AVA] The synthesized poison is every bit as strong as what we extract from the orchids themselves. [RENARD] Which means one liquid ounce has the killing power of twenty-five gallons of cyanide. And best of all it's untraceable. (toasts) A terrorist's dream. The three toast and drink. EXT. CANTINA - DAY - ON K.I.T.T. pulling up. As Michael gets out --- [MICHAEL] All right, Kitt, you know the plan. [K.I.T.T.] We both know the plan, Michael...now let's only hope they fall for it. [MICHAEL] As soon as I reach that door, pull out all the stops. Michael moves to the entrance of the cantina, motions to K.I.T.T. ANGLE ON K.I.T.T.'S MONITOR as all hell breaks loose. I mean, it sounds like the invasion of Normandy -- only with police sirens, helicopters, riot wagons, even the mounted police, and all compliments of K.I.T.T.'s polyphonic synthesizer. INT. CANTINA - DAY The gaiety and laughter suddenly stops as everyone reacts to the invasion. Suddenly, Michael kicks the door open and enters. [MICHAEL] All right, everyone stay where you are. We've got the place surrounded, and by orders of the Mexican and U.S. authori- ties, you're all under arrest! The locals, with the guns, obey. Even Renard and the others seem fooled. [RENARD] You...are an amazing man, Knight. [MICHAEL] Just one who keeps his word, Renard ...like promising you we'd meet again. He spots one of the locals trying to ease toward a door: [MICHAEL] Uh-uh, no one enters or leaves this cantina! The local quickly stops. [MICHAEL] Now, Renard, I want the antidote for that poison. I'm sure you keep it close by...maybe even on that gold chain around your neck. [RENARD] You're right again, Knight. Renard shows the golden vial attached to the chain. But as Michael starts to move toward him: ANGLE ON ENTRANCE to see an American Tourista entering. He's had a bit too much to drink, walks right up to where the music comes from, and says: [TOURISTA] Playyy 'Melancholy Baby.' Faisur quickly moves to the window and looks out. FAISUR'S POINT OF VIEW - K.I.T.T. sitting all by himself and giving out all these war sounds. BACK TO SCENE [FAISUR] It's a trick! There's nothing out there but a black car making noises! [RENARD] Take him! The locals quickly spring. Michael gets in a few good punches, but there are too many for him, and they soon have him held tight, unable even to reach his comlink. [RENARD] Sorry I can't give you the antidote, Knight...but so as not to disappoint you completely...I'm going to give you the poison. He only has to look at Ava for her to move in and inject Michael with the small syringe. [RENARD] And I assure you...that concentrated injection will work much faster than the one diluted in orange juice. And as Michael starts to slump, we --- OMITTED FADE OUT END OF ACT THREE ACT FOUR FADE IN INT. CANTINA BACK ROOM - DAY - MICHAEL'S POINT OF VIEW ON A BARE BULB going in and out of focus. Just as it settles down, Ava's face leans into shot, silhouetted softly by the harsh light. She reaches out with a dampened silk scarf. Angel or apparition? ANOTHER ANGLE We see she's wiping the perspiration from Michael's brow. He's sprawled on a cot, trying his hardest to open his eyes and focus on her. [MICHAEL] Don't tell me -- I've died and gone to that hot place below. [AVA] Don't rush it. You've so little time left, why spend it on unpleasantries? With that, she bends over and kisses him. After they break: [MICHAEL] Where's Renard? [AVA] Michael Knight...true to your reputa- tion. Drawing your last breaths and still fighting. She kisses him again. Michael lets it happen. When they break, he sits up, holds his head, steadying himself. Ava unbuttons the top button on his shirt. Michael takes note of: A MEXICAN GUARD toting a shotgun, blocking any exit by the door. BACK TO SHOT Ava notes Michael's reaction to the guard's presence, undoes another button. He turns to her. [MICHAEL] Friend of yours? How about a little privacy? [AVA] (smiling) You don't strike me as the shy and inhibited type. [MICHAEL] Just answer me one question. Why? [AVA] Because I want to make your last moments memorable. She kisses him again. Michael breaks away, laughing softly. He stands and faces her, seated on the edge of the cot. [MICHAEL] That's not what I meant. I meant, why put that poison on the inter- national market. I'd like to know what price you two put on millions of deaths. [AVA] For starters -- millions of dollars. But believe me, it's not the money. [MICHAEL] I know, it's what the money buys. She starts toward him. [AVA] My only regret is we won't have time to get to know each other...more deeply. [MICHAEL] It's not the time, Ava, it's what you do with it. Just as they're about to kiss, Michael whirls and nails the unsuspecting guard with a right hook. The guard falls to the floor. Michael turns back to Ava, yanks the silk scarf from her grasp and stuffs it into her mouth as a gag. As he binds her hands with the guard's belt: [MICHAEL] See how time flies when you're having fun? Binding completed, he tosses her onto the cot, kicks the guard's shotgun away from the door and steps into the bar. INT. CANTINA - BAR AREA - DAY Michael sees another very large Guard sitting alone, eating, his back to Michael. Michael looks around, grabs a beer bottle off the bar, and heads for the behemoth's table. CLOSER ANGLE as Michael reaches over the Guard's shoulder and puts the beer alongside his plate. [MICHAEL] Quiere cerveza? [GUARD] (turning to thank him) Ay...gracias.... But that's all he gets out as Michael rams another right into his jaw, sending him sprawling out of his chair, out cold. [MICHAEL] Con mucho gusto. (to comlink) Kitt, pick me up. INT. K.I.T.T. - DAY as engine, pedals, and shifter come to life. EXT. CANTINA - DAY Michael emerges and hops into K.I.T.T. as the car skids up and pops a door. As they screech off: [K.I.T.T.'S VOICE] Michael, I'm so glad to see you. ANGLE IN K.I.T.T. driving. Michael's running on empty but his determination is undaunted. [MICHAEL] Likewise, buddy. You better call the Federales to clean this place up. [K.I.T.T.] Did you find the antidote? [MICHAEL] Yeah...and the poison. [K.I.T.T.] Michael, what do you mean? [MICHAEL] Scan my vitals and you'll see. MONITOR picturesque graph. [K.I.T.T.] Oh, no, Michael, they've injected you with a lethal quantity. [MICHAEL] Tell me about it, pal. Renard still has the antidote, and I'm guessing he's jetting back to L.A. with it now. [K.I.T.T.] You're right. They took off fourteen minutes ago, headed northwest. I'm afraid that plane was loaded with a very nasty cargo. [MICHAEL] Like enough poison to wipe out a small city. (starts punching buttons) Okay, so they've got a head start. [K.I.T.T.] Head start?! Michael, even at my top speed they'd beat us there by half an hour. And they're too far up to microwave jam. Michael's fading, but he keeps hitting buttons. [MICHAEL] I know. But see if you can access the plane's navigation computer through the Palomar uplink. If we can scramble their compass and airspeed indicator, maybe we can send them off course and cost them some time. K.I.T.T.'s monitors spring to life. [K.I.T.T.] Brilliant, Michael! I'll take it from here. Consider them adjusted. (motherly) Now you just relax. As Michael hits "pursuit" and relaxes as the car rockets off. EXT. MEXICAN HIGHWAY - DAY - ON K.I.T.T. slicing through the reddening light of day's end. EXT. RENARD'S PRIVATE JET IN FLIGHT - DAY - ESTABLISHING bisecting a cloudless sky. INT. JET - COCKPIT - DAY - THE INSTRUMENTS start to go haywire. We see the compass move several notches and the airspeed indicator fall. The pilot taps the instrument glass, relaxes as they seem to return to normal. ANGLE IN PASSENGER COMPARTMENT where Renard, Faisur, and Marissa are seated. She's now sporting a dark fur coat. There's a stack of aluminum secure-carriers behind them. Renard notices the pilot's actions. [RENARD] Anything wrong up there? The pilot signals "okay." Faisur takes Renard by the shoulder. [FAISUR] Relax, my friend. You made a fortune today. [RENARD] You're right. And the only man who could have taken it from me is dead now. (to Marissa) Marissa, some champagne, please. [MARISSA] Of course. It'll do us all good. She starts to pour. CUT TO EXT. HIGHWAY - DAY - K.I.T.T. roaring back toward the border and L.A. ANGLE IN K.I.T.T. Michael slumps in the driver's seat, eyes closed. [MICHAEL] (dreamily) Kitt, how much longer do I have? [K.I.T.T.] Don't ask me that. [MICHAEL] An hour? Two? [K.I.T.T.] (a beat, emotionally) I'm surprised you're still with us, Michael. You're living on sheer willpower. [MICHAEL] (fading) I'm tired, Kitt...tired of fighting ...I want to rest...rest.... [K.I.T.T.] (desperately) The will to live, Michael. It's all you've got! Don't give up! [MICHAEL] (almost inaudible) I just want...to sleep.... [K.I.T.T.] (shouting) Michael! This jolts Michael ever so slightly. In a state of panic, K.I.T.T. goes into his "act." [K.I.T.T.] A friend of mine flew to Las Vegas yesterday, and boy are his arms tired! Michael shows no reaction. [K.I.T.T.] (without a break) I know a man who made so much money in Las Vegas, they're still looking for his body. K.I.T.T. adds a slide whistle sound effect. Michael groans. CUT TO EXT. RENARD'S JET IN FLIGHT - DAY flying in front of a beautiful sunset. INT. JET - PASSENGER COMPARTMENT - DAY Renard is still fidgety, looking out the window, calls up to the pilot. [RENARD] That body of water...I don't remember it on the flight down. [FAISUR] So we're on a different flight path. Calm down. You're getting too old for this business. [RENARD] (looks out again; it dawns) That's Lake Arrowhead! We're a hundred miles off course! (calls ahead to pilot) Get this jet turned around! As the pilot nervously starts working the instruments: [FAISUR] Head winds, Renard, head winds. Next thing you know, you'll be seeing ghosts. Renard settles back in his seat, troubled. CUT TO EXT. HIGHWAY - NIGHT - ON K.I.T.T. tearing up a freeway that's distinctively American. L.A. at last. And still we hear: [K.I.T.T.'S VOICE] And how 'bout those show girls in Vegas.... ANGLE IN K.I.T.T. Michael holding his own, thanks to K.I.T.T.'s bottomless well of jokes, now with a running laugh track. [K.I.T.T.] ...I saw one with beautiful blonde hair all down her back. None on her head, all down her back. Move in on Michael who breaks into the slightest smile. CUT TO EXT. AIRPORT - NIGHT The jet is just coming in for a landing now after its delay. HIGH ANGLE ON THE RUNWAY - NIGHT Screaming through the darkness onto the airport tarmac is K.I.T.T., red scanner flashing in a simultaneous arrival. [MICHAEL'S VOICE] Is that them, Kitt? Did we make it? ANGLE IN K.I.T.T. [K.I.T.T.] We surely did, Michael, and not a moment to spare. This information buoys Michael's energy. [MICHAEL] Then let's give them a reception they'll never forget. Head on. He floors the car. INT. RENARD'S JET - NIGHT Faisur and Marissa are collecting themselves for a quick departure when Renard glances out the window. [RENARD] Oh, no... (calls, angry) Faisur! There's my ghost! ANGLE THROUGH THE JET'S WINDSHIELD - WHAT HE SEES IS K.I.T.T. speeding toward them, head on. ANGLE IN JET Now it's Faisur's turn to be nervous. But Renard takes command. [FAISUR] What do you suggest? [RENARD] (calls to pilot) Take off again! Now! We've got to get airborne immediately. ANGLE IN K.I.T.T. - MICHAEL'S POINT OF VIEW THROUGH THE WINDSHIELD we see the nose and lights of the Lear jet looming larger than ever and coming on fast. [K.I.T.T.] Michael! They're lifting off again. [MICHAEL] Not if we can stop them. INSERT - MICHAEL'S HANDS ON WHEEL hitting the 'pursuit' trigger. The car's engine whines. ANGLE IN K.I.T.T. - MICHAEL is pushed back into his seat by the speed. He braces for impact. EXT. RUNWAY - NIGHT - VARIOUS ANGLES - THE CRASH K.I.T.T. hits the plane just before it lifts off. Michael takes the car smack into the left wing and fuel pontoon of the jet. They explode and burst into flame. The jet wobbles weakly to a stop. ANGLE IN K.I.T.T. Michael groans at the jolt, then pumps the wheel around to pick up his fleeing prey. [K.I.T.T.] Michael, what are you planning? You hardly have the strength to stand up. [MICHAEL] Then it's time for another dose of willpower, buddy. He screeches to a stop near the burning plane. EXT. RUNWAY - NIGHT - FULL ANGLE - THE JET The pilot, Renard, Faisur, and Marissa run pell-mell down the ramp of the burning jet. ON K.I.T.T. AND MICHAEL Michael climbs from the driver's door, steadies himself a beat, then starts for the jet. [K.I.T.T.'S VOICE] Michael, the fire is reaching the jet's main fuel tanks! Michael shouts through the smoke and din: [MICHAEL] Get away! The plane's going to go up! WIDE SHOT - SLOW MOTION - THE JET As the pilot, Renard, Faisur, and Marissa flee across the tarmac the Lear jet blows sky high in a ball of flame. They're thrown to the ground by the force of the blast. MOVING WITH MICHAEL He races to his downed opponents. [MICHAEL] Kitt, are they all right? [K.I.T.T.] All vitals are strong, Michael. Michael finds Renard. TIGHT ON RENARD lying on the ground. Michael kneels beside him, grabs the antidote vial, and roughly rips the attached gold chain from Renard's neck. Michael, who is now running solely on will- power, slowly gets to his feet. Two policemen arrive on the scene. [MICHAEL] (to cops) Lock these two up and don't let anybody near this jet. [K.I.T.T.] Michael, we're running out of time! [MICHAEL] I'm all yours, Kitt. Michael jumps into K.I.T.T. and speeds off. EXT. HOSPITAL - NIGHT as K.I.T.T. comes screeching up to the emergency room entrance. Devon and Bonnie are there to help Michael out of the car as two orderlies rush to their aid with a gurney. [MICHAEL] (gasping) The antidote...Cindy? [DEVON] Inside! Hurry! The orderlies wheel him off. Hold on Devon and Bonnie, near tears of relief and worry. SMASH CUT TO INT. EMERGENCY ROOM - NIGHT The doors fly open as Michael's wheeled in. His gurney is placed next to another where he sees: CINDY pale, her condition critical. Through her fog she recog- nizes Michael and catches the glint of hope in his eyes. [CINDY] (weakly) Michael...are we going to die? He reaches across and takes her hand. [MICHAEL] No. We're going to be fine. WIDER ANGLE The doctor has already prepared an injection, which he gives to Cindy first. The monitors at her bedside suddenly become active, indicating an immediate improvement. The attending hospital staff let out a cheer! Camera finds: MICHAEL still holding her hand, smiling comfortably. On his triumph: FREEZE FRAME AND FADE OUT END OF ACT FOUR TAG FADE IN EXT. VENICE BEACH BANDSTAND - DAY Up rock music plays as we find Cindy in the middle of her final audition for Dance Mania. Michael stands with the producer/director types who look on, perhaps making notes or whispering to each other, their expressions inscrutable. Devon and Bonnie also watch from where K.I.T.T. and Devon's limo are parked. VARIOUS ANGLES - CINDY is putting on a wonderful display a la Flashdance. The music climaxes and she collapses to a finishing move, then springs to her feet enthusiastically. Out of breath, she crosses to Bonnie and Devon. [BONNIE] Cindy, you were fantastic. [CINDY] I just hope the director thinks so. She wipes her forehead with a towel, nervous. Michael saunters up, looking serious. [CINDY] Well? Don't keep me in suspense. [MICHAEL] You're not what they had in mind. Cindy sags. Another turn down. [CINDY] Oh well. At least they called me back. [MICHAEL] (breaking into a grin) You're better than what they had in mind. The part's yours! Welcome to Dance Mania! Cindy's expression changes to one of ecstatic delight. She throws her arms around Michael, who lifts her off the ground in a big hug, spins her around. [BONNIE] We knew you could do it! [DEVON] This calls for a celebration. And I have just the thing. Devon opens the passenger door of his limo and pulls out an iced champagne bucket. The bottle is wrapped in a white napkin. Ad-lib oohs and aahs. [MICHAEL] Devon, how thoughtful. A good year? [DEVON] (mischievous) Excellent year. 1984. (off their looks) Squeezed this morning. He pulls out the bottle. It's orange juice. Michael and Cindy react, groan in unison. ANGLE ON K.I.T.T. His scanner flashing as he spots someone O.S. He sounds his rimshot: [K.I.T.T.'S VOICE] Speaking of jokes.... ANGLE TO INCLUDE MR. BODY again with his weights and heading for K.I.T.T. [K.I.T.T.] Did you hear the one about the weight lifter who tried to press his own weight, but burned himself with the iron? The others laugh, all except Arnold who remains dead serious --- [ARNOLD] No, tell me about it. Under the group's reaction we hear K.I.T.T.'s hokey rimshot, slide whistle, and laugh track. [K.I.T.T.] Thank you! You're a beautiful audience. FREEZE FRAME FADE OUT THE END

{"show": "Knight Rider", "season": "s03", "episode": "e08", "title": "Dead of Knight"}

knightriderarchives

ACT ONE FADE IN EXT. DEMOLITION SITE - DAY A large downtown building stands in the b.g. waiting to be turned into a pile of rubble, which will then be hauled off so that a modern hotel complex can take its place. The area is roped off, a crew goes about its business, and the usual safety precautions are in effect. ANGLE ON MS. JORDAN as she addresses a handful of VIPs representing various international construction and engineering firms, there to see a demonstration of a "new breed" demolition explosive. Ms. Jordan is twenty-seven and attractive. Also present, and wearing hard hats like the others, are Devon and Bonnie. [MS. JORDAN] Normally a building this size would require a minimum of a thousand pounds of dynamite to bring down. However, with the development of our new XPL nitro-plastique, we can accomplish the same job with just six of these packets, weighing a total of...thirty ounces. A scattering of reactions, an ad-lib comment or two. Ms. Jordan smiles as though to good reviews. [MS. JORDAN] We at XPL knew you'd be favorably impressed. We also knew you'd have concerns -- serious concerns -- regarding the potential dangers of an explosive this compact, this versatile...This powerful. In that regard, we at XPL are consulting with a number of experts in a variety of fields. Today we're fortunate enough to be joined by Mr. Devon Miles of the Foundation for Law and Government. Some applause, some "Who's he?" expressions. Bonnie nudges him. [BONNIE] You're on. [DEVON] So it would appear. Devon smiles, steps forward. [DEVON] We at the Foundation welcome the opportunity to work with private industry toward developing adequate safeguards. In today's world, some- thing as powerful as nitro-plastique isn't simply an explosive. In the wrong hands, it's a weapon. [MS. JORDAN] Well, I don't know if we at XPL would go that far.... She whisks him off with a smile, gestures to an XPL techni- cian off to one side, not at all pleased by Devon's candor. [MS. JORDAN] Thank you, Mr. Miles. And now, for the event we've all been waiting for...it's ten seconds to detonation. ANGLE ON BRONCO turning into the demolition area. It's two-tone, red and white, and on the upper white half there's a sign reading: 'BOB'S PLUMBING SUPPLIES'. It stops just short of the cordoned off area. Camera moves in close on: FRONT WINDOW Two men are in the front seat, and for some reason they wear ski masks. They will later be revealed as Bobby Pell and Julius Korso. INT. BRONCO - DAY Korso, behind the wheel, looking at LED clock --- [KORSO] Ten seconds. Bobby, this better work.... [PELL] It'll work. Seven...six...five.... EXT. DEMOLITION SITE - DAY [MS. JORDAN] Four...three...two...one.... A terrifying explosion. ON BUILDING as it crumbles into a pile of dust and bricks. INT. BRONCO Korso accelerates. EXT. DEMOLITION SITE - DAY - ON BRONCO pushing through the barrier, and heads for a trailer marked XPL INDUSTRIES, HIGH EXPLOSIVES. It's parked off to the side, a distance from the demolition site. ON TRAILER as the Bronco roars up. Two security guards are quickly alerted, but before they can go for their guns, Korso and Pell jump out and level sawed-off shotguns on them. [PELL] Don't even think it! Drop the belts -- now! The guards drop their belts as Korso disappears inside the trailer. Pell makes sure he keeps an eye on him through the open door. [PELL] C'mon!! Korso pops out with a small steel case. Pell looks inside, sees the packets. [PELL] How do we know this is the stuff? [KORSO] It's the stuff! Let's go! He darts for the Bronco. Pell follows, shotgun on the guards. [PELL] You got two choices -- stay put or kiss the holiday's good-bye. He jumps into the Bronco and Korso peels out. ON GUARDS One scrambles for his weapon, while the other races to the trailer, pulls the alarm inside. ANGLE ON BRONCO It flies past. ANGLE ON XPL SECURITY CAR It roars out in pursuit, red lights flashing. ANGLE ON DEVON, BONNIE AND OTHERS reacting to the alarm. BRONCO AND SECURITY JEEP As the Jeep tries to cut the Bronco off Korso rams into it with his heavy bumper, sends it into a spin, causing it to crash into a fence. Korso hits the street. EXT. TWO-LANE HIGHWAY - DAY - ON K.I.T.T. [MICHAEL (V.O.)] You know, Kitt, sometimes I feel a little guilty. INT. K.I.T.T. - DAY [K.I.T.T.] Why's that, Michael? [MICHAEL] Well, here we are on the way to the beach, a full afternoon off, and Devon and Bonnie have to go and watch a building being leveled. [K.I.T.T.] If you feel so guilty, why didn't you accept Devon's invitation to go with them? [MICHAEL] Guilty, yes...crazy, no. [K.I.T.T.] Michael, Devon's calling. [MICHAEL] Why did I open my big mouth? INSERT MONITOR as Devon appears, a sense of urgency about him. [MICHAEL] Yo, Devon. [DEVON] Michael, the demolition site has just been robbed! Two men made off with a quantity of that new explosive. The police are in pursuit, but if you're anywhere in the vicinity, I want you to assist in any way possible. [MICHAEL] What am I looking for? [DEVON] A red and white Bronco, with Bob's Plumbing Supply on the side. [MICHAEL] Did you get a make on the plate? [DEVON] Incomplete -- only the first three digits: 187. [MICHAEL] Kitt, pick up the police frequency, and plot an intercept course. [K.I.T.T.] Right away, Michael. [MICHAEL] I'll be in touch. Oh, and Devon... thanks for the afternoon off. Michael accelerates. EXT. HIGHWAY - DAY - ON K.I.T.T. leaving the other traffic far behind. EXT. ANOTHER HIGHWAY - DAY - ON BRONCO as it leaves the highway and turns onto a smaller road. EXT. ROAD - DAY - ON K.I.T.T. [MICHAEL (V.O.)] Kitt, how're we doing? INT. K.I.T.T. - DAY A graphic appears on the monitor. [K.I.T.T.] I have the target vehicle's location, direction and approximate speed. Michael looks at the graphic, studies it for a moment. [MICHAEL] That's heading into the Kirkland Dam area. [K.I.T.T.] Correct. [MICHAEL] We'll go as far as Temple Road, and try to intercept at Needles Ridge. The speedometer rises. CUT TO EXT. KIRKLAND ROAD - DAY - ON BRONCO speeding along. ANOTHER ANGLE The Trans Am flies in from an intersecting road. ANGLE IN K.I.T.T. Michael is intent behind the wheel. [K.I.T.T.] Michael, my monitor.... [MICHAEL] Gotcha. Meaning the vehicle is in sight. INT. BRONCO - DAY Korso spots K.I.T.T. in the mirror, reacts. [KORSO] Behind us. Pell looks. [KORSO] What is it, a cop? [PELL] No...some joker in a black T-top. Let's dust him. Korso hits a switch on the dash. ON HOOD A custom air intake opens revealing a powerful supercharger. It whines. ON SPEEDOMETER It arcs up over 100, 110, 120.... INT./EXT. K.I.T.T. - CLOSE ON THE DIGITAL READOUT The mph numbers rapidly clicking upward to 140. Camera draws back to catch Michael's reaction. [MICHAEL] Kitt, we're not pulling like we should. [K.I.T.T.] I don't understand it, Michael. Michael presses buttons. [MICHAEL] Let's see what we're dealing with here. A graphic appears on the monitor. [K.I.T.T.] The vehicle in question has a super- charger, mounted on a Hemi-head V-8. [MICHAEL] Let's show 'em what super-charged is all about, buddy. K.I.T.T.'S CONTROLS As Michael hits Pursuit, K.I.T.T. catapults to 150, 160, 170.... EXT. ROAD - DAY - CHASE INT. BRONCO They're flying and Korso is scared beneath the conviction he will, in the end, tough-out any situation. [KORSO] I thought you said nothing on the street could touch this! Pell is starting to look desperate, too. He grabs one of the packets of explosives, snaps a contact detonator onto it. [PELL] So whoever he is thinks he's a smart guy, let him think he's a smart guy. (yells) Eat this, smart guy! He tosses a packet out of the window. EXT. ROAD - DAY The packet hits the pavement and explodes, shaking K.I.T.T. violently, but not stopping him. It does tear up the road, however. INT. BRONCO - DAY They're shocked to see the Trans Am still behind them and gaining. [KORSO] Bobby, c'mon! Do something! Drop the guy! Pell, totally frustrated, readies two packets of explosives. [PELL] If this doesn't stop him, pull over and put up your hands, the man is holy. He flings them out. OMITTED EXT. HILLSIDE ROAD - DAY The packets land between tall steel stanchions which support cross-country high voltage electrical transmission lines. MICHAEL slams on the brakes. Too late: THE PACKETS explode with tremendous force, sending a gigantic column of asphalt and debris upward. The power lines are severed. K.I.T.T. skidding, trying to stop. Can't. The whipping, arcing cables hit the Trans Am with a stunning flash. The car shudders with the impact. Michael hits his head, stunned. An intense, blue, aura-like field envelopes the outside. ON BRONCO disappearing over rise. INSIDE K.I.T.T. Michael is almost blinded by the megavolt charges. He has the presence of mind to hold his hands away from any metal surface. Outside the heavy cables lash at the car. Sparks and smoke come from the dash. Then: ON ONE OF THE STANCHIONS ABOVE A huge transformer can blows up. The power is cut off. The lashing cables fall away from K.I.T.T. like dead snakes. Quiet. MICHAEL shaken, very dizzy, takes in the scene, then opens the door. [MICHAEL] Kitt, you all right? Kitt?! [K.I.T.T.] I am a...Knight Industries...I am a...I...would you please...repeat ...the...question.... There's an electric sputtering from the dash, smoke, and silence. [MICHAEL] Kitt, say something! Silence. [MICHAEL] Kitt! Nothing. [MICHAEL] Okay, pal, you stay right here. I'll go get us some help. He gets out, feeling very weak himself. Spots a sign down the road: "REST AREA - PUBLIC PHONE - ONE MILE." [MICHAEL] Now don't you go anywhere...I'll be right back. And he starts off, half running, half walking, looking back every now and then to see that K.I.T.T.'s still there. ON MICHAEL beginning to feel very dizzy, but stumbling on. ON K.I.T.T. His surveillance light flashes, and he slowly leaves the road, heading into the rugged, mountainous terrain. Climbing the hillside, he stops as if to get his bearings -- suddenly spots something and holds. WHAT K.I.T.T. SEES - A BOY OF FOURTEEN stands on a distant hill looking at K.I.T.T. curiously. BACK ON K.I.T.T. looks at the boy a beat, then frightened, confused, K.I.T.T. heads up the rugged terrain to seemingly safer ground. ON MICHAEL Getting weaker by the moment, he stops, looks back, and reacts. K.I.T.T. is nowhere in sight. He begins running back, calling --- [MICHAEL] Kitt! Kitt! Reaching the spot where he left him, he looks about, sees nothing but the rugged terrain. Calls again --- [MICHAEL] Kitt!!! Then suddenly the entire earth begins to spin, as Michael slumps to his knees, barely conscious. EXT. MOUNTAIN TERRAIN - DAY - ON BRONCO as it turns off a fire road, and stops near a blue Blazer hidden in some heavy brush. Korso and Pell jump out. Remove their ski masks. Korso is thirty-five, hardened by too many years in prison, and brooding. Pell is twenty- seven, mercurial and deadly. The release of tension produces a momentary giddiness in him. He laughs. [PELL] Know why I like you, Julius? 'Cause next to you even I look good. [KORSO] A comedian. You're too good for this line of work, you should be on Saturday Night Live. As Pell reaches inside the Bronco for the nitro-plastique both react to the sound of a twig snapping. Turn. WHAT THEY SEE - DOUG WAINWRIGHT the boy we glimpsed earlier is standing a short distance away. Doug is fourteen, affects a slightly rebellious, tough-edged look. He wears a baseball cap with the initials W-W on it, carries a small knapsack with a baseball jacket rolled up and strapped to the side. He looks at the men, takes the scene in, immediately turns and runs. ANGLE TO INCLUDE KORSO, PELL [PELL] He made us! Without hesitation Pell charges after him. Korso is amazed. [KORSO] Bobby, it's a kid! What're you doing?! Bobby! No reply. Korso follows without as much conviction. VARIOUS ANGLES OF CHASE Pell is bigger, stronger, faster, leaping over brush and rocks. Doug, however, knows the terrain, weaves in and out. Still the terror builds as he sees Pell getting closer and closer. ON DOUG as he gets his knapsack caught on a branch and struggles to free it. ANGLE TO INCLUDE KORSO He pounds up the rugged terrain to join Pell. CLOSER ANGLE ON KORSO AND PELL They pause to look. WHAT THEY SEE - WILD HILLSIDE Doug has vanished. BACK TO SCENE Their eyes flash over everything. They're breathing hard. [PELL] He's gotta be around here somewhere. [KORSO] Yeah, but where? He's like a jack- rabbit. Forget it, it's only a kid. MOUTH OF CAVE It's covered with brush but behind its dense exterior we see Doug peering out, holding his breath. [PELL'S VOICE] You say that like kids don't count. like kids can't testify. ANGLE ON KORSO AND PELL They're right in front of the opening, not aware of it. [KORSO] Bobby, don't be crazy. You can't run around killing people because of what they might've seen. (beat) Relax. Calm down. You're too hyper. Pell looks around, slowly crosses to join Korso, not satis- fied. [PELL] I'm too hyper, yeah, an' you're too laid back. You're so laid back you won't know you been busted again 'til they slam the jailhouse doors. MOUTH OF CAVE to see Doug watching them, frightened to death. CUT TO EXT. KIRKLAND MEDICAL CENTER - DAY - ON ENTRANCE Like the town of Kirkland itself, the medical center is small but fairly modern. ON MICHAEL as he comes out, tucking in his shirt, followed by a very large and commanding Nurse who is trying to change his mind. [NURSE] I'm warning you, Mr. Knight, you're leaving against medical advice --- [MICHAEL] I appreciate all you've done, Nurse Gilmore, but I feel fine. [NURSE] If you feel so fine, why were you found half unconscious babbling some- thing about your car driving off by itself? [MICHAEL] It's a long story, but all I needed was a little rest and tender loving care, which you more than gave me. And actually my car did drive off by itself, but that's an even longer story. Thanks for everything, you're a credit to your profession.... He kisses her, leaves. She stands, still feeling his kiss on her cheek, not sure if she's shocked or grateful. ANGLE TO INCLUDE DEVON AND BONNIE having arrived in a Foundation limo. They hurry to meet Michael. [DEVON] Well, I see you've been discharged. [MICHAEL] (re Nurse) Escaped is more like it. What about Kitt? Any luck? [DEVON] No sign of him, Michael. [BONNIE] The voltage surge must've knocked out his homing device. [MICHAEL] Don't be surprised if that's not all. What else could be affected? [BONNIE] His memory modules, information banks ...Michael, how could you -- he's out there, damaged, alone --- [MICHAEL] Bonnie, give me a break. I was on assignment. (then) He's gotta be somewhere in those hills. (starts toward limo) Devon, I'll need a car. Four-wheel drive --- [DEVON] (catching up) Michael, we're doing everything possible to find Kitt. Right now our top priority is locating the stolen nitro-plastique. [MICHAEL] Maybe it's your top priority, but mine's Kitt. Let the police look for the explosives. [DEVON] They are, but they've also requested our help. [MICHAEL] As soon as I find him, I'll be glad to put in a double shift. [DEVON] (stops him) There was enough nitro-plastique stolen to level this entire city. [MICHAEL] Devon.... [DEVON] Believe me, under any other circum- stances, I'd say go out there and find Kitt and don't come back until you do...but this is different. This is an order. The limo phone buzzes. Devon answers it. [DEVON] Yes... (listens) I see...Good. He hangs up. [MICHAEL] What? [DEVON] The Foundation helicopter just spotted the abandoned Bronco. CUT TO CAVE AREA - DAY - ON MOUTH Doug comes out cautiously, looks around, sees it's apparently safe, then heads back in the direction of the Bronco, still carrying his knapsack. ANGLE ON BRONCO as Doug approaches it cautiously, then looks it over appraisingly. ANOTHER ANGLE He looks inside, sizes up the radio, and toys with the idea of maybe pulling it out. But then he hears an approaching vehicle, looks through the opposite window. DOUG'S POINT OF VIEW - MICHAEL pulling up nearby in an open Jeep. He spots Doug. BACK ON DOUG He jumps from the Bronco and takes off. OMITTED ANGLE TO INCLUDE MICHAEL giving chase. He quickly catches him, turns him around, and Doug comes out fighting. [DOUG] Let go of me! Get your hands off me! [MICHAEL] Easy, son. I'm not going to hurt you. [DOUG] Then let me go -- you got no right grabbing me! I didn't do anything! [MICHAEL] All right. Slow down. (beat) There's no reason to be afraid. [DOUG] Who said anything about being afraid?! [MICHAEL] Then why did you run? [DOUG] Because... (thinks) I thought maybe you were the game warden. He's always trying to bust me for fishing in the reservoir. [MICHAEL] (smiles) I'm not a game warden. My name's Michael Knight. I'm from the Foundation for Law and Government. [DOUG] Oh, I get it. Some kind of cop. [MICHAEL] No, not a cop. Not even close. What's your name? [DOUG] (hesitant) Doug. Why? [MICHAEL] Good to meet you, Doug. (re cap) I see you're a ball player. [DOUG] Yeah. [MICHAEL] (patient) W-W. The name of your team? [DOUG] Wainwright's Warriors. I play short- stop. [MICHAEL] I used to play first base. [DOUG] Must've been a long time ago. [MICHAEL] Yeah. There were dinosaurs in the outfield. (beat) Doug, you know anything about that Bronco over there? [DOUG] I didn't rip it off, if that's what you mean. [MICHAEL] Never entered my mind. I was just hoping you saw the two men who left it there. [DOUG] I didn't see anybody. But he answered too quickly. [MICHAEL] You're sure? [DOUG] Yeah I'm sure. What is this? I thought you said you weren't a cop. [MICHAEL] (studies him) If you did see them, you'd tell me, wouldn't you? These aren't the kind of guys you'd want to protect. [DOUG] I'm not protecting anybody. I gotta go. [MICHAEL] Then I guess you didn't see a black T-top, either? [DOUG] No! (uncomfortable beat) Look, if you're finished with the interrogation, I got things to do. [MICHAEL] (nods) Thanks for the help. He turns and goes off. Michael watches him curiously, then heads for the Jeep. CUT TO EXT. FLAT TERRAIN - DAY - ON DOUG Knapsack in hand he moves toward a distant road having just come down the hillside. Sensing something, he suddenly slows his pace. FULLER ANGLE TO SEE K.I.T.T. tailing along behind him. Doug stops, afraid to turn. So does K.I.T.T. Then Doug continues. Then stops again, turns, reacts. [DOUG] Where'd you come from? The scanner flashes. Doug doesn't know what to make of it so he walks faster; K.I.T.T. continues to follow. [DOUG] Look I don't like anyone tailing me, so bug off. He walks on fast, building to a run. K.I.T.T. keeps up. VARIOUS ANGLES As Doug begins to run faster, faster, K.I.T.T. leaves the trail behind him. Tired, breathing hard, Doug stops, turns, to find that K.I.T.T. is gone. He can't imagine where. He turns to continue, reacts. ANGLE TO INCLUDE K.I.T.T. standing right in front of him, his scanner flashing. [K.I.T.T.] Help...me. And as the two look at one another we --- FADE OUT END OF ACT ONE ACT TWO FADE IN EXT. F.L.A.G. - DAY - ESTABLISHING [MICHAEL'S VOICE] Kitt's more than my partner, Devon.... INT. DEVON'S OFFICE - DAY Michael, pacing the office, Devon behind his desk, tie askew, shirt uncharacteristically open at the throat. Both men are weary. Over this Bonnie enters, crosses to the computer. [MICHAEL] He's a friend. You've got to let me go out there and look for him. [DEVON] Not until we find that nitro-plastique. [MICHAEL] We don't even know what those two guys are driving anymore! Who they are, why they're here, what they want --- [DEVON] (crosses to Bonnie at computer) In spite of the fact they've switched cars, we still have reason to believe they're in the Kirkland area. [MICHAEL] What reason? What are you talking about? [DEVON] I'm talking about this man. Bonnie? Bonnie presses a button. ANGLE TO INCLUDE MONITOR to see Conrad Marrs, forty, good-looking, rugged. [BONNIE] Recognize him? [MICHAEL] No, should I? [BONNIE] His name is Conrad Marrs. He's one of the premier explosives men in the business. [MICHAEL] So? [BONNIE] He flew in from Dallas this morning. [DEVON] Of course, it might just be a coinci- dence, Michael. But if you believe that stay away from people selling bridges in Brooklyn and swamps in Florida. [MICHAEL] Thanks for the advice. Any idea where he's staying? [DEVON] We're trying to find out now. (slight beat) Michael, have you any leads? Any- thing at all? [MICHAEL] No, not really.... [BONNIE] (sensing it) What? [MICHAEL] I'm not sure...it's just a feeling. I ran into this kid up near the abandoned Bronco. He said he was scared because he thought I was the game warden. He was scared all right, but that wasn't the reason. [DEVON] You think he might've seen the thieves? [MICHAEL] The more I think about it the more convinced I am he saw something.... CUT TO EXT. CAVE AREA - DAY K.I.T.T. sits in a small clearing in front of the cave. Doug, now wearing his baseball jacket, with "Wainwright's Warriors" on the back, is with him. [DOUG] You'll be safe here for a while. If anyone comes, all you have to do is back into the cave. [K.I.T.T.] Good idea. I'm sorry I frightened you earlier. [DOUG] Look, you didn't scare me. I...I... I just don't like people...things... sneaking up on me, that's all. [K.I.T.T.] Well, I can understand that. And under normal circumstances I would've introduced myself first. But I'm afraid these aren't exactly normal circumstances. [DOUG] You can say that again. [K.I.T.T.] I could, yes, but is there any need to? [DOUG] That's not what I mean, aww forget it. (shakes head) A talking car...if that's not a mind blower. [K.I.T.T.] I seem to recall I can do a lot of other things, too...if only I could remember what they are. What do you do? [DOUG] I...Anything I want. [K.I.T.T.] For instance? [DOUG] For instance? Well...if I don't want to go to school I just split, come up here, or maybe hang out at the video arcade. Like I said, whatever I want. [K.I.T.T.] But how do you learn anything if you 'split' school? [DOUG] You don't learn anything in school anyway. Not about real life. Doug moves about him curiously, still holding his knapsack. [DOUG] Do you always just follow behind people...or does someone get inside? [K.I.T.T.] Let's find out. The door pops open. Doug's eyes grow wide and he slides behind the wheel. INT. K.I.T.T. - DAY Doug looks at the dash; his eyes explode --- [DOUG] Look at that dash! Your own TV...and all these buttons. What are all these buttons for? 'Pursuit...Scanner ...X-ray...Infraray...Turbo-Boost....' [K.I.T.T.] Don't touch Turbo-Boost. Something tells me you shouldn't touch Turbo- Boost. [DOUG] What about, 'Eject -- Right and Left'? [K.I.T.T.] I don't recall.... [DOUG] Well, there's just one way to find out. Fortunately he presses Right...the roof pops up and his knapsack, which he placed on the seat, lifts off. ANGLE ON KNAPSACK It comes close to disappearing from sight. BACK TO SCENE Doug's mouth is open. [DOUG] It's like a rocket! [K.I.T.T.] It is rather remarkable, isn't it? Doug watches the knapsack crash to the ground, shakes his head in wonderment. [K.I.T.T.] By the way -- what's your name? [DOUG] Doug. [K.I.T.T.] A pleasure meeting you, Doug. My name is...is... (thinks) ...Kitt! That's it, Kitt! [DOUG] Nice meeting you...Kitt. Doug hesitates, then places both hands tightly about the wheel. [DOUG] If I could drive you to school, I'd go every day.... CUT TO EXT. DAM - FULL ANGLE - DAY [CONRAD'S VOICE] I'm impressed. ANGLE TO INCLUDE PELL, KORSO, AND CONRAD Conrad's sporty elegance makes him stand out from the casually dressed Pell and Korso. His rented white Cadillac is parked next to their Blazer. He examines one of the packets of nitro-plastique the way Pinchas Zukerman would handle a Stradivarius. [CONRAD] I know guys who've been in the business twenty years and even they can't get their hands on this stuff.... [PELL] (defensive) We're not exactly amateurs. [CONRAD] (an easy smile) Good. Then I'll give you a real pro- fessional explosion. A symphony. He unfolds a map/blueprint of the dam and town on the hood of his car. [KORSO] Don't get carried away. All we need is a nice civil emergency. Enough to knock out the power and draw the police, fire, and emergency units. [PELL] While they go crazy handling traffic and evacuations and a thousand haywire alarms, we hit the museum. Fifteen mil worth of Pre-Columbian artifacts. [CONRAD] (studies blueprint) Dam's no problem...your basic earth- fill, structural steel, lots of concrete. They loved concrete in the '30s... (then) This quadrant ought to do it. It'll create a good spill and weaken the rest of the dam enough to worry them. [KORSO] All right. Then we're set for tomorrow. [CONRAD] I'll need an hour's notice. You know where to reach me. He crosses to the Cadillac. [PELL] You didn't see a kid on your way up, did you? Conrad stops. Korso throws Pell a hard look. [CONRAD] What kid? [PELL] When we ditched the Bronco this kid saw us, that's all. [KORSO] Forget him. He was scared stiff. C'mon, it's only a kid. [CONRAD] You telling me somebody made you? [KORSO] No. Not exactly.... [PELL] Okay, so what? That's on us, not you. [CONRAD] I thought you said you weren't amateurs... (beat) You know why I'm the best? Because I'm careful. There aren't a lot of old explosives experts around. They're either dead or in the joint. [PELL] Okay. We'll find the kid! [CONRAD] (weighs it) By morning or I'm gone. Believe it. Conrad gets into his car and drives off. Korso turns on Pell: [KORSO] I don't believe you, Bobby. We got the guy in our pocket and you gotta ask him if he saw a kid on the way up! [PELL] So now we gotta find the kid, that's all. (crosses to Blazer) We should've done it anyway. It's cleaner. CUT TO EXT. WAINWRIGHT NURSERY - DAY A nice suburban establishment. Pan as Michael pulls up in the Jeep, heads for the entrance. ANGLE TO INCLUDE JIM TURNER late thirties, big, a no-nonsense sort of guy who helps run the place. [JIM] Help you? [MICHAEL] I hope so. I'm looking for the sponsor of a Youth League baseball team. [LORI'S VOICE] Sorry, but we've already got one. Michael looks over. ANGLE TO INCLUDE LORI WAINWRIGHT She's thirty-two, pretty and bright. It soon becomes obvious that Turner feels very protective of her. [LORI] In first place, too. [MICHAEL] Wainwright's Warriors? [LORI] That's right. [MICHAEL] (reacts) I'm looking for a boy named Doug. He plays short-stop. Do you know him? Lori and Jim exchange troubled looks. [LORI] He's my son. Doug Wainwright. [JIM] What's this all about? [MICHAEL] Mrs. Wainwright, I'd like to talk to him. Is he here? [JIM] I asked you what this is about. [LORI] It's all right, Jim...why don't you help that customer over there. A last look and Turner goes off. [LORI] He's...a good friend. (steels herself) What's he done this time? And who are you? [MICHAEL] My name's Michael Knight, I'm with the Foundation for Law and Government. We're trying to locate some stolen explosives and we think Doug may have seen something. Do you know where he is? [LORI] Probably in the hills. He and his father used to hike up there. They discovered a cave...Doug's been spending a lot of time there lately.... [MICHAEL] Could you give me directions? She hesitates. [MICHAEL] It's very important. [LORI] (beat) I think I'd better draw you a map. [MICHAEL] (a smile) I hope you draw better than I do. She smiles, begins drawing a crude map on the back of a nursery receipt. Off to one side Jim watches, brow furrowed. CUT TO EXT. CAVE AREA - DAY Doug slowly climbs out of K.I.T.T. [K.I.T.T.] Is something wrong? [DOUG] No...I gotta get home, that's all. [K.I.T.T.] What's 'home?' [DOUG] That's a place where...I don't know, where you go when there's no place else to go. [K.I.T.T.] 'Home' doesn't sound like much fun. [DOUG] It used to be.... [K.I.T.T.] What happened? [DOUG] Well, my dad got real sick...and everybody said he was gonna be okay... (cuts it off) What is this, the third degree? [K.I.T.T.] The third degree? [DOUG] Forget it. He's succeeded in holding his feelings down. He grabs his jacket and knapsack, ready to leave. [DOUG] So, you going to be okay or what? [K.I.T.T.] I'll be fine. And I think my memory is improving. [DOUG] Good. I'll come back tonight -- late, when everybody's asleep. He starts off. [K.I.T.T.] That sounds like fun. Good-bye, Elliot. [DOUG] Doug! My name's Doug. [K.I.T.T.] Then who's Elliot? [DOUG] How do I know? I thought your memory was getting better. [K.I.T.T.] Yes...well...at least it's not getting any worse. K.I.T.T. flashes his scanner and Doug goes off. CUT TO EXT. FOOTHILL ROAD - DAY - ON MICHAEL coming up the mountain, but still quite far from the cave area. EXT. RUGGED TERRAIN - DAY - ON KORSO AND PELL in their Blazer and searching the area. Tired as hell. [KORSO] This could go on forever.... Pell spots something, points. [PELL] Julius...look! THEIR POINT OF VIEW - DOUG only a short distance from the cave area. BACK TO SCENE Korso floors the Blazer. ANGLE ON DOUG hearing the Blazer, reacting, and running back toward the cave. They're close enough to read the "Wainwright's Warriors" on the back of his jacket. [PELL] Don't let him get away! ANGLE ON CAVE AREA as Doug runs to K.I.T.T. [DOUG] Kitt, they're after me! [K.I.T.T.] Who? [DOUG] Those two guys! [K.I.T.T.] Get in. The driver door pops open. Doug jumps in. ANGLE IN K.I.T.T. [K.I.T.T.] Can you drive? [DOUG] Are you kidding? I can drive anything on wheels. (looks) Where's the ignition? [K.I.T.T.] On second thought, there are still a few things I remember. Hold on. K.I.T.T. comes to life. Doug's eyes grow wide as K.I.T.T. pulls out. EXT. RUGGED TERRAIN - DAY - ON K.I.T.T. pulling from the cave area, and heading down a fire road. ON KORSO'S BLAZER Pell points. [PELL] That's him! In the black T-top! Korso takes off after K.I.T.T. VARIOUS ANGLES OF CHASE through the rugged terrain, intercutting with Doug's reac- tions. The kid's definitely softening up a bit. ANGLE ON MICHAEL'S JEEP coming up in their direction. However, he's still a good distance away. [MICHAEL] Kitt!! He goes after him. VARIOUS ANGLES as K.I.T.T. races toward the edge of the canyon. ANGLE IN K.I.T.T. Doug's reaction to the fast approaching edge: [DOUG] We're coming to the edge! [K.I.T.T.] I noticed! [DOUG] It's not that I'm scared...but what are we gonna do?! [K.I.T.T.] When I tell you, press Turbo-Boost! [DOUG] You told me never to press Turbo- Boost! [K.I.T.T.] I've changed my mind! And right at the edge --- [K.I.T.T.] Press! Doug freezes. [K.I.T.T.] Press! ON DOUG as he presses the button. ANGLE ON K.I.T.T. shooting off into the canyon. ON DOUG eyes and mouth wide open, petrified, thrilled. ON K.I.T.T. As he heads for the opposite side of the canyon, we --- FREEZE FRAME FADE OUT END OF ACT TWO ACT THREE FADE IN EXT. CANYON - DAY We resume action, K.I.T.T. flying over the canyon. ANGLE IN K.I.T.T. Doug is holding onto the steering wheel for dear life, terrified. [K.I.T.T.] I have the strangest feeling I've done this before. [DOUG] Not me! ANGLE AT CANYON LIP The Blazer screams to a stop, Pell and Korso staring in disbelief. FAR EDGE OF CANYON K.I.T.T. lands, bounces, gains traction and speeds off. ANGLE ON PELL AND KORSO Pell watches the disappearing K.I.T.T. [PELL] Did you see that?! But Korso is more concerned with something else. POINT OF VIEW - MICHAEL'S JEEP on the winding road below racing toward them. BACK TO THEM [KORSO] I'd swear that's the same idiot who chased us before. ANGLE AT CANYON Korso spins the Blazer around and hits the Supercharger. ANGLE AT INTERSECTING DIRT ROAD The Blazer hits the dirt road on two wheels, already going fifty, accelerating, and bearing down on Michael's Jeep. VARIOUS ANGLES as Michael first avoids being hit head-on by the much heavier wagon, and then becomes the aggressor in a duel in which he tries to put the Blazer out of commission. ANOTHER ANGLE Seeing they've met more than their match, Pell levels his sawed-off shotgun out the window, and fires at the Jeep as Michael makes a pass. ON JEEP as the radiator blows, and Michael slams the steering wheel in frustration. ANGLE TO INCLUDE BLAZER disappearing in the distance. ANGLE AT CANYON EDGE The Jeep churns to a stop, Michael leaping out. He runs to the canyon edge, looking. HIS POINT OF VIEW - RAW HILLSIDE Wild and untouched. Nothing moves. CLOSE ON MICHAEL He tries the comlink. [MICHAEL] (comlink) Kitt! Kitt, it's me, Michael? Can you hear me? Silence. Desperate, he cups his hands to his mouth. [MICHAEL] (hollers) Kitt...Kitt, it's me...Kitt.... He pauses, listening. All he hears is his echo, faint. Hold on his face. CUT TO EXT. DIRT ROAD - DAY K.I.T.T. races along, a rooster tail of dust behind him. [K.I.T.T.'S VOICE] I have the strangest feeling.... ANGLE IN K.I.T.T. Doug gripping the wheel, eyes wide, but trying to be cool. [DOUG] I know -- you've done this before, too. [K.I.T.T.] I have that awareness also. This is different. I have the strangest feeling someone is calling my name.... But Doug's not listening, his eyes wander over the dash, amazed. [DOUG] I didn't know they made cars like this. [K.I.T.T.] I'm not sure they do. [DOUG] Kitt, you are rad-i-cal! [K.I.T.T.] If you say so. [DOUG] What's this? He pushes Pursuit and K.I.T.T. accelerates, pushing Doug back against the seat. [DOUG] Thriller! DIFFERENT ANGLES - MONTAGE A dazzling display of K.I.T.T.'s capabilities intercut with Doug at the wheel, expression changing from fear to exhilaration to absolute wonder. This is an experience beyond his wildest dreams. ON BUTTERFLY COLLECTOR She's the dowdy type, overweight, and trying to net a butterfly. When K.I.T.T. makes a pass, she reacts, nets a limb instead, falling backwards into a muddy stream. CUT TO EXT. WAINWRIGHT BACKYARD - DAY (EARLY EVENING) The backyard is just what you'd expect; pool, tropical landscaping, Malibu lights. Gathered around lawn furniture on the patio are Lori, Jim Turner and Doug. Lori serves rice and vegetables and Jim finishes barbecuing chicken on a fancy unit. Doug looks alone, preoccupied, not a part of the occasion. [LORI] How hungry are you? [DOUG] What? Not very. [JIM] Your mother went to a lot of trouble to fix this. [LORI] It's all right. Doug can't stand him, but for his mother's sake he tries not to show it. The doorbell rings. [LORI] I wonder who that could be. [JIM] I'll get it. Doug looks worried. Jim crosses into the house. ANGLE AT FRONT DOOR He opens it to reveal Michael. Neither was expecting the other. Jim doesn't like Michael here and he doesn't try to hide it. [MICHAEL] Hope I'm not interrupting dinner. [JIM] You are. [MICHAEL] In that case, I apologize. Is Doug home? Jim sizes Michael up, takes his time answering. [JIM] Just what do you want with him? [MICHAEL] I want to ask him some questions. [JIM] (beat) Lori's husband died a little over a year ago. She's been through a lot. I'm here to see no one takes advan- tage of her. [MICHAEL] I appreciate your concern. Maybe I didn't make myself clear. I'm not here to see Lori, I'm here to see Doug. [JIM] (beat) I've got my eye on you. ANGLE IN BACKYARD - MOMENTS LATER Doug fidgets, scared, trying not to show it. [JIM'S VOICE] Okay, ask away. WIDER ANGLE Michael opposite Doug, flanked by Jim and Lori. Jim looks deep into his macho role. Lori is concerned, not sure just what is what here. [MICHAEL] Doug, before we start, I'm sorry it has to be this way. [JIM] What's that supposed to mean? Embarrassed, Lori tries to shush him. Doug avoids Michael's eyes. [MICHAEL] (to Jim) It means this is tough enough person- to-person. (to Doug) Those men I'm looking for -- I think you saw them this afternoon. Doug doesn't respond. [MICHAEL] They were chasing you, and you were in the black T-top. Lori and Jim exchange an incredulous look. [JIM] Wait a minute here, the kid's fourteen -- he doesn't even drive. [DOUG] I can too! What do you know, anyway?! [JIM] Don't yell at me, I'm trying to protect you! [LORI] Jim, please! [JIM] (to Michael) Are you satisfied? We're trying to have a nice family dinner here and thanks to you, people are yelling at each other! [DOUG] It is not a family dinner 'cause you're not part of the family! He bolts for the house. The silence is painful. Lori looks to Michael. [LORI] I'm sorry...ever since his father died.... [MICHAEL] I'm sorry I had to ask. Thanks. (to Jim) Take it easy. [JIM] Yeah. Right. CUT TO EXT. FOUNDATION - NIGHT The light in Devon's office is on. [DEVON'S VOICE] We know where Conrad Marrs is staying. INT. DEVON'S OFFICE - NIGHT Devon finishes jotting it down on a slip of paper, hands it across to Michael, who looks skeptical. [MICHAEL] That's all? Just an address? [DEVON] What would you prefer, an arrest warrant? A grand jury indictment? [MICHAEL] Now that you mention it, yeah -- why not? Why not something tangible for a change? [DEVON] Because as far as the police are con- cerned, Marrs is clean. Innocent until proven guilty and all that. [MICHAEL] Yeah, that rings a bell. So, what am I supposed to do, take him to dinner? [DEVON] I'll leave the details to you. But Marrs has a reputation as a cautious man. If he bails out the whole operation may collapse. [MICHAEL] Whatever the 'operation' is. [DEVON] Indeed. I thought you said the boy is lying. [MICHAEL] Doug? I think he is. [DEVON] In that case I'd recommend a stake- out. [MICHAEL] Next on my list. Whatever he's got in mind, he'll wait until the house is asleep before he leaves. (glances at watch) I figure I've got a couple of hours yet. (beat) Devon, I know Foundation commitments come first, but I'm worried about Kitt. When I saw him today he shot past like I was a stranger. [BONNIE'S VOICE] You were. ANGLE TO INCLUDE BONNIE She enters with a small high-impact aluminum case. Realizing she's interrupted: [BONNIE] (to Devon) Excuse me. [DEVON] By all means. Perhaps you can make him understand. [BONNIE] I'm a scientist, not a miracle worker. Devon smiles, crosses back to his desk. Bonnie hands Michael the case. [BONNIE] For you. Michael opens it, sees the socket-like instrument inside. It looks small and insignificant. [MICHAEL] Don't tell me this is Kitt's new memory. [BONNIE] Absolutely. New and improved, with five thousand mega-bits of added information. The only problem now will be to get close enough to his CPU service port to install it. [MICHAEL] Sound Freudian. Where is it? [BONNIE] Facing Kitt, eight inches left of the power shift on the transmission. [MICHAEL] (realizes) In other words, under Kitt? [BONNIE] In other words. Don't worry, some of us spend a lot of time under Kitt. [MICHAEL] (concerned) Not when he doesn't know who you are. CUT TO OMITTED INT. LUXURY MOTEL - NIGHT A suite. A pretty girl, Angel, bounces into the living room from the O.S. bedroom (and bathroom) where we hear a shower running. She's wearing something skimpy and cute. She crosses to turn on the TV when someone knocks. [ANGEL] (calls off) Hurry up, it's here. She moves to the door, opens it to reveal Michael. [ANGEL] Hi! Where do I sign? [MICHAEL] Where do you want to sign? She gives him a dazzling smile and a quizzical look. [ANGEL] For the champagne...Aren't you from the liquor store? [MICHAEL] Not exactly. I'm here to see Conrad. [ANGEL] He's taking a shower. [MICHAEL] Mind if I wait? [CONRAD'S VOICE] You got a problem? Angel? [MICHAEL] (sotto voce) Let's have some fun with him -- tell him I need his signature. [ANGEL] (unsure) He won't get mad? [MICHAEL] Connie? C'mon, he's a fun guy. She likes the idea. [ANGEL] Okay. (calls off) Honey, he says he needs your signature. The shower stops, angry mumblings and Conrad enters, a towel wrapped around his wet body. Seeing Michael, he freezes midstep. [MICHAEL] Hello, Conrad. [CONRAD] (to Angel) Who's this guy? [ANGEL] He's a friend of yours -- (to Michael) Aren't you? [MICHAEL] (to Conrad) Where are they? [CONRAD] I don't know what you're talking about. You're in my room, cowboy. Get out. Now. [MICHAEL] There's two of them -- they stole some experimental explosives called nitro-plastique. They run around in a supercharged four-wheel drive. They hired you. [CONRAD] I'm not for hire. I'm on vacation an' you're still in my room. [MICHAEL] Do yourself a favor. Go home. Michael knows he's ready to throw a punch. [MICHAEL] Think before you swing, Conrad. Conrad grabs the towel before it falls. [CONRAD] (furious, deadly) Who are you? [MICHAEL] Just a guy who knows who you are. Be careful. Somebody's watching you. He leaves without waiting for a response, winks at Angel on the way out. Conrad stares after him, angry. Shaken. [ANGEL] (weakly) I thought he was a friend of yours.... Conrad grabs the phone, begins to dial. [CONRAD] (to her) Pack my stuff. (into phone) When's your next flight to Dallas? CUT TO EXT. SUBURBAN STREET - DAY (EARLY AM) It's early, this part of the world still asleep. ANGLE ON WAINWRIGHT HOUSE silent and dark inside. INT. DOUG'S BEDROOM - DAY (EARLY AM) Doug finishes dressing. He grabs his baseball jacket. ANGLE IN HALL The door to Lori's bedroom is open. We can see her in bed, beginning to stir. Pan to reveal Doug creeping down the hall, absorbed in the sense of high adventure. He reaches her open door, pauses, heart in his throat. She stirs, awakens, looks at the alarm clock: five thirty AM, and tries to go back to sleep. He drops to the floor and in commando-fashion wiggles across the open space. She sits up with a start, but can't see Doug pressed against the floor: [LORI'S VOICE] Doug? He freezes. The moment passes. He crawls beyond the doorway to safety. EXT. HOUSE - DAY Sliding out into the early morning from the adjacent garage area is a bicycle, a stealthy figure aboard. It's Doug. He pedals furiously up the street. REVERSE ANGLE to see a Jeep parked at a safe distance. ANGLE IN JEEP Michael is behind the wheel. He's just seen what he suspected. What he's been waiting for. He starts the Jeep and pulls out. ANOTHER ANGLE Doug pedals around a corner. Something's bothering him. He stops, looking back. HIS POINT OF VIEW - THE CORNER Nothing. ANGLE ON DOUG Satisfied, he continues. ANGLE FROM CORNER Michael's Jeep appears, quiet, following at a safe distance. CUT TO EXT. WAINWRIGHT NURSERY - DAY (EARLY) Some early morning traffic, but here it's silent, a place apart. Something moves near the rear fence, a shadow, and we see Doug pull up on his bike. He stashes it, crosses to the fence and scrambles over. CUT TO ANGLE IN ALLEY The Blazer is parked in the shadows. [PELL] So who do you think he is? [KORSO] Who? [PELL] That guy who keeps showing up. The guy who leaned on Conrad. [KORSO] I don't know, but I don't like it. I don't like snatching a kid, either ...if we ever find him. [PELL] We'll find him. This place sponsors the team, the kid's got a jacket, he's on the team... (reacts O.S.) Julius, you're not gonna believe this ...it's him! The kid! [KORSO] Where? [PELL] (points) Right over there. CUT TO ANGLE AT STREET The Jeep pulls up a discreet distance away. Michael slides out, starts for the nursery. CUT TO ANGLE AT STORAGE SHED Doug reaches it, pauses. [DOUG] (whispers) Kitt? Kitt, don't be scared, it's me, Doug.... He unlocks the lock, slowly enters. ANGLE IN SHED K.I.T.T.'s scanner flashes red in the darkness. Doug slips in, turns on the light. He stares at K.I.T.T., still fascinated, still unsure exactly how to relate to his new friend. [K.I.T.T.] Hello, Doug. [DOUG] How you doing...okay? [K.I.T.T.] I've been thinking about what you said, Doug. About 'home'.... [DOUG] What about it? [K.I.T.T.] Do I have one? It's been on Doug's mind, his conscience. He wrestles with it, decides. [DOUG] I was gonna tell you anyway...Kitt, there's a guy looking for you named Michael. He says you're his. [K.I.T.T.] Really. What does he look like? [DOUG] I don't know...he's older, and tall. I guess he's okay. He was looking for you near the dam. [K.I.T.T.] What's a dam? [DOUG] You don't know what a dam is? -- Oh, I keep forgetting about your memory. A dam is a big thing that holds water. [K.I.T.T.] I thought that was a bathtub. [DOUG] No, it's bigger than a bathtub. Kitt, sometimes you're really weird. [K.I.T.T.] Losing one's memory is so embarrassing. There's a sound outside. Curious, Doug crosses to the door, peers out. ANGLE OUTSIDE SHED Two figures suddenly leap at him. Doug tries to yell but they cover his mouth. ANOTHER ANGLE Approaching through potted ferns from the opposite direction is Michael. He hears the noises, reacts. DIFFERENT ANGLE Pell and Korso wrestle Doug out to the Blazer in the alley as Michael races toward them, using plants and potted trees as cover. But Pell spots him. [PELL] Hey! He points his shotgun and fires. Michael is forced to dive for cover. ANGLE AT BLAZER Korso shoves Doug in, starts the engine and pulls out, Pell leaping on as it moves past. ANGLE ON MICHAEL He sprints after it, but it's hopeless. Hold on his face for --- FADE OUT END OF ACT THREE ACT FOUR FADE IN EXT. NURSERY - DAY Michael hurries back to the shed, pauses. [MICHAEL] Kitt? Are you in there? It's me, Michael.... Silence. Michael slowly opens the door. ANGLE IN SHED K.I.T.T.'s scanner flashes. Michael grins, relieved. [MICHAEL] Kitt! I've been worried about you, buddy. [K.I.T.T.] Do we know each other? Michael approaches him slowly, aware it may be a difficult transition for him. He takes the microchip unit from his pocket. [MICHAEL] Know each other? Did Butch know Sundance? Did Smith know Wesson? Michael touches K.I.T.T.'s door. [K.I.T.T.] I'd prefer it if you would kindly keep your hands to yourself. [MICHAEL] (beat) Kitt, there's no time. Doug's been kidnapped. He needs us. [K.I.T.T.] Do you know how many yard-feet of water it takes to irrigate the Imperial Valley in July? Michael uses this opportunity to try to slip the memory unit under K.I.T.T.'s frame, but K.I.T.T. reacts like a wild horse. His systems come to life, he auto-starts and: ANGLE OUTSIDE SHED FROM ALLEY The shed wall splinters in all directions as K.I.T.T. flies out, turbines snarling. ANOTHER ANGLE Michael runs out, stops, facing K.I.T.T. He has an idea. He slowly crosses into the alley, directly in front of K.I.T.T. [K.I.T.T.] Please remove yourself from my path. [MICHAEL] No. Michael slowly advances on him. The memory unit in his hand, ready. [K.I.T.T.] Stay away from me. [MICHAEL] Sorry. Michael reaches K.I.T.T.'s hood. It's a dangerous stalemate. [K.I.T.T.] I'll be forced to push you aside. [MICHAEL] Go ahead. Your dominant program is the preservation of human life. [K.I.T.T.] What's a 'dominant program?' K.I.T.T.'s turbine revs up. He slowly advances. Michael allows himself to drop to the ground, K.I.T.T.'s hood and engine compartment passing over him. [K.I.T.T.] Don't say I didn't warn you! [MICHAEL] Don't run over my leg! K.I.T.T. reacts, for one instant, stops. INSERT - CPU SERVICE PORT Michael deftly pops it open, removes the old unit over: [K.I.T.T.] Move or I refuse to be responsible! [MICHAEL] My leg! Please! Over this, he shoves in the new unit. There's an unexpected silence, followed by: K.I.T.T.'S DASH exploding to life. TO INCLUDE MICHAEL [MICHAEL] Kitt? [K.I.T.T.] Michael? Is that you? [MICHAEL] (relieved) Yeah, pal. It's me. He scrambles from underneath the car. [K.I.T.T.] If I may be so bold, what on earth are you doing down there? [MICHAEL] I'll explain later. Right now, we've got to save Doug. [K.I.T.T.] Doug's my new friend. Where is he? ANGLE IN K.I.T.T. Michael jumps in, activates various systems. [MICHAEL] He was kidnapped, Kitt. [K.I.T.T.] Kidnapped! [MICHAEL] (punches buttons) Let's access your audio banks, see if you picked anything up. [K.I.T.T.] Good idea. K.I.T.T.'s computers whir. [K.I.T.T.] I think I may have something. [PELL'S VOICE] '...The place sponsors the team, the kid's got a jacket....' [MICHAEL] (buttons) Fast forward. There. [PELL'S VOICE] '...No, Julius, this time you listen to me. the point is we do it here and it's murder. But if we take him up to the dam, and the dam 'mysteriously explodes,' he's just part of the natural disaster....' [K.I.T.T.] Michael, they're talking about Doug?! He slams K.I.T.T. into gear. [MICHAEL] I'm afraid so, pal. Let's go! K.I.T.T.'s tires spin, gain traction and they're off. EXT. DAM - DAY The Blazer speeds up a dirt road to the base of the dam area, stops. Korso and Pell get out with Doug, who has his mouth taped securely. Pell starts for a catwalk that circles the face of the dam. Julius hustles Doug down a steep canyon shoulder, below the dam. CUT TO OMITTED EXT. CITY STREET - DAY K.I.T.T. rounds a corner on two wheels, heading toward the hills above the city. EXT. DAM - DAY Pell takes the nitro-plastique, sets the timer for fifteen minutes. He attaches four strips to the concrete face and starts back. ANGLE BELOW DAM Korso ties Doug to a tree, double-cinches the last knot. [KORSO] So long kid. If you ever pass over St. Louis, wave. He starts back up. CUT TO EXT. BASE OF HILLS - DAY Michael and K.I.T.T. leave the last of the residential area behind, turbo over a steel rope guarding a dirt fire road and accelerate up, toward the dam. CUT TO EXT. DAM AREA - DAY Korso and Pell meet at the Blazer, jump in and take off. INTERCUT - NITRO-PLASTIQUE AND TIMER The clock reads less than eleven minutes. INTERCUT - DOUG He struggles to escape but it's no use. ANGLE ON K.I.T.T. barreling up the dirt road. Michael scans the area, pushes buttons. [MICHAEL] All right, Kitt, let's scan for the Blazer...Doug...any movement or activity. [K.I.T.T.] Michael! INSERT - MONITOR We see Doug tied to the tree, struggling. BACK TO MICHAEL He whips down another road. [MICHAEL] Good work, Kitt! ANGLE AT BASE OF DAM K.I.T.T. skids to a stop, Michael jumping out. [K.I.T.T.] Michael, wait! INSERT - MONITOR We see the strips of plastique and the timer. BACK TO MICHAEL He reacts. [MICHAEL] The nitro-plastique! Kitt, quick -- how many minutes left on the timer? [K.I.T.T.] Just over seven. [MICHAEL] Can we disarm it from here? [K.I.T.T.] I don't think so. [MICHAEL] Then let's stop the clock. (pushes button) Full power on microwave jammer. Michael runs to the canyon shoulder for Doug. Hold on the jammer as it focuses on the timer. The timer begins to vibrate. ANGLE ON DOUG He stops struggling when, to his amazement and relief, he sees Michael coming down the ravine for him. Michael cuts the rope, pulls off the tape. [MICHAEL] You okay?! [DOUG] Yeah.... [MICHAEL] Let's go. They start back up. ANGLE IN K.I.T.T. - ON THE MONITOR We see the timer begin to shake violently, then disintegrate. WIDER ANGLE as Michael and Doug appear, climbing in. [MICHAEL] (to K.I.T.T.) How'd we do? [K.I.T.T.] Clock heaven. Hello, Doug! [DOUG] Hi, Kitt! [MICHAEL] All right. Now for our friends in the supercharged Blazer. [K.I.T.T.] Blazer heaven? Michael backs out in a cloud of dust. [MICHAEL] Heaven's too good for 'em. I was thinking of jail. CUT TO EXT. DIRT ROAD - DAY The Blazer barrels along, unaware of: ANGLE BEHIND K.I.T.T. pulls into view. [MICHAEL] Okay, Kitt. Shall we put these turkeys away? [K.I.T.T.] I thought you'd never ask. [MICHAEL] Doug, you do the honors. Press Turbo Boost. Doug grins -- reaches for the turbo button, presses hard. K.I.T.T. zooms high over the racing Blazer, lands ahead of it, cutting it off. ANGLE ON KORSO AND PELL Korso cuts the wheel too sharply. THE BLAZER It flips and slides to a stop. ANGLE ON K.I.T.T. Michael and Doug jump out. As the dust clears, Korso and Pell straggle out, dazed. Michael grabs Pell's .38. [MICHAEL] Go ahead, Doug. [DOUG] Aww, I don't know...Is it legal? [MICHAEL] You're a citizen, aren't you? [DOUG] I guess. (to Korso and Pell) This is Doug Wainwright, and I'm making a citizen's arrest! FADE OUT END OF ACT FOUR TAG FADE IN EXT. WAINWRIGHT HOUSE - DAY The front door opens and Lori, Doug and Michael come out, cross slowly to where K.I.T.T. is parked. Doug darts ahead to say good-bye to K.I.T.T. [LORI] He's like his old self again. He even offered to do the dishes this morning. I was shocked. Michael smiles. [MICHAEL] I wouldn't count on that. [LORI] (laughs) I've been a mother too long, don't worry. But it was nice. It felt good. They smile, continue toward K.I.T.T. and Doug. [LORI] He's going to miss you. You and Kitt. [MICHAEL] According to Kitt, not for long. He's already made me promise to come by. She pauses. [LORI] I've been doing a lot of thinking. About Doug...about Jim. I think it's still too soon. I think Doug needs more than I can give him with another man around... (kisses him on cheek) Bye. And thanks. She goes back in. Michael watches her, pleased, then turns to Doug. [MICHAEL] (to Doug) Sorry, partner. Time to go. [DOUG] I was just telling Kitt that maybe I'd start going to school a little more, maybe like even everyday. [MICHAEL] Sounds good to me. Sound good to you? [DOUG] I guess. Michael smiles, gives him a thumbs up and climbs into K.I.T.T. [DOUG] Don't forget to come by! [K.I.T.T.] I'll see that he doesn't forget, Doug. Now that I've got my memory back, you can count on me. Doug watches as they pull out and disappear down the street.... FADE OUT THE END

{"show": "Knight Rider", "season": "s03", "episode": "e09", "title": "Lost Knight"}

knightriderarchives

ACT ONE FADE IN EXT. COURTHOUSE - DAY - TO ESTABLISH busy downtown area. OMITTED INT. COURTHOUSE AREA - DAY A plainclothes officer, Bryson, escorts a handcuffed prisoner in. Early forties, lean, deceptively charming, wearing a distinctive gold ring, his name is Gordon Baxter the Chameleon. [CHAMELEON] Ah, look at it...Smell it.... [BRYSON] (sniffs) Yeah, they must've just waxed the floors. [CHAMELEON] I'm not talking about floors, Bryson, I'm talking about American jurispru- dence...the District Court of Appeals ...The conscience of the criminal justice system. [BRYSON] Save it for the judge. [CHAMELEON] (a smile) I'm just warming up. In this game, you've got to come out of the blocks fast. (re men's room) How 'bout a little pit stop? [BRYSON] It's always something with you. [CHAMELEON] C'mon. Loosen up. You'll live longer. Bryson sighs, relents, escorts the Chameleon to the men's room. INT. MEN'S ROOM - DAY Bryson and the Chameleon enter. [BRYSON] You know the routine -- age before beauty. He unlocks one of the cuffs, slips it around a post, then fastens it to the Chameleon's wrist again. With the Chameleon safely secured, Bryson turns to the wash basin. As he does, the Chameleon uses the leverage of the post to lift himself off the ground and drives his legs into Bryson's back -- propelling Bryson into the wall with such force that he is knocked cold by the impact. THE CHAMELEON now tears off a piece of skin-colored latex from his wrist, revealing a small key...which he uses to unlock the handcuffs. Then he gets Bryson's gun, pockets it and moves to the door, opening it carefully. INT. CORRIDOR - ON THE CHAMELEON Checking to make sure the way is clear, he darts across the corridor and enters a door marked: Judge Edith Webster's Chambers. INT. JUDGE'S CHAMBERS - DAY Wearing her judicial robe, Judge Webster is working behind her desk when she looks up, startled to see the man with a gun enter. [CHAMELEON] Take off your robe! (to her reaction) Don't worry, Your Honor, it's not what you think. Now take it off. OMITTED INT. MEN'S ROOM - DAY A deputy sheriff enters, sees Bryson, reacts. [BRYSON] (regaining consciousness) Escaped prisoner...hit the alarm...! The deputy sheriff rushes out. EXT. CITY STREET - DAY - ON K.I.T.T. moving through traffic. [MICHAEL (V.O.)] Kitt, give me the point spread on this week's game. INT. K.I.T.T. Michael is driving, relaxed. [K.I.T.T.] Michael, I really don't think gam- bling is a proper use of Foundation equipment. [MICHAEL] You're absolutely right, buddy. Forget it. I shouldn't have asked. It was out of line. [K.I.T.T.] Thank you, Michael. [MICHAEL] Just tell me who's going to win. [K.I.T.T.] Michael! (off Michael's laugh) Devon is calling. [MICHAEL] Yo, Devon? What's up? INTERCUTTING MONITOR [DEVON] Nothing good, I'm afraid. Remember that thief you caught with that shipment of stolen arms; J. Gordon Baxter? [MICHAEL] Alias 'the Chameleon' -- how could I forget? But he's in prison. [DEVON] 'Was,' Michael. He was scheduled for an appearance at the District Court of Appeals this morning. He just escaped. [MICHAEL] Knowing the Chameleon as well as I do, Devon, he's long gone. [DEVON] Not necessarily. They cordoned off the building. There's reason to believe he's still in the vicinity. [MICHAEL] Gotcha. We're on our way. WIDER ANGLE - THE STREET Michael hits the brakes, does a 180 and is off. CUT TO INT. JUDGE WEBSTER'S CHAMBERS - DAY framed on the Chameleon's back. He is wearing the wig and the judge's robe as he looks in the wall mirror, dabbing a last touch of makeup on his latex mask-covered face -- which we do not see until he turns. As he does, he uncovers the judge, who can be seen in the mirror. She is bound and gagged and is staring incredulously at the Chameleon, who has transformed himself into a clone-like duplicate of the lady. [CHAMELEON/JUDGE] My sympathies, Judge. At least I can take this face off when I'm finished. INT. CORRIDOR - DAY Exiting from the judge's chambers, the Chameleon/Judge sees Bryson and other police approaching, checking people, asking for ID. [CHAMELEON/JUDGE] (in woman's voice) He's in there! The escaped prisoner is in my chambers! He's a vile, ugly man! Hurry! The police react, rush to the judge's chambers. As they do, Chameleon/Judge slips through the stairwell door and is gone. INT. JUDGE'S CHAMBERS as Bryson and police rush in, react to seeing the judge bound and gagged. [BRYSON] He's done it again! EXT. COURTHOUSE - DAY Chameleon/Judge exits the building and dashes to a dry cleaner's van that is just pulling in. [CHAMELEON/JUDGE] Okay, honey, out! I'm commandeering these wheels. As he grabs hold of the driver and yanks him out, camera angles off to: K.I.T.T. approaching. INT. K.I.T.T. [K.I.T.T.] Michael, did you see what that lady just did? [MICHAEL] Kitt, that was no lady! EXTERIOR - ON K.I.T.T. as Michael executes a U-turn and gives chase. INT. DRY CLEANER'S VAN - THE CHAMELEON is removing the wig and pulling off the latex mask when he looks in the rearview mirror and sees K.I.T.T. bearing down. He steps on the gas and careens onto a side street.... EXT. STREET - ON K.I.T.T. turning onto the side street, and then delayed as Michael is forced to maneuver around a car ahead, pulling out from the curb.... EXTERIOR - SERIES OF CUTS The chase.... OMITTED EXT. INTERSECTION - DAY The Chameleon maneuvers his van around a huge truck that is entering the intersection. INT. K.I.T.T. [K.I.T.T.] (alarmed) Michael! OVER MICHAEL THROUGH THE WINDSHIELD at the truck, now almost blocking the intersection. [MICHAEL] We're going for it, buddy! But just then, a crossing guard escorting a child and holding up a stop sign starts across the street. [MICHAEL] Oh no.... He is braking to a stop. EXTERIOR - ON K.I.T.T. waiting. As the guard and child pass they start up again. [K.I.T.T. (V.O.)] The van stopped two hundred yards ahead, Michael. EXT. THE PARKED VAN - DAY as K.I.T.T. roars in, stops and Michael hops out. He spots the Latex mask inside, then looks around. [K.I.T.T.] It's been only a matter of seconds, Michael. He couldn't have gotten far. MICHAEL'S POINT OF VIEW panning various individuals and groups of pedestrians. Over this: [MICHAEL'S VOICE] That's the trouble, Kitt. A few seconds is all he needs. End pan on a small group of tourists, filing onto a bus. One, wearing a loud Hawaiian shirt, Bermuda shorts and knee socks -- and snatching up someone's camera he finds on a bench is the Chameleon. We also notice his distinctive ring. RESUME ON MICHAEL as he takes the mask from the dry cleaner's van studies it, thoughtful. CUT TO EXT. THE FOUNDATION - DAY - TO ESTABLISH INT. DEVON'S OFFICE - DAY - MICHAEL, BONNIE AND DEVON who studies the mask. [DEVON] It's remarkable. Imagine...to make a mask of this quality while being locked up behind prison walls. [MICHAEL] You don't get to be The Man Of A Thousand Faces And Voices without learning a few tricks. (frustrated) I had him, Devon. Right in the palm of my hand.... [DEVON] It's an all-too-common story, I'm afraid. The important thing now is, with his reputation for stealing sophisticated weapons and selling them to the highest bidder, he's got to be caught and caught fast. [MICHAEL] (to Bonnie) Anything new on him in the computer? [BONNIE] Nothing useful. He's been in prison since you helped send him there back in August, 1982. [MICHAEL] What about his daughter? (thinks) Tonie? [BONNIE] (nods) Tonie. According to our information, she still lives in town. [MICHAEL] Good. (crosses toward door) It's a place to start. [DEVON] Michael, I know this goes without saying, but I'll say it anyway. The Chameleon's already threatened to kill you if your paths ever crossed again. So be careful. [MICHAEL] Gotcha. He's gone. OMITTED EXT. ARMAND'S CAFE - DAY - TO ESTABLISH INT. ARMAND'S CAFE - DAY - CLOSE ON BELLY DANCER doing her thing, as a hand stuffs several twenties beneath the waistband of her costume, along with the others already there. FULLER ANGLE to see the man is Bertril Unger, forty-five, with a monocle in his right eye, nattily dressed, seated at a table. [BERTRIL] Perhaps later? My place? Alone? The belly dancer glances down at him. ANGLE TO INCLUDE GUSTAV UNGER his totally twin brother. Monocle and all, seated across from him. [GUSTAV] Believe me, Bertril, it's not the impossible dream. Bertril throws an angry look at Gustav as the belly dancer dances away. Armand's is Rick's Place in Casablanca. Reeking with a sense of intrigue, this is a cockpit for soldiers of fortune from every part of the world, and Armand Presler is not only the proprietor, he is also an international arms broker with whom these mercenaries do volume business, in the purchase and sale of illegal arms. A gregarious host, Armand is carrying his Sidney Greenstreet- like bulk from table to table, laughing at a coarse joke here, joining a whispered intrigue there...when he suddenly bumps into someone wearing an eye patch, moustache, and sporting a deep scar down the right side of his face: [ARMAND] Excuse me, my good.... But he suddenly stops, takes a better look at the man, then brightens: [ARMAND] Gordon! (closer look) That is you, isn't it? Of course it is. (takes his arm, leads him to a back office) Welcome home. [CHAMELEON] It's good to be back, Armand. (looks about) The place looks the same.... OMITTED ANGLE TO INCLUDE BELLY DANCER dancing nearby. Ruby in her navel: [ARMAND] Only the belly buttons have changed. They enter the office. INT. PRIVATE OFFICE - DAY They sit at a table Armand; will pour two drinks. [ARMAND] Two years is a long time, eh, my friend? [CHAMELEON] You have no idea. That's why I intend to make up for everyday of them. [ARMAND] Of course, of course. How can I help you? [CHAMELEON] First -- I need one big job. The bigger the better. [ARMAND] (glances about, softer) All right -- I've recently received inquiries about an item that might be just up your alley. It's called Project Lone Eagle. The Air Force is testing it at Welby Field. [CHAMELEON] How much is in it for me? [ARMAND] One million dollars. [CHAMELEON] (nods) It's a start. [ARMAND] I'm glad you think so. But you said -- first. May I ask -- what's second? [CHAMELEON] Yes...I intend to kill someone by the name of Michael Knight. He lifts his glass and drinks. OMITTED EXT. TONIE'S LAUREL CANYON HOUSE - DAY - ON K.I.T.T. turning onto the street and pulling up in front of a funky canyon house. From inside, a vocalist (Tonie) can be heard singing along with a rock group. [K.I.T.T. (V.O.)] Michael, if Tonie Ryder lives where that so-called music is coming from, I suspect she hasn't heard about her father's escape. AT K.I.T.T. Michael climbs out. [MICHAEL] I don't know. I guess that depends on how she feels about him. Kitt, run down the name of the top dog in illegal arms around here. [K.I.T.T.] I'll get right on it, Michael. [MICHAEL] And keep your scanner peeled. Kitt's scanner flashes. Michael heads for the house. ANOTHER ANGLE to include Harry, eighteen, an energetic young handbill distributor, who has just papered another car with an advertisement; he approaches K.I.T.T. and is about to plant one on him: [K.I.T.T.] No thank you. Startled, pulling his hand back: [HARRY] Who said that? [K.I.T.T.] I did. Please, keep your advertise- ment off my person. [HARRY] 'Off your person?!' You're a car! [K.I.T.T.] A figure of speech. [HARRY] Wow. I've heard of alarm systems that do everything but talk...and now they got one that does. (shrugs) Well...we all got a job to do. Again, he reaches to fold a handbill under K.I.T.T.'s wind- shield wiper. [K.I.T.T.] Not on me. With this, K.I.T.T. activates the wiper, making it wag at a rapid rate of speed, again startling Harry into withdrawing his hand. But Harry is a man to be reckoned with: [HARRY] Look, I got professional pride to deal with here. I got integrity. When I promise to deliver five hundred circulars, I don't dump 'em in the sewer like some other guys. So saying, Harry slaps a handbill on K.I.T.T.'s hood and scoots quickly away. [K.I.T.T.] (grumbles) The things I'm forced to put up with. INT. TONIE'S HOUSE - DAY Tonie Baxter, nineteen, is singing to music, blasting out of a tape deck stereo. As the song ends, she turns and reacts. [TONIE] Michael...? ANOTHER ANGLE to include Michael, standing in the open doorway. He smiles. [MICHAEL] Hi, Tonie. You look terrific. She seems pleased but slightly uncomfortable, busies herself, turning off the stereo, over: [TONIE] Well, the place is kinda of a mess now; I've been rehearsing all morning... (indicates stereo) ...my band's new song. [MICHAEL] I didn't say the place, I said you. She smiles, flattered, uncomfortable. [TONIE] Don't tell me. You just happened to be in the neighborhood and.... Michael waits, sympathetic. Her eyes finally find his. [TONIE] What's my father done now? [MICHAEL] Escaped. She sighs, moves away, busies herself with something. [TONIE] What's that got to do with me? [MICHAEL] Tonie, he's your father. [TONIE] (turns) So what? It's a biological fact, not a relationship. Whether you believe it or not, there's a difference. One doesn't necessarily equal the other. [MICHAEL] Tonie, I know how painful this is for you. [TONIE] Then why are you here?! [MICHAEL] Because someone had to come. I thought you'd rather hear it from me than a rookie cop, taking notes. She believes him, seems to relax a little. [TONIE] I'm sorry, Michael. You were straight with me before...it's just that every time I think he's out of my life once and for all, someone knocks on my door, or I turn on the TV and there he is again. [MICHAEL] (re the place) Looks like you've put a lot of room between you and your old life. What happened to college? [TONIE] I quit. All part of burying the past. (ironic laugh) You can see how successful it was. (beat) The answer is no. [MICHAEL] I didn't ask a question. [TONIE] Your eyes have been asking it ever since you walked in. 'Have you seen your father? Has he contacted you?' A moment between them. [MICHAEL] I was straight with you...and you were always straight with me. You say 'no,' I've got no more questions to ask. Just one request. If you do see him, I'd appreciate a call. He doesn't wait for a response, leans forward and quietly kisses her forehead. [MICHAEL] Don't give up on that new life. It can be done. He slips out. She watches him, a mixture of feelings. EXTERIOR - AT K.I.T.T. as Michael returns and gets in. [K.I.T.T.] Did she give you anything, Michael? [MICHAEL] Yeah, Kitt. The truth. She hasn't seen him. (beat) Yet. (starts K.I.T.T.) What about that arms dealer? His picture and pertinent information appear on the monitor. [K.I.T.T.] Armand Presler, one of the most ruthless traffickers in illegal arms on the North American Continent. [MICHAEL] Sounds like my kinda guy. EXTERIOR - ON K.I.T.T. pulling away...then pan off and zoom in on an old man raking leaves across the street. For some reason, the old man is intently interested in Michael, and, as he steps over to his pickup truck, keeps his eye on him as he drives away. Now, as the old man reaches into the truck for a rag to wipe the makeup off his face, the distinctive ring he wears identifies him as being the Chameleon. Another thoughtful look in the direction Michael took, then the Chameleon looks up at his daughter's house. As he does: FREEZE FRAME AND FADE OUT END OF ACT ONE ACT TWO FADE IN EXT. CITY STREETS - DAY - WITH K.I.T.T. - STOCK K.I.T.T. flashes by. [MICHAEL (V.O.)] Kitt, this Armand Presler didn't get to be the number one arms dealer playing with kids. He's got to think I'm a top mercenary. INT. K.I.T.T. - DAY - TRAVELING Michael wears a finely cut white suit and tie...blue carnation. [K.I.T.T.] Michael, top mercenaries always seem to have other mercenaries out to assassinate them. Wouldn't you be happier with a more modest rating... say fourth or fifth? [MICHAEL] Forget it, pal. Armand only deals with the best, and if I'm not the best.... [K.I.T.T.] He won't lead you to the Chameleon. [MICHAEL] The bottom line, buddy. So let's make me one mean machine. [K.I.T.T.] (sighs) As you wish, Michael. ANGLE TO INCLUDE MONITOR A picture appears of a man who vaguely resembles Michael. [K.I.T.T.] Since soldiers-of-fortune invariably uses aliases, you can choose between John Doe, Jack Smith or Joe Brown.... [MICHAEL] Jack Smith sounds like a winner. [K.I.T.T.] Very well. Jack Smith it is. Former Special Forces Commando, active in the Congo, Nambia, Dominican Republic. [MICHAEL] Let's not overdo it, pal. [K.I.T.T.] Michael, you wanted to be top dog. On Michael's look: SMASH CUT TO EXT. ARMAND'S CAFE - DAY - ON K.I.T.T. K.I.T.T. pulls up and Michael gets out. [MICHAEL] Anything else you have to tell me before I enter this den of jackals? [K.I.T.T.] Yes, Michael: Kwa bahati nzuri. [MICHAEL] Which means? [K.I.T.T.] Be careful. In Swahili. Michael smiles and walks off toward the cafe. INT. FOYER AREA OF ARMAND'S CAFE - DAY - WITH MICHAEL He enters the dimly lit room. A big hand reaches in from off frame and jabs into his chest, stopping him cold. The bouncer, six feet of muscle and bone, appears out of the gloom. [GIBBS] You need a membership card. Michael carefully reaches into his pocket. [MICHAEL] My initiation fee. Michael pulls out a hundred-dollar bill and hands it to Gibbs. The bouncer tears it in half. [GIBBS] We don't need new members. [MICHAEL] Then I'll just visit. Michael starts to brush past Gibbs. The man throws him against the wall. ACROSS THE CAFE At his special booth, Armand sits with a beautiful young woman. They watch the action in the foyer together. BACK TO THE FOYER Gibbs makes a move on Michael, which Michael uses to his advantage, judo-throwing him into the nearby fountain. [MICHAEL] (to stunned bouncer) That's all right, I'll seat myself. AT ARMAND'S BOOTH He makes a simple gesture to the girl, whose name is Ingrid. She leaves the booth. WITH MICHAEL He moves through the busy, smoky cafe, pauses at the bar...and then Ingrid is standing beside him. [INGRID] My name is Ingrid. Michael takes a look at her Bergman-cut clothes, he smiles. [MICHAEL] What would you like to drink, Ingrid? [INGRID] (gesturing at bartender) Dar Bel Dormey. [MICHAEL] Good choice. Cool, elegant, a fine flavor. Like a woman named Ingrid. Ingrid's drink arrives. She sips it. Michael's eyes meet her. [INGRID] And what is your name? [MICHAEL] Jack Smith. [INGRID] Good choice. [MICHAEL] Glad you like it. I'm looking for Armand Presler. Ingrid glances toward Armand's booth. [INGRID] Try that way. [MICHAEL] Thanks. Michael puts some money on the bar and moves toward the booth. AT ARMAND'S BOOTH Michael approaches. Armand sizes him up, but doesn't make a single move to welcome him. [MICHAEL] That's all right, don't get up. (slides into the booth) My name's Jack Smith. [ARMAND] That's hardly reason enough to attack my bouncer. [MICHAEL] He attacked. I retaliated. Armand laughs deeply. [ARMAND] A man after my own heart. The laughter stops as abruptly as it started. [ARMAND] Now, why are you here? [MICHAEL] I need something real special, and I heard you were once the man to see. [ARMAND] 'Once?' As in past tense? [MICHAEL] When you had the Chameleon working for you. But now that he's in prison, Armand, they say you've lost some of your touch. Armand bristles. ANGLE ON WAITRESS uncorking a bottle of champagne with a loud "pop." FULLER ANGLE as half the guests duck under their tables, and the other half go for their concealed guns, putting them away only when they realize there's no attack. BACK ON MICHAEL AND ARMAND completely oblivious to the action. Continuing: [ARMAND] Whoever 'they' are, Mr. Smith...don't know what 'they're' talking about. As for the Chameleon...well...I have someone just as good. If not better. [MICHAEL] Fine, then I'll talk to him. Armand's smile turns into a deep laugh, which he quickly turns off. [ARMAND] No, I don't think so. Now what is it you wanted? [MICHAEL] Scorpion missiles. [ARMAND] Scorpion missiles? For them, I'll need a little time. [MICHAEL] Take as long as you want...up to twenty-four hours. (grins) I'll be in touch. He gets up and leaves. Armand studies him. WITH MICHAEL On his way out he sees Ingrid taking a cordless phone to Armand's booth, the receiver off. EXT. ARMAND'S CAFE - DAY Michael coming out, talking to the comlink: [MICHAEL] Kitt, Armand just got a call. Let's see what it's about. [K.I.T.T.'S VOICE] Right, Michael. Michael continues to K.I.T.T., slides in. ANGLE IN K.I.T.T. A voice graph is on the monitor. The phone conversation, however, is garbled. [MICHAEL] They're using a scrambler. [K.I.T.T.] I'm afraid so, Michael. A very good one, I might add. It's beyond my deciphering capabilities. [MICHAEL] Bonnie's been dying to try out that new LBG analyzer. Here's her big chance. ANGLE ON K.I.T.T. Michael drives off down the street with a roar of K.I.T.T.'s turbines. OMITTED EXT. LAUREL CANYON HOUSE - DAY Tonie is tending the garden back of the house, on her knees in a flower bed. A shadow crosses over her. Startled, she looks up at.... THE CHAMELEON He wears a cap, leather jacket. His nose appears to have been broken once and he wears a short, neatly trimmed beard. [CHAMELEON] Tonie.... Slightly startled by the recognition of his voice: [CHAMELEON] You don't have to be afraid of me. I'm your father. [TONIE] Father? Is that the role you're playing now? [CHAMELEON] I've never stopped being your father. He takes a step toward her, she backs off. [TONIE] What about all those years you were in prison, or off somewhere selling guns? [CHAMELEON] A man does what he has to do. [TONIE] And gets what he deserves. And in your case, it's prison. [CHAMELEON] Not this time. No one's ever going to put me away again. Especially Michael Knight. (beat) What did you tell him, Tonie? [TONIE] What could I tell him? I don't know anything. [CHAMELEON] (smiles) Good girl. He reaches for her. She backs away. [TONIE] Don't touch me. [CHAMELEON] Baby, I'm onto a big one now. It's going to make us more money than we've ever seen in our lives. And it's gonna be just for us. You and me. [TONIE] I don't want your money. (slight beat) You know what I want, Dad? I want you to leave me alone, because you hurt me. And I don't want to be hurt anymore. She runs off toward the house, pauses in the open door. [CHAMELEON] (calls after her) I'm going to the high desert. We'll talk about it when I get back. Believe me, sweetheart, hurting you is the last thing I ever want to do. She slams the door shut. He looks after her, darkly. EXT. HIGHWAY - DAY - ON THE FOUNDATION SEMI barrels through the noon day sun. [MICHAEL'S VOICE] Getting any closer, Bonnie? INT. SEMI - DAY Michael and Devon stand over Bonnie, who's tabbing keys at the computer terminal. Atop it, we see a device with flashing L.E.D.'s -- Bonnie's new unscrambler. Michael tries to cover his impatience. K.I.T.T. waits nearby. [BONNIE] Should be. The LBG analyzer is on the cutting edge of sonic distortion technology. [MICHAEL] In English, please. [BONNIE] It'll break down any scrambled message, Michael...given enough time. [MICHAEL] How much time is that? [BONNIE] (ignoring his pressure) I'll tell you when I get it. She hits a button to activate a new possibility. INTERCUT - TERMINAL SCREEN as it feeds out a graphic representation of the garbled and distorted sounds coming over the unscrambler. The group listens intently. Out of the electronic gobbledygook we pick out the word: "Armand." Michael reacts. [MICHAEL] That's it, Bonnie, you're beautiful. Bonnie punches a few more keys. ON THE MONITOR The voices blur...and we hear: [ARMAND'S VOICE] Yes? ANOTHER ANGLE to show our threesome's gleeful reaction. From the monitor the voices, with matching graphics image, continue. [CHAMELEON'S VOICE] It's me. [MICHAEL] The Chameleon! I'd recognize that voice anywhere. [ARMAND'S VOICE] Any news? [CHAMELEON'S VOICE] The Lone Eagle is about to fly. [ARMAND'S VOICE] Very good. And once you finish this job my friend, I have a new buyer you may wish to meet. [CHAMELEON'S VOICE] Forget it, Armand. After this job, I'm retiring. A click and a dial tone. [K.I.T.T.] Lone Eagle? What could that possibly mean? [DEVON] Obviously a code name for the Chameleon's next target. [MICHAEL] Kitt, any idea where that call came from? OMITTED FAVOR THE SCREEN We see a map. A red dot marks the spot. [K.I.T.T.] A phone booth in the Laurel Canyon area. BACK TO MICHAEL AND COMPANY [MICHAEL] (putting it together) Laurel Canyon. That's where Tonie lives. Michael heads back to K.I.T.T. Devon follows. [DEVON] You think he went to see her, Michael? [MICHAEL] Don't think, Devon -- know. He practically jumps into K.I.T.T. EXT. SEMI - DAY K.I.T.T. barrels backwards out of the semi and races off. EXT. LAUREL CANYON ROAD - DAY - ON TONIE jogging. K.I.T.T. approaches from behind, slowly. Michael calls out the window: [MICHAEL] Now that's what I call a nice easy stride. She looks at him, shakes her head: [TONIE] How'd you find me? Don't tell me that car of yours is psychic, too? [MICHAEL] Almost. But this time I asked your friendly next door neighbor. Mind if we join you? Michael gets out and begins to jog alongside her. K.I.T.T., of course, keeps right up with them. Once again, Tonie just shakes her head. [TONIE] Michael, you are weird. [MICHAEL] What's wrong? Half the men in America jog. [TONIE] With their dogs, not their cars. [MICHAEL] What about Muhammad Ali, Rocky Marciano, the old Bronx Bomber himself, Joe Lewis -- they all did their road work with cars following them. Right, Kitt? [K.I.T.T.] Whatever you say, Michael. [MICHAEL] There. [TONIE] I take that back -- you're both weird. Now what do you want? [MICHAEL] To know what your father said to you. [TONIE] I haven't seen him. [MICHAEL] What happened to playing it straight with each other? She tries to ignore this. [MICHAEL] Tonie.... She stops jogging. So does he. They'll continue to walk. [TONIE] All right...he came by. [MICHAEL] (pleasant) Thanks for calling. [TONIE] Michael, whatever he's done, he's my father. [MICHAEL] A biological fact, remember? He's also the man who caused you to give up college and a very promising future. [TONIE] Meaning, as a singer, I should take up law. [MICHAEL] No, meaning you don't really owe him anything. He stops her. [MICHAEL] Tonie, what's he after? [TONIE] (beat) He didn't tell me, Michael. That's the truth. [MICHAEL] And you don't have any idea where I can find him? [TONIE] No...only.... [MICHAEL] What? [TONIE] He said something about having to go to the high desert...and I don't think it was for his health. [MICHAEL] That makes two of us. Thanks. A gentle kiss, he slides back into K.I.T.T. and peels off. EXT. K.I.T.T. - DAY - FAST DRIVEBY - STOCK K.I.T.T. screams past us. [MICHAEL'S VOICE] Bonnie, fill me in on high-desert defense installations. INT. K.I.T.T. - DAY - TRAVELING/INTERCUT BONNIE ON MONITOR [BONNIE] He could hit any of a dozen places, Michael. They're all low-profile, high-security testing sites. It's hard to learn much about them. [MICHAEL] Well, the Chameleon managed to. (beat; idea) Kitt, does any of them show a computer file on a Lone Eagle project? Data graphics replace Bonnie on the monitor momentarily, then she reappears. Under her we see numbers and the flashing words: Welby Field. [K.I.T.T.] I have it, Michael. Welby Field is conducting tests on a project X12JP1. Code name Lone Eagle. [MICHAEL] Bonnie, have Devon warn the base. They could be in for a nasty surprise. As her image fades and they roar away: CUT TO OMITTED EXT. RURAL ROAD - DAY - ON AN ND SEDAN being driven by Major William Anderson. As he drives along, the Major is unaware he has a passenger in the back who is now pulling off the blanket under which he has hidden himself. SHOOTING OVER THE MAJOR as he looks in the rearview mirror and is shocked to see another person behind him, who looks exactly like himself. ANOTHER ANGLE as the Chameleon puts a gun to the Major's side. [CHAMELEON] Just keep driving, Major. I'll tell you when to stop. The stunned officer obeys, and we: CUT TO EXT. A DIFFERENT RURAL AREA - DAY - ON K.I.T.T. streaking along. [K.I.T.T. (V.O.)] Michael, we've reached the outer limits of Welby Field. ANGLE IN K.I.T.T. [MICHAEL] Give me an ETA for the main base. [K.I.T.T.] Two point five minutes, Michael. And they zoom on.... CUT TO EXT. FRONT GATE - WELBY FIELD - DAY The Chameleon/Major wheels up to the guard post and stops. As he salutes, we again spot his distinctive ring. [GUARD] Good morning, Major Anderson. [CHAMELEON/MAJOR] Good morning, Corporal. The imposter drives on through, his disguise perfect. INT. CORRIDOR - LAB BUILDING - DAY The sign on the door reads: PROJECT LONE EAGLE - R & D - RESTRICTED AREA. Using the real Major's ID, the imposter slots it in the card key device and the door opens. INT. LAB - ANTE ROOM AND DUTY DESK - DAY The duty sergeant, who presides over the super sensitive entrance to the main lab, looks up as Chameleon/Major enters, recognizes him with a nod and returns to his crossword puzzle. When he does, Chameleon/Major circles around back of him, draws his gun and uses it to knock the man out. Now he crosses to the door marked TOP SECRET. A red light flashes. He again slots the ID card; the light goes off, the door swings open and he enters. INT. LAB ROOM - DAY In the middle of the room is a stand. A silvery space- blanket covers the object sitting on top of it. Its silhouette is nothing we recognize. The Chameleon crosses, lifts the object and starts out with it. EXT. HIGHWAY - DAY - K.I.T.T. ON THE BASE racing toward the research and development area. [MICHAEL'S VOICE] Kitt, tap the base security channel. ANGLE IN K.I.T.T./INTERCUT - MONITOR [K.I.T.T.] All's quiet, Michael. There's no breach of security indicated. Michael studies the monitor. [MICHAEL] There's got to be something. Kitt, use your infrared to scan the area. The monitor responds. A fast moving blip appears. [K.I.T.T.] Michael, there's a four-wheeled vehicle heading for the ordinance testing ground. And it's going fast. [MICHAEL] Use the I.G.P. and try for an ID. The monitor responds appropriately. [K.I.T.T.] It's him, Michael. E. Gordon Baxter. [MICHAEL] I think we just caught ourselves a Chameleon. Let's nail him. He hammers a right turn. OMITTED EXT. ROAD - RUGGED TERRAIN - ANOTHER AREA OF THE BASE - DAY The Jeep appears and passes. ANGLE ON K.I.T.T. driving hard in another area to catch up. ANGLE ON CHAMELEON/MAJOR He looks back, sees K.I.T.T. and wheels onto a secondary road. The stolen device is beside him. ANGLE IN K.I.T.T. driving hard. [MICHAEL] Where does this road go? [K.I.T.T.] He's outsmarted himself, Michael. It dead ends at a cliff just ahead. We've got him. [MICHAEL] Don't say that. He might disguise himself as a rock on a bush...or even a Chameleon. EXT. THE CLIFF - DAY A sheer drop to a ravine far below. In the distance, the oncoming Jeep and K.I.T.T. behind. EXT. END OF ROAD - DAY The Chameleon's Jeep slides to a stop in the dirt just before going over the edge. He immediately starts working with the stolen device, looking back over his shoulder at: K.I.T.T. racing up to catch him. ANGLE IN K.I.T.T. - MICHAEL'S POINT OF VIEW To Michael and K.I.T.T.'s amazement, the Chameleon is standing boldly beside the Jeep, strapping the stolen device to his back. [K.I.T.T.] Michael, what on earth is he putting on his back? [MICHAEL] Something tells me that's Project Lone Eagle. He starts after the Chameleon when: VARIOUS SHOTS - THE CHAMELEON'S TAKEOFF We reveal the "Lone Eagle," showing it in action. The Chameleon ignites the booster on a high-powered jet pack and suddenly lifts away from the Jeep, flying up, up, and away from Michael and K.I.T.T., out over the ravine and away from capture. RESUME ON MICHAEL Openmouthed, in grudging admiration: [K.I.T.T.] Michael...no! [MICHAEL] Just when you think he's run out of surprises.... Off his look: OMITTED FREEZE FRAME FADE OUT END OF ACT TWO ACT THREE FADE IN EXT. HIGHWAY - DAY - FOUNDATION SEMI churning down the blacktop. INT. SEMI - DAY Bonnie sits at the computer terminal as Michael and Devon talk restlessly nearby. [DEVON] Give the Chameleon credit for a brilliant deception. He walked right through top security and flew off with their prototype jet pack. [MICHAEL] Kitt, what do we have on the Lone Eagle? INTERCUT - MONITOR to see a graphic of the stolen jet pack. [K.I.T.T.] It makes all its predecessors look like toys. It can stay airborne six minutes, has stealth scramblers and night flight vision. [DEVON] What about offensive capabilities? [K.I.T.T.] Definitely possible, but still in the development stage. [BONNIE] Imagine what a terrorist could do with that. [MICHAEL] And now it's heading for Armand Presler... (heading for Kitt) Devon, call the bank. I'm going to need some money to flash around. Say, half a million. [DEVON] (blanches) Dollars? [MICHAEL] I don't think Presler will take yen or shekels. He wants a highroller, I'll give him one. He gets into K.I.T.T. and backs out. EXT. SEMI ON HIGHWAY - DAY K.I.T.T. slides down the ramp, spins a 180 and glides off. EXT. ARMAND'S CAFE - DAY - ON K.I.T.T. pulling in. Michael gets out, hefting a leather attache case. [K.I.T.T.] Michael, your pulse and adrenalin levels are high. [MICHAEL] Right where they should be. This is a lot of bread, pal. Keep the scanner warm. As Michael starts for the entrance, K.I.T.T. spots Harry, the circular man, coming. [K.I.T.T.] Oh, no! Not you again! Circling about, eyeing K.I.T.T. [HARRY] You really a talking car? [K.I.T.T.] No, I'm a tight end for the Chicago Bears! [HARRY] I like the 49ers myself. [K.I.T.T.] You work hard. Don't you think you deserve some time off? Like a few years? [HARRY] Are you kidding? I'm performing a very important service here. See this? (the handbill) It's got a puzzle on it. It's a tough one, but whoever figures it out wins a fortune in prizes. I mean, I could be responsible for changing somebody's whole life around. With this, Harry lays the handbill for Ace Automotive Products on K.I.T.T.'s hood. Predictably, K.I.T.T. sends the handbill flying by, popping up the hood. Then, giving it a second thought: [K.I.T.T.] A tough puzzle, huh...? INT. ARMAND'S CAFE - DAY - CLOSE ON OPEN ATTACHE showing the Foundation money. OMITTED FULLER ANGLE Armand's eyes are open wide as he looks at the bills, but when he starts to touch them, Michael snaps the case closed. [MICHAEL] That's a good way to lose a hand, Armand. [ARMAND] But, Mr. Smith...I'm not sure I under- stand. You say you're no longer interested in the Scorpion missiles? [MICHAEL] That's right...I want the Lone Eagle jet pack, instead. It was stolen yesterday, by a man who could only have been the Chameleon. Armand reacts. ANGLE ON SWARTHY INDIAN seated at a nearby table. He wears a turban and has a red mark on his forehead. He also wears the Chameleon's ring, and watches Michael. BACK TO SCENE [MICHAEL] Well, Armand? Can you deliver or not? [ARMAND] I'm sorry...but I already have another buyer. However...I've never been one to let honor stand in the way of greed. The price is...five million. Cash, of course. [MICHAEL] When can I get it? [ARMAND] Call me here in an hour...I'll give you the time and place. (re attache) And if that's too heavy for you to carry around.... [MICHAEL] (grins) Thanks...but I can manage. He leaves. ANGLE ON CHAMELEON/INDIAN moving to Armand's table. [CHAMELEON/INDIAN] What do you think you're doing? Even Armand has to give him a quick double-take. [ARMAND] What I do best -- make money. [CHAMELEON/INDIAN] For your information, that was Michael Knight, from the Foundation For Law and Government. Presler reacts, then starts to laugh from the depths. [ARMAND] Well, what do you know about that? You two could make quite a team. (laughter stops cold) But I thought you were going to kill him? [CHAMELEON/INDIAN] That's right, Armand -- and I know just the way. He starts off. OMITTED EXT. STREETS - DAY - K.I.T.T. motoring through light traffic. [MICHAEL'S VOICE] If it goes the way I plan, we'll smoke out the jet pack and the Chameleon. ANGLE IN K.I.T.T. driving. [K.I.T.T.] Michael, it's Devon. Michael pushes the buttons. Devon appears on the monitor. [DEVON] Michael, you just got a call from Tonie Baxter. She needs to speak to you right away. [MICHAEL] Okay. I'll get her and keep you posted. He punches buttons and the monitor fades. [MICHAEL] Kitt, get me Tonie. K.I.T.T. responds with seven quick digital beeps. OMITTED INT. TONIE'S HOUSE - DAY Open tight on a ringing phone. Tonie picks it up. [TONIE] Hello? (keyed up) Michael! I need to see you. INTERCUT - MICHAEL AND TONIE Michael speaking as he drives, over K.I.T.T.'s speaker-phone. [MICHAEL] Tonie, is something wrong? [TONIE] Michael...he's here. Widen to reveal an apparently contrite Chameleon sitting with her. [TONIE] He's had a change of heart and wants to turn himself in. Only...he's afraid. [MICHAEL] Afraid of who? The police? Armand? [TONIE] Everyone. Michael, I've never seen him like this before. He's afraid he won't even make it back to prison alive. [MICHAEL] Tonie, you have my word. I won't let anyone hurt him. I'm on my way. They hang up. Michael accelerates. [MICHAEL] Call Devon, Kitt. Fill him in on all this. [K.I.T.T.] Michael, you know this could be a trap. [MICHAEL] Way ahead of you, Kitt. Way ahead of you. CUT TO OMITTED EXT. TONIE'S HOUSE - DAY - ON K.I.T.T. pulling in and Michael getting out. [MICHAEL] Keep your scanner peeled, buddy. Michael surveys the area, then heads for the door. INT. TONIE'S HOUSE - DAY Tonie pulls open the door for Michael, and he strides in. No sign of the Chameleon. She hugs him. [TONIE] Michael, thank God you're here. [MICHAEL] Where's your father? [TONIE] In the kitchen. Michael hurries toward the kitchen door and starts to swing it open, but it suddenly flies open toward him, pushing him back into the room. Ryles, one of Armand's henchmen from the cafe, emerges with a drawn gun. MICHAEL joins Tonie, who's terrified. [MICHAEL] Just take it easy. [TONIE] (to Ryles) Who are you? Where's my father? [RYLES] He had another appointment to keep. [TONIE] Michael, I didn't know. I swear. [MICHAEL] I know, Tonie. It's okay. (to Ryles) Look, it's me you want. Let her go. [RYLES] Fat chance, Knight. Or should I say 'Smith.' Now you two head toward the back, slow and smooth. Anything fancy from you... (cocks the gun) ...she gets it first. CLOSE ON MICHAEL He's caught. And he knows it. [FREEZE FRAME] END OF ACT THREE ACT FOUR FADE IN EXT. TONIE'S HOUSE - DAY - ESTABLISHING K.I.T.T. parked patiently out front. EXT. REAR OF HOUSE - DAY The back door opens and Tonie emerges, followed by Michael. Ryles comes last, his gun trained on Michael's back, gesturing them to a nearby car. [MICHAEL] I'm asking you again -- leave her here. [RYLES] Forget it! ANGLE IN K.I.T.T. - INTERCUT - MONITOR All systems alert, watching the goings-on. Devon is tense. [K.I.T.T.] Michael was right, Devon. It's a trap. [DEVON] I hope to heaven he hasn't been hurt. [K.I.T.T.] Not yet, but these plans of his make me nervous. And they have Tonie as well. [DEVON] Be ready when he needs you, Kitt. Don't let him out of your sight. [K.I.T.T.] Not a chance, Devon. EXT. REAR OF HOUSE - DAY The group has neared the parked car. Ryles directs them. [RYLES] (to Michael) Okay, you drive. I'm in back with her, so don't get any ideas. Michael starts to comply, but subtly addresses his comlink. [MICHAEL] (comlink) Okay, Kitt, phase two. ON K.I.T.T. As he auto-starts and roars up the driveway, a siren wails from under the hood, the headlights flash, and the scanner blinks on and off. [K.I.T.T.] (bullhorn) This is the police. The area is cordoned off. Throw down your weapons, or face the consequences. RYLES is caught unaware by K.I.T.T.'s display. He's distracted long enough that: MICHAEL can leap onto him, wrestling the gun away, tossing it aside. He forces Ryles up against a Dempsey dumpster and holds him there, hard. [MICHAEL] I'll only ask once, so you better listen good: Where's the Chameleon going? Ryles is silent, so Michael slams him against the dumpster harder. [MICHAEL] Have it your own way. He lifts his face to smash his face. [RYLES] Okay, okay. He's heading for J.B.X. Industries, that's all I know! [MICHAEL] That's plenty. With that he lifts Ryles right off his feet and dumps him backward into the dumpster. Before Ryles can recover, Michael slams the lid down and latches it. He turns back to Tonie and K.I.T.T. [MICHAEL] Nice job, Kitt. Have Devon tell the police to come pick up this trash. (as they climb in) And get me everything you can about J.B.X. Industries. With that, Michael and Tonie are safe inside the car. They screech out of the driveway. CUT TO EXT. STREET - DAY - ON LIMOUSINE slipping through light traffic. Zooming in, we see one of the passengers is Armand. With him is the Chameleon, made up to look like...Michael Knight! OMITTED INT. LIMOUSINE - DAY Armand watches with fascination as Chameleon/Michael puts on some last touches of makeup, then picks up phone and punches in a number.... [ARMAND] You must teach me how to do that. I'd like to make myself up as my wife's hairdresser. It would be interesting to know what she says about me. [OPERATOR'S VOICE] J.B.X. Industries. [CHAMELEON/MICHAEL] (using Devon's voice) This is Devon Miles, from The Foundation for Law and Government. Let me talk to your head of plant security. (cupping hand over phone; to Armand) You're sure your people understand about Tonie? [ARMAND] Stop worrying. I'm in the business of supplying arms, not hurting young women. OMITTED INT. SECURITY OFFICE - JBX INDUSTRIES - DAY John Maxwell is on the phone: [MAXWELL] Devon, nice to hear from you again. This is John Maxwell. What can I do for you? Intercutting as needed: [CHAMELEON/MICHAEL] John, we've been contacted by The Department of Defense to make an emergency check of your facility today at fourteen hundred hours.... [MAXWELL] That's rather short notice. [CHAMELEON/MICHAEL] You know how they are in Washington. At any rate, I'm sending Michael Knight. He'll have the proper papers signed by the Secretary and bearing his seal. He hangs up and turns to Armand. [CHAMELEON/MICHAEL] And half an hour after that, you'll have a fancy little flying machine armed with prototype rockets that can blow up anything from a tank to an aircraft carrier! CUT TO OMITTED EXT. RURAL ROAD - DAY - ON K.I.T.T. streaking by.... [K.I.T.T.'S VOICE] Michael, I have the information on JBX Industries. INT. K.I.T.T. - MICHAEL AND TONIE [MICHAEL] Let's have it. [K.I.T.T.] They have the government contract for RX-9 rockets. A rendition of the rocket appears on the monitor. [MICHAEL] Gruesome little fella. [K.I.T.T.] They carry the punch of a Sidewinder missile, but aren't any bigger than your arm. [MICHAEL] Perfect to mount on a jet pack, right? [K.I.T.T.] I'm afraid so. Michael notices Tonie recoil at the information. He offers her a reassuring hand. [MICHAEL] Hang in there, Tonie. We'll stop him. She looks at him, nods, torn. CUT TO EXT. J.B.X. INDUSTRIES WAREHOUSE - DAY - TO ESTABLISH INT. HALLWAY - DAY Discover the Chameleon, as Michael Knight, walking down a brightly lit hallway with Security Chief, John Maxwell, a gruff but genial contemporary of Devon's. They've reached the end of the hallway where Maxwell produces a special card key. [CHAMELEON/MICHAEL] Security looks excellent so far. [MAXWELL] This door opens only when we make a shipment. And this is the only card key. [CHAMELEON/MICHAEL] (producing a gun and dropping to his normal voice) That's good. Show me how it works. [MAXWELL] What's the meaning of this, Knight? [CHAMELEON/MICHAEL] I said, open the doors. Do it now or I'll blow you away and do it myself. In shock, Maxwell turns and inserts the card. As the door opens, Chameleon/Michael raises his gun and knocks him out. INT. WEAPONS WAREHOUSE - DAY The room is a large warehouse-style place. Mounted prom- inently on racks in the center of the room are four nasty- looking black rockets, small enough to mount aboard the jet pack. Other shiny weapons cases are also visible. The Chameleon's action is swift and well-rehearsed. He crosses the room and uses Maxwell's cardkey on a large set of loading doors opening to the outside of the building. ANOTHER ANGLE The loading doors swing open to reveal Gibbs' van parked outside. Gibbs enters and starts off-loading the rockets into a case. EXT. J.B.X. INDUSTRIES ARMAMENTS - DAY K.I.T.T. races to a stop outside the building. As Michael exits the car, Tonie also gets out. [MICHAEL] Where do you think you're going? [TONIE] With you. [MICHAEL] Forget it. You're staying here. [TONIE] Be careful, Michael. [K.I.T.T.] That goes for me, too. He dashes inside. INT. WEAPONS WAREHOUSE - DAY Chameleon/Michael stands guard as Gibbs finishes packing the rockets. Gibbs exits to the van and Chameleon tenses as he hears racing footsteps in the corridor outside. He heads for the corridor door. ANGLE IN CORRIDOR as Michael dashes through the complex towards the door to the weapons warehouse. ANGLE TO INCLUDE CHAMELEON coming out of the weapons warehouse. FULL ANGLE IN WEAPONS WAREHOUSE as Michael Knight stands face-to-face with...Michael Knight. Both men react. [MICHAEL] This ought to make Laura Feeny happy. She always said there wasn't enough of me to go around. [CHAMELEON/MICHAEL] And here I always thought there was one too many. The Chameleon raises his gun to shoot. Michael dives for a stack of crates, taking cover and toppling them toward the Chameleon, whose shot goes wild. He takes cover in the rows of crates. ANGLE IN K.I.T.T. Tonie chafes uncomfortably, edges toward the building. [K.I.T.T.] Michael told you to stay here. [TONIE] I can't just hang around and do nothing. She races off toward the JBX Industries building. [K.I.T.T.] Tonie, no! Wait! Oh, dear.... OMITTED INT. CORRIDOR - CLOSE ON MICHAEL staying in cover, stalking his prey. He calls: [MICHAEL] Give it up, Baxter. INTERCUT - CHAMELEON/MICHAEL moving elsewhere in the room. [CHAMELEON/MICHAEL] No way. I'm too close to my dream. [MICHAEL] Not close enough. The Chameleon squeezes off another shot. ANGLE TO INCLUDE GIBBS poking his head in: [GIBBS] They're loaded. Let's get outta here! INT. WAREHOUSE - DAY as the Chameleon runs in with Michael on his tail. Michael sends a rolling cart towards the Chameleon, who tumbles aside. As he does, he spots: A CASE OF WEAPONS marked "Plastique Charges". Seeing his chance for escape, the Chameleon grabs one of the charges, twists its timer, and tosses it toward Michael. Just then.... TONIE dashes into the room in plain sight. [TONIE] Michael! FULL SHOT - WEAPONS WAREHOUSE The Chameleon has reached the doorway, turns and spots his daughter. He panics momentarily: [CHAMELEON/MICHAEL] Tonie...no! Get out of here! He hesitates a moment, but it's his life or hers. He races to the waiting van. ANGLE ON VAN as it speeds away. BACK TO SHOT Michael heads toward the explosive device. [MICHAEL] Tonie, get out! Kitt, get back here! OMITTED EXT. JBX INDUSTRIES - DAY - K.I.T.T. The Trans Am auto-starts and screeches off to aid Michael. INT. WEAPONS WAREHOUSE - DAY - CLOSE ON EXPLOSIVE DEVICE Michael bends over and picks the device up. The digital timer is clicking away. They race for the door, Michael carrying the explosive. EXT. JBX INDUSTRIES - REAR LOADING DOORS - DAY as K.I.T.T. screeches up, Tonie and Michael exit the building. [MICHAEL] (desperate) Kitt, pop your truck! OMITTED FULL SHOT The trunk opens and Michael tosses the explosive inside. As it closes, he dives onto Tonie and pushes her to the ground for safety. VARIOUS ANGLES - K.I.T.T. as the device explodes! The car rocks with the impact, filled with smoke. Flames belch from the exhaust portals. But it holds, and controls the explosion with no damage. MICHAEL rises, looking hopefully at K.I.T.T. [MICHAEL] You all right, buddy. K.I.T.T. responds with the sound of a vacuum pump. The smoke disappears from the interior as quickly as it appeared and the car looks good as new. [K.I.T.T.] Does that answer your question? [MICHAEL] Let's get 'em! The doors open and Michael and Tonie climb in, grim and determined. OMITTED EXT. JBX INDUSTRIES ARMS - STREETS IN FRONT - DAY Gibbs and the Chameleon pull out in their van, burning rubber. ANGLE IN VAN The Chameleon does his latex number, pulling off his Michael face to reveal his own. [GIBBS] Looks like we lost Knight for good. [CHAMELEON] (troubled) That's not all I lost. ANGLE IN K.I.T.T. - INTERCUT - MONITOR Michael's driving like a demon. K.I.T.T. plots the course. [K.I.T.T.] I have their van, Michael. [MICHAEL] Move on it! ANGLE IN VAN - GIBBS AND CHAMELEON The Chameleon is checking the rearview. [CHAMELEON] I don't believe my eyes. Gibbs looks back, and sees the Trans Am roaring up. Desperate, the Chameleon climbs in the rear. [CHAMELEON] Stay ahead of him. [GIBBS] I can't! EXT. HIGHWAY - DAY - K.I.T.T. AND VAN K.I.T.T. is already alongside him, pulling up on his left until he's even with him. ANGLE ACROSS THE VEHICLES - THROUGH K.I.T.T. [MICHAEL] (calls out) End of the line, Baxter! He nails the pedal, putting K.I.T.T. in front of the van, then cuts a right, forcing it off onto the shoulder, where it bounces to a stop in the dirt. THE VAN DOORS burst open and the Chameleon climbs out, wearing the jet pack. [CHAMELEON] Not yet, Knight! And with a flourish he ignites the rockets and starts to rise again, but: K.I.T.T. Michael punches buttons. [K.I.T.T.] Michael, you're not thinking of.... [MICHAEL] No choice, Kitt. The auto-roof power opens and Michael stands up in his seat. [MICHAEL] Calibrate the angle, pal. INTERCUT - DASH Plotting graphics and angles in a colorful display. [K.I.T.T.] We'll only get one shot. [MICHAEL] Go for it! THE CAPTURE - VARIOUS ANGLES As the Chameleon ascends overhead, K.I.T.T. ejects Michael skyward at the perfect angle for an intercept. He flies toward his airborne prey and grabs a tight hold on him. They waver in the air as the rockets' thrust is thrown out of balance by their struggle. INSERT - MICHAEL'S HAND twists a valve on the jet pack. The rockets' roar diminishes. BACK TO SHOT Michael and the Chameleon settle slowly back to earth as the rockets' flame down, then off. Tonie looks on as they continue fighting on the ground, but Michael's superior mobility prevails. He manages a strong right to the jaw, sending the Chameleon reeling under the weight of his own equipment. Michael sees: GIBBS pinned against a tree by K.I.T.T.'s bumper, hands in the air. [MICHAEL] Good work, buddy. MICHAEL stands over the fallen Chameleon. Tonie runs to his side to join him. He puts a protective arm around her as she looks down at her father, beyond words. [MICHAEL] Now you can get on with your life, Tonie. Off their bittersweet satisfaction. OMITTED [FREEZE FRAME] END OF ACT FOUR TAG FADE IN OMITTED INT. TONIE'S HOUSE - DAY - GARDEN We're on Tonie as she finishes a song. The music comes from a tape deck. Finishing to enthusiastic applause, she moves to Michael and Bonnie. [MICHAEL] That was fantastic. [TONIE] Thank you, Michael. [BONNIE] I hear you and your group may be going to London. [TONIE] The group's going, but not me. (looks to Michael) I've decided to go back to school and get my degree. [MICHAEL] Hey, that's great. Not that you couldn't make it as a singer...but there's nothing like a good educa- tion. Suddenly Michael's comlink buzzes, and: [K.I.T.T.'S VOICE] Michael! This time I need your help! They react, hurry out. EXT. TONIE'S HOUSE - FRONT - DAY K.I.T.T. is parked at the curb, while Harry, the circular man, is unloading a van and placing all the packages on and around the Trans Am. [MICHAEL] What's all this, buddy? [K.I.T.T.] This is distressing, that's what it is. [HARRY] I don't know how he did it, but that little T-top figured out the puzzle and won a lifetime supply of auto accessories. He goes back to get more. Our family begins examining the prizes: [BONNIE] Plastic flowers for your antenna. [TONIE] A pair of fur dice to hang from your rearview mirror.... [MICHAEL] Velvet seat covers...perfumed Christmas trees...a horn that plays Happy Birthday...Kitt, how did you do it? [K.I.T.T.] Wellll, you know me with puzzles, Michael. And when I saw that one in the circular.... [MICHAEL] (interrupting) I know, I know. Like the Godfather, buddy...they made you a puzzle you couldn't refuse. (picks up another prize) Silk curtains? [K.I.T.T.] Ohh, Michael -- where did I go wrong? And on this happy, laughing note, we: FREEZE FRAME FADE OUT THE END

{"show": "Knight Rider", "season": "s03", "episode": "e10", "title": "Knight of the Chameleon"}

knightriderarchives

ACT ONE FADE IN EXT. STREETS - NIGHT A sports car zips off the freeway ramp. The local roads are empty at this hour and the car picks up speed again and moves along. SPORTS CAR The driver of the car is middle-aged Sam Dennis, perhaps a little too old to be jammed into and driving this minicar, but matching his attempt at youthfulness...Dennis is well dressed in the fashions of the day, his hair either a well made toupee or an expensive cut. Dennis suddenly squints against the glare of: DENNIS' POINT OF VIEW - AN ONCOMING VEHICLE'S HIGH BEAMS even brighter than normal, the lights coming directly at him...becoming brighter...closer.... DENNIS blows the horn, then instinctively yells out in anger and fright as he yanks at the wheel and swerves the car out of the way at the last moment.... SCENE The oncoming sedan passes by the sports car, missing by inches, the Dennis car almost losing control and then regaining it, and continuing on.... DENNIS' CAR Dennis lets out a breath of relief, still mumbling some unreadable obscenities under his breath, but he drives with a better grip on the wheel, still showing the signs of his close call.... SEDAN It swings around in a speed turn and takes off after the Dennis sports car.... DENNIS CAR Dennis suddenly looks up fearfully as he sees the bright lights in his rearview mirror. SCENE The sedan bearing down on the Dennis car. CLOSER ON SEDAN looking normal in a quick glance, but then, on a closer inspection, the windows are a little darker, the sound of the engine is different, like a controlled roar, then: INSERT - FRONT BUMPER A hi-tech "cowcatcher" type bumper swivels up from its hidden compartment on the car. SEDAN The cowcatcher out in front of the bumper, a lethal-looking piece of equipment. It now looks like what it is, a Killer Car. NEW ANGLE The Killer Car jams into the rear of the sports car, remains bumper to bumper, then the sound of the car's motor changes from its throbbing power to a high-pitched whine as the twin blowers and a fuel booster take over...the two cars remain locked together by the sheer force of the Killer Car's power and momentum.... SERIES OF CUTS A) Dennis, a terrified look on his face...He jams down on the brake. B) The two cars racing along the road, locked together, the rear vehicle in control of both of them...Smoke pouring from the rear wheels of the Dennis car as the brakes lock, but do little to slow the progress...The Killer Car is in complete control of the situation.... C) The Killer Car races to a turn in the road and suddenly jams on his brakes and swerves off to the side.... ANGLE ON DENNIS CAR as it is projected through the barriers and over the side of the road, hurtling into space, a seemingly unending drop, and then hitting and bursting into flame.... OMITTED ROADSIDE - KILLER CAR The whine of the engine decreases back into the lower tone as the car pulls up to the side of the road...The window rolls down.... INT. KILLER CAR stripped to a shell...A heavily padded roll bar, netting brackets the driver's seat, which is the semi-reclined bucket seat, shoulder and lap straps with heavy double buckles, and next to the driver is a booster fuel tank containing ether (or whatever fuel would boost an engine's speed) which the driver is now turning down...He pulls off his helmet and looks down at the wreckage.... CLOSER ON DRIVER We see the cold and disinterested eyes of a man we will know only as Flood...He looks down at the Birninf burning sports car with a bored, efficient look, it's obvious that nothing could have lived through this wreck...He holds a beat, then picks up a car phone, is about to put it to his mouth, then takes out a clean handkerchief and wipes a smudge of dirt from the mouthpiece...He punches in a prerecorded phone number, speaks into the phone.... [FLOOD] It's done...I'll be stopping by for payment in the morning.... He hangs up the phone; pulls away.... TWO HOCKEY PLAYERS - STOCK as they crash into each other and then splatter along the boards. [MICHAEL (V.O.)] All right!! The camera pulls back to: INT. K.I.T.T. a hockey game filling the screen of the monitor...K.I.T.T. and Michael in a friendly argument.... [K.I.T.T.] You call that all right? That player on the bottom may never get up.... [MICHAEL] He'll get up...He's used to it.... [K.I.T.T.] Why would a man want to get used to that? [MICHAEL] This is the first hockey game you've ever seen in your life. [K.I.T.T.] So? I have an infinite memory. I can discuss the history of man...The Stone Age...Creation itself if I wish.... [MICHAEL] Better not say that in Canada, Kitt. [K.I.T.T.] The similarity of hockey and a war between various caveman tribes on a frozen lake bears a very close parallel. [MICHAEL] (with a laugh) Kitt, you sure you're not becoming a little bit of a snob.... [DEVON (V.O.)] Snob, who are you calling a snob? MONITOR The hockey game fades out and the image of Devon appears on the screen. Devon is somewhat more serious.... [MICHAEL] Good morning, Devon.... INT. SEMI - INTERCUT AS NEEDED [DEVON] If I were a snob I wouldn't allow you to watch sports contests on state-of- the-art Foundation equipment. (beat) Good morning.... [MICHAEL] I'm on my way in.... [DEVON] Good, you've been a little hard to reach lately... (pointedly) Last night for instance. [MICHAEL] (beat) I guess I have a weakness for dancers.... [DEVON] (covering a smile) Dancers pirouette on their toes to the strains of violins and flutes. They do not gesture to the throbbing beat of a bongo drum and saxophones.... [MICHAEL] She's working her way through college. Besides, every once and a while, I have to get away from.... Realizing what he might have said, Michael flusters into silence.... [K.I.T.T.] Away from whom? Michael, recovering.... [MICHAEL] Just away from...period.... [DEVON] Well consider the subject closed. For now. The monitor goes blank. [K.I.T.T.] (a touch sensitive) Michael, do you feel the need to get away from me? [MICHAEL] (aware) No, Kitt...The human condition... 'life.' You and me, pal, we're partners. [K.I.T.T.] Thank you, Michael. EXT. K.I.T.T. as it picks up speed and moves to the meeting place.... CUT TO EXT. HEADQUARTERS - SEMI as the ramp drops and K.I.T.T. drives in. [DEVON (V.O.)] Two accidents that have a connection might be a coincidence...Three in a row leads me to believe a great deal more.... INT. HEADQUARTERS - SEMI Devon has folders, charts, photos all prepared for Michael. Bonnie works on K.I.T.T. She is part of the conversation. [MICHAEL] What about the police? [BONNIE] The incidents occurred in three different jurisdictions in two different states...There's no reason for them to make the connection.... [MICHAEL] (to Devon) But you made a connection.... [DEVON] They all were quite well dressed. Which is precisely the point. Were all the victims successfully involved in the garment industry...? [MICHAEL] Okay, that's the pattern. So what's the motive?..Extortion? [DEVON] (nods) You still have your street instincts ...I have some evidence and a great deal more speculative information that it's exactly that.... [MICHAEL] Any speculation on who's behind it? [DEVON] D.G. Grebbs...Extremely well organized and extremely deadly. Devon hits a switch and: MONITOR The screen lights up with the face of D.G. Grebbs, forties, hard looking, you would not buy a used car from him.... [DEVON (V.O.)] He buys his muscle men at group rates. [MICHAEL (V.O.)] Then he uses the garment industry to clean up his money...A legitimate cash flow.... SCENE [DEVON] At Harvard they call it vertical integrity. [MICHAEL] On the street it's called a monopoly.... [BONNIE] Total control through force. That's Grebbs game. Bonnie slams the hood.... [BONNIE] Kitt has it all...including a list of the businesses Grebbs already has under control. [MICHAEL] Then I better make sure we really have a murder. Michael moves off.... SCREEN The cold face of Grebbs.... MATCH CUT TO CLOSEUP - GREBBS smiling now as he turns to camera. [GREBBS] Another accident -- (smile) You've really got it down, Flood.... The camera pulls back to: INT. GREBBS' OFFICE - DAY sitting above and looking down on the Fashion Mart...The office is spacious, lavish, hi-tech, woman's fashion sketches fill the walls...Grebbs sits under a sun lamp, trying to put some color in his face. He turns his head to get the heat at a different angle. [GREBBS] In New York anything darker than pale was a tan...Out here you have to cook for a few hours a day or you look like an outpatient...you did a good job...have a drink on it.... ANGLE Flood sits across from him, a stack of money on the coffee table in front of him...Flood is conservatively well dressed, blue jacket, plain knit tie, button-down shirt...he looks more like a wine taster than a killer, except for the eyes, the bored noncommital attitude and the coldness of them...when he speaks there is a trace of the European accent, unidentifiable, but present. CLOSER He uses the eraser on a pencil to finger the money on the table, finds it acceptable and places it gingerly in an attache case...the henchman approaches with a drink, Flood motions it away.... [FLOOD] No thank you.... He removes a small bottle of brandy and a silver cup from his case, pours his own drink.... [FLOOD] To your health and your tan... (sips) You know where to reach me in the future.... [GREBBS] Hold on...I need you around now.... [FLOOD] Sorry, I have to drive to New Orleans ...I have an appointment there, some work.... [GREBBS] I'll buy that job...put a number on it.... [FLOOD] There's no price on my reputation.... [GREBBS] Then what will it cost me for a delay ...push it off for a week...I'll buy the time for twenty grand...Call it hold money for the next job...not part of your fee. Grebbs swings the sunlamp away from his face...The henchman hands him some lotion and a towel...He uses both as he talks.... [FLOOD] (thoughtful beat) I can arrange that, but only for one week.... [GREBBS] That should be all I'll need to tie it up...I got everything covered from the trucking to the fabric supply, and right down to the buttons...All I need now is a few successful fashion houses in the sportswear business...they run the biggest cash flow.... [FLOOD] You seem to have it all under control...You could be wasting your money on me.... [GREBBS] Money is easy...I raise the interest on what they've been borrowing to make their fall line... (beat) I'm also the largest factor in this area.... [FLOOD] Loan-shark.... [GREBBS] Factor...It's legitimate...I even pay some taxes.... Flood returns the silver cup to his attache case after wiping it clean.... [FLOOD] I'll be in contact with you...Every hour should do it.... [GREBBS] ...I'm waiting to hear the come back on a meeting with a man...named O'Malley...O & M Fashions -- one of the biggest...tie him up, I've got everything I need.... Flood nods, moving off.... CUT TO CLOSE ON SKID MARKS The camera slowly pulling back to include Michael and K.I.T.T. as they study them. [MICHAEL] What's taking so long Kitt? The camera continues back to: EXT. ROAD - DAY - SCENE OF DENNIS KILLING As we hear and see the operation of K.I.T.T.'s computers, then: [K.I.T.T.] It's definitely two different sets of tires. The second set overlapping the first...Sam Dennis was forced off the road...I'm surprised the police didn't spot this.... [MICHAEL] They weren't looking for it...A normal investigation would never disclose it... (beat) Car that could cause this has to be a custom job. [K.I.T.T.] Taking in the weight of the sports car and the projection of it, over the side, I would say it exceeded one hundred miles per hour and had to have at least 450 horsepower...It overcame an excellent braking system to shove the car off the cliff. [MICHAEL] Exactly. And this M.O. fits the other 'accidents.' We have a series of murders.... [K.I.T.T.] Obviously, now what? [MICHAEL] You have all the information Devon gave you? [K.I.T.T.] Rather extensive, I'm afraid...There's hundreds of companies involved.... [MICHAEL] Okay, eliminate the ones in business over two years.... INTERCUT - MONITOR as names and data flash across the screen and off: [MICHAEL] Now scratch out the ones with a triple A Dun and Bradstreet...can't touch people with money like that. More data flashes. [MICHAEL] Now lose the ones in a stationary- type clothing line...like winter coats or formal wear.... [K.I.T.T.] Slow down...We're losing our list.... [MICHAEL] Good. How many left? [K.I.T.T.] Eighty one...Not counting jobbers. [MICHAEL] Lose them too. Just give me the ones in the high risk fashions. [K.I.T.T.] That's sportswear.... [MICHAEL] Just the hot ones.... [K.I.T.T.] We're down to nine.... [MICHAEL] Okay. Key their owners with the DMV and cross check job accidents on police band. Then give me the top two. That'll make our potential victims list.... MONITOR The lights, the process...then a picture on the screen...A name appears under TOM O'MALLEY, O & M FASHIONS...Then the screen flashes again...the photo of two very attractive women, arm in arm, comes. A print-out appears on the screen under this...DEBRA SANDS, JOAN KEAHEY, DEBJO STYLES...Then the picture flashes back and forth between the two choices ...Michael finally interrupts the process.... [MICHAEL] (impatient) Which one.... [K.I.T.T.] They're both prime. [MICHAEL] Then I'll pick it.... [K.I.T.T.] DebJo Fashions, of course.... [MICHAEL] Of course.... Michael starts the car and drives away.... CUT TO EXT. FASHION MART - DAY - ESTABLISH THE HUSTLE OF ACTIVITY, THE FLASH OF COLORS AND STYLES as we pan past the windows and racks of clothing...attractive ladies catch Michael's eye.... EXT. DEBJO FASHIONS Michael exits K.I.T.T., still looking at the ladies...speaks to K.I.T.T. [MICHAEL] Be good.... [K.I.T.T.] Be serious.... Michael passes a model and cameraman who are on the street ...He glances at her, then enters the DebJo showroom... Camera stays with the Photographer.... ANGLE He is slightly prissy, exacting in his need for perfection. He struts...yelling at the model.... [PHOTOGRAPHER] Move over...The left...left darling...I need the contrast. He turns and spots the gleaming black Trans Am.... [PHOTOGRAPHER] That's it...It's 'Eureka Time'. Hop up on the hood darling, and give me legs and profile.... ON K.I.T.T. bored and annoyed; the Model does as she's told...and sits on the car. INSERT - K.I.T.T.'S DASH showing a response to this disturbance...K.I.T.T. clears its throat. EXT. K.I.T.T. The Model turns to stare at the car.... [MODEL] It's coughing.... [PHOTOGRAPHER] So he has a cold...Hold it.... The camera flashes. OMITTED K.I.T.T.'S DASHBOARD The series of lights moving a little quicker.... MODEL She stretches a little more...The camera flashes again, then the horn blows...The Model reacts, loses her poise and slides off the car...She turns to peer in the car... K.I.T.T.'s windows darken.... [PHOTOGRAPHER] That's not holding it.... [MODEL] Someone blew the horn.... [PHOTOGRAPHER] Of course darling...Now get back up on the hood...Play deaf...and beautiful. Her unsure look.... CUT TO INT. DEBJO FASHIONS - DAY A high style, fashion boutique-type operation...Michael waits and glances around at both the activity and the array of attractive females that pass under his gaze...Finally a tall, extremely well dressed Debra Sands, approaches him...Eyes him a beat before she speaks.... [DEBRA] We're not open to the public. [MICHAEL] I'm not the public.... [DEBRA] We only meet with salesmen first thing in the morning and I know you're not a buyer, so good-bye.... She heads towards the front door, motioning him to follow...Michael delays her move, steps in front of her so she has to stop. [MICHAEL] My name is Michael Knight. The only thing I'm trying to sell you is some help.... Debra shoots him an annoyed look. [DEBRA] I've heard that sales pitch before...Okay, how are you going to help me??.. [MICHAEL] (gambling) I can help you get Grebbs off your back.... ON DEBRA Her reaction.... [DEBRA] I don't know what you're talking about. [MICHAEL] (reading her look) I think you do...Grebbs is pushing on you. [DEBRA] Who are you? What do you know about my business with Grebbs? [MICHAEL] Money...You need it...He's got it... But once he gets in, he'll never let you out.... [DEBRA] I don't know what you're talking about.... [MICHAEL] I think you do... (beat) You're trying to get out a fall line ...You'll need about fifty thousand dollars to get your fabrics...You've got hot designs and accounts receivable to more than cover, but no cash... Grebbs has that. He's trouble...I'm not.... She hesitates, debating it. ANGLE TO INCLUDE a shorter, pert, loosely, but fashionable-garbed, Joan Keahey, approaches Michael and Debra. She has a pencil stuck behind her ear, a wrist pad full of pins, and some sample fabrics draped over her arm...She has energy and a bright smile. [JOAN] Debra, which one of these wools falls over the hips better? [DEBRA] Not important right now...This is Michael Knight in shining armor with a leather jacket and a blank check -- or so he says. [JOAN] Slow down, Debra, you're talking East Coast...I'm from the Midwest, remember? [MICHAEL] I can't give you a blank check, but I can give you some straight talk... You've got a going business...You deal with Grebbs and you'll end up with a skeleton. He'll pick you apart piece by piece. [JOAN] I'm not sure what I'm supposed to say.... [MICHAEL] You're not supposed to say anything. Think it over...Just don't take too long. He hands her his card...They read it.... [JOAN] We'll have to talk about it. [MICHAEL] You know where to reach me... (turning back) Where's O & M Fashions? [JOAN] O'Malley? [MICHAEL] (nods) He's in the same boat you are.... [DEBRA] (smiles) Maybe, but he's got a loaded paddle. MICHAEL On his puzzled look we: CUT TO A HAND GUN looking like a cannon and pointed right at camera...The camera pulling back to show O'Malley, a short, overweight, and worried-looking human being, who covers his worries with a pretty good set of balls...But the gun is an unfamiliar instrument in his hand, although he waves it bravely.... [O'MALLEY] Get out of here...Go back to Grebbs and tell him that I can take care of myself and my business, and to stay away from both of them.... The camera adjusts to include.... INT. O & M FASHIONS - DAY In the b.g. we see a different kind of operation from the DebJo...This one is set up for mass production...There's movement and bolts of cloth piled high and being moved on dollies from trucks, to the interior of the plant. Michael faces O'Malley. Behind O'Malley, we see another, older, more patient-looking man, Lewis, who puts a restraining hand on O'Malley's shoulder.... [LEWIS] Relax, Tom...I know the Grebbs people, he's not one of them...Besides the gun's not loaded. [MICHAEL] Could you put the gun away...It's those unloaded ones that do the damage. [O'MALLEY] So he ain't Grebbs...So he ain't Santa Claus either...He ain't one of us... (to Michael) Get out of here...Take your conversation back to the gutter. [LEWIS] Why not let him talk first? [O'MALLEY] Not to me.... O'Malley turns and stomps away from the two men...Michael turns to the calmer Lewis.... [MICHAEL] Bet he's got a lot of friends. [LEWIS] (slight smile, nods) I'm one of them. He's a good man...forgets that he's sixty years old, but we all like to do that.... [MICHAEL] You have a place here too? [LEWIS] They're all mine at one time or another...When cash gets a little tough I front them money on their accounts receivable.... [MICHAEL] A factor...You're in competition with Grebbs...could be dangerous. [LEWIS] (shrugs) If I can keep people in business I can deal with them again and again...I'm a legitimate part of this industry.... [MICHAEL] (beat) I believe you.... [LEWIS] Then also believe that you should wait a few days to talk to Tom again.... He nods and moves off.... CUT TO EXT. O & M SHOWROOM - K.I.T.T. AND MICHAEL As he climbs in, starts the car. [K.I.T.T.] I'm glad we're leaving. [MICHAEL] We'll be back...Two down, seven to go.... [K.I.T.T.] Please could you park me in a lot next time? Person isn't safe around here.... Michael's look, he pulls out; camera pulls back to: FLOOD as he watches Michael pull away...Not that concerned, but interested enough to note Michael and the look of the car...The camera stays with Flood...He checks his watch again.... FLOOD'S POINT OF VIEW - TOM O'MALLEY exits the building from the loading door...Walks down the few steps to the parking area and heads for his car.... FLOOD He slips on his helmet...Races the engine, then drops the car in gear.... FADE OUT END OF ACT ONE ACT TWO FADE IN EXT. STREETS - DAY O'Malley passes, driving home in his sedan, his mind on his wife and a cold martini. After a few beats, Flood drives by in his Killer Car. The powerful V-8 growls beneath the hood like a caged panther. ANGLE IN O'MALLEY'S CAR - DAY O'Malley looks up to his rearview for a moment, notes the presence of the Killer Car behind him. At first he thinks nothing of it, then decides to change lanes just in case the hot rod wants to pass. ANGLE IN FLOOD'S CAR - OVER FLOOD'S SHOULDERS Fist clenched in a driving glove, Flood floats his machine into the lane behind O'Malley, maintaining his tail. EXT. A STREET CORNER - DAY - FOLLOWING CARS O'Malley hangs a right turn. Flood lets his car linger around the same corner but is soon back in place, stalking his prey. They head into a more suburban/rural area. INTERCUT - THE TWO DRIVERS O'Malley grows more nervous. Glances from road to rearview. Behind him, Flood pulls the cover off his ether tank, checks his gauges. He tightens the chin strap on his helmet. EXT. HIGHWAY - DAY - ON A RAILROAD CROSSING O'Malley's car approaches just as the lights and bells start to signal an oncoming train. He starts to accelerate, but sees the crossing arm descending and thinks better of it. THROUGH O'MALLEY'S WINDSHIELD He whistles a nervous little tune. Nothing to worry about, right? He glances up at the rearview as the Killer Car fills the frame of his rear window. The crossing alarms continue. THE TRAIN rumbles toward the crossing at a good pace. INSERT - FLOOD'S BUMPER His distinctive cowcatcher unfolds its ominous form from under the idling engine. INTERCUT - THE TWO DRIVERS Flood drops his car into first gear with a surgeon's touch. The engine roars as he lets out the clutch and glides up to O'Malley's rear bumper. O'Malley rocks with the impact as Flood hits him. He looks around, adrenaline charging into his system. He stomps his brake pedal. [O'MALLEY] What the devil.... WIDE SHOT - THE TWO CARS Flood's killer engine rises in pitch, roar becoming whine. O'Malley's brakes lock, his wheels protesting as his rear end starts to crumple under Flood's pressure. His car moves forward, front bumper pressing the crossing arm, bending, then breaking it. THE TRAIN continues its approach, oblivious. OMITTED INTERCUT - FLOOD AND O'MALLEY Flood bears down, his face inscrutable behind his helmet/ mask. He reaches for the supercharger switch on his dash. His engine screams up to high revs. O'Malley looks around, panicked, sees the train. His car is now straddling the tracks. Anger turns to fear and desperation. [O'MALLEY] Help! Stop! He fumbles with his seat belt, trying to get free. It's the last thing he ever sees. VARIOUS ANGLES - THE CRASH Flood backs clear just as the train rams into O'Malley's sedan, crushing the driver's side and pushing the whole car ahead of it down the tracks as tires blow, windows shatter and pop out, and finally the gas tank booms! FLOOD watches, satisfied, then drops his car into reverse. CUT TO EXT. CITY STREETS - DAY - ON K.I.T.T. cruising past. [K.I.T.T.'S VOICE] You'll love our next stop, Michael. 'Muriel's Menswear.' ANGLE IN K.I.T.T. - INTERCUT MONITOR Michael driving. [MICHAEL] Can't be worse than the first two. I'm talking dead ends. [K.I.T.T.] You think they were tough? Muriel's been fifty-two years in the garment business. Born in Brooklyn in 'ought-nine. [MICHAEL] (smiles) Wonder if she ever went to Ebbetts Field. Suddenly the monitor comes alive. K.I.T.T.'s tone changes to one of urgency. [K.I.T.T.] Michael, one of our keyed license plates just flashed on police band. An automobile-train collision three miles north of here. Michael cranks the wheel and stomps on the gas, galvanized. [K.I.T.T.] I'm afraid it's Tom O'Malley. EXT. STREET - DAY - K.I.T.T. slides a 180 and screams away. They race up the highway toward a section where the road drops under an overpass. [K.I.T.T.'S VOICE] A witness placed a second car leaving the scene westbound. A red and white custom sedan. OVER MICHAEL'S SHOULDER (2ND UNIT) Through the windshield ahead of him we see Flood's car rumbling across the overpass above K.I.T.T. at a high speed. [MICHAEL] (pointing) Like that one? I want him, Kitt. Bad. [K.I.T.T.] He'll be hard to catch, Michael. We'll have to plot a course doubling back against traffic.... [MICHAEL] Don't say it, do it. EXT. STREETS - VARIOUS ANGLES - K.I.T.T. screams through the corners, trying to get up to where Flood was spotted. [MICHAEL'S VOICE] Did you get a make on the car? [K.I.T.T.'S VOICE] I'm afraid not. Contact was too brief. EXT. STREETS - DAY - FLOOD'S CAR speeds up to make a stoplight; rockets through. ANOTHER STREET - K.I.T.T. races ahead, driving parallel to Flood. Michael looks down a block to the right and spots the target car. [MICHAEL] One more block and we take him. KILLER CAR as Flood maneuvers it around a truck and fishtails a turn into: A CAR WASH and jams on his brakes in front of the Attendant. [ATTENDANT] Whoa...you in a rush? Flood has his helmet off, rolls down the window and hands the Attendant a twenty dollar bill. [FLOOD] Not anymore. I'll take this through myself.... [ATTENDANT] That's against the rules.... Flood peels off another twenty. The Attendant, a much happier person now, waves Flood through. [ATTENDANT] Be my guest...Use all the soap you want.... Flood pulls into the washing apparatus.... CAR WASHING TUNNEL As the first water hits the car, we see the bright red paint running off the car to leave another color exposed. EXT. NEARBY CORNER - DAY - K.I.T.T. speeds through the traffic into the street where he spotted the Killer Car and screeches to a halt. Michael gets out, scans the street in both directions. Nothing but the normal flow of traffic. He reacts, pissed. [MICHAEL] How could we lose him? [K.I.T.T.] My calculations placed our contact point right at this corner.... [MICHAEL] What'd he do...go airborne? Pull back to reveal, behind them: FLOOD pulls his car out of the car wash tunnel. It's now sparkling, completely returned to its original color -- beige. Move in to see Flood taking careful note of Michael before he pulls away. Michael slams K.I.T.T.'s roof in frustration. CUT TO EXT. FASHION MART AREA - DAY - TO ESTABLISH its uniqueness. [LEWIS' VOICE] I told you, I'm not the type. INT. MAIL AREA - DAY - LONG ANGLE Michael walks with Lewis, pushing, persuading. [MICHAEL] I'm not buying, Lewis. O'Malley was your friend. [LEWIS] Hell of a pinochle player. Every day over lunch, for years we played. [MICHAEL] He's dead, Lewis. Your friend is dead. Murdered. Help me do something about it. Lewis stops, studies Michael. [LEWIS] Don't know much about this business, do you? [MICHAEL] Innocent people are dropping like flies. How much do I need to know? [LEWIS] (shakes his head) Back on the Lower East Side of New York, it used to happen a lot. I buried some good friends. [MICHAEL] So you want to watch it happen all over again? Grebbs decides the trade is his backyard and everybody rolls over.... [LEWIS] (angering) What can I do alone? You get a crowd together, I might get brave. I'm not young and I'm not a hero... you are. [MICHAEL] You're not alone. Crowds always start out with one or two people. And believe me, if we get this ball rolling, we'll attract plenty of attention. Lewis studies Michael a long beat. This is hard for him. [LEWIS] I'm listening. I'm crazy, but I'm listening.... SMASH CUT TO INT. DEBJO FASHIONS - DAY busy and sexy as before. Models and seamstresses passing through as Michael and Lewis have Debra and Joan cornered. [DEBRA] That's none of your business! [MICHAEL] Come on, you're not shy. How much do you owe Grebbs? [JOAN] (softer) Why do you want to know? [MICHAEL] 'Cause Mr. Lewis here has agreed to take over your factor. We want to buy out Grebbs' debt. The girls react, look at each other, nervous. [DEBRA] Obviously, you don't know Grebbs. That's not smart business. [MICHAEL] For us, maybe. For you, it's brilliant. [LEWIS] What's his rate? Twenty points? Twenty-five? I'll take over your whole figure at one point over prime rate. The girls are stunned. [DEBRA] Why are you doing this..? I couldn't get a car loan that cheap.... [LEWIS] I got my reasons. [MICHAEL] Grebbs killed Tom O'Malley this morning. [JOAN] (disturbed) I heard that was an accident. [MICHAEL] Right. Just like Sam Dennis was an accident. The girls eye each other again. Lewis reaches into a satchel and produces a leather-bound book of bank drafts. He tears one out. [LEWIS] Here's the draft. You can fill in the amount. Add a little cushion if you like. [DEBRA] The money's fine, but what's keeping us from being Grebbs' next accident? [MICHAEL] I am. He reaches into his pocket, pulls out a dollar, slaps it on the desk. [MICHAEL] I now own one share of preferred stock in DebJo Fashions. [JOAN] But we don't have any stock. This is a partnership.... [MICHAEL] (smiles) Well when you do, I'm in on the ground floor. For now, just figure you've hired yourself a new head of security. (offers a hand) Partners? The girls look at each other, then at Lewis, who smiles. They smile, too. Debra shakes Michael's hand. [DEBRA] Partners. CUT TO EXT. FOUNDATION - NIGHT - TO ESTABLISH There's a heated discussion in progress. [DEVON'S VOICE] Michael, I sent you there to stop the deaths, not cause more. INT. DEVON'S OFFICE - NIGHT where Devon and Michael pace as they argue. [DEVON] Jeopardizing your own life is one thing, but drawing in three innocent people is quite another. [MICHAEL] Devon, I'll protect them. [DEVON] The way you protected Tom O'Malley? This stings. Both men stop, cool off. [DEVON] Sorry. [MICHAEL] No, it's okay. You're right in a way. But these garment people are tight, close. I wasn't getting anywhere ringing doorbells. [DEVON] So you went to the opposite extreme. You might have checked with me first, Michael. [MICHAEL] Right. And by the time we get through discussing procedure, another one bites the dust. Now it's Devon's turn to be stung. Michael relents. [MICHAEL] Devon, you know I respect what you do. But while I was spinning my wheels out there, I saw another man die. I had to do something. [DEVON] I suppose you've a plan behind all this? Michael, knowing Devon's on his side: [MICHAEL] I let Grebbs know he's got a new competitor in the marketplace. One who won't go belly up when he snaps his fingers. [DEVON] And then.... [MICHAEL] If I shake him hard enough, he'll make me the next target for his mobile assassin. Only I've got an ace in the hole...named Kitt. Once I've got his driver nailed and he's facing a murder charge all alone, I've got the feeling he'll turn on Grebbs and supply all the ammunition we'll need. Devon moves behind his desk, holds a beat.... [DEVON] I know I don't need to tell you how dangerous it is. [MICHAEL] No. You don't. They shake hands. Michael starts out. CUT TO INT. GREBBS' OFFICE - DAY - CLOSE ON MONEY Michael's hand plops a packet of bills onto Grebbs' desk beside two other stacks piled high. [MICHAEL'S VOICE] ...Twenty thousand. Cash. I want your note from DebJo Fashions. I just paid it off. Widen to reveal: GREBBS seated behind his desk, looking through narrowed eyes at the pile of money and Michael behind it. [GREBBS] Who are you, their guardian angel? [MICHAEL] That's right, as far as you're concerned. The note? Grebbs weighs Michael's intent, then stands and crosses to a file cabinet. [GREBBS] Those girls must be doing better than I thought. I'll have to look into it. [MICHAEL] They're doing fine. They just found a better way to deal than you. Grebbs starts to simmer. He pulls a file from the cabinet, turns to Michael. [GREBBS] That so.... [MICHAEL] Yeah. That's so. In fact, you're looking at the new partner in DebJo. [GREBBS] (smirks) Don't tell me. You're into dresses. [MICHAEL] (unruffled) I'm into money. And muscle, where it's needed. Is that my note? [GREBBS] (slams cabinet shut) I've seen boys like you come and go around here. It's a rough trade, sportswear. The girls'll be back to me. He hands Michael a note from the file. Michael looks it over, then starts tearing it up in little pieces, dropping them around Grebbs' rug. [MICHAEL] They won't. (as he tears) And get ready to lose some more. I plan to move on your other accounts, too. Grebbs' simmer reaches a boil. Coldly: [GREBBS] Get out of here before I make you leave by the window. [MICHAEL] Pleasure doing business.... He turns and heads out the door. Hold on Grebbs' fury. INT. FASHION MALL BUILDING - DAY Michael exits Grebbs' office into the airy mall, pleased with his meeting. As he walks, he raises his comlink. [MICHAEL] Kitt, monitor Grebbs' phones. I want to know who he calls. INTERCUT - K.I.T.T.'S DASH [K.I.T.T.] Very well, but, Michael, you have an emergency call from Joan. She has to see you. Michael darkens. [MICHAEL] At Debjo? [K.I.T.T.] No, she was afraid to go there. She's waiting on top of the fashion mall parking structure. Michael turns, sees the parking structure from where he stands. [MICHAEL] I'm on the way --- He takes off at a run. EXT. PARKING STRUCTURE - GROUND LEVEL - DAY Michael reaches the structure, spots an open elevator car waiting. He ducks inside and punches "roof." EXT. PARKING STRUCTURE ROOF - DAY - ON THE ELEVATOR DOORS They open and Michael steps outside quickly, stops. Reacts to: WHAT HE SEES - NOTHING - BLUE SKY The top level of the parking structure is almost empty of cars. The elevator doors close behind him with a metallic click. He whirls, punches the button, but the car's gone. Turns back, puzzled. He starts to tense as he hears a low rumble, growing into a roar. Suddenly: THE KILLER CAR bursts up from the level below, almost going airborne as it screeches over the top of the driveway and onto the flat roof. Flood is dimly visible through the darkened windows. The car pauses, engine throbbing, taking Michael in the way a bull takes in a matador. MICHAEL crouches, starts to sidestep, catlike. Into comlink: [MICHAEL] Kitt, get up here right away. K.I.T.T. parked in the street below, auto-starts and heads for the parking structure. ON ROOF - FULL SHOT Suddenly the tires of the Killer Car screech and smoke into motion as the car leaps for Michael. He looks around, sees only a low parapet separating him from the long fall to the pavement below. At the last second, he dives aside, the car just missing him. As he rolls, Flood wheels his car around for another pass. IN KILLER CAR - ON FLOOD emotionless, all business, shifting and spinning the wheel. INT. PARKING STRUCTURE - DAY - K.I.T.T. races, driverless, up the ramps, squealing round and round. RESUME ON ROOF Michael's sweating, eyes wide, as Flood begins another tire- burning pass at him. He leaps aside again, but this time Flood's fender catches his leg, spinning him around and sending him tumbling awkwardly. FLOOD mechanically maneuvers for another pass. This time, he flips the supercharger switch on the dash and his engine's blowers whine. FULL SHOT Michael reaches his feet shakily, limping. He can't move as fast. The Killer Car closes in like a hungry barracuda. Michael tries to leap aside but can't do it. The car hits him, sends him flying. MICHAEL hits the pavement, tries to rise, then falls back, unconscious. THE KILLER CAR snarls into position to make one more pass, completing the job. As Flood pops the clutch and the tires scream, hurtling the car toward Michael's fallen form.... FREEZE FRAME FADE OUT END OF ACT TWO ACT THREE FADE IN EXT. TOP OF PARKING STRUCTURE - DAY - CONTINUOUS ACTION Michael stunned, semiconscious on one end of the structure, Flood behind the wheel of the Killer Car on the other. He drops the gear into low, arcs the engine. ANGLE AT MOUTH OF ENTRANCE TO TOP The whir of the turbines, and K.I.T.T. suddenly appears. INTERCUT - FLOOD He reacts, hits the gas. INTERCUT - MICHAEL Helpless. ANGLE ON K.I.T.T. The accelerator is floored. WIDER ANGLE The two cars race for Michael. ANGLE FROM MICHAEL K.I.T.T. reaches him just a split second before the Killer Car does, skids in front of him, shielding him. ANGLE ON FLOOD He whips the wheel at the last second, just missing a collision with K.I.T.T., then accelerates, disappearing down the ramp. ANGLE ON K.I.T.T. AND MICHAEL K.I.T.T. activates his med-scan, producing appropriate graphics on the monitor. [K.I.T.T.] Michael! Michael, can you hear me? Michael stirs, tries to clear his head. [MICHAEL] (weak) Kitt...? [K.I.T.T.] My preliminary med-scan doesn't indicate any serious injury. [MICHAEL] Easy for you to say. He struggles to his feet. The driver door pops open. [K.I.T.T.] I can call a paramedic unit. [MICHAEL] Thanks, pal. I'll take a rain check for now. Where's the Killer Car? [K.I.T.T.] Long gone, I'm afraid. Michael painfully climbs into K.I.T.T. [MICHAEL] Gone, but not forgotten. Not by a long shot. C'mon, buddy, we've got work to do. They pull out, disappear down the ramp. CUT TO EXT. FOUNDATION - DAY - TO ESTABLISH [DEVON'S VOICE] Michael, how could you put yourself in a spot like that? INT. DEVON'S OFFICE - DAY Bonnie escorts Michael in, still bruised and dirty. Devon comes from behind his desk, concerned and upset. [MICHAEL] It wasn't easy, believe me. If it wasn't for Kitt, I wouldn't be here at all. [DEVON] Don't say I didn't warn you. I didn't like this plan from the beginning. [MICHAEL] Don't rub it in. (to Bonnie) He's rubbing it in. [BONNIE] It's his way of showing you he cares. [DEVON] I dislike being talked about in the third person. And I don't need someone to interpret my statements, thank you. (beat) What happened? [MICHAEL] I went to meet Joan. She wasn't there. The Killer Car was. [DEVON] I assume there's a reasonable explanation why she wasn't. [MICHAEL] I already talked to her. She saw the car turn into the parking structure. She panicked and took off. Devon paces. [DEVON] Michael, I don't have to tell you what this means. By forcing Grebbs' hand, we've entered into a war. Your friends are vulnerable now. We have an obligation to protect them. [MICHAEL] I guess you feel pretty strongly about that. [DEVON] I couldn't feel more strongly. Bonnie hides a smile; she knows where Michael is going with this. [MICHAEL] Probably feel no sacrifice is too great. [DEVON] None. [MICHAEL] Good, Bonnie? She smiles, crosses to the door and opens it. [BONNIE] Okay, guys. In comes a rack of clothes and other tools of the trade, followed by Debra, Joan and Lewis. Ad-lib hellos. Devon looks shocked. [BONNIE] The temporary home of Debjo Fashions. Lewis crosses to Devon's desk. [LEWIS] Mind if I use your phone? He begins dialing, absently fingers the material of Devon's jacket. [LEWIS] Not bad for off-the-rack. Off Devon's look: CUT TO INT. GREBBS' OFFICE - DAY Grebbs paces, agitated. Flood, as usual, is perfectly self-contained. Or appears to be. [GREBBS] I run a tight operation. Not like some of these guys who move to Miami and run a business on a phone under a palm tree.... He stops, staring at Flood. [GREBBS] And now, all of a sudden, I'm not in control any more. I got people defying me. And you, the guy who never misses -- suddenly, out of the blue, you miss. [FLOOD] I hit him...He's hurt. [GREBBS] Not enough. You know what your trouble is. You're too perfect. Maybe if you used a dirty glass once in a while, you wouldn't blow the big ones. Flood's eyes go cold. He rises, facing Grebbs. [FLOOD] You've said enough, Grebbs. Don't press it. [GREBBS] You're not behind the wheel now. Their eyes lock, then Grebbs moves away, point made. [GREBBS] Don't you see...you get a couple of people who refuse to go along. If they keep breathing, next thing you know there's four or five of 'em, then a dozen. (faces Flood) None of this would be happening if it wasn't for that Knight character. I want him gone, Flood. He opens a desk drawer, pulls out a strongbox stacked with money. He puts a stack on the desk. [GREBBS] I'll double your fee. Flood looks at the money, at Grebbs, then opens his attache case. He takes out the money Grebbs gave him, crosses to the desk and puts it down. [FLOOD] Keep your bonus money. This isn't business any more. It's personal. This one's on me. CUT TO EXT. CITY STREET - DAY K.I.T.T. passes. INT. K.I.T.T. - DAY Michael drives, Debra sits in the passenger seat. He glances across at her. [MICHAEL] Feeling better? [DEBRA] I don't know. I guess so... (beat) You really didn't have to drive me back. [MICHAEL] Call me paranoid. Right now I don't want to take any chances. (beat) Any regrets? [DEBRA] You mean standing up to Grebbs? As a matter of fact, yeah. I'm scared. I don't like being scared. [MICHAEL] Nobody does. [DEBRA] No, but some people handle it better than others. You for instance. [MICHAEL] (a smile) An occupational hazard. She studies him for a moment. [DEBRA] He's going to win, isn't he? Grebbs. In the end, he'll win.... [MICHAEL] Not if I can help it. [DEBRA] But what can you do? We're trapped. He can just wait us out. [MICHAEL] Unless I miss my guess, waiting isn't one of Grebbs' strengths. Besides, I've got a little something in mind to stir the pot. EXT. FASION MART - DAY K.I.T.T. pulls in and parks. Michael escorts Debra toward the DebJo offices. ANOTHER ANGLE The Photographer spots K.I.T.T., grabs his model and hustles her over. [PHOTOGRAPHER] It's back. Perfect. Black on black, a single strand of pearls! [K.I.T.T.] Not you again. [MODEL] It talks! [PHOTOGRAPHER] Most drivers do. Who cares, I'm doing print. I don't pay S.A.G. Now just kind of drape yourself over the fender. She does. [K.I.T.T.] It's none of my business, but your F-stop should be opened and your shutter speed reduced. She jumps off the car, looks into the window of the empty Trans Am...Her reaction --- [MODEL] This is ridiculous! [PHOTOGRAPHER] No, he may have a point. (adjusts camera) Would you say eight or eleven? [MODEL] You're talking to an empty car!! [K.I.T.T.] Given present light conditions, eight. [PHOTOGRAPHER] Gotcha. The Model hurries away. [PHOTOGRAPHER] Hey, come back here! So I was off one F-stop. Is that any reason to lose faith? CUT TO INT. DEBJO OFFICES - DAY Michael helps Debra pack the last of the necessities. She looks subdued, quiet. [MICHAEL] (re an object) Is this a 'take' or a 'leave?' [DEBRA] A 'take.' He nods, puts it in box. Regards her for a moment. [MICHAEL] You okay? [DEBRA] Sure.... She isn't. He touches her shoulders, brings her to face him. [MICHAEL] What is it? [DEBRA] I was just remembering when Joan and I moved in...we had such high hopes ...we worked nights, weekends... nothing was going to stop us...and now I have this awful feeling I'll never see this place again. [MICHAEL] You will. That's a promise. [DEBRA] You don't know Grebbs. [MICHAEL] You don't know me. I always keep a promise. He smiles, forces her to meet his eyes. She finally smiles, a flicker of hope still there. CUT TO EXT. CITY STREET - DAY The Killer Car drives up. [GREBBS' VOICE] I got some good news for you. ANGLE IN CAR Flood in on the cellular phone. [FLOOD] I'm listening. INTERCUT - GREBBS IN HIS OFFICE He's behind his desk on the phone. We see a person sitting in the chair in front of the desk, facing him, but we can't see who it is. [GREBBS] I pulled an old marker, from an old friend...So I got inside information now. From now on, we'll know every- thing we need to know about Michael Knight -- what he's planning, where he is, where he'll be. Over this, camera has moved to reveal the person across from Grebbs. It's Joan. FADE OUT END OF ACT THREE ACT FOUR FADE IN EXT. GARMENT DISTRICT - DAY - ESTABLISH INT. O & M FASHIONS Lewis is going through the bills and files of O'Malley's operation...He stacks different bills in their appropriate piles...Michael enters. Lewis looks up.... [LEWIS] Just cleaning up some of the mess... for Tom's wife...His kids are all grown...They have a life...Ann is all alone. [MICHAEL] We can't bring Tom back, but maybe we owe her something more. [LEWIS] Like what? She's got enough money from insurance. [MICHAEL] Like Grebbs' scalp.... [LEWIS] (reacts) This may be the west, but there's no more cowboys and Indians.... [MICHAEL] Why not?..We're a group of small operators fighting the big, bad wolf...The cattle baron...None of us can do it alone...We need a group of our own people...A posse.... [LEWIS] That car must have hit you too hard ...How's your head?... [MICHAEL] I'm serious...How many owners around here can you really trust?... [LEWIS] Tom's gone...Maybe six or seven more.... [MICHAEL] You do business with them?... [LEWIS] Used to...Grebbs has them now.... [MICHAEL] Those are the ones I want...Can you round them up.... [LEWIS] You try and pull a meeting like that and Grebbs will know about it before everybody even sits down...I made my move...I put my money where my mouth is...Maybe it's time for me to shut up.... [MICHAEL] Sure, you can visit Tom O'Malley's grave and lay some flowers on his chest, or maybe teach his widow how to play pinochle and sit around and talk about good old Tom.... Lewis flares...He stands to face Michael.... [LEWIS] And maybe you're not to big to be sitting on the floor and looking up at me.... Michael holds a beat.... [MICHAEL] You're getting mad, Lewis. Now get mad at the right guy. Get mad at Grebbs.... ON LEWIS His anger stays, but an awareness brings a half smile to his face...He nods.... ON MICHAEL Understanding the commitment, he nods back.... MATCH CUT TO MICHAEL as he speaks out.... [MICHAEL] The word is 'enough'...You've given enough...Taken enough...Enough of the fear...Enough of having to answer for your livelihood.... The camera widens to include: INT. DEBJO FASHIONS Michael is up in front of six businessmen...They listen to him with an uncomfortable uncertainness...Glancing at Lewis from time to time...But they listen...The showroom is bare...Michael's voice echoes.... [MICHAEL] You people worked too hard all your life to give away what you've attained.... There is a silence in the room, broken by one of the businessmen...Call him, Joe. [JOE] Lewis, what is it with this guy? He selling T-shirts with targets on back? [LEWIS] You ought to listen to him...I did... You guys know I'm not the easiest person in the world to con.... There is a slight rumble of nervous, knowing laughter.... [JOE] So what do we do, buy guns? Circle the wagons? [MICHAEL] You cut off Grebbs supply of money ...Kill his cash flow.... Another businessman, Phil, sounds off...The men are getting more into the passion of the meeting.... [PHIL] I've been poor before and I know what broke is. Forget all the poetry written about it...It's not fun and I don't want to do it again... (beat) I can't do it again.... That impassioned speech throws the room back in silence again.... ON LEWIS He stands and moves in front of the group.... [LEWIS] (to Phil) Why not?..When I met you, you were a cutter on the third floor...I backed you the first two years...cause you were a good man and a hard worker... Pay Grebbs off and I'll back you again.... Lewis turns to Joe.... [LEWIS] You, Joe, you were doing cuffs at a denim factory twelve years ago...You had guts and a talent...I bet on it...I'll bet on it again.... The businessmen stare at Lewis in amazement.... [JOE] You got any idea how much we owe Grebbs? [LEWIS] To the penny...I've been around too long not to know... (beat) I'm willing to back every man in this room.... [PHIL] (beat) Then we really got nothing to lose. You're the only one who can take a bath.... [LEWIS] I've been broke before, too... (pause) ...wasn't so bad.... The men have to laugh...They stand and look at each other, feeling better...Feeling more like the men they once were.... ON MICHAEL He moves over to Lewis, whispers.... [MICHAEL] Like it or not, Lewis, you're a hero.... CUT TO INT. GREBBS OFFICE Grebbs and Joan sit across from each other. Flood and a henchman are off to one side...Flood eyes Joan, disdainfully, as she presses Grebbs for a little more of the action.... [JOAN] They're down there at a meeting right now...Michael Knight is trying to get the whole group of them together...I can give you every name.... [GREBBS] Then do it.... [JOAN] I will...but I have to know what's going to happen on my end of it.... Grebbs flares.... [GREBBS] I set you up with that Debra Sands, didn't I? I helped make your line the hottest in town...What else do you want? [JOAN] I want to run O & M Fashions. I've struggled for ten years, even put up with Debra playing showroom chic while I sweated it out in the back rooms... (beat) I -- want O & M for me! [GREBBS] It's mine...It's why I pushed on it, and that's why O'Malley and the others are dead...You're a piece of equipment... rented equipment...I turn you on and off...I push the buttons... (beat) You got it?... ON JOAN She realizes that she's gone a little too far...She pales, backs off in her attitude.... [JOAN] It's not just for me...I can run it successfully...You know I can.... [GREBBS] The names.... ON FLOOD He has a cold satisfied smile after watching Joan being taken down. [JOAN] There's Lewis...The factor.... Flood pushes away from the window, interrupts.... [FLOOD] The meeting could go on for hours. You want Michael Knight or not? Grebbs holds up his hand to silence Joan...Speaks to Flood.... [GREBBS] You know I do...Sure he's not too tough for you? [FLOOD] I'll be taking him out personally.... Flood moves from the room.... CUT TO EXT. DEBJO - ON K.I.T.T. Michael exits the building, climbs into K.I.T.T. [K.I.T.T.] Well, Michael...You've done it.... [MICHAEL] I planned on doing it.... [K.I.T.T.] We better both get ourselves one of those T-shirts with bull's-eyes on them.... [MICHAEL] You were listening in.... [K.I.T.T.] If I'm going to be a target, I'd like to know about it.... [MICHAEL] At least you'll be a moving target.... He revs the engine and pulls away.... EXT. ROAD - K.I.T.T. Out of the city traffic and picking up more speed. CUT TO EXT. RURAL ROAD - DAY The camera pans the peaceful scene and then slowly moves in to: BRUSH AREA Just off the road where we see the deadly looking Killer Car sitting concealed.... INT. KILLER CAR - FLOOD patiently waiting. FLOOD'S POINT OF VIEW - THE ROAD K.I.T.T. cruises by. Flood puts on his helmet, hits the starter...The powerful engine roars into life.... K.I.T.T. driving through the same open country.... OMITTED INT. K.I.T.T. - MICHAEL tense, eyes alert. [MICHAEL] Anything, yet? As K.I.T.T. goes through the process, and: INSERT - THE MONITOR Empty road. [K.I.T.T.] Nothing out of the ordinary.... FLOOD CAR as it pulls from its spot and onto the road...Picks up speed as it comes after K.I.T.T. OMITTED K.I.T.T. Michael glances in the rearview mirror...A car bearing down from his rear.... [MICHAEL] I think we have company.... [K.I.T.T.] Affirmative, Michael.... ROAD Flood is at the rear of K.I.T.T. OMITTED INT. K.I.T.T. Michael is suddenly bounced backward in the car, as: ROAD Flood and the Killer Car jam into the rear of the Trans Am, sending it forward and almost out of control.... FLOOD hitting a duel blower switch on his dashboard...opening the access fuel tank.... ANGLE ON ROAD As the Killer Car speeds up even more and locks in on the rear bumper of K.I.T.T. LOW SHOT as the two vehicles, locked front and rear, zoom by camera. MICHAEL fighting the wheel. [MICHAEL] I need everything you can give me.... DASHBOARD As all of the lights speed up their series.... [K.I.T.T.] We've got a sharp curve a thousand meters ahead.... SERIES OF CUTS A) Michael jams on his brakes, lurching forward from the force. Smoke billows up from the rear tires as they lock.... B) Flood is jammed forward in his car, then back in his seat, as: C) Michael releases the brake and hits the gas and pulls away from Flood's car.... D) Flood speeds up and tries to close the gap...He's losing ground. E) Michael hits the brake again in a speed turn and swivels K.I.T.T. around to face the oncoming Flood.... F) Flood sees the car headed right for him...He's not used to being the target and panics...He edges over to one side of the road.... G) At the last moment, Michael allows him to pass and then swings another speed turn and tucks in behind the Flood car.... H) Michael jams into the rear of Flood's car and picks up even more speed. FLOOD Panic and fear fill his face as he sees the curve coming up ahead of him.... MICHAEL intent on his driving.... [K.I.T.T.] Three hundred meters.... Michael continues to drive.... [K.I.T.T.] He'll never make it past the curve ...You have to slow down.... THE CARS still locked together and racing towards the turn...Then: MICHAEL hits the brakes and lets the Flood car loose.... FLOOD jams on his own brakes and swivels the car around so that it comes to a stop sideways on the brink of the turn and only inches away from dropping off the mountain...He looks over and sees nothing but space...Then turns in the other direction and reacts again. FLOOD'S POINT OF VIEW - MICHAEL has moved K.I.T.T. up to the side door of Flood's car...He gives it a slight bump...Flood's car is a little closer to going over the edge...Flood can't get out the driver's door and if he attempts to exit on the passenger's side, he's over and out...Michael exits the Trans Am. SCENE He rips the helmet off Flood, to expose his terror-filled face.... [MICHAEL] Now you and me are going to talk about a couple of murders and a man by the name of Grebbs.... ON FLOOD He looks over to Michael...Nods his surrender...Michael into com-link. [MICHAEL] Kitt, pop in a cassette... (to Flood) Now, let's start with once upon a time.... Flood's face.... CUT TO EXT. GARMENT DISTRICT - DAY - ESTABLISHING INT. GREBBS' OFFICE Grebbs is nervous. Joan, still in the room, but sitting silently. They react as the door bursts open.... ON DOOR Michael stands there with a couple of uniformed cops.... ON GREBBS His reaction. He senses the end of it...Holds his silence. JOAN She pales, then her street senses come alert. [JOAN] Michael, thank God you got here... He's been holding me.... Michael simply stares at her...He holds up a cassette.... [MICHAEL] That's not what Flood said.... Joan sags, defeated. The cops move forward.... [MICHAEL] They both go.... As the cops cuff them.... CUT TO EXT. GARMENT AREA - GREBBS' OFFICE BUILDING as Grebbs is led from the building between the two cops.... FULLER ANGLE There's a strange silence in the area as Grebbs looks around and surveys his domain. Slowly, the sound of a man clapping breaks the silence. It's joined by a second set of hands, then a third. THE GARMENT SHOP OWNERS emerge from concealment, clapping, now cheering, raising fists at Grebbs, as he's dragged away. Among them, Lewis, feeling like the hero he is. ON MICHAEL taking it in. And feeling great about it. FREEZE FRAME FADE OUT END OF ACT FOUR TAG FADE IN EXT. GARMENT AREA - DAY - ESTABLISH INT. DEBJO FASHIONS Michael is finishing his fitting on a new jacket...He poses for Debra and Lewis.... [MICHAEL] Fits like a glove.... [LEWIS] It's supposed to fit like a jacket.... [DEBRA] I haven't heard that line since I left New York.... [LEWIS] It was time.... Michael steps from in front of the mirror, puts his hands on Debra's shoulders.... [MICHAEL] Thank you.... [DEBRA] Thank me? You are crazy, Michael...If it weren't for you, I'd be back modeling rags on Eighth Avenue.... [MICHAEL] And probably looking great doing it ...I'll be seeing you.... [DEBRA] Not that fast.... She grabs Michael and gives him a lingering kiss.... [DEBRA] Now, you can leave.... [LEWIS] He'll be back.... Michael smiles at Lewis, gives him an affectionate hug... Heads out.... EXT. DEBJO FASHIONS Michael stops and smiles.... MICHAEL'S POINT OF VIEW - K.I.T.T. Our model and Photographer are back at it...She is sprawled on the hood...The camera snapping...Michael walks over, just as the Model leaps off the car and kicks at one of the tires...The door opens for Michael and as he enters, she turns to him.... [MODEL] Is that your car? [MICHAEL] You might say that.... [MODEL] Well, you ought to teach it better manners.... She walks away in a huff...The Photographer yelling after her.... [PHOTOGRAPHER] Darling, it's your best layout...This one could make you...Come back.... Michael gets into the car.... INT. K.I.T.T. [MICHAEL] What did you say to her???? [K.I.T.T.] I merely computed her exact weight and advised her of it.... ON MICHAEL his look. FREEZE FRAME FADE OUT THE END

{"show": "Knight Rider", "season": "s03", "episode": "e11", "title": "Custom Made Killer"}

knightriderarchives

ACT ONE FADE IN EXT. HORSE FARM - TRAINING TRACK - DAY Liquid morning light illumines an inspiring sight. A good- looking, spunky young woman galloping a magnificent black stallion with a reddish blaze on its forehead. MAXINE (MAX) FLEMING AND KNIGHTRIDER with a fluid grace, they move as one. Her hair spills from under her exercise helmet and mingles with Knightrider's wind-whipped mane. Knightrider is a three-year-old colt with the conformation of a champion. VARIOUS ANGLES - SLOW MOTION as they gallop around the track. Both live for this moment. ANGLE ON TOMMY LEE BURGESS by the rail, stop watch in hand. He is co-owner of Knightrider with Max, a racetrack character in his thirties, showing signs of good old boy living. The sound of a vehicle approaching is heard. His head turns to: INCLUDE A PICKUP pulling up to the track. Driving it is Dr. Harley Thorpe, a veterinarian, florid and overweight. He looks like he'd rather not be up this early. He steps out of the Jeep and moves over to Tommy Lee. Tommy Lee gives him a little nod. [TOMMY LEE] 'Mornin', Harley. Dr. Thorpe nods back, as he joins Tommy Lee. MAX AND KNIGHTRIDER finish their workout and Knightrider slows to a jog. Max slides easily off his back and leads him in a walk. She nestles his head over her shoulder, allowing his breath the mingle with her own in a gesture horses use with one another to show trust. Knightrider tosses his head playfully. [MAX] You big speed demon. You loved that, didn't you? You'd race the wind if I let you. The horse nickers in response and Max laughs. She scratches him in a favorite place under his chin. [MAX] What? You say you want to take me away from all this? How soon? Their intimacy is interrupted by Tommy Lee and Dr. Thorpe. [TOMMY LEE] Hey, Max, what were you holding him back for? [MAX] (laughs) Holding him back? That had to be a twenty-three point two quarter mile. [TOMMY LEE] Try twenty-four. As Max reacts, Tommy Lee puts an arm around her shoulder, turning her away. Dr. Thorpe starts to look Knightrider over. FAVORING DR. THORPE with Max's back turned, Thorpe moves in to pat Knightrider's flank. We see that he is palming a small syringe, which he surreptitiously sticks in the horse. Knightrider whinnies. [TOMMY LEE] Little lady, you've got to remember the Futurity tomorrow is a mile and a quarter. We don't want our baby fading in the stretch. Max shakes her head, turning to Dr. Thorpe. [MAX] Do you believe this railbird? He's got half interest in the surprise sensation of the racing season and he's still treating Knightrider like a 'also ran.' [DR. THORPE] From what I saw, Max, his stride looks a little off. [TOMMY LEE] (smiles) You see? Always listen to your partner. Tommy Lee gives her a leg up on to Knightrider. Max takes the reins. [MAX] Okay, but watch out. This time he's gonna blow your blinkers off. She starts the horse back to the track. Thorpe gives Tommy Lee a knowing nod. MAX AND KNIGHTRIDER galloping around the track as before. They reach the stretch, Max urging him on. CLOSE ON MAX frowning. Something is a little off. [MAX] What's wrong, baby?... Her face registers shock as she feels the horse collapse from under her. WIDER ANGLE Knightrider's legs crumble as he slides into the ground. Max is pitched forward. MOVING WITH THE MEN as they turn toward the fallen horse and rider. Tommy Lee goes for Max while Thorpe goes to Knightrider. ON MAX AND TOMMY LEE as Max stirs into consciousness, Tommy Lee comforts her, lifting her head off the ground in his arms. [MAX] What happened? [TOMMY LEE] He took a fall, honey. Lie still. You might be hurt. Max ignores his warning, trying to crane her head up to see Knightrider. [MAX] (dazed; fearing the worst) I'm fine. Knightrider...where is he? He's all right, isn't he? INCLUDE DR. THORPE moving over to his pickup truck. [DR. THORPE] I wish he was, Max. His foreleg's badly shattered. Dr. Thorpe reaches into his pickup. Grabs a thirty-thirty rifle off the gun rack, starts back to the horse. [MAX] No! [TOMMY LEE] (equally upset; to Thorpe) Harley, you can't! Isn't there anything you can do? Dr. Thorpe cocks the gun. [DR. THORPE] I'm...sorry. He's...in tremendous pain. [MAX] Don't do it! Please! I can nurse him, I'll take care of him! Please don't! She struggles to get up but Tommy Lee restrains her. [TOMMY LEE] Max.... He pulls her away as the sound of the thirty-thirty blast shatters the air. [MAX] (screams) Nooooo! CUT TO EXT. RURAL HIGHWAY - DAY - K.I.T.T. slices comfortably through the curves in a rolling country area. [MICHAEL'S VOICE] Sleek, spirited and moves like a hurricane. [K.I.T.T.'S VOICE] Michael, you're too kind. ANGLE IN K.I.T.T. - MICHAEL reading a Green Sheet racetrack paper. He smiles and puts it on the seat next to him. [MICHAEL] Not you, pal. The Futurity Preview of Max's horse. [K.I.T.T.] (ego bruised) What? A horse? Try stubborn, skittish, and expensive to maintain. [MICHAEL] Not at all like you. [K.I.T.T.] Never! And capable of only forty miles per hour in short bursts. Useless creatures. What do people see in them? [MICHAEL] Dreams, buddy. This is Max's big day. [K.I.T.T.] Max? You mean Maxine Fleming? [MICHAEL] Right. Remember? Wolf Creek Pass continental divide? Six feet of snow, mid January? [K.I.T.T.] How could I forget? You had me hitched up to her horse trailer. I recall thinking, 'What next, a plow?' [MICHAEL] Well, that little pony you were pulling is now the hottest comer on the thoroughbred circuit. Speaking of which, how 'bout dipping into Bonnie's magic money machine for me, partner. [K.I.T.T.] Michael, it's called an Auto-Currency Dispenser, and there's nothing magic about it. We have to account for every penny. [MICHAEL] No prob, I'm just a little lean on cash this week.... [K.I.T.T.] You wouldn't be thinking of squandering Foundation funds on something as chancy as a wager...? [MICHAEL] Who...me? As they pull to a stop, we hear an electronic beep and two crisp $20s pop out of a slot on the dash. Michael takes them and smiles. [K.I.T.T.] All right, but forty dollars and not a penny more. [MICHAEL] Besides, how can a horse named Knightrider lose? [K.I.T.T.] Michael! Too late. Michael's gone, with a wink. INT. RACETRACK BARN - TACK ROOM - DAY - MAX packs her belongings and racing souvenirs with a heavy heart. She pauses over pictures, trophies, and plaques as she puts them in boxes. A lot of memories. Michael appears in the doorway. [MICHAEL] Let me guess. Moving to a better barn? Max is startled by his voice, then relaxes, glad to see a friendly face. [MAX] Michael.... [MICHAEL] Knightrider's biggest fan. [MAX] (fighting emotion) You didn't hear? (off Michael's look) He's dead. [MICHAEL] Oh no... (off her look) Max, what happened? [MAX] (breaking into tears) Yesterday...he just collapsed mid- stride...I tried to cushion his fall...his leg was...was.... [MICHAEL] Broken? [MAX] Yes, I can still hear that shotgun blast.... He comforts her in his arms. [MICHAEL] There'll be other horses. [MAX] Not for me. [MICHAEL] Sure there will. Come on, horse- racing's in your blood. [MAX] (remembering) I pushed him too hard. I must've missed all the signs. [MICHAEL] Hey, I saw you on Knightrider once, remember? It was like you and that horse had one heart, one mind. If he had a hangnail, you'd feel it. [MAX] Don't sugar-coat it, Michael, it was my fault. I'm through with horses. [MICHAEL] I don't believe that. She pulls away. [MAX] Michael, I know you mean well, but I've got a bus ticket to Atlanta tomorrow.... [MICHAEL] (slight beat) Take me out and show me the spot. [MAX] Michael! [MICHAEL] I'll make sure you catch your bus. (gentle smile) I won't let you run away like this. Like they say, when you fall off a horse, best thing.... [MAX] ...is to get right back on. But in this case I can't 'cause the horse is dead, and I've got nothing but bad memories out there. [MICHAEL] I know. Let's go bury them. She looks at him, takes a breath, and together they move out. EXT. DR. THORPE'S OFFICE - DAY - TOMMY LEE BURGESS drives up in a Seventies Cadillac. He pulls up next to Dr. Thorpe's pickup. Gets out and enters the small vet's complex and stable. He walks past a shingle that reads: DR. HARLEY THORPE, D.V.M. INT. STABLE - QUARANTINE STALL - DAY - KNIGHTRIDER whinnies ferociously, trying to kick up, but tied down tightly by many heavy ropes and tethers. The horse struggles against them as Dr. Thorpe is seen nearby filling a feed bin. Tommy Lee enters and reacts at the sight. [TOMMY LEE] That's my million-dollar baby, Harley. What are you doing? He'll hurt him- self on those ropes. [DR. THORPE] Try feeding him without them and he'll kick your skull in. I want this horse out of here. [TOMMY LEE] Harley, relax...we did it. We made him disappear into thin air. [THORPE] I got my practice. How long do you want me to keep him here? [TOMMY LEE] A day, tops. By tomorrow you'll be hauling in enough long green to choke a horse. Tommy Lee slaps Harley on the back, laughing at his own joke, and then turns to stroke Knightrider. The horse rears back ferociously, baring his teeth. EXT. TRAINING TRACK - DAY Michael and Max walking the track near the sight of the accident. Max stops, pointing down. K.I.T.T. follows their steps. [MAX] That's the spot. [MICHAEL] You positive? [MAX] I was riding him! [MICHAEL] Who else was out here? [MAX] Just my partner, Tommy Lee Burgess. And Doctor Thorpe. [MICHAEL] Track vet? [MAX] Right. Just what are you trying to prove out here, Michael. [MICHAEL] Right now, that you're a better rider than you think. (scuffs his boot in the track's soft dirt) Kitt, scan the track here for me. K.I.T.T.'s red scanner takes in the area. [K.I.T.T.] Normal carbon/silicon composite soil, soft to a depth of...wait. Move over closer to the outside rail. Just to your left.... Michael moves toward the outside rail, sifting the soft dirt. As he shakes the dust off his hand carefully, we see: INSERT - MICHAEL'S HAND holding a small jagged shard of colored glass. [MICHAEL'S VOICE] Whoa! This doesn't look like it belongs here. BACK TO SHOT [MAX] Knowing the grounds keeper, that's from last night's beer bottle. [MICHAEL] No, the glass is too thin. Kitt, let's run an analysis. He crosses to the car. Max follows. ANGLE INTO K.I.T.T. Michael drops the glass into K.I.T.T.'s analyzer. [MICHAEL] Reconstruct what this came from, pal. [MAX] Taught him some new tricks, huh, Michael? [K.I.T.T.] Taught me?! Really Max...that's like the tail wagging the horse. INTERCUT - K.I.T.T.'S MONITOR An outline of the shard appears. Then, like a police artist, K.I.T.T. graphically projects various outlines onto the screen, much to the amazement of Max. Finally, one shape stays: the shape of a small hypodermic needle, like the one we saw in Thorpe's hand. [MICHAEL] A micro syringe.... [K.I.T.T.] Yes. Residue shows that it recently held 'Promazine'. A veterinary tranquilizer. [MAX] Promazine?! [MICHAEL] Strong stuff? [MAX] Like heroin for horses. They use it for surgery. I don't know what it'd be doing out here. [MICHAEL] (to K.I.T.T.) How fresh is that residue, Kitt? [K.I.T.T.] My calculated guess would be... thirty-six hours. [MICHAEL] How many other horses train out here? [MAX] None this week. Just Knightrider. (off Michael's look) Michael, just what are you thinking? [MICHAEL] About insurance, Max...and partners. [MAX] Well, put a rein on it. Let me tell you about Tommy Lee. There's been times he had to choose between burgers for himself and oats for the horse. [MICHAEL] And he chose oats. [MAX] You're darn right he did! He's been a good partner, Michael, and a better friend. [MICHAEL] Okay. (holding up the shard) Then he shouldn't mind me asking him a few questions. [MAX] You'd do anything to avoid helping me pack. [MICHAEL] (smiles) You got that right. She smiles back. They start off. CUT TO EXT. RACETRACK ENTRANCE - DAY - K.I.T.T. glides through a gate into a parking lot. Michael parks near a row of men aggressively hawking tip cards: "Benny's Best Bets," "Gary's Green Card," etc. in the b.g. [MICHAEL] Have fun, pal. I'll be back. [K.I.T.T.] Michael, you're leaving me alone in this lot of iniquity? [MICHAEL] Maybe you can show 'em the error of their ways. With that, Michael starts off through the crowd. WIDER ANGLE FAVORING OSCAR the track regular, about sixty, wearing a bright green leisure suit, smoking a big cigar, doing some figuring in his Racing Form as he walks along. The pockets in his jacket are stuffed with tip sheets, clippings of past performances, and odd scraps of paper. Oscar pauses in front of K.I.T.T. and talks aloud as he studies a complex problem of handicapping. [OSCAR] December Bride's got the form...Yoo Hoo Mabel's run with class...but then Foster's Folly owes me one, the old nag.... INSERT - K.I.T.T.'S MONITOR showing a page of the Racing Form, which K.I.T.T. digests with a few electronic flashes and beeps. BACK TO SCENE [K.I.T.T.] There's no room for emotion in betting. Taylor's Goose in the fourth. [OSCAR] Huh -- what say? He looks around for the voice, spots K.I.T.T. He tries to get a look in the windows but they quickly go black. [OSCAR] Who's in there? [K.I.T.T.] Never mind who's in here. I've given you a scientific projection. Kindly remove yourself to the betting window and spare me your superstitious prattle. [OSCAR] Hey, watch your language! (interested though) You got inside information...? [K.I.T.T.] Let's just say I have a hot system. Oscar raises his eyebrows. What the hell? He starts off. EXT. RACETRACK - BARN AREA - MICHAEL walking past trailers/offices of horse owners, near the stable area of the main facility. He spots: TOMMY LEE BURGESS getting out of his car. Michael hails him. [MICHAEL] Tommy Lee Burgess? I'm Michael Knight. (offers his hand) I saw your picture on Max Fleming's wall. I'm a friend of hers. [TOMMY LEE] (warms; they shake) Hey, any friend of Max... (beat) How she doin'? Takin' this any better? [MICHAEL] I wish. I've never seen her so low. [TOMMY LEE] Me neither. [MICHAEL] Seems she blames herself. [TOMMY LEE] Yeah, well, I haven't told her yet, but apparently our insurance company feels the same way. They're holding back pay- ment on suspicion of trainer negligence. Boy, when it goes, it goes. [MICHAEL] Maybe not. I know Max, and I don't think she's to blame. [TOMMY LEE] I'd like to believe that. [MICHAEL] Well believe this. (produces the shard) It's Promazine. I found it on the track near where Knightrider went down. [TOMMY LEE] (beat; shakes head) Must be at least two dozen horses train on that track. [MICHAEL] Is that a fact.... [TOMMY LEE] Sure. Ev'ry day. But listen, Mr. Knight, if you think you're onto something, you hang with it. Max and I could really use that insurance. [MICHAEL] I'm sure you could. [TOMMY LEE] (snaps his fingers) Fact, if you want, I'll call Doc Thorpe. He might know something 'bout this. [MICHAEL] Thanks for the offer, but I'd rather talk to him myself. Catch you later. [TOMMY LEE] Sure...I'll be around. He starts off. Tommy Lee watches him go, thoughtfully. INT. TOMMY LEE'S BARN - DAY - TOMMY LEE stepping in. As he does, he is abruptly punched hard in the stomach by Lewis, a hefty goon. Tommy Lee doubles over. Lewis gives him a quick chop to the back of the neck and Tommy Lee sinks to the floor with a groan. Catching his breath, he looks up in pain, to see: RANDY CAVANAUGH an immaculate forty-year-old man in a white suit, with the look of a seasoned gambler. He leans against something, calmly sipping a drink, working a crossword puzzle. [CAVANAUGH] Tommy, just in time. I need a nine letter word for 'hopelessly in debt.' (a beat) 'Desperate' seems to fit. [TOMMY LEE] You'll get your money. I still have forty-eight hours. [CAVANAUGH] If you value your life, I'd better get the full ninety-two grand. I just thought Lewis should give you the coming attractions if your horse scam bottoms out. [TOMMY LEE] Mr. Cavanaugh, you don't understand. The money's as good as in your hand. I pulled it off. [CAVANAUGH] 'You pulled it off' only comes when I cross your name out of my little book. You got that? Cause by the sound of that conversation outside, you might already have some blood- hounds on your heels. As Tommy Lee reacts, Cavanaugh gives him a little pat on the cheek. [CAVANAUGH] But smile. I pride myself on protecting my investments. If this Knight gives you any trouble...Lewis here is the next best thing to a dog catcher. He puts bloodhounds to sleep. Lewis smiles, and we: FADE OUT FREEZE FRAME END OF ACT ONE ACT TWO FADE IN EXT. HIGHWAY - DAY - THE SEMI moving. [MICHAEL'S VOICE] Okay, let's try it out. Give me Knightrider's bloodlines. INT. SEMI - DAY - INTERCUT - K.I.T.T.'S MONITOR Bonnie stands proudly next to K.I.T.T. as Michael looks on expectantly. The monitor displays an elaborate family tree. [K.I.T.T.] By Prince Jim out of Whirlaway Dee. Tracing back further, I find two Derby champions and a horse of the year in his background. Further still...in 1915.... [MICHAEL] Whoa there big fella! I get the picture. Genuine racing royalty. [BONNIE] You asked me to program him with everything about horse racing, so I did. You may never hear the end of this. [DEVON'S VOICE] Horse racing? What's all this about? ANGLE TO INCLUDE DEVON entering from the front of the Semi. Bonnie slides into K.I.T.T.'s seat. [BONNIE] I have some, uh, maintenance to finish. [DEVON] Well, whatever it is, I'm glad you're back, Michael. We have a pressing matter in Seattle. [MICHAEL] Devon, I need another day. [DEVON] But you just took... (his eyes light up) Ahhh. Your friend Maxine. I gather you enjoyed your day at the races? [MICHAEL] I never made it. Yesterday Max's horse took a fall under her and she lost him. [DEVON] (truly sorry) She has my sympathies. But, accidents do happen and we have work to do. Now then.... [MICHAEL] (interrupting) Devon, I don't think it was an accident. I really need some time to investigate. [DEVON] Investigate what? There are people who specialize in confirming such things. [MICHAEL] Sometimes it takes a fresh eye. [DEVON] I'm afraid it's your eye that's dictating your decision here. She is quite attractive, as I recall. [MICHAEL] That has nothing to do with it. [DEVON] Oh really? Then what do you have to go on? (off Michael's silence) Just as I thought. [MICHAEL] (heated) I admit I don't have much. What I do have is a dear friend who's saying she'll never ride again because of this. Twenty-four hours, Devon. If I don't have something concrete by then, it's off to Seattle. Agreed? [DEVON] (sighs) Agreed. Michael starts for K.I.T.T., but Bonnie catches him. [BONNIE] Not so fast. Kitt's Auto Currency Dispenser is forty dollars short. But I don't see any receipts. [MICHAEL] Hey...I'm on the road. I don't have time to jot down every nickel. [K.I.T.T.] Is it possible the malfunction is in me, Bonnie? [BONNIE] No! And lying puts a strain on your systems, Kitt. Don't cover for him. [K.I.T.T.] Who...me? Michael smiles at his "partner's" reaction. As Bonnie rolls her eyes, they pull out. EXT. SEMI - DAY K.I.T.T. exits down the ramp and veers off. [K.I.T.T.] Where to, Michael? [MICHAEL'S VOICE] First we pick up Max. EXT. THORPE'S COMPLEX - DAY as we've seen it before. Thorpe's pickup is the only vehicle in sight. INT. THORPE'S OFFICE - DAY Tommy Lee assembles riding tack off the back wall. Thorpe watches nervously. [THORPE] It's bad enough you're using my stable. Now you want to use my horse trailer. [TOMMY LEE] Now you just ease off and think 'bout that retirement condo in Florida. They react to the sound of a vehicle approaching. [THORPE] What's that? Tommy Lee checks through the curtains, tenses. HIS POINT OF VIEW THROUGH THE WINDOW K.I.T.T. pulls up out front with Michael and Max. BACK TO SHOT [TOMMY LEE] It's Max with that guy Knight. Damn! (beat) I'll hide out back. You get rid of 'em. [THORPE] (shaken) Me? How? [TOMMY LEE] Just do it! Tommy Lee exits quickly through the door. Thorpe steps out through the front. ANGLE ON PORCH - THORPE, MICHAEL AND MAX The vet greets them before they can knock. [THORPE] 'Lo Max. [MAX] Doctor Thorpe, this is my friend, Michael. He's like to talk to you about Knightrider. [THORPE] (cautious) What about him? [MICHAEL] I'd like to see the report. [THORPE] I don't know, son, that's not how we do things 'round here. [MAX] He has my permission, Doc. (to Michael) If you don't mind, I'll just wait out here. Michael understands how this hurts her. Thorpe has no other choice. [THORPE] All right, but I don't know what you expect to find. Max watches them go, into the office, then her attention is drawn by the sound of a horse's whinny from the stable. She wanders over to check out the animals. INT. THORPE'S OFFICE - DAY Thorpe slams a file drawer shut and hands a folder to Michael. Michael looks through it as they talk. [THORPE] You working with the insurance company? [MICHAEL] No, just a friendly interest. I'm trying to find out what caused that accident, and give Max some peace of mind. [THORPE] I'm afraid it's pretty standard stuff, Mr. Knight. It's always sad, but in this business, we lose thoroughbreds everyday. [MICHAEL] Yeah, but Max doesn't. (pulls an X-ray, looks at it) This is Knightrider's broken leg? [THORPE] That's right. You can see it was badly fractured. [MICHAEL] I guess it would take a strong drug to dull that kind of pain. (beat; studies Thorpe) Something like Promazine. [THORPE] Yeah, guess it would. Only why would anyone dope a horse he was going to put down? [MICHAEL] (slight beat) Good question. He continues perusing the files. Thorpe looks very nervous. INT. THORPE'S STABLE - DAY Tommy Lee hides in the shadows just inside a stall marked "Quarantine - Keep Out". Tied down beside him, wearing a headcover and blinders, is Knightrider. When the horse neighs nervously, Tommy Lee looks out and sees: MAX wandering into the stable, daydreaming, petting another horse. Tommy Lee notes her approach fearfully. Pushed and frightened he picks up a pitchfork leaning against the stall door as she wanders closer and closer to Knightrider's stall. INT. THORPE'S OFFICE - DAY Michael looks through Knightrider's file. Thorpe watches him anxiously. [THORPE] Hate to hurry you, but I've got rounds to make. [MICHAEL] (nods) I can understand you must be pretty busy. (returns file) One more thing...How is it you just happened to have your rifle with you that morning? [THORPE] I always carry my thirty-thirty in my pickup. This can be wild country. [MICHAEL] (studies) Thanks for your help. He returns the file and starts outside. INT. STABLE - DAY Tommy Lee now holds the pitchfork menacingly. Max wanders nearby, unaware. Suddenly, Knightrider gets a strong scent of his owner/trainer and cries out, kicking the stall walls. Max reacts to the familiar sound and starts for the stall. ANOTHER ANGLE Tommy Lee stands on the other side of the wall, desperate to avoid discovery. Max is inches from the stall when: [MICHAEL'S VOICE] Max.... She turns. Michael ambles into the doorway. [MICHAEL] Ready? She gives one more long look at the quarantine stall, nods, then exits. Tommy Lee, sweating bullets, heaves a sigh of relief. EXT. THORPE'S OFFICE/STABLE - DAY Michael and Max walk toward K.I.T.T. She's troubled. [MAX] Well, was it worth the trip? [MICHAEL] Yes and no. I didn't get much, but.... Michael stops, taking note of Thorpe's pickup parked nearby, and of the thirty-thirty mounted behind the driver's seat. [MICHAEL] Kitt, I need a diversion. Keep Doctor Thorpe busy inside for a few secs, okay? [K.I.T.T.] I have just the thing. INT. THORPE'S OFFICE - DAY Thorpe is watching Michael through the curtains when his phone rings. He turns away to answer it and we hear the shrill Woman's Voice: [WOMAN'S VOICE] (phone filter) Hello, Doctor Thorpe, it's about my cow.... [THORPE] Cow? What about your cow? Who is this? [WOMAN'S VOICE] (phone filter) What difference does it make, I'm calling about my cow, not myself. INSERT - K.I.T.T.'S VOICE BOX flashing, speaking in the Woman's Voice. [WOMAN'S VOICE (K.I.T.T.)] All she does is mooo all day long. Mooo, mooo. EXT. THORPE'S OFFICE - DAY - ON PICKUP Michael reaches into the truck and quickly cracks the shotgun open. He runs the comlink over it, then: [MICHAEL] (comlink) Scan inside the barrel, Kitt. I want to know when...and what...this gun last fired. [K.I.T.T.'S VOICE] (comlink) I can't hold him any longer, Michael. Michael quickly replaces the gun and starts back for the car. INT. THORPE'S OFFICE - DAY Thorpe holds the phone away from his ear as we hear K.I.T.T.'s "Woman" prattling on. [WOMAN'S VOICE (K.I.T.T.)] I think she's trying to tell me something...what do you think it is, Doctor? [THORPE] I'm sorry, ma'am, but I specialize in horses. Good-bye. He slams down the phone, crosses back to the window where he sees: THORPE'S POINT OF VIEW - K.I.T.T. pulling off. Thorpe breaths a sigh of relief as Tommy Lee enters from the stable. BACK TO SCENE [THORPE] (urgent) I told you it was a mistake to keep the horse here! [TOMMY LEE] The sooner you shut up and give me a hand, the sooner my buyer's gonna see the goods. Now come on! They exit into the stable. CUT TO EXT. HIGHWAY - DAY K.I.T.T. cruises by with Michael and Max on the way to the racetrack. ANGLE IN K.I.T.T. - MAX AND MICHAEL [K.I.T.T.] I've completed the analysis on that shotgun, Michael. [MICHAEL] Fire away. INTERCUT MONITOR AS NEEDED Max reacts to the amazing graphic display the gun. [K.I.T.T.] It was discharged yesterday, and I scan traces of paper wadding in the barrel. [MICHAEL] Which means he might've fired a blank. [MAX] Oh, great. Now you're dragging Doc Thorpe into your little conspiracy, too. [MICHAEL] Max, Tommy Lee lied to me. When I brought up the Promazine, he told me dozens of horses were training on that track where Knightrider died. [MAX] He must've misunderstood you. He's got a lot on his mind. [MICHAEL] And you know something else that sticks in my craw? When Kitt scanned that track yesterday, he didn't find any traces of blood. Add that to Doctor Thorpe's rifle blank, and something tells me Knightrider's still alive and kicking. Max is stunned by this suggestion. [MAX] Now you're being cruel, Michael. [MICHAEL] No, just calling it like I see it. (beat) Look, if you want me to shut the door gently and walk away, I'll do it. But if my hunch is right on this, then that so-called friend and partner of yours isn't worth having. (beat) It's your call. WIDER ANGLE INTO K.I.T.T. AT MAX She's quiet as they pull to a stop outside her tack room at the racetrack. [MAX] Can you give me a little time for this to soak in? [MICHAEL] Sure. Think you could whip me up some of your famous backstretch java? [MAX] Come on. They climb out and she starts for the barn. Michael hangs back. Quietly, to K.I.T.T.: [MICHAEL] Kitt, start digging up all you can on Burgess, Tommy Lee. He slams K.I.T.T.'s door and heads into the barn. When he's gone, a screech is heard from the road. A smoking older model convertible pulls up next to K.I.T.T. Out jumps: OSCAR looking a lot better than the first time we saw him. He now wears a pinky ring, an expensive new suit, and he's smoking a Churchill. He greets the car like a long-lost brother. [OSCAR] Heyyy, sport! Where ya been keeping yourself? K.I.T.T.'s windows go black. Oscar knocks at one. [OSCAR] Heyy...come on. I know you're in there. If you're funny looking or something, don't be shy. I got no prejudices. [K.I.T.T.] Please go away. I'm busy. [OSCAR] Oh, you got company in there -- haw haw ...C'mon. Who do you like in the seventh today? [K.I.T.T.] If you must know, I'm on the line. [OSCAR] Whaddya got, a wire to Hialeah? C'mon, sport. Lemme in on the action. We could go places. [K.I.T.T.] What will it take to make you go away? INTERCUT - K.I.T.T.'S MONITOR running through the racing form. [K.I.T.T.] Very well: Baltimore Ned and Flying Fenwick in the daily double. [OSCAR] You kidding? Flying Fenwick, at those odds? [K.I.T.T.] You asked for my opinion, sir. Now run along to the betting window or you'll get shut out. [OSCAR] Right! Thanks, sport. Any time I can lay one down for you, say the word. He races off. EXT. HIGHWAYS - DAY - MONTAGE OF K.I.T.T. crossing the concrete from rural to urban surroundings with sound-alike music under. [MICHAEL'S VOICE] What did you dig up on Tommy Lee Burgess? [K.I.T.T.'S VOICE] His bank balance fluctuates like a roller coaster. ANGLE IN K.I.T.T. - INTERCUT MONITOR displaying a register of several large amount bank items. [K.I.T.T.] ...and he makes an inordinate amount of long distance calls to a number in La Playa registered to one Randy Cavanaugh, a known racketeer. [MICHAEL] (reacts) So much for Tommy Lee's playmates. Let's check it out. He cranks a right turn. EXT. CAVANAUGH'S HOUSE - DAY - ESTABLISHING as K.I.T.T. glides up to a circular drive in front of a formidable mansion, a number of cars parked in front. ANGLE IN K.I.T.T. - INTERCUT MONITOR AS NEEDED Michael punches buttons. The monitor displays a floor plan with flashing lights. [MICHAEL] Some party. [K.I.T.T.] Only for the winners. I'm scanning an illegal gambling casino inside. [MICHAEL] I've got a feeling I know where Tommy Lee's money goes. Slip me a couple hundred, partner. [K.I.T.T.] Partner? Whenever it's money, it's 'partner.' [MICHAEL] I always call you partner. Kitt, come on, it's Foundation business. [K.I.T.T.] Whatever you say, but don't forget. You still owe me forty dollars, and I can't cover with Bonnie forever. The cash machine in the dash beeps and a stack of bills pops out. ANGLE IN DRIVEWAY Michael drives toward the house. Michael climbs out as a supercilious valet parking attendant approaches the car. Michael gestures him off. [MICHAEL] That's okay, I'll park it myself. And the shocked attendant reacts as K.I.T.T. drives itself off to find a spot and Michael casually walks up to the door. INT. ENTRY HALL - DAY - GINA a sexy female hostess stands watch as Michael enters. [GINA] May I see your invitation, sir? [MICHAEL] (feels his pockets) Shoot. I must have forgotten it. [GINA] Shoot, I can't let you in. Michael surreptitiously palms a bill, then bends over as if to pick it up off the floor. [MICHAEL] Say, did you by any chance lose this picture of President Grant? [GINA] (taking it from him) No. I lost two pictures of President Grant. Michael eyes her a beat, then hands over a second bill. Gina smiles, reaches under the podium and hits a button. A large heavy door off the hall pops open. Michael winks at her. [MICHAEL] You've got a future in banking. INT. GAMING ROOM - DAY Michael passes into a small but busy gambling room, nicely appointed. There are card and crap tables and a large, bright roulette wheel. Michael scopes things out for a moment, then leans up against the roulette table, buying chips. After a beat, he drops a chip on double-zero. INTERCUT - ROULETTE WHEEL AS NEEDED The ball bounces into a double-zero for a second, then flies onto a red number. [MICHAEL] (smiles at Croupier) That was close.... [LADY CROUPIER] (sweeping Michael's chip) Only in horseshoes and hand grenades, handsome. Place your bets. Michael steps back from the table. Discreetly, to comlink: [MICHAEL] Kitt.... [K.I.T.T.] (comlink) Not another penny! The odds on that silly game are thirty-five to one. [MICHAEL] Not in here. Something tells me that wheel's got a mind of its own. (beat) Okay, buddy, let's make a little spectacle of ourselves. Give me a winner. [K.I.T.T.] (comlink) If you insist, Michael. Four. [MICHAEL] Four it is. He places his bet. ROULETTE WHEEL The Lady spins the wheel, the ball dropping into number four. [LADY CROUPIER'S VOICE] Four, red, even, the winner. [MICHAEL] Well...what...do...you...know. Michael sweeps in his winnings. VARIOUS SHOTS - BRIEF MONTAGE of Michael cleaning up at roulette. Intercut K.I.T.T.'s scanner rigging the wheel. Michael's pile of chips grows enormous, a crowd begins to form, among them Randy Cavanaugh. ANGLE ON ROULETTE TABLE Michael standing in place. [MICHAEL] This is great! I haven't had this much fun since I was... (punches comlink discreetly) ...Fourteen. He moves the chips over onto number fourteen. The Croupier spins the wheel. INSERT - K.I.T.T.'S SCANNER FLASHING [K.I.T.T.] Fourteen, the winner. BACK TO ROULETTE TABLE as the ball drops into fourteen. The Croupier's eyes bug out. [LADY CROUPIER] Fourteen! The gentleman wins again. Michael's pile grows enormous. The crowd around him murmurs approval. Michael smiles with satisfaction as Randy Cavanaugh sidles up to him. [CAVANAUGH] Quite a run, mister.... [MICHAEL] Knight. You the pit boss? [CAVANAUGH] You might say that. I own this place. I'd like to buy you a drink. [MICHAEL] (shakes his head) Not when I'm on a roll. I've been superstitious since I was... (punching comlink) ...thirteen. Michael moves his chips again. The ball spins, bounces, and lands on thirteen. The crowd oohs and ahhs as the Croupier eyes Cavanaugh nervously. [CAVANAUGH] Amazing. How'd you happen to find us? [MICHAEL] Friend of mine, Tommy Lee Burgess. [CAVANAUGH] You a horseman, Mr. Knight? [MICHAEL] No, I just have a weakness for winners, and Knightrider was a winner. I'd pay anything for that horse. [CAVANAUGH] But didn't you hear -- Knightrider's dead. [MICHAEL] I heard...but hearing and believing are two different things. Michael smiles, plays with chips and returns to his roulette game as Cavanaugh studies him. CUT TO EXT. RURAL FIELD - DAY Open tight on Knightrider, trying to break free of his reins being held by a handsome, well-dressed Arab, Sheik Haroun Al Rashid. Widen to include Tommy Lee and Dr. Thorpe, watching. The Sheik's red sports car is parked nearby with a beautiful girl in the front seat. Also the pickup and horse trailer. [TOMMY LEE] High tempered, isn't he. [RASHID] No. He's vicious. (smiles) But that's something I relish in stallions and women. I want him. [TOMMY LEE] Knew you would. You got a winner there. [RASHID] For his sake, I hope so. Losers don't last in my stable. Bring him to Lincoln Hills Airport tomorrow, and you'll have your million-five. Tommy Lee takes the reins. He and Thorpe watch as Rashid climbs onto his car and drives off. When he's gone, Tommy Lee whacks Thorpe with his hat, ecstatic. [TOMMY LEE] Whooooo-ee! CUT TO INT. GAMBLING ROOM - DAY Michael now stands before an enormous pile of chips. The Croupier eyes Cavanaugh. Lewis has joined him. Michael pushes a pile of chips onto a number. The whole room is watching by now. A pretty lady leans on Michael's shoulder. [MICHAEL] I'll never forget this streak if I live to be a hundred and... (punches comlink) ...twenty. Cavanaugh nods discreetly to the Croupier who spins the ball around the wheel. CLOSE ANGLE - UNDER THE TABLE The Croupier's knee presses a lever underneath the table. ON THE WHEEL as the ball bounces, bounces, then drops into red 31. The gathered spectators groan with disappointment and the Croupier heaves a sigh of relief, but: INSERT - K.I.T.T.'S SCANNER FLASHING [K.I.T.T.] The good ones know when to quit, Michael. BACK TO SHOT - THE BALL pops out of its resting place and bounces into the twenty spot. Michael brightens and whoops with delight. The spectators applaud. Cavanaugh grinds his teeth as the Croupier pushes almost all the chips at the table to Michael, who takes a rack from the Croupier and piles them in. [MICHAEL] Thanks guys, it's been a blast. Where do I cash out? [CAVANAUGH] (forces a smile) The cashier's just through that door. He points Michael to a door. Michael heads through it. ANGLE IN HALLWAY as Michael crosses to a pretty cashier at a window and drops his load of chips on the counter. [MICHAEL] Fifties and hundreds will be fine.... But he never finishes as he's struck from behind by: LEWIS who places a sap back into his pocket. The chips scatter and tinkle all over the floor. Cavanaugh enters and looks down at Michael. [CAVANAUGH] Take the limo and get rid of him. (to their looks) He's onto Tommy Lee. EXT. CAVANAUGH'S - REAR ENTRANCE - DAY Lewis exits carrying Michael with the help of an ND person. Cavanaugh follows and opens the trunk of a large limousine and Lewis drops Michael's body inside. CLOSER ANGLE We see Michael sprawled unconscious just before the trunk lid slams shut. [LEWIS] He was too lucky for his own good. He climbs into the limo and starts off. Cavanaugh watches him go. ANGLE IN TRUNK Very dark. We can just make out Michael's face and his slow, irregular breathing. FREEZE FRAME AND FADE OUT END OF ACT TWO ACT THREE FADE IN EXT. STREETS - DAY The limo bearing Michael turns up an urban canyon road. ANGLE IN TRUNK Michael struggles but can't get the comlink close to his mouth. He hits the button anyway. [MICHAEL] Kitt, can you read me? INTERCUT - K.I.T.T. [K.I.T.T.] Faintly, Michael. Where are you? [MICHAEL] Feels like the trunk of a car. [K.I.T.T.] I guess this means your plan isn't working out. [MICHAEL] Not necessarily. Follow my signal and get in behind us. Silent Mode. I'll tell you what to do. K.I.T.T. goes through his start-up routine. EXT. MANSION - DAY K.I.T.T. pulls out of his space and past the parking Valet. [VALET] Hey...how 'bout a tip? [K.I.T.T.] Okay. Classy Cassie in the fourth at Pimlico. K.I.T.T. screeches away, leaving the hapless Valet wondering. EXT. CANYON ROAD - DAY The limo motors safely past, well within the speed limit. Lewis is blissfully unaware of K.I.T.T., who, after a long beat, comes tearing up the canyon at twice the limo's speed. INSERT - K.I.T.T.'S DASH "Silent Mode" lights up and the whine of the turbines stops. INT. TRUNK - MICHAEL squirms uncomfortably. Into comlink: [MICHAEL] How close are you, Kitt? It's getting stuffy in here. EXT. STREET - DAY - POINT OF VIEW FROM SIDE MIRROR as K.I.T.T. slides silently up into tailgating position. [K.I.T.T.] Any closer and I'll have to marry this limo. ON MICHAEL IN TRUNK [MICHAEL] I'll be your best man. Now pop this trunk. EXT. STREET - POINT OF VIEW FROM K.I.T.T. The trunk pops open and Michael unfolds himself from inside. When he has his balance he steps out of the trunk and onto K.I.T.T.'s hood. The auto-roof opens and Michael walks across the hood and climbs into the driver's seat. ANGLE INTO LIMO - ON LEWIS His eyes go to the side mirror and widen in surprise. He nails the limo's pedal, speeding up. ANGLE IN K.I.T.T. Michael rubs the circulation back into his limbs, seeing the limo pull away. [MICHAEL] The cat's out of the bag, Kitt. He's made us. [K.I.T.T.] How shall we deal with him? [MICHAEL] Let's teach him not to speed. Brace yourself. Michael grips the wheel and hits "Turbo Boost." VARIOUS ANGLES - THE JUMP K.I.T.T. turbos up, up, and over the limousine, crashing back to Earth just in front of it. ANGLE IN LIMO - LEWIS flabbergasted, jerks his wheel to the right to avoid hitting K.I.T.T. and slides into a harmless stop. FULL ANGLE - K.I.T.T. AND LIMO Michael is out of the Trans Am like a flash. [MICHAEL] Call the police, Kitt. And while you're at it, steer them over to Cavanaugh's club. He opens the limo door and pulls the larger driver up to his feet, slamming him against the side of the car. [MICHAEL] Okay, friend. Time for a man-to-man talk. About Tommy Lee Burgess. How much is he into you guys for? [LEWIS] All you get from me is four words. I...want...my...lawyer. If glares could set fire, Michael's would. CUT TO EXT. DR. THORPE'S COMPLEX - DAY - KNIGHTRIDER frightened, resisting Dr. Thorpe, who tries to lead the horse out of the stall toward Tommy Lee, by the open door of an enclosed horse trailer. [TOMMY LEE] (scans the area) C'mon. Move it. It's clear. Dr. Thorpe tries, but the horse stubbornly refuses. [THORPE] Tell him that. Tommy Lee moves over to Knightrider, grabbing his head tether powerfully. [TOMMY LEE] Easy, Knightrider. You're going to your new home, boy. Tommy Lee takes the reins and tries to move the horse off. Knightrider rears up, kicking with nervous energy. Tommy Lee yanks his head down to show him who's boss. [TOMMY LEE] And I swear if I have to drag you there, you're going! The horse bucks and kicks, resisting every step. [TOMMY LEE] Let's sedate him, Doc. [THORPE] (shakes head wearily) Whatever you say. Dr. Thorpe moves over to his pickup to grab his vet's bag, while Tommy Lee controls Knightrider. Tommy Lee looks right up to the horse's eyes. [TOMMY LEE] Behave, big boy, everything's goin' to be all right. [THORPE] Hold him steady. Tommy Lee tries. Knightrider's head turns and sees the needle and he goes crazy. Rears up on two legs, knocking Tommy Lee back. Tommy Lee loses the ropes and Knightrider dashes free, as the two men react: WHAT THEY SEE - KNIGHTRIDER sprinting down the road, then through an open fence and down into a canyon valley, and out of sight. BACK TO SHOT - TOMMY LEE flushing with panic, racing for Dr. Thorpe's pickup. [TOMMY LEE] C'mon, we got to catch him! Dr. Thorpe just stands there. [THORPE] Forget it. He's headed for the canyon. Tommy Lee gets in the truck. [TOMMY LEE] I don't care if he's headed for hell. I'm a dead man without him. And if anyone recognizes him...you're not much better. Wincing at the thought, Dr. Thorpe hops into the pickup with him. They burn out toward the road, in Knightrider's direction as we: CUT TO EXT. HIGHWAY - DAY K.I.T.T. flashes past. [DEVON'S VOICE] I'm sorry, Michael, but Cavanaugh's was clean by the time the police got there. ANGLE IN K.I.T.T. - INTERCUT MICHAEL AND DEVON ON MONITOR Max is seated next to Michael, deep in thought. [DEVON] Not a gaming table or chip in sight. [MICHAEL] It figures. What about Lewis? [DEVON] True to his word. He let his lawyer do his talking for him. Bail was set at -- five thousand -- dollars. Needless to say, he managed to raise it. [MICHAEL] I'm sorry to hear that. Okay, Devon, I'm on my way to Doctor Thorpe's. [DEVON] Still feel he's the weak link, do you? [MICHAEL] The weakest in sight. I'll keep in touch. He punches out. Looks toward Max, whose thoughts are far away. [MICHAEL] Thinking about Knightrider? [MAX] Yeah...You know, the first time I met him was after he'd kicked three trainers out of the corral. Well, I moved up to the rail, looked him in the eye and said, 'Hey, big Black, you're not so tough.' Then I scratched him under the chin...and it was love at first sight. (looking back at Michael) I guess you wouldn't understand that kind of love. [MICHAEL] (smiles) Oh, I don't know...first time I met Kitt.... [K.I.T.T.] (protesting) Michael! [MICHAEL] C'mon, pal. I remember it well...I looked you right in the scanner, gave you a scratch under the bumper.... [K.I.T.T.] (indignant) And then drove me right through a garage wall! Michael laughs. Max, too. Suddenly, Max's attention is drawn outside. [MAX] (excited) Michael, stop the car. There he is! Michael brakes and looks off. OMITTED WHAT HE SEES - A BLACK HORSE a long distance off, atop the crest of the canyon's moun- tainous ridge, running free. BACK TO SHOT Michael reacting. [MICHAEL] Pretty far off to tell for sure. [MAX] It's him. I know it! Michael punches buttons. [MICHAEL] Now you're the one with instinct, huh? Kitt, give me visuals. INTERCUT - K.I.T.T.'S MONITOR - MICHAEL AND MAX The monitor shows a picture of the horse racing along the ridge. First, a wide shot, then a zoom-in profile of the horse's head. We see the distinctive red markings. [MICHAEL] That's Knightrider, all right. [MAX] (kisses Michael) I told you! I told you it was him! [K.I.T.T.] Yes, and by the look in his eyes, I'd say he's terrified right now. [MICHAEL] Nothing that a little TLC from Max won't cure. Let's round him up, pal. Michael accelerates onto a dirt road that leads toward the mountain. EXT. MOUNTAIN CREST - DAY - KNIGHTRIDER gallops along the edge. Sensing K.I.T.T.'s pursuit, he veers off and disappears down the blind side of the mountain and out of view. ANGLE IN K.I.T.T. moving swiftly up the road toward the mountain top. [MAX] We spooked him, Michael. He's gonna be tough to follow down there. [MICHAEL] We'll track him. Kitt, give me an infrared overlay of the other side. [K.I.T.T.] I can't. The rock outcropping is too dense for sensor penetration. [MICHAEL] Then we'll just have to get above those rocks. Hang on, Max, we're off and running. [MAX] (as they accelerate) Go to the whip! EXT. OTHER SIDE OF THE MOUNTAIN - KNIGHTRIDER coming down the steep and treacherous incline. He reaches the valley bottom, a dense brush-covered area. Then sensing something, he moves to: A STREAM running along the bottom. Knightrider, out of breath and tired, thirstily drinks. Abruptly, his head raises with fear upon noticing: INCLUDE BOBBI GABRIEL fifteen, a local girl, with rolled up jeans, standing on the stream rocks, picking wild flowers. Her school knap- sack nearby. She looks as shocked as the horse. [BOBBI] Easy.... She approaches him slowly, stepping across the stream rocks. [BOBBI] Don't be scared. You lost? Knightrider snorts and backs away. Bobbi pulls out a cookie from her pocket, offering it as she moves closer. [BOBBI] Hungry? It's oatmeal. Made it this morning. Knightrider sniffs it, then moves in and takes it. Bobbi gives him a little scratch under the chin. Knightrider whinnies with pleasure. Bobbi smiles. [BOBBI] You like that, don't you. Can I ride you? Knightrider whinnies again in a positive response. Bobbi smiles, grabbing around his neck and getting on. [BOBBI] Giddyap. Knightrider, with Bobbi aboard, takes off through the brush. EXT. MOUNTAIN CREST - DAY - K.I.T.T. reaching the crest of the mountain. [MICHAEL'S VOICE] Okay, Kitt, give me a scan. ANGLE IN K.I.T.T. - INTERCUT MONITOR Shot after shot of empty wooded terrain appears on K.I.T.T.'s screen. [MAX] Where'd he go? We can't lose him now. [MICHAEL] I don't know. There's a lot of territory down there, Max. [MAX] At least we know he's alive. [MICHAEL] But you can bet we're not the only ones looking for him. On their tense reactions, we: FREEZE FRAME AND FADE OUT END OF ACT THREE ACT FOUR FADE IN EXT. RURAL ROAD - DAY K.I.T.T. powers down a rutty two-line through the mountains. [DEVON'S VOICE] The Foundation helicopter is nearing the area to help the search. ANGLE IN K.I.T.T. - INTERCUT MONITOR as Michael coordinates the search with Devon. [MICHAEL] Tell 'em to step on it. We've got to find Knightrider before anyone else does. [DEVON] I know. But I am a little loath to ask local law to help us look for a dead horse. [MICHAEL] He's not dead and we're not waiting. Stay in touch. Michael hits buttons and Devon fades. [MAX] He'd probably go to water and there's a stream down to the left. [MICHAEL] Atta girl! Let's give it a try. Michael turns K.I.T.T. onto a dirt road that's little more than two ruts. [K.I.T.T.] This path is better suited to hooves than wheels, Michael. [MICHAEL] Talk to Bonnie about it when we get back. Maybe she can install some. [K.I.T.T.] I can hardly wait. They disappear down the path. EXT. FOREST NEAR STREAM - DAY K.I.T.T. pulls to a stop near where we saw Bobbi. [K.I.T.T.] This is as far as I go, Michael. But I do scan some hoofprints in the mud by the stream. Michael and Max brighten and are out of the car in a flash. They search the stream bed. Max bends over the hoofprints. [MAX] Here they are. They could be his. Michael has spotted something else: Bobbi's knapsack. He wheels it out of the brush. [MICHAEL] Max! Look! She joins him as they scrutinize the bike. CLOSE ON KNAPSACK We see a name tag with the name "B. Gabriel". Her shoes are next to it. BACK TO SHOT [MICHAEL] B. Gabriel. The kid who owns this might have seen Knightrider. (calls) Kitt! Give me a check on the name Gabriel within a fifty mile radius. INTERCUT K.I.T.T.'S MONITOR doing its thing. [K.I.T.T.] Gabriel Mortuary, Gabriel Plumbing, and the residence of a J. Gabriel on Highway 14. [MAX] That's be Jim Gabriel from the Feed and Seed. He's got a daughter named Bobbi. [MICHAEL] Won't be the first longshot that's come in this week. Let's go. They race for the car and peel back up the way they came. CUT TO EXT. THORPE'S OFFICE/STABLE - DAY - ESTABLISHING Cavanaugh's limo has joined the horse trailer and pickup. The sound of a blow being struck and a groan come from inside. INT. THORPE'S OFFICE - DAY Thorpe cowers behind his desk as Tommy Lee tries to rise from the floor. Lewis stands over him with his sap. Cavanaugh paces with calculated casualness nearby. [CAVANAUGH] One more time. Where is my money? [TOMMY LEE] (desperate) Please, Mr. C., just a little more time. We'll find the horse. He'll come out of that canyon, I know it. [CAVANAUGH] No more time. You're already a month late. And considering the compound interest, I'd say it's not your horse anymore. It's my horse. And if my horse doesn't turn up.... Suddenly they're all frozen by a knock at the door. Thorpe stands up, whispers. [THORPE] Let me get it. Cavanaugh grabs Tommy Lee and roughly pulls him out of sight of the door. He signals to Lewis who produces a gun and moves behind the door, training it on Thorpe. The knock comes again. [CAVANAUGH] Okay. No fast moves. Just tell 'em you're closed. Thorpe, sweating, nods and opens the door. ANGLE ON DOOR AND PORCH as Thorpe opens it to reveal Bobbi, leading Knightrider on a lead-line, barefooted. [BOBBI] Isn't he beautiful, Doc? [THORPE] Bobbi...where'd you find him? [BOBBI] Down in the canyon. I figured if anyone lost a horse out here you'd know. (brightening) But if no one did, I'd love to keep him. [THORPE] (covering his nerves) I'm sorry to disappoint you, Bobbi, but that horse belongs to a man I know. He's been worried sick. [BOBBI] Yeah, I don't blame him. Can I at least brush him down for you? [THORPE] No honey, I'm sorry, but I've got to close up. I'm on my way to the airport. Thorpe takes the lead-line and Knightrider snorts and paws the ground. Bobbi turns and leaves. Cavanaugh appears in the doorway behind Thorpe. [CAVANAUGH] She doesn't know it...But she just saved a man's life. C'mon. We got a buyer to see. The three men move into action toward the vehicles, leaving Doc behind. EXT. GABRIEL HOUSE - DAY The Trans Am pulls up to a small country house. Bobbi's just returning home. She looks up as Michael and Max climb out. Michael has her knapsack. [BOBBI] Hey, that's mine! [MICHAEL] We found it way down in the canyon. We were looking for this lady's black horse. Hoped you might've seen him. [BOBBI] I sure did. Boy could he run. [MAX] What happened to him, Bobbi? Is he all right? [BOBBI] Oh he's fine. I left him with Doc Thorpe. He said a man owned him. [MICHAEL] (to Max) C'mon, let's hurry. They start for K.I.T.T. [BOBBI] You won't catch Doc there. He said he was going to the airport. [MICHAEL] How long ago was that? [BOBBI] Half hour. Did I do something wrong? [MICHAEL] You did perfect. Thanks. They peel out in a cloud of dust. ANGLE IN K.I.T.T. Michael's wailing on the buttons. Max is on the edge of her seat. [MICHAEL] Kitt, tap the tower of the local airport. Check out the traffic. Anything big enough to carry a horse. INSERT K.I.T.T.'S MONITOR displaying a flight-control pattern. [K.I.T.T.] There's only one plane big enough, Michael. It's a private jet belonging to a Shiek Haroun Al Rashid. [MAX] Rashid! [MICHAEL] Know him? [MAX] He used to race on the European circuit but was banned for mistreating his stock. He's turned champions into dog food. [MICHAEL] You can bet he's our buyer. Kitt, let's beat 'em there. EXT. HIGHWAY - DAY K.I.T.T. hits pursuit and speeds off. EXT. DIFFERENT HIGHWAY - DAY Doc's truck and trailer pass, followed by Cavanaugh's limo. ANGLE IN TOMMY LEE'S TRUCK Tommy Lee drives nervously, and with good reason. Lewis sits next to him. EXT. HIGHWAY - DAY K.I.T.T. flashes by. [K.I.T.T.'S VOICE] I'm scanning a horse trailer and a limousine less than a mile ahead, Michael. ANGLE IN K.I.T.T. Max and Michael tense with excitement. [MICHAEL] Limousine...as in Cavanaugh? [K.I.T.T.] Affirmative. [MICHAEL] We got 'em now. They accelerate. ANGLE THROUGH WINDSHIELD - MICHAEL'S POINT OF VIEW coming up on the rear of the limo like it was standing still. Michael pulls out to pass. ANGLE ACROSS THE TWO CARS Cavanaugh looks to see who's passing, reacts at the sight of Michael. [MICHAEL] Hi! I thought you left the driving to others. Cavanaugh doesn't think it's funny. He bears down on the gas, but K.I.T.T. slips in front of him, in between the trailer and the limo. FULL SHOT - THE VEHICLES Cavanaugh thinks he can put Michael out of commission, so he pulls the heavier limo right up on K.I.T.T.'s tail and rams the Trans Am. ANGLE IN K.I.T.T. Max and Michael rock with the impact. [K.I.T.T.] How rude! He's trying to make a sandwich out of us. [MICHAEL] I think I have just the thing to loosen him up. Arm your oil jets, Kitt. INSERT - OIL JETS Two nozzles protrude from the car's rear bumper. BACK TO SHOT [K.I.T.T.] Ready and waiting, Michael. [MICHAEL] Just the thing for a 'slick' guy. He hits the button marked "Oil Slick." INSERT - OIL JETS Squirting dark thirty-weight out onto the pavement. FULL SHOT - THE LIMOUSINE Cavanaugh loses control and starts skidding the limo. It does two full 360's through K.I.T.T.'s oil slick before coming to an ungraceful stop up against the embankment. Cavanaugh gets out and looks after the Trans Am. Slams his fist down on the hood of the limo in frustration. ANGLE IN K.I.T.T. [MICHAEL] One down, one to go. [K.I.T.T.] Correction, Michael. Two to go. Tommy Lee's got company: our friend from Cavanaugh's. [MICHAEL] Time to make our move, Kitt. Let's get in front of 'em. [MAX] Way to go, pony boy. Box 'em into the rail! FULL SHOT - THE VEHICLES K.I.T.T. whips out and around the truck/trailer rig. Michael gets in position in front of the pickup and slows down. ANGLE IN PICKUP CAB [LEWIS] Damn! Him again. ANGLE DOWN - K.I.T.T.'S AND TRUCK'S BUMPERS as K.I.T.T. slows down the pickup bumps it once, then again. Michael's bringing the pickup to a controlled stop. [MAX'S VOICE] Easy, I'd hate to hurt the horse. [MICHAEL] He's safe as a baby in his mother's arms. INSERT - K.I.T.T.'S TIRES smoking and grabbing the pavement, braking. ANGLE IN PICKUP CAB Lewis frowns at Tommy Lee. [LEWIS] Step on it! Push 'em! [TOMMY LEE] I can't believe it! It's floored and they're stopping us! The truck's engine and suspension groan as the vehicles slow to a stop. Lewis and Tommy Lee start out, as do Max and Michael. FULL SHOT - THE VEHICLES stopping on the road. Lewis takes the thirty-thirty off the rack, starts firing at K.I.T.T. The bullets spark harmlessly off the car's shell. Lewis then climbs down from the cab with the rifle, but Michael is all over him in a flurry of punches. In the b.g. we see Max exit K.I.T.T. and head for the rear of the trailer. Michael decks Lewis and tosses the thirty-thirty off into the bushes. He looks up and spots: TOMMY LEE climbing from the truck and racing toward the trailer where Max is frantically opening the latches. He goes for her but: MICHAEL hits him with a flying tackle. They wrestle for a moment before Michael ends Tommy Lee's resistance with a solid right. [MICHAEL] You made a good run, but you had nothing left for the stretch. (calls out) Kitt, have Devon call the local authorities. And have 'em round up Doctor Thorpe. [K.I.T.T.] Michael...look. OMITTED MAX AND KNIGHTRIDER She stands with her arms around his neck. The horse nickers softly. Home again. CLOSE ON MICHAEL His face filled with satisfaction. FREEZE FRAME FADE OUT END OF ACT FOUR TAG FADE IN EXT. TRAINING TRACK - DAY Once again we see Max galloping Knightrider through a clear morning, but now there's an important difference. MICHAEL, DEVON, AND BONNIE stand watching near K.I.T.T. [MICHAEL] How's she doing, Kitt? INSERT - K.I.T.T.'S DASH AND WINDSHIELD Where a digital timer clicks off hundredths of a second and stops as Max and Knightrider whizz past. [K.I.T.T.] Twenty-three point one four. Fast enough to win the Jackson Stakes tomorrow. BACK TO SHOT as the group applauds horse and rider, moving away from K.I.T.T. to where Max is riding back. She hops down to greet them. [MICHAEL] I think I smell a triple crown. [DEVON] Yes, Man O' War never looked better. [BONNIE] You've got yourself a real champion, Max. [MAX] Thanks to Michael. (turning to him) Where would I be without you? [MICHAEL] (smiles) Saddle-shy in Atlanta. ANGLE TO INCLUDE OSCAR Looking broke again, he slides up to Michael. As the others look on: [OSCAR] So finally I see you. Whadya do to me, sport? [MICHAEL] Do I know you? [OSCAR] Know me? You told me Foster's Folly was a sure thing. He ran dead last. [MICHAEL] I told you? (looks suspiciously to K.I.T.T.) Kitt, is there something I should know here? [K.I.T.T.] Don't look at me.... [OSCAR] Twenty bucks I bet for you. Big deal. Me, I parlayed my whole week's winnings. (throws his losing tickets in the air) I'm gonna have to start working for a living. He moves off. Michael looks scoldingly at K.I.T.T. [MICHAEL] You bet a horse? (enjoying this) With Foundation money? [K.I.T.T.] Michael, I was just trying to bail out your Auto-Currency statement. Statistically, I couldn't lose. [MICHAEL] That's what they all say. [K.I.T.T.] Michael, can I ask a favor? (whispers) Lend me $20? Off our group's pleasure and K.I.T.T.'s chagrin.... FREEZE FRAME FADE OUT THE END

{"show": "Knight Rider", "season": "s03", "episode": "e12", "title": "Knight by a Nose"}

knightriderarchives

ACT ONE FADE IN EXT. ROAD THROUGH REMOTE TERRAIN (DESERT OR ?) - DAY Camera pans the idyllic countryside, finding a rabbit at roadside. Pan continues, and finds a tanker truck some distance down the road, barrelling this way. CLOSER - THE TRUCK A logo identifies INTERSTATE WASTE DISPOSAL CO. INT. THE CAB We meet the driver, Chuck, a hard-looking man who's doing a dirty job and doesn't mind a bit. He stares ahead at the road. HIS POINT OF VIEW - THROUGH THE WINDSHIELD No traffic ahead. BACK TO DRIVER glancing at rearview mirror. REARVIEW MIRROR No traffic seen behind. BACK TO DRIVER he reaches for a wire pull release under the dash, pulls this. EXT. TRUCK - DAY - INSERT - A VALVE as it is opened by the pull release, and a viscous liquid spills out. ANGLE ON THE ROAD The fluid striping the roadside as the truck drives off. Camera pans down to the fluid; the sound of the truck fades to nature's silence again, then: ANGLE The rabbit moves out of the terrain flanking the road, to the liquid staining the roadside, sniffs at the mess, staggers, stumbles and finally falls -- dead. CUT TO ANOTHER AREA OF ROAD - DAY The truck barrels past some cattle on graze land -- still gushing its poison. ANGLE WITH SOME OF THE CATTLE There's a plaintive lowing, and we know these beeves are a goner. CUT TO EXT. ROAD THROUGH DIFFERENT TERRAIN - DAY A runby of K.I.T.T. INT. K.I.T.T. - DAY Michael facetiously bantering with K.I.T.T. [MICHAEL] I'm telling you, pal, I've seen custom paint jobs that'd stop your heart. [K.I.T.T.] I haven't got a heart, Michael. I haven't got a paint job either. I have a molecular bonded shell. [MICHAEL] So what would be so wrong if we maybe airbrushed a little surfing scene on the doors, wrote your name on your side window -- Kitt: the love machine! [K.I.T.T.] Michael, even in jest this line of conversation strains my audio sensors. [MICHAEL] O.K., Kitt, we'll stick with basic black. [K.I.T.T.] Thank you. [MICHAEL] Maybe just a little pin striping. [K.I.T.T.] (beat) Devon is calling. INTERCUT - THE MONITOR as Devon's image appears: [DEVON] Hello, Michael. [MICHAEL] Hello yourself, Devon. If you'd waited another few minutes, we could've talked face to face. We're almost back to the semi now. [DEVON] That's why I'm calling. I won't be there. I've injured my back. No jokes, please, about falling off a barstool or chasing blondes. [MICHAEL] Somehow, the image didn't occur. [DEVON] Bonnie will be doing double duty. Taking my place. She'll fill you in on what we've got. [MICHAEL] On what case? [DEVON] Acid John Birock. (to Michael's reaction) You can pat yourself on the back for putting the Foundation onto him. [MICHAEL] I'll pat myself on the back when we put him out of business. [DEVON] It took considerable research and surveillance, but I think we have a handle on how to do just that. Good luck, Michael. [MICHAEL] Feel better, Devon. And the screen goes to black. POINT OF VIEW THROUGH WINDSHIELD TO SEMI ahead. BACK TO MICHAEL He tromps on the gas. ANGLE ALONG THE ROAD - STOCK Michael drives K.I.T.T. into the semi, and we see the tailgate raise, etc. Finally we go: INT. SEMI - DAY Michael hurriedly emerging from K.I.T.T., meeting Bonnie, who's putting a video disc (or VCR cassette) into the machine. [BONNIE] I think you're going to like our movie selection for the day. [MICHAEL] So Devon said. Tell me you've caught Acid John in the act. [BONNIE] No such luck. But we have put a lot of pieces together. Bonnie hits the lights, and we: CUT TO OMITTED EXT. INTERSTATE WASTE DISPOSAL CO. - DAY The United truck enters the complex, moving past a sign that identifies the place, and a guard gate. The guard has a pistol on his hip, and in the facility we are aware of a lot of security. We establish the facility as we follow the truck in, and: ANGLE IN THE COMPLEX TO FEATURE THE MONSTER MACHINE It's (literally) a custom tractor truck, (figuratively) the meanest "junk yard dog" to K.I.T.T.'s "pedigree." Angle adjusts as it hauls some barrels of God knows what on a flat, to an area of drums...tires throwing up rooster tails of sand or mud, engine screaming as it plows its way through the toxicity it's grown used to and now calls home. We never see who's at the controls of the thing, but it pulls its load past: ANGLE AT THE ACID PIT as Monster Machine moves past, a workman is finishing a beer, tossing the can in the pit. ANGLE IN THE ACID PIT The beer can smokes and dissolves...and is gone in a malevolent burp of bubbles. CUT TO INT. SEMI - DAY - OPEN CLOSE ON A VIDEO SCREEN Seeing various angles of the United Waste dump operation, plainly taken surreptitiously. [BONNIE (V.O.)] ...the waste disposal site itself, where acid is presumably contained, but is actually leaching into the ground waters of the area...barrels of toxic waste...rusted, leaking, a nightmare. On a clear shot of Birock himself entering his Century City office building: [MICHAEL (V.O.)] There's our man! John Birock --- ANGLE ON SCENE Michael here with K.I.T.T. and Bonnie watching the film. [MICHAEL] -- Acid John. Owner of Interstate Waste Disposal. King of the polluters. [BONNIE] Your friend and mine. [MICHAEL] Chemicals that kill tossed in your back yard, or dumped in your lakes and streams. He likes his manicures today, but he came up from the streets and there's a lot of dirt under those fingernails. Tell me you've found a way, Bonnie. [BONNIE] We concentrated on finding his records. They'd show a jury what chemicals came in to the disposal site, and what were unaccounted for --- [MICHAEL] Yes, dumped. Bonnie, we've been all through that. The District Attorney subpoenaed his records. [BONNIE] And Birock was happy to give him a set -- a nice clean phoney set from his nice clean offices. (re film) Here --- And she slo-mo's the film. We see Birock entering his (dump) office, briefcase in hand. [BONNIE] Here's why Devon brought you in. For obvious reasons Birock stays as far from that dump as he can get. But we caught him there on two separate occasions. Both times carrying something.... [MICHAEL] You think the real records are in that dump of his. [BONNIE] We think they're in that office. If we can confirm, the DA says he'll jump on Birock with both heels.... Michael considers the image of Birock on the monitor, and we: CUT TO EXT. ROAD - DAY - STOCK K.I.T.T. slides out of the semi, and heads on his way. CUT TO OMITTED EXT. ROAD AT GRAZE LAND - DAY Panning to see a number of cattle, dead in the graze land here. INCLUDE FRAN A pretty lady in her late twenties, now moving away from her camper (parked at the roadside), filling with fury at the sight of the dead cattle. She hears a pathetic bawl, looks to: POINT OF VIEW TO A CALF Miraculously, one calf has survived. CUT TO ANGLE ON THE ROAD - FEATURING THE DEAD RABBIT as K.I.T.T. blasts past. BACK INSIDE K.I.T.T. Michael reacts to an odor. [MICHAEL] I think we just entered enemy territory, pal. Can you give me a reading? INTERCUT - K.I.T.T.'S SCOPE Showing computer versions of various molecular structures, as: ON SCENE [K.I.T.T.] The road's surface is covered with benzene and PCBs...polyvinyl chloride ...C-56...all in all, a highly toxic combination. Michael suddenly becomes alert to a sight ahead: POINT OF VIEW THROUGH WINDSHIELD - A CAMPER is parked at roadside. On the road, Fran is moving after the calf that is staggering, attempting to get hold of the thing. BACK TO MICHAEL as he slows K.I.T.T. ON THE ROAD Fran manages to get hold of the calf, which has faltered and fallen. Michael pulls up, emerges, moves to her. [MICHAEL] Need a hand? [FRAN] Who're you? [MICHAEL] Just a guy passing by. [FRAN] You might as well just keep going. There's nothing you can do. Nothing anyone can.... She barely holds back the tears. Michael is looking about, stunned by the sight of: SEVERAL DEAD CATTLE lying near the roadside. BACK TO SCENE as Fran collects herself, indicates the calf. [FRAN] He's too heavy for me. Can you get him in my camper? I'll take him to a vet...for all the good it'll do.... Michael picks up the calf. ANGLE as they walk to her camper: [MICHAEL] Is this your ranch? [FRAN] I'm not a rancher. I'm a wildlife photographer. I'm beginning to feel like an endangered species -- the illegal dumping of toxic waste is on its way in, and wildlife is on its way out. Michael loads the calf into the back of the camper, ad- libbing: "There you go." "Be all right, little feller." etc. [FRAN] Everyone knows what's happening, but no one does anything. Everyone is just 'passing by.' [MICHAEL] (can't spell it out) I'm not so sure about that. She enters the cab, starts it, then pauses. [FRAN] I'm sorry. Thanks for your help. [MICHAEL] It was no trouble. She nods her thanks again, drives off. Michael watches her go, then heads back to K.I.T.T., gets into the car. [K.I.T.T.] Who was she, Michael? [MICHAEL] A lady with a point of view. Let's go, Kitt. We've got business. And they head off. CUT TO EXT. INTERSTATE WASTE DISPOSAL CO. - NIGHT Quiet but the feeling it's a security-conscious, well- armed camp. OMITTED ON THE ROAD OUTSIDE THE DISPOSAL SITE K.I.T.T. cruises by, slowly, scanning. INT. K.I.T.T. - MICHAEL AND K.I.T.T. survey the place. POINT OF VIEW THROUGH WINDSHIELD TO COMPLEX The guard at the complex is armed. Other security personnel are apparent. [MICHAEL] You get the feeling they don't want company. [K.I.T.T.] More to the point, who'd want to visit? [MICHAEL] Let's find the office, Kitt. INSERT - K.I.T.T.'S MONITOR Seeing a schematic of the disposal site, as it is completed. BACK TO SCENE [K.I.T.T.] That's it -- upper left quadrant. [MICHAEL] What kind of security? [K.I.T.T.] There's a Bell model 211-403 safe, and a Marco steel and rock fireproof file cabinet, complete with combina- tion lock. [MICHAEL] Looks like we've got our work cut out for us, pal. EXT. INTERSTATE WASTE DISPOSAL - NIGHT The place is lit in patches with work lights. The office building is quiet; sounds of a poker game emanate from a back shed. Off to the side are rows of barrels of God- knows-what, stacked near the ominous acid pit. THE MONSTER TRACTOR TRUCK is parked, quietly, concealed by the barrels: the sleeping junkyard dog. OMITTED MICHAEL appears near the chain-link fence ringing the place. To comlink, surreptitiously: [MICHAEL] I'm going in, Kitt. And with a commando's moves, he's up and over the fence. He moves through the shadows until he's outside.... OMITTED THE OFFICE BUILDING Michael ducks aside as a Security Man passes, then uses a lock pick, breaks in. INT. OFFICE - NIGHT - MICHAEL entering. He turns on a flashlight, goes through the place, checking the desk, and the file cabinets...but of course it wouldn't be so easy. [MICHAEL] (into comlink) Kitt, I need a hand with this lock. INT. K.I.T.T. The monitor shows K.I.T.T. going through the mathematical permutations possible, and: BACK WITH MICHAEL at the file cabinet. The combination lock is worked by K.I.T.T.'s invisible hand, and finally, Michael hears the lock open. He hauls open the drawer, examines the papers there, and is well satisfied by what he sees. [MICHAEL] (comlink) Activate photo-scan, Kitt. We've hit the mother lode. Michael uses the comlink to scan the files, and: OMITTED INT. K.I.T.T. - NIGHT He monitors the records, commits these to his computer memory. BACK TO MICHAEL Suddenly Michael is pausing in his work, closing the file, as he hears a ruckus outside. [FRAN'S VOICE] No! Let me go! Michael moves to the window, sneaks a look out at: MICHAEL'S POINT OF VIEW - THE YARD Fran has been doing some skulking too; she's dressed in dark garb and is now wrestling in the ham-like arms of Chuck, the tanker driver. MICHAEL is exasperated at the turn of events. Into comlink: [MICHAEL] Kitt, we've got trouble. Get in here! K.I.T.T. All systems come to life as he auto-starts. [K.I.T.T.] Right away, Michael. And with a squeal of tires and a burst of speed K.I.T.T. heads for: VARIOUS ANGLES - THE CHAIN-LINK FENCE with a crash and a clang of grinding metal, K.I.T.T. barrels through the fence. ON THE SHED Reacting to the noise, three of Birock's bruisers emerge from their poker game and see the onrushing headlights. They start racing for the office building but K.I.T.T. slides into the fray. The lead bruiser gets through but the other two find themselves being backed up by the ominous black Trans Am. [K.I.T.T.] Going somewhere, fellows? As they start to back away.... BACK TO FRAN AND CHUCK He's got her and is now holding her camera by its strap. [CHUCK] Camera? Who are you? She bites his hand and saves the camera but doesn't get free. Suddenly: [MICHAEL'S VOICE] That's no way to treat a lady. Chuck whirls as: REVERSE ANGLE - MICHAEL unloads on Chuck before he can respond. There's a brief fight, and Chuck gets knocked out. Michael grabs Fran's hand. [MICHAEL] Come on! But before they can start away, the lead bruiser grabs Michael from behind, and a second fight starts. ANGLE - THE JUNKYARD DOG Mysteriously, as if with a life of its own, it starts up with the sound of a grinding diesel, belching flames and smoke from its pipes. ANGLE ON THE DRUM AREA K.I.T.T. continues to corral the two other bruisers, who keep backing toward the drums of waste. [K.I.T.T.'S VOICE] In a way, you two qualify as toxic waste, so.... K.I.T.T. revs his engine and sends up a rooster-tail, lunging for them. The two men turn and leap over the barrels for cover. K.I.T.T. stops, satisfied, but just then.... THE JUNKYARD DOG snarls and roars its way out of concealment behind the barrels, pushing them out of the way like so many aluminum cans. Before the Trans Am can react, it drives its forklift blades under the car, lifting it off the ground, its tires spinning freely. [K.I.T.T.] Michael! Help! MICHAEL applies a roundhouse right to the bruiser's chin, sending him out alongside Chuck, when he hears K.I.T.T.'s cries. [MICHAEL] Come on, Fran! This way. They race off toward: FULL SHOT - JUNKYARD DOG AND K.I.T.T. The Trans Am is suspended helplessly above the ground as the demon machine carries it to the edge of the bubbling acid pit. [K.I.T.T.] Michael, hurry.... But it's too late as: VARIOUS ANGLES The Junkyard Dog dumps K.I.T.T. splashing down into the acid waste and stands over K.I.T.T., almost glowering, belching smoke in triumph. It starts backing out of sight as: MICHAEL reaches the pit and looks into it, seeing K.I.T.T. sinking deeper and deeper. [MICHAEL] Kitt, hold on! [K.I.T.T.] (weak) Michael, I can't.... K.I.T.T. sinks deeper and deeper into the ooze. It's over his door panels. MICHAEL is joined by Fran. In the distance we hear: [CHUCK'S VOICE] Call Birock! We got a break in! Get the dogs out here! Along with other ND voices sounding the alarm. Michael ignores them, dying inside at his inability to help K.I.T.T. Fran grabs him. [FRAN] They're coming! We've got to get out of here! Let's go! [K.I.T.T.] (weaker) Michael.... Michael can't bear it. Before he turns: [MICHAEL] I'll be back, Kitt. I'll be back. He grabs Fran's hand and they run off into the darkness, toward the gate, toward freedom. OMITTED ANGLE ON K.I.T.T. The last of him sinks into the bubbling smoking mess... and, finally, his red scanner grows pale, then stops as he disappears from sight. FADE OUT END OF ACT ONE ACT TWO FADE IN EXT. INTERSTATE WASTE DISPOSAL CO. - DAY - OPEN CLOSE ON K.I.T.T. being hauled out of the acid pit by a F.L.A.G. tow truck. Adjust to find an anxious and disheveled Michael on the bank, Bonnie with him, giving instructions to F.L.A.G. technicians who wash off the chemicals with huge steam/ solvent guns. Fran watches in close b.g. ANGLE ON THE BANK as K.I.T.T. -- or the shell of K.I.T.T. -- comes to rest on the bank. Michael and Bonnie move slowly to the car, examining K.I.T.T., hearts breaking, as they see: VARIOUS ANGLES K.I.T.T. has only (steel belt) shreds of an interior left. Shreds of other "stuff" (trim, wiring) hang festooned from the car. There are only plotches of paint. There is no upholstery. The car might well have been burned to its metal skeleton, which, in fact, is pretty much what happened. ANGLE Michael exchanges a somber look with Bonnie, moves to look at the empty interior. Blanches. Finally, he is gently calling: [MICHAEL] Kitt...Kitt.... There is no answer. Michael reaches out and touches the voice box. [MICHAEL] Kitt? INSERT - THE VOICE BOX which crumbles at Michael's touch. BACK TO MICHAEL absorbing this, now running his hand along the car as if looking for some sign of life. There is none. THE MONSTER TRACTOR/TRUCK looks on from nearby, belching exhaust, flanked by several workers and security guards. They seem to be enjoying themselves. ANGLE ON MICHAEL AND BONNIE Their eyes meet again. [MICHAEL] Let's get him out of here. [BONNIE] (nods) The sooner the better. ANGLE ON LIMO Long and sleek, sparkling, it pulls up and stops. Doors open. A chauffeur/bodyguard stands aside as John Birock and his Attorney, Arthur Stiles step out. Birock is a big man, well-dressed but tough, a street survivor who lets nothing stand in his way. Birock has an MOS brief exchange with his Attorney, who doesn't want Birock talking to Michael. Birock brushes his Attorney aside, and: ANOTHER ANGLE Birock crosses to Michael, the Attorney in his wake. [BIROCK] You know me? You got some beef with me? [MICHAEL] The same beef the rest of the world has. [BIROCK] Now what is that supposed to mean.... [ATTORNEY] (overlapping) Mr. Birock, there's no reason for you to be talking to this person! [BIROCK] (overlapping) All right, all right... (to Michael) I don't know who you are, or what you want, and I don't care, but I'll tell you what -- don't come back here. [ATTORNEY] (to Michael) You know what a restraining order is? [BIROCK] You hear what I'm telling you? [MICHAEL] (returns Birock's stare) I hear just fine. [ATTORNEY] Step foot on this property again and I promise you'll be prosecuted to the fullest extent of the law. Michael doesn't dignify the outburst; would turn to go, but the Attorney puts a hand to his chest. [ATTORNEY] You got that? [MICHAEL] Take your hand off me, or you're going to be flat on your back in the mud. Have you got that? The Attorney quickly removes his hand. [BIROCK] Don't press your luck. You're walking away this time. This one's on me. [MICHAEL] Next one's on me. Their eyes lock. Any spark could let it off. Bonnie breaks the moment: [BONNIE] Michael...let's get Kitt out of here. Please.... A last look and Michael turns, crosses to join Bonnie at the truck. Hold on Birock, staring after him. CUT TO OMITTED EXT. ROAD - DAY The semi roars by. INT. SEMI - DAY Bonnie is going over what is left of K.I.T.T. with diagnostic instruments. Michael watches her, waiting... almost not daring to ask. [MICHAEL] (finally) How bad is it...? Bonnie sighs, pauses, tries to find the right words. For a moment Michael thinks he sees tears in her eyes. [BONNIE] It's...gone, Michael. Destroyed. Everything, but his shell, his frame.... Michael looks to her for clues. [MICHAEL] How long will it take to repair him? [BONNIE] Michael, I don't think you understand. It's not a question of 'repairing' him, it's a question of recreating him. There are only the barest shreds of his memory banks left.... It sinks in. [MICHAEL] But he can be recreated...he can be reborn. It's half a question. Bonnie has trouble meeting his eyes. [BONNIE] With a lot of help, a lot of work...and time, yes.... Michael senses it. [MICHAEL] 'But.' [BONNIE] But Kitt was greater than the sum of his parts. We can recreate the parts...but whether they will equal 'Kitt' I just can't say.... [MICHAEL] (beat) We'll do it, Bonnie. Whatever it takes, we'll do it. (then) You said a lot of help -- how much? Who? [BONNIE] The original team that Wilton Knight assembled -- Von Voorman, Yamata and Breeland. [MICHAEL] Where are they? [BONNIE] Von Voorman's living in Berne, Switzerland. I don't know where Yamata and Breeland are. Michael crosses to the computer, punches up Devon, whose face appears on the monitor. [DEVON] Michael, I've been waiting to hear. How is he? [MICHAEL] Not good, Devon. We need the original team -- I don't care where they are, what you have to do -- we need 'em and we need 'em fast. On Devon's look: CUT TO OMITTED EXT. F.L.A.G. FOUNDRY - DAY A hi-tech complex in a tranquil setting. INT. FOUNDRY - DAY Various angles of sparks and molten metal being worked; reconstruction from the skeleton up. ANOTHER ANGLE A crew of technicians in coveralls muscles (with a dolly or forklift, or chain hoist) the shell of K.I.T.T. off toward a waiting (what we'll call) "Emergency Room." An anxious Michael and Bonnie follow in their wake. AT THE "EMERGENCY ROOM" As the doors are opened we find a team of white-coated technicians and scientists, high-tech automotive equipment -- scopes and racks and wires and gauges and you-name-it -- all in a "clean room" kind of setting. As the technicians get K.I.T.T. into the room, Michael -- inclined to follow -- is halted by Bonnie, who puts a firm hand on his chest. [BONNIE] There's nothing you can do in here, Michael. Please.... He subsides...finally nods his understanding. Bonnie turns, hurries into the room after the technicians. The best Michael can do is go to the door and stare through the glass inset. POINT OF VIEW - THE EMERGENCY ROOM as K.I.T.T. is hooked up to wires and scopes, and one of the technicians lights a cutting torch under Bonnie's MOS direction. REVERSE TO MICHAEL AT THE WINDOW Camera moves in on his troubled look. DISSOLVE TO INT. EMERGENCY ROOM - NIGHT - VARIOUS ANGLES - A TECHNICAL MONTAGE opens up angle on the glare of a work light, as the techni- cian bends into camera, handling some tools. K.I.T.T.'s hood and doors are off. A technician is attaching a number of wires from a hand truck of batteries operated by another technician. Bonnie sits at a computer console, wires running into K.I.T.T.'s interior where we see a makeshift speaker box set up where K.I.T.T.'s voice used to emanate from. Bonnie types on the screen: YOU ARE THE KNIGHT INDUSTRIES TWO-THOUSAND. WHO ARE YOU? Bonnie waits, but...there's no response from the speaker box except electronic static. Bonnie tries again. WHO ARE YOU? Bonnie waits again, watching the cursor blipping, awaiting instructions. But again the only response is electronic static. ANGLE WITH MICHAEL in the hall. Moving away from the door as a technician hurries out on some important mission. Motivated away from the door, he now moves off into the hall, and paces. ANGLE IN THE HALL As Michael sees white-coated Von Voorman and Yamata moving into the emergency room. [BONNIE (V.O.)] Dr. Von Voorman! Doctor Yamata! Thank goodness!... [VON VOORMAN (V.O.)] We came as quickly as we could. MICHAEL moves to the emergency room window, sees: POINT OF VIEW TO BONNIE MOS orienting the two scientists to K.I.T.T.'s situation. BACK TO MICHAEL turns away from the window; it's too painful. DISSOLVE TO BACK IN THE EMERGENCY ROOM It's later. Breeland arrives, and is greeted by Bonnie. She shows him to a table filled with micro-chips and schematic designs, where she's been using a soldering iron to create a complex circuit. He now assists, adds another capacitor (or micro-chip) to the circuit. Von Voorman and Yamata wheel in a cart, and put it next to the engine compartment. On the cart, once the toweling draping it is pulled aside, is an exotic-looking engine part; the two technicians begin removing and transplanting this new one, working with all the precision one would expect of a technical "first team." And all the while: ANGLE IN WAITING AREA Michael is waiting...and waiting, hating it. The door opens and Bonnie comes in, exhausted, but determined. [BONNIE] Hi.... [MICHAEL] Hi. (beat) Coffee? [BONNIE] No thanks. Both are reluctant to address it. [MICHAEL] How's it...coming? [BONNIE] It's coming. 'How' we won't know for a while. Why don't you go get some sleep? [MICHAEL] If there's nothing I can do.... [BONNIE] There isn't. [MICHAEL] (nods) I could use an hour or two. [BONNIE] Good. I've been trying to think of a polite way to kick you out of here. They share a smile. It's been a while. It feels good. She starts back in, when: [MICHAEL] Bonnie? She turns. [MICHAEL] It's funny.... [BONNIE] What? [MICHAEL] I guess sometimes it takes something like this to make you realize how you can take people for granted. I've been watching you. I'd forgotten how good you are. She almost blushes. [BONNIE] Thanks. She goes back inside. Michael grabs his jacket and leaves. OMITTED EXT. FOUNDATION - NIGHT - TO ESTABLISH - STOCK [MICHAEL'S V.O.] Thanks for coming over. I know it's late. INT. DEVON'S OFFICE - NIGHT Michael escorts Fran into Devon's office. She notes the opulent surroundings. [FRAN] I owed you one. Nice place, but... somehow it's not you. [MICHAEL] Hardly. Did you bring the photos? She reaches into her bag, presents Michael with a set of 8 x 10s. [FRAN] Right here. [MICHAEL] (as he examines) Are all these from the Birock dump site? [FRAN] (nods) More to add to my collection -- some not so good, some kind of good -- but none good enough to make the cover of a national magazine and have people sit up and take notice. I have a dozen portfolios full of shots just like these. [MICHAEL] Sounds like you've made Birock a personal crusade. Why? [FRAN] I came home the summer after my first year as a professional in New York. My father had died the year before. I went out to the lake where we used to go hiking and fishing on the week- ends. I hadn't been there for years. I couldn't believe the change -- the trees were either dead or dying, there weren't any more fish in the lake... the old caretaker who rented cabins was sick. He had a 'cough' he just couldn't get rid of. He'd had it for a year. [MICHAEL] Birock had a waste disposal place nearby. She nods. [FRAN] I extended my vacation. I made phone calls. I contacted every city and state official I could. Finally, eighteen months later, the Department of Health got a search warrant. The night before they were to exercise it, the place inexplicably burned down. [MICHAEL] Arson? [FRAN] I didn't know for sure. Not then. But in the two years I've been following his operation, I've seen it happen three times -- you fight the local bureaucracy. The red tape, you're in a position to move on him and suddenly a mysterious man shows up...and that night there's a fire that destroys everything. A sober, reflective moment between them. Michael crosses to her. [MICHAEL] I've got an idea how to nail Birock. [FRAN] It'll take eighteen months. [MICHAEL] No it won't. Not if it works. [FRAN] You have no idea how involved due process is when it comes to toxic waste. [MICHAEL] Yeah, I do. That's why I leave it to people with more patience and more time. (beat) I want you to tell me all you know about Birock -- don't judge it, don't screen it -- whether you think it's important or not, I want to know everything you know. On her puzzled look: CUT TO OMITTED EXT. F.L.A.G. FOUNDRY - DAY - TO ESTABLISH OMITTED INT. EMERGENCY ROOM - DAY Michael enters with Bonnie. She looks cautiously optimistic. He reacts. WIDER ANGLE leaner now, no more "stuff" festooned from him, but in place of all that, are even more wires, etc. As K.I.T.T. is hooked up to a myriad of machines and pneumatic gadgets, looking very antiseptic (draped with drop cloths, etc., and very pathetic). A couple of technicians are cleaning up, packing away some ugly looking cutting tools, and some precise-looking scientific ones. They finish packing up their gear, and finally leave the room. Michael turns to Bonnie. [MICHAEL] You sure it's okay...? She nods, a hint of a smile. [BONNIE] Just don't ask him to turbo boost. With that, she too leaves, disappearing out a far door. Michael cautiously crosses to K.I.T.T. THE SCOPES K.I.T.T. is hooked up to a couple of scopes, which read flat at the moment, and one which clearly shows electrical amperage, the needle moving rhythmically in time with the pneumatic tube, cooling the exposed circuitry. Also exposed, and not in its usual place, K.I.T.T.'s voice box. Assorted battery packs are about, and alligator clips are everywhere, tangled -- octopus ganglions of life support. ON SCENE Michael is affected by the sight, but manages: [MICHAEL] Hey, pal...it's me, Michael. There is a long beat as he waits. Then, as if with great effort, K.I.T.T. speaks. Except, it's K.I.T.T. speaking out of a temporary speaker, and under various "boosters," and so it hardly sounds like K.I.T.T. at all. And every line could be his last. [K.I.T.T.] Hello, Michael.... Michael closes his eyes in gratitude for a moment, in spite of the weakness in K.I.T.T.'s voice. Tries to rouse good spirits. [MICHAEL] How you doing, buddy? Ready for a little turbo boost? Maybe a couple of one-eighties? There is no response. Michael's smile fades, replaced by concern. [MICHAEL] Kitt, I was just kidding. (beat; worried) Kitt? [K.I.T.T.] I guess my humor mode needs a little more work. (then, with concern) Where's Bonnie? Did Bonnie leave?! [MICHAEL] No -- no, she's right outside. Michael feels uncomfortable. Doesn't know what to say. [MICHAEL] As a matter of fact she tells me you're doing fine. You're gonna pull through, buddy. Good as new in no time. Again, no response. [MICHAEL] Kitt? [K.I.T.T.] Yes? [MICHAEL] Did you hear me? [K.I.T.T.] Yes, Michael. Another silence. Michael tries to hide his concern, fakes cheerfulness. [MICHAEL] Well, I just wanted to come in and see you...got a lot of people out there anxious to get back in here and...finish you. (beat) So. I'll see you soon, huh? [K.I.T.T.] Good-bye, Michael. [MICHAEL] You take care, pal. He rises, torn, unsure what to do. He touches K.I.T.T.'s fender, then turns and leaves. OMITTED ANGLE IN THE HALL Michael emerges, plainly shaken, pauses as Bonnie crosses from technicians to join him. [BONNIE] (encouraged) Well? Michael looks at her, can't fake it. [MICHAEL] It's...not him, Bonnie. She reacts as if slapped, hurt. [BONNIE] What do you mean it's 'not him?' It's him. It's Kitt. [MICHAEL] It is, but it isn't. There's something wrong. [BONNIE] Michael, how can you say that?! Of course there's something 'wrong' -- you saw what happened to him! How insensitive can you be! [MICHAEL] Bonnie, I'm not criticizing you -- I'm not criticizing Kitt --- [BONNIE] He's not finished yet! He's still weak, he still needs work! What did you expect, jokes and pratfalls? She doesn't wait for a reply, pushes back into the emergency room. He's tempted to stop her, explain, but she's gone. Hold on his face, the secret knowledge he's right. Or is it just his imagination? CUT TO EXT. CENTURY CITY TYPE OFFICE - DAY A bright, upscale location. THE FRONT DOORS Emerging from the high wood and glass doors is John Birock. On his arm is a lovely, well-dressed young woman, Tori, who hangs on his every word. [BIROCK] You'll love it -- forty-eight feet, twin diesels, fly bridge. That's where my captain sits running the boat. [TORI] While we're down below -- partying. [BIROCK] We'll leave Friday about noon. Hey, and why not bring that cute little friend of yours for Eddie. [TORI] You mean, Melissa. The one who does the bikini ads? [BIROCK] As I think of it, let's leave Eddie home! As they head for Birock's limo a hand grabs Birock's shoulder and whirls him around. ANOTHER ANGLE As Birock finds himself face to face with a haggard and intense Michael Knight. Tori steps aside, and looks on during: [BIROCK] What do you want? [MICHAEL] I'm going to talk and you're going to listen. [BIROCK] Get away from me. [MICHAEL] You're finished, Birock. You may know how to deal with red tape and cracks in the law, but you don't know how to deal with me. [BIROCK] Don't let the limo and the suit fool you, chum. I know how to deal with you. I just don't have to deal with you. [MICHAEL] Your operation is dirty. I'm gonna close it down. [BIROCK] Be my guest. All you need is some evidence. Birock would head away to the limo once again, but Michael has him halting. [MICHAEL] My little trip out to your acid pit might have been a lot more productive than you think. [BIROCK] Go ahead, Knight. Talk tough. Threaten me. Every word's a nail in your coffin. [MICHAEL] I'll see you arrested, I'll see you prosecuted and I'll see you put in jail. The law's a two-edged sword, Birock -- you've been sitting pretty on one side of it too long. Time's run out. Now you're gonna taste the other side, the side that cuts. Michael doesn't wait for a reply, turns and stalks off. Hold on Birock feeling a fury he hasn't felt in years. OMITTED FADE OUT END OF ACT TWO ACT THREE FADE IN EXT. F.L.A.G. FOUNDRY - DAY - TO ESTABLISH INT. EMERGENCY ROOM - NIGHT K.I.T.T. is looking more finished now. All his glass is back in. Tires on. The body is filled out with grey lead and primer. The interior is still makeshift and full of wires, but seats are in it, and the wiring suggests most of the components (and abilities) are back. K.I.T.T.'s hood is up, his engine racing, as a technician bends over the engine compartment, monitoring everything, revving the engine at the carburetor, watching the scopes, etc. Bonnie stands with Dr. Von Voorman nearby, supervising and noting all the results on a clipboard, stoic. [VON VOORMAN] Response time is better, yes? [BONNIE] (nods) Kitt, what's the square root of 256 and the capital of Montana? [K.I.T.T.] Bonnie, really.... Bonnie smiles. He's sounding a lot more like the K.I.T.T. we know and love. But she stays firm. [BONNIE] Kitt, do you know the answer? [K.I.T.T.] Can Michael Jackson moonwalk? (proudly) Sixteen and Helena, population 22,730. The city boasts some lovely old mansions along Power Street. Police chief Bill Ware keeps the streets safe. And it's not as cold up there as they say it is. Shall I go on? [BONNIE] You got it! [MICHAEL'S VOICE] Did I hear what I think I heard? REVERSE ANGLE - MICHAEL enters the room from the glass doors. He's up and excited at K.I.T.T.'s "progress." [MICHAEL] What say, old buddy? How do you greet an old friend? [K.I.T.T.] (excited) Michael! I'm so glad to see you! I have new diodes and circuit boards and.... [MICHAEL] Whoa there, pal...don't wear yourself out. (to Bonnie and Von Voorman) Seriously...how's he doing? Von Voorman and Bonnie trade cautious looks. [BONNIE] Well, we're still not sure. You can see there's been improvement.... [K.I.T.T.] Improvement? That's an understatement. We're planning a test run on the track in two hours, Michael. Can you be there? [MICHAEL] Wouldn't miss it for the world. He means it. Michael looks to Bonnie to share his hopefulness. Her reaction tells him and us she's still not sure. Michael moves off, and we: CUT TO OMITTED EXT. STREET - DAY Fran and Michael at the back of her van, checking over her camera equipment. [MICHAEL] I did just what I told you -- I rattled Birock's chain, but good. Now, let's see if you were right. [FRAN] He's going to do it -- like he's done it every time someone's gotten close before. He's going to burn that toxic waste site to the ground, and go find a new place to poison. [MICHAEL] I wouldn't ask you to tail him, but he'd be watching for me now. [FRAN] (holds up camera) I'll be the eyes and ears for both of us. [MICHAEL] Both of us? The man hasn't got a chance. There's a chuckle, and a warm moment between them, then Michael turns serious again. [MICHAEL] It may take a while. We don't know just when he'll make his move. [FRAN] I've been waiting years. [MICHAEL] You watch yourself. I don't mind telling you the guy scares me. [FRAN] Welcome to the club. There's a moment between them, then Fran moves to the driver's seat and drives the van off. Michael watches her go a beat, then walks off and we: CUT TO EXT. TEST TRACK AREA - DAY Bonnie and Michael emerge from the large, well-equipped Foundation tow truck in the middle of a large open testing area. They're met by Von Voorman. [VON VOORMAN] This is fine. Right here. [MICHAEL] (looking around) I don't get it. Where's Kitt? [BONNIE] He wanted to show you himself. Suddenly, K.I.T.T. roars out of nowhere and slides a ninety degree to face the group. He still sports primer and patchwork. [K.I.T.T.] Ta da! They all applaud. And K.I.T.T. takes off, down the track. All watch, as: ANGLE ON THE TRACK K.I.T.T. goes through the paces. And he looks pretty good, at first. INTERCUT - MICHAEL, ET AL At first ad-lib jubilation at seeing K.I.T.T. back in action again. Bonnie's face tries for enthusiasm, but Michael's starts to fall. [BONNIE] Looks pretty good.... [MICHAEL] Bonnie...before, he would have gone through that trap at a hundred. Not doing more'n sixty, now. [BONNIE] (reaching) Just warming up? Suspension too stiff, maybe? [MICHAEL] (sadly) Bonnie, that's not it. Look at him. K.I.T.T. continues through the course, but he does it the way your car would...missing pylons, skiing erratically. The group's faces confirm the sad story. [VON VOORMAN] I was afraid of this. [MICHAEL] Of what? Keep talking. [VON VOORMAN] He's been hurt. It's not surprising he doesn't want to be hurt again. [BONNIE] You mean...he's lost his nerve? [VON VOORMAN] (nods) In layman's terms...yes. He'll never admit it, but you watch. He'll find some excuse to stay out of the action. Bonnie and Michael try to digest this. [BONNIE] Maybe if I reformat the software.... [VON VOORMAN] (shakes his head; interrupts) Miss Barstow, I'm sorry. (beat) I'll have to recommend he be reclassified for light duty. Michael is rocked by this. [MICHAEL] Light duty?! [VON VOORMAN] A utility vehicle, perhaps. Recreational use. It's still a fine automobile.... [MICHAEL] (hot) Fine automobile! Kitt's a thorough- bred. You wanna make a golf cart out of him! [VON VOORMAN] (gestures re K.I.T.T.) Look at him. He's playing the brave soldier...for you, I suspect. (beat) But he cannot be trusted under pressure. He just doesn't have it, anymore. ANGLE K.I.T.T. roars up in "triumph," stands in front of them. [K.I.T.T.] A little rusty...but not bad, eh, Michael? [MICHAEL] Looking good, Kitt. (testing) You ready for business? [K.I.T.T.] Just as soon as you can get me out of here. I have been poked and prodded and violated.... Suddenly there's a backfire, and K.I.T.T.'s engine runs rough. And then another backfire. Which causes sparks and fire at K.I.T.T.'s muffler. [K.I.T.T.] Oh...oh my...! [BONNIE] Fire! Michael grabs a fire extinguisher off the tow truck and douses the flames before they spread. ANOTHER ANGLE as Michael stands and surveys the car. [K.I.T.T.] (weakly) Maybe they should tow me back to.... [MICHAEL] (firmly) No. He moves to the car and opens the driver's door. [K.I.T.T.] Michael, what are you doing? [MICHAEL] No one is going to tow you anywhere. We are going back to bay three and we are going to put you in shape and we are going to run this test again until we get it perfect. You got that straight, Kitt? [VON VOORMAN] With all due respect.... [MICHAEL] Keep your respect, Doctor Von Voorman. We don't deserve it...yet. Come on, Bonnie. And he gestures her into K.I.T.T., guns the engine, and screeches off. Von Voorman looks after them, shakes his head. CUT TO OMITTED MONTAGE - REBUILDING K.I.T.T. - IN REPAIR BAY Wider tires are wheeled in. Michael uses pneumatic tool on the lug nuts. Michael uses a grinder to sand a portion of K.I.T.T.'s body. Finally, Michael sprays black paint onto bare metal and into camera...K.I.T.T.'s bonded shell...the finishing touch. Michael stands by K.I.T.T., admiring his work, as K.I.T.T. looks like his old self again. We can almost hear the "Rocky" theme, as we: DISSOLVE TO EXT. BIROCK'S OFFICE BUILDING - DAY Hustle and bustle as yuppies and working types move in and out. Camera moves in among them to find Fran maintaining a low profile, dressed unassumingly in jeans, sweater, sunglasses. But around her neck is a professional's 35mm camera with a good-sized lens. Suddenly her attention is riveted to: OMITTED BIROCK'S LIMOUSINE - BIROCK AND ZOORMAGIAN As it reaches the curb, Birock exits the limo with a small, dark weasel of a man -- Mike "The Torch" Zoormagian. They move quickly, furtively. FRAN recognizes her target, starts snapping away; moto-driving shot after shot. WHAT SHE SEES - CAMERA MATTE In a series of freeze frames, we see Birock and Zoormagian as they head into the building. FRAN lowers her camera, showing a satisfied smile. [FRAN] Gotcha! CUT TO OMITTED EXT. FOUNDATION TEST TRACK - DAY K.I.T.T. tears around the track with Michael at the wheel. This time, all the maneuvers are being executed perfectly. ANGLE IN K.I.T.T. [MICHAEL] Way to go, buddy! Looking good. [K.I.T.T.] Nice to have you back at the controls, Michael. [MICHAEL] Nice to be here. Just one more test. He swings the wheel toward: MICHAEL'S POINT OF VIEW THROUGH WINDSHIELD - A CONCRETE WALL [K.I.T.T.] Oh, Michael...that's fourteen inches of reinforced concrete. [MICHAEL] No sweat. We've penetrated twice that much. He bears down on the pedal. INTERCUT - BONNIE AND DR. VON VOORMAN looking on, pleased with the testing. Even Von Voorman is impressed, until.... INSERT - K.I.T.T.'S DASH A button labelled "abort" lights up and: K.I.T.T. screeches to a stop just short of the cement wall. MICHAEL rocks in his seat, controls his frustration. [MICHAEL] Kitt, what happened? [K.I.T.T.] Michael, at this stage of my recovery.... [MICHAEL] Kitt, you would've gone through it like shaving cream. Trust me. [K.I.T.T.] I do trust you, but.... Silence from the car. Michael sags, it was going so well.... [K.I.T.T.] I'm sorry, Michael. [MICHAEL] It's okay, pal. He climbs out of the car, shuts the door softly. WIDEN TO INCLUDE BONNIE AND VON VOORMAN running up to man and car. [BONNIE] What happened? Why didn't you finish the.... But a look at Michael's discouraged face tells her all she needs to know. As they ponder their dilemma: [FRAN'S VOICE] Michael! We got him! They turn to see Fran running up to them. NEW ANGLE - FRAN AND MICHAEL Michael reacts to the importance of her news, pulls her aside. [MICHAEL] What? Show me, tell me. But Fran's already pulling a couple of 8 x 10 glossy pictures out of her satchel. Hands them to Michael. ADJUST TO INCLUDE THE PICTURES grainy, but unmistakable: Birock and Zoormagian. [MICHAEL] (responding) That's him. That's Mike Zoormagian. [BONNIE] Who?! [MICHAEL] Aka 'The Torch.' The most wanted arsonist in the country. Meeting with Birock today. [FRAN] It worked! [MICHAEL] Birock's gonna blow the Interstate yards. And we're gonna catch him doing it! He plants a big kiss on Fran, and strides back to: BONNIE AND K.I.T.T. [MICHAEL] Get ready for a ride, buddy. The ride of your life. [BONNIE] Michael, you can't take him! [MICHAEL] You bet I can! [BONNIE] He might give out on you, just when you need him most! Or he might try to work for you, and try too much! Michael is ignoring her and climbing into K.I.T.T., though the door is open and Bonnie and Fran are on hand for: ANOTHER ANGLE K.I.T.T. has his own thoughts, and (plainly) fears: [K.I.T.T.] Michael, I'm not sure I'm ready. [MICHAEL] Are you kidding?! We're partners, aren't we? [K.I.T.T.] Yes. [MICHAEL] We're a team, right?! [K.I.T.T.] Yes. [MICHAEL] I know you better than anyone, don't I? [K.I.T.T.] Yes. [MICHAEL] Then believe me when I tell you, pal -- this is it!!! Michael slams the door and, with a roar and a squeal of tires, he speeds off in K.I.T.T., Bonnie and Fran watching them go. On the vanishing tail section, we: FREEZE FRAME AND FADE OUT END OF ACT THREE ACT FOUR FADE IN OMITTED EXT. INTERSTATE WASTE DISPOSAL CO. - DAY The Monster Junkyard Dog belches, growls, and bullies its way through debris on its appointed rounds. OMITTED ANGLE AT THE PITS Chuck is swinging up into the cab of the tanker truck. ANGLE ON K.I.T.T. Michael and K.I.T.T. are observing from a vantage point that overlooks the waste disposal yards. [K.I.T.T.] I was hoping I'd never see this place again, Michael. [MICHAEL] I know how you feel, buddy. If things work out -- this'll be the last time. (reacts to O.S.) Here we go. MICHAEL AND K.I.T.T.'S POINT OF VIEW ON BIROCK'S LIMOUSINE as it pulls into the yard. Birock gets out. The tanker truck rumbles up to Birock. Chuck is behind the wheel. They have a brief MOS conversation. Chuck gives Birock a thumbs up. As the tanker heads toward the main gate, Birock goes into the office. OMITTED RESUME MICHAEL AND K.I.T.T. [MICHAEL] Kitt, is that tanker full or empty? INTERCUT - K.I.T.T.'S SCREEN as it comes to life -- a graphic of the tanker indicating a liquid inside followed by the diagramatic molecular struc- ture of the chemical. [K.I.T.T.] To the brim. (pauses, distraught) Michael, its contents are identical to those awful chemicals in the pit. [MICHAEL] Get me Bonnie. Monitor comes on. [BONNIE] I'm here with Fran, Michael. [MICHAEL] Bonnie -- It's going down. There's a fully loaded tanker heading out right now. OMITTED INTERCUT - BONNIE ON MONITOR - IN SEMI [BONNIE] I'll relay the information to the state police. They're ready to set up the roadblock. [MICHAEL] Tell 'em to hustle. You know where to find me. [BONNIE] That's what worries me. You two take care of yourselves. [FRAN] Here, here! A half smile and her image fades. [K.I.T.T.] Michael, I just detected tumblers opening the security locks in that office. [MICHAEL] Birock cleaning house. It's all falling into place, Kitt. Birock's covering his tracks with his usual M.O. All the evidence will go up in flames when Zoormagian does his bit. INT. INTRASTATE WASTE DISPOSAL CO. OFFICE - DAY as Birock unlocks and opens the fireproof security files; pulling the drawers all the way out, exposed, ready for the fire. Dumping other files on the floor. RESUME IN K.I.T.T. as Michael sees a car pulling into the dump. [MICHAEL] That'll be Zoormagian. Right on cue. OMITTED ANGLE AT UNITED A car pulls up, drives in. Stops. Zoormagian gets out, is joined by Birock from the office, MOS dialogue between them. ANGLE IN K.I.T.T. Michael watching every move. [MICHAEL] There's a pretty picture. Partners in crime. Let's get it all for posterity, Kitt. [K.I.T.T.] Not to mention the DA. K.I.T.T.'s monitor shows the Birock/Zoormagian scene below. [MICHAEL] Video and audio. [K.I.T.T.] I remember the plan, Michael. INSERT - THE MONITOR seeing Birock and Zoormagian below. ANGLE AT DRUM STORAGE AREA - DAY Hundreds of fifty-gallon drums filled with chemicals; stacked three, four, five high. Zoormagian moves between the drums. He stops and we are: CLOSE ON A DRUM as Zoormagian uses a small pry bar to pop the steel plug in the center of the drum. The volatile waste chemical begins pouring out onto the ground. [BIROCK] Be careful with that stuff -- or we're both history. [ZOORMAGIAN] You hire an expert, then you have no faith.... ZOORMAGIAN crosses to another drum and does the same, Birock watching. [BIROCK] I've got a one thirty flight. I don't want anything to happen until I'm gone. (looks about) Beautiful...it was a gold mine. (beat) Burn it to cinders. [ZOORMAGIAN] It'll be like it was never here. [BIROCK] Two minutes. I've got to clean out the safe. He hurries back inside. Zoormagian continues his preparations for the fire. OMITTED ANGLE ON K.I.T.T. watching the monitor. Michael flips some switches. [MICHAEL] Birock just talked himself right into jail. You ready, pal? [K.I.T.T.] What...exactly are we going to do, Michael? [MICHAEL] Kitt? You were just bragging about your memory. [K.I.T.T.] Michael, if you're suggesting I'm afraid, nothing could be further from the truth. I don't experience fear. I do, however, abide by my dominant program: the preservation of human life. (beat) You could be hurt down there. [MICHAEL] Yeah, I could be. But so could you... (beat) Kitt, I'm not saying you're afraid. But if you were, that'd be okay, too. It's no crime. If it were, we'd all be guilty. (beat) Before we met, when I was still Michael Long...what am I telling you for, you know what happened. But maybe you don't know all of it...When I regained consciousness days later, I could still see that muzzle flash. I couldn't get it out of my mind. For months afterwards I'd flinch when someone lit a match, when a car's headlights would flash in my face.... [K.I.T.T.] (long beat) How did you overcome it, Michael? [MICHAEL] I didn't. It overcame itself. All I did was refuse to give in to it, and do what I knew had to be done. A thoughtful pause before K.I.T.T.'s scanner flashes. His voice takes on a more determined, confident tone. [K.I.T.T.] Speaking of what has to be done, I believe we have an arsonist to stop. The image on the monitor zooms in until a blowtorch nozzle and flame become visible. The flame sharpens to a blue- white pinpoint as Zoormagian turns up the flow of gas. [MICHAEL] (a smile) Gotcha. Ready? [K.I.T.T.] (beat) Yes, Michael, I am. (then) And Michael? Thanks. Michael pops the clutch; slams the accelerator to the floor and: OMITTED K.I.T.T. takes off down the road at high speed toward the entrance to the yard and we go to: EXT. DRUM STORAGE AREA - DAY Waste chemicals flow from a dozen drums, forming puddles on the ground between the stacked drums. Zoormagian, torch in hand, is following a narrow river of the chemical that flows in a tire rut. He allows this "fuse" to lengthen for a few beats, then lowers the torch toward it. ANGLE AT GATE K.I.T.T. speeds through. ANGLE WITH ZOORMAGIAN Ready to ignite the chemicals, he reacts as K.I.T.T. roars up, Michael leaping out. Zoormagian comes at him; throws a punch. Michael blocks it and puts Zoormagian away with a roundhouse right to the jaw. Zoormagian goes down and stays down. Michael crosses toward K.I.T.T. [K.I.T.T.] Nicely done, Michael. [MICHAEL] Thanks, buddy. But we're not finished. Gotta find Birock --- [K.I.T.T.] Michael! OMITTED ANGLE - THE MONSTER FORKLIFT blasts through some drums of goop, climbs over these, bearing down on them. OMITTED K.I.T.T.'S POINT OF VIEW - THE MEANEST MACHINE AROUND stares right at him, exhausts growling, ready to eat up the pedigree in front of him. BACK IN K.I.T.T. He's a little uncertain; takes a moment to gather his courage, then: [MICHAEL] We could micro-lock his brakes!... [K.I.T.T.] That wouldn't prove much, would it? [MICHAEL] It's you and me, buddy. Let's go! Michael tromps on the accelerator. K.I.T.T. surges ahead. OMITTED THE JUNKYARD DOG rocks toward K.I.T.T., intending to spear K.I.T.T. with the massive forks that jut out from the front of the monster vehicle, but: K.I.T.T. turbo boosts right over the top of the Junkyard Dog. OMITTED INTERCUT - BIROCK reacting with amazement to this maneuver, while: THE JUNKYARD DOG continues to blast forward to where K.I.T.T. would have been. Its momentum driving the massive forks into another car, or Birock's limousine, or the guard shack, whatever is feasible. As the monster vehicle backs away from its skewered victim, we are: OMITTED ON MICHAEL As K.I.T.T. lands, he's clearly euphoric at K.I.T.T.'s performance. [MICHAEL] Yeah! Way to go, pal!! [K.I.T.T.] Oh, I must admit, this is a good feeling, Michael. Michael flips some switches on the console. K.I.T.T. does a screaming one-eighty; circles the monster vehicle and blasts right in front of it at high speed and we are: OMITTED ON THE MASSIVE FORKS as K.I.T.T. lops them right off the front of the Junkyard Dog, and: ANOTHER ANGLE as K.I.T.T. swings around; aligns his front bumper with the front of the monster vehicle and plows it into the bubbling acid. There's a roar that sounds like pain as its engine tries to race out, then coughs and dies. ANGLE Birock manages to scramble out onto the top of the cab, as Michael is getting out of K.I.T.T. Birock considers his position and blanches with mortal terror. [BIROCK] Pleeeeze!... [FRAN'S VOICE] Hold it! Perfect! Michael turns to see: BONNIE AND FRAN are arriving, Fran with her camera ready. [MICHAEL] (reacts) What're you two doing here?! [FRAN] Getting my shot for Newswatch magazine, what else? As Fran clicks off shot after shot of Birock atop the Junkyard Dog being destroyed by the ooze in the acid pit. [BIROCK] (calls out) Come on, get me out of here! What is this? [MICHAEL] I believe it's called hazardous waste disposal. (to K.I.T.T.) Wouldn't you agree? [K.I.T.T.] I most certainly would. BIROCK His jaw drops. MICHAEL grins, swings a look to K.I.T.T., then Bonnie and Fran, and we: OMITTED FADE OUT END OF ACT FOUR TAG FADE IN EXT. FIELD - DAY Open close on a magazine cover -- the masthead proclaims NEWSWATCH. The cover is Fran's. A photograph of Birock atop the Junkyard Dog sinking into the acid pit. We widen out to include Michael and Fran on a blanket having a picnic and looking at the magazine. K.I.T.T. is parked close by. [FRAN] Been a long time coming --- [MICHAEL] Well, I'm glad we're the ones who made sure he finally got -- wasted. Fran and Michael laugh, but K.I.T.T. maintains a serious demeanor. [K.I.T.T.] Yes, well, unless my speed reading program has developed a glitch, I can't find anything in the accompany- ing article that indicates who put those Neanderthals into that acid pit. [FRAN] Why, Kitt, I think I detect a subtle craving for recognition in that statement. [K.I.T.T.] After what I've been through, a little publicity might help reinforce my self image. [MICHAEL] Gee, Kitt, I'm sorry. (winks to Fran) I mean, I thought you were one of those old-time heroes who just drove off into the sunset, secure in the knowledge that you can handle any situation that might arise. OMITTED ANGLE WITH K.I.T.T. [K.I.T.T.] I don't know if those old-time heroes were so much. I mean, they always drank sasparilla and never kissed the girl. What was all that about? Michael? Michael?... WITH MICHAEL AND FRAN This hero is kissing the girl.... K.I.T.T. K.I.T.T.'s light waves a "wink" at us, and we: FREEZE FRAME FADE OUT THE END

{"show": "Knight Rider", "season": "s03", "episode": "e13", "title": "Junk Yard Dog"}

knightriderarchives

ACT ONE FADE IN OMITTED EXT. ARMORBILT TEST TRACK - DAY - ON A LIMOUSINE The luxurious stretched variety, as it comes screaming out of a high-banked turn at top speed and accelerates down a straightaway. INTERCUT - BLEACHERS - FAVORING BUYER GROUP all wealthy, European men in finely cut attire and all very impressed. The aquiline German is Kleiser. The bespec- tacled Italian, Corelli. In front of them at a table that contains hi-tech timing devices are Armorbilt President, Gene Hanson, late forties, a taut, military bearing. Next to him, Lilah Graham, thirties, sexy, charming, polished Director of Sales. [HANSON] This obstacle course simulates every conceivable situation you might encounter. The limousine rockets past the bleachers and heads into: A SERIES OF ESSES as the limo dives into the first turn and we follow it through the hard-snapping lefts and rights, establishing for a vehicle of this size it is handling like a sportscar, and we go to: ANOTHER ANGLE - LIMOUSINE as it blasts out of the last turn onto a straightaway; makes a panic stop into a blinding one-eighty and takes off in the opposite direction, and during this sequence we: RESUME THE BLEACHERS The buyers duly impressed. [HANSON] What you're seeing, gentlemen is state-of-the-art maneuverability for tactical evasion. [KLEISER] Indeed. None of the other vehicles we've seen are competitive. [LILAH] And of course, the LXAP does this with no sacrifice of range or comfort. OMITTED ANOTHER ANGLE - FAVORING THE UTCV (Urban Terrorist Control Vehicle) a cross between a tank and an armored personnel carrier; formidable looking; sporting turrets, gun mounts. As it rolls out onto the track --- [CORELLI] Ah, and what is this? [LILAH] The Armorbilt UTC twelve hundred. The ultimate in urban terrorist control. [HANSON] We use the armament package in the next part of our demonstration. Hanson clicks on a walkie-talkie he holds. [HANSON] We about ready? OMITTED LIMO - DRIVER adjusting his helmet and ready. OMITTED INTERCUT - ARMORBILT TEST VAN parked adjacent to the track. Four Armorbilt employees study the electronic measuring devices: Mel Mitchell, Ed Deskey, and Hank Kagan. They are obviously pleased at how the demonstration is going. Deskey sits at the console. [DESKEY] We're up to speed. THE LIMOUSINE accelerates down the track picking up speed, and we hear: [HANSON (V.O.)] The LXAP's protection package employs the cutting edge of structural tech- nology and materials. Steel magnesium alloy. Forty-five millimeters thick, case hardened armor plate and flame- treated, bullet-proof glass throughout. (beat; walkie- talkie) Commence weapons assault. The limousine comes out of a turn and heads right toward: OMITTED THE URBAN TERRORIST CONTROL VEHICLE as the machine gun turret comes to life and starts tracking the limo. The big cannon suddenly starts firing bursts at: THE WINDSHIELD OF THE LIMO as the rounds hit and ricochet off the bullet-proof glass. THE LIMO keeps travelling, unaffected, unstoppable, and we: INTERCUT - THE BLEACHERS where the buyers are reacting, impressed. [HANSON] And, what's coming next will demonstrate beyond any doubt you'll all be making the right choice. (beat; walkie- talkie) Launch when ready. The buyers sit up in anticipation. THE UTCV As it tracks and fires. The missile blasts out of the launchers and homes in on: THE DRIVER'S SIDE DOOR OF THE LIMO - SLOW MOTION as the missile penetrates the armor-plated steel, and explodes, and we are: INSIDE THE LIMOUSINE as it is wrecked by a massive explosion that obliterates our view of the driver with a blinding flash. LILAH AND HANSON react horrified. THE BUYERS are stunned, turn away from the sight of the limousine engulfed in flames that are beating back Armorbilt personnel, who try to move in with extinguishers, and during this we: THE ARMORBILT PERSONNEL AT TEST VAN all clearly in shock as they huddle together, devastated. CUT TO EXT. ROAD - DAY - K.I.T.T. travelling, heading back in the open road for the Foundation after finishing an assignment. INSIDE K.I.T.T. - TRAVELLING [MICHAEL] I really love the Big Apple, pal, but it sure feels good to be back on the road again. [K.I.T.T.] I agree, Michael. If I never see the Big Apple again, it will be too soon. Those streets have more pot holes than Devon has neckties. The beeper goes off, and we: INTERCUT - K.I.T.T.'S MONITOR as Devon appears. [DEVON] Did I hear my name mentioned? [MICHAEL] Good morning, Devon. [DEVON] Ah, there you are, Michael. I under- stand things in Manhattan turned out quite nicely. [MICHAEL] Why do I feel like I'm being set up? [DEVON] Well, there is one matter I'd like you to cover. [MICHAEL] (knowingly) Because I'm being set up, that's why. (beat) Just a little detour --- [DEVON] A minor course adjustment to -- Armorbilt Carriage Works. Mel Mitchell, one of the employees, is expecting you. Michael sighs, clicks off the monitor and K.I.T.T. acceler- ates on down the road, and we go to: EXT. ARMORBILT CARRIAGE WORKS - DAY as Michael arrives in K.I.T.T.; bypasses a sign that says OFFICE and drives around the complex to the courtyard; Michael eyes some unique vehicles parked outside, then heads for the door labeled STRUCTURAL TECHNOLOGY, and we are: CLOSE ON THE NOZZLE OF A BLOWTORCH as the blue-white pinpoint of flame welds a perfect bead. We widen out to include the welder's helmet that proclaims "MEL" above the rectangular window -- and pick up Michael crossing in the b.g. He raises his voice above the roar of the torch. [MICHAEL] Excuse me?! Mel, talk to you for a minute?! INT. ARMORBILT CARRIAGE WORKS - DAY A white, pristine, hi-tech environment. All personnel wear white coveralls -- ARMORBILT across the back; insignia over the pocket. Mel Mitchell welds armor plate on the UTCV (Urban Terrorist Control Vehicle). Mel finishes, dials down the torch and flips up her visor, revealing a model's face and vulnerable smile. Michael smiles, pleasantly surprised by the revelation. [MICHAEL] Wrong --- [MEL] Pardon? [MICHAEL] I'd guessed 'Mel' was short for Melvin. [MEL] (shakes no; smiles) Melanie. [MICHAEL] Michael. Michael Knight. [MEL] From the Foundation -- Devon told me all about you. [MICHAEL] One of his bad habits -- You do the armor plating here? Michael extends a hand. Mel reaches out; hesitates, realizing she's still wearing her asbestos gloves. It's a lighthearted moment. Michael grabs the forefinger; shakes it gingerly; Mel points to a rack of tools on a nearby wheeled tool chest. [MEL] Sure do -- hand me the number five file. Michael hands her the next file in the toolbox. [MEL] (continuing) It's my department. Wrong file. Next one down. He hands her a different file. [MEL] (anticipating) I got my degree in structural engin- eering; found out I was a damn good engineer but a lousy desk jockey and here I am -- Everyone always asks. [MICHAEL] It's easy to see why. (beat) Someplace where we could talk? [MEL] Uh huh. I know where. CUT TO INT. DESIGN/DRAFTING ROOM - DAY Walls and tackboards covered with engineering drawings and slick renderings; as Michael and Mel enter and move between the drawing boards: [MEL] The missile just penetrated the limo's door. I couldn't believe it. I still can't. (beat) I decided we've come too far to have it taken away from us now. That's when I went to see Mr. Miles. [MICHAEL] Mel, you're losing me. Who's come too far, and for what? [MEL] Oh, I'm sorry. I thought Mr. Miles explained it. Armorbilt was filing for bankruptcy. It really hit us hard -- All the people who work here. So I came up with an idea, an alterna- tive -- an employee buyout. [MICHAEL] Gotcha. The employees all kick in; renegotiate with the creditors and end up owning the company. Sounds terrific. [MEL] It was, until the accident. It cost the company a major sale. We needed it to keep alive long enough to finance the buyout. [MICHAEL] You saying someone purposely caused it? [MEL] (shrugs; uneasily) All our vehicles are designed to withstand twice the explosive force used in demonstrations. What do you think? [MICHAEL] I think it calls for a second look. [MEL] The group's getting together at lunch to discuss our options. [MICHAEL] Mind if I come along? CUT TO EXT. HOUSE - SIDE YARD - DAY The buyout group surrounds Michael and Mel. Hank Kagan, thirties, a large powerful man, Ed Deskey, late twenties, an urban cowboy, and a few others. [DESKEY] Mel, honey we love you, but maybe you've already given us all the help we can handle. [KAGAN] Yeah, we know you meant well, but if it wasn't for you, we wouldn't be in this mess; wouldn't have our savings in jeopardy, our houses mortgaged. [DESKEY] (defeated) The buyout's finished, Mel. Forget it. [MICHAEL] From what Mel's told me, you were okay until you lost that foreign sale the other day. What if you can get it back? [MEL] It's a long shot, but we could try. (to group) We all got into this buyout because we had something to gain. Something good. We still do. [BRESLOFF] Come on, we know about your kid and college and the price of things. [MEL] (interrupting, passionately) Right, money's important. We all want to better our lives. That hot car you're always talking about buying, Eddie? Give up on it? [DESKEY] No way. I got my eye on one right now. [MEL] What about you, Hank? You and Alice ready to cancel that second honey- moon you've been planning? [DESKEY] Hey, after livin' with him for twenty years you really think she'll go? Deskey's joke eases the tension momentarily. Michael sees an opportunity to bring the group back together. [MICHAEL] The way Mel described your buyout plan, it was the chance of a lifetime. A chance to save your jobs and latch onto a piece of the American dream at the same time. What happened to that? Why are you giving up without a fight? [KAGAN] Easy for you to say. You got an idea? [MICHAEL] Somebody has to turn that foreign sale back into a sale before it's too late. [DESKEY] Got anyone particular in mind? Mel swings a look to Michael, eyes him a beat before: [MEL] What about you, Michael? Mel smiles. Everyone in the group nods in agreement and we: CUT TO OMITTED CLOSE ON HANSON as he considers whatever Michael has just told him. [HANSON] Don't you think I thought of that? INT. ARMORBILT CARRIAGE WORKS - DAY Hanson has looked up from the open engine compartment of a limousine. Lilah stands next to him. A technician monitors gauges that evaluate the output of the car's engine. Michael and Mel around him. [HANSON] The problem is -- we don't have a driver. If you get the buyers to come back for another demo, who's going to give it to them? [LILAH] Right, who's going to be crazy enough to go on that track after what's already happened? Looks between the members of the group. A beat before Michael steps forward. [MICHAEL] I might. [HANSON] We're talking about a high degree of skill here. Just because you talk a good game doesn't mean you can drive. [MICHAEL] Doesn't mean I can't. Try me. [HANSON] Typical. Every guy with a hot-looking car thinks he's the next Parnelli Jones. You want to take that freeway flyer onto the track and make a fool of yourself -- be my guest. CUT TO CLOSE ON K.I.T.T.'S REAR WHEEL as it screeches to life; burns rubber and takes off in a haze of smoke heading for a ramp, and we go to: EXT. MACADAM TEST TRACK - DAY Hanson, Mel, Kagan, Deskey, Lilah and other Armorbilt employees watch, and we are: INSIDE K.I.T.T. - TRAVELLING Michael hits some buttons on the overhead console. [MICHAEL] Let's look good, Kitt, there's a lot riding on this one. [K.I.T.T.] Michael, I always look good. [MICHAEL] You'll get no arguments from me, buddy. Let's do it. RESUME TEST TRACK as K.I.T.T. enters the track and does a double spin onto it. OMITTED INTERCUT - ARMORBILT GROUP as they react to Michael and K.I.T.T.'s performance. RESUME INSIDE K.I.T.T. [K.I.T.T.] I think that got their attention, Michael. [MICHAEL] Okay, pal, now let's get me the job. RESUME THE TRACK as K.I.T.T. maneuvers through the esses at blinding speed; screeches to a stop at the end of the last curve. ANOTHER ANGLE The awed spectators line up in the b.g. K.I.T.T. spins a 180, and stops within inches of the spectators. Deskey's mouth drops, this is his kind of car. OMITTED THE GROUP OF SPECTATORS [DESKEY] What a set of wheels! [HANSON] The man's a hot dog. [MEL] Who cares? Right now he's the key to keeping the buyout alive. The group is clearly jubilant and relieved at this turn of events. As the group gravitates toward K.I.T.T., who approaches and pulls to a stop nearby. ANOTHER ANGLE - FAVORING MICHAEL As he gets out of K.I.T.T., Melanie, Kagan, and others collect around him. Deskey is oogling K.I.T.T. In the b.g., Hanson and Lilah are walking away. Mel gives Michael a thumbs up --- [MEL] Not bad. We just might have found us a driver. [MICHAEL] If that's an offer, I'll accept. [DESKEY] You take the driver, Mel, I'll take the car. Name's Deskey, Eddie Deskey. (gestures to K.I.T.T.) How much'd that baby set me back? [MICHAEL] Sorry, but that baby's not for sale. Deskey grimaces; glances to his watch before --- [DESKEY] Can't haggle with you now. Gotta get back to work. But when ole Eddie makes up his mind to get something -- I'll be coming at you again. Deskey swings an envious glance toward K.I.T.T. then turns and heads off. CUT TO INT. HALLWAY - DAY as Hanson and Lilah enter --- [LILAH] I suppose the buyout is on now. [HANSON] Lilah, not now. They step into the office. INT. HANSON'S OFFICE - DAY as Hanson and Lilah enter --- [LILAH] I say we pack up, head for Europe now and let 'em have the damn company. [HANSON] You know I can't do that. It took me years to pull the money and get it out of the country. All the paperwork to cover it is set up for a bankruptcy. I get into a buyout instead, I could lose it all. Don't push me now, Lilah. [LILAH] If I don't push you, you'll still be here six months from now. Let me tell you something, Gene, I've been hanging around this grease pit for two years. I'm tired of playing sales director and making believe I'm really into those over-priced toys of yours. [HANSON] You didn't have any problem handling it when you found out about the money and the villa in St. Moritz. [LILAH] A lot of men have money, Gene. (ironic smile) Armorbilt has proven a perfect place to meet them. Would it surprise you that some of our clients have expressed more than casual interest? (off his reaction; coldly) Get it together fast -- or I'm gone. [HANSON] I'll handle it... I'll just need an extra day. [LILAH] You're out of days.... [HANSON] If it wasn't for Michael Knight, we'd be packing right now. Twenty-four hours, Lilah -- Michael Knight's first test run tomorrow will be his last. We hold on their look, and we: FADE OUT END OF ACT ONE ACT TWO FADE IN EXT. HIGHWAY - DAY as K.I.T.T. barrels along and we hear --- [K.I.T.T.] I was just wondering, Michael. INSIDE K.I.T.T. - DAY traveling. [K.I.T.T.] (continuing) Why are we going to see these buyers before making certain what happened to the limousine wasn't an accident? [MICHAEL] Because they're checking out today, pal. It's our only chance to con- vince them to stick around for another demo. (beat) What's our ETA? [K.I.T.T.] Four minutes, thirty-seven seconds. (beat) You know, Michael, while we have a few moments, do you recall that fellow who wanted to buy me? [MICHAEL] Sure. Did he make you an offer? [K.I.T.T.] No, Michael, we never progressed to the bidding stage. That's what I want to talk to you about. [MICHAEL] Me? I can't put a price on you. I wouldn't even know where to begin. [K.I.T.T.] Well, what if -- (dramatically setting scene) What if we were in deep snow country. Our adversaries dynamited the road. The explosion set off a massive ava- lanche. We're buried under tons of ice and snow, we have no food, you haven't slept in two days, and --- [MICHAEL] Can Mel be with me? [K.I.T.T.] (exasperated) I want to know my worth. What must I do to get a serious answer out of you? [MICHAEL] Try being serious.... [K.I.T.T.] All right, Michael, you're trapped in a burning building. The flames are raging all around you. The smoke is so thick, you can't see. I am outside ready to spring into action and --- [MICHAEL] (trying to stop him) Kitt, Kitt! Not now -- maybe later. Michael groans, and we: CUT TO EXT. POSH HOTEL - DAY - TO ESTABLISH As K.I.T.T. approaches in the drive. A limousine is parked beneath the entrance canopy. Kleiser, Corelli and the other buyers stand next to a mountain of luggage. A chauffeur gets out of the limo and goes around to open the trunk. [K.I.T.T.] Not a nano-second too soon, Michael. INTERCUT - INSIDE K.I.T.T. [MICHAEL] Let's microjam that trunk lock, just to be sure, pal. [K.I.T.T.] As you know, I prefer to avoid such tactics unless they're absolutely necessary. [MICHAEL] It's necessary. Do it. K.I.T.T.'S SCREEN comes to life; a graphic of the lock rotates and freezes, and we: RESUME THE SCENE as the chauffeur works at the lock to no avail. He shrugs at Kleiser, and the group. They are less than pleased at this turn of events. Michael pulls up; gets out and joins them. [MICHAEL] Excuse me, but you folks seem to be having a problem. [KLEISER] We were just leaving for the airport. Now, we'll miss our flight. [MICHAEL] I'm Michael Knight. I know a little about locks. Maybe I can fix it for you while we talk about limousines. (beat) You found the one you're all looking for at Armorbilt yesterday but some- one doesn't want you to have it. The vehicle was sabotaged. A sense of curiosity surfaces in the group and we: CUT TO OMITTED ANOTHER ANGLE [CORELLI] Do you have any proof of this? [MICHAEL] Not yet.... [KLEISER] (interrupting) Mr. Knight -- if you have no proof, I think we're all wasting our time. I'm sorry I can't help you. [MICHAEL] We're not talking about me. We're talking about expert technicians; hard-working, proud people; people who put their life savings on the line to save their jobs and their company. It turned out you were the key to it. Your sale would have given them the time to pull it off. All I'm asking is that you give them another chance. [KLEISER] We're due in Detroit tomorrow for a competitor's demonstration. Impossible. [CORELLI] (beat) Is it Hans? I found Mr. Knight's words touching. I'm surprised you didn't. [KLEISER] I've got a business to run. [CORELLI] Yes, Hans, we know. (to Michael) You see, Mr. Knight, though my colleague possesses great wealth, he began with nothing. He knows what it is to struggle and sweat to build a --- [KLEISER] (had enough) All right, all right, no history... Theo, enough. Corelli smiles, satisfied, as Kleiser muses a tad chagrinned and softens with a reflective nod. [KLEISER] Schedule your demonstration, Mr. Knight. Michael smiles; swings a look to K.I.T.T. and nods. Then he taps the trunk with his fist. The lid pops open, we hold a beat on reactions. CUT TO EXT. HIGHWAY - DAY - TO ESTABLISH as we pan across and pick up K.I.T.T. travelling, and we hear --- [K.I.T.T.] You know, Michael, it occurred to me --- INSIDE K.I.T.T. - DAY travelling. [K.I.T.T.] (continuing) -- that these low profile information gathering missions are the ultimate test of our abilities, aren't they? [MICHAEL] You better believe it, pal. I've got a feeling, checking out this limo at Armorbilt is going to be a valuable night's work. [K.I.T.T.] I agree, and keeping value in mind, what if... (beat) What if we were in the desert, in a sand storm. There was no water for miles around. And you were being chased by a band of sword-waving camel drivers? What would I be worth? [MICHAEL] I'd have to say -- (muses) -- priceless. [K.I.T.T.] (a defeated sigh) You know, lately I get the feeling you enjoy answering my questions without really answering them. Am I right or am I wrong? [MICHAEL] Yes. K.I.T.T. stifles a groan and we: CUT TO EXT. ARMORBILT - NIGHT as K.I.T.T. comes around the building and pulls to a stop. A guard in a motorized cart drives past. INSIDE K.I.T.T. as the guard's cart moves toward some buildings in the b.g. [MICHAEL] Keep your scanners peeled tonight, pal. [K.I.T.T.] How are you getting in? [MICHAEL] I'm picking the lock. [K.I.T.T.] That's illegal, Michael. [MICHAEL] So is the way I parked. Michael exits K.I.T.T. EXT. ARMORBILT - DOOR Michael uses his lock pick to gain entrance. OMITTED ANOTHER ANGLE - ARMORBILT CARRIAGE WORKS - NIGHT As Michael enters and makes his way between the vehicles parked inside, he stops next to the only one that is covered. He whips back the cloth cover revealing the limousine -- or what's left of it... The driver's door is gone. [MICHAEL] (via comlink) Kitt? [K.I.T.T.] Yes, Michael? [MICHAEL] They've beaten us to it, pal. The door's gone. [K.I.T.T.] What are you going to do now? [MICHAEL] Find it. ANOTHER ANGLE as Michael moves about the area. He rolls aside a long tack board covered with engineering drawings -- nothing behind it. He crosses to: A LARGE REFUSE BIN Lifts the top; peers inside. Nothing. He is about to walk away. He pauses; turns back; rolls the refuse bin aside -- nothing behind it too. He stands puzzled for a few beats. His eyes return to the limousine and we go to: ANOTHER ANGLE - LIMOUSINE as Michael crosses to it; opens the trunk and looks inside. He pauses, dismayed; closes it, shaking his head. [MICHAEL] Run a Chem-Scan of the area. Look for compounds left by a warhead when it detonates. INTERCUT - K.I.T.T.'S MONITOR AS NEEDED as a schematic three-dimensional computer graphic of the complex appears, and is rotated on various axis. [K.I.T.T.] The interaction of explosive materials commonly used in mobile-launched missiles deposits, a residue of hexo-cy-clonite, Michael. The graphic on the monitor stops rotating and holds on an area, where a flashing indicator indicates the presence and location of the chemical residue, and we: RESUME MICHAEL as he reacts to --- [K.I.T.T.] I'm picking up a high concentration in that area above you. Michael crosses from the limo and moves up the stairs into the parts department and down an aisle to a stack of tarpaulins used to cover the larger vehicles, tanks, etc. Michael pulls a few aside revealing the punctured limousine door behind it. CLOSE ON THE DOOR OF THE LIMOUSINE The gaping hole in the sheet metal and ruptured armor plating behind it. Michael runs his hand over the twisted surface, then holds his comlink near a section of the armor plate. [MICHAEL] (continuing) -- Analyze the composition of this armor plate and compare it to standard tech specs. INTERCUT - K.I.T.T.'S MONITOR AS NEEDED As a multicolored graphic depicting a density/hardness/ thickness analysis builds across the screen. [K.I.T.T.] The material in question is of proper thickness, but has a highly porous molecular structure. I'm getting a density/hardness reading barely one fourth the grade specified. [MICHAEL] That sure explains how the missile pierced it. INTERCUT - K.I.T.T.'S CONSOLE As the printer begins spitting out a copy of the graphic on the monitor, a surveillance warning light starts flashing. [K.I.T.T.] Michael, my scanners are indicating someone else is on the premises. RESUME MICHAEL [MICHAEL] Thanks, buddy. as Michael heads for the door --- A FIGURE lunges out of the darkness. MICHAEL whirls in reaction and is able to partially block the blow. But the force of it knocks Michael to the ground. THE ATTACKER dives at Michael. He rolls aside. They scramble to their feet in the darkness grappling with each other for a hand hold. Michael throws a punch; blocks one and connects again, and we: RESUME THE SCENE - WIDE as both men freeze in reaction to the sudden blast of headlights that illuminate the scene, revealing Michael's attacker to be Hank Kagan and we go to: ANOTHER ANGLE - HANSON'S SPORTS CAR as it pulls into a shop. Hanson and Lilah get out leaving motor running and headlights on. [HANSON] What's going on, Hank? [KAGAN] I came back to check out the limousine for tomorrow's demo and found him sneaking around. [MICHAEL] You always shoot first and ask ques- tions later, Kagan? [HANSON] I've got one you can answer -- What are you doing here? [MICHAEL] Looking for proof what happened to that limo wasn't an accident. [LILAH] What? That's ridiculous. [HANSON] There was a thorough investigation. [MICHAEL] The armor plate in the door of that limo was so below spec you could use it to wrap sandwiches. Hanson reddens; surges forward angrily. [HANSON] That's a powerful accusation. [MICHAEL] Your word, Hanson. Not mine. [LILAH] Ease up, Gene. He hasn't proved a thing. He's a driver. He's got a gas tank for a brain, a tail pipe for a mouth, and --- [MICHAEL] (interrupting) And I've spent enough time behind the wheel to know when I'm on the right track. [HANSON] You trying to say something? [MICHAEL] I just said it. Michael burns a look from Lilah to Hanson and we: CUT TO EXT. ARMORBILT - DAY - TO ESTABLISH INT. DESIGN/DRAFTING ROOM - DAY as Michael and Mel move between the drafting tables. [MEL] (puzzled) We buy one grade of armor plate. From Blacksteel Fabricators. We use it on all our vehicles. [MICHAEL] Somebody ordered a different grade. We'll find out who. [MEL] (beat) Maybe we're going too far with all this. Suppose it doesn't work? What if the buyers come back and we still don't make the sale? [MICHAEL] We're turning this thing around, Mel. I thought you'd be excited? Mel smiles at him, a little chagrinned; uncertain. [MEL] I am, Michael. I don't mean to appear ungrateful. It's just that I -- I don't know -- I'm --- Mel turns away from Michael; steps closer to the windows. He follows after her; catches up. Mel nods, and he gently turns her back towards him. She pulls a sleeve across her eyes; buries her face in his shoulder as he hugs her comfortingly. ANOTHER ANGLE - CLOSER - FAVORING MEL as she looks up moist eyed, she nods. A beat before --- [MEL] (softly) It's not that I'm afraid for myself... (beat) ...it's the others. In the beginning when it didn't look like we had a chance, I was the one who kept it alive. I built up everyone's hopes. I feel responsible. [MICHAEL] You did those people a favor, Mel. And believe me, they know it. [MEL] What if it all comes apart again? ON MICHAEL [MICHAEL] I'm here to make sure it doesn't.... Mel thanks him with a smile. They hold a long look and we: CUT TO EXT. ROLLING TERRAIN - HIGHWAY - DAY - TO ESTABLISH as we pan across and pick up K.I.T.T. traveling, we hear --- [MICHAEL'S VOICE] What I need to know, Devon --- INSIDE K.I.T.T. - DAY - TRAVELING [MICHAEL] (continuing) -- is who ordered the steel kit analyzed from Blacksteel Fabricators. INTERCUT - K.I.T.T.'S MONITOR SCREEN to see Devon. [DEVON] I'll have Bonnie get right on it. What will you be doing in the mean- time? [MICHAEL] Demonstrating a limo for a group of buyers. If Armorbilt makes the sale, the employee buyout is still alive. [DEVON] I see -- (muses) You know, Michael, I recall asking you to evaluate the case at Armorbilt, not take over the employee buyout program. [MICHAEL] Hard to do one without getting involved in the other. [DEVON] (knowing smile) I had a suspicion Mel Mitchell might have that effect on you. [MICHAEL] It also occurred to me this might not be the first limo to come off Hanson's assembly line with inferior grade armor. [DEVON] Are you thinking a review of the well-being of past clients might be in order? [MICHAEL] Exactly what I'm thinking. OMITTED EXT. ARMORBILT TEST TRACK - DAY as K.I.T.T. approaches and pulls into the parking area. As Michael parks and gets out --- [MICHAEL] (continuing) The run's scheduled for ten o'clock, Kitt. Gives you plenty of time to do a complete structural analysis -- start with the driver's door. [K.I.T.T.] I'll get started right away, Michael. As Michael walks off past the test van where Mel and the other employees are gathered, Deskey spots him. [DESKEY] Hey? Hey there?! Got a minute to do some negotiation --- Deskey lets the sentence trail off as Michael joins the buyers and Hanson before Deskey can get his attention. [K.I.T.T.] I certainly do, Eddie. Deskey turns toward K.I.T.T. in reaction. [DESKEY] Son-of-a-gun. That's a great intercom you got there. You do some serious thinking 'bout what I said yesterday? Deskey leans to K.I.T.T. to do some serious talking and we go to: ANOTHER ANGLE - FAVORING LIMOUSINE where Michael joins Hanson, Lilah, Kleiser, Corelli and the other buyers who are collected around the vehicle. [KLEISER] I'm afraid we'll be starting a little sooner than we had anticipated. [MICHAEL] The test was scheduled for ten? [HANSON] You promised these people a demonstra- tion. [MICHAEL] I'd like some time to walk the track. [HANSON] Are you saying you can't handle it? [MICHAEL] I can handle it, Hanson. Let's go. Michael crosses toward the limo and we: RESUME K.I.T.T. AND DESKEY [DESKEY] I'm a little gun shy 'cause my financing hinges on this buyout going through. And I'm used to dealin' face to face. [K.I.T.T.] I understand, but as a very wise fellow once said, Eddie -- bid now or forever hold your peace. [DESKEY] Okay, assuming it all works out, what would you say to --- [MICHAEL] (interrupting) Kitt? I need you, Kitt. [K.I.T.T.] I'm right here, Michael. K.I.T.T. drives off leaving Deskey baffled and we go to: INTERCUT - INSIDE THE LIMO ON TEST TRACK - MICHAEL is behind the wheel of the luxurious, stretched limo. Michael talks via comlink. [MICHAEL] They moved up the test time. I'm moving onto the track now. [K.I.T.T.] I'll accelerate my computations. INTERCUT - MICHAEL'S HAND as he moves the comlink across the inside of the limo's door. INTERCUT - K.I.T.T.'S SCREEN as it comes to life and a schematic drawing of the door traces out and starts rotating as K.I.T.T. starts his analysis and we: INTERCUT - BLEACHERS where Hanson, Lilah and the buyers wait in anticipation. THE URBAN TERRORIST CONTROL VEHICLE rolls forward. The rocket launcher tracks the limo. EXT. ARMORBILT TEST TRACK - DAY as the limousine rockets down a straightaway and heads into the esses. [K.I.T.T.] (alarmed) My analysis indicates the armor plate in the door is the same inferior grade I tested last night. RESUME - MICHAEL INSIDE THE LIMOUSINE His reaction. THE UTCV ROCKET LAUNCHER as it fires. The missile takes off across the terrain, homing in on the limousine. We hold a beat and then we: FADE OUT END OF ACT TWO ACT THREE FADE IN EXT. ARMORBILT TEST TRACK - DAY - THE MISSILE - CONTINUOUS rockets over the terrain at high speed, and we are: ON THE TEST TRACK The limousine comes flying out of the esses. LILAH, HANSON AND THE BUYERS watching with expectation. THE TEST VAN Mel and other employees watching nervously, hopefully. THE LIMOUSINE rockets down a straightaway. [K.I.T.T.] ETA four point three-six-eight seconds, Michael. INSIDE THE LIMOUSINE - MICHAEL is now maneuvering the car into an upcoming turn. [MICHAEL] Can you override the guidance system? INTERCUT - K.I.T.T.'S MONITOR - AS NEEDED A graphic of the test track depicted. The limousine represented by a moving rectangular symbol and the missile by an arrow that is homing in on it. [K.I.T.T.] Not enough time! [MICHAEL] Then it's precise timing and teamwork, pal. [K.I.T.T.] Three - two - one --- [MICHAEL] Zero! As he shouts out zero, Michael floors the accelerator, whips the steering wheel to the right and: THE LIMOUSINE dives behind a grassy knoll, an eyeblink before: THE MISSILE slams into the knoll and explodes. INTERCUT - HANSON, LILAH AND BUYERS reactions. The buyers clearly impressed. Hanson can't believe his eyes; a frustrated look to Lilah during --- [KLEISER] That's what I call tactical maneuver- ability! [CORELLI] An incredible evasive reaction! INTERCUT - MICHAEL IN LIMOUSINE When the missile explodes, he lets out a long breath before --- [MICHAEL] (into comlink) We cut that one pretty close, pal. [K.I.T.T.] I know, Michael. [MICHAEL] But we sure showed 'em what this limousine can do. OMITTED RESUME THE SCENE As smoke from the explosion curls to the sky in the b.g. The limousine pulls to a stop next to Hanson and Lilah who come from the bleachers. The window rolls down, revealing Michael. [MICHAEL] Guess a defective missile slipped through the old net this time, huh? Michael breaks into a knowing smile. Hanson burns. Michael gets out of the limo. INTERCUT - TEST VAN Mel and the employee group, thoroughly enjoying this and we go to: OMITTED RESUME MICHAEL, HANSON AND LILAH as Kleiser, Corelli and the other buyers join them. The UTCV in the b.g. [CORELLI] (smiles) Well -- a most -- impressive demon- stration. [LILAH] (off look to Hanson) Yes, lately, they all seem to have a surprise ending. [MICHAEL] You gentlemen ready to do some business, now? [KLEISER] (considers) I would say some discussion is in order. [CORELLI] Yes, and along with the limousines, perhaps we should consider obtaining one of these also. He gestures to the UTCV behind them. Hanson forces a smile. [HANSON] Sure. Why not. But under the circumstances, maybe we'd be more comfortable in my office. Hanson starts to direct them aside. Michael stops them with --- [MICHAEL] Just one second, folks --- (beat) I'm sure you're all familiar with the Armorbilt, ironclad guarantee? [KLEISER] Certainly. It was part of the specification package we assembled. [MICHAEL] Good, because if I were you, I'd want to be dealing with the new people who'll be backing it up -- not the old ones who screwed it up. Kleiser, Corelli and the group ad-lib positive reactions. Michael takes Kleiser and Corelli by the arm and directs them aside. [MICHAEL] Right this way, folks --- Hanson is about to further confront Michael, but Lilah stops him with a look and moves him away. ANOTHER ANGLE - FAVORING K.I.T.T. as Deskey approaches. [DESKEY] Okay big fella, get on your intercom and hear this -- (beat) That sure was a nifty move you put on me, before, and I --- [K.I.T.T.] (interrupting) Would you explain what you are implying by that, Eddie? [DESKEY] You set me up -- got me to the point of making an offer, then slammed the door. I hope you don't pull it again. [K.I.T.T.] On the contrary, I am extremely interested in what you have to say. [DESKEY] Now you're starting to talk business --- Deskey moves in closer; leans in a confidential manner on K.I.T.T. and prepares to deal, and we go to: ANOTHER ANGLE - MICHAEL AND BUYERS as their meeting breaks up; handshakes all around as the buyers move off. Hanson, Lilah and Mel, who have been waiting anxiously on the fringes, move in around Michael. [MEL] Well, how'd it go, Michael? [MICHAEL] (thumbs up) Ninety-nine percent sure they're going with Armorbilt. [MEL] (brightens) Great. We can pull it all together, now. (to Hanson) The buyout's back on, Gene. Hanson and Lilah force smiles and move off --- [MEL] I'm really going to enjoy giving my fellow stockholders the good news. Michael holds her back for --- [MICHAEL] Maybe you'd better hold off on that. (off her look) Those buyers didn't exactly say ninety-nine percent. More like forty-nine. They still want to check out the other company. [MEL] Then why did you say that? [MICHAEL] To put some pressure on Hanson. I'm betting he purposely used low-grade armor to torpedo your sales demon- strations. [MEL] Why would he do that? [MICHAEL] To stop the buyout. That's what happened, isn't it? [MEL] (suddenly realizing) Then he -- he killed our driver to stop it. [MICHAEL] (nods) He just tried it again. If I'm right he'll be forced to make another move now. And when he does, I'm going to nail him. We hold on Michael's determined look for a beat and then we: CUT TO ANOTHER PART OF THE TRACK where Lilah and Hanson are walking. [LILAH] (angrily) That's it, Gene. I've had it. I'm not having any more to do with this. [HANSON] By tonight, neither will I. (off her look) I've got it figured. I know just what I'm going to do. [LILAH] I'm tired of hearing that. I'm tired of you. Count me out. She turns and walks off. He pursues her; turns her around. [HANSON] Lilah -- We leave for Switzerland, tonight. That's a promise. All we have to do is --- [LILAH] (interrupting) All you have to do. Get it done and pick me up here. If you're not back in an hour, I'm checking out of my penthouse and heading for the airport. She eyes him coldly; with finality: [LILAH] One hour. CUT TO ANOTHER ANGLE - FAVORING K.I.T.T. Deskey is standing back, scratching his head. [DESKEY] You know, that intercom sure changes the sound of your voice. [K.I.T.T.] You're getting off the track, Eddie; I believe you were about to make me an offer I can't refuse. [DESKEY] Well, what would you say to --- Michael steps in front of Deskey as he crosses to K.I.T.T., opens the door and gets in. [MICHAEL] (interrupting) 'Scuse me, good buddy. Michael slams the door, and drives off before Deskey can get out a word. [DESKEY] Hey, Hey, I'm not done talking yet --- Deskey watches Michael drive off, then crosses to his car. CUT TO INSIDE K.I.T.T. traveling. [K.I.T.T.] That fellow just refuses to give up, Michael. [MICHAEL] Not now, Kitt. Get me Devon. [K.I.T.T.] (continuing) He seems intent on acquiring my services -- in perpetuity and --- [MICHAEL] Kitt --- [K.I.T.T.] (continuing) And I was just wondering, if we were trapped in the bowels of the earth just prior to an underground nuclear test and --- [MICHAEL] Your worth would have plummeted like a rock, okay?! Now, get me Devon. K.I.T.T.'S SCREEN comes alive and we see Devon appear in his Foundation office. [MICHAEL] Hello, Devon --- [DEVON] Michael. I was just about to contact you. [MICHAEL] Got something on who ordered the inferior grade armor from Blacksteel Fabricators? [DEVON] Yes, and thanks to your suggestion, we've also acquired some data on Mr. Hanson you'll find most enlight- ening. Bonnie is on her way to meet you in the semi and give you the details. OMITTED EXT. HIGHWAY - SEMI - DAY - STOCK The ramp lowers. Michael drives K.I.T.T. up into the semi. INT. SEMI - TRAVELING Michael gets out of K.I.T.T. and crosses to Bonnie at the computer console. As they talk we see purchase orders flash on monitor, each bears Hanson's signature. [BONNIE] You were right, Michael -- Every one of those Blacksteel purchase orders --- [MICHAEL] -- Signed by Eugene Hanson. [BONNIE] More than one of Hanson's past clients didn't get the protection they paid for. I cross-checked a list of Armorbilt clients against global assassination attempts. [MICHAEL] Don't tell me -- a lot of the targets were killed in Armorbilt limos. [BONNIE] Too many -- for it to be coincidental. Devon checked his international con- tacts. The word is, Hanson's been taking massive payoffs from radical factions --- [MICHAEL] (putting it together) -- to install low-grade armor in vehicles he supplies to people on their hit lists. [BONNIE] You got it. [MICHAEL] He's on my list now. [BONNIE] He's a ruthless, cold-blooded killer, Michael --- [MICHAEL] (anticipating) Be careful. I know. [BONNIE] With somebody like Hanson that may not be enough. Michael digests this for a beat; nods his appreciation to Bonnie and we: CUT TO CLOSE ON A STACK OF CURRENCY as Hanson takes it out of an attache case and we hear --- [HANSON'S VOICE] Twenty-five thousand dollars, Mel --- INT. HANSON'S OFFICE - DAY as Hanson holds the money out to Mel. [MEL] Twenty-five thousand for what? [HANSON] You're the sparkplug behind this buy- out. You started it. If you pull out you'll end it. [MEL] (puzzled) Why? [HANSON] That's not your concern. I'm running out of time. Fifty thousand dollars -- final offer. [MEL] What's happening here? Money is not what this is all about. [HANSON] I want a yes or no, now. [MEL] Then it's 'no.' [HANSON] In that case, you've forced my hand. (beat) You can buy your kid a lot with fifty thousand dollars. Or would you rather take a loan out for his funeral? [MEL] Let me get this straight. Are you threatening my child? Hanson holds her look, says nothing. [MEL] I don't believe you.... [HANSON] Believe it. On Mel's look, we: CUT TO EXT. ARMORBILT CARRIAGE WORKS - DAY as K.I.T.T. approaches and pulls into the parking area. Michael gets out and crosses toward the buildings: OMITTED EXT. ARMORBILT - NEW ANGLE - MICHAEL as he enters the Armorbilt building. Camera pulls back to: MEL at her car ready to leave, watching Michael, a concerned look on her face. OMITTED INT. ARMORBILT RECEPTION AREA Michael walks in, heading for Hanson's office. [HANSON'S VOICE] Just the man I've been looking for. ANOTHER ANGLE - FAVORING HANSON [MICHAEL] Took the words right out of my mouth. Hanson levels a gun at Michael. [HANSON] That's not all I'm going to say. FADE OUT END OF ACT THREE ACT FOUR FADE IN EXT. ARMORBILT - DAY - ESTABLISHING INT. ARMORBILT GARAGE Michael is faced by Hanson who keeps the gun leveled.... [MICHAEL] What are you figuring on now, Hanson? Blowing me up inside the garage won't fall into your pattern of accidents.... [HANSON] And going to prison doesn't fall into my pattern of living...Turn around and you can buy yourself an extra five minutes of life.... Michael holds a beat, then turns. [HANSON] Now move forward.... Michael takes a few steps forward and then is shoved forward and into: OMITTED INT. ARMORBILT PAINT DRYING CHAMBER Michael spins from across the room to still face the gun leveled at him by Hanson.... MICHAEL'S POINT OF VIEW ON HANSON as he shuts the first side of the dual door.... [HANSON] It takes four minutes to heat dry and seal the paint on a car...Temperature in here should cook you in about thirty seconds.... Hanson slams the second door shut.... ON MICHAEL He scans the inside of the room...It is barren, a clean-white dustless and hermetically sealed room...Infrared and/or micro- wave lights point down at the room seemingly all aimed at Michael...Michael moves to the door, tries them...They are locked.... DOOR WINDOW - MICHAEL peering out, then reacting.... MICHAEL'S POINT OF VIEW THROUGH WINDOW Hanson moving towards a bank of controls across the room.... RESUME MICHAEL as he crosses from the vehicle to the window in the door and talks into his comlink. [MICHAEL] Kitt? Talk to me. INTERCUT - K.I.T.T.'S CONSOLE [K.I.T.T.] I hear you, Michael. A schematic of the building spins on K.I.T.T.'s screen. The paint chamber identified by a flashing Knight chesspiece. [MICHAEL] I got problems, Kitt.... [K.I.T.T.] (continuing) Your comlink signal indicates you are locked in a hermetically sealed chamber, Michael. You have enough air for over two hours.... [MICHAEL] Maybe, but I can be burned to a crisp in thirty seconds.... [K.I.T.T.] I'm on my way.... INSERT - K.I.T.T. - STOCK switches on, drive lever moving, accelerator pedal lights, etc.... INT. ARMORBILT GARAGE Hanson is at a control panel at the far end of the garage...He reaches for one which starts the motor of a support generator...We hear the sound of it starting as Hanson's hand moves to another switch clearly labeled INFRA RED TEMP. CONTROL.... ANGLE Mel races across the garage...She sees what Hanson is about to do and screams out. [MEL] No!! Stop it, Hanson!! HANSON Her scream causes Hanson to delay and turn in surprise...He is suddenly thrown away from the panel, as she launches herself and lands on his back in a clumsy clawing fashion.... CLOSE ON K.I.T.T. As his engine comes to life, the revs build to a deafening roar, the wheels spin, and K.I.T.T. burns rubber as he takes off.... WIDER - K.I.T.T. taking off at high speed across the grounds and headed for the garage.... INT. GARAGE Hanson flips Mel around and off his back, swipes her solidly with a cross-hand blow...She is knocked across the floor and lays there. HANSON He reaches for the switch again...Flips it on.... K.I.T.T. crossing the open area and headed directly for: ANGLE - STEEL ROLL-UP DOOR K.I.T.T. speeds to it and: HANSON hits the TEMP. switch...The generator revs to a higher pitch.... CHAMBER The infrared lights start to build up heat.... MICHAEL The red glow reflecting off his face...He pulls up his jacket collar to protect his face.... INSERT - THERMOMETER As the temperature quickly exceeds 110.... INT. GARAGE - STEEL DOOR As K.I.T.T. explodes through it...Fragments of steel door and framing fly through the air.... HANSON A stunned look on his face.... K.I.T.T. screeches to a stop...His sensors scanning the area.... MICHAEL peering through the small window in the chamber, starting to show the effects of the infrared heat.... HANSON Recovering quickly, he shoves a speed jack under the rear wheels of K.I.T.T., and giving it a quick jerk, K.I.T.T.'s wheels are off the ground. K.I.T.T. His wheels spinning helplessly.... HANSON moves away from K.I.T.T. and exits. MICHAEL Seeing what's happening through the window...He speaks into the comlink.... [MICHAEL] Kitt...The generator...Jam it.... INT. K.I.T.T. The lights and dials react in their proper order. [MICHAEL (V.O.)] I'm running out of seconds, Kitt. [K.I.T.T.] I've got it, Michael...Jamming.... MICHAEL starting to fade...He sinks from the window and its red glow. K.I.T.T. All his circuits going.... GENERATOR continuing to pump out its extra source of electricity, then a small fizzle and some smoke, then a flash of electric-short circuiting, then the generator seizes and stops.... CHAMBER Michael almost out of it...Looks up at the thermometer.... INSERT - THERMOMETER It holds at 170, then slowly starts to drop.... MICHAEL The look of relief and then he sinks down to the ground... His face no longer visible in the window.... K.I.T.T. His own circuits now turn down. [K.I.T.T.] Michael...Michael...Are you all right?? His question is met by silence...K.I.T.T. spins his wheels again in frustration, unsuccessfully trying to free him- self.... INT. K.I.T.T. - CONSOLE A warning blip appears on the console screen...K.I.T.T. scans immediately and the image of Mel appears in on the screen as she tries to sit upright.... MEL off to the side and regaining...She shows a little damage from her scuffle with Hanson...Then K.I.T.T.'s voice over his loudspeaker...firmly.... [K.I.T.T.] I've Med Scanned you, Melanie. Just a few bruises...Now get on your feet.... Mel reacts, not sure of where the voice is coming from, but staggers to her feet. [K.I.T.T.] To your left...The heat chamber... Open that door.... Mel wavers a little.... [K.I.T.T.] Not now!! Open the door, then you have my permission to faint.... The sign of weakness angers Mel...She glares at K.I.T.T., moves to the door and is barely able to open it...but does...She flinches from the heat.... [K.I.T.T.] Thank you, Melanie, sorry I yelled at you.... Mel's look...then she moves in to help Michael out...He moves immediately to a work sink (or hose) and gulps down water.... MICHAEL/MEL He looks over to K.I.T.T., gives him a smile and a thumbs up sign to assure him he's okay...Then turns to Mel.... [MICHAEL] I'm glad you were around.... [MEL] Not all the time...I left you out on a limb for a few minutes.... [MICHAEL] You remembered in time.... They hold for a beat, then Michael reacts.... MICHAEL on the move...He goes over to K.I.T.T. [K.I.T.T.] Are you injured, Michael? [MICHAEL] No, just a little tanned. But you seem to be up in the air over this, pal. [K.I.T.T.] It's no joking matter. I find this posture humiliating. Michael releases the speed jack...K.I.T.T. drops the six inches to the ground...Lets out a sigh. [K.I.T.T.] Oh, that feels good...Thank you, Michael. The door opens and Michael gets inside...Starts the engine. [MICHAEL] I'll be back. Take good care of your business. K.I.T.T. zips out of the garage through the smashed door.... MEL Her look.... OMITTED EXT. ARMORBILT CARRIAGE WORKS - DAY K.I.T.T. explodes out of the opening he blasted through earlier, and we hear --- [MICHAEL'S VOICE] Let 'er rip. K.I.T.T. pauses a beat, then explodes into turbo mode. INSIDE K.I.T.T. - MICHAEL is snapped back against his seat by the acceleration. [MICHAEL] Scan the area, see if you can pick up Hanson. [K.I.T.T.] There was a car in the area when I came in...It's not there now.... [MICHAEL] Then find it.... INSERT - K.I.T.T.'S MONITOR as the Map Scan appears...then a moving red dot that designates the location.... [K.I.T.T.] There he is, Michael...West on Route 4.... [MICHAEL] The test track...Let's get him, Kitt. I've got a little going-away present I want to deliver in person. EXT. K.I.T.T. as it picks up more speed.... OMITTED K.I.T.T.'S SPEEDOMETER The digital readout climbs over the two fifty mark, and we: CUT TO OMITTED EXT. TEST TRACK - DAY Hanson skids to a stop near the track office...Lilah exits ...Checks her watch.... [LILAH] You cut it pretty close...I was two minutes away from heading for the penthouse.... [HANSON] You'll be glad you didn't...I brought along a little extra pocket money for our trip.... She leans in the car to smile pleasantly at the wad of money in the open case...She opens the door to get in, then reacts.... LILAH'S POINT OF VIEW OVER ROOF OF CAR Michael and K.I.T.T. speeding towards them.... [LILAH] Unless that's your travel agent, you've got some trouble coming.... ANGLE Hanson reacts, seems about to speed away, then he looks over to.... [HANSON] He's supposed to be dead. THE UTCV looking ominous.... HANSON He gets out of the car, moves towards it.... [HANSON] This time there won't be any margin for error. Hanson is out of the car and races to the UTCV and climbs in.... K.I.T.T.'S/MICHAEL'S POINT OF VIEW THROUGH WINDSHIELD as they approach they see Hanson crawling into the UTCV.... [K.I.T.T.] Michael, I'm sure you're aware of the armament of that vehicle.... [MICHAEL] I'm very aware...You watch for the missiles, I'll cover the rest.... THE UTCV It roars to life, starts to move, swiveling towards Michael and K.I.T.T....The missiles are aimed towards the approaching K.I.T.T.... K.I.T.T. moves onto the test track. [K.I.T.T.] My scanners indicate he isn't carrying missiles, Michael. [MICHAEL] He's got plenty of other things for us. INT. UTCV Hanson, intent on his target...He fires the fifty caliber machine guns. CLOSE ON MACHINE GUNS blasting away. K.I.T.T. The bullets hitting, sparking and ricocheting off steel and glass. INT. K.I.T.T. [K.I.T.T.] Michael, we're driving right into his line of fire. [MICHAEL] Hang in there, pal.... SCENE K.I.T.T. accelerates. Michael skids K.I.T.T. around the UTCV, coming in behind it. HANSON - UTCV He mumbles under his breath, accelerates away. INT. K.I.T.T. Michael intent on his driving...Pursuing the UTCV. [K.I.T.T.] He seems to be running, Michael. [MICHAEL] Don't be too sure of that, good buddy. SCENE K.I.T.T. speeds in behind the UTCV, getting close.... HANSON - UTCV Using a sight, he hits another series of switches.... ANGLE ON UTCV Small projectiles fly from the grenade launchers at the rear of the UTCV.... K.I.T.T. driving through the series of grenade explosions, flame and debris covering the car, but not slowing it.... INT. K.I.T.T. [K.I.T.T.] I don't like surprises, Michael.... [MICHAEL] Me either, what's he got left.... [K.I.T.T.] Fifty-caliber machine guns and over six tons of armor plate.... [MICHAEL] Then let's round him up.... Michael jams down on the gas pedal.... [K.I.T.T.] I'm sure you have a plan... (beat) Don't you.... [MICHAEL] (we never know) Don't I always? SCENE Michael heads for the UTCV...Hanson appears out of the turret. ON THE UTCV MACHINE GUNS as the tandem-mounted fifties come to life, firing rapid bursts, and we are: K.I.T.T. The hits sparking off his body.... INSIDE K.I.T.T. - MICHAEL reacts as the rounds ricochet off K.I.T.T.'s windshield without leaving a scratch. He turns the steering wheel and begins to maneuver K.I.T.T. away from the knoll, across the shoulder and around the UTCV. OMITTED RESUME THE SCENE as Michael steers K.I.T.T. down the road and cuts at an angle past the UTCV. Hanson wheels around and pursues at high speed, still firing and we go to: ANOTHER ANGLE - FAVORING RAVINE A sharp dropoff bordered by parallel sections of the roadway where it switches back on itself. As K.I.T.T. accelerates and angles off the road toward the ravine and Hanson continues his pursuit in the UTCV --- [MICHAEL (V.O.)] Okay, Kitt, reach down and give me everything you've got. The car roars forward.... OMITTED CUTS - TEST TRACK K.I.T.T. speeds through the gulley while being peppered by the fifties from the UTCV.... Michael shoots out of the gulley and spins a ninety-degree turn away from the gulley. Hanson still in the turret of the UTCV has to follow into the gulley before he can come out and chase Michael...He's caught in that narrow alley-like road.... Michael gets a short distance away and makes another ninety- degree turn which puts him perpendicular to the gulley and the moving UTCV.... The turret of the UTCV appearing just over the gulley, Hanson with the turret turned, fires at Michael as he moves.... Michael guns the engine and heads right for the tank... bullets spark off K.I.T.T.'s body.... ON HANSON in the turret, keeping up a steady fire.... K.I.T.T. headed directly for the UTCV. HANSON The look of panic on his face as he realizes what Michael is about to do.... SCENE Michael crosses the gulley slicing off the fifties and a chunk of the turret...and lands K.I.T.T. on the other side...The UTCV comes to a screeching halt...Michael spins a 180 and heads down the gulley to face the UTCV head on... He jams on his brakes.... HILLSIDE Lilah sees the defeat of her man. She throws Hanson a sarcastic kiss; quickly scrambles into her car and drives off.... MICHAEL'S POINT OF VIEW THROUGH WINDSHIELD The UTCV is silent, nothing left for it to fight with.... [K.I.T.T.] He's disarmed...Nothing left.... Michael is out of the car. SCENE Michael hops up on the UTCV and yanks open the hatch, reaches down and pulls out a scared and beaten Hanson...He eyes Hanson a beat...then: [MICHAEL] I have this truck for you...It's grey with bars on the windows, an average motor, mediocre driver and some printing on the side that says Department of Corrections...You'll love the view. Hanson's look.... Michael meets it.... EXT. ARMORBILT - DAY as K.I.T.T. drives into the courtyard area and pulls to a stop. Mel is waiting outside. INSIDE K.I.T.T. Hanson in the seat next to Michael. [MICHAEL] Keep an eye on him, Kitt. [K.I.T.T.] Oh, he'll be here when you get back, Michael. THE SCENE [MEL] Michael? You all right? [MICHAEL] Fine. I'll be going home tonight, he won't. Michael gestures to Hanson. [MEL] (wistfully) Yeah, I guess that ties everything up, doesn't it. [MICHAEL] Not quite -- I haven't had a chance to tell you how attractive you are without that welding mask. [MEL] Don't make me blush. I'm the president of a company now. [MICHAEL] Not until the board of directors meets. [MEL] (smiles) In that case, I have a few minutes -- [MICHAEL] I was counting on it. He moves forward and kisses her. [FREEZE FRAME] END OF ACT FOUR TAG FADE IN EXT. PLUSH HOTEL - DAY A sleek stretch limo pulls up in front of the entrance... and parks.... ANGLE Lilah exits the hotel with the attache case containing the money and a small suitcase...She hurries to the limo and gets in. INT. LIMO Lilah settles into the backseat with a sigh of relief, clutches the attache case to add to her security...Then speaks to the driver.... [LILAH] International Airport...I have to be there in thirty minutes.... ANGLE ON DRIVER'S SECTION The separating window slides down and a smiling Michael Knight turns to answer.... [MICHAEL] Not likely...Would you settle for Police Headquarters and I'll drive through the park getting there.... ON LILAH Her reaction...then she opens the attache case, showing the money.... [LILAH] I have two hundred and fifty thousand dollars here...I'm willing to pay half for the airport trip.... Michael eyes her a bit...Talks into his comlink.... [MICHAEL] You hear that, Kitt? INTERCUT - K.I.T.T. parked a short distance away from the limo...the lights flashing.... [K.I.T.T.] Well, Michael, now we know what you're worth, does she want to make me an offer...? [LILAH] (hearing) I have another twenty-five thousand for your friend.... [MICHAEL] (enjoying) What about it, Kitt? [K.I.T.T.] I find that offer unacceptable...I'd rather the drive through the park.... ON MICHAEL He smiles at Lilah. [MICHAEL] You've offended him...I guess you go to jail.... SCENE The limo pulls away from the curb...K.I.T.T. follows along. [K.I.T.T.] Michael.... [MICHAEL] Yes, Kitt.... [K.I.T.T.] (upset) That offer she made... (beat) Do you think she knows I'm air- conditioned...? ON MICHAEL His laugh.... FREEZE FRAME FADE OUT THE END

{"show": "Knight Rider", "season": "s03", "episode": "e14", "title": "Buy Out"}

knightriderarchives

ACT ONE FADE IN EXT. MECROPLEX CONSTRUCTION SITE - NIGHT - ESTABLISHING The camera searches the steel skeleton of an ultramodern high-rise in the later phases of construction, rising into the moonlight. Moving stealthily among the high girders is: KEVIN MORGAN twenty-five, a bright, attractive communications worker. Dressed in blue denims, work belt, and boots, he tightropes catlike along the top level, clearly at home in this environment. He steals through the shadows eyes darting around until he reaches: OMITTED AN ELECTRICAL JUNCTION BOX After a final furtive glance around, Kevin opens the junction box to reveal: INSERT - A SHINY CHROME COMPONENT nestled amid the other circuitry. Kevin goes to work with needle-nose pliers and cutting it loose. As he pockets it and closes the box, he startles at the sound of a strange, electrical whirring from below. He darts to: ANGLE - A CAGE/ELEVATOR running down the exterior of the building. Kevin climbs in, punches "down," and holds his breath, wincing at its grinding noise. After a few beats, the elevator jars to a stop, suspended between floors. He glances around, punches "down" again, but nothing happens. A whirring grows louder. EXT. SITE - NIGHT - THE MAC-4 A huge, state-of-the-art construction crane has rumbled to life. Its roof-mounted arm swings slowly, ominously toward the elevator, ominously silent. Hanging from its clawed end is a sharp-cornered, multi-ton cement bucket. IN THE ELEVATOR Adrenalin pumping, Kevin yanks at the elevator door, which won't open. He finally jerks it free and climbs/squeezes out of the cage onto the building's top level. But no sooner is he standing than he's confronted with: OMITTED THE CRANE ARM which now swoops in over the building, its payload swinging in a deadly arc toward Kevin. CLOSE SHOT - MOVING WITH KEVIN He stumbles back, frightened, down the narrow edge along the building's roof, giving ground to the bucket's relentless onslaught. There's nowhere to run. KEVIN'S POINT OF VIEW - THE CEMENT BUCKET drags and scrapes along the building's top, pushing him closer and closer to the edge. FULL SHOT - KEVIN, THE BUCKET AND THE BUILDING Kevin screams as the bucket clangs against the low girder railing the roof. As he topples over the edge and whistles toward the pavement, go to: ANGLE - THE MAC-4 CONTROL BOOTH In the yard below, doors open to reveal an ultramodern control booth complete with video monitors, lights, gauges, etc. Out steps Dan Hannegan, 6'4", 220 pounds of no- nonsense Irish building foreman, dressed in jeans, flannel shirt, and hard hat. After a brief glance toward the spot where Kevin fell, he heads in the other direction. CUT TO EXT. HIGHWAY - DAY - ON K.I.T.T. cruising comfortably. [K.I.T.T.'S VOICE] Twisted Sister, Quiet Riot, Iron Maiden...Michael, where do they get these names? ANGLE IN K.I.T.T. Michael's listening to some hard rock, chuckling at K.I.T.T.'s dismay. [MICHAEL] It's heavy metal, buddy. Macho rock. The badder the better. [K.I.T.T.] Uranium is a heavy metal, and it isn't good for you either. Do you know what an Iron Maiden is? A medieval torture device. [MICHAEL] Okay, pal, what would you name a band? [K.I.T.T.] Something with values. Like 'Truth, Justice, and the American Way.' [MICHAEL] I like it, but it's not commercial. [DEVON'S VOICE] How about 'The Foundation for Law and Government'? [MICHAEL] (smiles) It'd never sell. Hi, Devon. INTERCUT - MONITOR AS NEEDED Devon's seated in his office. [DEVON] Good morning, Michael. We have you and Kitt just north of the county line, is that right? [MICHAEL] You said it, and making a beeline for Millie's. Best chili omelets west of the Colorado. Why are you up so early? [DEVON] Wrong, actually. You're going on an unofficial security investigation for Macroplex Incorporated. This week they caught a thief in their new R&D facility -- a technician named Kevin Morgan, one of their own. [MICHAEL] Macroplex? Sounds like an exercise machine. [DEVON] Hardly. They're the most advanced technological think tank in America. Kitt has some of their patents in his circuitry. And since Macroplex has projects with the Pentagon that make Starwars look like a covered wagon, everything is unusual. The thief fell to his death and I'd like you to pay a visit to his widow. [MICHAEL] (reluctant) Devon, is that necessary? [DEVON] I'm afraid so. Bonnie will give Kitt the details. [MICHAEL] What about Millie's chili? [DEVON] Your indigestion will keep. Good-bye. He blinks off. Michael sighs. [MICHAEL] Gourmets have a lonely life, Kitt. As they race off: CUT TO EXT. JANET MORGAN'S HOUSE - DAY Michael knocks at the door of a small suburban dwelling. After a beat, he's answered by Janet Morgan, a liquid-eyed young woman in her twenties. Understated hair and dress highlight rather than hide her pretty features. She's Kevin's widow, and she looks tired and a bit suspicious. [MICHAEL] Janet Morgan, I'm sorry to bother you....it's about your husband. [JANET] You police? Insurance? [MICHAEL] No. I'm Michael Knight, Foundation for Law and Government. We're investigating Kevin's death. [JANET] You mean murder? [MICHAEL] (reacts, takes it in) The report I read said 'accident,' but I'm willing to listen.... Janet eyes him a beat, opens the door. INT. JANET'S HOUSE - DAY - CONTINUOUS As they cross from the door, Janet leads Michael into a modest living room. Along with typical decor are a few interesting-looking electronic gadgets. [JANET] I bet that report said 'thief,' too. Kevin gave his life to that company, twelve hours a day. Thieves don't work overtime. [MICHAEL] (sympathetic) I've never known one who did. And if anyone got robbed, it was you. Janet is touched. This may be the first sympathetic ear she's had. [JANET] More than you know. His benefits and insurance were cut off, and my job won't pay the bills. (beat; sincere) He didn't fall. I just know it. [MICHAEL] It was dark...probably windy.... [JANET] He grew up on the high steel. His grandfather was a Mohawk...worked on the Empire State Building. Michael absorbs this. [MICHAEL] Had Kevin been hanging out with any...new friends, lately? [JANET] (sad smile) Just an old friend...me. He spent all his spare time at school...or tinkering in that workshop of his. Why? [MICHAEL] Well, being fired can be hard on a man. It can make him.... [JANET] (uncomprehending) Fired? Kevin? That's impossible. He worked right up to the last. [MICHAEL] Maybe he didn't want you to worry. They let him go three days before the ...fall. [JANET] You don't sleep beside a man and not know something like that. [MICHAEL] (gently) Look, I know this hurts. But I have to ask what he was doing at the building that night. [JANET] (angrier now) What's with you. You come in here, nice smile, no badge...but you're just like the rest of them. At least the police were up front. At least I knew they were the enemy. [MICHAEL] Janet, I'm not the enemy. [JANET] Look, maybe I'm old fashioned, but I thought widows got a few days to grieve, so please leave. Now. Michael tries to reply, eyes her a long beat, sad for her. But there's nothing else to say. He leaves. CUT TO EXT. STREETS - DAY - K.I.T.T. [K.I.T.T.'S VOICE] You're showing signs of distress, Michael. What's wrong? ANGLE IN K.I.T.T. [MICHAEL] I don't know. Something sure felt wrong back there. [K.I.T.T.] Talking to a young widow is under- standably difficult. [MICHAEL] It was more than that. The lady was telling the truth. Call Devon. I need him to arrange a little cover for me. [K.I.T.T.] Cover? For what? He cranks a left turn. CUT TO EXT. MACROPLEX SITE - DAY - FEATURE THE MAC-4 K.I.T.T. cruises past the Macroplex building. Behind it we see the long arm of the Mac-4, which dwarfs the car. Michael wheels into the frontage street as the crane hauls a huge load of cement skyward. OMITTED EXT. K.I.T.T. - DAY Michael climbs out holding a tool belt and hard hat. He peels off his leather jacket, exposing bare arms, and dons the construction gear. [MICHAEL] Well, Kitt, what do you think? [K.I.T.T.] Michael, we're dealing with a very sophisticated company here. Their security is elaborate. You don't stand a chance of.... Suddenly a whistle blows. Michael notes it with a smile. [MICHAEL] Gotta go. Later, pal. Follow Michael as he joins a bunch of similarly clad men heading onto the site, changing places with the ones who are coming off. K.I.T.T. whoops his scanner in disapproval. EXT. MACROPLEX SITE - DAY High above the street, Michael steps out of the open cage elevator, jostling along with a couple other workers. He waits until they've dispersed, then raises his comlink. [MICHAEL] Okay, I'm on the top level. The reports said he fell from here. Follow Michael as he walks out to the edge and looks at: MICHAEL'S POINT OF VIEW - THE GROUND BELOW a long way down. Swinging past is the arm of Mac-4, its huge cement bucket dumping four cubic yards of concrete. BACK TO MICHAEL He shudders, then walks down the railing girder. Suddenly something catches his eye. He starts toward: EDGE GIRDERS - A DENTED SPOT There's a large rusty bend at the corner of the railing. Michael examines it, sights along it, at the spot where the crane struck it. To comlink: [MICHAEL] Looks like there was a little accident here, eh, Kitt? INTERCUT - MONITOR AS NEEDED K.I.T.T. produces a colorful graphic blueprint of the building, with numbers reading out next to it. [K.I.T.T.] 'Little' isn't the word, Michael. There's an significant bend in that edging. It could create a ripple effect in the rest of the structure. [MICHAEL] (frowns) Bending this would take a ton of force.... [K.I.T.T.] 3.2 tons per square inch, to be exact. Suddenly a hand grabs Michael by the shoulder, pulling him backward. Michael throws it off and faces: DAN HANNEGAN an icy glint in his eye. He growls: [HANNEGAN] Who are you; and what are you doing up here? [MICHAEL] My job. I work here. [HANNEGAN] We'll see about that. Come with me. He heads for the elevator, gesturing Michael to follow. INT. SITE ELEVATOR AT LOWER LEVEL - FAVOR STEPHEN BARNES A tanned, handsome man in his midthirties, wearing the vest and slacks of a three-piece suit, incongruous with his hard hat. He carries a clipboard, turns as Michael and Hannegan exit the cage. [BARNES] What's the trouble? [HANNEGAN] This guy was checking the view instead of doing his job, whatever that is. Talking to himself, too. [BARNES] What's your name? [MICHAEL] Knight. Local 42 sent me over. I'm replacing Kevin Morgan. Who are you? Barnes and Hannegan trade a look. [BARNES] I'm Stephen Barnes. Macroplex Chief Engineer. Where's your foreman? [MICHAEL] Couldn't find him. What is this, twenty questions? Things are tough, but I don't need the work this bad. A beat passes. They appear to buy his story. [BARNES] You're on the wrong level. The phone links are already in on this floor. [MICHAEL] So where do I start? [BARNES] Come back after the weekend. We'll be starting the trunk wiring then. [MICHAEL] Hey, fine by me. The old lady won't like it though. Always griping about me watching too much TV, you know? (a beat) See you Monday. He steps into the cage elevator and heads down. When he's gone: [HANNEGAN] Are you crazy? Tellin' him to come back? [BARNES] (in control) Calm down. I want to keep an eye on him. Did you call for a union replacement? [HANNEGAN] No...I thought you did! [BARNES] (interrupts) Calm down. The last of the concrete's going in now. Once it's set, we're home free. You let me worry about our visitor. Hannegan nods his approval. Barnes heads off. OMITTED EXT. STREET - DAY - ON K.I.T.T. Parked across the street, Michael keeps an eye on the site. ANGLE IN K.I.T.T. - INTERCUT MONITOR [K.I.T.T.] This building is built to exact specifications, Michael. I'm sure they'll be repairing the bent girder. [MICHAEL] ...which just happens to be at the very spot Kevin died. Why hasn't it been fixed already? The rust makes it at least a couple days old. Ask Devon to see if it's scheduled for repair. (sees something across the street) Well, well...look who's here. MICHAEL'S POINT OF VIEW - THE SITE Barnes walks off the site and heads up the block to the corner, where he climbs into a stretch limo parked unobtrusively. [MICHAEL'S VOICE] Get a picture of this, Kitt. Then let's see where they go. ANGLE - STREET The limo pulls out. After a few beats, K.I.T.T. follows. VARIOUS RUNBYS - THE LIMOUSINE AND K.I.T.T. [K.I.T.T.'S VOICE] I didn't know construction people made so much money. [MICHAEL] They don't, Kitt. They don't. The pursuit continues until: EXT. MANSION/FORTRESS - DAY The limousine pulls up to a stately but well-secured house on a hilltop. After a few beats, K.I.T.T. appears around a curve and parks well below the house, but with a view of it. ANGLE IN K.I.T.T. - INTERCUT MONITOR Michael punches buttons, calling up the screen. [MICHAEL] Nice digs. Run a trace on the address and zoom in on the front, Kitt.... The monitor zooms in and we see Barnes exiting the limo. Waving an imperious finger at him from a balcony, talking on a cordless phone, is an immaculately turned-out continental type we'll come to know as Soltis. [MICHAEL] Full magnification, Kitt, and give me a hard copy. FREEZE FRAMES - SOLTIS A grainy but recognizable sequence of photos of Barnes and Soltis. [K.I.T.T.] The best I can do, Michael. And as the hard copy slides into Michael's hand, go to: INT. SOLTIS' MANSION - DAY Barnes enters the foyer of a beautiful room, lavishly furnished. Despite the opulence, the place feels antiseptic; it's not really a home. As Soltis finishes his conversation, he flicks his hand at a beautiful woman, Seline, seated near him, and she rises and crosses to Barnes. [SOLTIS] Lalo, if his excellency is unwilling to pay our price, sell the M-16s to the revolutionaries. (beat) Wars need guns, my friend. I don't care how many die, I just want the largest profit. If you can't negotiate it, I know people who can. [SELINE] Champagne? I'm sure he won't be long. [BARNES] Yes. Er, no, no thank you. Soltis hangs up, hands the phone to Seline. She hands him champagne, then slips away. He crosses to Barnes, who tries to greet him. [SOLTIS] (cold) Did you find it? [BARNES] Uh...we've taken car of Kevin Morgan. He had another one on him.... [SOLTIS] (interrupts) Did you find the missing interceptor? [BARNES] (after a beat) There's still one unaccounted for. Soltis' eyes flare a beat, then he seems to gain control of his anger. [SOLTIS] You were hired because I heard you were a thorough man. [BARNES] I'll get it back, don't worry. [SOLTIS] I am worried. Last year there was a facility in France whose sole work was the development of the perfect wiretap. [BARNES] The silicon interceptor.... [SOLTIS] (nods; knowing smile) That lab isn't there any more. An industrial 'accident.' My name was raised in certain circles at the time. So if the interceptor turns up here.... [BARNES] Mr. Soltis, say no more. My best man is on the job, even as we speak.... [SOLTIS] (flares) I don't like working this way! I survive because I remain a shadow...a name without a face. You, Mr. Barnes, are making that harder and harder to do. (beat; regains control) You've thoroughly discredited Kevin Morgan, I trust? Barnes nods, relieved at being able to give some "good news." [BARNES] His personnel records now indicate he was fired. For theft of company property. [SOLTIS] (thinking) If I were Macroplex, I'd want that property back. In other words, I want him proven guilty. Arrange it, Barnes. Off his icy look: CUT TO EXT. STREETS - DAY - K.I.T.T. cruising through a suburban neighborhood. [DEVON'S VOICE] You were right, Michael.... ANGLE IN K.I.T.T. - INTERCUT - MONITOR as Michael and Devon converse. [DEVON] There's been no report of that damaged beam at Macroplex. Shall I notify Washington? [MICHAEL] No, hold off. If this is a cover-up, I want to know who's behind it...and why. Devon nods as Michael punches buttons and cuts him off. Michael cranks a turn up to: EXT. MAYFLOWER SCHOOL - DAY K.I.T.T. pulls up outside a small suburban day school. [MICHAEL] (exiting the car) Hang loose. I'll be right back. He heads off toward the school. K.I.T.T.'s scanner whoops. [K.I.T.T.] Hang loose? ANGLE ON THE BUSHES - BILLY Twelve going on twenty-one, T-shirt and camo's, trying hard to hide the fact that he's a cute kid, he emerges from the bushes, having watched Michael's arrival, and tries to open K.I.T.T.'s door, to no avail [K.I.T.T.] What are you doing? Billy reacts. [BILLY] Wow! You can talk! [K.I.T.T.] Young man, why aren't you in school? [BILLY] (tough posture) I'm cuttin' class. Lemme in. I gotta hide. [K.I.T.T.] Which class? [BILLY] History. Whatta joke. [K.I.T.T.] History is no joke. [BILLY] C'mon, it's the pits. [K.I.T.T.] That's what you think! Get in. To Billy's amazement, the door swings open. His bravado fails him. [BILLY] Uh-unh. No way. [K.I.T.T.] What's the matter? Chicken? [BILLY] Who you calling chicken? Slowly, unsure of himself, he gets in the car. ANGLE IN K.I.T.T. - INTERCUT MONITOR Billy looks around, wowed. [K.I.T.T.] Watch this. Suddenly the monitor comes alive with an eye-popping display of pyramids and pharoahs, Spanish galleons and pirates, battles, cowboys and Indians...everything we can muster. [BILLY] Far out! What is that? [K.I.T.T.] That, my friend, is history. Billy looks up and sees: MICHAEL AND JANET returning from the school building. RESUME ON K.I.T.T. [BILLY] Uh, oh. Busted. [K.I.T.T.] It's okay. Sneak out. I'll cover for you. And get back in that history class! The driver's door opens away from the adults and Billy slips out as Michael opens the passenger door for Janet, then climbs in himself and pulls out. Billy emerges from the bushes again, trying to figure out if this really happened. As we pull back, also watching is: HANNEGAN parked in a van across the street, watching with concern. ANGLE IN K.I.T.T. as Michael drives Janet home. [JANET] So what do I have to do to make you leave me alone? [MICHAEL] How about talk to me? [JANET] (looks around) Nice car. Kevin would've loved it. Enough gadgets to keep him busy. (to Michael) What did you want to tell me? [MICHAEL] That I felt bad about this morning. And that I checked Macroplex after I left you. I think you're onto something. [JANET] (guarded) I'm listening. [MICHAEL] Something happened at the spot where Kevin fell that night...some kind of crash or accident. I think maybe he didn't fall. He might've been knocked off. [JANET] Why wasn't it in the reports? [MICHAEL] I'm trying to find out. Janet, I'll make you a deal. I want the truth. You want Kevin cleared. If you're right about him, you've got no beef with me. After a beat, she nods. [MICHAEL] But if you're wrong, can you accept what I find? She looks at him, sees he's sincere. After long consideration: [JANET] Yes. [MICHAEL] Okay, then. He produces the photos of Soltis and Barnes. She looks them over. [MICHAEL] You know these people? [JANET] Stephen Barnes, Kevin's boss. Nice guy. He was over to dinner a couple weeks ago. Who's the other one? [MICHAEL] I'll tell you when I find out. EXT. JANET'S HOUSE - DAY - ESTABLISHING K.I.T.T. is parked out front. INT. JANET'S HOUSE - KEVIN'S WORKSHOP/DEN - DAY Janet opens the door, admitting Michael to a masculine room full of electronic gadgets, obviously the haunt of a very advanced do-it-yourselfer. Michael starts poking around. [MICHAEL] Wow...I'm impressed. Looks like Kevin was a genius. [JANET] He almost had his M.S. in electronics. We made a deal in high school. I'd work to pay his tuition. [MICHAEL] What was your end of the bargain? [JANET] (looks up) Having a baby. From the desk she picks up a high school portrait of herself, looks at it wistfully. Michael absorbs her tragedy. [MICHAEL] We can do this later.... [JANET] No...no it's okay. What do you expect to find in here? [MICHAEL] I haven't found out why Kevin went back to the site that night. If this is his hangout, it's a place to start. (to comlink) Kitt, is there anything in here that's unusual...out of the ordinary? INTERCUT - MONITOR AS NEEDED K.I.T.T. scanning the room with appropriate graphics. [K.I.T.T.] There's one device I can't scan. It must have a lead casing. Top shelf. Michael reaches up to find the object. It's the chrome box -- the silicon interceptor. Michael shows it to Janet. [MICHAEL] Any idea what this is? She shakes her head. Suddenly they're startled by a loud knock at the door. [MICHAEL] See who it is. Michael steps out of sight as Janet goes to the door. OMITTED ANGLE - THE FRONT DOOR She swings it open. A uniformed officer and another man in a suit, Rayford, flash their badges. [RAYFORD] Mrs. Morgan, Lieutenant Rayford, PD. We have a warrant to search the premises for stolen property from Macroplex, Inc. As they start inside, go to: MICHAEL frozen in place, looking down at the shiny box in his hand. [FREEZE FRAME] END OF ACT ONE ACT TWO FADE IN EXT. JANET'S HOUSE - DAY - ESTABLISHING K.I.T.T. and a black and white parked out front. INT. JANET'S HOUSE - DAY Janet backs into the living room as the police start their search. The Uniform checks a prominent bookcase. [JANET] You can't just come in here.... CLOSE ON MICHAEL - INTERCUT K.I.T.T. watches from concealment, raises his comlink. [MICHAEL] Kitt, I need a few seconds. Give these guys a little car trouble. [K.I.T.T.] Right away. K.I.T.T.'s dash responds with lights and beeps. Suddenly: THE POLICE CAR lights up like the Fourth of July -- sirens, lights, the works -- all go on at once. RESUME IN LIVING ROOM Rayford and the Uniform react, hurry to the door. Looking outside: [RAYFORD] Get outside and see what's the matter. The Uniform runs out. Michael takes advantage of the distraction to slip the chrome box into the already-searched bookcase. When Rayford turns around again, Michael's standing with Janet. [RAYFORD] Who are you? [MICHAEL] Friend of the family. Whose signature is on that complaint? [RAYFORD] What're you, a lawyer? The siren has stopped, and now the Uniform reenters. [RAYFORD] (to Uniform) Jack, frisk this guy. [MICHAEL] (angry) Ah ah -- not unless you've got a warrant with my name on it too. The Uniform stops, backs off. At a look from Rayford, he goes back to his searching. CLOSE ON JANET AND MICHAEL [JANET] Can they do this? [MICHAEL] I'm afraid they can. [UNIFORM'S VOICE] Lieutenant, take a look. FAVOR THE UNIFORMED OFFICER turning over a small scope-like device in his hand, matching it to a picture he carries. Rayford checks his warrant, shows it to Janet. [RAYFORD] Radon graphic analyzer. Ten grand a pop. Yours, ma'am? [JANET] I've never seen it before. [MICHAEL] (defending her) The lady's in mourning, Lieutenant. Is she under arrest? [RAYFORD] Not yet. But we'll be taking this with us. [MICHAEL] Fine. Take it and go. Rayford eyes Michael a hard beat, then leaves with the Uniform. When they're gone, Janet turns to Michael. [JANET] I never saw that thing, I swear. Someone must have put it here. (beat) What did you do with.... Michael produces the chrome device from the bookcase. She heaves a sigh of relief. CUT TO OMITTED EXT. SWIMMING POOL AND JACUZZI - DAY Two lovely, long-limbed women lavish in the spa. One moves to the pool, dives in, swims a lap. Pull back to reveal: EXT. SOLTIS MANSION - SOLTIS sips a dark drink from a brandy snifter on the veranda overlooking the pool. He calls out: [SOLTIS] Lovely stroke, Michelle. I love to watch your...form. The woman looks up, waves, then climbs back into the Jacuzzi. Seline appears behind Soltis, twines her arms around his neck. [SELINE] I'd rather you watched mine. [SOLTIS] Then show it to me.... Their moment is broken by: STEPHEN BARNES moving from the house onto the veranda -- his car visible in b.g. He looks uncomfortable. Soltis turns cold. [SOLTIS] Well? [BARNES] My man planted the evidence at Morgan's, but he couldn't find the interceptor. Soltis rises, deadly. Venomous. [SOLTIS] I told you not to leave that inter- ceptor to anyone else. I --- [BARNES] (interrupting) Forget the interceptor. We've got another problem. (off Soltis' reaction) The guy we caught snooping on the site this morning, was spotted with Morgan's widow. [SOLTIS] So? You're the security expert. Find out who he is. [BARNES] I tried. The man's as elusive as you. His name's Michael Knight. Beyond that, he's a mystery. I don't like it. [SOLTIS] (ice) Then get rid of him. Barnes wants to say more but doesn't. He starts off. [SOLTIS] And Barnes.... Barnes turns back. [SOLTIS] I still want that interceptor. Don't come back here without it. His look tells Barnes how serious he is. He goes. Soltis turns back to Seline, all charm. [SOLTIS] You had something to...show me? CUT TO EXT. HIGHWAY - NIGHT - ON THE SEMI highballing. [BONNIE'S VOICE] It's a transmitter-receiver of some kind, Michael.... INT. SEMI - NIGHT Bonnie's at her work station, analyzing the device. Michael and Devon stand nearby. A colorful schematic is displayed on the computer monitor. K.I.T.T. is parked at the rear. [BONNIE] State-of-the-art electronic surveil- lance. I've never seen anything like it. [MICHAEL] What's so special about it? [BONNIE] For starters, the casing. It's a sealed lead alloy. I put it on our phone line to test it. Normally, Kitt can trace the frequency of any transmitting device.... [MICHAEL] But not this one.... [BONNIE] Right. You could tap a phone or a computer bank without a trace. This thing is revolutionary. Until I get inside it, I can't tell you much more. [MICHAEL] Then obviously, Kevin didn't build it in his home workshop. [DEVON] Still, what was he doing with it? [MICHAEL] I wish I knew.... Their uncomfortable silence is interrupted by: [K.I.T.T.] Michael, I have the information on those pictures you requested. [MICHAEL] On the monitor, Kitt. The three gather at the computer monitor. K.I.T.T. feeds in. INTERCUT - COMPUTER MONITOR AS NEEDED The photo of Barnes and Soltis is displayed, and printing out beneath it is the name "SOLTIS: Interpol warrants #48106A, 49270, along with assorted data and other Carlos-style pictures. [DEVON] Soltis -- He's wanted in half the countries in the world. [BONNIE] (reading) Guns to Nicaragua, heroin from Laos...he's not particular, is he. [DEVON] The man is a menace. He's slipped through the fingers of justice for fifteen years. We'll have to notify the FBI. Devon reaches for a phone, starts to dial. Michael reaches over and slams down the switch hook. Devon's angered. [DEVON] Michael, you don't understand. If Soltis has breached Macroplex security, the possibilities are devastating. [MICHAEL] Devon, you don't understand. If he's this good, the Feds bust in now, he goes underground and we've got nothing. Let me get some evidence on him first. Michael starts for K.I.T.T. [DEVON] Where are you going? [MICHAEL] To Macroplex, to see if these little bugs have found their way inside. And he guns the car away. OMITTED EXT. HIGHWAY - NIGHT - ON SEMI as K.I.T.T. slides down the ramp and spins a 180 away. CUT TO EXT. STREETS - NIGHT - K.I.T.T. The Trans Am cruises through light, late traffic. ANGLE IN K.I.T.T. As K.I.T.T. drives, Michael's pulling on black garb for stealth work. [K.I.T.T.] I've never seen Devon so upset. [MICHAEL] He was pretty worried all right. I'll take that security readout on Macroplex now, if you don't mind. INTERCUT - MONITOR AS NEEDED The dash prints up a graphic representation of the Macroplex building. [K.I.T.T.] It's going to be difficult to crack, Michael. They add guard dogs at night. [MICHAEL] (scanning the monitor) Barbed wire, electric fence...okay, we'll do our best. Now overlay the wiring and show me where you'd plant bugs if you wanted to spy on this place. Bright red lines shoot through the graphic, showing the wiring. Lights blip at appropriate locations for the bug sites. [K.I.T.T.] I suggest you check the one on the second floor. It will get us in and out quickly. Here we are. EXT. STREET OUTSIDE SITE - NIGHT - ON K.I.T.T. Michael pulls to the curb, starts pulling on gloves. [MICHAEL] No good, pal. I'm going to the top floor. [K.I.T.T.] Michael, this is no time to indulge your rock climbing fantasies. [MICHAEL] I've got my reasons, Kitt. Short out this section of fence. He starts out. EXT. CONSTRUCTION SITE - NIGHT - CLOSE ON A FENCE Michael scrambles up the chain link fence and climbs onto the block wall behind it. He crouches and runs off down the wall, into the depths of the site. MOVE WITH MICHAEL He runs over a concrete bridge spanning the yawning pits and half-built columns of the new structure rising in the moonlight around him like some futuristic alien city. ANOTHER ANGLE - BASE OF ELEVATOR Michael reaches the end of the bridge and tightrope-walks a concrete ledge to the base of the cage elevator on the main tower. He raises his comlink. [MICHAEL] Kitt, you read me? INTERCUT - K.I.T.T.'S DASH [K.I.T.T.] Yes, Michael. It appears you're doing very well. No sign they've detected you. [MICHAEL] That's the way I like it. He jumps onto the elevator scaffolding and starts climbing. ANGLE - BASE OF BUILDING A German Shepherd trots to the base of the scaffolding where Michael climbs. The dog starts to whine nervously, then to bark. MICHAEL looks down off the scaffolding and sees the dog, freezes. [MICHAEL] Go away. Shoo. Scat. Scram. But the dog continues whining, barks louder. Another dog joins it, takes up the chorus. [MICHAEL] Kitt, we have a problem. Can you deal with it? INTERCUT - K.I.T.T. [K.I.T.T.] You know dogs aren't my specialty. [MICHAEL] Well distract 'em somehow. Buy me three minutes. OMITTED INSERT - K.I.T.T.'S DASH A light indicates "Ultrasonic Frequency," and a high-pitched whine is heard. THE DOGS cower and cringe, whining and moving off, but not before: A SECURITY GUARD sees the commotion and picks up an on-site phone. OMITTED INT. TRAILER/OFFICE - NIGHT Hannegan and Barnes have heard the barking and commotion. Barnes hangs up his phone. [BARNES] (pleased) Looks like out problem has come to us. Pull the plug on the elevator. They head from the office. OMITTED EXT. BUILDING - TOP - NIGHT Michael works quickly and carefully at an electrical junction like the ones we've seen before. [K.I.T.T.'S VOICE] (comlink) Michael, we've been spotted. [MICHAEL] (comlink) Keep 'em busy, pal. I'm almost through. Move in to see what Michael's found -- another one of the silver boxes, this one secreted deep in the wiring. With a pair of clippers, he cuts it free and pockets it. But before he can start moving, he hears a high-pitched whining. Looking off, he sees: THE MAC-4 rumbling into action. At the end of the crane's hoist is a bucket large enough to hold a man and in it is: HANNEGAN holding an automatic rifle, eyes scanning into the girders, following the beam of a large flashlight. Lights are going on in the yard below him and being trained on the building skeleton. Hannegan rises rapidly toward the building. MICHAEL sees his predicament immediately. To comlink: [MICHAEL] I'm open to suggestions, pal. [K.I.T.T.] Michael, I'm sorry. The elevators are off and there's no other way down. Suddenly a bullet pings off the steel next to Michael. He dives out of the way. Hannegan aims again. CROSS HAIRS MATTE - MICHAEL is homed in by the infrared scope on Hannegan's rifle as he crouches behind available cover. He's a sitting duck and we: OMITTED [FREEZE FRAME] END OF ACT TWO ACT THREE FADE IN EXT. MACROPLEX SITE - ROOF LEVEL - NIGHT - CONTINUOUS ACTION Just as Hannegan fires again, Michael dives and rolls across the roof. The bullet chews out a chunk of plaster where his head just was. MICHAEL serpentines across the roof until he reaches cover behind a large cargo box near the edge. He looks around desperately for his next move. HANNEGAN strains for a clear shot. [HANNEGAN] Up! Get me up! He's moved for a better shot as: INT. MAC-4 CONTROL BOOTH - NIGHT Barnes works furiously at the controls, lit by the eerie glow of the dials, responding to Hannegan's directions. MICHAEL spots a rope tied to the cargo box. Getting an idea, he flings it out over the edge of the building. ANGLE ON BUILDING The rope untwines its way down...not nearly long enough to reach the ground. HANNEGAN starts to take aim for another shot. MICHAEL grabs the line and a deep breath. He calls out to K.I.T.T. [MICHAEL] Kitt, get in heeerre.... And with a running leap, he flies over the edge of the rooftop. OMITTED VARIOUS ANGLES - MICHAEL loops downward, twelve stories up, rappelling his way through the girders, bouncing down the vertical face like a mountain climber as searchlights play on his from below. INTERCUT - VARIOUS ANGLES - K.I.T.T. bursts through the electrified gate in a hail of sparks, making for the wall below Michael, t-roof cranking open. CLOSE ON MICHAEL as he runs out of rope at the third floor and dangles from the end of his line, still a good twenty-five feet above the ground. Another shot whines past him. He yells: [MICHAEL] Come on, Kitt! FULL SHOT Just in time, K.I.T.T. skids to a stop below Michael. He releases the rope and falls through the open t-top. More bullets spark harmlessly off the car as: K.I.T.T. floors a 180 in the dirt, and hightails it out of the site. ANGLE IN K.I.T.T. [MICHAEL] (gulping air) Thank...you...Kitt. [K.I.T.T.] That was awful. Are you all right? [MICHAEL] You tell me. I'm not sure. And they race off into the darkness. CUT TO EXT. JANET'S HOUSE - NIGHT K.I.T.T. pulls up and Michael gets out. [MICHAEL] Scanners peeled, Kitt. He heads for the door. Stay with K.I.T.T. for a beat, then: BILLY comes rolling down the street, on his skateboard in the dark. K.I.T.T. flashes his lights and Billy stops. [BILLY] Whoa! What are you doing here? [K.I.T.T.] I might ask you the same thing. It's very late. [BILLY] Hey, off my case. I was at the library. [K.I.T.T.] Why do I find that hard to believe? [BILLY] No, really. I was reading all about the Vikings. Did you know they discovered America before Columbus? [K.I.T.T.] (amused; if he could be) No. Really? [BILLY] Yeah. You really got me interested in this history stuff. Now if you could make science interesting.... [K.I.T.T.] You must be joking. The door pops open. Billy hops eagerly in. CUT TO OMITTED INT. JANET'S - NIGHT She pulls a robe around her and moves to answer a knock. Michael enters, urgent and excited. He shows her the chrome box. [MICHAEL] This is a bug -- a wiretap. Just like the one we found here. I found it installed on the top floor of the new Macroplex building. [JANET] Kevin couldn't have done it, I'm telling you. He.... [MICHAEL] You're right. There's no way. The top floor just went up yesterday. It hadn't been built when Kevin died. So someone else at Macroplex is doing the installing. Kevin found out and they killed him. I think it's Stephen Barnes. [JANET] Barnes? Why Barnes? [MICHAEL] Remember the other man in that picture. His name is Soltis. He's an international criminal, above the law, never caught or convicted. Macroplex secrets are just his style and Barnes is the man who could deliver. [JANET] (temper heating) Barnes was so nice to Kevin. Said he'd help him get promoted. We had him to dinner. I cooked all day! (beat) What are we going to do? [MICHAEL] We aren't going to do anything. I'm going to try to make Barnes lead me to Soltis. But I can't do it if I'm worrying about you. [JANET] But this man...if he always gets away.... [MICHAEL] He won't this time...I promise. He picks up her telephone. Dials. CUT TO INT. MACROPLEX OFFICE/TRAILER - NIGHT Barnes is at Hannegan's throat. [BARNES] How could you miss him! You were so close! [HANNEGAN] The guy was quick...it was dark...and you weren't all that steady at those controls either. Not to mention that car of his.... Suddenly the phone rings. Barnes picks it up. [BARNES] What.... OMITTED INTERCUT - MICHAEL AND BARNES Janet listens in the b.g. [MICHAEL] Barnes, it's Michael Knight. You had your shot at me. Now it's my turn. Fifty thousand dollars. [BARNES] What are you talking about? [MICHAEL] I'm selling you a picture of you and Soltis. [BARNES] (nervous) You're crazy. [MICHAEL] If you don't buy it, I'm sending one to Soltis and one to the police. You can decide who you want to run from. [BARNES] Where do I get fifty thousand this time of night? [MICHAEL] That's your problem. Bellows Park at sunrise. Be there. He slams the receiver down. Barnes holds his end, stunned. EXT. JANET'S HOUSE - NIGHT - ON K.I.T.T. Billy's inside, watching the monitor. ANGLE IN K.I.T.T. - INTERCUT MONITOR displaying an amazing trick shot on a billiards table. [BILLY] Wow. [K.I.T.T.] Simple physics, Billy. The rotation on the cue ball is greater than its forward momentum. Suddenly Michael leans into shot. [MICHAEL] Am I interrupting anything? [BILLY] (sheepish) Uh...I gotta go. He slides out. Michael slides in. [K.I.T.T.] Michael...I can explain. [MICHAEL] (enjoys this) Corrupting innocent youth.... And they pull away. OMITTED EXT. HIGHWAY - NIGHT - ON THE SEMI K.I.T.T. appears, rolls up and in. [DEVON] An hour and forty-nine minutes. Pressing your luck, Michael. INT. SEMI - NIGHT Bonnie works with a microtorch on the first box, which is now in pieces, as Devon looks on. Michael hands her the new one. [MICHAEL] Not really. Kitt had it figured to the millisecond. How you coming, Bonnie? [BONNIE] It's an amazing piece of circuitry. Besides the wiretap, there's a tiny condenser mike. They could bug meetings, conversations...even office gossip. [DEVON] Another day and they'd have been buried inside Macroplex's walls forever. Totally untraceable. [BONNIE] There's still one circuit I haven't cracked. Lord knows what it does. [MICHAEL] Well, keep at it. (to Devon) Did you run my check on Stephen Barnes? [DEVON] The man has impeccable credentials. Hired by Macroplex right out of Cal Tech, fast rise to his present posi- tion, A-1 security clearance. [MICHAEL] Well, even the best ones go sour. [BONNIE] (calls from work station) Hey, you two. I think I've.... K.I.T.T.'S SCANNER suddenly whoops and his lights flash. [K.I.T.T.] Michael, Bonnie, be careful. That circuit you just opened, Bonnie, it's a time bomb! FULL SHOT Michael is galvanized into action. He crosses to where Bonnie is frozen over the box, an angry red light now blinking on the circuit in question. He lifts it gently. [MICHAEL] How long, Kitt? [K.I.T.T.] About eight seconds.... [MICHAEL] Open your trunk, buddy. [K.I.T.T.] Oh, Michael, not the trunk again.... [MICHAEL] Kitt! K.I.T.T.'S TRUNK powers open. Michael approaches gingerly. [K.I.T.T.] Careful, Michael. It's very delicate. He starts to lower it into the trunk. [K.I.T.T.] Three seconds, Michael! BONNIE AND DEVON back away. He tries to shield her. BACK TO SHOT Michael places the blinking box in the trunk and slams it just milliseconds before: THE EXPLOSION rocks K.I.T.T. and the entire semi. Smoke fills the passenger compartment and our people back away into the walls. When it's over, Michael approaches the car. [MICHAEL] You okay, buddy? K.I.T.T. sucks the smoke clear. [K.I.T.T.] Barely. That little device packs an astonishing punch. And we'll never get the smell out of the upholstery. FULL SHOT [MICHAEL] Soltis thinks of every possibility. If the devices are discovered, he has them self-destruct. Along with anyone in the vicinity. [BONNIE] And we don't know who can detonate them.... [DEVON] What if this isn't the only building they've wired? Chilling possibilities all. But Michael grabs the other interceptor and starts toward K.I.T.T. [DEVON] Where are you going? [MICHAEL] I'm still holding an ace...the picture of Soltis. I'm meeting Barnes with it. As he climbs into the car, Devon crosses close. [DEVON] Get him, Michael. I want these men. [MICHAEL] You and me both, Devon. Grim and determined, Michael pulls out. CUT TO EXT. STREETS - DAY - K.I.T.T. cruises through light traffic under a beautiful sunrise. ANGLE IN K.I.T.T. [K.I.T.T.] Michael, you realize Soltis could detonate that building any time. [MICHAEL] That's why I need Barnes. I want to scare him into defusing the wiretaps. Then we get Soltis. [K.I.T.T.] If he knows how. I'm scanning for him now. Michael cranks the wheel. EXT. BELLOWS PARK - DAY Michael and K.I.T.T. pull into a quiet, green park with swings and a ball field. ANGLE IN K.I.T.T. Michael punches buttons. [K.I.T.T.] There he is, Michael. In that car. BARNES steps out of his car and walks into view. Michael climbs out of K.I.T.T. and walks slowly to meet him. Sotto, to comlink: [MICHAEL] How's his blood pressure, Kitt? [K.I.T.T.] Skyrocketing. FULL SHOT - BARNES AND MICHAEL Showdown. [BARNES] Where's the picture? [MICHAEL] Where's the money? Barnes reaches into his pocket and starts toward Michael. [MICHAEL] Don't! MICHAEL suddenly holds up the chrome interceptor. Wired to it is a battery. Barnes sees it and freezes. [MICHAEL] I know what this does. I know everything it does. Now throw the gun away. [BARNES] Gun? [MICHAEL] (blazing) Don't mess with me, Barnes. If I go, I don't mind taking slime like you with me. Barnes doesn't react. Michael holds a second wire inches from the diode. [MICHAEL] (icy) I'll blow us both up. The gun. Now. BARNES starts to sweat. After a beat, he pulls his hand from his jacket pocket and, indeed, he does have a gun, which he tosses aside. [BARNES] Okay. What do you want? Michael lowers the box and battery. He's furious. [MICHAEL] A lot. I want Soltis. And you're gonna testify. You're my star witness. But as he starts for Barnes: [JANET'S VOICE] No! Michael whirls. Whip pan to: JANET She looks ragged, very close to the brink. The gentleness in her eyes has been replaced with a glint-like sun on bare metal, and she holds a pistol trained on Barnes. [JANET] You killed my husband. You took everything away from me. MICHAEL tenses, watching the confrontation. He tries to talk to Janet. [MICHAEL] Janet, don't.... TIGHT SHOT - JANET The gun trembling in her hands. [JANET] Don't, Michael. There's nothing you can say. BARNES watches her, his eyes wild with fright. CLOSE SHOT - THE GUN Her hands draw back the hammer. [JANET] I'm going to kill him like he killed Kevin. MICHAEL watches, mesmerized. FREEZE FRAME FADE OUT END OF ACT THREE ACT FOUR FADE IN EXT. BELLOWS PARK - DAY - CONTINUOUS ACTION Janet's trembling hands still hold the gun on Barnes. Michael is trying to "talk her down." [MICHAEL] Janet, no. Not this way. [JANET] (to Barnes) Kevin really liked you. He cared about you. [BARNES] I cared about him, too, Janet. [JANET] The hell you did! Why did you do it? Why did you kill him? [MICHAEL] Janet, you can't do this. This isn't the answer. [JANET] You said it yourself, Michael. They never get caught. Well, this time they did. And I don't need proof. [BARNES] (frazzled) No! I'm not the one you want. [JANET] You're the one I want, all right. You're going to die. Just like Kevin. MICHAEL sees she's about to pull the trigger, so he leaps onto her. She's strong, and the gun wavers up and down in her grip before firing into the air. BARNES takes advantage of the commotion, runs to his car, races away. MICHAEL AND JANET continue to wrestle on the ground as he tries to fight her to a standstill without hurting her. [JANET] Let me go...let me go! He manages to get on top of her with a firm hold. She struggles a little more, then goes limp. Both of them gasp for air. [MICHAEL] Kitt, where's Barnes? [K.I.T.T.] He's escaping, Michael. Toward Macroplex. [MICHAEL] Come get us, buddy. K.I.T.T. motors over. [MICHAEL] Janet, you don't know what you're doing. Murdering Barnes won't help anything. Janet just listens, crying softly. [JANET] It'll help how I feel inside.... [MICHAEL] No. Not for long. And you might have cost us our one shot at getting the man who's really behind Kevin's death. Do you understand? She nods. [MICHAEL] You're coming with me. I want you to stay in Kitt until I say so. He helps her to her feet and sets her inside K.I.T.T., then races around to the driver's side. [MICHAEL] Macroplex, Kitt. On the double. K.I.T.T. screams away, laying rubber down on the red clay court. CUT TO EXT. MACROPLEX SITE - DAY Barnes' car comes skidding up to the site. He climbs out and looks around, surprised to see that it's deserted. He races to the open door of the trailer. INT. TRAILER/OFFICE - DAY Barnes runs in, calling: [BARNES] Hannegan! Where is everybody! [SOLTIS' VOICE] Hannegan sent them home, Barnes. REVERSE ANGLE Barnes whirls to see Soltis waiting easily for him. [BARNES] What are you doing here? Where's Hannegan? [SOLTIS] Relax. He told me everything. Did you get that picture? [BARNES] (glowering) No. [SOLTIS] I'm here to help you. I managed to clear the site for what you have to do. [BARNES] Which is...? [SOLTIS] Turn on the power and destroy the building. [BARNES] No! I'm going to pull all the boxes. There's still time.... [SOLTIS] (calm; stops him) Barnes, our work is over. But I survive because I know how to cut my losses. [BARNES] This wasn't supposed to happen. What about my job? My life...what happens to me now? Soltis reaches into his pocket, produces two plane tickets. [SOLTIS] I took the liberty. Is Montevideo all right with you? Barnes is shaken. [SOLTIS] When we gamble, we must be prepared to lose. Come with me. You could be useful. He puts an arm around Barnes, starts walking him toward the door. [SOLTIS] Get busy. Feed the current into the structure. [BARNES] We'd better be a mile from here when it blows. [SOLTIS] I brought a car. We'll be safe. (pushes him outside) Now go...hurry. Barnes heads out onto the site. Soltis watches him a beat, then reaches into his breast pocket and pulls out a Luger, checks its clip. Satisfied, he steps outside, swinging the door away from the wall behind him. Slumping out behind him onto the floor is the seated figure of: HANNEGAN Limp, lifeless. Obviously dead. EXT. STREETS - DAY - K.I.T.T. races past, blowing past surrounding traffic. [DEVON'S VOICE] I'm alerting the authorities, Michael. ANGLE IN K.I.T.T. - INTERCUT MONITOR Michael's driving like a demon, with Janet hanging on. Devon's on the monitor. [MICHAEL] Suit yourself, Devon, but they'll be too late. I'm afraid we'll be too late. [DEVON] What guarantee do we have that Soltis will be there? [MICHAEL] His pattern...his history. We know the man doesn't leave loose ends. [DEVON] I hope you're right. Do be careful, Michael. CUT TO EXT. MACROPLEX SITE - DAY Barnes heads for the Mac-4 control booth. Next to it is a large construction generator -- 400 volts of all-purpose power with lines leading away into the building. Barnes is rewiring the generator at a control panel as Soltis strolls up. [SOLTIS] Is everything ready? [BARNES] (nods) I plugged the power trunks into the communications grounds. It'll take a minute to warm up, but When the voltage hits 400...we'd better be long gone. He reaches down onto the side of the generator and fires up the ignition switch. The generator coughs, sputters, then hums to life. But as its meters start to climb, suddenly a familiar whine is heard and: K.I.T.T. comes skidding onto the site. BARNES AND SOLTIS freeze momentarily, then react. [SOLTIS] I'll get the car. Hold him off. Barnes looks around, then climbs into the control booth of the Mac-4. ANGLE IN K.I.T.T. Michael surveys the situation. [K.I.T.T.] Over there with Barnes...it's Soltis, Michael. [MICHAEL] Kitt, that generator! Is it wired to the building? [K.I.T.T.] Yes, but Michael, it's powering up.... [MICHAEL] I've got to stop it! He starts from the car, but: [K.I.T.T.] Michael, look out! Michael turns to see: MICHAEL'S POINT OF VIEW - THE MAC-4 CEMENT BUCKET Fully loaded, two tons of wrecking deadweight is swinging right toward him. Michael dives back inside. [MICHAEL] Floor it, buddy! INSERT - K.I.T.T.'S WHEELS spin in the soft dirt, finally gain traction and: FULL SHOT The cement bucket whooshes past K.I.T.T., just missing shearing off the top. Michael maneuvers away, collects himself. ANGLE IN K.I.T.T. as Michael spins the wheel and manuvers. [K.I.T.T.] That thing is huge! He almost got us. [MICHAEL] You're telling me. [K.I.T.T.] The voltage on that generator is rising fast, too. [MICHAEL] One thing at a time, Kitt. Hang on. And he cranks the car around. INT. MAC-4 CONTROL BOOTH - DAY Barnes whips the controls like a giant video game. FULL SHOT The huge bucket takes another swipe at K.I.T.T., who backs out of the way. The bucket starts back toward the car. ANGLE IN K.I.T.T. as Michael jams it in reverse to drive, floors it. INSERT - K.I.T.T.'S WHEELS stuck in the muddy dirt of the site, spinning, going nowhere. [K.I.T.T.] Michael...I can't make it! FULL SHOT - K.I.T.T. AND THE BUCKET The two-ton bucket slams into the Trans Am, sending it spinning off sidelong into a pile of cinderblocks. Dust and debris fly. BARNES gloats in satisfaction, stands away from the controls and starts to climb out. INSERT - GENERATOR METERS reading red-line...nearly 400 volts. ANGLE IN K.I.T.T. Michael punches buttons, checks the functions. Janet's amazed. [MICHAEL] You all right, Kitt? [K.I.T.T.] Some peripheral systems are damaged, Michael, but I'm structurally sound. And more current is reaching the building. [JANET] I can't believe this! [MICHAEL] Believe it. You wanted revenge. Now you're going to get it! He floors the pedal. FULL SHOT Barnes reacts in amazement as K.I.T.T. comes roaring out from under the woodpile unscathed. He desperately climbs back into the control booth of the crane. ANGLE IN K.I.T.T. Michael bears down, steering K.I.T.T. right for the lethal machine. [MICHAEL] I'm not taking any chances, Kitt. We're going right through him. [K.I.T.T.] Michael, that bucket is on an intersecting course with us. I'm not sure I can take another blow. And the generator is going critical! [MICHAEL] Then give it all you've got, pal. WIDE SHOT K.I.T.T. races toward the crane, but the cement bucket is swinging in on him from the side. [K.I.T.T.] Michael! It's too close! [MICHAEL] Hit it! Michael hits turbo boost and: VARIOUS ANGLES - THE JUMP K.I.T.T. turbos airborne, swishing just past the cement bucket. Barnes dives from the controls just as K.I.T.T. smashes into the smoked glass cockpit and shatters the booth of the Mac-4. As the Trans Am comes back to earth, the crane's engine blows with an ominous boom. [K.I.T.T.] The generator! The whole building is going to explode! [MICHAEL] (to Janet) Stay here! MICHAEL is out of the car in a flash, racing for the generator. He runs up to the machine and yanks the main cables loose in a shower of sparks just in the nick of time. But as the hum dies, he's pulled away by: BARNES who greets him with a solid right. Michael shakes it off and decks Barnes with one punch, but just now a bullet whangs off the side of the generator. Michael turns and sees: SOLTIS takes aim over the top of his car, a dark sedan parked nearby. He squeezes off another shot. MICHAEL looks for cover, dives behind the generator. He looks out and sees: FULL SHOT - MICHAEL'S POINT OF VIEW - SOLTIS AND THE CAR Unbeknownst to Soltis, he's parked right beneath the cement bucket, which now hangs akimbo on the crane's defunct arm. He fires again and Michael ducks. MICHAEL addresses comlink. [MICHAEL] Kitt, any chance you can get into what's left of the crane's control circuits? INTERCUT - K.I.T.T.'S DASH Microwave jam lights up. [K.I.T.T.] It might work. But Michael, you wouldn't.... [MICHAEL] Oh yes I would. Give him the works, Kitt. The dash blazes with lights and: FULL SHOT - THE BUCKET, THE LIMO, AND SOLTIS All of a sudden the cement bucket releases its contents onto the car and Soltis, burying both under a ton of cement. SOLTIS is literally swimming in the grey mire. MICHAEL emerges from cover and walks up to the coughing, slimy Soltis. Janet emerges from K.I.T.T. and stands with Michael, looking down. Michael offers a hand. [MICHAEL] You look good in grey cement. You'll spend a lot of years behind it. FREEZE FRAME FADE OUT END OF ACT FOUR TAG FADE IN EXT. SCHOOL - DAY Michael and Janet stroll from her classroom toward K.I.T.T. As they walk: [JANET] ...so they restored his insurance money, and his benefits.... [MICHAEL] Not to mention his good name. [JANET] That most of all. I think I'll make it now. I don't know how to thank you. [MICHAEL] You want to thank me, Janet? Be happy. That's the best thanks I could have. [JANET] (smiles) I'll do my best. They've just arrived at K.I.T.T. when: ANOTHER ANGLE - BILLY rolls up on his skateboard, wearing a backpack. [BILLY] Hi, guys! Ad-lib hellos. Billy turns to K.I.T.T. [BILLY] Now don't start on me. School got out an hour ago. I've been to class every day. [K.I.T.T.] I'm glad to hear that. [BILLY] In fact...I've got something here. For the teacher. He jumbles in his backpack. Michael and Janet trade a smile. [JANET] You shouldn't have.... Suddenly Billy produces his gift. A can of 10/40 motor oil. [MICHAEL] Nice, Billy. Weird, but nice. [BILLY] It's not for Mrs. Morgan. It's for Kitt. I figured he didn't like apples. As they react, laughing, K.I.T.T. rolls down his window. [K.I.T.T.] What's so funny? Let's have it. Billy tosses it inside and the window rolls back up. As the lights flash on and off and the scanner flashes.... FREEZE FRAME FADE OUT THE END

{"show": "Knight Rider", "season": "s03", "episode": "e15", "title": "Knightlines"}

knightriderarchives

ACT ONE FADE IN EXT. MARBERRY - DAY A lovely, tranquil little community tucked away in the folds of low hills, flanked by evergreen mountains on one side, expanses of high desert on the other. EXT. MARBERRY TIMES NEWSPAPER OFFICE - DAY Shooting past an economy four-wheel drive parked in front, we see Jamie Downs, midtwenties, pretty, on the phone, in the office. [JAMIE'S VOICE] It's called the 'Marberry Grand Prix' -- I don't care how it sounds, it's spelled P-r-i-x, not P-r-e-e. It's French. What am I going to do with five thousand fly sheets spelled wrong?...Okay, thanks George. See you in half an hour. (beat) P-r-i-x. Right. She sighs, hangs up, crosses out and climbs into her four- wheel, the misspelled fly sheets loaded in back. She pulls away through the quiet early-morning streets. ANGLE ON PHONE BOOTH shooting past Jamie to a man standing at the public phone. He picks up the receiver, deposits and dials a number. [MAN'S VOICE] She just left. CUT TO EXT. TWO-LANE COUNTRY ROAD - DAY Jamie appears, the only car on the quiet road. ANGLE ON JAMIE Though preoccupied with a thousand details, she's never too busy to appreciate the countryside, the pristine scenery of the area. She turns on the radio to a local rock station. Something ahead catches her eye. HER POINT OF VIEW AHEAD - A LARGE SEDAN is approaching from the opposite direction. Suddenly a second equally large sedan pulls out from behind it as if to pass, taking Jamie's lane. INTERCUT - JAMIE She honks. INTERCUT - TWO CARS Neck and neck, heading straight at her. ANGLE ON JAMIE The road is flanked by a grade on the inside, a substantial drop-off on the other. There's nowhere to go. ANGLE ON CARS only yards away, side by side, eating up all available space. ANGLE ON JAMIE Desperate, she whips the wheel, a scream is caught in her throat. SEVERAL ANGLES as Jamie's little truck spins off the side of the road, flips and rolls down the embankment. ANGLE FROM BOTTOM OF EMBANKMENT It tumbles to a stop. Nothing moves. Then, slowly, the driver's door opens and we see Jamie, bruised, disheveled and ghost-white. But alive. A loose fly sheet flutters to stop near her: "FIRST ANNUAL MARBERRY GRAND PREE". CUT TO EXT. HIGHWAY - DAY K.I.T.T. flashes by at a comfortable speed. [K.I.T.T.'S VOICE] Michael, you're awfully quiet this morning. ANGLE ON MICHAEL at the wheel, relaxed. [MICHAEL] Just appreciating the countryside, Kitt. Kind of reminds me of when I was a kid...lazy days, green hills, streams full of catfish.... [K.I.T.T.] For some reason I can't visualize you as a child. Then again I can't visualize myself as one either. [MICHAEL] (a smile) Probably 'cause you never were, buddy. [K.I.T.T.] As a 'child,' would I still have all my functions? Would I still be able to Turbo Boost? [MICHAEL] Yeah, but you'd have to start off small. Like maybe over wagons. [K.I.T.T.] Station wagons? [MICHAEL] Toy wagons. [K.I.T.T.] In that case, I'm glad I never had to experience 'childhood.' Michael laughs. The com button buzzes. [K.I.T.T.] Devon's calling. [MICHAEL] (buttons) Yo, Devon. INTERCUT - DEVON on monitor. [DEVON] Hello, Michael. I see you're not far from the town of Marberry. [MICHAEL] (looks) Couldn't prove it by me. What's up? [DEVON] The granddaughter of an old friend I met during the war is editor-publisher of the local paper. [MICHAEL] I'm way ahead of you, Devon. You want me to drop by and pick up the latest edition as a keepsake because I've been on the road three days straight and you wouldn't dream of --- [DEVON] (overlap) Michael. [MICHAEL] You would. [DEVON] She's sponsoring a local event. For some reason she's convinced someone tried to kill her this morning. It may be nothing...but I'd never for- give myself if I were wrong. [MICHAEL] (sighs) Gotcha. I'll get back to you. Devon's image fades from the screen. Michael pushes more buttons. [MICHAEL] Plot us a course to Marberry, Kitt. And give me whatever you've got on the town. [K.I.T.T.] Right away, Michael. INTERCUT - GRAPHIC OVERLAY A map-search appears. [K.I.T.T.] According to my data, Marberry is a quiet, peaceful retirement community. CUT TO EXT. "MANNY'S DRIVE-IN" - DAY Late Friday afternoon, "Manny's" is a thing out of the past -- a genuine drive-in restaurant with car hops, window trays, etc. A banner reads "Welcome! First Annual Marberry Grand Prix!" DIFFERENT ANGLES Manny's has become the gathering place for the throngs of visitors and entrants -- mostly in their late teens and twenties. Lots of hot street cars, beefy four-wheel drive trucks, guys drinking beer, girls bouncing around in their tightest jeans. Lots of rock-n-roll over car stereos. ANGLE ON REGISTRATION STAND Jamie mans the little makeshift stand, signing up entrants. There's a large trophy nearby. Prominent is a beefy guy in his late twenties, Danny "Rooster" Roskovich. [ROOSTER] How much, darlin'? [JAMIE] Fifty dollars to enter. I also need to see a valid driver's license. He puts his money and his license down. [ROOSTER] It's valid all right -- they'd yank it, but they can't catch me. ANGLE ON STREET as K.I.T.T. approaches the drive-in. [MICHAEL'S VOICE] A 'quiet, peaceful retirement commu- nity,' huh pal? ANGLE IN K.I.T.T. [K.I.T.T.] Michael, I don't understand it. Bonnie meticulously revises my data banks regularly. Is it possible we're in the wrong Marberry? [MICHAEL] I don't think so. Looks like Marberry's changing its image. [K.I.T.T.] None for the better if you ask me. Is nothing sacred? Isn't there anywhere safe from fast cars and rock 'n' roll? [MICHAEL] (smiles) You tell me, buddy. You're the one with meticulously revised data banks. [K.I.T.T.] Very funny. ANGLE AT MANNY'S K.I.T.T. pulls in, easing through the tangle of cars and people. Michael climbs out, taking in the scene. [DAISY'S VOICE] Is that thing blown? ANGLE TO INCLUDE DAISY DOOLITTLE a flashy, buxom blonde protruding from her racer's coveralls. K.I.T.T.'s scanner flashes in reaction. [K.I.T.T.] I beg your pardon. [MICHAEL] (aside) Not now, Kitt. (to Daisy) Blown as in 'blown a gasket'? [DAISY] No, blown as in supercharged. [MICHAEL] Ah. Does it matter? [DAISY] Only if you want to win. [MICHAEL] I'll let you know. Any idea where I can find the sponsor? [DAISY] (points) Right over there. (then) It's winner take all. In case you're interested, that was my nickname in high school. [MICHAEL] Winner? [DAISY] All. Michael smiles, easing away. [MICHAEL] The wisdom of youth. Catch you later. ANGLE ON ROOSTER having spotted K.I.T.T. and now moving up to him. In b.g. several people pause to admire K.I.T.T. [ROOSTER] Ain't seen you around before, dude. Let's have a look at your horses. [K.I.T.T.] I beg your pardon. Rooster glances inside. Sees no one. Shakes his head. He tries the door to open the hood, can't. [ROOSTER] Okay, there's more than one way to open a tin can. As he moves to some tools lying nearby --- [K.I.T.T.] We'll see about that. Rooster returns with a tire iron, shoves it under K.I.T.T.'s hood: [ROOSTER] Open sesame. He puts all his weight on the tire iron, and it snaps in two. He takes it out, looks at it, back to K.I.T.T. [K.I.T.T.] Who do you think you are, Ali Baba? And K.I.T.T. peels backwards, turns and slides into another space. Rooster only looks at him, scratches his head: [ROOSTER] I ain't through with you yet. ANGLE AT REGISTRATION STAND Jamie works as Michael approaches. She finishes with an entrant, sees she's got a momentary lull and pauses, grateful. [MICHAEL] Business looks good. [JAMIE] Want to sign up? [MICHAEL] Maybe later. Are you Jamie Downs? [JAMIE] Yes. Why? [MICHAEL] I'm Michael Knight. Devon Miles asked me to drop by. She looks a little surprised, but pleased, relieved. [JAMIE] That was fast. Thanks. [MICHAEL] Can we go somewhere and talk? [JAMIE] I didn't expect you until later. There's no one to relieve me.... [MICHAEL] Tell you what. I'll go find a motel, clean up, and we can meet when you're finished. [JAMIE] That sounds fine, except you'll never find a motel. [MICHAEL] Filled already? [JAMIE] No. They won't rent to racers. [MICHAEL] (smiles) No problem, I'm not a racer. Where can we meet? [JAMIE] How about my place? Say, nine o'clock? [MICHAEL] All I need's an address. She jots down the address. Michael notices her hand is trembling. He touches her shoulder. [MICHAEL] It'll be okay. Whatever it is, we'll work it out. CUT TO EXT. MARBERRY MOTEL - DAY A fairly modern, good-sized motel. Despite a prominent "No Vacancy" sign, the parking area is deserted, except for a big limo with darkened windows. Parked nearby is K.I.T.T. [MOTEL CLERK'S VOICE] The sign says 'No Vacancy'. INT. LOBBY - DAY It's fairly spacious, a small bar and restaurant off to one side. The Motel Clerk looks resolute. [MICHAEL] If you're filled up, where are all the cars? Look, if it makes any difference, I'm not a racer. No pets, no wild parties. ANOTHER ANGLE Over this a man and a woman cross out from the bar. The woman is young and pretty, flashily dressed. The man is in his early forties, swarthy, a dark quality about him. His name is Joey Rome. He carries a brown attache case. [MANAGER] Read my lips. He mouths an exaggerated "No Vacancy." [MANAGER] Now leave before I call the police. [MICHAEL] What is it about your attitude I don't like? I know. It's your attitude. Rome moves in front of Michael, scarcely looking at him. [ROME] Take off, punk. (to Manager) Transfer my calls to the ladies room. [MANAGER] Yes, Mr. Rome. He starts past with his woman, shoulders Michael aside, suddenly stops, staring at him. [ROME] I said take off, punk. [MICHAEL] I heard you. [ROME] You're still here. [MICHAEL] I've got some unfinished business with the Manager. Like a trigger on a gun Rome suddenly grabs Michael by the throat of his shirt, his face dark with explosive anger. [ROME] You got any unfinished business, it's with me. One more word outta you and you'll wish you were never born. His eyes bore into Michael. Just when it appears Michael won't react he suddenly twists, executes a perfect karate move. ANOTHER ANGLE Michael has Rome off balance, suspended, the palm of his hand on Rome's chin. [MICHAEL] One more word out of you and you'll wish I never was either. Point made, Michael lets him drop. The woman looks like she can't believe her eyes. The Manager stares. [MICHAEL] (to Manager) On second thought, I don't like your motel either. Michael turns and goes outside. ANGLE ON ROME He gets up, watching Michael leave, his eyes white with rage. CUT TO EXT. JAMIE'S HOUSE - NIGHT A neat little house near the outskirts of town. Kitt is parked in front. [JAMIE'S VOICE] More French fries? INT. KITCHEN - NIGHT Michael and Jamie share a meal. [MICHAEL] No, thanks. I'm fine. Go ahead. [JAMIE] That's about it. When I found out I'd inherited the Marberry Times, I took a week off to come out and sell it. And instead, I fell in love. [MICHAEL] With Marberry. [JAMIE] (a laugh) Does that sound strange? I guess it does. [MICHAEL] Not to me. What sounds strange is what's been happening to you. When did the threats begin? [JAMIE] The day after I announced I was going to stage the first Marberry Grand Prix. I'd contacted the Racing Association of America, they'd given me their blessings -- they even agreed to help underwrite the cost of building a permanent course if the first race was successful. (beat) Michael, the town could use the business, believe me. I thought they'd be enthusiastic. At first I thought it was just a crank caller.... [MICHAEL] Until this morning. She nods. [MICHAEL] Who owns the Marberry Motel? [JAMIE] I don't know, I never thought about it. Why? [MICHAEL] I had a strange little incident there today, that's all. Some hard guy with an attache case and one too many women. (beat) Any idea why someone would be willing to kill to stop this race? She shakes her head. [JAMIE] I've asked myself that question a thousand times. The phone rings. She crosses to answer it. [MICHAEL] Just a minute. (comlink) Kitt, stand by to trace this call -- just in case. [K.I.T.T.'S VOICE] Yes, Michael. [JAMIE] You don't think --- [MICHAEL] I don't know. Go ahead. She answers it. [JAMIE] (into phone) Hello.... Her face pales. Michael is on his feet. [MICHAEL] (comlink) Kitt, were on! INTERCUT - K.I.T.T. Systems alive. We hear: [MAN'S VOICE] ...your last chance. Cancel the race before it's too late...or it'll be cancelled for you tomorrow. The line goes dead. BACK TO MICHAEL AND JAMIE She looks at Michael, shaken. [JAMIE] He hung up. [MICHAEL] (comlink) Kitt? Did you get it? INTERCUT - K.I.T.T. [K.I.T.T.] I'm tracing it now -- Michael, there's a man in a car slowing up outside. [MICHAEL] Let's check him out. (to Jamie) I'll be right back. Michael heads for the front door. EXT. HOUSE - NIGHT As Michael comes out, heading for K.I.T.T., passing Jamie's four-wheel drive parked in the driveway, we see taillights of a dark sedan swing past. ANGLE FROM K.I.T.T. The door pops open as Michael reaches K.I.T.T. He jumps in and accelerates. ANGLE FROM STREET The sedan races by, a dark figure inside. As it passes we see K.I.T.T., accelerating. ANOTHER ANGLE The sedan rounds a corner on two wheels, K.I.T.T. gaining rapidly. ANGLE IN K.I.T.T. Michael is intent behind the wheel. [K.I.T.T.] I've completed the trace, Michael. The call came from a pay phone at the Marberry Motel. [MICHAEL] My favorite place. Let's find out who this guy is, Kitt. He accelerates. ANGLE IN SEDAN The driver picks up a device on the seat, presses a button or switch. ANGLE IN K.I.T.T. [K.I.T.T.] Michael, my sensors detect an electronically activated device! [MICHAEL] Where?! [K.I.T.T.] The undercarriage of Jamie's truck! Michael slams on the brakes. WIDER ANGLE K.I.T.T. does a 180, heads back toward Jamie's house. ANGLE AT JAMIE'S HOUSE K.I.T.T. slides to a stop and Michael leaps out, springs toward her as she's parallel to her truck. [MICHAEL] Jamie, down! [JAMIE] What? No time to explain, he tackles her just as her truck explodes in a blinding flash. FADE OUT END OF ACT ONE ACT TWO FADE IN EXT. MOTEL ROAD - DAY - ON K.I.T.T. heading toward the motel on the way into town. As a black limo pulls in front of them and into the motel area: [MICHAEL'S VOICE] Welcome to the Marberry Motel. ANGLE IN K.I.T.T. Jamie is seated next to Michael, who continues observing the motel as they pass. Sees he's troubled: [JAMIE] Michael, what is it about that place that bothers you so much? [MICHAEL] The clientele -- that and the fact that's where the call came from last night. She looks back at the motel with renewed interest. [JAMIE] Are you saying whoever wants to stop this race is staying there? [MICHAEL] I don't know. [JAMIE] You don't know, or you just don't want to tell me? [MICHAEL] Jamie, the call was made from a public phone. It could've been a guest...it could've been a passerby. You let me worry about that. You worry about making Marberry's First Grand Prix a success...okay? She meets his smile, nods...and then glances back at the motel in the distance, intrigued. ANGLE ON K.I.T.T. continuing toward town. OMITTED ANGLE ON MARBERRY MOTEL - DAY as the same black limo pulls up in front. The doorman almost collides with the tough-looking chauffeur as each hurries to open the back door. A thin man gets out. He's Benji Bomper, fifty, silk-suited, somber and carries an oversize attache case, similar to the ones we've seen before, and the ones we'll see later. No sooner does he get out than he's met by Rome, coming from the lobby. The two men shake hands, then embrace, kissing each other on each cheek, with absolutely no affection. [ROME] Welcome, Benji. [BOMPER] It's been a long time, Joey. As they head for the entrance: [ROME] Too long, my good friend. [BOMPER] Is Mr. C. here yet? [ROME] No...but soon. Soon. They're about to enter when they react to the sound of two powerful and roaring engines. They turn, look. THEIR POINT OF VIEW - TWO RACE CARS flashing by the motel. [BOMPER] What's that? [ROME] A race of some kind. But don't worry, we're dealing with it. BACK TO SCENE [BOMPER] The nineteenth hole, huh, my friend? [ROME] (smiles) Yes, the nineteenth hole. They both laugh and enter, but they're not having any fun. EXT. MANNY'S DRIVE-IN - DAY - ON K.I.T.T. as Michael pulls in. A number of the drivers are working on their cars as they wait for their qualifying heats. There's the same excitement and fun as the day before. [K.I.T.T.'S VOICE] Michael, really, asking me to qualify for a car race is like asking Reggie Jackson if he knows how to throw a forward pass. OMITTED ANGLE IN K.I.T.T. [MICHAEL] Kitt, remind me to have Bonnie check out your sports chip. [K.I.T.T.] Besides, I don't understand why we're entering in the first place. [MICHAEL] Because my guess is, having failed to discourage the sponsor, they're going to go to work on the contes- tants. And when they do, I want to be close enough to try to keep anyone from getting hurt. Keep your eyes open. [K.I.T.T.] All right, Michael. But it would certainly help if I knew what I was looking for. Getting out: [MICHAEL] Don't worry, pal, just as soon as I find that out you'll be the first to know. In the meantime, give me hard copies on the racers, and run them through your Image Data Bank. [K.I.T.T.] Whatever you say, Michael. ANGLE TO INCLUDE DAISY seeing Michael as he moves from K.I.T.T. and hurrying to him. She has a clipboard with her, and several entry numbers. [DAISY] Michael! He stops. [DAISY] If you're looking to enter the race, I can sign you up. All you need is a valid driver's license and fifty bucks. [MICHAEL] Just so happens I've got 'em both right here. As he hands her the license and money, and she begins entering the information on her clipboard --- ANGLE TO INCLUDE ROOSTER under the hood of his car, and causing it to blow out tons of black exhaust. He spots Michael and moves to him. Re K.I.T.T. [ROOSTER] That T-top of yours looks a little light in the horses. [MICHAEL] That's because he's a jumper. Daisy finishes, hands him his heat number: [DAISY] Number eleven. It'll be at least an hour yet, but with any luck you and I might be in the same qualifying heat. [MICHAEL] I can't think of anyone I'd rather be in a heat with. She smiles at him and goes off. He looks to Rooster who's green with envy. [MICHAEL] It's not whether you win or lose, Rooster, but how gracious you are when you pick up your trophy. Michael grins and heads to a nearby public phone. As he picks up the receiver: ANGLE ON ROOSTER eyeing K.I.T.T., picking up a power cutter from a toolbox, and heading his way. ANGLE ON K.I.T.T. his scanner flashing as he photographs the various contes- tants. [K.I.T.T.] Oh, no, I do hope this Rooster doesn't damage my X.K. One Hundred Thermal Printer. OMITTED ON HARD COPY DISPENSER as Rooster's photo comes out. ON ROOSTER reaching K.I.T.T. He has a small power cutter with him. [ROOSTER] Okay, dude, let's open 'er up. He turns on the cutter, puts it to the bottom of the hood, where it meets the fender, and the cutter blades break off. [K.I.T.T.] Back to your barnyard, Rooster. I have work to do. And once again K.I.T.T. goes off, his scanner flashing photos. Rooster scratches his head, and looks at his broken power cutter. ANGLE ON MICHAEL hurrying from the phone to K.I.T.T. [K.I.T.T.] Michael, what's wrong? Michael slides in: [MICHAEL] I just tried to call Jamie -- her service said she went to the Marberry Motel! K.I.T.T. peels out in a scattering of pebbles and dust. OMITTED EXT. MARBERRY MOTEL - DAY Another limo pulls up in front. As before, the chauffeur and doorman race to do the honors. A large man gets out, wearing an expensive suit that doesn't quite fit, and a diamond ring the size of a golf ball. He also carries the oversize attache. And he, too, is met by Rome. They shake hands, kiss: [ROME] Welcome, Nick...it's good to see you, my good friend. [NICK] And you, too, Joey. It's been too long. But what are all those race cars doing in our town? [ROME] Don't worry, my good friend, it's being taken care of. He exchanges looks with Nick, smiles, then puts his arm around his "old friend" and continues for the entrance. Suddenly: OMITTED START - STOP ACTION as both men are seen through a camera lens, and we hear the clicking away of the shutter. They enter the motel. Camera pulls back: REVERSE ANGLE - TO SEE JAMIE standing across the street, and safely behind some bushes. She has an old, and not very expensive, camera with her, that she puts inside a large purse. Then, thinking like a reporter on the trail of a hot story, she crosses and starts for a service entrance of the motel. EXT. MOTEL - SERVICE AREA - DAY Nothing more than a large corridor leading to various service departments. A couple of employees, delivery people enter first, and then we see Jamie coming in. ANGLE TO INCLUDE ORGANIZATION SOLDIER keeping an eye on the area, leaning against a wall. He spots Jamie, not sure about her. The soldier wears a rather shiny suit. ANGLE ON JAMIE Thinking fast, she follows a couple of the girls to the time clock, grabs a card, any card, and punches in. And as she passes the still-curious soldier: [JAMIE] Goota morgan! Goota morgan! A lovely smile, and she goes on her way. INT. BANQUET ROOM - DAY There's little more than a very large, boardroom type table, chairs and a few arrangements of flowers. In fact, the whole thing looks more like a funeral parlor than a banquet room. The drapes are drawn and there's even something surreal about it all. Rome is present along with Benji, while Nick stands a short distance away, feeling out the place, or whatever it is he's doing. Three bodyguard/chauffeurs are also in evidence. And there's even someone who could be an FBI agent checking out the phones, chandeliers and anything else that might conceal a "bug" or camera. For this he uses an elec- tronic device. The attache cases rest on the table. [ROME] (to Benji) Benji, my good friend, you will sit here, to Mr. C's right. And you, Nick, will sit there on Mr. C's left. Both men seem pleased. INT. MOTEL CORRIDOR - DAY - ON JAMIE Moving along the corridor, toward the banquet room, she suddenly reacts to something she sees up ahead. JAMIE'S POINT OF VIEW - NICK AND BODYGUARD leaving the banquet room. With the attache case. BACK TO SCENE As they move toward her, she hides behind a potted plant. [NICK] Remember, any trouble -- the 19th hole. They pass. And she continues on. ANGLE ON BANQUET ROOM Jamie hesitates...then slowly reaches for the doorknob... only to have the door spring open, and Benji step out. [BENJI] What do you want? Jamie is truly caught off guard, fights panic --- [JAMIE] I...I.... Benji grabs her by the arm. [BENJI] Who are you?! But before she can think who she is, or should be: [MICHAEL'S VOICE] Honey! There you are! OMITTED ANGLE TO INCLUDE MICHAEL hurrying toward her. A big smile: [MICHAEL] I've been looking all over for you. (to Benji) Just got married, and...she thought this was the honeymoon suite. First time.... ANGLE ON ROME INSIDE THE BANQUET ROOM and slowly recognizing the voice. He moves toward the still open door: [MICHAEL'S VOICE] ...you know how it is. BACK TO SCENE Benji hasn't cracked a smile. [MICHAEL] Maybe you don't know how it is. (takes her arm from Benji's grip) Honey, tell the nice man how it is. [JAMIE] Uh...happiest day of my life. As Michael starts to lead her away: [MICHAEL] We'd like to invite you up for a drink...but well, you understand. ANGLE TO INCLUDE ROME reaching the open doorway, reacting: [ROME] Get him! As two of the soldiers burst from the banquet room: [MICHAEL] Maybe another time. And Michael yanks Jamie off down the corridor. VARIOUS ANGLES Michael and Jamie turn a corner. The soldiers follow. Michael then spots a serving cart outside one of the rooms, loaded with the remains of breakfast for two. He grabs hold of it, and pushes it with all his strength toward the two charging soldiers. A strike! And as they regain their balance, wipe the eggs and cereal off their silk suits --- MICHAEL AND JAMIE turn a corner leading for the lobby. Into comlink: [MICHAEL] Kitt...we're coming out. In a hurry. EXT. MOTEL - DAY - ON K.I.T.T. auto-starting, and picking Michael and Jamie up right outside the entrance. Needless to say, the doorman's a bit shocked. K.I.T.T. peels off. SMASH CUT TO EXT. K.I.T.T. - DAY pulling up in front of the Marberry Times. [JAMIE'S VOICE] It was incredible! INT. K.I.T.T. - DAY [JAMIE] Every time I turned around there was another limo pulling in -- and the faces! Michael, it was like watching an old gangster movie come to life. I wonder what was in those attache cases. [MICHAEL] Jamie, listen to me. I'm serious. I don't want you taking any more chances like that. [JAMIE] Michael, come on! I'm a trained reporter! [MICHAEL] You're also a lady who's been run off the road and had her car blown up! Last night you were scared to death! [JAMIE] And the reason I was scared to death has something to do with what's going on at that motel. I'm sure of it! [MICHAEL] Okay, but until I find out what that is, I want you to promise me you won't go back there again. Not alone. [JAMIE] (beat) Michael -- where did you come up with that honeymoon idea? [MICHAEL] (shakes his head, realizing he's getting nowhere) Just...the product of a fertile imagination. [JAMIE] They're the best kind. Her smile says the rest. [JAMIE] Have a safe race. A quick kiss from her and she leaves. Michael smiles, and peels out. EXT. MANNY'S DRIVE-IN - DAY We're on Michael in K.I.T.T., Red Rooster in his car, at the starting line, waiting for the starter to drop the flag. Rooster calls over: [ROOSTER] Take a good look, dude...only thing you're gonna see from here on is my exhaust. He blows out a cloud of black exhaust. [MICHAEL] Sure a whole lot better than seeing your face. [K.I.T.T.] That's telling him, Michael. [ROOSTER] (if looks could kill) You get in my way...and they're goin' to be pickin' T-top out of your hide. Michael has to admit that's tellin' it like it is. [MICHAEL] Kitt...I don't think he likes you. [K.I.T.T.] Me...Michael? The starter drops the flag. Rooster grins at Michael and peels out. [MICHAEL] I've got my passive laser restraint seat belts on, pal, so let's make it safe. For everyone. [K.I.T.T.] Do you think the heat will be sabotaged? [MICHAEL] According to the call last night it will be. Let's be ready for anything. K.I.T.T. peels out, and even though Rooster now has a pretty good head start, he quickly catches him. VARIOUS ANGLES AND CUTS OF RACE as the two cars trade lead positions. It quickly becomes clear that Rooster wants to win, even if it means pushing Michael off the road. [MICHAEL'S VOICE] What did you find out about our competition? INT. K.I.T.T. - DAY [K.I.T.T.] They're not exactly what you'd call pillars of the community, Michael, but except for a few outstanding traffic citations, and one or two arrests for disturbing the peace, none of them has ever been in any serious trouble with the law. [MICHAEL] I'll try to hide my disappointment, Kitt, but I was hoping for something a little more. ANGLE ON RACE Michael and Rooster side by side, when Rooster suddenly pulls in front, almost causing Michael to go off the road to keep from running into him. Rooster smiles to himself, and floors the pedal. OMITTED EXT. RACE COURSE - DAY Rooster takes a sharp corner onto a straightaway. Michael follows, keeping a good distance between them. Suddenly: [K.I.T.T.'S VOICE] Michael! The road up ahead. ANGLE IN K.I.T.T. [MICHAEL] What about it? ANGLE TO INCLUDE MONITOR The proper graphics will appear. [K.I.T.T.] There's a high-voltage wire stretched across it. [MICHAEL] Any chance of neutralizing it? [K.I.T.T.] Negative, Michael. And if Rooster's car hits that wire he'll surely be incinerated. [MICHAEL] Then we've gotta hit it first. He floors the throttle. The speedometer clicks upward. VARIOUS ANGLES AND CUTS as Michael races to reach the wire before Rooster hits it. Intercutting with Rooster, we see him becoming all the more determined as Michael closes the gap. [K.I.T.T.] He's in our way, Michael, we can't get around him. [MICHAEL] Then that leaves only one thing to do.... [K.I.T.T.] You're not going to try turbo boost at this speed?! [MICHAEL] (pushes Turbo-Boost) No choice, pal. ANGLE ON K.I.T.T. Turbo-boosting over Rooster, and cutting through the high-voltage wire. The T-top becomes a dazzling display of dangerous sparks, before the current is finally shorted out. ANGLE ON ROOSTER not even bothering to stop. Instead, he whizzes by, calling out: [ROOSTER] See you around, dude! And he blows out a cloud of black exhaust. ANGLE ON K.I.T.T. Michael slides out. [MICHAEL] Good work, Kitt. As he looks over the terrain: Camera pulls back: REVERSE ANGLE TO SEE A MAN on a distant hill watching through binoculars. We're far enough away that it's next to impossible to make out his features. As we --- OMITTED FADE OUT END OF ACT TWO ACT THREE FADE IN OMITTED EXT. MARBERRY TIMES OFFICE - DAY K.I.T.T. is parked in front. [JAMIE'S VOICE] Michael, do you golf? INT. OFFICE - DAY Michael is with Jamie, following her as she bustles around the office, waiting for photographs to come out of an automatic developer. [MICHAEL] Jamie, stop. Slow down. Take a deep breath. You're not listening to me. [JAMIE] Yes I am. Do you? [MICHAEL] (exasperated) Why? [JAMIE] I heard them talking about 'the nineteenth hole.' [MICHAEL] I'll check it with Devon. [JAMIE] You're not taking me seriously. [MICHAEL] Wrong. You're not taking the situation seriously. The danger. You suddenly smell a story and everything else vanishes. [JAMIE] Michael, you don't understand! When I left Chicago to come here I made a trade-off. I gave up every journa- list's dream, the chance of hitting the mother lode -- The big story. Don't you see? I gave it up and now here it is, knocking on my door! As the negatives come out of the developer, she excitedly holds them up -- then reacts, disappointed; they're generally out of focus, obscured by leaves in the f.g., backs of heads, etc...and are underexposed. [JAMIE] Oh, no...they're all underexposed! [MICHAEL] What kind of camera did you use? She holds up an ancient 35mm camera. [JAMIE] The best. My grandfather used it in the war. [MICHAEL] (looking it over) What war? [JAMIE] Very funny. If it was good enough for the Battle of the Bulge, I figured it would be good enough for the Marberry Motel. [MICHAEL] Tell you what. I'll run them through Kitt's system, see if there's some- thing salvageable. On one condition. [JAMIE] I was afraid of that. [MICHAEL] You stay away from the motel for now. I've got an appointment with Devon. I'll meet you back here in a couple of hours. Deal? [JAMIE] You drive a hard bargain. EXT. OFFICE - DAY Michael slides into K.I.T.T., puts the negatives into the analyzer compartment. [MICHAEL] Need a little help, buddy. [K.I.T.T.] That's an understatement, Michael. I don't care how sophisticated my Image Enhancement software program is, there are limits. I can't reach sufficient recognition threshhold on any of these negatives. [MICHAEL] (looking closer) Maybe not Kitt, but one thing's in focus...The brown attache case. (beat) I've got an idea. He pulls away. [MICHAEL'S VOICE] Let's find the nearest leather goods store. [K.I.T.T.'S VOICE] I was afraid of that. OMITTED EXT. MARBERRY MOTEL - DAY K.I.T.T. pulls in and parks in a safe spot, where he won't be hollered at by an attendant. Michael reacts to the change: There are now half-a-dozen limos in the parking area, and two attendants poised to park any new arrivals. [MICHAEL'S VOICE] Looks like business is booming. ANGLE IN K.I.T.T. Michael punches buttons. [MICHAEL] Interface with the motel's computer, Kitt. I want to know what room 'Mr. Rome' is in. [K.I.T.T.] Yes, Michael. I just hope you know what you're doing. The interface appears on K.I.T.T.'s monitor. [K.I.T.T.] Room one-sixteen. [MICHAEL] Thanks, pal. Michael climbs out, taking the brown attache case with him. OMITTED INT. MOTEL SERVICE ENTRANCE - DAY Michael slips in unnoticed. INT. MOTEL HALLWAY - DAY As Michael appears, heading for one-sixteen. INT. ROOM ONE-SIXTEEN - DAY Pan from Joey Rome, asleep, to the door as Michael slips in with the aid of a lock pick. ANOTHER ANGLE Michael quietly comes in, looking for an attache case. Doesn't see one. Then he does. ANGLE ON THE ATTACHE CASE It's on the sofa with Rome, his arm resting on it. Michael tiptoes over, carefully tries to lift Rome's arm up, reveals a .38 in a shoulder holster. But Rome stirs, and Michael is forced to stop. He looks around. THE BATHROOM - HIS POINT OF VIEW - A CLOCK RADIO rests on the sink top. BACK TO MICHAEL He has an idea. He quietly crosses back to the door. ANGLE IN HALL Michael comes out, leaving the door just slightly ajar. [MICHAEL] (comlink) Need a little help, pal. INTERCUT - K.I.T.T. His systems activate. [MICHAEL] See if you can activate his clock radio. [K.I.T.T.] I'll do my best, Michael. The clock radio's schematic appears on the monitor. We see it electronically activated. ANGLE IN ROME'S BATHROOM The clock radio's hands move, activating the alarm set for 4:00 PM. Loud rock music blasts out. ANGLE ON ROME He jumps up out of a sound sleep, disoriented. He mumbles an inaudible curse, charges into the bathroom. Camera angles over to the door as Michael slips in with the attache case. ANGLE IN BATHROOM Rome punches the "Alarm Off" button but it continues to play loud music. He hits it again. ANGLE IN ROOM Michael darts over to the sofa, aware that if Rome turns he's a goner. He switches the attache cases. ANGLE IN BATHROOM Furious, Rome finally picks the radio up and yanks the plug out of the socket. ANGLE IN ROOM Michael hurries across the room, slips out the door just as Rome returns, grumbling. He looks at the door, as if sensing a presence. He shrugs, returns to the sofa. CUT TO EXT. TWO-LANE ROAD - DAY The semi moves along through the countryside. [DEVON'S VOICE] Michael, I fail to see what a brown attache case has to do with anything. INT. SEMI - DAY Michael pops it open. [MICHAEL] Look. ANGLE ON ATTACHE CASE It is full of high denomination bills. WIDER ANGLE Devon reacts. Behind them Bonnie is finishing up a thorough check of K.I.T.T.'s system. [DEVON] That's a staggering amount of money. But what possible connection could there be between this 'convention' at the motel and the incident on the race course? [MICHAEL] Good question, Devon. I don't know what it is, but I know it's there. (to Bonnie) How's he coming? ANOTHER ANGLE Bonnie crosses over from K.I.T.T. [BONNIE] He's finished. I had to recalibrate his Suspension Synchronizer, but other than that he's fine. [MICHAEL] (preoccupied) Thanks. (then) Do me a favor -- update his data banks on Marberry. All the prominent busi- nesses, starting with the motel -- who owns what, financial history, the works. [BONNIE] I'll get right on it. Anything else? [MICHAEL] (thoughtful) Yeah... (to Devon) You're an old golfer -- ever hear the phrase 'the nineteenth hole?' [DEVON] I prefer the word 'seasoned golfer.' Yes, it's a phrase for the bar or club. [MICHAEL] Kitt, punch up your schematic on the golf course. Intercut K.I.T.T.'s monitor as a graphic appears. [MICHAEL] Does it have a bar or club? [K.I.T.T.] Negative, Michael. [DEVON] Is it important? [MICHAEL] I don't know. Something else to add to the list. He crosses to K.I.T.T. [DEVON] Be careful, Michael. When the owner of the brown attache case discovers what's happened, I imagine he'll be quite distressed. [MICHAEL] Gotcha. Couldn't happen to a nicer guy. EXT. TWO-LANE - DAY The semi's ramp lowers and K.I.T.T. rolls out, hitting the road. CUT TO EXT. MOTEL - DAY The parking area is filled with limos. ANGLE AT SERVICE ENTRANCE A figure appears, pauses. It's Jamie. She cautiously moves forward, toward the rear of the motel, a shoulder bag slung across her. The soldier seen earlier appears, regards her. She smiles. [JAMIE] (accent) Goota dayen. She hurries past. [JAMIE] (accent) Goota bye. He watches her, unsure. INT. BANQUET ROOM - DAY The side door opens and Jamie enters. HER POINT OF VIEW - A LONG TABLE is laid out for a formal dinner. No expense has been spared. ANGLE ON JAMIE She moves across the room, heading for the door to the rooms when she hears voices approaching. She hides at the nearest available place -- under a serving cart draped with a linen tablecloth. ANGLE UNDER CART She cautiously peeks out. HER POINT OF VIEW - BENJI AND NICK entering with a half-dozen other men talking quietly among themselves. They have the unmistakable look of gangsters. Each of the men carries a brown attache case. There are no women present. [BENJI] Where's Joey? [NICK] Prob'ly asleep. I'll give him a call. [BENJI] Tell him to hurry. Mr. C.'ll be here any minute. BACK TO JAMIE She opens her bag, takes out her new Minox camera and micro- cassette recorder, ready for anything. INT. ROOM TWENTY-TWO - DAY The phone rings. Rome stirs, answers it. [ROME] (phone) Hello...yeah...I'll be right there. He hangs up, rises, crosses to the bathroom. The brown attache case waits for him on the sofa. INT. BANQUET ROOM - DAY The room is filling up; more men, more attache cases. ANGLE ON JAMIE She carefully peers out from underneath the table cloth and begins snapping pictures. Then the informal tenor changes. She hears voices..."He's coming...Mr. C.'s on his way," etc. ANGLE IN BANQUET ROOM All present stand as Mr. C. enters. Everyone applauds. Mr. C. is sixtyish, small, silk-suited, and beneath a benevolent facade -- deadly. ANGLE ON JAMIE Busily snapping pictures, she reacts to the face, stunned. She activates her tape recorder, begins taking more pictures -- pictures of Mr. C. ANGLE IN ROOM Mr. C. is ushered to his chair by Benji and Nick. Someone pours him wine. [MR. C.] (accent) Sit, please...all of you.... They sit. [MR. C.] Wine for my dear friends. Wine is poured. [MR. C.] I got a nice toast I made up myself.... They all stand. [MR. C.] But first...I believe there are some presents. Sit. They sit. He chuckles. [MR. C.] Philly. Benji rises, crosses to him and places the attache case in front of him. Mr. C. pops it open: it's full of cash. He smiles. Everyone applauds. ANGLE ON JAMIE She busily snaps more pictures. ANGLE IN ROOM The door opens and Rome hurries in, just as: [MR. C.] Very nice, very nice...I always liked Philly, I got a nice toast about Philly. I made it up myself. (to Joey) Joey, my friend, you're just in time. I wanna see my nice present from Detroit.... Rome crosses to him, puts his attache case in front of Mr. C. [ROME] You're gonna be pleased, Mr. C. [MR. C.] I better. He smiles and opens it. A spring-loaded clown pops out. He stares. Rome goes white. The room is deathly silent. [MR. C.] Is this a joke? I don't like jokes from Detroit. [ROME] Mr. C....I don't know what to say.... [MR. C.] Think of something, Joey. Think of something. In the silence someone sneezes. Everyone looks; no one at the table sneezed. ANGLE ON JAMIE It was her. She fights off another one, can't, sneezes again. ANGLE ON ROME He rushes to the cart, others behind him. ANGLE ON JAMIE She jams her camera and tape recorder in the brace of a folding leg. WIDER ANGLE As Rome shoves the cart, Jamie is exposed. Rome sees her. Everyone sees her. ANGLE ON JAMIE She runs desperately for the door but several lieutenants grab her. FADE OUT END OF ACT THREE ACT FOUR FADE IN EXT. MARBERRY ROAD - DAY - ON K.I.T.T. heading toward the motel. [K.I.T.T.'S VOICE] Michael, I do hope you're wrong about Jamie going back to that motel. ANGLE IN K.I.T.T. [MICHAEL] That makes two of us, pal. But that receipt for a new minicamera and microcassette I found in her office tells me I'm not. [K.I.T.T.] But why wouldn't she leave word with her service, as she did the last time? [MICHAEL] Because the last time I found her, remember? [K.I.T.T.] And you might also have saved her life. (slight beat) I only hope we're not too late now. EXT. MARBERRY MOTEL - DAY - ON K.I.T.T. pulling up to a safe spot. [K.I.T.T.'S VOICE] Be careful, Michael. As he slides out: [MICHAEL] Thanks, buddy. He starts toward the entrance. OMITTED INT. MOTEL LOBBY - DAY - ON MICHAEL He looks around, gets his bearings, making sure the desk clerk doesn't see him. Then he spots a nearby house phone, and dials front desk. ANGLE TO INCLUDE CLERK having to turn away from the front to answer it. As he does, Michael sneaks past him, and heads for the banquet room. OMITTED INT. BANQUET ROOM - DAY It's empty of people. Michael looks about the leftovers, then takes to comlink: [MICHAEL] Kitt, how about scanning the banquet room for me, see if they left anything that might help us behind. INT. K.I.T.T. - DAY Graphics as needed, until: [K.I.T.T.] Michael, there's something under that serving cart.... INT. BANQUET ROOM - DAY Michael searches beneath it and finds the minicamera and microcassette. [MICHAEL] She was definitely here, Kitt...and we better find her fast! He hurries out. EXT. ROAD - DAY - ON K.I.T.T. [CAESAR'S VOICE] 'Get rid of her.' ANGLE IN K.I.T.T. The tape is playing. [ROME'S VOICE] 'The nineteenth hole?!' [CAESAR'S VOICE] 'Do what has to be done.' Michael turns off the tape. Thoughtfully: [MICHAEL] The nineteenth hole...the nineteenth hole... (slight beat) Kitt, punch up your schematic on the golf course again. [K.I.T.T.] Right away, Michael. ANGLE TO INCLUDE SCHEMATIC ON MONITOR Michael studies it a beat: [MICHAEL] What's directly behind the course? [K.I.T.T.] A small housing tract, recreation area, shopping center.... Michael touches the monitor and it turns red to his touch. [MICHAEL] What about this area here -- it looks undeveloped. [K.I.T.T.] It is, Michael. [MICHAEL] Who owns it? [K.I.T.T.] The city. But here's something inter- esting. If the Racing Association of America does build a permanent course in Marberry, the city has offered that piece of land for its clubhouse. [MICHAEL] Kitt -- I think we've found the nineteenth hole...Let's see what else we can find. Michael hits the accelerator. EXT. ROAD - DAY as K.I.T.T. peels off: [K.I.T.T.'S VOICE] Michael, you know the race is starting now. If they're really intent on stopping it.... [MICHAEL'S VOICE] (interrupting) I hear you, Kitt...I hear you. The Trans Am eats up the road. OMITTED EXT. ROAD - DAY - ON K.I.T.T. approaching the undeveloped area, which is really little more than a wooded area, with a small shack far back in the distance. [K.I.T.T.'S VOICE] This is it, Michael. ANGLE IN K.I.T.T. [MICHAEL] See anything unusual? INTERCUT - MONITOR AS NEEDED [K.I.T.T.] There's a shack hidden within those trees. [MICHAEL] (sees it) Check out the terrain, Kitt...top and bottom. ANGLE ON K.I.T.T. leaving the road and heading for the distant shack. EXT. RACE COURSE - DAY - VARIOUS ANGLES as Rooster vies with Daisy for the lead. OMITTED EXT. WOODED AREA - DAY - ON K.I.T.T. The shack is still a good distance off. Suddenly: [K.I.T.T.'S VOICE] Michael, a short distance up ahead... there's something buried beneath the ground. INT. K.I.T.T. - DAY as Michael sees a subterranean graph of a series of oblong boxes. [MICHAEL] What are those? [K.I.T.T.] They're wooden boxes, measuring seven by four-by-four. [MICHAEL] See what's inside them. K.I.T.T. pushes in on the graphics. [K.I.T.T.] Oh, no, Michael...human remains. According to the chemical and mineral analysis, some of the bodies have been here for as long as twenty-five years. Michael is stunned, concerned: [MICHAEL] And...the most recent one, Kitt? [K.I.T.T.] It's not Jamie...it's been here for almost six months. Michael relaxes, but just a bit. [MICHAEL] The nineteenth hole. The place they bury those who get in their way. [K.I.T.T.] No wonder they're so determined to keep this land undeveloped. [MICHAEL] (glances toward the shack) Put yourself on silent mode and let's take a look at that shack. EXT. WOODED AREA - DAY - ON K.I.T.T. moving closer to the shack. EXT. RACE COURSE - DAY Rooster is still in the lead. EXT. SHACK - DAY K.I.T.T. is approaching in b.g. INT. SHACK - DAY Jamie is tied up, seated in a chair. Rome stands in front of her: [ROME] I'm going to ask you one last time where's my money?! [JAMIE] I told you, I don't know. [ROME] (slams his fist on the table) You know!! (points his finger at her) And believe me...one way or the other ...you're going to tell. EXT./INT. K.I.T.T. - DAY moving closer to the shack, but staying within the safe cover of the trees. Rome's car is seen parked at the side. Michael pulls to a stop. [MICHAEL] Scan the inside, pal. INTERCUT - MONITOR as we see graphs of a couple of empty rooms, before: [K.I.T.T.] Michael! A different graph representing Jamie and Rome. [MICHAEL] What've you got? [K.I.T.T.] There is a man and woman inside. From her vital signs she's obviously under some stress. [MICHAEL] She's obviously Jamie. [K.I.T.T.] How are we going to get her out with that gorilla in there? [MICHAEL] We're not, pal...but Mr. C. is. Think you can imitate his voice? [K.I.T.T.] Once it's on my polyphonic synthesizer, no problem. [MICHAEL] Then let's give Joey boy a call. INT. SHACK - DAY The phone rings, and Rome answers it. [ROME] Yeah. INTERCUT - AS NEEDED [K.I.T.T./MR. C.] Joey, Mr. C. I want you to bring the girl back to the motel. [ROME] But I thought you wanted me to plant her. [K.I.T.T./MR. C.] What I want, I tell you I want. And right now, I want you to bring her back to the motel. [ROME] Sure, Mr. C., we're on our way. [K.I.T.T./MR. C.] Oh, one more thing, Joey -- you're sure the race is being taken care of. [ROME] Don't you worry, Mr. C....the drivers won't make it beyond Roads End. See you in a little while. He hangs up. [ROME] I wish he'd make up his mind. (untying Jamie) Come on! Leads her out. EXT. SHACK - DAY - ON ROME AND JAMIE coming out and moving toward the car. ANGLE ON MICHAEL appearing from nowhere. A quick knockout punch, and at the same time dragging him to Rome's car and stuffing him into the open trunk, slamming the hood. Jamie runs to him. [JAMIE] Oh, Michael! He embraces her. [MICHAEL] Are you all right? [JAMIE] I am now. [MICHAEL] How far is Roads End from here? [JAMIE] About five miles. [MICHAEL] Let's go. As they hurry to meet K.I.T.T., who's come out of hiding to pick them up: [JAMIE] Michael, the racers should be coming up to Roads End any minute now. [MICHAEL] That's what I'm afraid of. As they get in: [MICHAEL] Kitt, have Devon make arrangements to pick Joey up. [K.I.T.T.] Right, Michael. And Michael peels out in a spray of dirt. OMITTED VARIOUS ANGLES as Michael races at top speed to Roads End. EXT. ROADS END - DAY This is a flat stretch of road, and we see Rooster, Daisy and another racer heading down it. VARIOUS ANGLES OF RACERS Rooster with a good lead. ANGLE ON K.I.T.T. coming at the racers from the opposite direction, head on. [JAMIE'S VOICE] This is the area known as Roads End, Michael. ANGLE IN K.I.T.T. [MICHAEL] See what you can find, Kitt. ANGLE TO INCLUDE MONITOR as red lights begin flashing on the proper graphic. [K.I.T.T.] Michael, there's a bomb buried up ahead, powerful enough to destroy a half-dozen cars and then disintegrate without leaving any trace. [MICHAEL] Any way to stop those race cars from hitting it? [K.I.T.T.] Negative, Michael. [MICHAEL] That means we're going to have to trigger it first. [K.I.T.T.] Michael, even with my molecular bonding I don't know if I can with- stand a bomb of that magnitude. [MICHAEL] For all our sakes, pal...give it all you've got. VARIOUS ANGLES - INTERCUTTING WITH ROAD, BURIED BOMB, MONITOR as Michael turns over the bomb neutralizing it in an array of explosions and fireworks. ANGLE ON RACE CARS making it safely through. ANGLE IN K.I.T.T. [MICHAEL] I knew you could do it, pal. Now let's turn over all our evidence to the FBI, and let them take care of the rest. [K.I.T.T.] With pleasure, Michael...with pleasure. OMITTED FADE OUT END OF ACT FOUR TAG FADE IN EXT. MANNY'S DRIVE-IN - DAY The racers are gone, but the signs proclaiming the First Annual Marberry Grand Prix still remain. Michael is coming from the drive-in window with hamburgers and fries for all -- meaning Jamie, Devon and Bonnie. K.I.T.T. is parked nearby, with Devon's red Mercedes in the b.g. [MICHAEL] Hamburgers, French fries, and malts... just like the good old days. [DEVON] Speaking of good old days, Michael, did I ever tell you I used to do some driving myself? Michael winks to Bonnie: [MICHAEL] Really? [DEVON] Formula cars, mostly. The Strasbourg Grand Prix, Monte Carlo, the Tour de Versailles. Just to name a few. [BONNIE] Very impressive, Devon. Someday you have to show us your trophies. [DEVON] Well...I never really took home any trophies. The cars, you know, are very small. But ahhh, the memories ...the wonderful memories. [JAMIE] And maybe next year you can enter the second annual Marberry Grand Prix. [DEVON] Yes...we'll...see. Suddenly the sound of a race car. [K.I.T.T.] Oh, no, not again. They look. ANGLE TO SEE ROOSTER roaring in, and getting out. He pats the trophy on his seat. [ROOSTER] Didn't I tell you the big red Rooster could do it?! [MICHAEL] You sure did. [ROOSTER] Yeah...and now you know what I want -- you! [MICHAEL] Me? [ROOSTER] One on one. Horses to horses. Winner take all. Well? You think you got what it takes? Michael looks to Devon, Bonnie, then shrugs, innocently: [MICHAEL] I don't know, Rooster...but I'll sure give it my best. He slides into K.I.T.T., Rooster slides into his car. Michael looks over: [MICHAEL] Whenever you're ready. Rooster savors the moment, clutches, shifts: [ROOSTER] Now! And before he even takes his foot off his clutch: UNDERCRANK ON K.I.T.T. peeling off, off and away. As we --- FREEZE FRAME FADE OUT THE END

{"show": "Knight Rider", "season": "s03", "episode": "e16", "title": "The Nineteenth Hole"}

knightriderarchives

ACT ONE FADE IN EXT. STREAM/CANYON AREA - DAY Dappled sunlight shimmers down through the trees. A small stream chatters between banks covered with ferns. Over the forest sounds we hear the click and whir of a motor-drive camera and the voice of a young woman. ALI'S VOICE Come on, give me something. [THOMAS' VOICE] (whispering) Shhh...they can hear you. The camera pans to find Thomas Raymond, fifties, grey hair, dressed in a T-shirt with rock 'n' roll graphics and khaki shorts. He wears a grim expression, stands on the bank casting a fly rod. With him is his daughter, Ali, twenty- two, a free-spirited photographer. She moves around him, snapping pictures. [ALI] Smile. According to Who's Who, Thomas Raymond loves fishing. [THOMAS] I hate fishing. His line jumps with a bite. He starts to reel it in and turns to Ali, brightening into a wonderfully natural smile. [THOMAS] It's catching fish I love. She clicks away. [THOMAS] Satisfied? [ALI] (with a laugh) No. I ran out of film. Thomas laughs too, pulls her in close, kisses her forehead tenderly. Camera pans up to find: THE CANYON BLUFFS Two motorbikes pull up close to the edge. Atop them, two powerful-looking men, both wearing strange, Oriental hawk- faced masks. They dismount, look below, exchange a glance, then head down a steep and narrow canyon path on foot. EXT. CANYON ROAD - DAY - K.I.T.T. streaking over the blacktop in the same wooded area. [K.I.T.T.'S VOICE] Geo-physicist, chemist, musician, jeweler...Thomas Raymond is quite a Renaissance man. You could look a touch impressed, Michael. ANGLE IN K.I.T.T. [MICHAEL] Sorry, pal, I just can't figure why Devon wants me to meet him. [K.I.T.T.] Considering Doctor Raymond's been totally reclusive since retiring last year, I'd say meeting him anywhere is a great honor. [MICHAEL] Ahhh...mild case of hero-worship here? [K.I.T.T.] Well...isn't there anyone you've ever admired for well-rounded accomplishment? [MICHAEL] Just last week...remember Belinda? [K.I.T.T.] (dryly) Yes...very accomplished. [MICHAEL] Not to mention well-rounded. The sound of a woman's scream interrupts their banter. Michael reacts, hits buttons. [MICHAEL] What was that? [K.I.T.T.] Sounded like a woman screaming, Michael. [MICHAEL] Kitt, scan the area. [K.I.T.T.] (alarmed) There seems to be a struggle on Doctor Raymond's property. [MICHAEL] (accelerating) Let's move. EXT. CANYON/STREAM - DAY - ALI screaming, watching in horror, as the two hawk-faced men charge after Thomas Raymond. He tries to elude them, but they are on to him too soon. Thomas struggles free for a beat and yells to Ali: [THOMAS] Ali, for heaven's sake, run! [ALI] But.... [THOMAS] Run! Now! Frightened, Ali runs off. While Hawk Man #1 restrains Raymond, Hawk Man #2 produces a knife, uses it to swiftly pry out a black crystal that is enjeweled in Raymond's belt buckle. EXT. END OF CANYON ROAD - ANGLE ON K.I.T.T. Michael speeds to the end of the road. Ali, in a Volkswagen, tears past him, away from the scene. [MICHAEL] Get a picture of that car, Kitt. Michael drives down into the stream bed. FOLLOWING MICHAEL as he hops out after the second attacker, whose bike is starting up the steep path. Michael grabs hold of him, but the man ferociously gives him a karate chop to the neck. Michael goes down, but takes the man's mask off as he falls. The man races up the path, gets on his bike and both hawks take off. [MICHAEL] (into comlink) Give me a hard copy of Hawk Man, Kitt. ANGLE IN K.I.T.T. to see a photograph of a menacing Oriental (Hakito) coming from the hard copy dispenser. ANGLE ON MICHAEL getting to his feet, starting after. [MICHAEL] Can we go after 'em? [K.I.T.T.] Not up that narrow path, Michael. Besides, they're long gone. Michael winces in frustration as he runs back to the fallen body by the stream, begins examining it. Then he calls to K.I.T.T. [MICHAEL] Kitt, is this Doctor Raymond? [K.I.T.T.] Yes, it is. [MICHAEL] I'm afraid he's dead, pal. Sorry. ANGLE ON K.I.T.T.'S SCANNER slowing, absorbing the loss. CUT TO EXT. HIGHWAY - DAY - SEMI in motion, as K.I.T.T. slides up the ramp and inside. [DEVON'S VOICE] I feel responsible, Michael. If we only had got there sooner. ANGLE IN SEMI - MICHAEL AND DEVON Michael steps away from K.I.T.T. holding the hawk mask. [MICHAEL] Devon, you just got the call an hour before. [DEVON] I know, but when you lose a man of Thomas Raymond's stature.... Devon shakes his head thoughtfully. [MICHAEL] (re mask) You said you recognized this mask? [DEVON] Yes, it's an antique. Once used by elite Samurai mercenaries called Takishi -- 'The Hammer Hawk.' Only they've been extinct for three hundred years. [MICHAEL] Well, I think they just opened a new franchise in L.A., 'cause those guys in the canyon definitely had the right stuff. (to K.I.T.T.) Anything on Hawk Face's photo? INTERCUT - K.I.T.T.'S MONITOR showing the glaring Takishi. [K.I.T.T.] Still trying, Michael. But I did identify the car leaving the canyon. It's registered to Ali Raymond. [DEVON] Doctor Raymond's daughter? [K.I.T.T.] Yes. I also have her address. [MICHAEL] Then let's go talk to her. [DEVON] Before you hit the road, there's some- one new among us I'd like you to meet. [MICHAEL] (glances about) New among us? [DEVON] Yes, a very bright young student, a Knight Industries Fellow. Our Board of Directors feels he might be one of us someday. With that, an explosion is heard from the coffee room of the semi. He and Michael quickly head that way. INT. SEMI - COFFEE ROOM - DAY Bonnie is there picking up the scattered pieces of a porcelain teapot. With her is Elliott Sykes. Elliott is dressed like your quintessential nerd: white shirt with top button buttoned. Pocket filled with pens. Calculator on his belt and glasses which are currently steamed over in the smoky room. Elliott wipes them on his shirt, shaking his head sheepishly. Devon looks at the mess, reacting. [DEVON] My mother's Wedgewood service? [BONNIE] (tentatively) Elliott was showing me how...to brew tea by computer. Elliott looks up at Devon, putting his glasses back on. [ELLIOTT] Sorry...Normally, it's mega-efficient. Precise tea steeping time is broken down into minute fractions. [MICHAEL] Just like the teapot. Elliott looks at Michael for a beat. Then cracks up in a distinctive asthmatic, nervous laugh. [ELLIOTT] ...Just like the teapot. That's funny. [DEVON] (dry anger) Hilarious. Bonnie and Michael exchange a glance. [BONNIE] Michael Knight, allow me to introduce Elliott Sykes. Elliott puts out his hand, shakes Michael's enthusiastically. [ELLIOTT] That's Elliott with two l's and two t's. Like in latitudinal. Another exchange of glances with Bonnie. [MICHAEL] Nice...to meet you. Quickly, Michael turns to Devon for help, explanation, some- thing. [MICHAEL] Devon.... [DEVON] (interrupting) In spite of Elliott's obvious -- youth -- he happens to be an authority in Doctor Raymond's Field of electro- magnetic radiation, and I'm positive he'll prove a great help to us. Michael, still not convinced, studies Elliott a beat: [MICHAEL] Right. Elliott grins. [MICHAEL] Welcome aboard. [ELLIOTT] Wherever I can help. Beat. Michael nods, looks back at Devon before exiting, who is picking up the pieces of his Wedgewood service. [MICHAEL] Smile, one day he may be one of us. Off Devon's reaction, we: CUT TO EXT. SEMI - DAY as the ramp goes down and K.I.T.T. rolls out and off. OMITTED EXT. ALI'S PHOTOGRAPHY STUDIO - DAY K.I.T.T. drives toward a two-story city structure. [K.I.T.T. (V.O.)] Michael, this Elliott Sykes has quite an impressive academic record. INT. K.I.T.T. - DAY [MICHAEL] You don't say. [K.I.T.T.] Yes, I do. He was the youngest student ever to enter Cal Tech, graduating Magna Cum Laude, at the age of fifteen. Not to mention earning a Phi Beta Kappa Key along the way. [MICHAEL] You're right. Impressive. [K.I.T.T.] But there is one piece of information that keeps appearing, Michael, that I don't quite understand. [MICHAEL] What's that, pal? [K.I.T.T.] It says he's also a 'nerd.' What does that mean? Michael smiles, pulling up in front of Ali's building. [MICHAEL] Well...it's kind of a term of affection. [K.I.T.T.] Sounds more like an affliction. Michael gets out. EXT. K.I.T.T. [MICHAEL] You know...you just might have a point. Michael starts up the stairs to: INT. ALI'S STUDIO - DAY - ALI hanging photos on a drying line. She turns as the bell tinkles, to see Michael. [ALI] Can I help you? [MICHAEL] (gently) I hope so. I'm Michael Knight from The Foundation. (off her reaction) I was coming to see your father yesterday.... FAVOR ALI An emotional flush crosses her face, then she turns to her work. Michael watches her back. [MICHAEL] Keeping busy helps. I know. She turns, but keeps busy. [MICHAEL] When my dad died, I went and shot hoops for five hours, right through the night. Ali's trembling fingers drop a print. Her defenses go down with it. She sighs. [ALI] For me it was the morning. I went out on my boat with my camera. There's a family of whales I've been trying to shoot all week, but the father never let me get close enough. Just too protective. (indicates the prints) Well, this morning I got those. FAVOR PHOTOS Michael checks out the photos on the line. They show closeups of a family of whales on the ocean. He turns back to Ali with a comforting smile. [MICHAEL] I think your father would have been proud of them. Ali forces a smile back, turns. [ALI] When the men attacked, he told me to run. I feel like such a coward. [MICHAEL] It's okay. He was just being protec- tive like your whale. He didn't want you hurt. [ALI] You're making me feel a lot better. [MICHAEL] (smiles) I'm glad. (beat) Your father wanted The Foundation's help. Do you know why? [ALI] (shakes her head no) Only that something was really troubling him ever since this woman dropped by to see him last week. [MICHAEL] Old romance? [ALI] I didn't recognize her. [MICHAEL] Do you have any idea what your father was working on? [ALI] (sad smile) Who knows? He was always very secretive about his job. Besides, all he was really concentrating on now...was his fly-casting, or playing the electric guitar.... K.I.T.T.'s Voice is heard over the comlink. Ali reacts. [K.I.T.T.'S VOICE] Michael, I've just identified Hawk Face. He's custodian of a temple downtown. [MICHAEL] I'm on my way, Kitt. [ALI] (re comlink) Standard Foundation equipment? [MICHAEL] (smiles) It comes with the job. Ali, will you be all right by yourself? [ALI] Sure. I've got my work, remember? [MICHAEL] I'll keep in touch. Ali nods and Michael leaves. OMITTED EXT. VANESSA SUTTON'S HOUSE - DAY - ESTABLISHING SHOT an upscale, secluded house, in the hills. EXT. POOL AREA - TIGHT ON THE BLACK CRYSTAL in the hand of Mac Gifford, thirty-five, a handsome karate master with chiselled muscles and features. [GIFFORD] Here's your black crystal. He flips it in his hand, tosses it to: VANESSA SUTTON twenty-seven, sexy, in a short dress. She sits at a poolside table working at an electronic device. She catches the stone. [GIFFORD] Got it off Raymond's belt, just like you said. [VANESSA] Perfect. That puts us right on schedule. [GIFFORD] As long as it doesn't put us in jail. [VANESSA] You have to have more faith in modern science, Mac. This little work of art is going to make both of us very rich. As she inserts the crystal into the device, he watches, appreciating the curve of her legs. [VANESSA] Beautiful. [GIFFORD] I'll say. [VANESSA] The stone, Mac...not my legs. Move on me now, and you just might get vaporized. She flips one of the buttons. Gifford jumps back. Vanessa laughs. [VANESSA] I've waited a long time for this. You ever heard of a thermo-light generator? [GIFFORD] Anything like a sun lamp? [VANESSA] Only that it produces an intense heat. And adding the black crystal to it... brings new meaning to the word 'melt- down.' Watch what it does to three inches of solid steel. Vanessa points the generator toward a sheet of heavy steel in the garden. Gifford watches eagerly as she flips a second switch and an intense bolt of red light focuses on the steel. THE STEEL glows, smokes a little, but the light doesn't cut through it. BACK TO VANESSA AND GIFFORD She glares, her eyes like switchblades. She adjusts the device. [GIFFORD] That's going to get us into a vault full of diamonds?! [VANESSA] Damn...something's wrong. [GIFFORD] (angry) You telling me? I killed a man for that? [VANESSA] Shut up! It's only working at half strength. (examining crystal) It's been cut in two! We have to find the other half. [GIFFORD] And where do 'we' look? [VANESSA] That, lover, is your department. Just find it. OMITTED EXT. TEMPLE - DAY K.I.T.T. pulls up in front of the picturesque structure. [K.I.T.T.'S VOICE] His name is Fuji Hakito, Michael you might find him out in the garden. ANGLE ON K.I.T.T. [MICHAEL] Thanks, pal. Sayonara. He climbs out, heads for the temple. OMITTED INT. TEMPLE Michael enters. Hears a gonging and follows it to: EXT. TEMPLE GARDEN - DAY Hakito kneels before a statue. Also present is a pretty, fragile, kimono-clad Japanese woman. She kneels before a small gong, which she sounds periodically. CLOSE ON HAKITO Deep in meditation, he grunts and strains his muscles before using his forehead to break a brick he holds before him. Behind him, we see Michael moving toward him. Hakito tenses, aware of the intruder's presence. As Michael approaches, he lashes out swiftly behind him, attacking Michael. Michael crashes through some shrubbery. VARIOUS ANGLES - THE FIGHT It's quick and fierce before Michael knocking him uncon- scious. [MICHAEL] (into comlink) Kitt, have Devon call the police to pick up Hakito and his friend here. [K.I.T.T.'S VOICE] Right away, Michael. As Michael looks back toward the unconscious Hakito, we: OMITTED FADE OUT END OF ACT ONE ACT TWO FADE IN EXT. SEMI - DAY in motion, cruising down the highway. [MICHAEL'S VOICE] How's the interrogation coming? INT. SEMI - COFFEE ROOM - DAY - MICHAEL WITH DEVON as he pours tea from a cheap pot into a styrofoam cup. Michael paces. [DEVON] According to Sergeant McMillan, it's not. Ever hear of 'Sei-jo?' (Note: pronounced "sey-jo.") [MICHAEL] Sounds like something from a sushi bar. [DEVON] We should be so lucky. It's apparently the Takishi version of 'omerta' -- the vow of silence. Michael shakes his head, frustrated. [MICHAEL] Terrific. An ancient warrior clan alive and well -- and living high on the hog. I had Kitt check out Hakito's piggy bank. He had more in CDs than you make in a year. [DEVON] I'm not interested in changing occu- pations, if that's what you mean. (beat) There's got to be more to this than meets the eye. [MICHAEL] I agree. The question is 'what?' They move into the main room. ANGLE IN SEMI As Michael and Devon enter we see Bonnie with Elliott. She watches, fascinated, as Elliott sets up a demonstration: behind a conventional standing candle is a highly polished reflector; in front of the reflector is an opaque grey lens the size of a quarter. [ELLIOTT] ...by reorganizing particles of light into their most efficient matrix. Michael and Devon exchange a look. [MICHAEL] Couldn't have said it better myself. [DEVON] Precisely. [BONNIE] Elliott is going to demonstrate Doctor Raymond's principal of 'split-particle radiation.' [ELLIOTT] It's not all that complicated, really. The light we see is only one percent the total available spectrum. They nod, lost. [ELLIOTT] Watch. Elliott lights the candle, holds the grey lens in front of the reflector. [ELLIOTT] This convex focal lens was one of Doctor Raymond's early innovations. They ad-lib appropriate comments, no idea what they're witnessing. Then Devon's eyes drift to something beyond. He goes pale. [DEVON] My Hampton Court trophy! He lunges off. WIDER ANGLE They look up to see Devon grab a heretofore unnoticed silver trophy cup from a bookshelf or resting place. It's half melted and smoking. Devon looks aghast. [DEVON] I've had this for decades! We beat Hedgerow in the cricket championship that year.... He trails off, realizing it doesn't matter now. Everyone looks embarrassed, especially Elliott. [ELLIOTT] (for lack of anything better) Gee...What decade was that? [DEVON] (darkly) Never mind. To fill an awkward silence: [MICHAEL] Well, I really hate to leave, but I've gotta check out a place called Body Boutique. Hakito had a member- ship there. Reaching K.I.T.T., he pauses before leaving. [MICHAEL] On the way over I'll keep an eye open for a trophy repair shop. Devon looks at the melted trophy in his hand. [DEVON] Thanks so very much. EXT. SEMI - DAY K.I.T.T. drops down the ramp, spins a 180 and accelerates off. EXT. MAC GIFFORD'S BODY BOUTIQUE - DAY An up-scale health club in a fashionable part of the city. K.I.T.T. drives up and into the lot. [K.I.T.T.'S VOICE] Michael, there's one thing about Elliott I don't understand. ANGLE IN K.I.T.T. Michael guides the car into a parking space, climbs out over: [MICHAEL] What's that? [K.I.T.T.] If he doesn't like being called a nerd, why does he act like one? [MICHAEL] I don't think he's acting, pal. I'll be back. Meanwhile, get me what you can on this Mac Gifford. INT. KARATE ROOM - DAY Gifford massages a towel-draped Vanessa on a leather massage table. [GIFFORD] Tell me that doesn't feel good. [VANESSA] The only thing that'll make me feel good now is finding the other half of the black crystal. [GIFFORD] If Raymond's daughter doesn't have it, she'll know where it is. Either way, we'll find it. Now relax... that's it...visualize the tension leaving your body. CUT TO INT. BODY BOUTIQUE - RECEPTION AREA - DAY - JEANIE The spunky receptionist, watches a soap opera on a small TV. Glued to the tube, she barely turns as Michael enters. We hear rock music from the workout rooms. [JEANIE] You here for aerobics? [MICHAEL] Only if you give private lessons. She turns...likes what she sees. [JEANIE] Sorry to disappoint you...I'm just the receptionist. [MICHAEL] Even better. You could tell me about your members. [JEANIE] Sorry. Mr. Gifford's high on confi- dentiality. [MICHAEL] Whatever gets you through the night. Is he in there? He indicates a door marked "Members Only." [JEANIE] Yes, but that's only for the Karate Club. Black belts. [MICHAEL] You a member? She shakes her head. [MICHAEL] (winks) Good. Then you can't stop me. A muscular hunk, Sam, enters the room behind Michael, heading for the showers. Jeanie indicates him with a nod. [JEANIE] No, but I can yell for security. Before she can yell, Michael quickly pulls Jeanie close, covering her mouth with a kiss. Sam chuckles and moves off. When they break, Jeanie looks at Michael, pleasantly surprised. [JEANIE] ...and I thought that only happened in soap operas.... Michael smiles and heads inside. [MICHAEL] I won't be long. INT. KARATE ROOM - DAY - VANESSA nearly purring now, eyes closed, as Gifford continues the massage. [GIFFORD] (softly) I'll be right back. He leaves. A beat as camera moves in close on Vanessa's back. A PAIR OF HANDS enter shot. Start massaging again. [VANESSA] That was fast. FULL ANGLE to see Michael continuing the massage. Vanessa moans. [VANESSA] Ohhh...I never thought you could be so tender. (off Michael's smile) Careful...I'm beginning to visualize more than 'tension leaving my body.' I can't wait to return the favor. [MICHAEL] Me neither. Vanessa, shocked, turns to cover up, seeing Michael. At the same moment: ANGLE TO INCLUDE GIFFORD [GIFFORD] Hey, what do you think you're doing? His recognition of Michael is immediate. [MICHAEL] Relieving tension. My name's Michael Knight. I'm a friend of Fuji Hakito's. [GIFFORD] I...understand Hakito died recently. [MICHAEL] So I hear. Too bad. I lost a good sparring partner. I was hoping to pick up another one here. [GIFFORD] This is a private club...but out of curiosity...what belt are you? [MICHAEL] Oh...I'm beyond colors. I've beaten a Takishi. As Vanessa reacts, Gifford meets his eye, without wavering. [GIFFORD] The Hammer Hawk. To my knowledge they died out years ago. And from what I've heard, bragging wasn't part of the Takishi code. You had to withstand the test of raw nerves to even be considered. [MICHAEL] Try me. As Gifford studies him: SMASH CUT TO EXTREME CLOSEUP - MICHAEL standing against the karate room wall as a razor-sharp diamond shaped shuriken embeds into the wall next to his face, just above his shoulder. He doesn't even flinch. [GIFFORD'S VOICE] Very good. Widen to include: GIFFORD looking on as Ito, a large, robed Oriental handles four more shurikens. [GIFFORD] The Takishi believed the superior warrior could look into the eyes of death five times and never waver. [MICHAEL] Five's my lucky number. A second is thrown, embedding perilously close to his other shoulder. [GIFFORD] Had enough? [MICHAEL] I came to play. Ito winds up and tosses two more with both hands. Michael does not even blink as they land on both sides of his ears. INCLUDE VANESSA moving into the b.g., now dressed. Gifford acknowledges her presence. [MICHAEL] Four down, one to go. [GIFFORD] For the last you must close your eyes. According to the Takishi code, it would scare off all pretenders. [MICHAEL] For someone who just claimed the Takishi had died out, you sure do your best to keep the tradition alive. Vanessa looks over at Gifford, betraying a sense of nervous- ness. Michael sees it. Gifford turns back to Michael. [GIFFORD] You can always quit. Michael closes his eyes. Gifford gives Ito a hand signal. The man grunts and flings the shuriken toward Michael. At the last moment, Michael ducks. It embeds right where his head was, narrowly missing him. [GIFFORD] You moved. [MICHAEL] You should have told me the Takishi had a height requirement. [GIFFORD] Don't get the wrong idea. You bailed out first and my man adjusted. Michael starts off. [MICHAEL] Yeah, right. Let's do it again some time. In my gym. With that, he exits the room. Once he has left, Gifford moves over to Vanessa. [GIFFORD] He could be trouble. [VANESSA] Wrong tense, Mac. He is trouble. ANGLE IN RECEPTION AREA - MICHAEL passes Jeanie, who smiles at him. Michael smiles back. [MICHAEL] Thanks. (fishing) Boy, Mac has all the luck. That Angel Brown is one stunning woman. [JEANIE] (confused) Angel Brown...You mean Vanessa Sutton? Michael taps his head. [MICHAEL] I must have been thinking of her eyes. Catch you later, baby blues. Jeanie laughs, as Michael exits. EXT. BODY BOUTIQUE - DAY - MICHAEL getting into K.I.T.T. [MICHAEL] Think we're on a roll, pal. This place is Takishi Central and Gifford's in it up to his shurikens. He starts the car and pulls out. ANGLE IN K.I.T.T. [K.I.T.T.] That's odd, Michael. He's a very respectable man. Decorated Green Beret, karate champion, and this club is very successful. Why would he risk it? [MICHAEL] I don't know, but if I'm any judge of manhood, it has something to do with a beautiful lady named Vanessa Sutton. See what you've got on her. They drive away. EXT. STREET - DAY - K.I.T.T. streaking through the afternoon sun. [K.I.T.T.'S VOICE] I've completed the check, Michael. There are eleven Vanessa Suttons in my data bank. ANGLE IN K.I.T.T. - MICHAEL driving. [MICHAEL] Run 'em by me, buddy. [K.I.T.T.] Vanessa Abigail Sutton.... [MICHAEL] Pass. [K.I.T.T.] Really, Michael, she's a virtuoso bassoonist. [MICHAEL] Kitt, she's ninety. Go on. [K.I.T.T.] Very well. Vanessa B. Sutton.... INTERCUT - MONITOR - A RACE HORSE [MICHAEL] Great legs, but that's a pass, too. Next? INTERCUT - MONITOR - THE REAL VANESSA [K.I.T.T.] Vanessa Mary Sutton. [MICHAEL] That's Miss Massage. [K.I.T.T.] Intelligent as well as beautiful, Michael. She has a Ph D in Geo-Physics. [MICHAEL] Just like Doctor Raymond. Let's head over to Ali's and see if that's the woman who visited her father. EXT. HIGHWAY - DAY - K.I.T.T. doing a 180, and speeding off to Ali's. INT. ALI'S STUDIO - DAY - ALI packs up some photographic equipment from various parts of the room. The sound of a motorbike approaching outside is heard. Getting closer, then stopping. Ali stops for a beat taking it in. Footsteps are heard outside below, moving around. She seems to hold her breath as the foot- steps start up the wooden stairs to her studio. Slowly, they climb, as if tiptoeing. A sense of panic crosses Ali's face. A sixth sense tells her to grab a tripod. She moves fearfully behind the door, holding the tripod over her head as the door knob slowly turns. The door opens, and Ali readies to crash the tripod down on the intruder. Elliott steps in. Ali aborts midswing as Elliott ducks, terrified. [ALI] Who are you?! [ELLIOTT] Me? [ALI] You! [ELLIOTT] Me. Yes. I'm Elliott Sykes...I work with the Foundation. [ALI] (amazed) The Foundation for Law and Government? [ELLIOTT] (proud) Yes. Michael and I are on the case together. [ALI] What were you doing creeping up here like that? I almost took off your head. [ELLIOTT] I'm sorry, I just didn't want to disturb you in case you were working. I was just trying to be considerate. I guess I overdid it. [ALI] (a beat) That's all right. [ELLIOTT] No, it's not. I'm always doing nerdy things like that. I've really got to stop. [ALI] Don't be so hard on yourself. How were you to know I was going to be so jumpy. Elliott breaks into his charming, overbite smile. [ELLIOTT] Thanks for letting me off the hook. [ALI] I'd like to invite you in but I'm already late for a shoot. [ELLIOTT] Oh, that's too bad. Michael and I are hot on the case. I was hoping I could get your father's notes... letters...anything that might give us a clue to what he was working on. I thought maybe we could brainstorm. [ALI] Well, how about I let you go through his things. By the time you finish, I'll be back. We can brainstorm then. [ELLIOTT] We can? Ali smiles, moving over to a desk. Elliott is clearly smitten. She takes out a stack of bound letters and notes, hands them to Elliott, noticing for the first time the new shirt Elliott wears. A shirt just like Michael's except buttoned askew. Her hand moves around the collar, touching it. [ALI] Nice shirt...new? [ELLIOTT] No...I wear it all the time. Ali pulls out the price tag, still attached to the back. She gives him a gentle smile and removes it. He breaks into his asthmatic laugh. She laughs too, enjoying his innocence. ANOTHER ANGLE - THE DOOR flies open and a hawk-masked Takishi appears. Ali screams. So does Elliott, taking a karate stance. [ELLIOTT] Back! I'm warning you! Hawk-mask does a lightning-fast karate combination that sends Elliott flying back and crashing into a stereo system of bookcase. Ali grabs a lamp to strike him but he disarms her, throws the lamp on top of Elliott who's struggling to his feet. [ELLIOTT] You'll never get away with this! I'm a Foundation man. We never stop. We never sleep. We eat guys like you for breakfast. Hawk-mask dumps a carton of books on Elliott, grabs Ali, seeing the black crystal around her neck. She tries to twist away but he clamps a hand over her mouth and darts outside with her. ANGLE ON ELLIOTT Determined, he struggles once again to his feet. [ELLIOTT] Don't worry, Ali! He charges for the door but his feet get tangled in the stereo wire. He goes down with a crash. OMITTED EXT. ALI'S STUDIO - DAY Hawk-mask (Ito) pulls Ali out to the street as the Jeep swings up, stops. Ito pushes her in, leaps aboard as it pulls out. REVERSE ANGLE K.I.T.T. turns down the street to Ali's. ANGLE IN K.I.T.T. Michael reacts. [MICHAEL] Kitt, is that Ali? [K.I.T.T.] Yes! And there's Elliott! [MICHAEL] Elliott? ANGLE ON ELLIOTT coming down Ali's stairs double time, running to rendezvous with Michael and K.I.T.T. at the curb. To Elliott's amazement K.I.T.T. flashes by, splashing a puddle of water onto his new Knight Rider shirt. ANGLE ON STREET The Jeep roars by. ANOTHER ANGLE K.I.T.T. pursues, gaining. EXT. CONSTRUCTION AREA - DAY The Jeep darts through a gate in the fence, disappears in a cloud of dust. ANGLE IN K.I.T.T. racing toward the gate when: [K.I.T.T.] Michael! [MICHAEL] Gotcha, pal. He hits Turbo Boost. WIDER ANGLE A truck carrying lumber crosses in front of the gate. VARIOUS ANGLES - THE JUMP K.I.T.T. flies up and over the truck. ANGLE IN JEEP Gifford, driving, reacts to what he sees in the rearview mirror. He grabs Ali, holding her fast with one arm. [GIFFORD] (to Ito) Use the gun on him! [ITO] But Miss Sutton said --- [GIFFORD] Use it! Ito seats himself behind the swivel mounted black crystal gun. ANGLE IN K.I.T.T. Michael behind the wheel, seeing the Jeep trying to arc around behind them. [MICHAEL] About-face! He slams the wheel. WIDER ANGLE K.I.T.T. does a 180. ANGLE ON ITO He fires. K.I.T.T.'S RIGHT FRONT TIRE Virtually motionless for that split second in the 180, it suddenly begins to smoke, then disintegrates into a gooey mess in front of our eyes. ANGLE ON MICHAEL Accelerating, he fights the wheel. [MICHAEL] Kitt! [K.I.T.T.] I'm sorry, Michael, but they've disabled my right front tire! [MICHAEL] Disabled? [K.I.T.T.] I've never experienced anything like it. A more apt term would be 'melt down.' Angry, Michael looks ahead. HIS POINT OF VIEW - THE JEEP roars back out through the gate. OMITTED FADE OUT END OF ACT TWO ACT THREE FADE IN EXT. HIGHWAY - DAY - EARLY MORNING - ON SEMI moving. [DEVON'S VOICE] Do you think they'll harm Ali, Michael? INT. SEMI - DAY Michael paces with concerned energy, as Devon talks with him. In the b.g. Bonnie and Elliott are repairing K.I.T.T.'s tire. [MICHAEL] Let's just hope they consider her insurance until they get whatever they're after. [DEVON] Have you no hint of what that is? [MICHAEL] Just that it's worth killing for and it's going down soon. Elliott looks up with a groan. [ELLIOTT] It's all my fault. I could have stopped that guy from taking Ali. [MICHAEL] You did your best. Sometimes, it takes more than heart, Elliott. You were a little overmatched. I wish I had the same excuse. [BONNIE] Believe me you do, Michael. That beam imploded poor Kitt's tire like it was ordinary rubber. [K.I.T.T.] Yes, it was most embarrassing. [MICHAEL] We'll get them next time, buddy. [BONNIE] Don't be so sure. Now we know Doctor Raymond developed the black crystal, and they've got it. [DEVON] That's the frightening part. I had a chance to glance over the diaries that Elliott brought back. There's no earthly material that the split particle beam can't melt down. [MICHAEL] If you're trying to scare me off, forget it Devon. Right now, I've got to find Ali and I've got a good idea where to start. Bonnie closes K.I.T.T.'s hood. [BONNIE] He's ready, Michael. Elliott moves to Michael, standing in his way. [ELLIOTT] I want to go with you...for Ali's sake. Michael looks at him a beat. [MICHAEL] You really like her, don't you. [ELLIOTT] (a little sheepish) Well...sure...you gotta aim high. [MICHAEL] (hands on his shoulders) Then for her sake stay here. Put your head together with Bonnie's. Figure out something that'll give Kitt and me a fighting chance, pal. [ELLIOTT] (smiling broadly) Pal? [DEVON] Good luck, Michael. Michael hops into K.I.T.T., starts up. EXT. SEMI - DAY - K.I.T.T. gliding down the ramp and on to the highway. A sharp 180 degree turn sends it rocketing off down the asphalt ribbon. OMITTED EXT. MAC GIFFORD'S BODY BOUTIQUE - DAY K.I.T.T. pulls up silently across from the gyn. Michael looks through the open glass front where a large sign reads "Closed Mondays". There's no activity, but we see a large pair of feet sticking up over the reception counter. ANGLE IN K.I.T.T. - INTERCUT - MONITOR Michael punches buttons. [MICHAEL] Zoom in on twinkle toes for me, will you, Kitt? The monitor responds with appropriate graphics, then we see a zoom-in picture of Sam, the hulk we met at the club earlier. Obviously there for security, he's sitting with his feet up, watching cartoons on the TV. [K.I.T.T.] He's alone, Michael. He's eating brown rice, fresh vegetables...and a Ding Dong! [MICHAEL] Shame on him. See a way inside, pal? [K.I.T.T.] There's an opened skylight, Michael. [MICHAEL] Time to drop in. They pull into an alley beside the gym. INT. GYM - DAY - ANGLE IN WEIGHT ROOM Michael dangles from the skylight in the ceiling, gets his bearings, and drops to the floor noiselessly. He moves to a door, opens it a crack and looks outside. ANGLE IN RECEPTION AREA Sam, the security hulk, is laughing over a cartoon. He doesn't see Michael behind him, peering through the crack in the door. In a moment, Michael disappears. After a beat, we hear the sound of crashing and breaking glass and metal coming from the weight room. Sam leaps to his feet and runs to find out what's going on. INT. WEIGHT ROOM - DAY Sam runs in, looks around, and sees nothing. [MICHAEL'S VOICE] Catch! Sam whirls. REVERSE ANGLE - MICHAEL pushing/tossing a heavy barbell to the unsuspecting Sam, who's thrown backwards by its momentum as he catches it. He stumbles over a weight bench and winds up pinned under the barbell. Michael quickly deposits a second barbell on top of him before he can recover. [MICHAEL] Come on...show me your bench press. Sam tries to lift the barbells. He's starting to move them when Michael slaps an additional weight plate onto the end of one. Sam struggles to keep the weight off his chest. [MICHAEL] Come on...you can do it! Pump it! Sam pumps all right, straining, bulging, but getting nowhere. Michael adds one more plate. [MICHAEL] Okay, let's talk. [SAM] (grunting) Get these things off me. [MICHAEL] Where'd they take Ali Raymond? Sam doesn't answer. Michael lifts another weight-plate. [SAM] No! Come on, man, you're crushing me. [MICHAEL] (with the weight poised) Read my lips. Where's Ali Raymond? I know Gifford has her. No answer. Michael starts to put the plate on the bar. [SAM] They're holding her in a van at Mars Canyon. A little ways past road's end. Michael stops, pleased. He drops the weight, watches Sam squirm for a minute. [MICHAEL] Oughta stay away from those Ding Dongs. A wink and he goes, leaving Sam under the weights. ANGLE ON SAM He pushes the weights off, with one quick move. Then gets to his feet and crosses to a wall phone. He punches in a number. INT. VANESSA SUTTON'S HOUSE - LIVING ROOM - DAY Gifford picks up a receiver. Vanessa works over the Thermal Light Generator in the b.g. We also see Ito and Ali, bound. [GIFFORD] (into phone) Yeah?..Great. (hangs up; to Vanessa) He swallowed the bait. [VANESSA] Perfect. Just in time for a dry run. Let's go test it out. EXT. HIGHWAY - DAY - FOUNDATION SEMI highballing down an open highway. INT. SEMI - DAY We open on Elliott and Bonnie working on a glass windshield. With care, they are covering it with patches of prismatic, corrugated material. Widen to see Devon cross to them with a plate of cookies. [DEVON] Cookie anyone? Bonnie takes one, but Elliott shakes his head. [ELLIOTT] No thanks, Devon. I won't eat until we finish this. Devon shakes his head, smiles at his determination. To his surprise, Elliott's hand snakes out absently, grabs a cookie and devours it unconsciously as he works. Devon and Bonnie share a glance. Devon paces off with a sigh of frustration. [DEVON] It's been too long since they've called in. [BONNIE] Relax. You know Michael. Sometimes he gets too caught up in his work. [DEVON] (cocks his head; re Elliott) Like someone else we know. Elliott puts down his work with a big gesture, standing with frustration. [ELLIOTT] I know what you're both thinking -- 'if the nerd hadn't let them take Ali, none of this would've happened.' [BONNIE] (protesting) Elliott.... [ELLIOTT] No...I know. You don't really think I'm Foundation material. [DEVON] Elliott, do you know what makes Michael such a good Foundation man? [ELLIOTT] Sure, he's brave, strong and good looking. [DEVON] No. It's the fact he never gives up. And neither should you. Elliott smiles and gets right back to work. Michael's voice is heard. [MICHAEL'S VOICE] Yo Devon. They all turn to look as his picture appears on the computer's monitor. INTERCUT - MONITORS - INT. K.I.T.T. - INT. SEMI - DAY - DEVON AND BONNIE Michael driving. [MICHAEL] I'm in a hurry. They've got Ali in a van down in Mars Canyon. I'm on my way there. [DEVON] Splendid, Michael. We may have more good news. Elliott and Bonnie are close to completing a polarized refracting windshield that could give some defense against the split particle beam. [MICHAEL] Great. Give them high fives for me. I'm gone. His image fades. Devon and Bonnie turn to congratulate Elliott. [DEVON] Elliott? But he's not there. THEIR POINT OF VIEW - ANGLE TOWARD THE REAR OF SEMI - DAY Elliott has fired up his white Moped and is disappearing down the back ramp on it. [BONNIE] Elliott, what are you doing? You'll kill yourself! Ell...iott! EXT. HIGHWAY - DAY - THE SEMI The ramp is down and out flies our nerd on his bike. He bounces onto the pavement, pedalling furiously to pump up his RPMs. By the time the lumbering truck can slow, he's long gone. CUT TO EXT. MARS CANYON - DAY - K.I.T.T. moves carefully onto a rutty dirt track into a heavy-brush canyon. [MICHAEL'S VOICE] Silent mode, Kitt. The car's engines goes quiet. ANGLE IN K.I.T.T. [MICHAEL] This is where Gifford's boy said they'd... (beat; reacting) Hold it. Look. REVERSE ANGLE - MICHAEL'S POINT OF VIEW THROUGH WINDSHIELD/ INTERCUT - MONITOR Parked in the brush is an ND van. [MICHAEL] Scan that van, Kitt. The monitor shows disrupted static bars. No image. [MICHAEL] What's the problem? [K.I.T.T.] I can't get a picture. The van's frame is reinforced with lead. This may be a trap. [MICHAEL] (concerned) I know, but there's still the chance Ali may be there. I'm going in. [K.I.T.T.] I'm with you, Michael. [MICHAEL] Not this time. (reaching for buttons) I'm gonna have to shut you down, pal. [K.I.T.T.] No, I can't allow that. [MICHAEL] And I can't allow you taking another jolt from that beam. [K.I.T.T.] But Michael, the danger is the same for you. I'm programmed to preserve human life, especially yours. [MICHAEL] And that's one of the problems, buddy, I can be replaced. You can't. Don't worry...I'll be back. As Michael deactivates K.I.T.T. [K.I.T.T.] ...but Michael...this is nooot acc-coor-ding tooo.... The voice, console lights and scanner fade as Michael gets out. EXT. CANYON - DAY - FOLLOWING MICHAEL moving commando-style through the brush, he darts between trees, then low to the ground through open area, as he moves closer to the van. Camera pans away to find: THE JEEP hidden by deep brush. On it's rear is the Thermal Light Generator, now mounted on a swivel like some sinister machine gun. Manning it like a turret gunner is Vanessa. Gifford is behind the wheel. [VANESSA] Here he comes, Mac. She puts her eye to the weapon's sight. INSERT - SUPERIMPOSE - MICHAEL creeps through the brush, but we see him trained in crosshairs of a high-tech electronic scope. At the last moment, Michael glances into camera, reacts. WIDE SHOT - MICHAEL AND VANESSA as she fires the Thermal Light Generator he dives behind a rock. The rock glows brightly, then melts like wax, instantly, leaving Michael exposed. In a flash he's on his feet and ducking down into a stream bed. THE JEEP Vanessa shouts back to Gifford. [VANESSA] Pull out, Mac. I want him. The Jeep rumbles out of the brush across the expanse, after Michael. MICHAEL dodging it, ducks behind bushes, trying to reach the van. A high pitched whine is heard. Michael turns and sees: ELLIOTT on his Moped, riding in like the cavalry. Braving every- thing, he rides right up to the van, softly. [ELLIOTT] Ali --- Ali --- He then tries to open the door. Suddenly Ito and Sumi reach out and pick up Elliott and Moped, in one big move, throwing him into the van. The van takes off. (Note: Ali is not inside). ANGLE ON MICHAEL reacting as he looks up from behind a bush. Exposed. VANESSA fires again. ANGLE ON MICHAEL The bush explodes in a fireball of flames. Michael's blown back by the force of the blast. VANESSA looks at Mac with a satisfied smile. [VANESSA] There goes our last hurtle. Let's get out of here. Gifford starts the Jeep away. We hold on Michael's motionless body. OMITTED FADE OUT END OF ACT THREE ACT FOUR FADE IN EXT. MARS CANYON - DAY We pan around the area struck by Vanessa's weapon. Flames still lick at the objects struck by its light. Amid the desolation, camera finds: MICHAEL lying flat in the dirt, gasping for breath in the sooty air. He raises his head and quickly sees he's got to move to avoid being broiled. Struggling to his knees, he addresses his comlink: [MICHAEL] (comlink) Kitt...turn yourself on...I need you, buddy. ANGLE IN K.I.T.T. coming to life, self-activating, lighting up and shifting into gear. The gas pedal floors. EXT. CANYON ROAD - FOLLOWING K.I.T.T. as the car screeches out of hiding and bolts to the spot where Michael has now reached his feet. He leans on the car rather shakily, then climbs in. [K.I.T.T.] Michael, you're hurt. What happened? [MICHAEL] I almost got deep-fried by Doctor Raymond's black crystal. [K.I.T.T.] We've got to get you to a hospital. [MICHAEL] No time, buddy. Now they've got Ali and Elliott. Let's get to the semi. They're already screeching away. EXT. HIGHWAY - DAY - SEMI on the move. K.I.T.T. slides up and in the ramp. [MICHAEL'S VOICE] Ouch! [BONNIE'S VOICE] Almost finished...there. INT. SEMI - DAY Bonnie finishes taping up a bandage on Michael's arm. Devon, at the desk, reading Dr. Raymond's diaries. [MICHAEL] I think you missed your calling, Florence. [BONNIE] Not really. I just spend more time nursing Kitt than you. And now that you're all wrapped up.... She crosses to the car and starts working again on K.I.T.T.'s windshield. Devon looks up from his reading. [DEVON] Considering the power of Raymond's crystal, you're lucky you're still with us. (warm beat) We're lucky, too. [MICHAEL] Yeah, everyone's lucky but Elliott and Ali. I feel like we're going backwards. He moves painfully to the desk. [MICHAEL] Find anything in Doctor Raymond's diaries? [DEVON] Yes, you were right about her having visited him shortly before his murder. But one thing I bet you didn't know... Vanessa Sutton was his assistant on the black crystal project. [MICHAEL] That explains a lot. Suddenly: [DEVON] Michael, look here. An address with the initials V.M.S. alongside it. [MICHAEL] Vanessa Mary Sutton. [DEVON] Only it's dated two years ago. [MICHAEL] Devon, I'll bet she has it under a different name, that's why we haven't been able to locate her. [DEVON] I'm sure you're right. [MICHAEL] Bonnie, Kitt ready? [BONNIE] If I said no, would you leave him here? But Michael's already sliding in. [MICHAEL] Absolutely. He's backing out. [BONNIE] Michael! Don't you want to hear how that polarized refracting windshield works?! [MICHAEL] I'm sure Kitt will tell me all about it. Right, buddy? [K.I.T.T.] In detail, Michael...in detail. EXT. HIGHWAY - DAY - ON SEMI - MOVING K.I.T.T. backs out, spins a 180 and heads off. EXT. VANESSA'S HOUSE - DAY - ESTABLISHING SHOT the Jeep and Gifford's van parked in front. INT. VANESSA'S HOUSE - LIVING ROOM - VANESSA zipping up a pair of tight uniform overalls. Gifford is in the room with Ito. They wear the same overalls and are gathering equipment. [VANESSA] Ready? [GIFFORD] Just say the word. [VANESSA] Let's go over the plan one more time.... She goes to a desk, behind which we can see an intercom box. CUT TO INT. VANESSA'S HOUSE - MASTER BEDROOM - DAY - ELLIOTT tied back to back with Ali on two chairs. One of the lenses from his glass frames is missing. He holds its jagged edge in his hand and blindly tries to cut their ropes. [ELLIOTT] Ali, I think I'm getting somewhere. Abruptly, change falls out of Ali's jacket pocket. [ALI] That was my pocket, Elliott. [ELLIOTT] Sorry...I just can't see. [ALI] Let me try. They squirm together and Elliott transfers the jagged glass lens to her hand. It's awkward, but she starts cutting. He strokes her wrist with love. [ALI] This is hopeless. [ELLIOTT] Don't give up, Ali. At least we're in this together. [ALI] I'm glad...really. I just wish it was different circumstances. [ELLIOTT] You do? You mean I don't turn you off? I know I'm not much to look at.... [ALI] Elliott, you've got a beautiful heart and a beautiful mind. Take it from a photographer, you can't see that with your eye, but it always shows up in the picture. [ELLIOTT] (touched) Boy...If I could only find out what they were up to, maybe...Wait a second.... Elliott's eyes move off. INCLUDE INTERCOM MASTER CONSOLE on the wall, nearby. Elliott getting an idea. [ELLIOTT] Ali, bounce with me.... [ALI] Bounce?! Elliott nods and jumps up. Ali, too. The chains move across the floor. They bounce until they reach the console, where Elliott leans over and pushes the intercom button with his nose. Abruptly, the voice of Vanessa is heard over its speaker box as it activates. [VANESSA'S VOICE] According to my calibrations, it should take exactly thirty seconds for the black crystal to cut through the vault door. Ali and Elliott exchange looks. Then: [ALI] Hey, I got it! We see their hands pop free of the ropes and they rub the feeling back into their wrists. They give each other a quick embrace. INT. LIVING ROOM - DAY as Vanessa finishes going over the plan. [VANESSA] Any questions? Okay, let's hit that diamond exchange. [GIFFORD] I'm going to check those kids first. [VANESSA] Don't hurt them. They're our ace in the hole. He heads off to the bedroom. INT. BEDROOM - DAY Gifford opens the door and reacts as he sees the kids are gone. As he steps into the room: ELLIOTT appears from behind the door and smashes a chair over Gifford's head. He goes down, groggy but not out. Ali leaps from the closet and grabs Elliott's hand. [ALI] Come on! Let's get out of here! They climb out the window. EXT. HOUSE - DAY as Elliott leads her to his bike, leaning against the side of the house. They get on. He starts it. [ELLIOTT] (proudly) Computerized ignition. [ALI] Will you just go! Elliott does. INT. BEDROOM - DAY Vanessa charges in as Gifford is getting to his feet, a bit groggy. [VANESSA] What happened? [GIFFORD] They got away; I'm going after them. [VANESSA] There's no time. Another half hour and that diamond exchange will be swarming with people. Gifford follows her out. OMITTED EXT. HIGHWAY - DAY K.I.T.T. streaks by. ANGLE IN K.I.T.T. Michael steers doggedly toward Vanessa's. [MICHAEL] You're kind of quiet, buddy. What's on your mind? [K.I.T.T.] Well, I've just been calculating our chances against that overgrown blowtorch. [MICHAEL] And...? [K.I.T.T.] Let me put it this way. If we go into battle, and my calculations indicate our demise is impending... do I have permission to eject you to safety? [MICHAEL] (touched) You know your problem, Kitt, you're too negative. [K.I.T.T.] And you're too evasive. Well? [MICHAEL] Permission denied, pal. My momma always taught me, you dance with who brung ya. (beat) What the.... He reacts to the sight of: EXT. HIGHWAY - DAY - WIDE SHOT K.I.T.T. is suddenly passed by Elliott and Ali, racing the other way on Elliott's Moped. K.I.T.T. burns a 180 and catches up to them as they stop on the roadside. CLOSER ANGLE - MICHAEL AND THE KIDS as Michael runs to greet them. [MICHAEL] Elliott, Ali, are you guys all right? [ALI] We are now...thanks to Elliott. [ELLIOTT] What about you? I was afraid they had you char-broiled. [MICHAEL] Not quite. Vanessa and Gifford... where are they? [ELLIOTT] After diamonds. Something about an exchange.... [K.I.T.T.] The diamond exchange downtown, Michael. [MICHAEL] It fits. (starting back to K.I.T.T.) Elliott, you take Ali to safety. [ELLIOTT] I'm coming with you. I'm a Foundation man, too. [MICHAEL] Then you should know a real Foundation man would never leave a lady when there could be danger. [ELLIOTT] (takes this in) You're right. Okay. But call if you need me. [MICHAEL] You have my word on it. Michael and the kids zoom off in opposite directions. EXT. DOWNTOWN STREET - DAY Vanessa's Jeep pulls into the business district, deserted at this hour. ANGLE ON JEEP Ito drives. Gifford next to him, with Vanessa in back near the gun. [VANESSA] There it is.... ANGLE TO INCLUDE DIAMOND EXCHANGE EXT. STREETS - DAY - K.I.T.T. at pursuit speed, racing to intervene. EXT. DOWNTOWN STREET - DAY The Jeep is in position. Vanessa aims the gun at the steel door. [VANESSA] Once we cut through that steel door, the vault is only fifty feet away. FAVORING GIFFORD reacting: [GIFFORD] Unfortunately, Knight's even closer! She looks to see: K.I.T.T. screeching around a nearby corner and to a stop, like a gunfighter arriving for a showdown. BACK TO SHOT [VANESSA] This time he's going to get burned for good. She aims the gun toward K.I.T.T. ANGLE IN K.I.T.T. Michael surveys the situation. [MICHAEL] Did Devon raise the police? [K.I.T.T.] They're on their way. Maybe we should wait for them. [MICHAEL] No way. They're strictly backup. I don't want any police officers getting hurt. [K.I.T.T.] Michael, she's getting ready to fire. [MICHAEL] That's what we want, Kitt. [K.I.T.T.] Wrong, Michael. What we want is for her to hit our refracting windshield. If she hits us anywhere else, even with my molecular-bonded shell, we'll both be incinerated in ten seconds. [MICHAEL] That's the chance we'll have to take. Set your timer, buddy. INSERT - K.I.T.T.'S DASH We see an L.E.D. digital clock, calibrated at 100ths of a second, click up to 5:00. Next to it, a digital ther- mometer reads "Interior Temp.: 76o". [MICHAEL] Here goes nothing. He accelerates forward. FULL ANGLE - THE STREET K.I.T.T. speeds toward the Jeep, the device's beam fires onto K.I.T.T.'s front end and reflects up toward the cockpit. ANGLE IN K.I.T.T. A rainbow of refracted light plays over Michael's face as he instantly breaks into a sweat. [K.I.T.T.] Michael, she's hitting us! We're burning up! [MICHAEL] We've got to give her a target she can't miss. [K.I.T.T.] But you're driving right into her. [MICHAEL] It's the only way to make sure that beam hits the windshield. INSERT - K.I.T.T.'S DASH The timer counts down past four as the thermometer passes 100o. ANGLE ON THE JEEP - GIFFORD AND VANESSA frowning as Michael keeps on coming. The device fires continuously. [GIFFORD] Hey...where's your meltdown? [VANESSA] Keep your shirt on. I've got him now. ANGLE IN K.I.T.T. as Michael squints and gasps for breath, the colored light more intense. [MICHAEL] They're going for it, Kitt! [K.I.T.T.] Yes, but less than two seconds and we incinerate. FOLLOWING K.I.T.T. We see the beam hit the windshield and reflect back on its source. ON VANESSA firing, suddenly jarred by the reflection of the beam. [VANESSA] It's reflecting back on us! How'd he.... But her hands jerk away from the gun as it starts to glow red hot. [VANESSA] It's going to blow! She and Gifford dive for cover away from the Jeep. ANGLE IN K.I.T.T. - MICHAEL The rainbow colors and heat more intense than ever. [K.I.T.T.] This is it, Michael. We can't take any more! [MICHAEL] Just one second more! VARIOUS ANGLES - DEVICE AND JEEP exploding. The beam reflected on it becomes too much and the device glows white hot, then explodes! Taking the Jeep with it. Vanessa and Gifford hit the pavement nearby. GIFFORD shakes his head to clear the cobwebs and is off and running, but: K.I.T.T. slides a 90 into his path and he crashes up against the car's hood. Michael's out in a second and on him. THE FIGHT is short and sweet. Michael gets in two ace karate blows and sends Gifford down in a heap. He then crosses and yanks Vanessa to her feet. She struggles in his grip as a police car arrives on the scene, siren winding down. The officers cover Ito with drawn guns. Michael looks over his fallen enemies. [MICHAEL] Now you two are going to feel some real heat. On his triumph: OMITTED FREEZE FRAME FADE OUT END OF ACT FOUR TAG TAG TO FOLLOW

{"show": "Knight Rider", "season": "s03", "episode": "e17", "title": "Knight and Knerd"}

knightriderarchives

ACT ONE FADE IN A FIST flies into camera filling the frame.... REVERSE as Phil Janetti, recoils from the blow...He gets up from the ground quickly, neither scared nor anxious...We hear the sound of the crowd as the fight is cheered into further combat. Janetti is a well-muscled, dark-complexioned man in his thirties wearing the rugged wardrobe of a trucker which is topped by a short uniform jacket and baseball cap designating JORDON TRUCKING. He puts his hands up and moves back towards camera and: ON JOE FLYNN Janetti's adversary. Flynn has the wild good looks of an Irish warrior, messed hair and a certain uncontrolled anger that fills him with an untamed energy and strength...He's smaller than Janetti but more than makes up for it with his wildness...He charges. The camera widens to: EXT. TRUCK STOP - PATIO The fight moves through the patio with the spectators, other truckers and some waitresses, move tables and umbrellas to keep the area clear and the furniture intact... Janetti is the only one in the group with the Jordon uniform. ANGLE Flynn swings another couple of blows, missing the first and catching Janetti with the next one...Janetti goes down and he stands above him.... [FLYNN] Come on get up you creep...You turned over on us...You're worse than a traitor.... [JANETTI] Calm down Joe...I'm trying to make a living...We used to be friends. [FLYNN] We ain't no more.... Joe reaches down and yanks Janetti to his feet and is met by Janetti's punch...Flynn is sent backwards.... FLYNN He wipes a speck of blood off his lip and glances at it...It's like a cattle prod in his brain...He lets out a roar and leaps at Janetti.... SCENE A certain seriousness comes over the crowd as the fight takes on a deadliness that was not present before. In the crowd is a forties rawboned man dressed like the others but with an additional hard edge to his appearance.... MIKE CURTIS studies the scene with a more calculating look. Edges away towards a phone booth. FIGHT Flynn leaps forward and before Janetti can even protect himself he starts to pound Janetti into the ground...There is no way to defend against Flynn's rage.... SCENE Some of the other drivers realize that it is getting to be too much of a fight and step forward, Frank Dial, a tall thin black man with a calm demeanor and a soothing voice, and "Burgers," a short, squat, overweight, strong and always hungry. [DIAL] Slow down Joey...This ain't Nam and Janetti ain't no Cong. [FLYNN] I'm still going to kill him.... He screams over to Janetti who's being helped to his feet. [FLYNN] You're dead Janetti...I know your routes and your schedule...I'll run you off the road.... Dial puts some more pressure on his restraining hold...Calls over to Janetti.... [BURGERS] Go ahead Phil...Get out of here and he'll cool down.... Janetti holds a beat, then nods.... [JANETTI] I only left your Independents cause I was about to lose everything...I need the security of Jordon Trucking.... [FLYNN] You're a traitor!! Janetti knows he can't reason with Flynn...He moves off towards the rigs which are parked nearby...The camera moves off to: PHONE BOOTH - MIKE CURTIS He has a pleased look on his face as he talks.... [CURTIS] What do you think Mr. Jordon? INT. JORDON TRUCKING OFFICES - INTERCUT AS NEEDED Plush, looking down on the panorama of the city below him... Edmund Jordon looks out of place in the surroundings...His dress is severe in comparison to the sounding decor...He is a tall, thin, heavy boned man with an intellectual brow and a brooding calculating look. Two other men are in the room, dangerous looking but subservient...One preps an Alka Seltzer for Jordon who always has an upset stomach...Jordon speaks into the phone. [JORDON] I think this is an opportunity we have to seize upon.... [CURTIS] What does that mean? [JORDON] It means that I believe my company can stand the loss of one driver.... [CURTIS] (now he understands) Got you.... (hangs up) Camera stays with Jordon as he grimaces, downs part of his Alka Seltzer, then he turns to one of his henchmen. [JORDON] Check on our Compensation Insurance carrier. I want to know what the employer's share of a Death Benefit is. Jordon downs the rest of his Alka Seltzer. CUT TO OPEN ROAD - TEN WHEELER Jordon Trucking logo, as it roars past camera. INSIDE TRUCK CAB Janetti at the wheel...He shows the fresh marks of his recent combat. He drives his rig with nonchalant competence ...He suddenly reacts as his rig is jarred almost spinning the wheel out of his hands.... SCENE A tractor not pulling any trailer slams into the side of Janetti's tractor and sends it out of line.... JANETTI'S TRACTOR Janetti fights the wheel of the rig...The trailer adding momentum to his difficulties.... ROAD The two trucks side by side as they barrel along. ANGLE The uncoupled rig jams into the side of Janetti's rig again.... The trailer starts to fishtail sending the tractor out of control.... JANETTI Some panic starting to show on his face as he can't control.... OTHER TRACTOR gives Janetti one more bang and then pulls away.... SCENE Janetti's rig is totally out of control...The trailer flips around and takes the tractor section with it...The truck runs off the road and flies off into space.... GULLEY The truck tumbles down the side, pieces flying off...then a burst of flame...then stillness.... BACK ON THE ROAD The long tractor pulls next to the side of the road and Curtis stares down from the cab and eyes the crash...Then he hears the sound of an air horn, reacts and pulls off.... ALONG THE ROAD Another full rig is barreling down the road...It is clearly marked with the name of FLYNN AND FAMILY TRUCKING.... INSIDE FLYNN CAB Joe at the wheel...still intense.... POINT OF VIEW THROUGH WINDSHIELD He sees a column of smoke billowing up from the gulley...He pulls over...Jumps from his truck.... SCENE as he looks down at the wreckage of Janetti's rig...A couple of other cars pull up now...The people eye Flynn. FLYNN A look of panic starts to show on his face, then he gets into his truck and pulls off.... CUT TO K.I.T.T. caught in the middle of a freeway traffic jam...The cars move along at a snail's pace. INT. K.I.T.T. Michael shows his frustration, his trapped feeling...He slams his fist on the steering wheel...K.I.T.T. reacts.... [K.I.T.T.] Michael, it's not my fault. [MICHAEL] How did you let me get into this Kitt? [K.I.T.T.] Sorry, but you were driving.... [MICHAEL] I know pal but why is this happening to me? [K.I.T.T.] Well, to tell the truth this is called the morning traffic jam... It's not an hour you're usually involved with.... [MICHAEL] (smile) Are you preaching to me? [K.I.T.T.] Absolutely not Michael...Merely making a statement of fact. A few beats of silence...then: [K.I.T.T.] You're not angry with me are you Michael? [MICHAEL] Not if you can get us out of this traffic mess old buddy. [K.I.T.T.] May I drive...? [MICHAEL] Be my guest.... Michael takes his hands off the wheel, sits back.... HIGHWAY K.I.T.T. swings onto the emergency lane, pulls around a couple of cars to an exit, speeds out, swings a fast U-turn and moves along a parallel road.... [K.I.T.T.'S VOICE] You can take over now, Michael. [MICHAEL'S VOICE] Have I told you lately that you're the greatest? [K.I.T.T.] Not recently, Michael.... CUT TO EXT. ROAD - THE SEMI - STOCK The ramp drops down and K.I.T.T. drives up and in.... [DEVON (V.O.)] It's the simple matter of a group of small operators being swallowed up by a larger operation. INT. SEMI Devon swings around in his chair to face Michael...In the b.g. Bonnie treats K.I.T.T. to a checkup and some kindness.... [DEVON] Except in this case the Independent truckers were holding their own on the basis of sound business rules. It even looked like they could win.... [MICHAEL] Then something changed the rules and now the Foundation is involved. [DEVON] Exactly...The leader of the Independent Association, a Joe Flynn, is wanted for the murder of one of the Jordon Trucking drivers. [BONNIE] It just doesn't fit his profile... Flynn may be a hot head and a fighter but he's also a war hero and a natural leader.... [MICHAEL] Seems like we know a lot about the wanted man and what his operation is all about...You must have been sitting on this one for a couple of months.... [DEVON] (evasive) You might say we've been monitoring it, rather than involved in it.... Michael's puzzled look goes from Bonnie to Devon...Bonnie explains. [BONNIE] We started getting communications on the computer. Devon and I have been watching this situation for over a month...It's like we're part of it...It's become important to us.... [MICHAEL] Who's been sending the messages?? [DEVON] We don't know.... [MICHAEL] Are you trying to tell me that you can't trace the communications back to the source...? [BONNIE] All I know is that the reports have been checked and they were all accurate. Michael glances from one to the other...He smiles at them. They seem slightly uncomfortable.... [MICHAEL] Sounds to me like both of you are more than a little personally wrapped up in this situation without ever meeting anyone involved in it... (beat) Isn't that one of your strict rules, Devon? No personal involvement? [DEVON] Not exactly a rule, Michael...More like a general guideline.... SCENE Michael laughs.... [MICHAEL] Fair enough...What do you want me to do? [DEVON] Find Joe Flynn...Put him safely in jail and then investigate the case and then discover his innocence.... [MICHAEL] Or guilt.... [DEVON] Of course...But either way I'd like him safe from any reprisals by the Jordon people who have been reputed to be extremely competent at finding and disposing of people.... [MICHAEL] Anything else? [BONNIE] Yes...Respect your equipment.... [DEVON] (beat) ...and be careful.... [BONNIE] That, too.... ON MICHAEL On his look, we: CUT TO EXT. K.I.T.T. driving through...They pull into a moderate neighborhood of older houses maintained neatly and inexpensively.... [K.I.T.T.'S VOICE] They had three rigs when the father was still alive...Flynn is down to one and operating out of their garage. They pull to the curb and Michael exits K.I.T.T. ANGLE as Michael eyes the house...The driveway leads to a work area where a sign designates FLYNN & FAMILY TRUCKING... Michael moves to the house.... CLOSER SHOT As he paces, the monotone sound of a beep matches his steps...One step, one beep...Michael catches the sound and staggers his pace. The beep maintains the exactness of the pace...K.I.T.T.'s voice interrupts Michael's little dance step routine.... [K.I.T.T.] Michael, you're being scanned by an electronic beam. A harmless but effective alarm system. [MICHAEL] (into comlink) Then there must also be a guard of some kind.... [MAMA FLYNN (V.O.)] Damn right there is, now freeze! Michael reacts, crouches but holds his position, just turns his head to: SCENE Mama Flynn faces Michael with a shotgun capably held in her hands. She's a good-looking lady in her early fifties with the same flare in her eyes and voice as her son, Joe.... [MICHAEL] Take it easy...I'm only here to ask a few questions.... [MAMA FLYNN] Are you now...? Well, you'd better not be a cop or from Jordon Trucking ...We get medals in this neighborhood for shooting burglars.... [MICHAEL] If I'm none of the three, can I have a little conversation instead of buckshot.... A wisp of a kid comes from around Michael and scans Michael with a metal detector wand...(airport style). ANGLE ON SALLY as she turns to Michael angrily...She's as cute as a button, as tough and as much of a tomboy as the rest of the Flynn clan.... [SALLY] I ain't no junior...I'm a girl... (to Mama) He's got nothing on him but some sort of two-way wrist radio.... [MICHAEL] That's no regular metal detector.... [MAMA FLYNN] She's no regular kid...Now what do you want? [MICHAEL] I'm from the Foundation For Law and Government...I'm looking into the incident involving Joe Flynn.... [MAMA FLYNN] My boy is innocent.... Sally studies Michael more carefully.... [SALLY] Your name, Devon Miles? SCENE Mama lowers the shotgun at her daughter's recognition but still remains alert.... [MICHAEL] No, I'm Michael Knight...How do you know Devon? [SALLY] I'm the one's been sending him messages. [MICHAEL] By computer? [SALLY] (shrug) Once you break the code all you have to do is know how to type. I can do eighty words a minute...You going to help us out? [MICHAEL] I'm willing to try, but first you'll have to get Joe to surrender to the police. Mama flares...The shotgun pops up into position again.... [MAMA FLYNN] You just became a burglar again... Get off my property!! [MICHAEL] The longer Joe is on the run, the longer it'll take to get to the bottom of it...I am going to have to talk to him.... ON MICHAEL He holds Mama's look then glances to Sally.... SALLY Sally motions him away with her eyes.... SCENE Michael gets the message, he shrugs, backs away towards K.I.T.T. K.I.T.T. Michael gets in.... [K.I.T.T.] That's an aggressively close-knit family, Michael.... [MICHAEL] That's why they know there Joe is... Put a tap on their phone, Kitt.... Michael turns as Sally appears at K.I.T.T.'s window...She studies K.I.T.T. with an appraising professional look.... [SALLY] What else does this car do besides go to the market? [MICHAEL] Kitt is a lot more than a car.... [K.I.T.T.] Thank you, Michael.... [SALLY] (reacting) A voice modulator...That's great... Will it give a verbal response to major mathematical computations...? [K.I.T.T.] Of course.... [SALLY] (to Michael) You really want to help? [MICHAEL] That's why I'm here. [SALLY] You look like an okay guy, but I ain't that sure.... [MICHAEL] I feel sure about you...You're bright enough to get the Foundation's atten- tion, and pretty enough to get mine.... Sally reddens.... [SALLY] You're teasing me...That's what my brother always does...I know I ain't pretty.... [MICHAEL] Trust me...I'm a good judge.... Sally looks up at him with a new interest...Michael returns her look...She is about to say more when K.I.T.T. interrupts with a flashing on his monitor. [K.I.T.T.] There's an incoming call, Michael.... Before Michael can adjust any switches, the voice of Mama Flynn comes on.... [MAMA FLYNN] (filtered) Flynn Trucking.... [FLYNN] (filtered) Hello, Mom. It's Joe.... Michael hits the switch that cuts the sound of the inter- cepted call...It's too late.... ON SALLY Her shocked reaction...She flares.... [SALLY] You're tapping our phone! You ain't a friend...You're a creep! She turns and runs for the house. Charges into it.... MICHAEL/K.I.T.T. [K.I.T.T.] Sorry, Michael.... [MICHAEL] I know, buddy...Backtrack that call and give me a location.... K.I.T.T.'S MONITOR as the map grid flashes across the screen and then a red dot centers in on a specific location.... [K.I.T.T.] It's about a mile from here...ETA ______ seconds.... K.I.T.T./MICHAEL As they speed through, Michael has flipped the speaker switch again as he picks up speed...The telephone conversa- tion can be heard over K.I.T.T.'s monitor. [MAMA FLYNN] (filtered) Are you all right, Joey?? [JOE FLYNN] (filtered) I'm okay, Mom.... The conversation is interrupted by the loud voice of Sally who warns both of them.... [SALLY] (filtered) He had the phone tapped...Michael Knight...He'll know where Joey is.... Mama Flynn reacts instantly...She yells into the phone.... [MAMA FLYNN] (filtered) Joey, get out of there!! Run! EXT. PHONE BOOTH Joe Flynn on the phone...He hears the urgency in his mother's voice and drops the phone, races to his rig which is parked nearby and hops in.... MICHAEL'S POINT OF VIEW THROUGH WINDSHIELD He sees Joe's moves and the rig pulling away in the distance. He speeds up. FLYNN pulls from the area and picks up speed as he grinds his way through the gears...He spots Michael in his rearview mirror.... THROUGH MIRROR - MICHAEL bearing down on the rig...Gaining quickly.... FLYNN TRUCK pulling over to block, K.I.T.T. not able to pass. SCENE The cat and mouse of Michael trying to pass and Flynn blocking the road, allowing the trailer section of the truck to slide around and dangerously swing into K.I.T.T.'s path. INSIDE K.I.T.T. Michael reacting, forced to defensive driving.... [MICHAEL] I'm faking left, then give me a shot of Turbo Boost when I go to the inside. [K.I.T.T.] You'll be cutting it close, Michael ...The road is beginning to narrow.... [MICHAEL] We'll make it work for us.... SCENE Michael swings around to pass the truck in the left lane.... ANGLE - FLYNN swings over to block that possibility.... MICHAEL Using the superior maneuverability of K.I.T.T. and the added boost, he swings to the inside and starts to pass the rig.... FLYNN reacts to the move and starts to swing his rig back to the inside, threatening to squeeze Michael off the road.... SCENE Michael skids off the road bed and onto the shoulder. Gravel and dirt are thrown in the air and he just barely slips by the truck and swings back on the road in front of the Flynn rig. MICHAEL picks up even more speed and pulls away from the front of the truck, then suddenly spinning the wheel.... SCENE ...and swinging K.I.T.T. in a 180, skids to a stop across the road blocking it. OVER MICHAEL'S SHOULDER - THROUGH PASSENGER WINDOW The Flynn rig bearing down on him...Becoming larger and larger as it fills the screen.... FADE OUT END OF ACT ONE ACT TWO FADE IN K.I.T.T.'S PASSENGER WINDOW - CONTINUOUS ACTION As the truck bears down.... [K.I.T.T.] Good-bye, Michael.... [MICHAEL] Think positive, good buddy.... SCENE At the last possible moment Flynn jams on the brakes...the air brakes screeching in strain...the tractor skidding against the strain.... POINT OF VIEW - PASSENGER WINDOW The truck stopping at the last moment only inches from the window which is filled with the enormous bumper and grill of the tractor.... MICHAEL holds a beat then lets out his breath.... [K.I.T.T.] Would you like to know exactly how close the truck is to us, Michael?? [MICHAEL] Definitely not.... Michael is out of the car.... ANGLE Michael is around the car and at the side of the rig as the door flies open and Flynn leaps from it and onto Michael... They tumble to the ground.... SERIES OF CUTS Michael rolls to his feet and coils as Flynn roars and throws himself at Michael.... Michael ducks under the wild punch.... [MICHAEL] Come on, Flynn, cool it...If you wanted to kill me you would have flattened me with the truck.... Flynn answers with another swing that connects with Michael ...He is about to follow with another which Michael spins under and drives his fist to the midsection of Flynn.... Flynn's breath leaves his body and Michael kicks Flynn's legs out from under him and quickly sits on his chest to keep the smaller man on the ground...Flynn has no struggle left in him.... [MICHAEL] I'm not from Jordon or the police and the only thing you need to keep me neutral is some conversation.... [FLYNN] Then why you're sitting on my chest? [MICHAEL] You have an ability to inflict physical pain...I have an aversion to it...If that's scared the answer is yes.... ON FLYNN He's surprised by the answer, has to laugh.... [FLYNN] Fair enough...Let me up...No more fighting.... [MICHAEL] Can I believe you? [FLYNN] I ain't no liar...I ain't no murderer, either.... Michael slides off Flynn but stays alert.... [MICHAEL] I'll deal with one thing at a time.... [MAMA FLYNN (V.O.)] You'll deal with me first...You just went from burglar to mugger...Get your hands up.... SCENE Mama Flynn and young Sally stand behind Michael...Sally runs to her brother and hugs him...For all his roughness, Joe, is amazingly gentle with her...He strokes her head to reassure her.... MICHAEL As he holds his hands above his head he whispers into his comlink.... [MICHAEL] I could use some help, pal.... K.I.T.T. The dashboard coming to life.... [K.I.T.T.] Of course, Michael...And since turn- about is fair play.... SCENE The roaring voice comes out over K.I.T.T.'s speakers.... [K.I.T.T.] 'This is the police...You're surrounded...Drop that weapon, Mrs. Flynn....' Mama Flynn freezes, they all look around to see where the voice is coming from...This gives Michael the opportunity to grab the shotgun from Mama Flynn's hands...He flings it over the roof of the truck.... [MICHAEL] I think that's about all the ambushes we need for one day.... [MAMA FLYNN] Where are the police...? [SALLY] There are none, Mom...It's that car of his...It's something special.... [MAMA FLYNN] It's not special enough to take on three Flynns.... [MICHAEL] Enough of this? Is that all you people do is fight? We're not going to accom- plish anything if all we do is keep giving each other bloody noses... (at Joe) So far all it got you is a warrant for murder and... (to Mama Flynn) ...all it's doing to you is to make you live with a shotgun growing out of your arm... (beat, softer) So let's start acting sensible and use our brains instead of our fists.... There is a long pause, then Joe speaks.... [JOE] Maybe he's right.... [MICHAEL] You can't keep running around using a forty-foot rig as a getaway car. [JOE] (to Mama) Yeah, and you'll need it to keep bread and butter on the table. [MAMA] Don't worry about us...We can take care of ourselves.... ON JOE His softer beat...to Mama and Sally. [JOE] You're not supposed to have to.... [MICHAEL] (a softer beat) If you're going in quietly, Joe, I'll keep an eye on them.... [SALLY] Like Mom said, we don't need your help. [JOE] (to Michael) All that is fine except for one question...Do you think I'm innocent? [MICHAEL] (few careful beats) I don't know, but I don't know you're guilty yet, either.... [JOE] That's honest enough for me.... Mama comes over to hug her son...Sally gives Michael a hard look.... [JOE] I'll go in with you.... [SALLY] Me, too.... ON MICHAEL He nods his agreement...They get in the car and drive off.... CUT TO EXT. POLICE DEPARTMENT Michael and Joe exit, Sally gives Joe a long sad look...He ruffles her hair. [MICHAEL] If you wait for me, I'll drive you home. [SALLY] Forget it...I'll take the bus.... Michael shrugs, walks away with Joe...Sally eyes K.I.T.T.'s monitor. [SALLY] You can't trust anything you can't program yourself.... [K.I.T.T.] Not true. [SALLY] (reacting) Who programmed you to argue? [K.I.T.T.] I don't argue, Sally, I merely correct improper calculations...You can trust Michael Knight.... [SALLY] Sez you...He turned in my brother.... [K.I.T.T.] Now listen, little girl...I think I like you, but not if you won't keep an open mind when it comes to Michael ...He's a fair man.... [SALLY] What makes you so smart...I have computers that are pushed up to handle over two million K's...What's your capabilities? [K.I.T.T.] Unlimited...I now have over fifty million K's in storage and can introduce one million more everyday if needed.... [SALLY] (beat, impressed) If you tap into my equipment we can talk later.... [K.I.T.T.] Of course, Sally...But if you wait for Michael I can arrange a guided tour of my backup and design head- quarters.... [SALLY] Do I have to be nice to him? [K.I.T.T.] Just be fair with him...He'll help your brother if he can.... [SALLY] (beat) Yeah, well then, okay.... [K.I.T.T.] Thank you, Sally, we have a deal.... Sally nods to the dashboard, leans back in the seat as she looks over the police station.... CUT TO EXT. POLICE STATION - DAY as Joe Flynn is being led out of it, tucked between two uniformed cops, walks down the couple of steps...The camera pulls back to show that the scene is taking place on TV. The camera widens to: INT. JORDON'S OFFICE - DAY Jordon watches the scene with a cynical eye...He hits the remote switch, turning off the set and turns to his ever- present aides and Curtis. Curtis turns to face Jordon in disappointment.... [CURTIS] I wanted to see the end of it.... [JORDON] Why, does it make any difference what make of car they take him to court in? You know what electricity cost today? Or my whiskey you like so much? The two other henchmen in the room look away or find something else to do...They've heard these speeches before. [CURTIS] You're a rich man, Mr. Jordon...Look around at these offices.... [JORDON] This furniture is rented and goes back the minute I put together a trucking monopoly in the area...It's just decoration...and I didn't get rich squandering my money and I'm not about to let you do it for me.... [CURTIS] Right, Mr. Jordon.... [JORDON] And it doesn't cost any money to seize upon opportunity. [CURTIS] Like what? [JORDON] Like you three and the others earning those fat paychecks I pay...You saw the television. The Independents just lost their leader...You got a ten thousand dollar bonus for handling it.... [CURTIS] And I figure that now we're in pretty good shape.... [JORDON] (interrupting) Don't figure, Curtis...Don't think... Don't make decisions...And above all, don't tell me how to make a profit on my investments! (to silence) Now you get out there and sweep up ...While those Indies are disorganized ...Go out there and mess them up... (beat) Finish them up once and for all.... The men in the room keep their look on Jordon...This sets him off.... [JORDON] Well, what are you waiting for...car fare? The men move off.... CUT TO EXT. SEMI - DAY - STOCK As it moves along the road.... [MICHAEL'S VOICE] You might say that Bonnie is the mother.... INT. SEMI Devon, Bonnie, Michael, Sally...Bonnie as usual giving K.I.T.T. her attention. [MICHAEL] Bonnie created Kitt, raised him, and takes care of him with all the maternal love and ferocity of a tigress.... [BONNIE] Michael is kidding...Kitt is his. I just put him back together. [DEVON] Which Bonnie gets a great many opportunities to do with Michael driving all the time. Sally gestures to everything around her. [SALLY] Joey would love to see this. (beat) He still doesn't have a lot of faith in computers or any of that tech- nology in spite of the fact that I.... [MICHAEL] In spite of what.... [SALLY] (elusive) Oh, nothing.... Michael studies her a few beats then leads her gently aside. [MICHAEL] You're the one that set it all up, aren't you? [SALLY] Me, what? [MICHAEL] I've checked the schedules and load capacities of the Independent deliveries and it was worked out to the minute and the ounce.... [SALLY] (tough) My brother, Joe, runs the family business.... [MICHAEL] Sure he does, if you can figure out how to break the Foundation's commu- nications, you'd also have the ability to create a special format for the trucking routes.... ON SALLY She's too young to know how to cover her feelings.... [SALLY] You can't tell anyone...You got to promise not to.... [MICHAEL] I'm impressed. I think it's something you should be proud of.... [SALLY] Yeah, we'll try and convince a bunch of truckers that a fifteen-year-old girl is running their schedule... Those guys listen to Joe...They really look up to him.... [MICHAEL] Just like you do.... [SALLY] That's right...He's the best.... [MICHAEL] I'm sure he is...But you're not so bad yourself.... Sally reddens...She's not used to any kind of feminine treatment...She loses her composure just enough to show her vulnerability. [SALLY] And you got him in jail...We're going to lose everything we worked for...We need Joe. Devon feels for the little waif.... [DEVON] We're willing to do anything we can to help.... ON SALLY A calculating shrewdness flashes in her eyes.... [SALLY] You sure? [DEVON] (reassuring) I'm positive.... Sally points at Michael.... [SALLY] Then give me him! SCENE A series of reactions.... [MICHAEL] Me? [SALLY] (to Michael) I'm talking to your boss. Sally ignores Michael and turns her back on him, faces Devon.... [SALLY] If he can drive the Flynn family rig till you get Joe out of jail, at least we can stay in business.... [DEVON] That's a little out of.... DEVON'S POINT OF VIEW He looks over the top of Sally to Michael who gives him an almost imperceptible nod in agreement.... [DEVON] ...the ordinary but it's possible it could be arranged.... Sally turns back to Michael...She's all business.... [SALLY] You'll get union wages, profit participation and supplemental health benefits...But you better be clear about one thing.... [MICHAEL] I think I know... (beat) You're the boss.... On her positive nod and Devon and Bonnie's smile we: CUT TO EXTERIOR - BLUE SKY - DAY Camera moving down. We hear the filtered voice of Sally over a CB radio. [SALLY (V.O.)] ...and then you pick up at the train yards for an intermediate drop at LAX. FLYNN TRUCK AND TRAILER as it moves along the open road. [SALLY (V.O.)] You got it...Over. INSIDE FLYNN TRACTOR Michael at the wheel.... [MICHAEL] I got it, boss...Does my having lunch enter into any of our schedules? [SALLY] Eat it on the move...Out. Michael smiles at the CB as he hangs up the mike...Then talks into his comlink. [MICHAEL] You hungry, pal? [K.I.T.T. (V.O.)] Perhaps a little lonely, Michael, but rather enjoying my independence.... ANGLE ON ROAD as the camera moves back along the length of the truck past it to: K.I.T.T. (DRIVERLESS) following the truck.... [K.I.T.T.] And if I may comment, that schedule that Sally layed out is well planned and fiscally sound...It's excellent.... [MICHAEL] Easy for you to say, you're not driving.... [K.I.T.T.] Yes I am, Michael, and without union benefits.... Michael laughs. [MICHAEL] In that case you'll be on a coffee break in a few minutes...I'm meeting Mama Flynn at the truck stop. [K.I.T.T.] What about your schedule? [MICHAEL] I'll work overtime.... [K.I.T.T.] Easy for you to say. NEW ANGLE Michael pulls into the truck stop and pulls between some rigs...He exits the cab. EXT. TRUCK STOP Mama Flynn waiting for him...He approaches her and they enter together.... [FRANK DIAL (V.O.)] (soft spoken, but direct) Why you? If you were on our side you wouldn't have put Joe in jail.... CUT TO INT. TRUCK STOP - DAY The group of Independent truckers uses the tables in the dining room area for their informal meeting. Michael is faced by this wary group of men who are not openly hostile but are not prepared to deal with total strangers. Among them we recognize Frank Dial, "Burgers," and Mike Curtis.... [MICHAEL] Where would you suggest he be...he's got to answer to that charge or he'll spend his life running from the cops... (beat) That is unless he's guilty. [BURGERS] We would have protected him...He didn't kill Janetti.... [MICHAEL] Then maybe you can help me prove it.... [BURGERS] (smart-ass) Sure, be glad to...Tell me what I'm supposed to say and who to say it to.... [MICHAEL] That's not the answer to this and you know it.... Mama Flynn sounds out to the group.... [MAMA FLYNN] Come on, guys, loosen up...I ain't crazy about this dude, either, but I don't see anyone else rushing forward to help.... [DIAL] You still haven't told us why we should trust him.... [MAMA FLYNN] (shrugs) Why not? Sally does. [MICHAEL] (reacting) She does? [MAMA FLYNN] Don't you tell her I told you.... TRUCKERS They hold their silence for a few beats and then Burgers is the first to laugh and then the others join in...The tension in the room is broken. The men are relaxed and if Michael is not accepted, he is at least past the first hump in being listened to. [MICHAEL] Okay, let's go back to the fight Joe had with Janetti...How many of you guys were there? The truckers eye each other, still not ready to answer direct questions. Michael senses this.... [MICHAEL] Hey, fellas...I can't wait till Sally is old enough to marry me just to get a few answers. Won't you just talk to her new boyfriend? Dial smiles and speaks up.... [DIAL] Yeah, I was there...But the fight had nothing to do with anything... Joe got in a lot of fights...If that meant murder, half the guys in this room would be dead.... [MICHAEL] I want to get down to exact timing... Whether it was even possible for Joe to commit the crime.... There is interest in the group now...and a sudden concerned look on the face of Mike Curtis...He glances at his watch.... [CURTIS] I got a couple of drops to make... I'll catch up later.... He moves off as Burger answers Michael.... [BURGER] Me and Frankie hung onto Joe for about five minutes after the fight, then he hung around till he cooled down and took off.... [MICHAEL] How much time would you say that took? The camera follows Curtis as he exits the truck stop and then picks up his pace.... CUT TO EXT. TRUCK STOP - LATER Michael exits the truck stop, hops into the Flynn rig and drives out.... EXT. ROAD - DAY - MICHAEL/K.I.T.T. - INTERCUT AS NEEDED Michael moves along with the Flynn rig...K.I.T.T. is still following. Michael and K.I.T.T. are back at their conver- sation. [MICHAEL] The only thing I learned was that it could have been Joe who forced Janetti off the road.... [K.I.T.T.] Not exactly new information, Michael.... [MICHAEL] No, but maybe a new attitude...I'm starting to believe that Joe's innocent. [K.I.T.T.] Based on what? [MICHAEL] Nothing, everything still points to him.... [K.I.T.T.] Well, Michael, I'd suggest you slow down or you might get the opportunity to discuss your theories with the police...There's a couple of vehicles coming up fast.... INSIDE TRACTOR - MICHAEL checks his speedometer and then slows a little...Then is snapped alert by K.I.T.T.'s warning.... [K.I.T.T.] Michael, watch out! They're not police! ROAD A pickup truck and an unhitched tractor try to zip past K.I.T.T. ANGLE - K.I.T.T. moves over on the road to block them but they are on either side and the tractor passes K.I.T.T. on the inside as K.I.T.T. is able to block out the pickup truck. FLYNN RIG as the tractor pulls up next to it and: ANOTHER ANGLE An arm flings out a flaming projectile...Michael swerves his rig at the last moment. CLOSER ON FLYNN RIG The projectile can now be seen as a flame bomb...It misses the tractor part of the rig and lands between the tractor and the trailer. SCENE The two vehicles racing down the road...Smoke starting to billow from the Flynn rig. K.I.T.T. still playing cat and mouse with the pickup truck, wants Michael.... [K.I.T.T.'S VOICE] Michael, you're on fire.... MICHAEL Smoke starting to fill the cab and blind him.... ENEMY TRACTOR pulls next to Michael, preparing to fling another fire bomb directly at the cab.... MICHAEL His reaction.... FREEZE FRAME FADE OUT END OF ACT TWO ACT THREE FADE IN MICHAEL - CONTINUOUS ACTION as the fire bomb is released from the enemy truck.... [MICHAEL] Kitt. INSERT - K.I.T.T.'S DASHBOARD as it goes through its electronics, then: SCENE The fire bomb explodes before it hits Michael in the tractor.... [K.I.T.T.] I hit it, Michael...You're still on fire...If I jam your brakes you'll fishtail.... [MICHAEL] If I bail out we'll lose the rig.... [K.I.T.T.] ...and live to fight another day.... [MICHAEL] Got the message.... K.I.T.T. pulls up allowing the pickup truck to pass him now.... ANGLE as K.I.T.T. pulls between the Flynn rig and the enemy tractor.... ROAD The three vehicles racing down the road side by side... Flynn's rig belching thick smoke from the fire.... MICHAEL fighting the wheel, the smoke blinding him...He throws open the driver's door, looks down at.... MICHAEL'S POINT OF VIEW - K.I.T.T. right alongside now and looking very small next to the large rigs that sandwich him. ENEMY RIG trying to squeeze in against K.I.T.T., the size of it enough to squash K.I.T.T. K.I.T.T. pops the T-roof.... [K.I.T.T.] Now, Michael.... SCENE Michael jumps from the smoking truck into K.I.T.T...K.I.T.T. hits the turbos and pulls away from the other vehicles. ANGLE The enemy tractor and the pickup truck veer away and are lost down a side road.... FLYNN RIG It continues on a short distance then the trailer section jackknifes around and overtakes the tractor...It flips over...then explodes.... K.I.T.T./MICHAEL swinging a 180 and head back to the wreckage.... SCENE ...in time to see it burst into a ball of flame.... [K.I.T.T.] We were very lucky, Michael.... [MICHAEL] What about those two trucks...? K.I.T.T. scans the area...then.... [K.I.T.T.] I can't locate them...Something may be damaged.... [MICHAEL] (beat) I guess they were lucky also.... EXT. TRUCK STOP - DAY - ESTABLISH [SALLY'S VOICE] (angry) Accidents are rated one percent of total working days...You're out one day and you lose a complete rig... We'll be lucky if our insurance pays what we owe.... EXT. PATIO Sally and Mama Flynn face Michael. Sally flares. [SALLY] As of now for insurance purposes your overall safety record is rated as poor to uninsurable.... [MICHAEL] I'm sorry.... [SALLY] You're fired. [MICHAEL] Fired? [K.I.T.T.] I normally don't interrupt, Sally, but there was no way to save your vehicle. I was the one that advised Michael to abandon it...I have the tapes if you'd care to examine them.... [MAMA FLYNN] Won't make any difference any more now that we've lost...The guys heard about the accident and they know we're beat ...They're pulling out.... [MICHAEL] All of them? [MAMA FLYNN] Enough to finish us...Frank Dial and Burgers will hang in...Frank is Joe's closest friend.... [SALLY] And Burger has this crush on Mom...Joe is in jail and they know we can't make the crop delivery now...We're finished. [MICHAEL] Hold on...Are you sure this crop delivery is the one thing to keep the Independents together? [SALLY] We deliver first crop and we have the full season contract...You want to see the printouts that prove it? [MAMA FLYNN] But no first delivery, no season run.... [SALLY] And that's all she wrote.... Sally walks away, sits on the rear bumper on K.I.T.T. Mama Flynn eyes her with a sympathetic tenderness...She explains it to Michael.... [MAMA FLYNN] This is more important to her than to any one of us...I got calluses, she doesn't. She lost her father when she was two, and any chance of being raised in frilly dresses by the time she was five, and now her brother and her 'business' by fifteen... (beat) And there's nothing I can do about any of it..... ON MICHAEL He's touched by the speech...a few beats, then.... [MICHAEL] Maybe I can.... He moves around to Sally, grasps her firmly by the arm and not too gently steers her into K.I.T.T., then drives away.... INSIDE K.I.T.T. - MICHAEL/SALLY as they drive off. She's mad...Michael is in a no-nonsense mood. [SALLY] You know what you get for stealing kids? [MICHAEL] I only borrowed you and I have your mother's permission.... [SALLY] Okay, so you got me...what're you going to do, wreck me? [MICHAEL] That's a cheap shot.... [SALLY] Then you can have it for nothing.... Michael's own anger is starting to build. [MICHAEL] I'm going to try and explain things to you once more.... [SALLY] Forget it...I ain't listening...You're a loser.... Michael looks upward in frustration...Talks to K.I.T.T. [MICHAEL] What do I do now, Kitt? [K.I.T.T.] Children should be treated with great patience, reasoned with and educated so that they can be brought slowly into maturity and a solid relationship with society.... [MICHAEL] I don't have that much time.... [K.I.T.T.] Then I suggest a firm but kindly spanking.... Michael jams on the breaks as Sally reacts in shock.... [SALLY] You going to beat me up just 'cause a computer tells you to? She smacks the dashboard with an angry fist.... [SALLY] And you...I thought you were my friend.... Michael turns to face her...Sally starting to lose her toughness.... [SALLY] You ain't really going to do it, are you? [MICHAEL] Don't you think you deserve it...? ON MICHAEL as he eyes Sally...He can't do it and he knows it.... [MICHAEL] No, I guess I can't.... Sally loosens up slightly but she has lost her veneer of toughness...A few beats, then.... [SALLY] You know nobody but Joey ever spanked me... (beat) And then he was like you...He only threatened..... [MICHAEL] Then if he's like me, maybe I'm just a little bit like him.... [SALLY] He's the greatest...He really is.... [MICHAEL] I can only try to come near that, but I am willing.... ON SALLY Her own emotional dilemma...Some beats.... [SALLY] I know...You ain't such a bad guy... It's just...just.... Michael reads her feelings.... [MICHAEL] Sally, it's okay to be scared..... ON SALLY This breaks her...She starts to pour out her feelings...The words like the tears, flow.... [SALLY] He's all I got...Joey...and he ain't here...My mom, she's lonely...she wants to marry Burgers but she won't 'cause of me and it's okay with me, but she won't ask and we're going to lose the truck and the house and there's not going to be anything left and it ain't right. (beat) We're not bad people and we don't do anything that wrong.... The tears fill her face and she is in Michael's arms...He strokes her head like he's seen Joe do.... [SALLY] ...and even you and that fancy Foundation can't help us.... SCENE [MICHAEL] I'm going to do everything I can, Sally...I'm not your brother and I can't replace him but I can keep things going for him till he gets back...I truly believe that he's innocent.... [SALLY] (excited) You can get him out...? [MICHAEL] One thing at a time...First let's make sure he's got a place to sleep and eat if I do... (beat) Where's this crop depot and who do I have to talk to....? Sally eyes Michael, the trace of a smile...Maybe he is starting to look more like her big brother.... CUT TO EXT. GREEN LUSH FIELDS - DAY - STOCK Pickers working at the harvesting of the crops.... PRODUCE LOADING BAY that spreads out around the one-story building...Michael pulls up in K.I.T.T. ANGLE As Michael exits K.I.T.T. he looks over to see a small sedan with the Jordon Trucking logo on the door...He moves up the loading dock and around a corner to.... NEW ANGLE where chief dispatcher Linden is in conversation with Jordon and one of his henchmen...Mike Curtis, off to one side reacts when he sees Michael...Michael steps up to them, speaks to Curtis.... [MICHAEL] When you work both sides you're bound to get squeezed in the middle.... [CURTIS] (flaring) I got a right to do business anywhere I want.... [MICHAEL] Me, too... (to Linden) Mr. Linden, I'm Michael Knight...I just spoke to you on the phone.... [JORDON] Curtis, take your friend out for a beer...He's interrupting me.... Michael holds Curtis in place with a look...Turns to Jordon..... [MICHAEL] You're Jordon...? [JORDON] Mr. Jordon...Knight, isn't it? [MICHAEL] For the sake of conversation you can call me Flynn.... Jordon reacts...The color rises.... [JORDON] Flynn is finished...You must be looking to join him.... [MICHAEL] Not quite... (to Linden) I believe there's a standing deal for us to deliver your crop.... Linden eyes one and then the other...He speaks honestly and directly.... [LINDEN] That was the truth when you had the ability to deliver it...From what I hear you can't make the early market. [MICHAEL] Because they say so...? [JORDON] You can't possibly make any schedule... (to Linden) Flynn doesn't even have a rig anymore.... [MICHAEL] That's not your problem, Jordon...It's between Linden and me.... [JORDON] You'll all go down the drain together ...Your crop and the Independents.... [LINDEN] I'd like to help out Knight, but just like you, there's a lot of people that depend on me to get this crop in right. [MICHAEL] And if I do it...? [LINDEN] If I thought you could I'd keep my end of the deal.... [JORDON] But you can't so if you'll go about your business, I'll take care of mine.... MICHAEL reacting, thinking fast.... [MICHAEL] What if I guarantee it...?? [JORDON] With what, your shiny little black car? There's over a hundred thousand dollars involved in this shipment alone.... Linden is also a patient man.... [LINDEN] How would you guarantee it? [MICHAEL] A completion bond. ON LINDEN A few beats as he eyes both men...Then speaks to Michael.... [LINDEN] If you can put up a fifty-thousand- dollar bond by midnight, you get the route.... [JORDON] I'll put up a hundred.... [LINDEN] (annoyed at Jordon) Fifty is sufficient and I did have a deal with Flynn first...If he meets the bond he's got it... (to Michael) You know where to reach me.... Linden nods and walks away.... SCENE Jordon is not feeling too pleasant towards Michael.... [JORDON] If you cost me one penny of profit you'll live to regret it.... [MICHAEL] (pressing) Going to run me off the road again, Jordon?? (to Curtis) Or are you the one that does that...??? The henchmen and Curtis take a threatening step forward.... K.I.T.T. The motor roars to life...The sound of it getting the attention of the group...They freeze.... BACK TO SCENE [MICHAEL] Either way, I'll be looking forward to meeting you again.... Michael backs away and then moves to K.I.T.T. ANGLE As Michael drives away Jordon erupts.... [JORDON] I don't care what you have to do, I want those truckers stopped.... [CURTIS] They'll be in convoy...We'll need a lot of people.... [JORDON] I don't care...wipe out the convoy. Do it...I don't even care what it cost.... Reactions.... CUT TO EXT. F.L.A.G. SEMI - DAY [DEVON'S VOICE] A fifty-thousand-dollar bond? Michael you've got to be out of your mind.... INT. SEMI [MICHAEL] You want the truckers to go down without a chance...? [DEVON] Of course not...But.... [MICHAEL] And Mama Flynn and Sally...??? [DEVON] No...however.... [MICHAEL] And make me and the Foundation look like fools...???? [DEVON] (reacting) Never! [MICHAEL] Then what's a fifty-thousand-dollar bond among friends...? [DEVON] I'll have to make a couple of calls but, all right, Michael.... [MICHAEL] That's great, Devon, but there's just one more small thing.... DEVON On his pained look, expecting the worst.... FADE OUT END OF ACT THREE ACT FOUR FADE IN EXT. CROP DEPOT - DAY Busy with the activity of the loading of the crop onto the various Independent trucks...None of them match, none of the trailers are the same, even one flat bed mixed into the group...They are spirited and feeling pretty good as Dial keeps the heavier Burgers sweating.... ANGLE ON K.I.T.T./MICHAEL Michael sitting inside and talking to the monitor.... [MICHAEL] It's going to be all right, Devon. INSIDE K.I.T.T. The screen image of Devon...he isn't as sure.... [DEVON] I don't know how you talked me into it.... [MICHAEL] Don't blame me, Devon, you always told me you never do anything you don't really want to.... [DEVON] I always felt that way... (beat) ...till now...Actually I don't mind arranging for the guarantee bond.... [MICHAEL] See what I mean, Devon...I didn't talk you into a thing.... [DEVON] ...however, allowing you to use the F.L.A.G. semi to deliver onions is beyond my comprehension.... ON F.L.A.G. SEMI as the onions are being loaded into the semi supervised by Mama Flynn. [DEVON'S VOICE] Barring any jeopardy, the smell of those onions could last for months. Michael tries to contain his laughter.... [MICHAEL] If you whistle or put a pin in your mouth I won't have to watch a grown man cry...Gotta go, Devon.... [DEVON] Well, yes... (beat) Good luck, Michael.... [MICHAEL] Thanks, Devon.... The screen flicks off...K.I.T.T.'s voice fills the gap.... [K.I.T.T.] Michael, I've come to understand your humor, but don't you think you're being a little rough on Devon? [MICHAEL] No.... [K.I.T.T.] (beat) Thank you for your prompt answer.... Michael laughs, exits K.I.T.T...He moves to the: LOADING DOCK where the last of the crates are being loaded into one of the trucks. Mama Flynn and Sally are mixed in with the activity...The rear door of the trailer is slammed shut against the last crate and the group looks over to Michael...Like it or not they have chosen their leader. Michael accepts. [MICHAEL] We all set? [DIAL] We're set.... [MICHAEL] You all know that Jordon and his group have this last shot at us.... [BURGERS] Let them come. [MICHAEL] I think they will, so stay close and keep moving.... They break up and load onto their respective vehicles. Sally gets a hug from Mama before she moves off, leaving the girl standing there...Michael gives her a look...She returns a thumbs-up signal. CUT TO EXT. DEPOT as Michael and K.I.T.T. lead out of the area and turn onto the road...The trucks trail him like the ass end of a rattlesnake. INSIDE K.I.T.T. Michael flicks on the monitor.... [MICHAEL] We're pulling out now, Devon.... INTERCUT AS NEEDED - MONITOR - DEVON A puzzled look on his face. He holds a beat, then.... [DEVON] Michael, if you're talking to me on the monitor, who's driving my F.L.A.G. vehicle? ANGLE ON F.L.A.G. SEMI Mama Flynn at the wheel.... [MICHAEL'S VOICE] The best...Mama Flynn.... Devon's reaction.... [MICHAEL] Trust me, Devon...talk to you later.... LOW ANGLE ON THE ROAD The trucks now stretch out along the road, Michael leading ...They drive past camera with a roar.... WIDER SHOT As Michael pulls out from the front of the convoy, he keeps moving but slows slightly and waves the second truck, (F.L.A.G. truck) to continue on as the lead...The other trucks passing him as he checks each of the rigs.... VARIOUS SHOTS The drivers, Mama, Dial, Burgers, and the others wave to him as they pass...They are all animated, all with an excitement showing on their faces.... INSIDE K.I.T.T. Michael has the same look on his. THE CONVOY Arms and fists out the side windows cheering themselves on.... The camera pulls back to: JORDON as he watches from a high point...The look on his face... one of controlled fury...He turns to Curtis.... [JORDON] What are you waiting for?? Get them ...Wipe them out...They don't even have any armed protection...Giving you a bonus for this one is a waste of my money. [CURTIS] (annoyed) Then why not do it yourself and save it?... [JORDON] If I didn't think it was easy I wouldn't be hanging around to make sure I get what I pay for...Now get it done.... Curtis eyes him...Talks into a hand radio as he moves off to his tractor.... CUT TO K.I.T.T./MICHAEL K.I.T.T.'s control panel flashes.... [K.I.T.T.] Michael, I'm picking up some short wave communications on the Jordon Trucking frequency.... [MICHAEL] What's the location? INSERT - MONITOR A grid map flashing and showing three vehicles bearing down on the rear of the convoy. [K.I.T.T.] Moving towards the rear of the convoy. BACK Michael reacts, slides away from the lead position, swings into a 180.... REAR OF CONVOY Two pickup trucks and Curtis' tractor swoop down at the rear of the convoy...Burgers is driving the last truck, a rig with a fully loaded flat bed, the crop crates tied down with a tarp.... MICHAEL'S POINT OF VIEW THROUGH WINDSHIELD as he speeds towards the rear of the convoy...One of the pickup trucks and Curtis' tractor is forcing Burgers' flat bed off the road...Michael drives right for them, heading for the Curtis tractor, bearing down on it.... SCENE The two assault vehicles split off, swerving to evade the collision with Michael.... ANGLE One of the pickups slides off the side of the road and is disabled. BURGERS' TRUCK trying to regain control, swerving from side to side on the road.... K.I.T.T. swinging another 180 and heading back after the convoy which has built up some distance.... CONVOY The other pickup truck staying with Burgers' rig. It continues to force him over to the side of the road.... Curtis' rig moving on down the line.... BURGERS' RIG swinging a little out of control...The flat bed starting to swing around in a fishtail...Burger has to jam on the brakes as he comes to a curve in the road.... ANGLE The load slides off the flat bed and scatters some of it covering the road.... CURTIS' RIG bearing down on the next rig in line.... MICHAEL/K.I.T.T. after them...He blasts through the littered road sending debris into camera and passing Burgers who: BURGERS' TRUCK ...skids to a hair-raising stop off the side of the road ...then looks upward in gratitude.... ROAD Dial and the other pickups trying to accomplish their same deed with the next truck...This one blocks part of the road...Michael bearing down on them.... INSIDE K.I.T.T. The monitor flashing signals that keep pace with the action.... [K.I.T.T.] Michael, there's another assault heading for the front of the convoy ...I read it as three vehicles.... ROAD The next truck seems to be holding its own against the Curtis rig and the pickup but have the road blocked...There is no way around. Michael speeds up.... [MICHAEL] Give me what I need, buddy, we're going over the top.... DASHBOARD doing its functions.... SCENE K.I.T.T. speeding up and launching over the moving pickup truck.... ANGLE ...and landing in front of the truck, continuing on.... F.L.A.G. SEMI Three vehicles head out of a side road and directly towards the blind side of the semi. INT. SEMI Mama Flynn not seeing the move but busy watching the action behind her through the rearview mirrors...The voice of Sally brings her back to the world of peril.... [SALLY'S VOICE] Watch out, Mom...On the blind side!! Sally crawls out of the sleeper compartment area...Mama reacting.... [MAMA FLYNN] What are you doing here.... [SALLY] Yell at me later, Mom...Now you better drive.... Mama sees the logic, swings the wheel over.... SCENE The three assault trucks headed for the front of the F.L.A.G. semi trying to jam it off the road...Mama expertly spins the truck over to one side of the road and evades the first assault.... ANGLE - K.I.T.T./MICHAEL Never slowing, he slides over next to one of the trucks and forces it off the side of the road. ASSAULT TRUCK It spills out of control and into the gulley. ROAD Michael continues at speed to turn back to the other trucks...They are now on either side of the F.L.A.G. semi.... SEMI Mama sees Michael coming up through her side mirror...She pulls over to give him some room.... SCENE The assault truck on the inside reacts to the larger semi moving on it and slides off the shoulder of the road, out of it.... K.I.T.T./MICHAEL force their way between the semi and the other assault truck and then Michael tucks K.I.T.T.'s nose in front of the truck and forces him to the inside of the road and halfway up a bank.... ASSAULT TRUCK as it climbs the bank and then flips over.... F.L.A.G. SEMI Mama and Sally satisfied, then Mama's reaction...From her vantage point she can see down the road.... POINT OF VIEW THROUGH WINDSHIELD Two trucks (or cars) straddle the road and block it.... SCENE Sally waves her arm out the window, warning Michael.... K.I.T.T. speeds up and pulls in front of the semi, gains some more speed.... MICHAEL'S POINT OF VIEW THROUGH WINDSHIELD - THE TWO CARS blocking the road.... [K.I.T.T.] Michael, you're not going to....You are, aren't you...? [MICHAEL] Not without you, buddy.... [K.I.T.T.] Obviously, Michael.... VARIOUS ANGLES as K.I.T.T. speeds towards the blockade and blasts through them, the two blocking cars spinning and flying out of the way.... MAMA FLYNN/SALLY Their reactions.... CURTIS' TRACTOR pulls up and lets the convoy go...He picks up his radio.... [CURTIS] It's over, Jordon...We can't stop them.... JORDON next to his auto...His rage apparent now.... [JORDON] You finish them off, Curtis, or I'll let the cops know you're the one that killed Janetti.... INSIDE K.I.T.T. The filtered voices of Curtis and Jordon coming over the speaker.... [CURTIS] (filtered) Then we'll both go, Jordon, but at least I'll be running.... MONITOR The map grid flicking out the locations of the vehicles.... [K.I.T.T.] Which one do we want, Michael? [MICHAEL] Let's get Curtis...The cops can pick up Jordon any time.... ROAD Michael whips K.I.T.T. around and speeds up...He screeches, whips around a curve and spots the tractor and the one last pickup racing away.... ANGLE Michael and K.I.T.T. bearing down on the two of them...Then the pickup pulling to the shoulder of the road...The driver climbing out of the truck and standing there with his hands up. Michael continues past.... [MICHAEL'S VOICE] Get a picture, Kitt, just in case he changes his mind.... INSIDE K.I.T.T. The monitor does its thing.... [K.I.T.T.] You'll have the police working overtime if you keep this up... (beat) That's the Curtis vehicle dead ahead.... [MICHAEL] How do you suggest we take him?? [K.I.T.T.] Gently, Michael...Gently...I hate making excuses to Bonnie...She worries.... [MICHAEL] Okay, buddy...I'll do the best I can...How about micro jamming his brakes? [K.I.T.T.] My pleasure, Michael.... MONITOR K.I.T.T. does his thing again.... CURTIS' TRACTOR The brakes locking and the tractor skidding to a stop sideways across the road.... MICHAEL seeing that he cannot pass.... [MICHAEL] Give me boost, now! SCENE K.I.T.T. launches in the air and sails across the tractor.... ANGLE as K.I.T.T. lands on the other side and spins a quick 180...then moves to the tractor.... [MICHAEL] So much for gently, Kitt.... [K.I.T.T.] Sorry, Michael, just thought we should try.... [MICHAEL] No sweat...We made it.... CURTIS TRACTOR Michael yanks Curtis from the cab.... [CURTIS] Enough...I've had enough...I ain't the guy you want.... [MICHAEL] Then I'm sure you'll tell me who it is.... [CURTIS] Can't we make a deal? [MICHAEL] I can make one with Jordon if I don't start hearing what I want now.... Curtis' look.... ON MICHAEL His shrug.... [MICHAEL] Life just ain't fair, is it Curtis? FREEZE FRAME FADE OUT END OF ACT FOUR TAG EXT. TRUCK STOP - DAY TAG TO FOLLOW

{"show": "Knight Rider", "season": "s03", "episode": "e18", "title": "Ten Wheel Trouble"}

knightriderarchives

ACT ONE FADE IN EXT. THE RETREAT MANSION - NIGHT We're on a conservative sedan as it pulls up to the locked gate and stops. CLOSER DRIVER His name is Harley Freeman, forty-seven and a brilliant computer scientist. A shy man by nature, even somewhat awkward in public, Harley at the moment appears terribly distraught, nervous, a man pushed to the brink. He inserts a keycard. The gate opens and he drives through. FULLER ON MANSION as Harley nears the entrance. There are other cars in evidence, as well as several guests arriving and leaving. Some have luggage. INT. BIANCA'S SUITE - NIGHT We're on Bianca Morgan as she begins to lift herself from the sunken marble tub in her luxurious bathroom. Barely are her lovely shoulders out of the water before her personal female servant quickly wraps her in a luscious robe. Bianca is in her early thirties and devastatingly beautiful. A woman with an insatiable taste for adventure, of all kinds, Bianca owns and operates The Retreat. Lying beside, always nearby, is her exotic pet cat, Sheeba. [BIANCA] Come, Sheeba. She moves from the bathroom into the main room, which is part boudoir part living room. Sits at the dressing table and begins brushing her hair. Then, hearing the door open, she glances into the upper mirror. BIANCA'S POINT OF VIEW - HARLEY He hesitates, gathers his courage, then enters. Bianca forces a little smile. [BIANCA] Harley...I wasn't expecting you until later. (beat) Looks like you could use a drink. [HARLEY] No. [BIANCA] Just as well. I'm running a little late. Do you have it? No response. [BIANCA] Harley.... She moves to a desk, takes a video cassette out of a drawer. Lying next to the tape we see a gun. She closes the drawer. [BIANCA] Once I deliver this tape, there's no turning back. Is that what you want? No response. [BIANCA] All right, suit yourself. She presses a call button. [HARLEY] My wife is very ill. [BIANCA] Poor wifey...but you should've thought of that before you started playing the game. [HARLEY] You tricked me! [BIANCA] No, Harley, I just gave you something you weren't getting anywhere else -- pleasure. Isn't that right, Sheeba? The cat returns her smile with a harsh bare-tooth meow. ANGLE TO INCLUDE TANYA entering. She's twenty-five, tall, with beautifully chiseled features and the strong, muscular body of a female power builder. [BIANCA] Tanya, I want you to see that Harley's loving wife gets this tape. [TANYA] I'd be glad to. But as Tanya goes for the tape: [HARLEY] No, wait. Bianca looks at him. [TANYA] Then you have the information? [HARLEY] (beat) Yes. She holds out her hand. [TANYA] Well? Beat, then he takes out a small piece of folded papaer and gives it to her. She examines the information written inside. [TANYA] That's a good little boy, Harley... and I'm sure we'll be doing more business in the future. As she opens the drawer to return the tape, Harley sees the gun, makes a frantic grab for it, and levels it on Bianca. Desperately: [HARLEY] No, Bianca...this is the last time you'll ever use me...or anyone else. His hand shaking, he's about to pull the trigger: [BIANCA] Tanya! FAVORING TANYA In an unbelievable maneuver she dives over the couch, does a cartwheel, and comes up kicking the gun out of Harley's hand. Stunned, he turns to her, only to find himself on the other end of three devastating karate kicks that send him flying across the room. ON HARLEY landing near the gun, and picking it up. FAVORING TANYA She raises an outstretched hand at him, and a weapon unlike one we've ever seen suddenly appears from under her long, loose sleeve. It's strapped to her arm, and Tanya quickly presses one of several buttons on the controls. INSERT - WEAPON as an electric current is seen sizzling and cracking out of the barrel. ON HARLEY The electricity hits him with a violent "crack" all but breaking him in two. He actually smokes from the current surging through his body, and falls deathly limp. FULLER ANGLE The two women exchange looks. [TANYA] He was about to shoot, I had to use the full current. [BIANCA] I understand. (beat) When all the guests are asleep you'll drive him up the coast.... Tanya nods. [BIANCA] And remember, my pet...make it look like an accident. (looks down at the cat) Come, Sheeba...time for dinner. And they start out. OMITTED EXT. MALIBU ROAD - DAY - ON K.I.T.T. cruising at a normal speed. [K.I.T.T.'S VOICE] Now let me get this straight.... INT. K.I.T.T. - DAY [K.I.T.T.] One...we're on our way to the beach. [MICHAEL] Right. [K.I.T.T.] Two...when we get to the beach you're going to put a parachute on your back and secure a towing line to my rear bumper. [MICHAEL] So far you're batting a thousand. [K.I.T.T.] That's what worries me. Three...when I get the word.... [MICHAEL] (interrupting) 'Grab the sun.' [K.I.T.T.] (patiently) 'Grab...the sun.' I'm to race down the beach until I get enough speed to make you airborne. [MICHAEL] It's called parasailing, pal. [K.I.T.T.] Wrong. It's called total insanity. [MICHAEL] Well, it just happens to be one of the most popular sports in Acapulco. Only there they do it off the backs of motorboats. [K.I.T.T.] Michael, we're not in Acapulco, and I have about as much in common with a motorboat as you have with a seagull. [MICHAEL] (controlling his pateince) Kitt, you know your problem -- you have absolutely no imagination. [K.I.T.T.] If turning yourself into a human kite is imagination, Michael, then the lack of one is surely the least of my problems. A long beat evenly: [MICHAEL] We're going to give it a try, Kitt. [K.I.T.T.] Whatever you say, Michael. (beeper) Devon is calling. Michael pushes the buttons. Devon appears on the monitor from the Foundation. Intercut as needed. [MICHAEL] Yo, Devon, and if you're in cahoots with Kitt against my parasailing.... But Devon, terribly concerned, interrupts. Softly: [DEVON] Michael, it's Bonnie.... [MICHAEL] What's wrong? ANGLE TO INCLUDE BONNIE distraught, she's seen nearby. [DEVON] A good friend of hers was killed last night in a car accident. Harley Freeman. [MICHAEL] I'll be right there. He punches off. EXT. MALIBU ROAD - DAY - ON K.I.T.T. doing a 180 and heading back toward the Foundation. EXT. FOUNDATION - DAY [BONNIE'S VOICE] (tearfully) Oh, Michael...! INT. DEVON'S OFFICE - DAY Bonnie moves into Michael's arms. He comforts her. [MICHAEL] I'm sorry, Bonnie. [BONNIE] He was such a...wonderful man. Beat, then Michael looks to Devon: [MICHAEL] Where did it happen? [DEVON] On Seaview Road. He was thrown from his car after crashing into a transformer pole. One of the broken wires electrocuted him. (beat) There were also indications he had been drinking pretty heavily. Bonnie pulls away from Michael. [BONNIE] I just don't believe that! [DEVON] Bonnie.... [BONNIE] (interrupting) As long as I knew him I never saw him have more than a glass of wine, and that was usually at dinner. [MICHAEL] How long did you know him? [BONNIE] At least ten years. He was one of my professors at M.I.T. We became good friends. [DEVON] He gave up teaching about two years ago and joined Data-Tech, so he could be closer to his wife. To Michael's curious look: [BONNIE] She's very ill and confined to a hospital nearby. [DEVON] Because of the sensitive nature of his work, all highly classified, and the circumstances of his death, there's going to be a security investigation, and...well, Michael...Bonnie would like you to get involved in it. [MICHAEL] Whoa, wait a second. Bonnie, you know I'd do anything for you, but.... [BONNIE] (interrupting) If you're afraid you might find something, Michael, you won't. [MICHAEL] But suppose I do? [BONNIE] Harley would never do anything to betray his country. [MICHAEL] I'm sure you're right. But just on the slightest chance you're not -- what then? What's that going to do our relationship? Our friendship? [BONNIE] (slight beat) I thought of that, Michael. I'd be lying if I said I didn't.... [MICHAEL] And? [BONNIE] If Harley was involved in something he shouldn't have been...then I guess I'd rather hear it from you than some stranger. Don't worry, I won't shoot the messenger. [MICHAEL] (beat; nods) All right...Devon? [DEVON] I've already made the appropriate calls...if you want the case it's yours. Michael looks at Bonnie, hoping he's made the right decision. EXT. THE RETREAT - DAY - ANGLE ON POOL The guests, mostly men but some women, are being catered to by The Retreat hostesses and hosts. ANGLE ON BIANCA coming from the mansion with Tanya. Sheeba with her. [BIANCA] You're sure you don't want to take one of the other girls with you? [TANYA] Why? Don't you trust me? [BIANCA] (slight laugh) You know better than that. It's just that...well...this little prize is something special. You might even say it was Harley's masterpiece. [TANYA] Then don't worry. I won't let you -- or Harley -- down. She smiles. [TANYA] See you later. Tanya heads for a nearby Bronco, as innocently and as lovely as a young girl off to the beach. ON BIANCA as she heads toward the lanai, obviously looking for someone. Not seeing him, she stops Monica, who is only sensational; not quite as physical as Tanya, but close. [BIANCA] Monica, did you see Mr. Cooper? [MONICA] He's right over there. ANGLE TO INCLUDE TED COOPER thirty-seven, nice looking, a button-down security type who's presently being pampered and lotioned by Veronica, who falls somewhere in between Tanya and Monica. These are three winners. [BIANCA] Come, Sheeba. Time for the kill. Bianca moves to Cooper. He glances up from his lounge, definitely likes what he sees. [BIANCA] Mr. Cooper, welcome to The Retreat. He smiles. [BIANCA] My name's Bianca Morgan, I'm the owner. He gets up. [COOPER] Good to meet you. [BIANCA] Veronica, why don't you bring Mr. Cooper a drink. [COOPER] Thank you. Veronica goes off. [BIANCA] I hope you're having a relaxing time. [COOPER] Just what the doctor ordered to recharge my batteries. [BIANCA] I know what you mean. My father was a physicist. [COOPER] No kidding. [BIANCA] Yes. In fact, I built The Retreat in his memory. So that members of the scientific community could have a place to...exchange ideas...catch up on their correspondence...meditate ...or just lie in the sun and do nothing. (slight beat) Mind if I join you? [COOPER] No, not at all. They sit on separate lounges, as Veronica comes over with two tropical drinks. [VERONICA] Two specialities of The Retreat. [BIANCA] Thank you, Veronica. (beat) What...company do you work for, Mr. Cooper? [COOPER] Ted. Omega Industries. Actually, I'm not really a scientist. [BIANCA] No? [COOPER] Uh-uh...I'm head of security. [BIANCA] Well...what do you know about that, Sheeba? (pets the cat; lifts her glass) Cheers. They exchange smiles and drink. EXT. HARLEY'S HOUSE - DAY K.I.T.T. is parked outside the small, unassuming home. [BONNIE'S VOICE] What did you find? OMITTED INT. HARLEY'S LIVING ROOM - DAY Michael looks at a note pad. This is the same paper that Harley gave Bianca, only blank. [MICHAEL] I don't know. Something he wrote on the previous sheet of paper. (taking a pencil) Maybe just a phone number.... He gently runs the pencil back and forth over the paper until only the white indentations show. He reads: [MICHAEL] 'Tri-State Courier Service...' It's routing information...with today's date. (on comlink) Kitt.... OMITTED INTERCUT AS NEEDED [K.I.T.T.] Right here, Michael. [MICHAEL] I want to find out if Tri-State Courier is delivering anything for Data-Tech today. [K.I.T.T.] I'll get right on it. FAVORING BONNIE as she looks into a cupboard containing, among other things, numerous bottles of booze. Michael sees her: [MICHAEL] For a man who only sipped an occasional glass of wine, your friend kept a well-stocked bar. Bonnie looks away, her eyes falling on the small room with things tossed carelessly about. She shakes her head sadly: [BONNIE] I don't understand it, Michael. I could be in a complete stranger's house. [MICHAEL] (beat) People change, Bonnie...and we don't always know why. Michael looks down at a desk, begins going through some snapshots. Bonnie goes to him. [BONNIE] All right, so Harley changed. He drank a little more, he didn't care as much about neatness, but that doesn't mean he was involved in anything illegal. [MICHAEL] Right...but you have to admit it does add a new dimension to his profile. (re photo) Any idea who she is? INSERT - PHOTO OF BIANCA at the side of the pool. [BONNIE'S VOICE] No. BACK TO SCENE Michael turns the photo over to read in Harley's handwriting: [MICHAEL] 'The Retreat.' Takes another look at Bianca. Then the comlink beeps. On comlink. Intercut as needed. [MICHAEL] What've you got, Kitt? [K.I.T.T.] Your hunch was right, Michael -- one of Doctor Freeman's projects -- a microcomputer board -- is on its way to a testing facility this very moment. [MICHAEL] Start plotting the Courier's route. Bonnie, you stay here and look around. Go through his diaries, photos. See if there's any other mention of this 'Retreat.' [BONNIE] All right, Michael, and be careful. (slight beat) I got you into this, remember? [MICHAEL] Hey, what else did I have to do but go parasailing anyway? An encouraging hug and Michael hurries out. OMITTED EXT. HARLEY'S HOUSE - DAY as Michael slides behind the wheel. INT./EXT. K.I.T.T. - DAY - INTERCUT MONITOR GRAPH [K.I.T.T.] I've plotted the Courier's route, Michael. [MICHAEL] Now give me the fastest point of interception. [K.I.T.T.] He should be coming up to the Foothill Junction now. [MICHAEL] Let's see if we can cut him off! Michael smokes out. OMITTED EXT. FOOTHILLAREA - DAY - ON COURIER'S CAR It's an unmarked sedan. The Courier, however, is in uniform, armed, and has a security case next to him. Suddenly, something in the mirror catches his eye. WHAT HE SEES Tanya driving the Bronco far behind him. ANGLE ON TANYA as she maneuvers the Bronco into position. VARIOUS ANGLES as Tanya pushes a button on the dash, and we see a small explosive dart firing from beneath the bumper. The dart hits the Courier's rear tire, and the tire blows. ON COURIER reacting, pulling over and getting out. As he looks at the tire. ANGLE ON TANYA pulling up, getting out, moving toward him. [TANYA] Having trouble? [COURIER] Just a flat tire. [TANYA] Maybe I can give you a hand. And as she lifts her hand, the concealed electric blaster shoots out from beneath her sleeve. She fires, and the current hits the Courier with a lightning-like crack. He falls. In a flash, Tanya opens the car, takes the case and returns to the Bronco. But as she starts to get in she sees something: TANYA'S POINT OF VIEW - K.I.T.T. still a good distance off, but coming up fast. BACK TO SCENE Tanya gets in and peels out, turning onto a side road. EXT./INT. K.I.T.T. - DAY racing toward the scene. Intercutting monitor graph. [K.I.T.T.] Michael, that's the Courier's car up ahead. [MICHAEL] And that's the Courier lying next to it. Scan his vitals, pal. [K.I.T.T.] He's in a state of shock, Michael. [MICHAEL] Then we better give him a hand. And get an ambulance here. Quick! Michael gets out, hurries to the Courier and begins giving him first aid. Suddenly: ANGLE ON BRONCO appearing from the side road, and roaring down on Michael. (Note: During the action that follows, Tanya will never get a good look at Michael's features, and he will not see her behind the windshield). MICHAEL K.I.T.T. nearby: [K.I.T.T.] Michael! Michael looks up to see the Bronco...and dives out of the way just as it passes, and down the embankment. VARIOUS ANGLES as the Bronco drives down the embankment after Michael, shooting those deadly darts at him from beneath the bumper. Michael runs, desperately searching for cover. The Bronco makes one pass, two, getting closer each time. As for K.I.T.T.: He springs into action from the beginning of the chase, and is now coming down the embankment. MICHAEL falls, stunned. BRONCO heading right at him. And only a few yards from plowing him into the rugged terrain --- K.I.T.T. roars up between Michael and the Bronco. VARIOUS ANGLES Not wanting to hit K.I.T.T. head on, Tanya turns the wheel at the last moment, drives up the embankment and disappears down the road. [K.I.T.T.] Michael, are you all right?! Michael slowly gets to his feet. [MICHAEL] Yeah.... He looks up the road to see that the Bronco is long gone. [MICHAEL] Come on...let's see about that Courier. As they head back toward the fallen Courier, we --- FREEZE FRAME FADE OUT END OF ACT ONE ACT TWO FADE IN EXT. HIGHWAY - DAY - ON K.I.T.T. as the Trans Am catches up to the semi, rides up the ramp and disappears inside. INT. SEMI - DAY Michael slides out from behind the wheel. [MICHAEL] Any word from the hospital? [BONNIE] The Courier's still unconscious, but his vital signs have stabilized. Michael, you didn't even get a glimpse of the driver. [MICHAEL] No, it all happened too fast. [K.I.T.T.] I'm sorry I couldn't be of more help in that department, Michael, but there just wasn't time for me to make use of my Thermal One Hundred Hard Copier. [MICHAEL] It wasn't your fault, buddy. At least you managed to get the license number. [K.I.T.T.] Yes, that's true. Except that the license plate turned out to be stolen. [MICHAEL] You can't win 'em all. (troubled beat) Bonnie.... [BONNIE] (interrupting) Michael, I know what you're going to say. But just because Harley made a note of the Courier's route doesn't mean he had anything to do with the theft! [MICHAEL] Then why did he make the note? And where is the note? And better yet -- why did he go out of his way to find out the Courier's route in the first place?! [BONNIE] (softer) I don't know, Michael...but I'm positive there must be some logical explanation, and I don't think greed or disloyalty had anything to do with it. [MICHAEL] Maybe not, but one thing for sure...that micro computer board is definitely in the wrong hands. (re desk) Did you find anything else in Harley's apartment. Moving to the monitor area: [BONNIE] I'm not sure...take a look. She pushes the remote, and we see a photo of Harley seated at a table in a restaurant. There's a salad in front of him. [BONNIE] That's a company photograph taken about three months ago at a restaurant called S.I. Fourteen. S.I. is the symbol for silicon and fourteen is its atomic number. [MICHAEL] Great for Trivia Pursuit, but what else? [BONNIE] It's in an area known as Silicon Valley, because of all the hi-tech industries located there.... [MICHAEL] Including Data-Tech. [BONNIE] Yes. Michael, you see that table way in the corner? Michael looks to where she points. [MICHAEL] Kitt, center the upper right quadrant. Done. [MICHAEL] Now move in on it. We see Bianca. [MICHAEL] The lady from the retreat. [BONNIE] And she seems to be eyeing Harley. [MICHAEL] Yeah...like a vulture. (beat, turns) Kitt...I know it's asking a lot...but I want you to make me a brilliant computer scientist. [K.I.T.T.] Michael, that's not asking a lot, that's asking a miracle.... K.I.T.T.'s scanner flashes. INT. BIANCA'S SUITE - DAY Bianca is looking at Harley's micro computer board, as Tanya stands behind her massaging her shoulders. Sheeba near by. [TANYA] All that trouble for a board with a lot of little lines on it. It's not even very pretty. [BIANCA] This board, darling, is going to make me rich. [TANYA] But you're already rich from all the other thefts. [BIANCA] (laughs) A lady can never be too rich. Right, Sheeba? (gets up) But this is only a part of the prize... (opening a hidden safe) The guidance system...but not the missile it controls. The brains but not the body. She puts the board inside, closes it. [TANYA] You promised delivery on both by tomorrow. [BIANCA] That's why we still have a lot of work to do. [TANYA] Meaning Ted Cooper? [BIANCA] Dear Ted...whose wife is off visiting her parents in New England...while he enjoys the warm sunshine of the retreat. [TANYA] Do you want me to go get him? But there's a knock on the door. [BIANCA] No need, my pet...no need. She goes to answer it. Cooper waits on the other side. [BIANCA] Ted...come in, darling. He enters, but stops upon seeing Tanya. [BIANCA] It's all right, Tanya was just about to take Sheeba for a walk. Tanya smiles at Cooper: [TANYA] Have fun. And leaves with the cat. Cooper looks about, impressed: [COOPER] Very nice. [BIANCA] Thank you. This is where I come to recharge my batteries. (gives him a light kiss) Fix yourself a drink...while I see to the hot tub. She smiles and heads for the bedroom. Cooper, alone, smiles in anticipation and goes to the bar. INT. BEDROOM - DAY Bianca opens a locked cabinet to reveal a monitor screen and several recording instruments. She flips them on and we see Cooper at the bar fixing a drink. She sets the taping devices. OMITTED EXT. SILICON VALLEY STREET - DAY - ON K.I.T.T. heading for the S.I. Fourteen restaurant. [MICHAEL'S VOICE] Yes, sir, given a choice between a beautiful woman and a good floppy disc, I'll take the floppy disc anytime. INT. K.I.T.T. - DAY Michael is dressed sort of egg-headishly, and even wears rather unglamorous glasses. He definitely looks different. [MICHAEL] How did that sound? [K.I.T.T.] Truthfully, Michael...I didn't believe a word of it. [MICHAEL] Kitt, if my hunch is right that the contacts are somehow made at the S.I. Fourteen Restaurant, then I've got to pass myself off as a very hot piece of space age manpower! [K.I.T.T.] Lots of luck. [MICHAEL] Kitt! [K.I.T.T.] All right, Michael, I've given you a background that would make you the star of any scientific community. Now you want my advice: Say as little as possible. Pulling up outside the restaurant: [MICHAEL] Thanks a lot, pal. [K.I.T.T.] I didn't mean that as an insult, Michael...it's just that a man with your security clearance can't be too loose with his tongue. [MICHAEL] Kitt...you'd make some diplomat. Keep your infrared diode peeled. He gets out and starts for the restaurant. K.I.T.T. flashes his scanner. [K.I.T.T.] Really, Michael. OMITTED INT. S.I. FOURTEEN - DAY Michael is seated at the bar sipping an orange juice when: [MONICA'S VOICE] You're right...I know how lonely it can be. ANGLE TO INCLUDE MONICA beautiful, friendly. She carries her own drink. [MONICA] Mind if I join you? [MICHAEL] (hesitant; a bit shy) No...not at all. [MONICA] I couldn't help overhear what you were saying to the bartender...does your business take you away from home a lot? [MICHAEL] Yes, I'ma...fraid it does. [MONICA] I used to be engaged to a man in the space industry. Jeff Marvin. Ever hear of him? [MICHAEL] Jeff Marvin? No...but there are so many of us nuclear physicists around, and...due to the...sensitivity of our work we try to keep a low profile. [MONICA] I understand. [MICHAEL] What...happened to your engagement? [MONICA] Let's just say...it's one of those sad little stories I'd rather forget. (smiles) Monica Brown. [MICHAEL] Michael Knightwood. Doctor Michael Knightwood...Beta-Star Industries. And...what do you do, Monica? [MONICA] You might say I'm a...hostess...at a place called...The Retreat. She smiles at him. EXT. S.I. FOURTEEN - DAY - ON MONICA as she walks smartly from the restaurant, gets into her convertible sports car, and drives off. ANGLE ON MICHAEL hurrying out and getting into K.I.T.T. INT. K.I.T.T. - DAY [MICHAEL] Keep a fix on Miss Congeniality, pal. We don't want to lose her. ANGLE TO INCLUDE MONITOR AND GRAPHIC OF MONICA'S CAR [K.I.T.T.] I take it she didn't buy your cover, Michael. [MICHAEL] She bought it. She just wants time to check it out. Said she'd be in touch in a day or so. [K.I.T.T.] Well? [MICHAEL] We haven't got a day or so. Michael peels out, as Monica turns a corner. OMITTED EXT. THE RETREAT MANSION - DAY Monica's car drives through the keycard gate, which quickly closes behind her. (Note: There's a surveillance camera mounted nearby.) ANGLE ON K.I.T.T. appearing at a safe distance. Stopping to survey the scene. [K.I.T.T.'S VOICE] Want me to use my microwave jammer to open that gate, Michael? INT. K.I.T.T. - DAY intercutting with monitor graphs. [MICHAEL] Not with that surveillance camera there. (looks about) Kitt, I think I've found another way in. [K.I.T.T.] Why don't I like the sound of that? OMITTED EXT. K.I.T.T. - DAY as Michael starts up a steep incline, leading around the back of the mansion: INT. BIANCA'S BEDROOM - DAY Bianca and Monica stand reading a computer screen. [BIANCA] Doctor Michael Knightwood: PhD in Physics from the Washington University of Technology. Most recent publication: The Journal of Military Science. Subject matter: Space Weaponry. (to herself) Star Wars. [MONICA] Didn't I tell you he'd be a good catch? [BIANCA] Not good, Monica...excellent. She smiles at her. EXT. HILLTOP - DAY We're on Michael and K.I.T.T. perched high on a hill overlooking the grounds of The Retreat. Michael is outside the Trans Am. [K.I.T.T.'S VOICE] Michael, what happened to the good old days when we just turbo boosted over fences, or crashed through walls? [MICHAEL] They'll be back, Kitt, you've got my word on it. But for now you think you can hit the top of that building over there. INTERCUT - MONITOR AND GRAPHICS [K.I.T.T.] I'll do my very best, Michael. [MICHAEL] That's all I ask. Whenever you're ready. VARIOUS ANGLES as K.I.T.T. lines up the roof of the building...and then fires the grappling hook which catches hold of the edge. [MICHAEL] Good work, pal! [K.I.T.T.] I just hope I don't live to regret this. [MICHAEL] That makes two of us. Michael takes hold of the grappling wire, using a special attachment secured to his wrist. VARIOUS ANGLES as Michael slides the great distance from the hilltop, all the way down to the roof. ANGLE ON ATRIUM ROOF Michael takes off the sliding attachment, frees the grappling hook, takes to comlink: [MICHAEL] Take it way, buddy. ANGLE ON GRAPPLING HOOK being pulled back up into K.I.T.T. ON MICHAEL dropping into the atrium. He begins looking around...then suddenly stops. WHAT HE SEES - TANYA AND VERONICA looking bigger than life, and only a short distance away. Tanya lifts her arm and the barrel of the electric blaster slides into view. Aimed at Michael, we --- OMITTED FREEZE FRAME FADE OUT END OF ACT TWO ACT THREE FADE IN EXT. ATRIUM - DAY Continuing the action, Michael looks at Tanya's outstretched arm. (Note: Although never getting a real good look at Michael when she tried running him down, and his appearance has now been considerably altered by his dress and glasses, there's still something about him that troubles Tanya.) [MICHAEL] I was just...looking for the coffee shop. Seeing they're not buying this, and noticing the look in Tanya's eye, Michael takes off. They go after him. VARIOUS ANGLES OF CHASE which will lead toward the gate. Tanya fires a couple of times, missing Michael, but knocking off a tree limb and shattering a large clay pot with her electric blaster. ANOTHER ANGLE as Michael finds himself trapped and Tanya closes in. And just as she's about to fire: [BIANCA'S VOICE] Wait! Michael looks around. ANGLE TO INCLUDE BIANCA AND MONICA having come from the house without Sheeba. [MICHAEL] Monica! Doctor Knightwood, remember? [BIANCA] Is this him? [MONICA] Yes. Bianca looks back to Michael, studies him. [BIANCA] She said she'd be in touch with you. [MICHAEL] I know, I know, but...well, she made The Retreat sound so...peaceful and ...intellectually stimulating...I guess I got carried away and followed her here. [BIANCA] Ahhh, the impatient kind. [MICHAEL] Well, you know what Einstein said about...mass, and...velocity. [BIANCA] No, but it sounds interesting. Tell me about it. Michael's beginning to sweat, but carries on: [MICHAEL] It's...very complicated. And without a blackboard handy...I'll tell you what, maybe we can discuss it over a drink. She studies him. Still somewhat suspicious. [BIANCA] The Retreat is private, Doctor Knightwood. Surrounded by a high fence. How did you get in? Michael thinks fast, points to gate. [MICHAEL] Just walked through that gate. [BIANCA] Impossible. It can only be opened with a keycard. [MICHAEL] Well, then...something must be wrong with the lock, because all I did was push. [BIANCA] (slight beat) Let's see. As they begin walking toward the gate, Michael secretly takes to the comlink. [MICHAEL] Kitt, I need that main gate to open real bad. ANGLE ON K.I.T.T. Scanner flashing, then show graphics of gate and lock. Intercut as needed. [K.I.T.T.] I'm not sure I can do it from this distance, Michael, but I'll try. ANGLE ON GATE Bianca looks to Michael, then tries to open it. And it opens, much to her displeasure. [MICHAEL] What did I tell you? [BIANCA] (to Veronica) See that this is fixed immediately. And I want to know why he wasn't picked up on the surveillance camera. [VERONICA] Yes, Bianca. Veronica goes off. Bianca smiles at Michael: [BIANCA] As for you, Doctor Knightwood... welcome to The Retreat. The girls will make you comfortable...and maybe later we'll have a chance for that little discussion...about mass and velocity. She heads back toward the mansion. [TANYA] This way, Doctor. She gives him a curious look, then turns and starts up the incline with Monica. Alone, Michael takes to the comlink: [MICHAEL] Thanks, pal. But I want you to stay out of sight. If the one who tried to run me over is here, you might be recognized. INTERCUT AS NEEDED [K.I.T.T.] More important, Michael, you might be recognized. [MICHAEL] Don't think that hasn't crossed my mind. Tanya turns. Studies him curiously. Does she know him or not? [TANYA] Coming, Doctor? [MICHAEL] (Smiles; re her electric zapper) A bolt of lightning couldn't keep me away. She studies him another beat, then turns. He follows. EXT. K.I.T.T. - DAY His scanner flashes. Then: [K.I.T.T.] Oh, no. Just what I don't need. ANGLE TO INCLUDE SHEEBA moving toward him, and jumping onto the hood. [K.I.T.T.] All right, you overgrown fur ball -- scat, go chase a mouse, or better yet a sardine. Sheeba responds by showing her fangs, and claws. [K.I.T.T.] Well, we'll just see about that! K.I.T.T. responds by flapping his sunroof...keeping it open just a bit too long. Sheeba jumps through it, landing on K.I.T.T.'s seat. INT. K.I.T.T. - DAY [K.I.T.T.] Oh, dear.... Sheeba begins nuzzling the controls, chewing on a button. [K.I.T.T.] Oh, dear! Nice little kitty! OMITTED INT. BIANCA'S SUITE - DAY - ON MONITOR SCREEN where we see Cooper and Bianca in a hot tub embrace, several embraces. (Note: This will, of course, be done tastefully.) REVERSE ANGLE We're in the living room area, and a stunned Cooper watches the screen. Bianca and Tanya are nearby. [BIANCA] Seen enough? She motions for Tanya to turn it off. Cooper looks to her: [COOPER] I don't understand? [BIANCA] Oh, come, Ted, you're an intelligent man. You've been around. You decided to play the game and you lost. How long have you been married? He's slowly getting the message, still stunned: [COOPER] Ten years.... [BIANCA] In October. October second, to be exact. You have two daughters, Mary Ann and Elizabeth, a dog named Bon-Bon, and a parakeet named Lovey. (slight beat) Your wife bakes chocolate chip cookies every Friday, and you have them with a glass of warm milk before going to bed. [COOPER] (pained, angry) What do you want? [BIANCA] The Pegasus missile. [COOPER] You're insane! [BIANCA] And you're head of security for Omega Industries...which builds the Pegasus, and is about to ship it to the Patton Proving Grounds for testing. It's never going to arrive...because you're going to help us steal it. [COOPER] I can't! [BIANCA] Of course, you can...because if you don't, your wife's going to see that tape...and your daughters... and there's going to be no more chocolate chip cookies before going to bed. Tanya, I think Mr. Cooper needs a warm glass of milk. Tanya moves to the bar. Cooper sinks back in his chair. EXT. THE RETREAT POOL - DAY - ON MICHAEL seated in a lounge with Monica beside him, fattening him up on papaya and grapes, while Veronica tempts him with a tropical punch. [VERONICA] Sure you don't want something to drink, Michael? [MICHAEL] Thanks, but no thanks. [MONICA] I thought you wanted to have some fun, let yourself go. [VERONICA] Maybe if you made yourself a little more comfortable. She begins unbuttoning his shirt. He quickly buttons it back up. [MICHAEL] Physicists are shy by nature. Michael suddenly reacts to something O.S. WHAT HE SEES Bianca is walking Cooper to his car, and appears to be giving him instructions. As he gets in: BACK TO SCENE [MICHAEL] Well, ladies, last one in the pool is a rotten papaya. [MONICA] But you still have your clothes on. Getting up: [MICHAEL] Now who's shy? He starts to unbutton his shirt. They get the message and jump into the pool. Looking down at them: [MICHAEL] On second thought, maybe I will go get a bathing suit. Keep the water wet. And he starts for the side of the mansion, taking to his comlink when it's safe: [MICHAEL] Kitt.... OMITTED ANGLE ON K.I.T.T. Sheeba is still inside resting. Intercut as needed. [K.I.T.T.] I'm here, Michael. [MICHAEL] There's a man leaving in a light blue sedan.... K.I.T.T.'S POINT OF VIEW - COOPER'S SEDAN heading for the gate. [K.I.T.T.] I see him. BACK TO SCENE [MICHAEL] Check him out. [K.I.T.T.] Anything in particular you want me to look for? [MICHAEL] Yeah...what qualifies him for membership in The Retreat. [K.I.T.T.] I'll get right on it, Michael. ON MICHAEL entering the mansion. INT. K.I.T.T. - DAY [K.I.T.T.] And as for you, sleeping beauty... welcome to the artic. K.I.T.T. turns on the cold. The windows frost up, the temp gauge drops, ice forms, and the cat quickly takes a powder when K.I.T.T. opens his door. After which, the car returns to normal, and K.I.T.T. begins photographing the blue sedan as it leaves The Retreat. We'll see various angles, graphs and readouts on the monitor. OMITTED INT. MANSION HALLWAY - DAY - ON MICHAEL moving toward Bianca's suite. Then hearing someone coming from another direction, he takes cover. ANGLE ON TWO OF BIANCA'S GIRLS Beautiful, physical, they move right past him and disappear down the stairs. ON MICHAEL continuing toward Bianca's suite, picking the lock and entering. INT. BIANCA'S SUITE - DAY Michael looks about, then takes to comlink: [MICHAEL] Kitt.... INTERCUT AS NEEDED [K.I.T.T.] Yes, Michael.... [MICHAEL] See if there's a hidden safe anywhere in here. [K.I.T.T.] Right away. ANGLE TO INCLUDE GRAPHICS [K.I.T.T.] There's one in the hallway between the living room and the bedroom.... INT. HALLWAY - DAY As Michael enters. Intercut as needed. [K.I.T.T.] In the recess behind the vase. Michael swings open the recess to see the safe. [MICHAEL] Now give me some amplification on the tumblers. K.I.T.T. does, and Michael begins cracking the safe. But suddenly has to stop as he hears Bianca's voice in the hallway. [BIANCA'S VOICE] If everything goes as planned we'll have both the missile and the guidance system just in time for delivery. [MICHAEL] Later, pal. He closes the safe, the recess, and heads into the bathroom. ANGLE ON BIANCA AND TANYA entering. [BIANCA] What say we celebrate with some champagne? As Tanya goes to the bar: INT. BATHROOM - DAY Michael looks about after picking the lock to the cabinet, and discovers the monitoring system. He pushes the button, and Bianca appears on the screen, as does Tanya popping the cork. Intercut as needed: [TANYA] What if Cooper changes his mind? [BIANCA] Don't worry, he won't. [TANYA] How can you be so sure? [BIANCA] Because I know men, my pet. A man's home is his castle...but it's the little woman who makes him feel like a king. Without her, he's nothing more than the court jester. Tanya laughs. Bianca picks up her glass, toasts: [BIANCA] To the real power behind the throne. ON MICHAEL When Sheeba suddenly bounds through the open bathroom window, knocking over a bottle of bath oil. ON BIANCA AND TANYA reacting to the noise, putting their glasses down and moving cautiously toward the bathroom. They hesitate before entering, listen. Then Tanya kicks open the door. Bursts in, followed by Bianca. They stop at what they see. THEIR POINT OF VIEW - MICHAEL his glasses off, seated comfortably inside the hot tub, a glass of champagne by his side. (Note: The monitoring system is concealed again.) A broad smile: [MICHAEL] Come in, ladies...there's plenty of room for everyone. [BIANCA] (not amused) What are you doing here? [MICHAEL] Soaking. Isn't that what a hot tub's for? [BIANCA] Not my hot tub...unless by special invitation. [MICHAEL] Like I said, I'm the impatient kind. [BIANCA] Mass and velocity. [MICHAEL] That's right, and I did promise we'd discuss it over a drink. Like some champagne? Bianca can't help but soften a bit. She walks around him. Tanya, however, seeing him with his glasses off, begins to place his face. [BIANCA] You are something else, Doctor Knightwood.... [MICHAEL] Call me Michael. [BIANCA] But then I guess one has to expect a certain amount of arrogance from a man of your brilliance. [MICHAEL] It's all part of the package. She looks him over. [BIANCA] I like the wrappings. All right, we'll have that drink together... (re living room) But in there. She leaves with Sheeba. Tanya looks at the glasses sitting near the tub...then follows her out. CUT TO INT. BIANCA'S SUITE - DAY Bianca sips a glass of champagne as: [TANYA] I'm telling you, Bianca, except for the glasses and the way he's dressed, I'm almost positive he's the same man who came to the aid of the Courier. [BIANCA] That's very interesting, Tanya. But before I do anything I have to be sure you're right. ANGLE TO INCLUDE MICHAEL as he comes from the bathroom. He's fully dressed, wears his glasses. [BIANCA] Doctor Knightwood -- feel better? [MICHAEL] Like a new man. And call me Michael. Bianca moves to him. [BIANCA] I'd like that. (very close to him) But wouldn't you feel even more comfortable -- Michael -- without your glasses. She takes them off, and hands them to Tanya. Tanya looks through them: [TANYA] Just as I thought...window glass. It's him. Realizing that it's over, Michael makes a move toward the door. OMITTED FAVORING TANYA pushing a large piece of furniture in front of him, forcing him to change his course. And when he turns: TANYA fires a electric blaster at him. ON MICHAEL hit and dropping. [BIANCA] Don't kill him. I want to see what he knows first. (looks down at him) Sucha pity, Michael...I was looking forward to the lecture on mass and velocity. On Michael's unconscious body, we --- OMITTED FREEZE FRAME FADE OUT END OF ACT THREE ACT FOUR FADE IN EXT. THE RETREAT MANSION - DAY - ESTABLISHING INT. STORAGE ROOM - DAY We're on Michael strapped to a table with several electrical wires attached to his body. He writhes in pain. ANGLE TO INCLUDE BIANCA AND TANYA Tanya works the electric current from a fairly sophisticated unit. Upon a look from Bianca she lowers the voltage and Michael quits screaming, although he's still obviously in some pain. Bianca speaks softly to him, even somewhat intimate. [BIANCA] Michael, have you any idea how much this hurts me? [MICHAEL] (difficult) Why don't we trade places? [BIANCA] But that's just it. There's no need for either of us to be here. All you've got to do is tell me who you really are. [MICHAEL] I told you...Doctor Michael Knightwood ...Beta-Star Industries. I'm sure you checked me out. [BIANCA] A computer is only as trustworthy as the information fed into it. No... I'm sure you work for one of the law enforcement agencies, and to tell you the truth, I don't even care which one. The only thing I want to know is...can I get away with it? [MICHAEL] You haven't got a chance. [BIANCA] Then they know. [MICHAEL] Everything. [BIANCA] No, Michael...if they knew everything they'd be breaking down the doors right now. My guess is, they sent you here on your own to see what you can find out. [MICHAEL] You're wrong. [BIANCA] Then all you have to do is tell me what I'm after, Michael. What is it, Michael? No response. Moves in closer to him. [BIANCA] Can I get away with it? What is it? Can I get away with it? What is it? Can I get away with it? What is it? Michael's entire back is arched, his muscles contorted. [BIANCA] Can I get away with it...what is it?! Nothing, and he finally passes out. Bianca looks to Tanya who turns off the current. [BIANCA] He has no idea what we're after. Which means once we hear from Cooper we can go get it. She leaves, followed by Tanya who locks the door. Michael remains motionless. EXT. FOUNDATION - DAY [DEVON'S VOICE] Kitt, I'm very concerned about Michael.... INT. FOUNDATION - DAY Devon is behind his desk, speaking into the O.S. monitor. Bonnie is nearby, very troubled. [DEVON] Have you heard from him at all? EXT./INT. K.I.T.T. - DAY He's moved off the hill and is now at a safe distance from the gate. Intercut with Devon as needed. [K.I.T.T.] Not for a couple of hours, Devon. I tried making contact with him on the comlink, but there was no response. [BONNIE] Is it possible there's some sort of interference with the signal? [K.I.T.T.] I thought of that, Bonnie. But I couldn't find any. I did notice, however, sudden surges of electrical current, but I wasn't able to isolate where they were coming from. Of course...there is one other possi- bility. [DEVON] What's that? [K.I.T.T.] (hesitant) The lady of The Retreat...she is quite attractive. Of course, knowing Michael the way I do, Devon, it would strictly be in the line of duty. [DEVON] Yes...in the line of duty. Well... we'll wait just a little while longer and see what happens. [K.I.T.T.] One more thing. Michael had me check out one of the guests at the resort: I learned his name is Theodore Cooper. And he's head of security at Omega Industries. [DEVON] Good work, Kitt. I'll get right on it. [K.I.T.T.] Thank you, Devon. Devon punches K.I.T.T. off, and picks up his desk phone. INT. BIANCA'S SUITE - DAY - ON BIANCA picking up the ringing phone. Tanya, Monica and Veronica are with her. [BIANCA] Hello.... EXT./INT. PHONE BOOTH - DAY Cooper, totally distraught, is on the other end. [COOPER] It's me, Ted. INTERCUT AS NEEDED [BIANCA] Do you have the information? [COOPER] Yes, but...Bianca! [BIANCA] Just give it to me! [COOPER] (beat) It left in an unmarked truck about fifteen minutes ago.... Stay on Bianca. We're unable to hear Cooper's directions. [BIANCA] Good...all right...yes, I got that. Thanks, Ted, I'm glad we could help each other out. INTERCUT AS NEEDED [COOPER] When do I get that tape? [BIANCA] When? When I no longer have any use for you. I'll be in touch, darling ...and say hello to wifey for me. (hangs up) It's already on its way, we have to move fast. [TANYA] What about...? [BIANCA] You found him, Monica...you can get rid of him. [MONICA] No problem. She leaves. [BIANCA] Let's go. INT. STORAGE ROOM - DAY Michael is just regaining consciousness. He looks about, struggles with the leather straps, sees it's useless and then spots a large nail sticking out of one of the wooden beams running floor to ceiling. ANOTHER ANGLE as Michael begins shifting his body, gaining momentum, and causing the wheeled table he's strapped to, to move alongside the beam with the nail. Then, working desperately, he manages to insert the nail in between one of the leather straps and use it to unbuckle his wrist. Before he has a chance to free the other one, however; he hears someone unlocking the door and lies back down. ANGLE ON MONICA as she enters, and goes to Michael, who pretends to be unconscious. She looks at him a beat, then gently strokes his cheek. [MONICA] Such a waste. And with his free hand Michael pushes her away, sending her flying against the opposite wall and down for the count. [MICHAEL] You took the words right out of my mouth. Freeing himself he talks to the comlink: [MICHAEL] Kitt.... EXT./INT. K.I.T.T. - DAY Intercut as needed. [K.I.T.T.] Michael, are you all right? [MICHAEL] I am now. [K.I.T.T.] I just saw that lady leaving with two if her friends. [MICHAEL] All right, buddy, let's show them what mass and velocity is all about. Come pick me up. ANGLE ON K.I.T.T. self-starting and driving for the main gate. OMITTED VARIOUS ANGLES ON K.I.T.T. as he plows right through the gate and continues on his way to pick up Michael. ANGLE ON MICHAEL hurrying from the mansion. K.I.T.T. pulls up and he gets in. [MICHAEL] Which way were they heading, Kitt? Michael peels off back toward the gate. [K.I.T.T.] They turned north on Stockton Road, then disappeared from my scanner range. They roar out the gate, hit the street. OMITTED EXT./INT. K.I.T.T. - DAY [K.I.T.T.'S VOICE] Michael, Devon's calling. ANGLE TO INCLUDE DEVON ON MONITOR from his office. Bonnie is with him, at the computer bank. Intercut as needed. [MICHAEL] Yo, Devon. [DEVON] I'm relieved to see you're safe, Michael. [MICHAEL] I feel better about it, too. What've you got. [DEVON] A Pegasus missile is on route from Omega Industries to Patton Proving Grounds. It's what's known as a smart missile because of its ability to launch multiple warheads, and then return to its launching site. [MICHAEL] Sounds impressive. [DEVON] To say the least. But it's also fairly useless without its guidance system. [MICHAEL] Doctor Freeman's microcomputer board. [DEVON] Exactly. And my guess is, whoever has that will now go after the Pegasus. [MICHAEL] A very educated guess. Bonnie, do you have the information about that delivery. [BONNIE] I'm programming it into K.I.T.T.'s CRT now. [MICHAEL] I'll be in touch. He punches Devon off, and a routing graph appears on the monitor. [K.I.T.T.] If the truck carrying the Pegasus is traveling at its prescribed speed, Michael, we should be exactly twenty- five, point seven miles from it. [MICHAEL] All right, pal, let's step on it. EXT. HIGHWAY - DAY - ON K.I.T.T. moving at great speed to sound-alikes. CUT TO EXT. MOUNTAINOUS ROAD - DAY We're on the Pegasus delivery truck, an enclosed, unmarked truck that could be carrying anything from toilet seats to missiles. Following behind is a military Jeep with two armed military guards inside. ANGLE ON BIANCA'S BRONCO coming up fast behind the Jeep. Bianca drives. Tanya sits nearest the passenger window. Veronica in the middle. [BIANCA] Ready, darlings...let's do it. She pulls out. ANGLE ON JEEP as Bianca pulls alongside it. Tanya looks out the open window, her arm resting on the door. She smiles: [TANYA] You soldiers going our way? The driver looks over, almost smiles, then keeps a stiff upper lip. [TANYA] That's too bad...we could've had some fun. She fires the electric blaster. ON JEEP hit. The driver loses control of the wheel. VARIOUS ANGLES as the Jeep goes off the side of the road and down an embankment. (Note: This must be staged so that we know the driver and his shotgun aren't seriously hurt, merely taken out of action.) ANGLE ON BRONCO [BIANCA] Good girl, Tanya. Now for the missile. She begins to gain on the truck. CUT TO EXT./INT. K.I.T.T. - DAY traveling very fast along a highway. [MICHAEL] Can you pick the truck up on your scanner, Kitt? [K.I.T.T.] Negative, Michael. It's still out of range. But we will be coming up to Stone Mountain Road soon. [MICHAEL] It can't be soon enough. He hits the throttle as hard as he can. CUT TO EXT. MOUNTAINOUS ROAD - DAY - ON BRONCO as Bianca pulls far enough in front of the truck to turn perpendicular to the narrow road, thereby blocking the truck's path. VARIOUS ANGLES as the truck bears down on the Bronco. The driver reacts, debates whether to stop or plow into it. Meanwhile, the girls wait calmly. It's a rather eerie sight. [VERONICA] What if he doesn't stop? [BIANCA] He's just a man, Veronica...he'll stop. And sure enough he does. Tanya and Veronica spring out. And just as the driver gets out of the cabin, gun in hand, Tanya grabs hold of him. VARIOUS ANGLES It's no match, as the stronger and more agile Tanya flips, does cartwheels, and catches the trucker on the jaw with her foot. When he tries to get up, Veronica puts him out for a long time with a kick to the solar plexus. Then both girls jump into the truck, Veronica behind the wheel, and take off following Bianca down the road. CUT TO EXT. MOUNTAINOUS ROAD - DAY - ON K.I.T.T. [K.I.T.T.] Michael! THEIR POINT OF VIEW - JEEP One of the soldiers is on the radio phone calling for help. [MICHAEL] No question about it, they've been here. ANGLE TO INCLUDE MONITOR [K.I.T.T.] I have the truck in scanner range, Michael. [MICHAEL] I see it...now let's go get it. VARIOUS ANGLES as K.I.T.T. eats up the narrow mountain road in pursuit of the truck. EXT. BRONCO AND TRUCK - DAY moving fast along the road. The Bronco in front. ANGLE ON K.I.T.T. coming up behind the truck. There's no room to pass alongside it. [K.I.T.T.] I can't get in front of it, Michael. And if you're thinking of turbo boosting, forget it. More than likely we'd end up on the bottom of the canyon. Michael looks about: [MICHAEL] There's a dirt road heading up that mountain. ANGLE TO INCLUDE GRAPHICS [K.I.T.T.] It dead-ends a hundred yards from here. [MICHAEL] That's better than nothing. Michael turns onto the dirt road. VARIOUS ANGLES as Michael drives until he pulls ahead of the truck... except for the fact that he's also a hundred feet above it. He stops. Gets out. Goes to the edge. [K.I.T.T.] Michael, you're playing with suicide. [MICHAEL] Uh-uh, buddy. Suicide is letting them get away with that missile. (beat) Rock 'n roll! And he jumps. K.I.T.T. will back down the road. ANGLE ON TRUCK as Michael hits the top, but bounces over the side. He clings to the side to keep from falling off and down a steep canyon. INT. TRUCK CAB - DAY The girls react to Michael's landing. [VERONICA] What was that? Tanya sees Michael trying to pull himself back up through the side mirror. [TANYA] Nothing I can't get rid of. She opens the truck door and gets out. VARIOUS ANGLES as Tanya climbs to the top of the truck. ON MICHAEL pulling himself up on the back. Seeing Tanya. MICHAEL AND TANYA The two combatants approach one another. K.I.T.T. in the meantime is seen coming up from behind. VARIOUS ANGLES of the fight on top of the swerving truck. Tanya uses all her tricks, flips, cartwheels, etc. She also uses her electric blaster, which fortunately for Michael misses. And the truck continues to roll, taking the curves at a dangerous speed. And then when it looks bad for Michael, Tanya flips, loses her balance and starts to go off the edge. Michael makes a desperate lunge to save her, but it's too late. She falls to the deep canyon below. Michael sees that the road gets wider up ahead, takes to the comlink: [MICHAEL] Go get her, pal. [K.I.T.T.] My pleasure. K.I.T.T. will pass the truck and go after the Bronco, as: ANGLE ON MICHAEL moving to the cab, and dropping down inside. INT. CAB - DAY as Michael slides in, smiles: [MICHAEL] Nice day for a drive in the country...now pull over. And she does. OMITTED EXT. ROAD - DAY K.I.T.T. forces Bianca into a ditch. As she gets out, Michael is there to meet her. [MICHAEL] Bianca...the wrappings are the same...but Michael Knight's the name. On his smile, we --- FREEZE FRAME FADE OUT END OF ACT FOUR TAG FADE IN EXT. MANSION - SWIMMING POOL - DAY Michael is with Bonnie. There's no one else around. [BONNIE] I guess you were right all along, Michael...my idol had feet of clay. [MICHAEL] You can't judge him too harshly, Bonnie. Harley was a lonely man, who fell into the clutches of a very beautiful and evil woman. I guess the worst thing you can accuse him of...is being human. [BONNIE] Thanks, Michael. FULLER ANGLE Bonnie looks over the deserted mansion, the grounds, as they moves toward K.I.T.T. [BONNIE] So this is The Retreat? [MICHAEL] Was. Past tense. It's all over. [BONNIE] But while it lasted it was pretty great, huh? [MICHAEL] Bonnie, come on! What's so great about a bunch of pretty women, running around in bikinis and catering to your every need? [BONNIE] I don't know, you tell me. [MICHAEL] Got a couple hours? Bonnie laughs. ANGLE TO INCLUDE K.I.T.T. [K.I.T.T.] Oh, no, I thought they arrested her, too. ANGLE TO INCLUDE SHEEBA coming their way. [MICHAEL] Wrong, buddy. The authorities found a nice home for her. [K.I.T.T.] Just so it's far away from me. [BONNIE] Actually, the Foundation was thinking of adopting Sheeba as a pet. [K.I.T.T.] You have to be kidding. [MICHAEL] We have a Kitt so why not have a cat? Michael and Bonnie laugh. [K.I.T.T.] Very funny, Michael...very funny. And on Sheeba's growl, we --- OMITTED FREEZE FRAME FADE OUT THE END

{"show": "Knight Rider", "season": "s03", "episode": "e19", "title": "Knight in Retreat"}

knightriderarchives

ACT ONE FADE IN EXT. WAREHOUSE - NIGHT A security fence surrounds the building that is entered through a steel roll-up door. Outside the fence and adjacent to the electric gate is a guard shack. ANOTHER ANGLE - GUARD SHACK A sign proclaims -- NO ADMITTANCE WITHOUT PASS. Inside the shack, his attention riveted to the sports page of a news- paper, is uniformed Police Sergeant Gottlieb. A shadow falls across the shack, we hear: TYLER'S VOICE Excuse me? Gottlieb glances up, does a little double take: INTERCUT - GOTTLIEB'S POINT OF VIEW - TYLER'S FACE incredibly beautiful, a sultry quality; hair that tumbles onto her shoulders as she breaks into an appealing, dis- arming smile. She's twenty-six; wears an elegant dress, a shoulder bag -- and is as intelligent and calculating as she is beautiful. [TYLER] Hello -- I'm looking for Captain O'Malley? RESUME THE SCENE [GOTTLIEB] O'Malley? You have some kind of business with him? She fingers his name tag; smiles coyly, seductively. [TYLER] Why Sergeant Gottlieb, I think the Captain would prefer it be kept between he and I. You understand --- Gottlieb's eyes drift from her face down to her ample cleavage that pushes against the vee of the dress. [GOTTLIEB] Oh yeah, sure, I understand. (beat) But a, he's -- not here yet. [TYLER] Is there someplace inside I can wait? [GOTTLIEB] Sure. If you have a pass. [TYLER] You mean one of these? Tyler goes into her shoulder bag and removes: A 3 X 5 CARD The signature reads T. O'MALLEY. As Tyler gives the card to Gottlieb, it slips from her fingers and flutters to the ground next to the guard shack. RESUME THE SCENE as Tyler feigns a move to retrieve the card and Gottlieb steps out of the shack with a slight air of chivalry. [GOTTLIEB] Hey, I got it --- He crouches in front of Tyler; as his fingers scrape at the edge of the card to pick it up we: INTERCUT - GOTTLIEB'S POINT OF VIEW - TYLER'S LEGS beautifully shaped, one of them turned out of the slit in the dress that goes to her hip and then suddenly -- blackness, as: TYLER takes a .357 Magnum from her bag and brings it down hard across the back of Gottlieb's head. RESUME THE SCENE as Tyler moves into the guard shack and three men, Jastrow, Rawleigh and Fletcher, hurry from a vehicle parked nearby. Jastrow is forty-seven, a once proud, battle-hardened Army officer. Rawleigh, twenty-eight, a cross between a Hell's Angel and a soldier of fortune. Fletcher, thirty-five, British, serious, committed, precise. INTERCUT - INSIDE THE SHACK - FAVORING SECURITY PANEL as Tyler presses buttons labeled -- GATE -- DOOR -- ALARM OFF. RESUME THE SCENE as the electric security fence gate slides back; the roll-up warehouse doors open. Jastrow runs into the warehouse with Rawleigh and Fletcher dump the guard back in the shack. RESUME GUARD SHACK - ON WIRE CUTTERS as Tyler cuts the bundle of wires that come from the communications console; keeping an eye on: THE WAREHOUSE as a truck barrels out of the entrance; Rawleigh and Fletcher in the cab; Jastrow outside on the step. INTERCUT - ANOTHER GUARD making rounds at the opposite end of the building. He hears the roar of the truck engine and runs toward the entrance. RESUME WAREHOUSE ENTRANCE The security gate is already closing as the truck exits and heads into the street. Jastrow jumps off the truck and heads for the car. Tyler crosses from the guard shack to: THE SECURITY GATE As it slams shut, Tyler pulls a chain from her bag; wraps it around the frame and locks it. Jastrow pulls up in the car. As Tyler jumps in and they take off after the truck, the other guard, gun drawn, comes running after them but is stopped by the locked security gate. CUT TO EXT. HIGHWAY - DAY (DAY TWO) as K.I.T.T. comes out of a turn and accelerates past camera. [K.I.T.T.] Well, Michael, we're almost home. INSIDE K.I.T.T. - TRAVELING [MICHAEL] (suspiciously) Which means -- it's about time for Devon to call. [K.I.T.T.] Oh, I don't think he will, Michael. [MICHAEL] Bet you he does. Every time I'm ready to knock off for a couple of days and get some R & R, he sticks me with another assign --- Michael is interrupted by the beeper, signaling Devon is calling. Michael groans; forces a smile --- [MICHAEL] -- ment. Good afternoon, Devon. INTERCUT - K.I.T.T.'S MONITOR Devon in his Foundation office. [DEVON] Well, Michael, how are you this fine, glorious day? [MICHAEL] I'll let you know as soon as I find out what kind of omelet you're cooking up for me. [DEVON] Why, Michael, I was about to suggest you check into the Dune Drifter for the weekend. [MICHAEL] (surprised; delighted) The Dune Drifter -- whow, posh as they come. [DEVON] No need for concern. The Foundation will pick up a few extravagancies. I've already made the arrangements. [MICHAEL] Now I know you're scramblin' my eggs. Come on, what's the catch? [DEVON] Guns -- a truckload confiscated by a police department was stolen from a warehouse a few days ago. Among the weapons were five hundred 9mm Baretta automatic pistols and two laser rifles. [MICHAEL] Laser rifles? [DEVON] Yes, it seems some bank robbers were apprehended trying to cut into a cobalt steel vault. [MICHAEL] That's a police case, Devon...we shouldn't be involved. [DEVON] One of the thieves, was a woman. She had a pass issued by a Police Captain Tom O'Malley. The police want an independent investigation. [MICHAEL] How does the Dune Drifter fit in? [DEVON] O'Malley is a survivalist...and there's a convention there. [MICHAEL] Survivalists don't usually buy stolen guns, they're legitimate people. Patriotic. [DEVON] They may not know what they're buying.... [MICHAEL] I see where you're coming from --- CUT TO EXT. DUNE DRIFTER HOTEL - DAY as we pan across a sprawling, posh resort and convention center, and pick up clusters of survivalists: outdoorsmen, cowboys, mercenaries, a rowdy mix of rugged individualists talking shop -- pistols on their hips; rifles in their hands. The pan picks up K.I.T.T. approaching. [MICHAEL (V.O.)] (continuing) -- A whole convention of unsuspecting customers. ANOTHER ANGLE - PARKING LOT packed with four-wheel-drive vehicles, campers, vans, some with camouflage pattern paint jobs and gun racks; few con- ventional cars in sight, as Michael parks. INT. DUNE DRIFTER LOBBY - REGISTRATION DESK - DAY alive with conventioneers in a cross section of wardrobe; some in fatigues; others in Western gear; and others in fancy, almost formal attire. The Clerk, an attractive young woman in a uniform, hands Michael his room key. [CLERK] Here we are, Mr. Knight, suite thirty- seven -- the Mirrored Grotto. [MICHAEL] Just your basic survival shelter, uh? The Clerk smiles and attaches a name tag to Michael's jacket. [MICHAEL] Oh, I'm meeting an old buddy here. Name's O'Malley, Tom O'Malley? He check in yet? [CLERK] (chuckles, reflecting) Certainly has. Everybody knows Tom O'Malley. (off Michael's look) Got the desert foxes by their tails, if you know what I mean? [MICHAEL] Any idea where he's hunting today? [CLERK] Try the display hall -- the Uzi display -- her name's Sheila. CUT TO AN UZI SUB MACHINE GUN cranks off rapid bursts. A TARGET is turned into confetti by the rounds from the Uzi. THE UZI BOOTH - IN THE CONVENTION HALL When the demonstrator finishes, Sheila Gutherie, twenty- three, a knockout in leather jacket, shorts, cartridge belt, boots, an Uzi planted on her hip, takes over. A crowd of men watch -- attention divided between the equipment and Sheila's -- vulnerable eyes, tumbling blonde hair and legs as long as half-time at the Super Bowl. One of the men is Rawleigh (seen earlier at the gun heist). After the demo --- [SHEILA] Something else, huh? [RAWLEIGH] (calls out) You sure are, sweetcakes. [SHEILA] Thanks, and so is the Uzi RF22L -- a fully automatic weapon that --- She glances to a "crib sheet" Scotch taped to the stock of the weapon she's holding. [SHEILA] -- a weapon that oozes more fire power per buck than any other --- [RAWLEIGH] (calls out, interrupting) -- You sure do, baby. Laughter from the crowd. [SHEILA] Come on, fellas, I wrote this myself. Don'tcha want to hear it? [MICHAEL] I do. ANOTHER ANGLE - FAVORING MICHAEL As he pushes to the front of the crowd and directs Sheila aside, Rawleigh eyes him coolly. [MICHAEL] You can run down the entire nomenclature for me if you like. [SHEILA] Right. A, listen, Mr. -- (off name tag) -- Knight. I, a -- I'm going on my break now, so -- maybe later. Sheila waves at Michael, smiles and moves through a door exiting the convention hall. Michael moves after her. ANGLE - DISPLAY AREA as Michael catches up with Sheila. [MICHAEL] Sheila? Why don't we do it over a cup of coffee. [SHEILA] I'm sorry but -- Well, I don't really know anything about guns. I mean, last show I worked I washed my hair twenty-five times a day for a shampoo company, next one could be Bibles.... [MICHAEL] (chuckles) I get the message. By the way, I'm looking for a Tom O'Malley. I hear you know him. [SHEILA] Tom? You know Tom? He's the neatest guy. The kind a girl could spend a lotta time with. [MICHAEL] You seen him today? [SHEILA] (shakes no) Said something about going to the shooting competition -- I think. You can --- Sheila is interrupted by gunshots. She screams as Michael bear hugs her and dives for cover in an alcove. ANOTHER ANGLE as a man, in a garish Western tuxedo, brandishing a handgun, call him Tuxedo, runs down the corridor. He whirls and fires at: ANOTHER MAN in similar dress who pops into view and cranks off two rounds from his hand gun. TUXEDO is hit in the chest; a red splash explodes across his clothing. He drops his gun and goes down right in front of Michael and Sheila. The attacker rushes up to him. MICHAEL springs at the attacker. They go down in a flurry of arms and legs. Michael comes out on top and rears back his right fist to put the guy away. A meaty hand grabs his arm. [TUXEDO] Easy, son --- Michael whirls his head around to see: TUXEDO The red splat staring Michael in the face. [MAN] (continuing) -- just a game. Ever hear of the East Orange Ambush Club? We do this for fun. THE SCENE Tuxedo standing over Michael and the attacker. [MICHAEL] No, no I haven't, but I've heard about -- (fingers the red splat) -- paint pellets. [TUXEDO] Right, and we're in this war with Ventura County whenever one member spots another, it's draw and fire, no questions asked. Michael smiles. Tuxedo turns to retrieve his gun from the floor. Michael helps the attacker get to his feet. [MICHAEL] (to attacker) Sorry 'bout that. You okay? [TUXEDO] Sure is. Nine millimeter. Accurate. Great balance. [MICHAEL] That's what I hear. Mind if I take a look? Tuxedo hands the gun to Michael; as he examines it, he runs his comlink across the serial number.... INTERCUT - K.I.T.T. as it runs down the number against a list. RESUME THE SCENE [MICHAEL] (returns gun) Beauty. Gotta get one. Where'd you get yours? [TUXEDO] Bought it from her -- Sheila -- the gal that was with you. Tuxedo and Michael look around to discover Sheila is gone. [TUXEDO] Gotta keep 'em on a leash these days, huh? Be seein' ya. Tuxedo and the attacker move off. Michael raises his comlink. [MICHAEL] Kitt.... [K.I.T.T.] Yes, Michael, it's stolen. Are you onto something? [MICHAEL] Yeah, her name's Sheila. CUT TO CLOSE ON SHEILA [SHEILA] Stole it? You're nuts. I don't know what you're talking about. I didn't even admit I sold it.... She turns and heads for the Uzi booth in the b.g. Michael pursues and stops her. [MICHAEL] I'm talking about doing years, Sheila, not weekends. [SHEILA] (suddenly worried) In jail.... [MICHAEL] You got it. The guns were ripped off from a police department -- a woman was involved. [SHEILA] Hey, I didn't steal any guns. I didn't. That's the truth. [MICHAEL] But you sold one. [SHEILA] (nods contritely) Only that one. Got the others back in my room. Just trying to make a buck. You a cop? [MICHAEL] No. Now, where'd you get them? [SHEILA] I found them -- out in the hills. I was hitching. This guy started to get fresh. I started walking. I took a shortcut through some trees and found this truck -- full of guns. [MICHAEL] You take me there and I might believe you.... [SHEILA] Okay, okay, but I've gotta get outta these clothes first. [MICHAEL] So you can split on me? [SHEILA] I can't escape hitchhiking...that's the way I travel...I'll meet you in the parking lot. (off Michael's look) I will. Michael studies her face; decides, nods and we: CUT TO EXT. HOTEL PARKING LOT - DAY as a battered, older-model sedan turns into the parking lot right in front of another car that is exiting. The other driver slams on the brakes. His car dives to a stop. The old sedan continues on -- the driver oblivious. INSIDE THE OLD SEDAN Edgar at the wheel. Martha next to him; both in their sixties. They are oblivious and smack into K.I.T.T. ANOTHER ANGLE - PARKING LOT to reveal the car Edgar has whacked is K.I.T.T. -- still in a parking spot. The sedan's fender mashed into K.I.T.T.'s rear bumper; not a scratch on K.I.T.T. of course. Michael gets out of K.I.T.T. Edgar and Martha out of their sedan. As they move together --- [EDGAR] Don't you look when you back out? [MICHAEL] I was parked. I never moved. [EDGAR] Listen here, young man, you're not the first road hog I've run into who --- Michael glances to: THE SEDAN to see a heavily dented and dinged fender and door. [MICHAEL] (interrupting) I can see that. RESUME THE SCENE as Edgar spots a crowd that has formed. [EDGAR] You saw what happened. Right? He backed into me. Came right out and --- [MARTHA] I think I have whiplash. Edgar crosses to the crowd to continue his appeal. We stay with Michael and K.I.T.T. Michael talks into his comlink. [K.I.T.T.] That's not how it happened, Michael. [MICHAEL] I know that, pal. [K.I.T.T.] Well, I'm a witness too. [MICHAEL] Yeah, but I don't think I can put you on the stand. [K.I.T.T.] Why not? It's all recorded in my data bank. I wouldn't lie. Michael spots Edgar coming back. [MICHAEL] Knock it off, he's coming back. (to Edgar) Look, I'm sorry this happened. At least no one got hurt. Now --- Michael is interrupted by Martha, who grabs the back of her neck with both hands and lets out a loud moan. [EDGAR] You're sorry?! You ever been on a second honeymoon with a woman who has whiplash? [MICHAEL] (eyes rolling) Not in this life --- CUT TO EXT. HIGHWAY - DAY as K.I.T.T. barrels past camera. [SHEILA'S VOICE] It should be just around that turn --- INSIDE K.I.T.T. - TRAVELING Sheila is seated next to Michael. [MICHAEL] You said that three turns back. [SHEILA] Hey, I was walking. Things look different when --- She pauses, recognizing something O.S. [SHEILA] There it is. Those trees --- EXT. A WOODED AREA - DAY just off the road as K.I.T.T. pulls to a stop on the shoulder and Michael and Sheila get out. She points to the ground. [SHEILA] See? Michael follows her gesture to: TIRE TRACKS that lead from the road into dirt and on toward the grove of trees. RESUME THE SCENE as Michael and Sheila follow the tire tracks toward the grove of trees. GROVE OF TREES As Michael and Sheila approach: [SHEILA] The truck's right --- She bites off the sentence when she and Michael see: THEIR POINT OF VIEW - THE GROVE A clear sight line through the grove; the clearing beneath the canopy of foliage empty; no truck anywhere in sight. ANOTHER ANGLE - MICHAEL AND SHEILA as they exchange looks, and we pull way back to: ANGLE - HILLSIDE Rawleigh watching them. We hold a beat and we: FREEZE FRAME FADE OUT END OF ACT ONE ACT TWO FADE IN EXT. GROVE OF TREES - DAY - RAWLEIGH - CONTINUOUS as Rawleigh watches Michael and Sheila; too far away to hear them. He ducks behind bushes when they turn to leave. ANOTHER ANGLE - K.I.T.T. as Michael and Sheila return from the grove. [SHEILA] I swear it, that truck was there. It was. [MICHAEL] I believe you. (thoughtful beat) Weird -- tracks going in: none coming out. [SHEILA] That's right. Where'd it go? [MICHAEL] Up probably...chopper. [SHEILA] (admiringly) That's pretty good. They get into K.I.T.T. and drive off. We hold as Rawleigh pulls onto the road in a Land Rover and follows. INSIDE K.I.T.T. - TRAVELING [SHEILA] So what now? [MICHAEL] I've got to find O'Malley. Where'd you say he was going? [SHEILA] A shooting competition. [MICHAEL] I don't even know what he looks like. Will you help me? [SHEILA] Sure. Why not? As K.I.T.T. accelerates down the highway, we: CUT TO EXT. HOTEL - DAY - TO ESTABLISH [JASTROW'S VOICE] No, no forget about it. INT. CONVENTION HALL - LOUNGE AREA Jastrow's got the phone in one hand; a rifle in the other; a handgun hangs from his hip. [JASTROW] Don't go back. He hangs up; thinks; toys with rifle a beat before Tyler enters, she's looking good.... [JASTROW] 'Bout time you got here. [TYLER] Father, when I look good, I think good, you know that --- [JASTROW] Yeah, and I'm tired of hearing it. If that's all they taught you at those schools, I wasted my money. [TYLER] I got us those lasers, didn't I? What's the problem? [JASTROW] Rawleigh called. [TYLER] Is he too drunk again to get rid of those tire tracks like he was supposed to? [JASTROW] No. Couple of people were out there nosing around. [TYLER] Cops? [JASTROW] (shrugs) One's a pitch girl who works the convention. The other's a guy. Rawleigh followed them to the shooting competition. [TYLER] We should go there and check him out. [JASTROW] We should stay put -- right here 'til tomorrow. 'Til it's time. [TYLER] Why? The convention's the perfect cover for our equipment and practice. That's why we're here. [JASTROW] Yeah, yeah, I know, but --- [TYLER] Then let's look like we belong -- and check out the snoop at the same time. CUT TO EXT. SHOOTING RANGE - DAY - ON A LARGE TARGET some hits in the bull's-eye -- others in the outer rings. INTERCUT - MARKSMAN as he continues to fire at the target with a rifle. THE SCENE - WIDE as Michael moves through the spectators who watch the competition. Wardrobe here is military fatigues and hunters...Sheila weaves her way through and joins him. [MICHAEL] Anything? [SHEILA] Everybody knows O'Malley but nobody has seen him. As Michael ponders this: [SHEILA] I looked everywhere. A LAND ROVER arrives. Tyler and Jastrow get out and are joined by Rawleigh who indicates Michael in the b.g. [RAWLEIGH] That's him, that's the guy who was nosing around. Tyler leans to Jastrow; whispers something. He nods, and we: RESUME MICHAEL AND SHEILA as Jastrow crosses and joins them, we notice a handgun riding on his hip -- the same distinctive grip as the Baretta we saw earlier. He indicates Michael's clothing. [JASTROW] Couldn't help noticing, you look like you're new to all this. [MICHAEL] Yeah, well. When I got in from L.A. I found out my bags went to Honolulu. Michael's eyes drift to the handgun on Jastrow's hip. [JASTROW] You saying, you're into guns? [MICHAEL] Shoot anything and everything. (indicates handgun) Even those. Nice weapon. [JASTROW] Does the job. I'm Lyle Jastrow. [MICHAEL] Michael Knight. Say, you wouldn't know a guy named Tom O'Malley, would you? [JASTROW] (thinks; shakes no) He in the competition? [MICHAEL] I don't know. [JASTROW] Are you? [MICHAEL] I was. But my guns went the way of my bags. I'm out of it now. [JASTROW] (muses a beat) No you're not. My daughter's got a beautiful twelve-pound, small bore I can loan you. [MICHAEL] Hey, I appreciate it, but I couldn't do that. [JASTROW] I don't know any man who's really into guns who wouldn't. (beat) That is unless you're one of those reporters came here to ridicule us.... [MICHAEL] (trapped) No way...I wouldn't mind firing off a few rounds...Thanks. They cross toward Tyler, Rawleigh at the Land Rover in the b.g. and we: CUT TO A TARGET as rounds pop into it. The range officer removes it; puts a fresh one in its place. MICHAEL crosses to the firing line with a rifle. As he loads and positions it on his shoulder, he talks into his comlink. [MICHAEL] Talk to me good buddy. INTERCUT - K.I.T.T. [K.I.T.T.] I detect a sense of urgency in your voice, Michael. [MICHAEL] Good, because I need some fast windage and elevation calculations. Give me some numbers, pal. INTERCUT - K.I.T.T.'S SCREEN as a graphic of the competition range setup followed by fast-changing equations and numerical readouts appears. [K.I.T.T.] At that distance Michael, I'd try --- [MICHAEL] Try? This has to be right on. [K.I.T.T.] Elevation ________; windage ___________, should do it. Michael makes the adjustments; raises the weapon and fires. INTERCUT - TARGET as rounds pop into the bull's-eye. INTERCUT - CROWD REACTIONS impressed by Michael's marksmanship as rounds continue to pop into the bull's-eye. INTERCUT - SHEILA watching; pulling for Michael; excited at each bull's-eye -- she's here with a winner. ANOTHER ANGLE - TYLER AND JASTROW as Michael finishes up; and applause breaks out --- [TYLER] Shoots pretty good. He might be useful. [JASTROW] He was also asking about O'Malley. He might be a cop. [TYLER] Then we better find out as much about him as we can. ANOTHER ANGLE - MICHAEL He comes off the shooting range to congratulatory, hand shakes, back slaps as he moves through the spectators. SHEILA pushes her way toward Michael; is a few feet away when Tyler cuts in front of her intercepting Michael. During this Sheila is also showing some jealousy, not liking it at all. THE SCENE - FAVORING TYLER AND MICHAEL [TYLER] Congratulations -- my father was right -- (indicating rifle) You two really got along. [MICHAEL] Thanks. (eyeing Tyler) Fine weapon: smooth action, beautifully finished --- [TYLER] But it takes the sensitive hands of a marksman to give it life. [MICHAEL] Breathe, hold, squeeze -- nothing quite like it. (smiles; beat) Don't know how to thank you. [TYLER] Well, there are some events at the convention later. Come with me. I'm sure you'll find them interesting. [MICHAEL] (considers; nods) I'm sure I will. They hold a look for a beat. Then Michael turns and he and Sheila cross to K.I.T.T. in the b.g. Jastrow and Rawleigh join Tyler. As K.I.T.T. pulls out and drives off --- [TYLER] That's twice. They spend a lot of time together, don't they? EXT. DESERT HIGHWAY - DAY as K.I.T.T. drives past and accelerates into a sunset. [MICHAEL] Answer a question for me will you? INSIDE K.I.T.T. - TRAVELING Sheila slouches, staring blankly at the passing terrain. [MICHAEL] (continuing) Those guns you found -- you said you sold only one. [SHEILA] That's right. [MICHAEL] You're positive? [SHEILA] You heard me. [MICHAEL] Sorry, I had to be sure. (beat) What's the matter, you're mad at me aren't you? [SHEILA] (defensively) No. Why'd you ask me that? [MICHAEL] Well, since we left the competition, you haven't exactly been Miss Congeniality. I thought maybe you didn't like me talking to --- [SHEILA] (interrupting) That girl? Michael nods. [SHEILA] Hey, you're good-looking and all -- but you're not my kinda guy. I want someone who's -- (choosing each word) -- personable, dependable and bankable. Am I making myself clear? [MICHAEL] Painfully --- [SHEILA] I mean, I'm tired of going to parties with great-looking guys and coming home alone. I just want somebody I can count on who wants to take care of me. [MICHAEL] I think they're called husbands.... [SHEILA] Sure. That's why I came to the convention. Lotta guys here fit the bill. But I know I'm not gonna catch Mr. Right without some decent threads. (continuing; down) -- that's why I sold that gun. [MICHAEL] And that's where you almost blew it. (beat) Come on, cheer up. You'll do fine. [SHEILA] You really think so? [MICHAEL] I'm sure of it.... She glances at Michael; thanks him with a vulnerable smile. CUT TO EXT. HOTEL - ENTRANCE - DAY as K.I.T.T. pulls to a stop. Sheila hops out. As K.I.T.T. pulls away and heads into the parking lot, we hear: INSIDE K.I.T.T. as Michael heads for the parking lot and cruises in search of an empty space. [K.I.T.T.] Really? We did very well at the competition didn't we Michael. [MICHAEL] Yes, Kitt, we did. We won.... [K.I.T.T.] Now will you tell me why you entered? [MICHAEL] Because that guy Jastrow was carrying a 9mm Baretta. When he said he didn't know O'Malley, I decided to take the bait. Get Devon for me, will you? Michael hits some buttons on the console. K.I.T.T.'S MONITOR comes to life -- Devon appears in his office. [DEVON] Hello, Michael, I assume you're calling to tell me you've tracked down O'Malley. [MICHAEL] No. Why would you assume that? [DEVON] Well, my data clearly indicates that -- everyone knows O'Malley. [MICHAEL] (echoing) Everyone knows O'Malley. Right, but nobody can find him. [DEVON] Is it possible we've taken a wrong turn here somewhere? [MICHAEL] No, no this is the place. Someone here's seen the truck and I've turned up two of those Barettas. [DEVON] Excellent work, Michael. How can I help you? [MICHAEL] By checking out a guy named Jastrow. Lyle Jastrow. Michael clicks off the monitor and pulls into a parking spot. [MICHAEL] You can help me too, pal. Keep your scanners peeled for Jastrow while I'm at these events. [K.I.T.T.] Anything specific I should be looking for Michael? [MICHAEL] No, I've just got a feeling his daughter cooked this up to keep me busy. EXT. PARKING LOT - DAY - FAVORING K.I.T.T. as Michael gets out of K.I.T.T. [K.I.T.T.] You're going to be a lot busier than you think. EDGAR'S CAR as it lurches to a stop in a no-parking zone. Edgar gets out followed by Martha in a neck brace. [EDGAR] There he is Martha! He runs up to Michael waving a sheet of paper; Martha brings up the rear. Edgar shoves the paper into Michael's hands. [MICHAEL] What's this? [EDGAR] An estimate. [MICHAEL] For what? [EDGAR] To fix my car. [MICHAEL] Why're you giving it to me? [EDGAR] 'Cause you're the one that hit me. And you're going to pay. [MICHAEL] (off the estimate) Replace cracked rear window? Repair dings and dents in roof? Replace bumper, right front fender, trunk lid, wheels covers, prime and paint -- four thousand six hundred and eighty-one dollars? [EDGAR] Without the engine work. [MICHAEL] Engine work? [EDGAR] I'm still waiting for that estimate -- and the one to fix Martha's neck. [K.I.T.T.] Excuse me, Michael? [EDGAR] Who's that? [MICHAEL] My attorney. [K.I.T.T.] I think you should let the Foundation handle this. [EDGAR] Foundation? [MICHAEL] My employer -- the Foundation for Law and Government. [EDGAR] Law and Government --- [MICHAEL] Right. We have an entire division that specializes in fraudulent accident claims. (beat) I'm sure you'll be hearing from them. Michael stuffs the estimate into Edgar's breast pocket and heads into the hotel. CUT TO INT. LOBBY - ELEVATOR Michael in camouflage fatigues exiting the elevators, talks into comlink. [K.I.T.T.] Michael? [MICHAEL] I read you good buddy. INSIDE K.I.T.T. - POINT OF VIEW THROUGH WINDSHIELD as Jastrow and Fletcher leave the hotel carrying long cases; load them into a Land Rover, and drive off. [K.I.T.T.] Jastrow and another man are leaving the hotel with some kind of equipment. RESUME MICHAEL as he pulls on an army shirt; jams a foot into a boot. [MICHAEL] Thanks, pal. Get 'em on radar. I'm on my way. As Michael pulls on another boot. [MICHAEL] Oh yeah, one other thing. Cook up something to delay Tyler for a while, will you? [K.I.T.T.] If she's doing what most women do before a date Michael, I have just the tactic. INT. HOTEL ROOM - DAY wrapped in a towel standing in front of a mirror blow drying her hair. Suddenly the dryer stops. She shakes it; flips the switch on and off several times. THE DRYER makes a little explosive noise as sparks and smoke emanate from the air vents. TYLER yelps frightened, dropping the dryer. CUT TO EXT. WILDERNESS HIGHWAY - DAY as K.I.T.T. accelerates toward camera from the horizon. [K.I.T.T.] We're almost there, Michael. INTERCUT - K.I.T.T.'S MONITOR A map of the area with radar scan highlighting the location of the Land Rover. [K.I.T.T.] I've pinpointed the Land Rover behind those boulders up ahead. ANOTHER ANGLE - HIGHWAY as K.I.T.T. approaches and pulls off onto the shoulder and Michael gets out. [MICHAEL] Keep your scanners peeled --- Michael makes his way between the boulders, and we are: CLOSE ON A LASER RIFLE set on a mount in the rear of a Land Rover. Fletcher sights in and fires. A TREE A bright flash, a loud crack as the tree is hit and snaps in half as if struck by a bolt of lightning. INTERCUT - MICHAEL watching, reacting. EXT. WILDERNESS AREA - DAY The Land Rover is pulled in behind the boulders. Fletcher is seated in the cargo bed behind the laser rifle. Jastrow stands next to him. [FLETCHER] Powerful little devils, aren't they. [JASTROW] I'm gonna use it on Rawleigh if he doesn't show soon. [FLETCHER] I told him where and when. He's always late. What's his problem? [JASTROW] Booze. RESUME MICHAEL [MICHAEL] (comlink) Laser rifle, pal. You see that? [K.I.T.T.] Yes, according to my data it uses a highly advanced mega laser capable of --- K.I.T.T. is interrupted by the beep from his surveillance scanner. [K.I.T.T.] Michael, there's a vehicle approaching. A SECOND LAND ROVER Rawleigh behind the wheel swings off the road barreling down on Michael; he barks into a walkie-talkie. [RAWLEIGH] Jastrow? You guys got company! MICHAEL whirls and runs a few steps toward K.I.T.T., then freezes as: THE OTHER LAND ROVER Jastrow driving, Fletcher in rear, drives out from behind the boulders and accelerates toward Michael cutting off his access to K.I.T.T. RESUME MICHAEL trapped; the two Rovers closing in on him. We hold a beat, and then we: FREEZE FRAME FADE OUT END OF ACT TWO ACT THREE FADE IN EXT. WILDERNESS AREA - MICHAEL - ROVERS - CONTINUOUS Michael barks into his comlink as the Land Rovers converge on him. [MICHAEL] I'm caught in the middle, pal! K.I.T.T. K.I.T.T. starts his engine and rockets across the terrain toward Michael. [K.I.T.T.] On my way! THE SCENE as K.I.T.T. rockets between the Land Rovers, missing each by inches, forcing them to swerve wide to avoid a collision. ANOTHER ANGLE - MICHAEL As K.I.T.T. approaches, slams on the brakes and pops the driver's door open. Michael jumps inside. [MICHAEL] Okay, Kitt, let's take it to 'em. K.I.T.T. takes off after the Land Rovers, a beat before: THE LAND ROVERS swing around and converge on K.I.T.T. Michael waits until the last moment before spinning a 180 sending a rooster tail of dirt and gravel into the air. [MICHAEL] Eat dirt cowboy! INSIDE A LAND ROVER as a shower of dirt and gravel and blasts into the windshield and down onto Rawleigh in the open cab. He loses control; spins to a stop. K.I.T.T. takes off after the other Land Rover. [K.I.T.T.] Well done, Michael. THE SCENE as Jastrow stomps on the accelerator of the Land Rover. It takes off across the terrain, K.I.T.T. in pursuit. IN THE CARGO BED OF THE ROVER - FLETCHER swings the laser rifle around and starts tracking --- K.I.T.T. - HI-TECH CROSS HAIRS as the laser tracks: RESUME K.I.T.T. as Fletcher fires repeatedly and the laser hits create an explosion of sparks as they ricochet off K.I.T.T.'s body. One laser hit misses and smacks into: A BOULDER as it is cracked by the impact of the laser hit. FLETCHER tracks and fires again. ON K.I.T.T.'S SCANNER as one of the laser blasts hits and shatters the crystal. INSIDE K.I.T.T. as a warning graphic starts flashing on the console and Michael reacts. [K.I.T.T.] I've taken some damage, Michael! [MICHAEL] Give me a report, pal. [K.I.T.T.] They've knocked out my scanner. All my gyro circuits are down. What's our plan, Michael? [MICHAEL] Run -- If we're going to war, pal, we've got to repair our equipment. ON K.I.T.T. as he turbo thrusts away leaving the Land Rovers far behind. [MICHAEL] (continuing) Let's contact Bonnie and have the semi meet us. CUT TO EXT. HIGHWAY - NIGHT as the semi barrels through a turn --- ON K.I.T.T.'S SCANNER PORT as Bonnie slides a new scanner unit into position. [BONNIE] That ought to keep your wheels from spinning. INT. SEMI - NIGHT - TRAVELING Michael watching as Bonnie finishes her work on K.I.T.T. and turns to him. [BONNIE] (continuing) Find anything out there besides trouble? [MICHAEL] Laser rifles. I'm betting they're the only reason Jastrow stole that truck. [BONNIE] Any idea what he's up to? [MICHAEL] Not a one. [DEVON] Perhaps I can shed some light on that, Michael. Michael and Bonnie react, and we go to: ANOTHER ANGLE - FAVORING MONITOR to see Devon appear in his Foundation office. Michael and Bonnie move in. [MICHAEL] Devon -- that means you've got something on Jastrow for me? [DEVON] Yes, he's a once zealous patriot who became disenchanted when promotions passed him by.... [MICHAEL] Anything on his daughter? [DEVON] She's been to the finest schools in Europe; expelled from most for militant behavior. Has expensive tastes and an unusually high IQ. [MICHAEL] Any clues as to what kind of bash they're planning? [DEVON] Indeed, officials believe it was Jastrow who tried to hijack a shipment from the Denver Mint a year ago. But can't prove it. [MICHAEL] Large scale crime -- that's where the lasers fit in. That it? [DEVON] A few last items -- He's an expert helicopter pilot and he's booked a number of international flights that leave at noon tomorrow. [MICHAEL] Then we know whatever he's up to is happening before lunch. [DEVON] What's your plan of attack? [MICHAEL] I'm gonna rattle Jastrow's cage and see what crawls out. [DEVON] That's it? [MICHAEL] That's all I've got. Michael crosses to K.I.T.T., and we: CUT TO EXT. DUNE DRIFTER HOTEL - NIGHT - TO ESTABLISH as we move in. INT. LOUNGE AREA - NIGHT Sheila enters the room, looks around for someone, not finding him!..Tyler comes up next to her. [TYLER] Michael Knight's not here...I'm the one who wants to speak to you. Sheila holds out the hotel message to her. [SHEILA] You're the one that sent this. Tyler nods. [SHEILA] Why? What do you want? [TYLER] I want to talk. I knew you'd show if you thought you were meeting Michael Knight -- (a sexy smile) -- I would. [SHEILA] Hey, I don't like this. In fact, I don't like you either. Tyler takes a stack of currency from her purse and peels the edges with her thumb -- ziiiip. [TYLER] You like this.... Sheila pauses. Tyler holds out the money. [TYLER] Five thousand dollars -- It's yours. [SHEILA] Just like that? Come on, what's the catch. [TYLER] No catch. All you have to do is spend some time with our favorite guy. It's that --- [SHEILA] (interrupting) Forget it. Michael's been good to me. No way I'd do anything to hurt him. Sheila swings a forlorn glance to the money and heads for the door. Tyler pursues her. [TYLER] Neither would I, Sheila. Really. That's not what I want you to do. Sheila pauses; interested; questions Tyler with a look. [TYLER] Just get him away from the hotel tomorrow; steer him to a certain location.... [SHEILA] (considering; crumbling) That's all? [TYLER] That's it. Here --- Tyler pushes the money into Sheila's hands. Sheila hesitates to accept it. [TYLER] Go ahead, take it. (winks) Just between us girls, can you think of a -- more pleasant way to earn five thousand bucks? Tyler smiles. Sheila returns it, softening; glances down to the money she's holding; deciding --- CUT TO EXT. DUNE DRIFTER HOTEL - MORNING - TO ESTABLISH ANOTHER ANGLE - PARKING LOT - K.I.T.T. pulls in and parks. Michael gets out; is hurrying toward the hotel when Edgar's car screeches to a stop and cuts him off. Edgar's head pops through the open window. [EDGAR] Just the man I'm looking for! [MICHAEL] Sorry, I don't have time for this. Michael turns to go. Edgar opens the door, clocking his way and gets out. Martha follows wearing the neck brace and balancing on crutches that she's added to her ensemble. [EDGAR] No one fluffs us off that easily. [MICHAEL] Look, I'll give you two hundred bucks and we're square. Okay? [EDGAR] Two hundred?!! [K.I.T.T.] That's a hundred over blue book, Michael. [MICHAEL] He's right. You'd do better if you scrapped it. [MARTHA] (incensed) Young people! No respect for anything older than they are. [EDGAR] Right! This car's a classic. Solid as a rock. He slams the door closed -- a beat before: A FENDER creaks and falls off. RESUME THE SCENE As Edgar and Martha react, and Michael laughs. [K.I.T.T.] (checking data) Blue book -- without one fender. I can't find a listing. [EDGAR] A couple of loose nuts that's all --- [MICHAEL] (sotto; to K.I.T.T.) You said it, hey pal? [EDGAR] -- This car's got another hundred thousand miles in her. He slams a fist onto the hood to emphasize his point. THE FRONT BUMPER falls off. CUT TO INT. HOTEL LOBBY - DAY - FAVORING SHEILA camped out in a chair. She reacts as Michael enters and crosses the lobby. [SHEILA] Michael? He stops; turns as Sheila runs up and joins him. [SHEILA] Michael, I've been looking all over for you. [MICHAEL] What's up? [SHEILA] I've got some information for you. [MICHAEL] Can it wait? I have to find Jastrow right now. I --- [SHEILA] (interrupting) That's who it's about. (off Michael's reaction) I overheard that guy Rawleigh in the bar. He said something about Jastrow and O'Malley meeting. [MICHAEL] Jastrow and O'Malley -- where? When? Did you hear anything else? [SHEILA] (nods emphatically) Vasquez Canyon. I'll show you where. Michael's already on the move out of the lobby. Sheila goes after him. [MICHAEL] (calls back) Thanks. I'll find it. EXT. PARKING LOT - DAY as Michael dashes to K.I.T.T.; pulls open the door pauses when he sees Sheila opening the passenger door. [MICHAEL] Where do you think you're going? [SHEILA] I feel safer with you than here alone. Michael considers; nods. They both get into K.I.T.T. INSIDE K.I.T.T. Sheila settles in. As Michael starts the engine and back out of the parking space --- [K.I.T.T.] What's our destination, Michael? [MICHAEL] Vasquez Canyon. Plot me a course. [SHEILA] Hey, that's neat. When I was little, I had a doll that talked. (beat; sidelong glance) Who are you anyway, Michael? [MICHAEL] Let's just say I work in support of law and government. Jastrow works against them. [SHEILA] Good guys and bad guys, huh? [MICHAEL] Don't leave out the ladies, Sheila. You've been a big help. [SHEILA] Somebody once said, good girls finish last. [MICHAEL] Not the ones I know --- Michael winks at her. Sheila smiles nervously, and we go to: ANOTHER ANGLE - HIGH POINT OF VIEW - K.I.T.T. as he exits the parking lot and accelerates onto the highway. CUT TO A BALCONY to reveal Jastrow and Tyler watching from a window or small balcony that overlooks the area. [TYLER] There they go -- the little ding-a-ling pulled it off. Jastrow crosses to a phone; punches out a number. [JASTROW] Rawleigh? They're on their way. He hangs up; swings a look to Tyler. We hold on their conspiratorial smiles, and then we: [FREEZE FRAME] END OF ACT THREE ACT FOUR FADE IN EXT. RUGGED HILLSIDE - DAY - CLOSE ON DYNAMITE We open tight on a pair of hands firmly placing an explosive charge into the rocky soil of a desert incline. Pull back to reveal they belong to Rawleigh as he uncoils a spool of wire and runs it back to: FLETCHER who attaches it to an explosive plunger in cover behind some brush. Two camouflaged Land Rovers are concealed nearby. [RAWLEIGH] This oughta slow him down. [FLETCHER] Slow him down? They'll be scraping him off the rocks...We have time to check our equipment once more. [RAWLEIGH] You check, I need a little rest.... Rawleigh unbuttons his shirt, sprawls back in the sunshine. CUT TO EXT. DESERT HIGHWAY - DAY - ON K.I.T.T. The Trans Am knifes across the sequaro. [MICHAEL'S VOICE] Something wrong with my driving? ANGLE IN K.I.T.T. - TRAVELING Michael sits comfortably at the wheel, glancing over at a nervous Sheila. She jumps when she realizes he's talking to her.... [SHEILA] No, I'm -- I'm just trying to make a decision. [MICHAEL] Well, I hope you make it soon. Sheila broods, doesn't answer. Finally, suddenly: [SHEILA] It's made. Pull over. Something I have to tell you. [MICHAEL] No time...O'Malley isn't going to be in Vasquez Canyon forever. [SHEILA] (beat; troubled) He isn't there, Michael. Neither are the guns. [MICHAEL] What are you talking about? [SHEILA] They paid me to set you up. I just can't go through with it. [MICHAEL] Who? Who paid you? Jastrow? [SHEILA] (nods; contritely) His daughter. Michael glances at her accusingly. Sheila pulls a fist full of money from her purse; waggles it at him in reply. [SHEILA] Five thousand bucks --- [MICHAEL] (understanding) That's a lot of shampoo and gun demos --- Sheila nods. They hold a look before --- [MICHAEL] What did they say, Sheila? Did they tell you anything, did you overhear something that could help me? [SHEILA] (shrugs; shakes no) No, they just said to get you out to Vasquez Canyon. [MICHAEL] Think you can make it back on that thumb of yours? [SHEILA] Why? Where you going? [MICHAEL] Vasquez Canyon. [SHEILA] (surprised) But they're after you, you could be walking into a trap. [MICHAEL] I'm after them, too. See you back at the hotel. He starts to pull over, but Sheila settles back into her seat, determined. [SHEILA] No way. [MICHAEL] Out. [SHEILA] You go, I go too. [MICHAEL] Could be dangerous. [SHEILA] Drive. [MICHAEL] (beat; smiles) I owe you one. And as they speed up: EXT. RUGGED HIGHWAY - DAY as K.I.T.T. comes out of a sweeping curve and heads toward a tunnel. ANGLE IN K.I.T.T. - OVER MICHAEL'S SHOULDER Michael and Sheila cross into the darkness of the tunnel looking out toward the circle of daylight ahead of them when: RAWLEIGH hammers the explosive detonator home and: THE TUNNEL EXIT erupts in a massive explosion. INSIDE K.I.T.T. - THROUGH WINDSHIELD The circle of daylight up ahead suddenly vanishes. MICHAEL slams on the brakes; jams K.I.T.T. into reverse; looks back over his shoulder as he backs up at top speed and sees: MICHAEL'S POINT OF VIEW - OPPOSITE END OF TUNNEL as a second explosion obliterates the daylight, sealing off his escape. He brakes to a stop. They're in total darkness. EXT. HILLSIDE - DAY - RAWLEIGH AND FLETCHER look down with satisfaction on what used to be the tunnel. They share a nod; jump into their Land Rovers and take off. INT. TUNNEL - INSIDE K.I.T.T. dark, Michael and Sheila barely visible. [K.I.T.T.] They sealed off both ends of the tunnel, Michael. We're trapped. [SHEILA] (panic building) Is he saying we're buried alive? [MICHAEL] Let's shed some light on it before we panic. INSERT - HEADLIGHTS as they come on and illuminate: THE END OF THE TUNNEL A massive mountain of sand in front of K.I.T.T. RESUME INSIDE K.I.T.T. [MICHAEL] Sure settles that -- Can we turbo blast our way out? INTERCUT - MONITOR AS NEEDED [K.I.T.T.] There are 9.68 tons of sand blocking the way, Michael. Out of our range. [MICHAEL] Even with a running start? I'll back up to the end. As he shifts into reverse and backs up, another graphic hits the screen, measuring the length of the tunnel, computing. [K.I.T.T.] Maximum turbo over that distance -- (beat) We'd be traveling 247 miles per hour when we hit the wall. [SHEILA] What's he mean, we? I'm getting out, now. [MICHAEL] I wouldn't, Sheila. The impact could bring the whole mountain down. [SHEILA] Can we call for help? [MICHAEL] Good idea. Get me Devon, pal. K.I.T.T.'s monitor comes to life again; a sea of wavey, zigzag lines accompanied by static. [K.I.T.T.] There's something in the tunnel creating interference, Michael. No one knows where we are. [SHEILA] And if we don't make it.... [MICHAEL] (decision made) We go for it. We've got no choice. Michael pushes buttons, preparing for maximum turbo boost. K.I.T.T.'S SCANNER The TURBO BOOST graphic pulsing quickly, the indicator edging past MAXIMUM. [K.I.T.T.] I'm at full power, Michael. [MICHAEL] Let 'er rip, pal! INSIDE THE TUNNEL - K.I.T.T. shudders as the roar of the turbo builds -- a beat before K.I.T.T. rockets forward down the tunnel. MICHAEL AND SHEILA are slammed back in their seats, as K.I.T.T. heads toward: THE MOUNTAIN OF SAND K.I.T.T. approaches at blinding speed, a blur as he passes camera and slams into it. EXT. TUNNEL - DAY as the roar of the turbo comes from beneath the earth, a beat before the mountain of sand blocking the tunnel explodes into the desert. ANOTHER ANGLE - CLOSER - MOUTH OF TUNNEL - SLO MO as K.I.T.T. rockets into view, launching through the air as the sand and debris explode around him. He lands to a shuddering stop. INSIDE K.I.T.T. - MICHAEL AND SHEILA rock to a stop and heave sighs of relief and exultation. [MICHAEL] Way to go, good buddy! [K.I.T.T.] Amazing what you can do when you have no choice. I'm afraid the jolt knocked out several circuits, communications among them. [MICHAEL] How's your radar? INTERCUT - MONITOR AS NEEDED Graphics appear on the screen, with the familiar sweep arm. [K.I.T.T.] It appears functional. What am I looking for? [MICHAEL] Devon said Jastrow leased a chopper. See if you can pick it up. [SHEILA] Michael, he could be anywhere -- hundreds of miles away. [MICHAEL] No, he can't. The flight he booked leaves in an hour and a half. It's an hour to the airport from this area. The target has to be within a half hour's driving radius for those Rovers to make it in time. K.I.T.T.'s monitor responds with ever widening concentric circles until a clear "blip" appears on the outer edge of the screen. [K.I.T.T.] I have one, Michael -- about twenty miles north of our location. [MICHAEL] Okay -- check the area for structures that contain something of great value: mints, banks, museums --- K.I.T.T.'s monitor scans a list of companies and businesses at search speed; finally holds on one highlighted by a flashing rectangle. [K.I.T.T.] How about -- the Anderson Precious Metals Depository? [MICHAEL] Bingo! (turns to Sheila) Okay young lady, time to put that thumb of yours to work. [SHEILA] What do you mean, Michael? [MICHAEL] Get to a phone; call F.L.A.G. head- quarters and tell Devon Miles to get us some backup just in case. She starts from the car, then leans back and kisses him. [SHEILA] Be careful, will you? [MICHAEL] Everybody's always saying that to me --- She smiles, gets out, crosses the road and starts hitchhiking. HIGH SHOT - K.I.T.T. races away. [MICHAEL'S VOICE] Come on K.I.T.T. Let's go get us a chopper. CUT TO EXT. JASTROW'S CHOPPER - DAY flying low across terrain, the Land Rover's on the road below. EXT. PRECIOUS METALS DEPOSITORY - DAY - FROM CHOPPER isolated in the distance, a low-slung, high-tech storage building, its gleaming roof cutting outward toward the high electrified fence surrounding its front courtyard. INSIDE JASTROW'S CHOPPER - FLYING as he gestures and smiles to Tyler next to him. They shout over the roar of the rotors. [JASTROW] There it is --- [TYLER] Better get ready. Jastrow nods. She moves from her seat, and we go to: ANOTHER ANGLE - DOOR OF CHOPPER as Tyler pulls it open, then prepares a hoist and sling apparatus attached to a winch. JASTROW clicks on his microphone. [JASTROW] Rawleigh? Fletcher? We're on final approach -- split up and move into firing positions. INTERCUT - ROAD BELOW - DAY - THE TWO LAND ROVERS come throw a turn and approach the road that circles the Depository. [RAWLEIGH] Gotcha --- [FLETCHER] Read you. Over. ANOTHER ANGLE - POINT OF VIEW FROM CHOPPER as the Land Rovers reach the road junction near the building, one going left, the other right, and we: CUT TO K.I.T.T. racing on the road, and we hear: [MICHAEL] What's our ETA, pal? [K.I.T.T.] One minute, seven seconds. Michael tromps on the accelerator, and we: CUT TO INT. JASTROW'S CHOPPER - DAY - ON JASTROW as he speaks into his headset. [JASTROW] Get ready men: on my countdown. Three, two.... ANGLE IN DEPOSITORY COURTYARD - FAVORING PLATINUM BARS stacked compactly and strapped to a shipping palate in the center of the yard. Two armed guards are stationed at opposite sides of the palate, react to: [PA VOICE] Attention all personnel! Be on full alert for.... The voice is suddenly cut off. The guards look at each other, puzzled as we go to: QUICK CUTS - RAWLEIGH AND FLETCHER - IN LAND ROVERS squeezing the triggers on the lasers, firing bolts of light toward the Depository. CLOSE ON A SWITCH PANEL a laser beam bores directly into the "Central Security" switch, which sparks, smokes, then melts right before our eyes. CLOSE ON THE RADIO FUSES A second beam locks onto the largest fuse which bursts with a bang. The guard nearby is startled, picks up his post phone, but bangs the switchhook helplessly -- it's cut off. IN THE COURTYARD - ON THE GUARDS looking around, confused by the sudden silence, cocking their weapons, as: JASTROW'S CHOPPER - FAVORING TYLER as the chopper swoops down over the courtyard and Tyler crouches in the open door wearing a gas mask tossing out: GAS CANISTERS as they land in the courtyard and explode in billowing smoke. THE GUARDS fire at the chopper but stumble, drop their guns and fall as they are overcome by the gas. EXT. HIGHWAY - K.I.T.T. screams past, racing for the Depository. MICHAEL'S POINT OF VIEW - THE HELICOPTER hovering as Tyler, at the end of the cable-and-sling, winches down into the courtyard directly above the platinum bars. INSIDE K.I.T.T. Michael throws some switches -- [MICHAEL] We're running out of time! Can we turbo boost, pal? [K.I.T.T.] I hope I have some left, Michael. Michael is slammed back into the seat as K.I.T.T. turbo explodes onto the Depository approach road. [MICHAEL] Yeah! I'll take it! ON A LAND ROVER - FLETCHER looks up in disbelief as he spots K.I.T.T. approaching, then swings his laser around and begins sighting. ON THE SECOND ROVER - RAWLEIGH does the same. K.I.T.T. turbo blasts past camera toward the Depository entrance gates that puts him in a crossfire between the two Land Rovers. QUICK CUTS - RAWLEIGH AND FLETCHER sight in on the Trans Am and fire bolts of laser light. EXT. APPROACH ROAD - K.I.T.T. swerves and rocks as blasts from the two lasers chew up the pavement just behind him. INSIDE K.I.T.T. - MICHAEL reacts to the explosion; whips the steering wheel as laser hits spark off K.I.T.T.'s hood in front of him. [MICHAEL] They found a new target, pal! Can you micro-jam their firing mechanisms? [K.I.T.T.] No, but I may be able to close their induction vents. [MICHAEL] Which means? [K.I.T.T.] I think you'll find the result satisfactory. INTERCUT - K.I.T.T.'S CONSOLE as MICRO-JAM pulses with appropriate sounds and effects. RAWLEIGH tracks and fires. His eye is pressed to the laser sight when the big gun starts to hum and spark. A red light flashes, indicating "Core overheat." His eyes widen and is knocked from the Land Rover as the weapon blows in a hail of sparks. FLETCHER fires with the same result, thrown from his post as the laser shorts out. K.I.T.T. accelerates right toward: THE DEPOSITORY ENTRANCE GATES as K.I.T.T. approaches and blasts into them. REVERSE ANGLE - GATES as they are blown away by K.I.T.T., who explodes through them into the courtyard. ANOTHER ANGLE - TYLER perched atop the platinum bars attaching the chopper's winch cable to the palate. She reacts to K.I.T.T.'s explosive arrival. She pulls her Magnum and starts firing at: K.I.T.T. who's side-sliding across the courtyard. He makes a screeching stop right next to Tyler. Michael pushes open K.I.T.T.'s door to get out; ducks back behind the door as the rounds ricochet off the window in a hailstorm of sparks. ANOTHER ANGLE as he lunges to grab Tyler. She ducks and slams a karate blow up into Michael's midsection followed by another across the back of the neck. He straightens and puts Tyler away with a short right hook. ANOTHER ANGLE - PALATE OF PLATINUM The cable being reeled back up toward the chopper as Michael grabs it and snaps it onto K.I.T.T.'s winch hook. [MICHAEL] Okay pal, reel him in. K.I.T.T.'s winch starts whirring. JASTROW'S CHOPPER strains to lift off, but can't. MICHAEL thumbs up to K.I.T.T., and we: FREEZE FRAME FADE OUT END OF ACT FOUR TAG SHEILA Sheila shows up with Tom O'Malley, a rotund, teddy-bear type the ladies love to cuddle. He tells Michael, he and Jastrow were in the same artillary unit in Korea; stayed in touch at conventions and shared a continuing interest in the big guns. He casually mentioned the 105mm's his police department confiscated to Jastrow, never dreaming what he was up to. Where's O'Malley been? At a desert spa recovering from his first four nights at the convention. THE END

{"show": "Knight Rider", "season": "s03", "episode": "e20", "title": "Knight Strike"}

knightriderarchives

ACT ONE FADE IN EXT. RURAL HIGHWAY - DAY - ON K.I.T.T. cruising along the outskirts of a small town. [MICHAEL'S VOICE] Given a choice, pal, I'd rather be skiing.... INT. K.I.T.T. - DAY [MICHAEL] Or sailing...or snorkeling...or hang-gliding, or horseback riding or...let's face it, just about anything else in the whole wide world than going to a circus. [K.I.T.T.] I know what you mean, Michael. I never could understand what people saw in fifty grown men, wearing red noses and baggy pants, with floppy shoes, no less, climbing out of a car the size of a baby carriage, and then throwing buckets of water at each other. Not to mention the elephants. And then there are those awful.... [MICHAEL] (interrupting) Easy, buddy, don't make me feel any worse than I already do. [K.I.T.T.] Well, there is one consolation. [MICHAEL] Yeah, what's that? (long silence) Kitt...! [K.I.T.T.] I'm thinking, I'm thinking! All right...you're doing this as a favor to Devon. [MICHAEL] Yeah, I guess you're right. When it comes to the circus...our leader's just a kid at heart. He smiles at the thought. EXT. RURAL HIGHWAY - DAY - ON K.I.T.T. roaring along to a rock/circus beat, and sound-alikes. EXT. CIRCUS - DAY - VARIOUS ANGLES to catch the fun and thrills of this family-owned attraction, known as Circus Major. This is the day before opening, so there's no audience, really, just some invited guests, the press, and a few others who have managed to sneak on the lot. It's also a dress rehearsal, so the clowns, the fire eater, the strong man, and all those other wonderful and amazing acts are performing in the b.g., as --- The camera finds: DEVON AND BONNIE walking toward the trapeze apparatus, which like most of the other attractions is outside. Devon is filling his face with a big bouquet of cotton candy. Bonnie is delighted to see him so happy: [DEVON] Ahhh, the magic and the wonder of it all, Bonnie. Did I ever tell you about the time.... [BONNIE] You went undercover in occupied France as Valentino the Knife Thrower. [DEVON] (pleased) You remember! Yes, I spent three months with Circus Major. In fact, my senior O.S.S. officer, may he rest in peace, was Gunther Major, whose father founded this very show. They're in front of the trapeze apparatus now: [DEVON] And now Gunther's two children are the star attractions. Look -- here they come now. ANGLE TO INCLUDE PETER AND TERRY MAJOR Beautiful and handsome in their flying costumes, accompanied by drum rolls and bugles as they move toward the trapeze ladder. He's twenty-six. She's twenty-three. [BONNIE] And here comes our star attraction. Devon looks to see Michael driving up nearby, and getting out. [MICHAEL] Yo, Devon.... [DEVON] Michael! I'm glad you could make it. [MICHAEL] Hey, you couldn't keep me away with a herd of dancing elephants. (aside to Bonnie) Is it over yet? [BONNIE] (aside) It hasn't begun. [MICHAEL] (big smile) All right! Devon has taken a few steps closer to K.I.T.T. [DEVON] Kitt, I wonder if you might film the Flying Majors for me? (very quickly) Rather, for my nephew. Yes, my nephew. [K.I.T.T.] Of course, Devon. I'll even use my new image enhancement lens. For your nephew. [DEVON] Yes...he'll...appreciate that. As Devon moves to join Michael and Bonnie: ANGLE ON K.I.T.T.'S FLASHER spotting something. [K.I.T.T.'S VOICE] Oh, no. Now what on earth does he want? WHAT K.I.T.T. SEES "Bang" the orangutan...who spots the scanner and now places his big face right near it, following the red light. [K.I.T.T.'S VOICE] All right, rubber face, move it. But hearing the voice, Bang only rises to his full height, bares his teeth, begins banging his chest, and roaring like an ape. Or orangutan. After which: [K.I.T.T.'S VOICE] Well...we'll see about that, Latex lips. And K.I.T.T. begins flapping his hood up and down, while letting out a combination of jungle sounds that would make Tarzan proud. And makes Bang run for shelter. After which: [K.I.T.T.'S VOICE] Now -- let's hope I've made myself clear. K.I.T.T. returns to scanning/photographing the Flying Majors. ANGLE ON MICHAEL, DEVON AND BONNIE as they watch Peter and Terry about to climb the ladder to their perch high above the ground. [DEVON] There have only been a handful of flyers who have mastered the triple somersault and Peter Major is one of them. INTERCUT - PETER AND TERRY Terry starts up first. (Note: There are other circus performers clustered about them, and we will see one unidentifiable hand reach out and pat Peter on the shoulder, before melting away in the crowd.) Peter starts the quick climb, moving up like a cat. [BONNIE] I think I'd feel a lot better if they used a net. [MICHAEL] So would I, but I don't think they'd sell as many tickets. [DEVON] (tense) Watch! She's about to fly. THEIR POINT OF VIEW - TERRY leaving the perch, doing a double somersault and being caught by the catcher. BACK TO SCENE Our people react. Impressed, proud. Especially Devon. [BONNIE] That was beautiful, Devon. [DEVON] Thrilling is more like it. We hear a loud drum roll, which will fade to silence as Peter gets ready to perform his triple. [DEVON] It's Peter's turn now. [MICHAEL] Think he'll try the triple his first time out? [DEVON] Knowing his father the way I did -- I'm sure of it. INTERCUT - PETER as needed. He readies himself, but for a brief second seems to falter. [MICHAEL] Devon, is it my imagination or does he seem a little unsteady? Devon has also caught it. [DEVON] I'm not sure. No...it's probably just part of the act. Peter catches the swing. The tension builds. [BONNIE] He's ready. There he goes! Peter swings into space, and there definitely appears to be something wrong. He seems to be shaking the cobwebs from his brain. Both Michael and Devon grow increasingly concerned. Then he attempts the triple...once...twice...but on the third somersault he loses all sense of balance, misses his catcher's hands, and plummets downward. VARIOUS ANGLES shock, disbelief, horror, as Peter hits the ground. Within the confusion that follows, our people race to the body. Intercut Terry watching from above, too pained and stunned to move. [MICHAEL] Kitt, give me a scan of his vitals. INTERCUT - K.I.T.T.'S MONITOR for appropriate graphs. [K.I.T.T.] Michael, I'm sorry...he's dead. Bonnie gasps, turns into Michael's arms for comfort. Devon is shattered. The circus performers stunned; Blippo the sad-faced clown all but in tears. But mostly Devon: [DEVON] Oh, dear God. Dear God. EXT. SEMI - NIGHT moving fast along a lonely road. [MICHAEL'S VOICE] Devon...don't you think you should try to get some sleep? INT. SEMI - NIGHT The lights are dim. Devon sits in front of the monitor, silently watching the film K.I.T.T. shot of Peter's tragic fall. He looks up at Michael, as if seeing him for the first time. K.I.T.T. is parked nearby. [DEVON] I'm sorry. [MICHAEL] You've been studying that film Kitt shot of the night. [DEVON] Really? (glances at watch) Oh, dear, I didn't realize it was so late. He gets up as Bonnie enters with a tray of tea. [BONNIE] I made you some tea. As he takes a cup: [DEVON] Bonnie, you make coffee -- you brew tea. [BONNIE] Not instant you don't. [DEVON] Instant? [BONNIE] Just kidding. Devon sips. [DEVON] Not bad. Not bad at all. FAVORING MICHAEL who has gone to the monitor, and is now examining the film, controlling "forward" and "reverse" with the remote button. [MICHAEL] Devon, what's so interesting about this film? Devon and Bonnie join him at the monitor. [DEVON] I'm not sure...probably nothing. [MICHAEL] C'mon, I know you better than that. What is it? Devon takes the remote, finds the proper frames: [DEVON] Take a look at this. INTERCUT - FILM OF MONITOR as needed. Michael shrugs: [MICHAEL] Peter's putting rosin on his hands. What's so unusual about that? [DEVON] For an aerialist, absolutely nothing. But watch what he does just before he catches his trapeze. Another frame: [BONNIE] He wipes his brow. [DEVON] With his open palm. Thereby losing some, if not all of the rosin. [MICHAEL] Anyone whose life depended on his grip wouldn't do that. [DEVON] Exactly, Michael. [MICHAEL] Isn't that where we noticed he seemed a little unsteady? [DEVON] Yes. [MICHAEL] Kitt, push in on his upper chest and head area. K.I.T.T. does. [MICHAEL] Looks like he's also gasping for air. [BONNIE] Maybe he was having a seizure of some sort. Or even a heart attack. The coroner's report should be out tomorrow. [MICHAEL] I don't think that's what Devon's suggesting, Bonnie. [BONNIE] What are you suggesting? [DEVON] That perhaps the accident wasn't really an accident. [BONNIE] Murder? [DEVON] Possibly. [BONNIE] But why? For what reason? [DEVON] I don't know. The truth is, I don't even have one piece of concrete evidence to go on. Michael, if you came to me with something like this, you know what I'd tell you? [MICHAEL] Only too well. [DEVON] (deeply troubled) But there's something deep inside me...perhaps too many years at this job, perhaps too close a friendship to Peter's father...that won't let me rest until I know the whole truth about his death. [MICHAEL] That's good enough for me, Devon. I'll look into it. [DEVON] Michael, you haven't had a day off in over a month. Besides, this isn't a Foundation matter. [MICHAEL] Then call it a family matter. Devon, you've backed me up more times than I can remember. Now it's my turn. I'm on it...you get some rest. [DEVON] (beat, warm smile) Thank you, Michael. [MICHAEL] No need. Devon nods, and turns to leave. EXT. ROAD TO CIRCUS - DAY - ON K.I.T.T. [K.I.T.T.'S VOICE] Michael -- if you're expecting the circus people to bare their souls to you, forget it.... INT. K.I.T.T. - DAY [K.I.T.T.] My research tells me they're an extremely close-knit group, who are about as open to strangers as a convention of mafia bosses. [MICHAEL] But I'm not going in as a stranger, pal...I'm going in as one of their own. K.I.T.T. thinks about this a beat, then: [K.I.T.T.] Good idea. How about the Magnificent Michael and his Colossal Cotton Candy. A bit sticky maybe, but safe. [MICHAEL] I was thinking of something a little more...flamboyant, Kitt. [K.I.T.T.] That's what I was afraid of. EXT. ROAD - DAY - ON K.I.T.T. flying along to rock/circus sound-alikes. EXT. CIRCUS - DAY - ON TERRY leaving her trailer. As she walks toward one of the tents, Blippo suddenly appears behind her, in costume and carrying a large wooden bucket. [BLIPPO] Honk-honk! She turns and Blippo lifts the bucket as if to throw water on her. Even in her sadness she forces a smile: [TERRY] Blippo, don't you dare! He maneuvers for position, she maneuvers away. [TERRY] I'm warning you. Blippo, if you get one drop of water on me.... [BLIPPO] Water? [TERRY] I'm not in any mood for confetti, either. [BLIPPO] Okay-okay...then how 'bout greens? He puts his hand in the bucket, and pulls out a fistful of good old U.S. currency, unseen to us until now. [TERRY] Where'd that come from? [BLIPPO] The sky! It rained money! [TERRY] It hasn't rained in a month. Money or anything else. Now come on, Blippo. [BLIPPO] All right -- all right... (motions behind her) Bang the orangutan found it. Terry looks to see Bang seated nearby. She laughs, but --- [TERRY] Blippo, I'm warning you.... She advances threateningly, until: [BLIPPO] Terry, sweetheart, it's a gift.... from us...your friends. She looks to where he motions, to see the many performers gathering around. [BLIPPO] We admit it's not a whole lot, but it's something. And...well...if it helps keep this crazy circus alive one more day, then what the heck, we can afford it. [TERRY] (near tears) Thank you...thank every last one of you. (hugs Blippo) But I'm afraid it's going to take a lot more than this to keep Circus Major from going under. What we need is...another big act. Someone ...who can take my brother's place. It's too much for her. She starts to cry, taking comfort in Blippo's arms, as the others gather closer. EXT. CIRCUS GROUNDS - DAY - ON K.I.T.T. [MICHAEL'S VOICE] I've got it! INT. K.I.T.T. - DAY [MICHAEL] I'll go as a human cannonball and you can catch me. [K.I.T.T.] If I don't, the men in white coats surely will. Michael! I really think you're letting this circus thing go to your head. [MICHAEL] (seeing something up ahead) You're right, Kitt. I think we oughta stick with what we do best. MICHAEL'S POINT OF VIEW - FENCE AROUND CIRCUS GROUNDS [K.I.T.T.] Michael, you're not.... BACK TO SCENE He accelerates. [MICHAEL] Sure am.... [K.I.T.T.] But the front gate's wide open. [MICHAEL] No one ever hired Turbo Man for driving through the front gate. [K.I.T.T.] Turbo...Man? [MICHAEL] You got it! He pushes turbo boost. INT. K.I.T.T. - DAY - VARIOUS ANGLES as the Trans Am clears the fence and lands. Intercutting with reactions from the circus performers, favoring Terry and Blippo. Michael then makes a sharp turn, screeches up to where they are and gets out...with a magnificent bow, a certain flourish: [MICHAEL] For those of you who haven't already heard of me, let me introduce myself. I'm the world renowned Turbo Man... and this is my flying carpet, Kitt. [K.I.T.T.] Your...flying carpet? The circus people still a bit stunned by the jump, are equally stunned by K.I.T.T.'s comments. [MICHAEL] My...talking...flying carpet. Who can also crash through solid walls, ride on two wheels, drive by itself, and imitate any sound known to man. Give them a sample, Kitt. [K.I.T.T.] Michael, really.... [MICHAEL] (clenched teeth) Kitt. [K.I.T.T.] All right, you asked for it. K.I.T.T. goes through his now famous jungle act, ending with a rampaging elephant. Herd of elephants? ANGLE TO INCLUDE BANG bounding over, pounding his chest, baring his teeth and jumping right on top of K.I.T.T.'s hood. Bang has also been eating a banana which he proceeds to squash into K.I.T.T.'s windshield. K.I.T.T. quickly turns on his windshield washers and wipers which only make things worse. [K.I.T.T.] Michael, will you kindly take this poor man's King Kong off my person. Michael forces a grin. To Terry: [MICHAEL] He's also very temperamental, as you can see. [BLIPPO] Let's go, Bang. Bang obeys, but not without sticking his tongue out at K.I.T.T. and giving him the old orangutan razzberry. [K.I.T.T.] Bang! An orangutan named Bang!! K.I.T.T., in total disgust and humiliation, backs up and drives off a short distance. As the others follow to examine him more closely, Terry moves to Michael: [TERRY] You have some act. (takes closer look at him) Wait a second...didn't I see you here during dress rehearsal? [MICHAEL] Yes...I came to audition. But under the circumstance...I'm sorry about your brother. [TERRY] I am, too. But what's the old saying -- tears are as much a part of the circus as the laughter. Maybe even more so. (slight beat, forces smile) I can't afford to pay you much. [MICHAEL] If I did this just for the money I'd find a new line of work. [TERRY] All right, Turbo Man...welcome to Circus Major. [MICHAEL] My friends call me, Michael. She nods, smiles: [TERRY] Let's go sign the contract...Michael. She leads him toward her trailer. ANGLE ON BLIPPO He stands in the screened doorway to his trailer, watching. Then turns inside. INT. BLIPPO'S TRAILER - DAY The clown picks up the phone, dials. A voice on the other end: [MAN'S VOICE] Yes? [BLIPPO] Mr. Barnes...we have another problem. [MAN'S VOICE] Then, damn it, deal with it! Burn that circus to the ground if you have to! [BLIPPO] Whatever you say, Mr. Barnes. Whatever you say. He hangs up, then starts dialing another number. EXT. TERRY'S TRAILER - DAY - ESTABLISHING [MICHAEL'S VOICE] Is this your father? INT. TERRY'S TRAILER - DAY Michael looks at one of the many, many photographs on the wall. The trailer is small, but a museum of the Circus Major. [TERRY] Yes...and that's my mother over there... and my two uncles...my aunts...my grandfather...my grandmother, and... this is the last picture ever taken of Peter during a performance. (beat) There'll never be another flyer like him. [MICHAEL] The circus is really in your blood, isn't it? [TERRY] It's in the blood of this town, Michael...without the circus here, Majorville would just dry up and blow away. It's as simple as that. (moves to her desk) Ready to sign, Turbo Man? She shows him the contract, proffers a pen. [MICHAEL] On the dotted line. He takes the contract. EXT. SMALL STORAGE TENT - DAY - ON CHUCK FOLEY a seemingly happy-go-lucky type of twenty-five, in roust- about coveralls, except for the fact that he's backing out of a tent marked with "DANGER/INFLAMMABLE" signs, and pouring gasoline around it. Foley, a rock music lover, wears earphones and moves to the beat...even as he sets a fairly sophisticated fuse and calmly walks away. To the beat. CLOSE ON FUSE as it automatically ignites and starts heading toward the gasoline. INT. TERRY'S TENT - DAY Michael finishes signing. [TERRY] It's great to have you with us. I'll start on the promotion right away.... But she's interrupted by the beeping comlink, then: [K.I.T.T.'S VOICE] Michael, my olfactory sensors detect smoke coming from one of the circus tents. Moving out: [MICHAEL] Find out which one, Kitt. EXT. TERRY'S TRAILER - DAY - ON K.I.T.T. pulling up, popping door, and Michael sliding inside. [K.I.T.T.'S VOICE] It's at the far end of the lot. Michael peels off. [MICHAEL'S VOICE] I can see the smoke now. Kitt, alert the others. K.I.T.T. imitates a fire alarm. VARIOUS ANGLES as the entire circus, except for Blippo and someone we'll get to know as Tiger, pitches in to put out the fire. ANGLE ON FOLEY stuffing his coveralls into a trash barrel and moving toward his nearby bike. EXT./INT. K.I.T.T. - DAY [K.I.T.T.] That's what I call teamwork, Michael. [MICHAEL] (seeing something) Then I think I just spotted an opposing player. ANGLE TO INCLUDE FOLEY as he takes off on his bike, and Michael goes after him. VARIOUS ANGLES OF CHASE Foley has a little advantage of zigzagging between the parked trailers, then he races for the open gate. ANGLE AT GATE as Foley speeds through. ON K.I.T.T. As he nears the gate, a school bus on an outing, suddenly turns inside the circus park, blocking the entrance. EXT./INT. K.I.T.T. [MICHAEL] Kitt...! [K.I.T.T.] If you're thinking of a turbo boost, Michael, we'll never make it. [MICHAEL] You know something, pal, this time I won't argue. Michael slams to a stop in front of the bus, then swings around it to the chain-link fence. [MICHAEL] Any sign of him, Kitt? VARIOUS ANGLES OF STREET No sign of Foley. [K.I.T.T.] Negative, Michael...I'm afraid he's long gone. And on Michael's frustration, we --- FADE OUT END OF ACT ONE ACT TWO FADE IN EXT. SEMI - DAY moving fast along a fairly busy highway. [DEVON'S VOICE] (excited) Michael, I think I've found something! INT. SEMI - DAY Michael hurries to Devon, who is studying the film on the monitor. [MICHAEL] What is it? Bonnie follows him. Intercut as needed. [DEVON] Look closely at Peter as he's about to ascent the ladder. What do you see? [BONNIE] A bunch of the performers crowding around him. I guess they're wishing him luck. [DEVON] What else? [MICHAEL] A hand. [DEVON] That's right! One single disembodied hand, reaching out of the shadows, and patting him on the back. Kitt, give me a closeup of that hand. [K.I.T.T.] Right away, Devon. [BONNIE] There's something inside it. [MICHAEL] Looks like a small sponge. [DEVON] Exactly. [MICHAEL] Kitt, zoom in closer. He does. [MICHAEL] It's wet. A liquid of some kind. [K.I.T.T.] Michael, if you're expecting me to tell you what that liquid is from a photograph.... [MICHAEL] (interrupting) Don't worry, pal, even I wouldn't ask that of you. But I do want to take a look at that fire. He starts for K.I.T.T. [DEVON] Michael...about your opening perfor- mance tonight.... [MICHAEL] Say no more, Devon...I'll leave a couple of tickets for you and Bonnie at the gate. EXT. SEMI - DAY as K.I.T.T. drops out and peels off to sound-alikes. EXT. SITE OF FIRE - DAY Michael looks over the area. [MICHAEL] Can you give me some idea where it started, pal? ANGLE TO INCLUDE K.I.T.T. His scanner flashes. INTERCUT - MONITOR to see the proper graph. [K.I.T.T.'S VOICE] The incendiary flash point is exactly six-point-three feet to your left, Michael. BACK ON MICHAEL as he moves to it. [MICHAEL] Scan the ashes. [K.I.T.T.] For anything in particular? [MICHAEL] The arsonist's name and telephone number...or anything else that might lead us to him. INTERCUT - MONITOR for scanning graph, until: [K.I.T.T.'S VOICE] Michael, I'm picking up a high con- centration of phosphorescence only a few feet from where you're standing. BACK ON MICHAEL as he squats down and begins running his hand through the ashes, until finding a high-tech, auto-delay fuse. As he examines it thoughtfully: [TIGER'S VOICE] See anything interesting down there? Michael looks, reacts. WHAT HE SEES The longest and most beautiful pair of legs in the world, and topped on skates. A slow pan up and we see she's wearing tiger design leotards, with a bullwhip over one shoulder. This is Tiger, twenty-three, fantastic, who does a roller-skating/rock act. ANGLE TO INCLUDE MICHAEL Michael sort of grins to her question, clears his throat, as he rises, putting the fuse in his pocket. [MICHAEL] Nothing that doesn't get better on the way up. She smiles; her soft laugh is almost a purrrr. [TIGER] My name's Tiger. [MICHAEL] You're kidding? [TIGER] And you must be Turbo Man. The one with the magic car. [MICHAEL] (softly) It's all done with mirrors. He just sits there, I do all the work. [K.I.T.T.] I heard that, Michael. And speaking of work, don't we have some to do? [MICHAEL] Not now, Kitt.... [K.I.T.T.] Michael...! [MICHAEL] Kitt (forces a good- natured laugh) He's a real workaholic...practice, practice, practice.... She moves closer to him, turns it on: [TIGER] While you're the type who enjoys his relaxation...like cuddling up with a nice soft kitten on your lap. She reaches out, touches his face with hands sporting inch- long nails; he quickly backs off: [MICHAEL] Yeah...well...maybe my partner's right. The show must go on, practice makes perfect, there's no business like show business. Maybe another time, Tiger. [TIGER] I'll hold you to that, Turbo Man. I'll hold you to that. She gently runs her nails down his face and growls like a big cat. Then backs off, and without missing a beat takes her bullwhip and snaps a couple popping cracks near Michael's face, before skating off. Michael shakes his head, somewhat in relief, and returns to K.I.T.T. [MICHAEL] Kitt, that's one tiger that will never be an endangered species. [K.I.T.T.] Don't say I didn't warn you, Michael. Michael opens the door: [MICHAEL] Thanks, pal. Now see what you can make of this. He places what he found in the ashes into the analyzer. ANGLE TO INCLUDE MONITOR with proper graphs. [K.I.T.T.] It's an auto-delay fuse, Michael. Fairly sophisticated. It'll take me a while to check it out. [MICHAEL] Get right on it. ANGLE TO INCLUDE TERRY walking nearby. She waves: [TERRY] Michael.... Joins him. [MICHAEL] Where are you going all dressed up? [TERRY] To the bank...before the bank comes here. [MICHAEL] Want a lift? [TERRY] Sure, why not? It's not every day you can have Turbo Man chauffeur you around town. She gets in. Michael slides behind the wheel, and they drive off. ANGLE ON TIGER as she stands watching them. [BLIPPO'S VOICE] What was that all about? ANGLE TO INCLUDE BLIPPO coming up behind her. [TIGER] He was snooping around the fire. I think he found something. [BLIPPO] If he's that interested in fires... then maybe we'll give him one he won't forget. They continue to watch K.I.T.T. drive away. EXT. CITY STREET - DAY - ON SIGN It reads: WELCOME TO MAJORVILLE, HOME OF CIRCUS MAJOR. Pan to pick up K.I.T.T., driving by: [MICHAEL (V.O.)] Welcome to Majorville.... INT. K.I.T.T. - MICHAEL AND TERRY [MICHAEL] The high school, the hospital, the auditorium...must make you proud to have the Major name on practically every public building in town. [TERRY] (laughing) Very proud, Michael, although I take no credit. It was my grandfather who made all those things possible. [MICHAEL] Must've been quite a guy. [TERRY] He was. He built a dream on a patch of weeds. A circus town where performers could work and live permanently like normal folks. [MICHAEL] I wouldn't give away all the credit, Terry. Takes a lot to keep a dream like that alive. [TERRY] I'm trying, Michael. But if I lose this circus, Granddad's ghost'll haunt me forever. [MICHAEL] Is there a chance of that? [TERRY] Is there ever. Fortunately some of the bookings that were cancelled after Peter's death are coming back because of you. But even so, we're just squeezing by. [MICHAEL] If you're forced to bail out, there's always the land. [TERRY] If you're talking about selling, forget it. Anyway, the land by itself is not really all that valuable. (then, at dashboard) All these gadgets. Do you really use them? [MICHAEL] Sure. For instance, see that parking spot? OVER MICHAEL AND TERRY THROUGH WINDSHIELD at parking spot in front of bank. [MICHAEL] Let's show her how it's done, buddy. Michael accelerates. EXTERIOR - K.I.T.T. (UNDERCRANK) as K.I.T.T. zips into the parking spot. Getting out of the car, laughing: [TERRY] Michael, you're crazy.... [MICHAEL] Thank you, thank you. Compliments are what Turbo Man lives for. INT. BARNES' OFFICE - DAY - ON JEFF BARNES sitting behind his desk, beaming with pleasure at his visitor. [BARNES] When I tell my son that you're here, right here in my own office, he's never gonna believe me. I mean, Turbo Man is all he and his friends have been talking about.... Angle widens to include Michael, who exchanges an amused look with Terry. Barnes rises, searches his desk for a pad and pen. [BARNES] In fact, the whole town's been talking about you and those marvelous tricks they heard you can do with your car. Please, do me a great favor. (offers pad and pen) Just sign your name, you know: Your pal, Turbo Man. Taking the pen: [MICHAEL] Sure. What's your son's name? [BARNES] Jeff. Michael looks at the nameplate on the desk which reads: Jeff Barnes, President. [BARNES] Junior. Jeff Junior. Michael shoots Terry a smile, and signs. [BARNES] Guess I've always been a little off the wall when it comes to the circus. I ran away with it four times when I was a boy; wanted to become a lion tamer. [TERRY] A lion tamer, Mr. Barnes? [BARNES] Oh yeah. But I wasn't lucky like you. My father was a banker. So here I am. (then, apologetically) And as a banker, I'm responsible to my depositors. You can understand that, can't you, Terry? [TERRY] Don't sweat it, Mr. Barnes. (hands him check) Here's the payment. [BARNES] I am relieved. Believe me, if it were up to me, I'd declare the loan paid, wipe the books clean, because of all your family's done for this town. [TERRY] One thing I've never needed or asked for is charity. [MICHAEL] Tell your depositors their money is safe. In fact, with the tour coming up, a smart businessman would think about making a heavy investment in Circus Major. [BARNES] Is that so? Well, maybe I'll look into it. [TERRY] Come on, Michael, we've got a show to get ready for. As Terry exits, Michael pauses in the door, shrugs: [MICHAEL] Practice, practice, practice. ANOTHER ANGLE After Michael pulls the door closed, Barnes' expression sours as he grabs the phone and dials a number. INT. FOLEY'S GARAGE WORKSHOP - DAY A wonderland of pyrotechnic paraphernalia and high-fi equipment blasting heavy metal. Rocking to the beat of the music, Foley ignores the first telephone ring or two as he busies himself making an explosive device. Finally, he picks up the phone: [FOLEY] What? INTERCUT AS NECESSARY [BARNES] Foley, this is Barnes... (at loud music) Foley, can you hear me? [FOLEY] You ain't said anything yet, man. [BARNES] It's that Turbo Man. You've got to get rid of him, you understand? Once and for all, get rid of him! [FOLEY] Be cool, man. Blippo's already got me working on it. He's dead. EXT. CIRCUS ARENA - NIGHT - ON TIGER doing her act; rolling about on her platform to rock music, and popping balloons with a whip. As we pull back to scene, we also see, in the b.g., clowns, jugglers and acrobats. ANGLE ON MICHAEL AND K.I.T.T. Waiting in the wings, Michael, in his full red sequined finery, is leaning on K.I.T.T. and taking it all in. [MICHAEL] You know, Kitt, Devon is right...It's all here...the greatest show on Earth. [K.I.T.T.] Are you talking about the circus or the Tiger lady? [MICHAEL] Come on, Kitt, where's your soul? [K.I.T.T.] I have none, Michael. I'm a computer. [MICHAEL] We'll have to do something about that one of these days. Terry, in costume, comes running over. [TERRY] Michael...hey, look at you in that outfit. [MICHAEL] You don't look bad yourself. And that was some performance you gave. [TERRY] Everything is going so well. We're sold out, and the advance sales are terrific. [MICHAEL] Let's hope it keeps going that way. At the sound of a dtum roll and a trumpet flourish, she kisses him: [TERRY] Good luck. And she hurries back. [RINGMASTER'S VOICE] (announcing) Ladies and gentlemen, your attention, please.... [K.I.T.T.] Michael, it's not too late to get out of this. [MICHAEL] Kitt, I'm surprised at you. Look at all those fresh-scrubbed little kids out there, waiting for us. [K.I.T.T.] Stuffing their faces with popcorn and preservatives. EXT. INSIDE THE ARENA - NIGHT - ON RINGMASTER [RINGMASTER] Circus Major now takes great pleasure and enormous pride in introducing the act you have all been waiting for. THE AUDIENCE tensing with anticipation. ON DEVON AND BONNIE also waiting with anticipation. ON BLIPPO AND TIGER Standing to one side, Blippo looks over at Foley, sitting in the audience. He has headphones on, listening to rock music, and is eating popcorn and cotton candy. THE SCENE The drum roll continues as the house lights grow dim. [RINGMASTER] Straight from the continents of Europe and Asia, a daredevil who has risked his life a thousand times. Ladies and gentlemen, the great, the fabulous, the incomparable Turbo Man. By now the house lights are out, a spotlight is beamed at the entrance to the arena, and Michael appears standing on K.I.T.T., holding onto a pair of reins. They enter and start to do a turn around the track. THE AUDIENCE cheering, going wild for their hero. ON BARNES sitting calmly in this sea of excitement, watching. THE SCENE as Michael and K.I.T.T. move into position. [RINGMASTER] Now, ladies and gentlemen, Turbo Man will perform his death-defying feat. THE HOOP as the huge hoop, suspended ten feet off the ground at the opposite end of the arena, is lit and enveloped in a blaze of fire. VARIOUS CUTS OF THE AUDIENCE reacting with oohs and ahhs. ON TERRY watching, growing anxious for Michael. THE SCENE [RINGMASTER] With no protection whatsoever, the fearless Turbo Man and his faithful Kitt will attempt the impossible. Together, they will try to leap ten feet into the air and pass through the ring of fire unscathed. Can you do it, Turbo Man? Michael waves, indicating he's ready. ANGLE ON MICHAEL astride K.I.T.T. [MICHAEL] Let's go, buddy. Like they say in show biz, 'Break a leg.' [K.I.T.T.] In my case, it's 'Blow a tire.' K.I.T.T. starts in motion, slowly at first. ON FOLEY listening to the rock music and scoffing down the popcorn and cotton candy; he looks over at Blippo and Tiger with a big smile and nods. ON BLIPPO AND TIGER [TIGER] (re Foley's nod) What does that mean? [BLIPPO] That means the audience is gonna get a big bang outta this. ANGLE ON K.I.T.T. bursting into speed. They roar towards the burning hoop. [MICHAEL] Let her rip, pal! ANOTHER ANGLE as K.I.T.T. takes flight, heading for the ring of fire. [K.I.T.T.] (alarmed) Michael, there's something on the other side. [MICHAEL] What? THE HOOP OF FIRE as Michael and K.I.T.T. fly through. [K.I.T.T.] An incendiary bomb, Michael. Jump! ANOTHER ANGLE It's too late to jump. As they land on the other side, K.I.T.T. detonates the bomb, which goes off in a blinding fiery flash. ON K.I.T.T. as he is knocked about by the force of the blast. INTERCUTTING - TERRY, DEVON AND BONNIE reacting with horror. ON MICHAEL being blown through the air. And, as he is, we: FREEZE FRAME AND FADE OUT END OF ACT TWO ACT THREE FADE IN EXT. CENTER RING - NIGHT - CONTINUOUS ACTION Flames from the blast still lick at K.I.T.T.'s underside. He auto-starts and heads for: MICHAEL who lies on the ground, dazed as Terry and other circus characters rush to help. [DEVON] Michael, for God sake, say something. [BONNIE] Michael, speak to me! [MICHAEL] I'm okay. He gets to his feet and waves to the crowd with a flourish. Ringmaster seizes the moment: [RINGMASTER] Laay-dees and Gentlemen...the amazing ...Turbo Man. ON THE STANDS The acrobats flip, the clowns cavort, and the fans are going crazy. All except Jeff Barnes, who watches intently from his seat next to the runway. Blippo and Tiger slide up beside him, their eyes fixed on Michael's triumph. Then they all share a cold look of frustration. MICHAEL smiles and continues his bows, Terry at his side. [TERRY] (scared) Don't tell me that was part of your act. Nobody's that good. [MICHAEL] (gritting his smile) You're right. Somebody doesn't want me in your show. Terry reacts, but he sweeps her up with an arm and they sit on K.I.T.T.'s hood, waving as K.I.T.T. drives them off. EXT. HIGHWAY - DAY - FOUNDATION SEMI sweeping down the highway. K.I.T.T. appears and motors up the ramp. [BONNIE'S VOICE] Well, well. If it isn't the amazing Turbo Man. INT. SEMI - DAY as Michael is greeted by Bonnie and Devon. [MICHAEL] Don't rub it in. I'm still creaking. [BONNIE] (teasing) You couldn't go undercover as a peanut vendor or a roustabout... (opens K.I.T.T.'s hood) I just hope Kitt's all right. [K.I.T.T.] I'm fine, Bonnie. Don't blame Michael. [DEVON] Any idea who might have sabotaged your act? [MICHAEL] Could have been any of a dozen people. (noticing what's on the computer terminal) What's this? Devon and Bonnie cross to join him. INTERCUT - MONITOR AS NECESSARY [BONNIE] It just came in. The coroner's report on Peter's death. Bonnie punches some buttons and the terminal displays molecular models. [BONNIE] He had a lot of D.M.S.O. in his bloodstream and the residue of some muscle salve. Normal stuff for an athlete. The information hits Devon like a bullet. [DEVON] Not for this athlete. They look at him curiously. [MICHAEL] Devon, what are you saying? [DEVON] I know for a fact. Peter never used any medication with D.M.S.O. in it. He was allergic to it. Couldn't risk a reaction. [BONNIE] Well, he used it that day. [MICHAEL] Wait...the sponge. Kitt, isn't D.M.S.O. administered through the skin? [K.I.T.T.] That's right, Michael. Michael's already heading for the car. As he fires it up: [DEVON] Where are you going? [MICHAEL] To warn Terry. Whoever's doing this must be a member of the circus itself. [BONNIE] Be careful. [MICHAEL] (winks) You kidding? I'm Turbo Man! And he speeds down the ramp. EXT. HIGHWAY - DAY - SEMI K.I.T.T. pops down the ramp, wheels a 180 and speeds off. ANGLE IN K.I.T.T. - INTERCUT - DASH [MICHAEL] Kitt, I keep coming back to one question. Why? [K.I.T.T.] Michael, we're dealing with indi- viduals who eat fire, hang by their hair, and swallow swords. If you want to know why these people do things, you're asking the wrong computer. [MICHAEL] Come on, Kitt. It can't be personal, 'cause they came after me, too. What's the market value on the circus land? Maps and graphs fly across the monitor. [K.I.T.T.] It's never been on the market, so it's hard to project. No minerals, no natural water, no unusual value. It's just another piece of land. [MICHAEL] Yeah, well, not to Terry. And not to the town. And not to the kids who come here every year. Dig deeper, pal. He twists a left turn onto the circus property. EXT. CIRCUS COMPOUND - NEAR TERRY'S TRAILER - DAY Michael and K.I.T.T. get a warm welcome with waves from the circus characters. A unicyclist goes around them, a stilt- walker straddles the car as they park. [K.I.T.T.] Looks like Turbo Man's getting popular. [MICHAEL] I'd be nothing without Kitt the Wonder Car. [K.I.T.T.] Well, at least that's better than Kitt the Flying Carpet. He starts off. K.I.T.T. reacts to: BANG THE ORANGUTAN waddling up to K.I.T.T., displaying a can of spray paint proudly. He favors K.I.T.T. with his biggest smile. [K.I.T.T.] Oh, no...not on me, you don't! Bang presses the button and white paint shoots out. K.I.T.T. starts to back away, avoiding it. [K.I.T.T.] No! Scat! Don't you dare! Bang smiles, sticks out his tongue at K.I.T.T., starts coming toward him faster. [K.I.T.T.] Back, you simian graffitist. But it's too late. He's after him. K.I.T.T. spins his wheels in the dirt and pulls a 180 and races away. Bang chases him, howling and spraying happily. EXT. TERRY'S TRAILER - DAY Michael walks up behind Terry as she watches two jugglers spinning plates and bottles on sticks atop their noses. [TERRY] Better, boys. Now, try lighting the bottles on fire. [MICHAEL] Right. The amazing Molotov Brothers. Terry turns to Michael eagerly, as the brothers wander off, still juggling. [TERRY] Thank heavens you came back! I was afraid after last night.... [MICHAEL] (shrugs; not bragging) I didn't become Turbo Man by bailing out of dangerous situations. They start walking the grounds. [TERRY] Seriously, Michael. You're all right, aren't you? I was so worried. [MICHAEL] I'm fine. Funny. I was worried about you. [TERRY] No fire bombs in my trapeze, if that's what you mean. [MICHAEL] That is what I mean. Terry, I looked at the coroner's report on Peter. [TERRY] You did what? Why? [MICHAEL] Right now that's not important. Did you know he had D.M.S.O. in his system? [TERRY] No, that's impossible. He wouldn't go anywhere near that stuff. [MICHAEL] I don't think he had anything to say about it. Someone killed him. [TERRY] Killed him? [MICHAEL] That's right, and they tried for me, too. [TERRY] If you mean someone in this troupe, forget it. [MICHAEL] Look, I'm not accusing anyone in particular. [TERRY] Well, I certainly hope not, because you're wrong. (stops) Anyway, why do you suddenly sound more like a cop than a circus performer? [MICHAEL] (smiles) I just signed a new contract, remember? I want to make sure you'll be around to make it good. [TERRY] Is that the only reason? They look at each other. The moment is interrupted by: [K.I.T.T.'S VOICE] Michael! Help! K.I.T.T. AND BANG come racing up. The driverless Trans Am is still fleeing the spray-can-wielding Orang. Michael dons a stern expression. [MICHAEL] Bang, you should be ashamed of yourself. Bang looks chagrined, repentant. Michael holds out his hand. Sheepishly, Bang hands over the paint. [K.I.T.T.] Good riddance! Bang proffers one last wag of her tongue at K.I.T.T., then waddles off. Michael turns to Terry. [MICHAEL] You be careful. [TERRY] I will if you will. He gives her a light kiss, then climbs into the car. She waves as he heads out. Angle off to: BLIPPO AND TIGER standing in the folds of one of the tent doors, watching. Parked behind them is the circus fire truck. [TIGER] He's not only a pain, he has no taste in women. [BLIPPO] (pats fire truck) How'd Foley do with this baby, here? [TIGER] It's all ready...and waiting to be fired up. ANGLE IN K.I.T.T. - MICHAEL driving off. [K.I.T.T.] I have the source of that fuse fragment, Michael. [MICHAEL] Give it to me. [K.I.T.T.] It's made by a firm in Canada. They recently shipped some to a Charles Foley at a local address. [MICHAEL] Let's do some burning of our own, Kitt. He floors the accelerator. CUT TO INT. FOLEY'S GARAGE/WORKSHOP - DAY We start close on a flash of fire which flares down to reveal Foley, laughing with pleasure at his handiwork, rocking along to some earsplitting Quiet Riot music. He stops when a light blinks on his workbench, and heads for the window. WHAT HE SEES - K.I.T.T. is outside, pulling up the drive. FOLEY startled, heads for the back of the garage where his motorbike is parked. He stomps on the kick-starter and it roars. ANGLE IN K.I.T.T. Michael's senses are on full alert. [K.I.T.T.] Motorcycle leaving the back, Michael. [MICHAEL] That's what he thinks! He cranks K.I.T.T. into action as Foley swings into view. VARIOUS ANGLES - THE CHASE is short lived. Foley opens the throttle but is no match for K.I.T.T., who simple edges Foley onto the road shoulder where he high-sides his bike. Michael's out in a flash and throws Foley up against K.I.T.T. MICHAEL AND FOLEY [MICHAEL] (furious) Who paid you? Who? [FOLEY] Stick it, Jack. Lemme go. He glares daggers at Michael, who weighs him a beat, then pulls him away from the car. With one hand he opens K.I.T.T.'s door; with the other, he throws Foley inside. ANGLE THROUGH K.I.T.T. Foley jerks at the door handle but finds it locked. He looks around wildly, tries the other door. No good. Michael peers in breezily. [FOLEY] Lemme outta here, man.... [MICHAEL] Kitt, this guy put a bomb under you. [K.I.T.T.] (ominous) I know. [FOLEY] (reacts nervously) Hey, you got no right. [MICHAEL] Cool off. Kitt, he's a little hot under the collar. Help him out. [K.I.T.T.] (even darker) With pleasure. INTERCUT - DASH/MONITOR as a "Climate Control" light blinks on and a digital thermometer appears, numbers falling. Foley suddenly shudders, rubs his arms. His breath comes out in steam. [FOLEY] What the...it's freezin' in here! [MICHAEL] No, not yet... (as the numbers pass thirty-two degrees) There. Now it's freezing. [FOLEY] I don't know anything. [MICHAEL] I was in Alaska once. Winter of '72. (mock shiver) Horrible time. Lost a couple fingers. (holds up hand; hiding two fingers; smiling) Frostbite! Remember the wind, Kitt? K.I.T.T.'s synthesizer blinks on and we hear the sound of wind blowing over the frozen tundra. Maybe even a timber wolf. Foley's teeth chatter and steam forms on the windows. [FOLEY] It's Blippo! [MICHAEL] The clown? Who else? [FOLEY] No one. I took my orders from Blippo. [MICHAEL] Why'd they try to kill me? What are they after? [FOLEY] I don't know. It's a land deal. Something about...I.T.Z. [MICHAEL] Okay, Kitt, let him go. The door opens and Foley tumbles out. [MICHAEL] Let's give him to the police. We've got to get back to Terry. As he hauls Foley to his feet: CUT TO EXT. BLIPPO'S TRAILER - DAY Terry's passing out paychecks. She hands one to Willie the midget, who thanks her. She then walks to Blippo's brightly colored door. She calls: [TERRY] Blippo, pay day. INT. TRAILER - DAY Simple, Spartan quarters. The main feature is a lighted makeup table with brightly colored paint pots. Terry sticks her head in. [TERRY] Anybody home? She enters, crosses to leave his check on his table. Thinking better of it, she opens the top drawer to put it in a safer place. ANGLE INTO DRAWER - OVER TERRY'S SHOULDER She puts the check in but a bottle rolls to the front. She picks it up. It's marked: "D.M.S.O." TERRY reacts in shock. [TERRY] Oh noooo. Blippo. Not you...of all people. She jumps as the trailer door slams behind her. She whirls around. REVERSE ANGLE - BLIPPO Frightening and sinister behind his makeup, he slaps a hand over her mouth. [BLIPPO] I'm sorry, Terry. This really is going to make Blippo sad. Off her terrified look: FREEZE FRAME FADE OUT END OF ACT THREE ACT FOUR FADE IN EXT. HIGHWAY - DAY K.I.T.T. screams by with a vengeance. [MICHAEL'S VOICE] 'I.T.Z.' What does it mean, Kitt. ANGLE IN K.I.T.T. - INTERCUT - MONITOR Michael drives like a demon, angry and determined. [K.I.T.T.] It's not listed among American corporations, Michael. [MICHAEL] Then check the foreign ones. I'm going to nail whoever's behind this. K.I.T.T.'s dash responds. [K.I.T.T.] Here it is, Michael. It's a holding corporation from the Orient. [MICHAEL] It's making some sense, now. How far is the railroad from the circus land? [K.I.T.T.] (displaying map) Less than two miles. And the river.... [MICHAEL] ...runs out to the harbor at the coast. Nice spot for a distribution plant for imported goods. [K.I.T.T.] This case means a lot to you, doesn't it, Michael. [MICHAEL] You bet it does. Let's go warn Terry. He hits "pursuit" and their speed increases. EXT. GARAGE - DAY - ESTABLISHING A large, empty-looking place. Behind the loading doors, we hear: [BARNES' VOICE] Terry, I just can't let you do it. INT. GARAGE - DAY Blippo listens as Barnes walks around Terry, talking. She's seated at a small table on which sits a legal document, obviously a contract for sale of her circus property. Parked nearby is the circus fire engine. [BARNES] I can't let you and your circus stand in the way of this kind of progress. [TERRY] This is what you call progress? That plant they want to build is totally automated. It won't hire a dozen people. What happens to the others who live here? [BARNES] They'll just have to move somewhere else. Terry, it's a business, that's all, nothing personal. [TERRY] What about my brother? Was killing him personal, Mr. Barnes? [BARNES] That's enough! He quickly tries to cover his outburst, but the deep anger's still there. [BARNES] This isn't a negotiation, Terry, and I don't have to answer to you. Just sign that contract. [TERRY] And if I don't? [BARNES] Then I'm afraid you won't leave here alive. Simple as all that. He picks up a pen, holds it out to her. CUT TO EXT. THE MAJOR CIRCUS - DAY K.I.T.T. drives through the main entrance in a rush. EXT. CIRCUS CLEARING - DAY - FULL SHOT K.I.T.T. stops in a cloud of dust. Michael jumps out and rushes to Terry's trailer. [MICHAEL] Terry! He jerks open the door to her trailer and glances inside. No sign of her. Michael looks desperately around, and sees.... A GROUP OF THE CIRCUS PERFORMERS closing in around him. Ahab the strong man; the fire-eater, a huge Fat Lady; a double-jointed juggler. Out of their makeup and performing roles, they're a pretty intimidating bunch. But Michael's not scared. [MICHAEL] Where's Terry? [AHAB] That's what we want to know. Seems like all our problems began when you arrived. Starting with Peter's fall. [MICHAEL] I'll ask again. Where's Terry? [AHAB] What do you want her for? [MICHAEL] (hot) I want to save her life! (looking through the group) Where's Blippo? He's the one behind all this. [AHAB] Blippo's been with us a long time. Longer than you, Turbo Man. [FAT LADY] Wait a second. If he's telling the truth...I saw Blippo leaving with Terry about half an hour ago. This elicits a rumble from the group. [MICHAEL] There's no time to explain. But if we don't find her, there's going to be another 'accident' around here. Now who knows where they'd be? Members of the group exchange looks and shrug. [MICHAEL] What about Tiger? She seems to hang around Blippo a lot. (suspicion dawning) And she was there when I found the fuse...Where is she? [AHAB] (gestures) Rehearsing in the main ring. Michael runs to K.I.T.T. and drives off toward.... THE MAIN RING - HIGH ANGLE SHOT The ring is laid with a wood platform, and we're looking down on Tiger as she performs a series of intricate skating moves. K.I.T.T. drives up and Michael hurries into the ring. FAVOR MICHAEL as he stands on the platform, his eyes following Tiger as she skates coyly around him. [TIGER] Hi, there, Turbo Man. Wanna learn to skate? I'm a great teacher. [MICHAEL] (controlled) Bet you are. [TIGER] What's wrong? You look like a bad Monday turning into a lousy week. [MICHAEL] I figured it out, Tiger. Whenever something goes wrong at this circus ...you and Blippo are there. [TIGER] (easily) Now that sounds like an accusation. [MICHAEL] It is. Tell me why, Tiger. What's it all about? [TIGER] (teasing) I thought you knew everything. [MICHAEL] (intensely) I know Terry's missing, and I know Blippo's got her. Tell me where he's taken her, Tiger. Michael suddenly reaches out and grabs for Tiger, but she dips away and rolls back toward the edge of the ring. She reaches back of the wooden ring and pulls out her black bullwhip. In a wide arc, she snaps it at Michael. [TIGER] I was looking forward to tangling with you...but this isn't quite what I had in mind. FAVOR MICHAEL He jumps aside as the whip leashes at him. The whip explodes in the air. A tear appears across Michael's shirt, torn jaggedly across the chest. FAVOR K.I.T.T. scanner whooping with alarm. [K.I.T.T.] Michael...that whip has a serrated, metal edge! It's deadly! WITH MICHAEL He jumps aside as Tiger lashes the whip at him again. The end of it flicks across the wooden platform...scarring and splintering it. [MICHAEL] Guessed that, pal. Rolling toward him on her skates, Tiger snaps the bullwhip again. Michael jumps and rolls. The whip bites into a group of performance balloons tied to the edge of the ring. They all pop with a multiple bang. ON K.I.T.T. scanner moving fast. [K.I.T.T.] Michael! IN THE RING Michael gets to his feet as Tiger takes a tight turn at one end of the platform and bears down on him again. He jumps aside just as the whip lashes at him. MICHAEL lands on the edge of the platform, grabs a large, multi- colored stool (the kind circus animals perform on) and holds it up. THE WHIP bites into the stool...metal edge catching in the wood. WIDE SHOT Michael pulls on the stool and the whip buried in it. Still holding the other end of the whip, Tiger is yanked off her feet. She falls across the platform. Circus performers rush up and enter the ring in a bunch as Michael runs to Tiger and pulls her to her feet. [MICHAEL] Where are they?! (to her silence) If Blippo kills Terry, you'll be facing a murder charge. You can tell me.... Ahab and the other performers gather around. Ahab's bulk looms large. Tiger stares at all the angry silent faces. [MICHAEL] ...Or you can tell them. [TIGER] (knows she's licked) Blippo took her to Barnes. [MICHAEL] Barnes? The banker? Where? [TIGER] O'Malley's garage...on Waverly. Michael pushes Tiger toward Ahab. [MICHAEL] Give her to the police. Michael rushes out of the ring and toward K.I.T.T. The crowd of performers gather around Tiger. Her eyes widen. She backs right into Ahab, and his arms close around her. AT K.I.T.T. Michael rushes up to the Trans Am. [MICHAEL] Plot me the fastest course to O'Malley's garage on Waverly. [K.I.T.T.] At once, Michael. Michael jumps into the car and drives off in a big hurry. INT. THE GARAGE - DAY Terry is slowly signing the paper. Barnes takes it from her. [BARNES] I'm glad you saw reason. [TERRY] Now can I go? [BARNES] (beat) Go? I'm sorry, Terry. (to Blippo) Take her out to the desert.... And that's when we hear the approach of K.I.T.T.'s turbines. All three react. Barnes rushes to a window and looks out. WHAT HE SEES K.I.T.T. races toward the garage. INT. THE GARAGE - DAY Barnes reacts, faces Blippo. [BARNES] It's Turbo Man. Stop him! [BLIPPO] This time, I've got the right equipment. Blippo gives Terry to Barnes, starts toward the fire engine. EXT. GARAGE - DAY Michael stops in the large parking lot. [MICHAEL'S VOICE] Scan the area, Kitt. ANGLE IN K.I.T.T. - INTERCUT ON MONITOR We see a computer picture of the garage, red blip. [K.I.T.T.] There are two people in the office area...another person in the garage ...and.... [MICHAEL] And what, Kitt? There's a roar O.S. Michael turns toward the sound.... MICHAEL'S POINT OF VIEW - THE GARAGE BAY DOORS The roaring sound is coming from within the garage. The big doors explode outward, and the stolen circus fire engine rams its way into sunlight. WITH THE FIRE ENGINE Blippo sits in the cab, driving. As sirens and bells ring, this outrageous image bears down on K.I.T.T. INT. K.I.T.T. - DAY Michael stares. [K.I.T.T.] What on earth?! [MICHAEL] Something tells me it's no joke, pal. EXT. THE GARAGE - DAY - FULL SHOT The fire engine charges toward the Trans Am. We can clearly see the big water cannon mounted on its back as it rolls forward, making enough noise to wake the dead. VARIOUS ANGLES - FIRE CANNON The water cannon is aimed directly at K.I.T.T. and it explodes like a dragon's mouth, hurling a flaming fireball at the Trans Am. Michael screeches into reverse and the fireball smashes down right where the car stood, creating a huge wall of flame, spreading over the ground. ANGLE IN K.I.T.T. as Michael maneuvers. [MICHAEL] Brings a new meaning to the word 'fire truck.' [K.I.T.T.] Michael, those flames are a mixture of phosphorus, gasoline, and napalm. They explode, burn, and stick to their target. [MICHAEL] Foley's crowning achievement. [K.I.T.T.] Michael, it's no laughing matter. The heat is too intense for my pyroclastic lamination! [MICHAEL] Then we'll have to be light on our feet. Look out! FULL SHOT A second fireball sparks through the air toward K.I.T.T. The Trans Am dodges and the fireball strikes a tree, instantly engulfing it in flames. ON THE GARAGE Barnes is throwing a horrified Terry into his car. She sees what Michael's up against and is terrified for him. [TERRY] Michael...No! ANGLE IN K.I.T.T. Michael sweats a little from the nearness of the flames. [MICHAEL] Getting hot in here. (twists the wheel) Only one thing to do, Kitt. [K.I.T.T.] Michael, you're not thinking of.... [MICHAEL] Like the champ says...float like a butterfly, sting like a bee! Let's draw one more shot. ANGLE IN FIRE ENGINE - BLIPPO grimaces with determination at his target. He takes aim and hits the controls. FULL SHOT Another fireball bursts out toward K.I.T.T. At the last second, Michael accelerates right under it. It catches the tail end of the car, flames igniting on the spoiler. ANGLE IN K.I.T.T. Michael gets the car into position flanking the truck. [K.I.T.T.] You better keep me moving. Our motion is all that's keeping those flames from spreading. [MICHAEL] Let's show him how you can move. FOLLOWING K.I.T.T. Before Blippo can wheel the cannon around, Michael hits pursuit and roars K.I.T.T. right up to the fire truck. At the last moment.... VARIOUS ANGLES Michael turbo boosts up...up...and into the truck, taking the fire cannon out of commission and smashing it to shrapnel. As the Trans Am lands on the other side, the fire truck booms as the tanks of explosive material ignite. Blippo runs from the wreckage before the flames engulf the cab. AT THE REAR OF THE GARAGE - BARNES' CAR Barnes sees the outcome, floors it, trying to escape with Terry. ANGLE IN K.I.T.T. [K.I.T.T.] There goes Barnes, Michael. He's got Terry. [MICHAEL] How can he leave just when things are heating up? He cuts the wheel and: NEAR THE FRONT OF THE GARAGE K.I.T.T. cuts Barnes off. Michael leaps from K.I.T.T. to meet Barnes as he leaves the sedan. A brief fight and Barnes is down and out. Terry also leaves the sedan, wraps her arms around Michael. [TERRY] Oh, Michael, are you all right?..How did you do it?! [MICHAEL] (smiles) Practice, practice, practice.... As they hug, off their relief.... FREEZE FRAME FADE OUT END OF ACT FOUR TAG FADE IN EXT. MAJOR CIRCUS - DAY - FULL SHOT Devon, Bonnie, Michael and Terry roam the busy grounds filled with happy kids and scurrying circus performers. They all share a big bucket of popcorn Bonnie is holding. [BONNIE] (as Michael grabs a big handful of popcorn) Hey! Not so much! The others laugh. They pause by the main ring. OVER THE MAIN RING A young man is practicing moves on the bars high above the net. He balances himself on the bars perfectly, making it look easy. BACK TO MICHAEL, DEVON, BONNIE, TERRY reacting to what's happening high above. [DEVON] Do you enjoy working with your new partner, Terry? [TERRY] (nodding) Mancini is a dream...a world-class flyer. (beat) Almost as good as Peter. This year's tour should be a great success. [DEVON] It already is. Look. He indicates a group of kids nearby...all watching Mancini with their eyes as big as saucers and their mouths wide open. As Devon and Bonnie look up, Michael puts his arm around Terry, takes her aside. MOVING WITH MICHAEL AND TERRY as they walk across the grounds. [MICHAEL] Looks like you don't need Turbo Man anymore. [TERRY] (tender) Don't you believe it. (kisses him) He's a hard act to follow. [K.I.T.T.'S VOICE] Michael! Come here at once! Michael looks off toward: K.I.T.T. The fire truck is parked close by, and Bang stands at a remounted water cannon, aiming it at K.I.T.T. Michael and Terry rush up. [K.I.T.T.] Michael! Is that water cannon still dangerous? [MICHAEL] (amused) Gee, Kitt, I don't know. [K.I.T.T.] Nice monkey. Don't touch the bad water cannon. FAVOR BANG With a loud shriek of pleasure, the ape fires the cannon. A huge burst of water lashes at.... K.I.T.T. drenched from nose to tail. [K.I.T.T.] All right red beard...two can play this game. FULL SHOT The orang laughs and jumps up and down, as K.I.T.T. lets him have a blast of his own medicine. Michael and Terry laugh along with him. [K.I.T.T.] Very funny, very funny. FREEZE FRAME FADE OUT THE END

{"show": "Knight Rider", "season": "s03", "episode": "e21", "title": "Circus Knights"}

knightriderarchives

ACT ONE FADE IN EXT. UNFINISHED ROAD - DAY (DAWN) The Southside of Chicago, over the Chicago River, late, hardly any traffic. A guard booth and reinforced concrete barricades block the road...The Guard on the phone.... GUARD'S VOICE You don't have to tell me how serious this is, I know how serious this is.... ANGLE IN TRAFFIC CONTROL BOOTH The Guard is on the phone. [GUARD] (phone) I don't care what Ellen says, I wasn't flirting with her sister, I barely know her.... He glances off...A tractor pulling a loaded tarp-covered flatbed approaches.... ANGLE INSIDE TRUCK Hower, a muscular, military-looking man in civilian Windbreaker, reacts as he sees the booth operator. [HOWER] You recognize the man in the booth? [DRIVER] That's not Frank.... [HOWER] We've got big problems.... Hower reaches for his wallet as they pull up to the booth.... ANGLE TO INCLUDE TRUCK - BOOTH It slows as it approaches. Guard is still talking. [GUARD] All we did was drive down to the liquor store for more beer. (beat) Look, I've got a truck that doesn't belong out here, I'll call you back. He hangs up. ANGLE FROM OUTSIDE The truck's cab is parallel with the booth's window. The Guard leans out. [GUARD] You can't cross here. You'll have to use the Wacker Avenue Bridge. Hower leans across the Driver. He holds out some bills, twenties -- over two hundred dollars. [HOWER] It's worth this to save me that trip.... Tempted, he nevertheless shakes his head. [GUARD] Not to me, I got a pension here, medical benefits -- no way I'm gonna jeopardize that. Sorry. The Guard slams his window shut.... ANGLE INSIDE TRUCK Hower dials a cellular phone. [HOWER] (phone) We don't have control of the guard booth...our man's not here... (listens) I understand. Yessir. He hangs up, glances at the Driver. [DRIVER] What'd he say? [HOWER] He ordered us to get past it...no witnesses.... ANGLE OUTSIDE TRUCK A hydraulic ramp lowers. ANGLE INSIDE BOOTH The Guard picks up the phone, begins to dial his girl friend back. ANGLE ON TRUCK dark inside. Now the sound of big Cummings diesels being fired up, first one, then another...four in all. ANGLE IN TOLLBOOTH Dialing, the Guard hears the noise; it's deafening. He glances out, reacts. HIS POINT OF VIEW - THE JUGGERNAUT It rolls down the ramp and turns, facing the booth. Half- tank, half-armored vehicle, it's an awesome sight, a sixteen-foot battering ram protruding from its turret. BACK TO GUARD He stares in disbelief, redials in panic. [GUARD] (phone) Hello, police? Police? [OPERATOR'S VOICE] I'm sorry, your call cannot be completed as dialed.... He frantically begins to dial again. INTERCUT JUGGERNAUT It advances, reaching the booth. ANGLE IN CONTROL BUBBLE The driver, Hower, faces a control panel that rivals K.I.T.T.'s. He presses a button. ANOTHER ANGLE The battering ram, hydraulically operated, retracts into itself, then punches out to its full length with tremendous force. ANGLE IN BOOTH A glass panel explodes under impact. The Guard hits the floor, dragging the phone with him. OTHER ANGLES The battering ram proceeds to punch the booth apart, even steel framing collapsing under the assault. ANGLE ON GUARD huddled in the corner, desperately trying to finish dialing. WIDER ANGLE The Juggernaut is kicked into gear and it grinds forward, relentless, simply rolling right over the booth, crushing it.... ANOTHER ANGLE - MOMENTS LATER The Juggernaut rumbles back up the truck's ramp, the doors close and the truck crosses into Chicago. ANGLE ON BOOTH A flattened confusion of glass, steel and concrete. [OPERATOR'S VOICE] I'm sorry, your call cannot be completed as dialed. Please hang up and dial again.... CUT TO EXT. HIGHWAY - DAY K.I.T.T. rolls along a stretch of highway somewhere in the Midwest. [K.I.T.T.'S VOICE] 'Call me Ishmael.' ANGLE IN K.I.T.T. Michael relaxes behind the wheel, enjoying the countryside. [MICHAEL] What? [K.I.T.T.] Our game, Michael. Don't tell me you've forgotten already. (beat) 'Call me Ishmael.' Everyone knows this book. [MICHAEL] Let me think. (beat) Hemmingway. [K.I.T.T.] Wrong. Devon appears on the monitor. [DEVON] Good morning, Michael. [MICHAEL] 'Call me Ishmael.' [DEVON] I beg your pardon. [MICHAEL] The first line of what novel, Devon? [DEVON] Moby Dick by Herman Melville. Everyone knows that. [MICHAEL] It was on the tip of my tongue. What's up? [DEVON] We'll have to postpone your next assignment -- I need you to meet me in Chicago as soon as possible. [MICHAEL] Sounds serious. [DEVON] I'm afraid it is -- on several fronts. A Foundation-sponsored laboratory has inadvertently produced a mysterious, powerful new isotope which needs safeguarding during a temporary layover in Chicago. [MICHAEL] Baby-sitting. Piece of cake, Devon. [DEVON] It's not as simple as it sounds... Cernium 116 is volatile and potentially dangerous. Unfortunately, so is the 'second front' -- the Knight Foundation's annual Board of Directors meeting is scheduled for this after- noon and you and I have been requested to attend. [MICHAEL] (groans) Anything but another black-tie affair. Tell 'em Kitt and I are on assignment. [DEVON] You don't understand, Michael. Wilton Knight's daughter, Jennifer, has resigned from the President's Advisory Council to take a more active role in the Foundation's operations. [MICHAEL] I didn't think she was interested in F.L.A.G. [DEVON] You'd be surprised just how interested. Number one on her agenda is to phase out the Foundation for Law and Government. On Michael's reaction: WIDE ANGLE K.I.T.T. accelerates, passing cars like they're standing still. [K.I.T.T.'S VOICE] Michael, I don't understand --- [MICHAEL'S VOICE] Neither do I, pal. Neither do I.... CUT TO EXT. FOUNDRY - DAY - ESTABLISH INT. FOUNDRY - DAY The Juggernaut truck is present. The foundry is a well-equipped design and production complex. ANOTHER ANGLE Present for the occasion, watching intently, is Phillip Nordstrom, lean, intense, aristocratic...His age is difficult to read, his face clear and forties but he sometimes appears older...Hower jumps down from the truck to join him...Hower is somewhat excited, animated from his encounter at the guard booth. He moves quickly to Nordstrom. NEW ANGLE - NORDSTROM/HOWER Hower starts his conversation before he fully reads Nordstrom's look. [HOWER] She was incredible, sir. You would have been proud to see the way.... Hower trails off as Nordstrom motions to a couple of guards who walk towards him with a man in between them...The man is Frank...Nordstrom turns to face him.... NORDSTROM He is calm, cold, his eyes pierce into the man, who seems to cringe in front of him.... [NORDSTROM] (to Hower) I believe you know 'Frank' here.... [HOWER] (to Frank) Where were you?! You were supposed to be at the booth. [NORDSTROM] He wasn't. 'Why' is irrelevant. [FRANK] (to Hower) Jim, I was on my way, I got a flat tire, I call a tow service, the guy tells me ten minutes -- Jim, tell him, you know me, c'mon -- it wasn't my fault! Surprisingly, at least to Frank, Nordstrom extends his hand. Hower winces and looks away. Frank smiles, extends his hand, and Nordstrom begins to squeeze. And squeeze. Frank's face shows the pain, incredible pain. [FRANK] Mr. Nordstrom --- We hear bones crack and break and Frank screams in pain, dropping to his knees. Nordstrom now releases his broken hand, and as Frank moans over it Nordstrom cracks him with one sharp blow to the side of the head. ANOTHER ANGLE Frank is snapped back and flung across the room like a rag doll. He hits a wall and crumples, neck broken. It's an incredible show of strength. CLOSE ON NORDSTROM'S RIGHT ARM It's a little too pink...a little too perfect to be real. Nordstrom turns to Hower, who has trouble facing him, holds his prosthetic hand up.... [NORDSTROM] This is mechanical perfection...I expect that from everyone and everything... (beat) Now, when will the additional armor and the Contact Detonating Tip be ready for testing. [HOWER] With any luck, sometime before 2400 hours tomorrow night. Nordstrom's eyes narrow. [NORDSTROM] We've been presented with a unique opportunity, Mr. Hower. A rare con- figuration of fate and circumstance. If we lose it, it's gone forever. [HOWER] Yessir. [NORDSTROM] Sometime before 2400 hours tomorrow night -- with or without luck. He holds a beat, then leaves. Hower lets out his breath, then crosses toward the truck. [HOWER] (to Technicians) All right, let's go. Let's get it unloaded. Every minute counts! As they move off, his eyes go to Frank's body, motionless.... CUT TO OMITTED EXT. CHICAGO - DAY - VARIOUS SHOTS as K.I.T.T. enters the city along Michigan Avenue, the lake to his left, the high-rises to his right. [K.I.T.T.'S VOICE] Ah, Chicago. 'The windy city...a toddlin' town....' ANGLE IN K.I.T.T. Michael behind the wheel. [MICHAEL] You seem awfully chipper considering what Devon said. [K.I.T.T.] I can't believe it's a real possibility, Michael. I've come to the conclusion it's 'much ado about nothing' -- which, though not from a novel --- [MICHAEL] (overlap) I know, I know -- the title of a play by Shakespeare. [K.I.T.T.] Very good! (beat) Are you considered on official duty while we're here in Chicago? [MICHAEL] Not twenty-four hours a day, but I would have to say yes.... [K.I.T.T.] In that case, Michael, I've picked up a robbery alarm on the police band...two males, Caucasian, one is six foot, denim jacket...the other in a sweat shirt, and something quite odd. [MICHAEL] They're really victims of social injustice. [K.I.T.T.] No, they're being chased by a man wearing a strange costume.... Michael hits the accelerator, screeches into action.... [MICHAEL'S VOICE] Does he look like a bat? [K.I.T.T.'S VOICE] No, but he does seem to match the description of this 'Street Avenger' who's been seen about recently. Michael two-wheels it around a corner into a more populated area...Traffic inhibits him.... [K.I.T.T.'S VOICE] Through that alley Michael...I can't get there. [MICHAEL] I'll have to take it on foot. EXT. STREETS Michael is out the door and running into the alley.... ALLEY - MICHAEL'S POINT OF VIEW MICHAEL Scales a wall that separates two alleys and drops down into... ALLEY The two felons face the Street Avenger, a knife in the hand of one, the other yanks a gun from his pocket. NEW ANGLE Street Avenger realizes that he's bitten off more than he can chew as the man starts to level the pistol at him, then: MICHAEL Racing into the scene, he takes the two men down with a well-timed cross body block. The gun skitters out of the man's hand. SERIES OF CUTS The two felons scramble quickly to their feet...The man with the knife still armed. Michael and the Street Avenger face the two men who advance on them...Michael takes the one with the knife, Street Avenger the other. Michael disarms and levels his man with well-coordinated karate kicks and blows...while: Street Avenger uses the more conventional street fighting methods of hitting the guy with anything handy. OMITTED ANGLE As sirens are heard in the b.g., Michael turns to the Street Avenger. STREET AVENGER He gives Michael a "thumbs-up" thank you and a nod. MICHAEL returns the sign and a smile...then he checks the unconscious felons, moves off...Street Avenger moves the other way.... CUT TO OMITTED EXT. THE "VAULT" - DAY A big, solidly built building in the heart of the city, an open, armored truck is parked in front, its cargo already delivered inside.... DIFFERENT ANGLE Technicians in astronaut-like protective suits, hood off, return to the truck, get in, pull away.... OMITTED ANGLE IN PARKING AREA Michael finds a place and K.I.T.T. pulls in, parks. Michael climbs out. INT. "VAULT" LOBBY - DAY The ground floor, lots of security, two separate checkpoints visible, manned by S.W.A.T. team-like security guards. As Michael reaches the first checkpoint: [DEVON'S VOICE] Michael! He appears, breaking away from a group of people. [DEVON] (to security) It's all right, he's with me. They shake hands, ad-lib greetings as Devon hands him a plastic ID card, leads him past a guard counter in the center of the lobby and to the elevator and another guard next to the doors. [DEVON] You'll need this ID card...You made good time. [MICHAEL] Had to. The suspense is killing me. [DEVON] It is exciting, isn't it? [MICHAEL] I'm talking about Jennifer Knight and the Board of Directors. [DEVON] Of course. All in due time. First you must see this.... Devon slides a card into an electronic ID machine. The elevator doors open. Devon starts in but Michael stops him. [MICHAEL] Devon, you tell me to come to Chicago ASAP, Jennifer Knight's taking an active role in the Foundation and number one on her agenda -- I quote 'number one' -- is to phase out the Foundation for Law and Government. That's us -- you, me, Bonnie and Kitt. [DEVON] Yes. [MICHAEL] That's what I mean. You're so calm. Kitt's decided it's 'much ado about nothing...' Am I the one who's crazy here? [DEVON] No, not at all. But we deserve to exist -- how could anyone, particu- larly anyone named Knight, decide differently? He enters the elevator. Michael smiles and follows. [MICHAEL] That's what I love about you, Devon. [DEVON] My faith in the future? [MICHAEL] That's if you're right. If you're wrong it's called blind optimism. INT. SUBTERRANEAN LEVEL - DAY Elevator doors open and Michael and Devon emerge, Devon and Michael flashing their credentials to pass yet another security checkpoint. [DEVON] ...bombarded a mass of plutonium with titanium ions, creating a new isotope. ANGLE They move a few more feet to a barred door leading into the main vault...Devon presses his palm against a palm print security sensor...as armed guards watch the proper readout. They enter. [DEVON] May I present Cernium One-sixteen. WIDER ANGLE The room is well-fortified, steel-plated walls; banks of sophisticated monitoring equipment; and, in the center, a lead-lined box which contains the mysterious substance. As they cross to it, built-in monitors projecting its image on several TV screens: [DEVON] Preliminary tests indicate it's more radioactive than uranium. It could emerge as the scientific discovery of the decade. Michael whistles, impressed. [MICHAEL] Sounds like we've got our work cut out for us. You mentioned a 'temporary layover' in Chicago. Why? And how long? [DEVON] A precautionary measure, Michael. It's half-life is still being charted. The best guess us thirty-six to forty-eight hours. It's proven to be a highly unstable material, safely transported only in its 'inactive' cycle. [MICHAEL] Meaning it's 'active' right now. [DEVON] (nods) Preparations are underway at Bergen Rock Laboratories for its permanent home. (glances at watch) We'd better leave, we don't want to be late for the Board. [MICHAEL] Heaven forbid. CUT TO OMITTED EXT. VAULT - DAY As Michael and Devon exit, start toward K.I.T.T., a uniformed Messenger hurries over. [MESSENGER] Mr. Devon Miles? [DEVON] Yes? [MESSENGER] An urgent message for you, sir. (hands him note) You're to proceed immediately to Doctor Jonas Quinlin's residence. I have a cab waiting. Devon reacts, glances at the note. [DEVON] Impossible. I have an important meeting in fifteen minutes. [MESSENGER] (shrugs) As you wish, sir. Devon and Michael exchange a frustrated look. [MICHAEL] Who's Doctor Quinlin? [DEVON] One of the premier nuclear physi- cists alive today, dating back to the 'Manhattan Project' days. He's being brought in as a consultant. [MICHAEL] You'd better go. [DEVON] But Michael --- [MICHAEL] Devon, I'll be okay. Best behavior, I promise. Decorum at all costs. Torn, Devon finally relents. Michael shakes his hand, watches as Devon moves to a waiting cab. [DEVON] (over his shoulder) At all costs, Michael. Devon moves off. CUT TO OMITTED EXT. BROWNSTONE - DAY A beautiful tree-lined street in one of Chicago's older neighborhoods. The cab pulls up and Devon steps out. Pays him.... ANGLE AT FRONT DOOR He rings the bell, waits. A dog barks inside. [WOMAN'S VOICE] Yes? Come in please.... INT. BROWNSTONE Marta Simmons, young, beautiful, is on top of a ladder stacking books. Her dog hops around her below. [DEVON] Devon Miles. I have an appointment with Doctor Quinlin. [MARTA] He's not here. [DEVON] I beg your pardon -- I was pulled away from a very important appoint- ment because of an urgent meeting with Doctor Quinlin. [MARTA] I'm sorry, there must be some mistake. He left for a conference downtown. Devon tries to control his frustration. She's down off the ladder, smiles apologetically, extends her hand. [MARTA] I'm Marta Simmons, Doctor Quinlin's assistant. Please forgive the con- fusion -- it's been so crazy since this happened. The conference is at Thortex -- are you familiar with the city? [DEVON] It's been awhile. [MARTA] I'll drive you over. [DEVON] Thanks, no, I'll call a cab. CUT TO EXT. LAKESHORE ESTATE - DAY - ESTABLISH INT. ESTATE A huge foyer, grand by any standards. Well-dressed men stand in small groups and chat. ANGLE ON MICHAEL He sits alone, feeling out of place in his leather jacket. The Head Butler approaches. [HEAD BUTLER] Excuse me, are you one of the chauffeurs? Michael looks at him. [MICHAEL] Michael Knight, Foundation for Law and Government. [HEAD BUTLER] I see...of course. Skeptical, he turns to leave. He drifts off. The front door opens and there's a stir, a subtle buzz. Michael turns. ANOTHER ANGLE Escorted by a male secretary a beautiful young woman in her late twenties sweeps in, fashionably elegant, a magnetic quality to her. She pauses to greet the other members of the board, all charm and style. ANGLE ON MICHAEL He takes it in, struck by her looks and poise himself. Also very aware she will be a formidable opponent, if that's her purpose. WIDER ANGLE Following Jennifer's lead, the other board members enter a large room through oak doors. Michael stands up, crossing toward the doors when they close from inside. The Head Butler approaches. [HEAD BUTLER] You'll be notified when your presence is requested. Michael bites back his anger. He smiles, determined not to let it get under his skin. CUT TO INT. THORTEX OFFICES - DAY Shooting through plate glass windows we see Devon exit a cab in front, approach. It's a beautiful building, all glass and atriums -- and discreet security cameras. ANGLE AT RECEPTION AREA Devon pauses. A pretty Receptionist glances at him. [DEVON] Devon Miles. I'm here to see Doctor Quinlin. [RECEPTIONIST] One moment, please. She presses a button. ANGLE IN SECURITY ROOM A highly sophisticated security system monitors every area of the building. We see Devon on one of the monitors. A Man's hand presses a button. [MAN'S VOICE] Send him up. ANGLE ON SECOND FLOOR Elevator doors open and Devon steps out, greeted by Hower. [HOWER] I'm Jim Hower, Mr. Miles. Director of Security. This way, please. They start down the corridor of executive suites. They reach double doors which Hower opens. ANGLE IN ROOM Devon steps in, suddenly stops cold. REVERSE ANGLE in a chair next to Nordstrom's desk is Dr. Quinlin, late sixties, a professorial look to him. He is bound, hand and foot, his mouth taped. His eyes have the quality of a frightened, helpless animal. ANOTHER ANGLE Hower locks the door behind Devon as Nordstrom rises. [NORDSTROM] Good afternoon, Mr. Miles. [DEVON] (reacts) Doctor Quinlin! (to Nordstrom) What's the meaning of this? [NORDSTROM] I wouldn't concern myself with 'meaning' right now, if I were you. I'd concern myself with survival. (to Hower) Tell Doctor Von Furst we're ready for her now. FADE OUT END OF ACT ONE ACT TWO FADE IN EXT. ESTATE - DAY K.I.T.T. as before, surrounded by limos. [HEAD BUTLER'S VOICE] The Board will see you now. INT. BOARD ROOM - DAY Doors open and Michael is ushered into an enormous room, a long mahogany table lined on each side with stately looking men in dark suits. MICHAEL Feeling like he's the only one out of place, he glances at the faces, then his eyes come to settle on Jennifer, cool and elegant. But inside, we sense a strong reaction at the sight of him. ANOTHER ANGLE The chairman, John Lloyd, rises. [LLOYD] Gentlemen of the Board, Ms. Knight, I'd like to present the F.L.A.G. operative, Michael Knight. Eyes on him. He nods, waiting. [LLOYD] I understand Devon Miles is unable to attend.... [MICHAEL] An emergency meeting with Doctor Quinlin. He sends his regrets. [LLOYD] I see. (beat) This particular...segment of the meeting has been requested by Ms. Knight, so I respectfully turn the chair over to her. Jennifer acknowledges with a nod, turns her attention to Michael. [JENNIFER] Please be seated, Michael. I hope you don't mind my calling you Michael, I have difficulty attaching the family name to you. [MICHAEL] Since your father saw fit to give it to me, and since he had it long before you -- I think we should both respect his wishes. Reaction around the table; if no sign of support for Michael, at least a more interested attitude. Jennifer's face tightens imperceptibly. [JENNIFER] My father, as you well know is dead. I'm not. I carry the name now -- and I refuse to have it attached to vio- lence and a vigilante state of mind. [MICHAEL] (reacts) 'Vigilante state of mind' -- wait a minute, lady, you have no idea what we do! Over this, eyes turn on Michael. Lloyd quickly rises. [LLOYD] Ms. Knight has the floor. You are familiar with Robert's Rules of Procedure? [MICHAEL] It's been awhile. I apologize. But I don't think Ms. Knight knows what we do. [JENNIFER] I think you'd be surprised at just how much I do know. We'll get into that in a moment. (to Board) Gentlemen, I'll get right to the point. Generous though the Knight Foundation's resources may be, they are finite. They demand choices. We find ourselves on the cusp of a new age -- an age of technology, of quantum leaps in pure and applied research -- witness the discovery of Cernium One-sixteen. If we use this gift we have within our grasp the resources to help change the world... (beat) If we simply 'spend' it all we'll accomplish is continuing to fund a project like F.L.A.G. To borrow a phrase, 'A picture is worth a thou- sand words'. Jennifer presses a button. ANOTHER ANGLE The lights dim and a VCR is projected onto a big-screen TV. ANGLE ON TV A series of film clips of Michael and K.I.T.T. in action: car crashes, 180s, turbo boosts through walls, etc.; An impression of wanton destruction. As the clips run we hear Jennifer.... [JENNIFER'S VOICE] What you see here is a waste of resources -- human and otherwise. State-of-the-art technology to support a James Bond fantasy run amok. WIDER ANGLE The lights go up. All the members turn toward Michael, who feels the gallows beneath his feet. Jennifer gives him a look and sits down. [LLOYD] Mr. Knight. [MICHAEL] I wasn't sure what to expect when I came here. I considered a lot of possibilities -- all except an out- right indictment of F.L.A.G. and the people who make it what it is. (beat) As it turns out, I'm glad Devon isn't here. This would break his heart. [JENNIFER] That's a cheap shot! [MICHAEL] (to Lloyd) I guess it's been awhile for 'Robert's Rules' with Ms. Knight, too. [LLOYD] Ms. Knight, the rules apply to everyone. Jennifer seethes quietly. Michael nods his thanks to Lloyd. [MICHAEL] I don't have a PhD in Physics, I wasn't born to money, to influence ...to privilege privilege. I'm not exactly sure what 'cusp of a new age' means...or 'quantum leaps'... sounds great. I hope it happens. (beat) In the meantime I agree the world needs help. There's starvation, war, disease...any feeling human being wants to see it end. I'm sure Wilton Knight felt the same way -- and then he made his decision. He chose to save the basis of charity and caring -- the law. Without it there's nothing. No 'cusps' or 'quantum leaps.' With it, there's a chance. That's all we want -- to guarantee that chance. If it takes going through a wall, we go through a wall. Walls can be fixed. He lets it sink in. Jennifer glowers. The Board members confer in hushed tones. Lloyd clears his throat. [LLOYD] This is obviously a complex and highly charged issue. And due to circumstances, we've not yet had the benefit of Devon Miles thinking. I therefore postpone a final decision until Friday. However, until that time, funding for F.L.A.G. project is frozen...and it's operative, Michael Knight, is hereby placed on probation. A small smile crosses Jennifer's lips. Michael's jaw muscles flex. [MICHAEL] What exactly does that mean? [LLOYD] It means no more notoriety. No more car chases, no more stunts, no more 'James Bond fantasies.' Michael turns and leaves, not looking back. CUT TO EXT. THORTEX - DAY To all intents and purposes, it's business as usual. INT. SECOND FLOOR ROOM - DAY Formerly an executive office, it's been stripped bare except for two identical surgical chairs, adjusted to a bed-like position, and an array of high-tech medical machines, including a parabolic laser. ANOTHER ANGLE Each surgical chair has a man strapped into it, a device holding each man's head in a fixed position. Overhead, the parabolic laser swings in a fixed arc from one head to another. One man is Devon; the other, who matches him in size and weight, is a carefully selected actor/imposter by the name of Jonathan Elliott. ANGLE ON NORDSTROM He watches while Dr. Von Furst, a hawk-faced woman in her forties, monitors the progress of the computerized laser, occasionally making minute adjustments. [DEVON] (barely audible) This is insane.... [NORDSTROM] Is it 'insane' to reproduce the one man responsible for security at the vault? The one man to whom Jennifer Knight looks with total confidence? [DEVON] You're wasting your time. I want you to reconsider. By the time plastic surgery heals, the Cernium will be secure at Bergen Rock. [DR. VON FURST] I can't work with him talking. The measurements must be precise. [NORDSTROM] (to Devon) You listen, I'll talk. Not only am I smarter than you, I know more. For instance, this isn't plastic surgery, it's a concept borrowed from the future: 'laser reconstruc- tion'. It's accomplished in half the time and requires no surgery. Looking into Devon's eyes he leans closer. [NORDSTROM] Your time is over. You see that, don't you? The Third World will have nuclear capabilities, that's all she lacks -- that capability guided by a mind blessed with seeing the future, and a hand capable of seizing it. He grasps Devon's shoulder with his mechanical hand, almost crushing it. He smiles, perversely enjoying his joke, but most frightening of all is the feeling Nordstrom believes every word he speaks. OMITTED INT. BROWNSTONE - DAY Marta crosses to answer a knock at the door, her dog Roger at her heels, barking. [MARTA] Roger, be quiet. Yes? [MICHAEL'S VOICE] I'm Michael Knight, a colleague of Devon Miles. If he and Doctor Quinlin aren't too busy, I'd like to see him for a minute. She opens the door. [MARTA] He's not here. Neither is Doctor Quinlin. I'm afraid there was a mix-up in plans. Roger begins barking again. [MARTA] Roger! (to Michael) I'm sorry, won't you come in? I'll put him in the bedroom. ANOTHER ANGLE Michael enters as Marta scoops up Roger. [MARTA] He's not usually like this. I think he knows he's having an operation tomorrow. [MICHAEL] Nothing serious, I hope. [MARTA] (crossing to bedroom door) He's being fixed. Michael winces at the thought. She puts Roger in the bedroom. [MARTA] They tell me he'll be less excitable. [MICHAEL] I imagine so. Any idea where I can find Devon? [MARTA] Doctor Quinlin had a meeting at a place called Thortex. He took a cab. Is something wrong? [MICHAEL] Yes and no. I haven't heard from him in a couple of hours, and it's not like him. Where's Thortex? [MARTA] I have some messages for Doctor Quinlin. If you like I'll drive you over. [MICHAEL] Let's split the difference. I'll drive you over. She smiles, and he's struck by how pretty she is, how open. CUT TO OMITTED INT. SECOND FLOOR ROOM - DAY As before, Devon and Jonathan Elliott, Nordstrom and Dr. Von Furst. Now, however, a different aspect of the duplication is in progress: The palm print. [NORDSTROM] We have your face, Mr. Miles...We'll now duplicate your palm print and win carte blanche access to the vault.... ANOTHER ANGLE The parabolic laser records Devon's palm print on a computer, line by line. CUT TO OMITTED INT. NORDSTROM'S OFFICE - DAY Jonathan Elliott, his face still covered with a protective plastic mask, sits in a chair with earphones, listening to a tape. Nordstrom is with him, turns a knob on the machine, and for several moments we hear Devon's voice on the tape. He turns it down. [NORDSTROM] Pay attention to the way he clips his consonants. Elliott will from this point on be referred to as "Devon." "DEVON" My dear Mr. Nordstrom, I'm a master of voices, which is precisely why you hired me. Would you advise Stradivarius how to make a violin? Amazingly, he sounds exactly like Devon Miles. Nordstrom, however, is not deterred. He moves to "Devon" and removes the earphones, steel in his voice, his eyes boring into "Devon's." [NORDSTROM] Like Stradivarius, you're a craftsman, a very highly paid craftsman. Don't for a moment confuse yourself with a visionary. Now, listen to the way he clips his consonants. He replaces the headphones and the tape continues. The door opens and Dr. Von Furst looks in. [DR. VON FURST] May I see you? I must see you. A curious, charged moment between them. Privately he seems to relent; he nods, follows her out the door. "Devon" watches, intrigued. CUT TO OMITTED INT. THORTEX - DAY Michael and Marta cross to the Receptionist. [MICHAEL] I'm Michael Knight and this is Marta Simmons, Doctor Quinlin's assistant. We'd like to see the Doctor and Devon Miles. She gives them a quizzical look, dials a number. [RECEPTIONIST] One moment, please. EXT. THORTEX LOBBY - DAY Two suspicious-looking characters, Ardell and Potts, glide along the sidewalk, checking out cars as they approach K.I.T.T. [POTTS] Hey, look at the T-top. [ARDELL] It ain't new, man. You're gonna rip a car, it might as well be new. ANGLE FROM INSIDE K.I.T.T. They peer in. [POTTS] Yeah, but it's in great shape. Look. [ARDELL] So's Sugar Ray Leonard, but he's retired. They continue on their way. [K.I.T.T.] Whoever accused car thieves of having taste? (beat) 'Sugar Ray Leonard' indeed! INT. THORTEX LOBBY - DAY Michael and Marta turn as Hower approaches, crisp and professional. [HOWER] I'm Jim Hower. I'm afraid neither Doctor Quinlin nor Mr. Miles are here. Michael and Marta exchange a look. [MICHAEL] Where are they? [HOWER] I really couldn't say. They left together over an hour ago. [MARTA] (to Michael) Maybe they're back at the house. [MICHAEL] No, I've left messages. Devon would've called. (to Hower) Maybe whoever they met with would know. Who did they meet with? Tension between Michael and Hower, neither willing to give in. [HOWER] Are you always this persistent? [MICHAEL] Are you always this evasive? [MARTA] Gentlemen, please -- I'm sure everything is all right. [MICHAEL] (to Hower) She's sure, I'm not. Now, one more time -- who did they meet with? Hower glares at him, then turns, leaving. [HOWER] Wait here. Hold on Michael and Marta, Michael staring after him. OMITTED OMITTED ANGLE IN NORDSTROM'S OFFICE Nordstrom and Dr. Von Furst, alone. She is facing him, looking into his eyes. [DR. VON FURST] You've been ignoring me. [NORDSTROM] That's not true. I've been extremely busy, as you well know. [DR. VON FURST] You haven't touched me in days. He looks at her, a mixture of feelings flashing across his face. Then, surprisingly, he puts his arms around her; they make an unlikely pair, this handsome, polished man and the hawk-faced woman. [DR. VON FURST] You feel cold. He manages a smile. [NORDSTROM] Like me, you expect too much. [DR. VON FURST] I share your dream. Every waking hour I work toward it, and when I sleep I dream it. Like you, I expect everything or nothing, but never too much. He is moved by her. Whatever radiates between them at unexpected moments is radiating between them when the door bursts open. Hower entering. He suddenly stops like a schoolboy entering his parents' room during an intimate moment. [HOWER] Oh -- I'm sorry, sir, I didn't.... [NORDSTROM] (snaps) What is it? [HOWER] Trouble downstairs. That guy who works with Devon Miles -- Michael Knight. He won't take no for an answer. [NORDSTROM] Stall him. Tell Mr. Elliott to meet me in the security room. Hower nods, allowing his puzzlement at Von Furst's hold on Nordstrom seep through. [HOWER] Yessir...Anything else? [NORDSTROM] No. [DR. VON FURST] Yes. Next time knock before entering. Hower hates it but he nods. ANGLE DOWNSTAIRS Hower exits an elevator, crosses to where Michael and Marta wait. [HOWER] They're seeing if they can locate him now. ANGLE IN SECURITY ROOM "Devon" is waiting as Nordstrom enters. BACK TO MICHAEL, HOWER AND MARTA Neither Michael nor Hower has budged. The Receptionist moves to them. [RECEPTIONIST] Excuse me, Mr. Knight? It's Devon Miles for you. Michael reacts, moves to the reception desk where she hands him a phone. [MICHAEL] (phone) Devon? INTERCUT WITH "DEVON" AND NORDSTROM "DEVON" Michael, what are you doing at Thortex? [MICHAEL] Looking for you. Devon, where are you? "DEVON" Doctor Quinlin and I haven't stopped moving. He's an extraordinary man, Michael. You're going to like him no end. What happened at the Board meeting? [MICHAEL] It's a long story. Devon, we've got a lot to talk about --- "DEVON" (overlapping) I really must go, Michael -- we're joining a physicist Doctor Quinlin worked with on the Manhattan Project. I'll be in touch. Michael hangs up, watched by Hower. [MARTA] Are they still together? Michael nods, something vague and undefined bouncing around inside his head. ANGLE IN SECURITY ROOM "Devon" looks at Nordstrom. "DEVON" No trouble with my clipped consonants? Nordstrom gives him a look, a small smile. ANOTHER ANGLE As "Devon" exits, Hower enters. Nordstrom is watching Michael and Marta cross outside. [HOWER] I'm sorry, I didn't mean to inter- rupt you and...the Doctor. Nordstrom can't ignore it; the implication's clear. He faces Hower. [NORDSTROM] Mr. Hower, do you have a problem with Doctor Von Furst and me? [HOWER] (beat) I don't understand it, sir. You could have anyone you want. [NORDSTROM] Doctor Von Furst fills a very special need. Right now I want this Michael Knight out of the way. He's dangerous. [HOWER] (defensive) I handled him. [NORDSTROM] With the help of a phone call you handled him. I want him out of the way. Soon. Tonight. CUT TO EXT. CHICAGO STREETS - DAY K.I.T.T. drives by. [MARTA'S VOICE] Is something wrong? [MICHAEL'S VOICE] I don't know. Nothing I can put my finger on. [MARTA'S VOICE] But you talked to him on the phone. (beat) Michael, if something's wrong, please tell me. Now I'm starting to worry about Doctor Quinlin. [MICHAEL'S VOICE] Devon's always accusing me of an over- active imagination. What could happen to them anyway -- a bottle of bad wine? A veal picatta with a touch too much tarragon? She laughs. OMITTED EXT. CHICAGO STREETS - DAY K.I.T.T. disappears into the heart of Chicago. CUT TO OMITTED INT. BROWNSTONE - DAY The door opens and Marta enters, followed by Michael. [MARTA] Will this security project be taking all of your time? [MICHAEL] It better not, I'm already planning to spend some of it with you. [MARTA] Business, of course. [MICHAEL] Not on your life. She smiles back playfully. [MARTA] I'll have to take Roger along. The vet said he needs a lot of affirma- tion before his operation. Michael winces at the thought again. [MICHAEL] That eliminates plane trips and movies. I'll settle for outdoor cafes and long walks. Marta's look becomes more serious as she studies Michael for a few beats. A soft look fills her eyes. [MARTA] You could be asking for problems, Michael Knight. [MICHAEL] That's exactly what I'm doing, Marta Simmons. I'm asking. (a beat) I've got to check in at the vault, make sure the new isotope is resting comfortably -- I'll call you as soon as I know when I'll be out of there. [MARTA] I'll be waiting. He smiles and leaves. She closes the door, thoughtful. EXT. BROWNSTONE - DAY as Michael climbs into K.I.T.T. [K.I.T.T.] Michael, we really must talk. [MICHAEL] What's up, buddy? [K.I.T.T.] How do I look? Michael pulls away. [MICHAEL] What's wrong, aren't you feeling well? ANGLE IN K.I.T.T. [K.I.T.T.] I feel fine. I'm asking you how I look. [MICHAEL] You look great, pal. Same as always. [K.I.T.T.] That's exactly my point. I never change. [MICHAEL] You're only three years old. That's prekindergarten. [K.I.T.T.] For a human being, yes, but for an automobile it's different. We age more quickly. [MICHAEL] Not you, Kitt. You're ageless. [K.I.T.T.] (flattered) I am? [MICHAEL] You defy time. [K.I.T.T.] I do? (beat) Thank you, Michael. [MICHAEL] Don't mention it, buddy. CUT TO EXT. UNDERPASS - DAY A street maintenance worker waves Michael past a couple of stanchions and into the tunnel. The worker quickly waves in two other cars then blocks off the tunnel entrance with sawhorses. INT. TUNNEL - DAY K.I.T.T. appears, the only car present. ANGLE IN K.I.T.T. Michael is relaxed behind the wheel, notices something in the rearview. HIS POINT OF VIEW - TWO CARS are approaching from behind, fast. BACK TO MICHAEL Something alerts him. He glances in the rearview just as the cars swing out, one on either side of K.I.T.T. ANOTHER ANGLE Each car has a driver and another passenger -- and each passenger is armed with a semiautomatic rifle. They open fire simultaneously. ANGLE ON K.I.T.T. His windows go up automatically as a spray of bullets ricochet off. ANGLE IN K.I.T.T. Michael hits the accelerator, punches Pursuit Mode. [K.I.T.T.] Michael! [MICHAEL] Gotcha, buddy. (more buttons) Full scan ahead -- I want to make sure we're not double-teamed. The monitor reveals a dump truck blocking the end of the tunnel. [K.I.T.T.] I'm afraid we are! ANGLE IN ASSAULT CAR The Driver speeds to keep up with K.I.T.T., the Passenger firing. [DRIVER] C'mon, bring him down! [PASSENGER] I'm trying! The bullets just seem to bounce off! [DRIVER] Try the tires! ANGLE IN K.I.T.T. Michael presses Turbo Boost. [MICHAEL] Give me all the Turbo Boost you've got! [K.I.T.T.] Michael, we may not clear! [MICHAEL] No choice now, pal! ANGLE FROM DUMP TRUCK K.I.T.T. lifts into the air. ANGLE ON ASSAULT CAR The Driver stares in disbelief. [DRIVER'S VOICE] Do you see what I see?! DIFFERENT ANGLES He sails up and over the dump truck. The men in the pursuing cars stare in disbelief, the drivers slamming on their brakes. ANGLE PAST DUMP TRUCK K.I.T.T. lands in a shower of sparks, hitting over 100 mph. FADE OUT END OF ACT TWO ACT THREE FADE IN EXT. STREET - DAY K.I.T.T. appears, suddenly swerves to make a hard left on an intersecting street. [K.I.T.T.'S VOICE] Michael, I don't understand -- who would try to kill you? Why? ANGLE IN K.I.T.T. Michael is behind the wheel. [MICHAEL] Good questions, pal. Wish I had some answers. [K.I.T.T.] Perhaps it's a repercussion from our last assignment. [MICHAEL] I don't think so. There's only one person who knew where we were going -- and when. [K.I.T.T.] Marta. [MICHAEL] You got it. INT. BROWNSTONE - DAY We're shooting over Marta's shoulder as she crosses to answer an impatient knock on her door, Roger at her side. She pauses before unlocking the dead-bolt. [MARTA] Who is it? [MICHAEL'S VOICE] Michael Knight, back from the dead. Open up. She unlocks the dead-bolt and opens the door. As Michael starts in we see his face change from anger to surprise. [MICHAEL] Marta -- what happened? REVERSE ANGLE with Marta full-face, we see a small bruise over her eye, a swollen lip. She looks frightened, relieved. [MARTA] Thank God, you're all right --- She folds into his arms and he comforts her, conflicting emotions competing for his attention. [MICHAEL] What happened? [MARTA] Two men. Not more than a minute after you left, there was a knock on the door. I thought it was you. They wanted to know where you were going. I told them I didn't know and one of them, the taller one, hit me...Roger bit his leg and he kicked him across the room.... She turns away, fighting not to cry anymore. Michael watches her closely, sympathetic but evaluating. [MICHAEL] No idea who they were.... She shakes her head. [MICHAEL] Or why they wanted to kill me. [MARTA] No. (beat) Michael, what's going? I haven't heard from Doctor Quinlin...Those men trying to kill you...is there something you're not telling me? He studies her for a moment. [MICHAEL] No. Is there something you're not telling me? He can see the disappointment flash across her face. [MARTA] Why do you feel you even have to ask? [MICHAEL] Call it an occupational hazard. (beat) Marta, I don't know Doctor Quinlin. I barely know you. I'm not making any accusations but there's something you should know. Devon Miles is like a father to me. There's no stone I'll leave unturned if he's in danger. [MARTA] (flares) And I feel the same way about Doctor Quinlin. If you think I'd do anything to harm him.... She turns away, determined not to cry. [MICHAEL] I didn't say that. (beat) I've got to go. I guess I don't have to tell you to keep the doors locked. [MARTA] No. He doesn't know what else to say, and she's not helping. He crosses for the door. [MICHAEL] I'll call you if anything develops. She nods, only briefly meeting his eyes. He leaves and she closes the door behind him. CUT TO OMITTED INT. FOUNDRY - NIGHT Hower supervises the round-the-clock operation, of the highly trained technicians who are dwarfed by the size of the Juggernaut...We pan across the dull grey finish of the machine, its protruding rivets holding the additional armor plating, and continue to the front where the cow pusher steel bars now protect the front tires...The camera continues to the Contact Detonating Tip of the Juggernaut. A test is currently underway. [TECHNICIAN #1] Three...two...one...fire! ANGLE ON JUGGERNAUT The telescoped battering ram punches out to its full length like a fist, the C.D.T. exploding on contact with a test shield of solid steel six inches thick. ANOTHER ANGLE The explosion warps and mangles the shield, but doesn't penetrate it. The Technician glances at Hower. [TECHNICIAN #1] We're getting closer. [HOWER] Closer's not good enough. It still didn't penetrate. The phone rings. Hower picks it up. [HOWER] (phone) Hower. (listens; reacts) What do you mean 'he escaped?' I told Mr. Nordstrom he was taken care of! (listens) What did you say? His car did what? CUT TO INT. VAULT - NIGHT - CLOSE ON THE MONITORS all focused on the lead-lined box containing Cernium One- sixteen. REVERSE ANGLE The room is empty except for Michael, who stares at the monitor as if this strange substance can tell him some- thing no one else can. The door behind him opens and Bonnie enters, security guards seen in b.g. [BONNIE] I think you're expecting too much... it's not an oracle. Preoccupied, Michael looks over to her, reacts. [MICHAEL] Bonnie! He gives her a hug, surprised and pleased to see her. Ad-lib greetings. [MICHAEL] When did you get in? [BONNIE] Earlier this evening. I told them not to say anything -- I wanted to surprise you. [MICHAEL] You succeeded. As a matter of fact, you couldn't have come at a better time. (beat) How'd you get past the palm print detector? [BONNIE] Devon left orders to include me. (beat) Speaking of Devon, I know you're worried about him, but I'm sure there's a simple explanation. He's got a lot on his mind right now. [MICHAEL] Bonnie, Devon always has a lot on his mind. It's never stopped him from staying in contact before. [BONNIE] Give it until noon tomorrow. Please. [MICHAEL] 'For the sake of the project' -- I know the speech. [BONNIE] It happens to be true. Given what we're dealing with, even a whisper of anything 'irregular' and the press would get wind of it --- [MICHAEL] I'll be discreet. In the meantime, you hold down the fort here. She nods, smiles as he exits. CUT TO EXT. VAULT - NIGHT K.I.T.T. is parked at the curb when two shadowy figures appear: Ardell and Potts. [POTTS] Hey, there's a nice T-top. They move closer. ANGLE FROM INSIDE K.I.T.T. They approach, then suddenly stop. [ARDELL] (disappointed) That's the one we saw earlier. [POTTS] I don't know, it looks better in the dark. Maybe it's okay. [ARDELL] You say the same thing about the women at Crazy's at closing time. K.I.T.T. can no longer contain himself. [K.I.T.T.] Now just a moment! They stare. [K.I.T.T.] For your information I am the most advanced automobile known to mankind. I have capabilities beyond your wildest dreams. Potts and Ardell exchange a look, shrug. [ARDELL] Yeah? Prove it. [K.I.T.T.] I don't have to prove myself to anyone -- particularly car thieves. [POTTS] Yeah, sure. (to Ardell) It's got some kind of tape recorder that makes it sound like it's talking. Ardell is struck by a thought. He pulls Potts aside. [ARDELL] Some of those systems are worth a lot of money. [POTTS] (likes it) Yeah! They converge on K.I.T.T., producing hidden tools of the trade; a lock-pick, a flat bar. DIFFERENT ANGLES They try every way imaginable to get into K.I.T.T., growing more frustrated by the minute. [ARDELL] I got a way that never fails. He grabs a nearby brick and lifts it to hurl at K.I.T.T.'s windshield. [VOICE] Hey you! They spin. ANOTHER ANGLE A bizarre figure materializes; long trench coat, wide- brimmed hat, sunglasses -- and holding a fearsome-looking automatic assault rifle. For purposes of identification (more about him later) he is RC3. Potts and Ardell react as if seeing a ghost. [RC3] We don't go for that stuff in this neighborhood. [POTTS] It's that guy they call The Street Avenger! They sprint away into the darkness. [RC3] (calls after them) I don't want to see your faces around here again! They're gone. And then just as suddenly is RC3, slipping away into the night. [K.I.T.T.] Simpletons. Victims of planned obsolescence. (then) I've never been so insulted in all my life. ANGLE Michael approaches K.I.T.T. with urgency, enters. [K.I.T.T.] Michael...I think you just missed the Street Avenger. [MICHAEL] My loss, pal... (all business, punching buttons on the dash) Kitt...Devon's got to be someplace in this town, so let's access his Chicago contacts over the last three years. I want to talk to all of them.... [K.I.T.T.] That could take all night. [MICHAEL] Not if we're lucky. Michael pulls away.... CUT TO OMITTED INT. SECOND-FLOOR ROOM - NIGHT Devon is strapped to one of the surgical chairs, Nordstrom and Dr. Von Furst on either side. [NORDSTROM] Hower tells me your pain threshold is quite high.... Dr. Von Furst moves to the other side of Devon...She holds one of her scalpels...others on display next to her...The light reflects off the razor-sharp tool.... [NORDSTROM] I want this 'secret formula' that makes your Michael Knight's car invulnerable...and high threshold or not, I'll get it. [DEVON] I don't know the complete formula... no single person does.... [NORDSTROM] I'm not without some background on you...You're one of three who knows its key components. [DR. VON FURST] All I need is its chemical base to develop a neutralizer. She adjusts her grip on the scalpel. [DEVON] (beat) As you said, I have a very high threshold for pain.... [NORDSTROM] And I lack the time to enjoy your discomfort. He motions to Von Furst, who puts down the scalpel and picks up a hypo. Devon eyes the needle as Nordstrom explains.... [NORDSTROM] An innovative new truth serum...In some cases it can produce brain damage, but you leave me no choice.... He nods to Von Furst, who steps forward to Devon.... CUT TO EXT. CHICAGO SKYLINE - DAWN The sun rises over Lake Michigan. SEVERAL SHOTS - THE CITY coming to life, people and cars filling the streets. OMITTED INT. THORTEX LOBBY - DAY The front door pushes open and Michael enters like the wind. ANGLE IN SECURITY CONTROL ROOM We see Michael and the Receptionist on a monitor, Michael obviously hot and determined. Hower watches, concerned. The phone rings. [HOWER] (phone) Tell him I'll be right down. He hangs up, dials another number. [HOWER] (phone) Get Mr. Nordstrom for me, quick. ANGLE AT RECEPTION AREA Michael studies the building, the surveillance cameras. The Receptionist hangs up the phone. [RECEPTIONIST] Mr. Hower will be right down. [MICHAEL] Thanks anyway, I'll save him a trip. He heads for the elevators. [RECEPTIONIST] Wait! Only authorized personnel are allowed on the second floor! Just before the elevator doors open, a guard rushes at Michael...Michael ducks the blow from the guard, and sends him sprawling across the lobby. He enters the elevator.... RECEPTIONIST presses the button on the console. ANGLE ON SECOND FLOOR The elevator doors open and Michael steps out, quickly moves around the side of a pillar as he hears the sound of voices. Two security guards pass in a hurry. [SECURITY GUARD'S VOICE] I'll cover the elevator, you cover the stairs. Their attention diverted, Michael slips by. ANOTHER ANGLE The door to Nordstrom's office opens and Hower comes out. [HOWER] He won't get far, sir. I promise you. Camera pans Hower as he hurries by, then holds on a maintenance door. It slowly opens and Michael slips out, heads for the office Hower left. ANGLE IN NORDSTROM'S OFFICE The door opens and Michael peers in. WIDER ANGLE Nordstrom sits at his desk, his back to the door. He slowly swings the chair around to face Michael. [NORDSTROM] (beat) Mr. Hower assured me the building was security proof. [MICHAEL] Don't feel alone -- he assured me Devon Miles was perfectly fine. [NORDSTROM] What makes you think he isn't? Michael crosses to face him across the desk. Nordstrom presses a button, gets up to walk towards Michael.... [MICHAEL] A wasted night looking for him in all the wrong places. (re button) I have a feeling I don't have much time, so I'll get right to the point. I think he's here. I want to see him. Now. In the flesh. NEW ANGLE Nordstrom is in front of Michael, who is alert to his moves...Nordstrom positions himself for a clear swing at Michael with his prosthetic arm. [NORDSTROM] And if you don't? [MICHAEL] I'll tear this building apart brick by brick.... A look in Nordstrom's eyes warns Michael and his arm swings in its killing blow...Michael pulls back, the blow missing Michael by inches...Michael uses Nordstrom's awkward posi- tion to his advantage, shoving him away and to the ground... then, seeing no reason to stay in the room, he is quickly out the door.... ANGLE IN HALL Michael exits Nordstrom's office. [HOWER'S VOICE] Stop! Hower charges him, swinging, and Michael flips him, karate kicks him in the groin, slams a knee into his forehead. He then slams into the next door with his shoulder and it pops inward. ANOTHER ANGLE - IN ROOM As Michael bursts in, a man at the window turns, it's "Devon." Hold a beat, then: "DEVON" Michael! Michael takes him in as if he's the last person he expected to see. "Devon" clasps his shoulder. "DEVON" I am sorry. I promised to stay in touch and I didn't. It's been so hectic, so much to accomplish in so little time. I trust you've kept yourself occupied? Michael nods, a little taken aback. [MICHAEL] You could say so. "DEVON" Good, good. "Devon" leads him to the door over: "DEVON" Michael, there's so much I have to tell you.... They leave. ["DEVON'S" VOICE] Goodness, Mr. Hower, you must learn to be more careful. OMITTED ANGLE IN "THE ROOM" Devon is conscious, recovering from his ordeal. [NORDSTROM'S VOICE] I think you'll be interested in this.... ANOTHER ANGLE Nordstrom switches on a security monitor, and we see "Devon" and Michael crossing toward the entrance together, talking, two old friends reunited. CLOSE ON DEVON He reacts with a mixture of disbelief and pain. FADE OUT END OF ACT THREE ACT FOUR FADE IN EXT. VAULT - DAY - ESTABLISH It's stolid look belies its contents. ["DEVON'S" VOICE] I'm not quite as sure as you are that everything is in order.... INT. VAULT - DAY "Devon" and Jennifer Knight approach the palm-print checkpoint, followed by Michael and Bonnie. "Devon" tries the palm-print -- an acid test -- is relieved to see it works. As they enter the vault: [MICHAEL] I covered everything, Devon. There's no way into this vault without passing three security checks, and the men are rotated every four hours to keep them alert. The Cernium One-sixteen seems to be stabilizing and I've laid out four different exit routes. Any three could be used as decoys.... "DEVON" I don't doubt your professionalism, Michael. But I intend to check everything to my satisfaction. With a glance at Michael, Jennifer chooses sides. [JENNIFER] I couldn't agree more. One-sixteen is far too important to allow a subordinate to determine security. If you want to delay the transfer I'll explain it to the Board and back your decision. How much time will you need? "DEVON" A minimum of twenty-four hours. [JENNIFER] Consider it done. We're due for the consultant's briefing in fifteen minutes. (to Michael) I hate to see a man with half Devon's experience and only a fraction of his intelligence question his judgment. She joins "Devon" and they leave. OMITTED ANOTHER ANGLE Michael watches them leave. Bonnie steps to his side and gives him a sympathetic look. Michael shakes his head. [MICHAEL] If I didn't know better, I'd say Devon's grandstanding for Ms. Jennifer Knight. [BONNIE] If he is, he's probably doing it to help keep F.L.A.G. alive.... [MICHAEL] I don't question that, Bonnie. What I question is his attitude, his style. (beat) For a moment there I found myself feeling something I've never felt before. I found myself disliking him. CUT TO OMITTED INT. FOUNDRY - DAY Camera moves down the length of the battering ram to the new steel reinforced grill that extends from the cow pusher bars up and over the front of the Juggernaut to the operator's viewing bubble...The massive machine is now encased in steel armor and protective grillwork. The workers make their last minute adjustments on the lethal machine as Hower supervises...The phone rings.... [TECHNICIAN] (re phone) It's for you, Mr. Nordstrom. Hower crosses to the phone. [HOWER] (phone) Yessir. INTERCUT - NORDSTROM IN HIS OFFICE He holds a sealed bottle of amber liquid. Von Furst is nearby, a smile on her face. [NORDSTROM] (phone) Where are we with the Contact Detonating Tip? [HOWER] We're making final adjustments now. She'll be ready in time. [NORDSTROM] Good. Doctor Von Furst has given us another example of her unique talents. A destabilizing agent that will make Michael Knight's super car exceedingly mortal on contact. (beat) Arrange for that contact, Hower. Immediately.... Hower almost clicks his heels.... CUT TO OMITTED EXT. CHICAGO AREA - DAY K.I.T.T. drives by, a view of the skyline in the b.g. INSIDE K.I.T.T. Michael in a pensive mood. [K.I.T.T.] Are you still thinking about Devon? [MICHAEL] (nods) Maybe I'm overreacting. He's probably tired, and he's not a kid anymore. [K.I.T.T.] Perhaps I could give him a medical scan. I do not, however, share your thoughts about age. [MICHAEL] Oh, no, I did it. You're going to start again.... [K.I.T.T.] No. Michael, since you don't wish to discuss 'that' problem with me I intend to continue to work with you during my decline...As you requested I checked the police computers. The dump truck had been reported stolen and neither the city nor the state had authorized any road crews on the tunnel. [MICHAEL] The Board of Directors wants my hide and now someone else wants my bones. (beat) And by the way, I hope you realize that if it weren't for your abilities, your turbo boost and tracking radar system, I'd be talking to you from a cloud. [K.I.T.T.] Thank you, Michael, but how did I look? Michael looks to the heavens for help -- interrupted by the beeping signal of an incoming communication. INTERCUT - MONITOR Bonnie's face appears. [BONNIE] Did I interrupt a family argument? [MICHAEL] I think you saved us from one. [BONNIE] Then I'll add the eternal triangle to it. I received an urgent call from Marta. [MICHAEL] Is she all right? [BONNIE] When you see her I'm sure you'll check her out. She'll be at Timmons and Fifth Street.... [MICHAEL] Thanks, Bonnie. I'm on my way. He hits the accelerator. CUT TO EXT. CHICAGO STREETS - DAY Michael drives past the Chicago River and turns down Wacker alongside the river heading south, crossing one of the many drawbridges, then heads towards the area where demolition ends the history of a neighborhood and gives birth to sky- scrapers. The area has already been semiraised and left in its skeleton form. EXT. DEMOLITION SITE - DAY Michael drives into the area. There's no one in sight.... [K.I.T.T.'S VOICE] There's a vehicle approaching on your left Michael.... MICHAEL'S POINT OF VIEW THROUGH WINDSHIELD He spots Marta arriving in a cab. Michael exits K.I.T.T. [MICHAEL] I'll be right back, buddy. MARTA AND MICHAEL She exits the cab, moves quickly to him as the cab pulls away.... [MARTA] I got a call...a man's voice...He wants to meet you at 685 Timmons, it's the last house on the end.... [MICHAEL] Did he say what it's about? [MARTA] He said there was something you should know about Cernium One-sixteen -- before it's too late. OMITTED ANGLE ON K.I.T.T. A big vehicle rumbles by with "Chicago Pest Control" on its side. A spray nozzle is inexplicably activated. ANGLE INSIDE K.I.T.T. [K.I.T.T.] Oh, dear! He activates his windows, which rise immediately. Then the windshield wipers. ANGLE ON VEHICLE continuing past. The driver is one of the Thortex's security guards. He picks up a walkie-talkie. [DRIVER] Bull's-eye to Target Control... mission accomplished. MICHAEL AND MARTA Michael walks back to K.I.T.T., Marta next to him. [MICHAEL] You could have just given me the message. [MARTA] Then you wouldn't have let me come with you. [MICHAEL] I still won't. You wait here. Marta reaches out and stops Michael, upset. [MARTA] It could be a trap. [MICHAEL] If it is I'll have a few surprises for them. She reaches out and pulls Michael to her, kisses him. [MARTA] Be careful. [MICHAEL] No other way to be. (beat) Thanks. OMITTED NEW ANGLE Michael gets into K.I.T.T. and pulls away, starts the slow careful drive down the narrow lane between the rubble and the shells of houses that are about to go. INSIDE K.I.T.T. Michael scans the area as he rolls along. [MICHAEL] What'd you do, take a shower? [K.I.T.T.] In a manner of speaking. A pest control vehicle sprayed me. Please Michael, no humor.... [MICHAEL] Okay buddy, keep your scanners peeled. INTERCUT AS NEEDED - MONITOR as the screen is filled with graphics and various targeting schematics. [K.I.T.T.] My radar is giving me a false contour line. [MICHAEL] Try your heat sensors. [K.I.T.T.] Varying temperatures, Michael. We're sitting on underground steam lines. [MICHAEL] Do the best you can, pal, 'cause we're still going in. [K.I.T.T.] I was afraid of that. The graphics on the screen remain semiscrambled -- then a warning light. [K.I.T.T.] Michael, I've picked up something. I can't read it. MICHAEL'S POINT OF VIEW - THE SOLID BRICK WALL TO HIS LEFT Then the wall disintegrates as the Juggernaut's ramrod end smashes through; a shower of brick and mortar bounces off its massive shell and rains down on K.I.T.T. [K.I.T.T.'S VOICE] Michael.... [MICHAEL] What was that?? OMITTED NEW ANGLE The ramrod catches K.I.T.T. in the rear just as his tires catch hold and he spins awkwardly out of the way. K.I.T.T. still mobile but dented badly, the rear end grinding. [K.I.T.T.] I don't know.... [MICHAEL] (punches buttons) Give me a damage report! [K.I.T.T.] Rear stabilizer's out...Traction control non-functional -- Michael! We're no longer protected by the molecular bonded shell! [MICHAEL] That's impossible! THE JUGGERNAUT has maneuvered around and the battering ram slams into the front end of K.I.T.T. MARTA a short distance away, watching...Tears start to stream down her face. JUGGERNAUT turns to aim its battering ram at K.I.T.T. again. SEVERAL DIFFERENT ANGLES The battering ram punches into the defenseless K.I.T.T. time and again, rending huge holes in a ruthless, brutalizing attack. INSIDE K.I.T.T. Michael fights to regain control, punches buttons seeking backup systems. [K.I.T.T.] Michael, we're virtually defense- less.... [MICHAEL] Any suggestions, partner? [K.I.T.T.] Yes. Abandon ship and save yourself. [MICHAEL] Not a chance, pal. We'll use what we have. Michael jams down on the accelerator. WIDER ANGLE The rear wheels try to dig in...K.I.T.T. swings in a weak half circle, not enough to elude the full force of the Juggernaut; it blasts into what little is left of K.I.T.T., flipping him over and over. OMITTED K.I.T.T. comes to a stop on his roof, one wheel spinning slowly. ANOTHER ANGLE Marta comes running toward K.I.T.T. as the Juggernaut circles for the final blow. She peers inside the overturned car, sees Michael trapped inside, semiconscious. OMITTED THE JUGGERNAUT rumbling forward. Marta makes a decision, takes a 9mm automatic from her purse, then waves to the Juggernaut. It grinds to a stop. OMITTED MARTA In full view of the Juggernaut, and its driver, Hower, she turns to Michael and aims the gun at his head...and fires two shots. OMITTED WIDER ANGLE The Juggernaut holds for a beat, then the ramrod shaft slides back into its larger sleeve. The Juggernaut turns and rumbles away. CLOSER ANGLE She turns back to Michael. He moves slightly...and we see two clean bullet holes in the upholstery close to his head. She gives him a tender look, turns and runs away. OMITTED WIDE ANGLE The silence of a graveyard...The destroyed buildings framing the wreckage of K.I.T.T. FADE OUT END OF ACT FOUR ACT FIVE FADE IN EXT. ALLEY - DAY A series of shots graphically detailing the carnage: K.I.T.T., once so invulnerable, now lies at a grotesque angle, pierced and punctured at will, as if torn apart by a savage beast. CLOSE ON MICHAEL His eyelid moves, the first indication of returning consciousness. [WOMAN'S VOICE] (echo, as if far away) Michael...Michael, what happened? Michael! His eyes slowly open. HIS POINT OF VIEW - THE BLURRED SHAPE OF A FACE A woman's face peering down at him. Slowly it comes into focus: it's Bonnie. WIDER ANGLE Bonnie bends over him, near tears. [MICHAEL] Bonnie...? [BONNIE] Oh, Michael...are you all right? What happened? Kitt is.... She can't finish. Michael struggles to see for himself, can't. [MICHAEL] He'll be okay...you'll fix him, Bonnie...you always do.... ANOTHER ANGLE with Bonnie's help, Michael struggles out of K.I.T.T. [MICHAEL] Kitt...hey, buddy, it's me, Michael.... Silence. [MICHAEL] Talk to me, pal.... Silence. Michael just stares. Bonnie shakes her head, tears rolling down her cheeks. CUT TO OMITTED EXT. VAULT - DAY Pan to the Foundation semi, parked in a lot adjacent to the building. ["DEVON'S" VOICE] This isn't possible, Michael -- not with Kitt's molecular bonded shell. INT. SEMI - DAY "Devon", having just been summoned, surveys the damage done to K.I.T.T., Michael with him. Bonnie scans his systems with the semi's sophisticated electronics, trying to assess the extent of internal damage. [MICHAEL] That was my first reaction. Then I realized there's only one possible explanation -- Someone found a way to neutralize it. "DEVON" Impossible. No single person knows the formula -- you know that. [MICHAEL] I asked Bonnie to analyze a chip. Take a look. "Devon" follows Michael to a high-powered microscope. "Devon" looks. INSERT A paint chip, magnified, shows a web of hairline splits in the M.B.S. BACK TO THEM "Devon" turns to Michael. "DEVON" It appears to be fragmented. [MICHAEL] It was sprayed with a destabilizing agent -- specially formulated to do just what it did. I know when it happened and where -- and one of the key players involved. "Devon" regards him, a peculiar expression on his face. [MICHAEL] Doctor Quinlin's doe-eyed little assistant. "DEVON" Marta? Michael, you can't be serious! A half-smile, "Devon" shakes his head, glances at Bonnie. "DEVON" Are any of his internal systems in- tact? [BONNIE] (discouraged) I'm afraid we have an enormous job ahead of us. "DEVON" What you're saying is, that for all intents and purposes, Kitt is dead. Michael and Bonnie react to the word. [BONNIE] I...wouldn't exactly put it like that. "DEVON" No, but that's the essence of it. (beat) I'm afraid we have no choice. Bonnie, I want you to return to The Foundation with Kitt and await further instruc- tions. Michael, you're always complaining about aborted vacations. This is your chance -- a month off, free and clear. They stare at him in disbelief. He starts out. [MICHAEL] Devon! What's going on here? You can't just throw Kitt away like a toaster or a TV! And what about the assignment? What about The Foundation's responsibility to provide security for the Cernium One-sixteen? "Devon" looks unfazed by the barrage. "DEVON" As far as security is concerned, I'm satisfied it's more than adequate. As far as Kitt is concerned, look at him. Face the facts. He's dead. (beat) I'm sorry, but that's my decision. Michael, send me a postcard. He starts out. Michael is struck by a thought. [MICHAEL] 'Call me Ishmael.' "DEVON" (turns) I beg your pardon. [MICHAEL] You remember, the first line from classic novels. You were right -- it was Hemmingway. "Devon" smiles, accepting the acknowledgment, and leaves. [BONNIE] I don't believe what just happened... Michael, what's wrong with him? [MICHAEL] (absorbing it) You'd never guess in a hundred years... (beat) That man isn't Devon. Her face goes blank. Before she can put her reaction into words he crosses to her, hands on her arms. [MICHAEL] Bonnie, listen to me. Don't ask me what this is all about -- or how, or why -- but that's not Devon Miles. You're not going back to the Foundation and I'm not going on vacation. We're staying right here. We'll rebuild Kitt ourselves -- I've got a feeling we're gonna need him. [BONNIE] Michael, you don't --- [MICHAEL] Bonnie, just go with me on this. Find a garage. We've got less than twenty-four hours before they can move the Cernium -- less than twenty-four hours to find out what's going on here. He turns and goes, leaving her open-mouthed. CUT TO OMITTED EXT. TOUGH NEIGHBORHOOD - NIGHT A seedy area. A cab pulls up to the curb. In back, Michael looks out. [CABBIE] End of the line. [MICHAEL] Where's the alley? [CABBIE] You'll have to find that on your own. I been mugged down here twice. This is as far as I go now. That'll be fourteen-ninety. Michael pays him, climbs out. The cab does a U-turn. Michael looks around, compares an address to the one written on a slip of paper. OMITTED ANGLE TO INCLUDE GANG MEMBERS up the street, lounging, they watch him like hungry hawks. A wino ambles by. [MICHAEL] Excuse me, I'm looking for an alley behind a surplus store on.... He doesn't finish, the wino long gone. Several of the gang members slip away, then several more. OMITTED EXT. ALLEY - NIGHT dark and quiet, the mouth of it fronts a busy street, cars and people passing. A figure appears, turns and starts down the alley. It's Michael. He looks around, finding it hard to believe Bonnie would choose a place like this. OMITTED OTHER ANGLES Shadows appear ahead of him and behind him, blending into cover, stalking. ANGLE ON MICHAEL He becomes aware, pauses, glances behind him. [VOICE] Hey, loan me five dollars, man. A figure emerges ahead of him, then another, coming toward him. Other figures approach him from behind. [VOICE #2] Yeah, loan him five -- what's five or ten dollars to a rich dude like you? Michael knows what's coming, and he's trapped. [MICHAEL] I'm a little short on cash. SEVERAL DIFFERENT ANGLES One of them pulls a switchblade, another an eight-inch lead pipe. They're closer, converging on him. [RC3] Cool it, suckers! They freeze. OMITTED ANGLE UP A bizarre figure stands above them on a fire escape; it's RC3, dressed in his long trench coat, wide-brimmed hat and sunglasses. He has the automatic rifle in his hand. [RC3] Ain't you the same creeps I stopped just last week? They quickly mumble no, wasn't us, and hurry off. Michael is amazed. [RC3] You Michael Knight? More amazed, Michael nods. RC3 jumps down to the ground. [RC3] Bonnie said you might get lost. (beat) You look familiar.... [MICHAEL] We crossed paths the other day. Different alley, similar circum- stances. Remembering, RC3 grins, nods. [RC3] Follow me. INT. GARAGE - NIGHT It's old and primitive. The Foundation semi is here, K.I.T.T. inside, Bonnie doing some preliminary work. The door opens and RC3 comes in, followed by Michael. [RC3] I found him. [BONNIE'S VOICE] Good. Hello, Michael. I'll be right out. CLOSER ANGLE In the light, Michael sizes up this strange figure. RC3 grins, extends his hand. [RC3] Reginald Cornelius the third, RC3 for short. [MICHAEL] Michael Knight. Thanks for the help. [RC3] Ain't no big thing. He throws the automatic rifle aside and it bounces. Michael reacts. [RC3] It's only wood. He grins, takes off his shades, hat and coat and we see an open-faced black kid in his late teens. [RC3] What happened is a couple of months ago it was getting real nasty around here. So I borrowed an AK47 my brother brought back from 'Nam, and I got all dressed up like this one night and I ran around calling myself the Street Avenger. I shot up a few of the gangs cars, no big deal. It worked so good I made a dummy rifle out of wood. Michael laughs, liking him immediately. [MICHAEL] I don't believe it. You do this often? [RC3] Not much anymore. I'm in semiretire- ment. Over this Bonnie appears. [BONNIE] Well, how do you like it? Michael glances around, wondering how to phrase it. [BONNIE] It was the cheapest I could find. Given our nonexistent budget, I grabbed it. [MICHAEL] Given our nonexistent budget, I like it. [BONNIE] It belongs to RC3's father. [MICHAEL] Don't tell me -- RC2. Bonnie and RC3 nod, smiling. [BONNIE] Any luck this afternoon? [MICHAEL] (shakes his head) Marta's gone. She took all she needed -- her clothes and her dog. How's Kitt coming? Michael sees a weariness cross her face. [BONNIE] I think we've...bitten off more than we can chew. [MICHAEL] (puzzled) You said you could get by with the equipment in the semi. [BONNIE] I can -- to a point. I can recreate his systems and technology. But Michael, I had no idea how much struc- tural damage was done. To repair that I'd need a fully equipped machine shop and skilled technicians. They share a look, the reality of it sinking in. RC3 smiles as he moves to an outside door.... [RC3] From your lips to RC3's ear.... He swings open the door, whistles, then steps aside.... ANGLE ON DOOR A unique group enters. They range in age from early twenties to thirties. A couple of old gang jackets, a bandanna around the head, a 'Nam combat hat, cut-off sweat shirts, but all with the same anxious intent look in their eyes. They represent every ethnic group in the city. Clutched in their hands are their tools; one wheels in an electric welder, another a complete Heliarc setup, etc. [BONNIE] (reacts) What...is this? RC3 smiles, acts as a master of ceremonies as he introduces his band. [RC3] Bonnie, say hello to your new pit crew...guys. This is the boss, Bonnie. The tall one's Michael. Ad-lib hellos, Bonnie unsure what to make of them. [RC3] I answer to her, you answer to me. (re K.I.T.T.) This is the patient. Okay, let's go to work. He turns back to Bonnie and Michael. [RC3] Hey, you think just 'cause this is the ghetto there's no talent down here? Don't let how they look fool ya. These guys are great. [MICHAEL] (to Bonnie; a smile) Looks like you got your wish, Cinderella. CUT TO INT. THORTEX "ROOM" - DAY Devon has breakfast on a tray in front of him, untouched. [NORDSTROM'S VOICE] Now now, you must eat.... WIDER ANGLE Nordstrom and "Devon" have stopped by to see him. "Devon" particularly enjoys it. [NORDSTROM] You must keep up your strength. You still have an important role to play. "Devon," knowing what it is, enjoys.... "DEVON" Trooper that he is, I'm sure he'll do an admirable job. [NORDSTROM] Cheer up, you won't be here much longer. They leave. Hold on Devon. CUT TO EXT. THORTEX OFFICES - DAY We see Nordstrom and "Devon" pause inside, finish their conversation, then part; Nordstrom returning to his office and "Devon" exiting outside. ANOTHER ANGLE He pauses, looking for a cab. [WOMAN'S VOICE] Mr. Miles! He reacts, turns: a Woman in dark glasses and a large hat is desperately motioning for him to come to her. Puzzled, he approaches her. CLOSER ANGLE He reaches her. "DEVON" Excuse me, do I know you? She glances furtively around, then removes her glasses: it's Marta. [MARTA] It's me, Marta Simmons! Though he, in fact, doesn't know her, he certainly knows about her. A look of recognition dawns on his face. "DEVON" Marta, I hardly recognized you.... [MARTA] Where's Michael?..have you seen him? Is he all right? "DEVON" Yes of course...a bit banged up but otherwise fine...Is something wrong? [MARTA] Yes, but I can't talk here...If any- one from Thortex sees me.... "Devon" quickly snaps his fingers, hailing a cab, which slides to the curb next to him...He opens the door. Eyes the frightened Marta.... "DEVON" There, there my dear. Come with me ...We'll find a safe place to talk.... He extends his free hand, a pleasant look on his face.... MARTA She starts to walk towards him.... "DEVON" You'll be safe with me.... FADE OUT END OF ACT FIVE ACT SIX FADE IN OMITTED EXT. THORTEX - DAY (CONTINUOUS ACTION) "Devon's" hand extended to Marta...She moves closer to him and he reaches for her...She pulls away at the last moment. "DEVON" My dear, please -- I want to help. Come with me and we'll phone him together. [MARTA] No, you do it -- please. Tell him I've got to talk to him. I'll call you as soon as I find a safe place. She mixes in with the crowd and is gone. Hold on "Devon," his look of anger and frustration. CUT TO OMITTED EXT. GARAGE - DAY [MICHAEL'S VOICE] Marta's the key to this. If I only knew where to find her.... INT. GARAGE - DAY Bonnie is working on K.I.T.T. removing his CPU. The pit crew and RC working around and on other parts...K.I.T.T. is stripped down...(Stage 2), tarps cover part of him, tools cover the rest...RC rules them like a foreman.... [RC] Take your time on that, Hector... That weld has to hold...Hey Jocko, don't waste time on that...We'll polish him when the time comes.... Michael leans over near Bonnie. [BONNIE] Why, so she can set you up for another execution? [MICHAEL] Marta also saved my life. [BONNIE] Too bad she didn't do the same for Kitt. Here, hold this. He does. She relaxes, gives him an exasperated smile. [BONNIE] I'm sorry. It's just that there's so much to do.... [MICHAEL] (suddenly) Roger! Michael is already on the move to the corner of the work- bench where a greasy phone and an equally greasy and dog- eared Yellow Pages act as bookends. He flips through it quickly. [BONNIE] Michael, what are you doing? He dials the number first. [MICHAEL] Double A Kennels...I'd like to check on a patient...a terrier named Roger. He has an appointment to be fixed today...I know it's a personal ques- tion but I'm a very close relative... (beat) Thanks anyway. Michael goes to the next number. RC3 looks at him like he's crazy. [MICHAEL] Hello, Bon Vivant kennels? I'd like to check on a patient.... CUT TO OMITTED INT. NORDSTROM'S OFFICE - DAY Nordstrom and Dr. Von Furst are grouped around "Devon," who has blueprints and charts spread out on Nordstrom's desk. "DEVON" (indicating) ...the steel wall has a seam here, which faces the subway tunnel -- it should be twenty to twenty-five percent more vulnerable. [NORDSTROM] What about the security systems? "DEVON" (indicates) There's an emergency manual alert here. It seals off the vault area. [NORDSTROM] What about access via the palm print? "DEVON" This overrides it. Nordstrom smiles thinly, pleased. He glances at Doctor Von Furst. [NORDSTROM] When we return this time, it will be to the sound of trumpets -- saviors from the political and economic chaos their cherished 'democracy' has brought them. The phone rings. Nordstrom picks it up. [NORDSTROM] (phone) Yes... (listens, angry) The security room -- two minutes! ANGLE IN SECURITY ROOM/OFFICE Nordstrom faces Hower, angry. Von Furst watches with pleased expectancy. [NORDSTROM] So, Michael Knight has apparently not gone on vacation...Bonnie Barstow has not returned to F.L.A.G. headquarters...and now I learn this 'Marta Simmons' you recruited is running around the city talking to anyone who will listen! Hower stares at his feet. Nordstrom crosses to him, eyes piercing. He reaches to touch Hower's shoulder with his "killer arm"...Sweat starts to build on Hower's forehead but he stands firm.... [NORDSTROM] You told me she was beyond question.... [HOWER] She'd never failed before...neither have I. I won't again, I promise you. [NORDSTROM] Then find her. Quickly. He holds a beat, then lowers his arm without the blow.... CUT TO EXT. LAKESHORE ESTATE - DAY - TO ESTABLISH OMITTED EXT. REAR OF ESTATE - TENNIS COURT Jennifer drives a tennis ball at her male assistant...He swings awkwardly at the bullet serve...Jennifer walks off the court.... [JENNIFER] Thank you anyway Jeffry...I didn't hire you for a good service return.... She walks over to the terrace, drapes a towel around her shoulders and sits at a table already set up with her Foundation papers...She immediately gets into her work.... ANGLE Her head pops up as she sees Michael Knight hop over the fencing and onto the terrace...She covers her surprise. [JENNIFER] Devon told me you were on a tropical vacation. Did you trade in your ticket for burglars' tools? [MICHAEL] Okay, you don't like me, and other than the fact that you're the daughter of a man I respected I don't like you very much either. But, there is one thing we have in common.... [JENNIFER] We're mammals. [MICHAEL] Back off, Jennifer. I don't have the time or the patience to deal with your cute little insults now... There's a group of people who are planning to steal your Cernium One-sixteen from the vault. [JENNIFER] The vault is impenetrable. [MICHAEL] Nothing's impenetrable. I know the machine they intend to use, and the man. The man is Devon. Jennifer laughs disdainfully. [JENNIFER] You really should go on vacation. You need one. [MICHAEL] At least, he appears to be Devon. Jennifer, the man you're dealing with -- the man you're trusting -- isn't the real Devon Miles. She turns, walks slowly across the room. [JENNIFER] It's amazing, it really is. Not only do you look like my brother Garth, you think like him as well.... [MICHAEL] Is that why you dislike me so much? Because I remind you of Garth? [JENNIFER] (flares) It's a good place to start! You're virtually a reincarnation of him! [MICHAEL] Garth was a criminal! [JENNIFER] Flip sides of the same coin! Cops and criminals, sinners and saints. Like Garth you're hooked on 'action' -- to the point of inventing it if it doesn't exist! Michael reaches into his pocket, hands her an envelope. [MICHAEL] I'm not inventing this. It's my resignation. [JENNIFER] (beat) What do you want in return? [MICHAEL] To believe me...That man is not Devon Miles...If this Cernium is as valuable as you say, don't trust him!! [JENNIFER] You're asking a lot. [MICHAEL] I'm offering a lot. Everything that I feel is important in my life. Everything I've come to stand for. Jennifer holds a beat, then nods. [JENNIFER] All right, I'll do what you ask. But don't expect me to trust you. [MICHAEL] Your father did. [JENNIFER] He's dead. [MICHAEL] (on the move) Not as long as F.L.A.G. is alive. Michael is gone. Jennifer stares after him. CUT TO OMITTED EXT. VETERINARIAN CLINIC - DAY Through glass windows we see Marta leave, exit outside. She quickly crosses to her waiting cab and climbs in. ANGLE IN CAB She closes the door. [MARTA] Royale Hotel, 6th and Evans. [DRIVER'S VOICE] How's Roger -- less excitable? Marta blinks, stunned. REVERSE ANGLE The driver is Michael. [MARTA] Michael! What are you doing here? I've been looking all over for you.... [MICHAEL] I'll bet you have, lady. We've got some talking to do. [MARTA] I'll explain everything.... OMITTED ANGLE IN CAB They drive toward the Chicago River. [MICHAEL] I've heard that too many times from too many people. [MARTA] It's the truth! [MICHAEL] You lied to me! And worse, you set up Devon to be kidnapped! [MARTA] I didn't know what they were planning when I posed as Doctor Quinlin's assistant. [MICHAEL] What happened to his real assistant? [MARTA] She thinks she won a three-month cruise around the world...Nordstrom arranged it. [MICHAEL] What did Nordstrom arrange for you? (beat) How do I know you haven't been doing this for years? Her reaction. OMITTED INT. HOTEL COFFEE SHOP Michael and Marta at a corner table. [MARTA] My father was a successful stockbroker ...until the S.E.C. discovered he was using client's money to speculate in the futures markets. One day, very quietly, he committed suicide... (beat) I went from being a debutante to a young lady ill-equipped to do any- thing but ride side saddle and play a decent game of tennis. Then I met Jim Hower.... (beat) I guess I needed someone to tell me what to do...someone with strength ...he filled that role and mostly... mostly...he was just nice to me...He helped me...Then he started to ask me to do things...Find things out for him...Check on someone...have dinner with a certain man and ask him certain questions. Whatever Nordstrom wanted him to do. [MICHAEL] Nordstrom...it keeps coming back to him. Did Hower talk about him much? [MARTA] (shakes her head) Hardly at all. I think he's afraid of him...why? EXT. HOTEL - DAY A late-model sedan pulls up, Hower and two men inside. Hower climbs out. BACK IN COFFEE SHOP Michael hesitates, debating whether or not to tell her. [MICHAEL] I think they've done something to Devon. Don't ask me how, but they've reproduced him -- because there's a man walking around out there who looks and talks like Devon, but it's not him. Marta goes pale. [MARTA] Oh no...Michael, I talked to him. He asked me to call him when I got settled and...I did. ANOTHER ANGLE Michael spots Hower as he comes in. He has a gun in his jacket pocket, his hand on it. Michael and Marta exchange a look. He grabs Marta's hand and runs. OMITTED ANGLE ON CAR The two men inside leap out, guns drawn, as Hower regains his feet, furious. They race after Michael and Marta. EXT. ANOTHER STREET - DAY Michael and Marta run, dodging pedestrians, dart down the alley. ANOTHER ANGLE The three men follow, run down the same alley, firing at them. OMITTED ANGLE ON BRIDGE as Michael half-carries a tired Marta along now...He crosses the bridge as another shot hits the girder near his head...He keeps himself between Marta and the trio. NEW ANGLE Michael ducks down the street that heads for the lower level and the Chicago River. They continue to run. [MARTA] I can't go any further, Michael...Go ahead without me.... [MICHAEL] C'mon, you can make it.... Michael looks around for a way out. HOWER across the bridge from his henchmen...Close on Michael's tail...One of the henchmen stays on the drawbridge and takes careful aim at Michael. OMITTED CHICAGO RIVER MARINA An overweight businessman is about to cast off and take his thirty foot boat out of the Marina and down the Chicago River. MICHAEL He gets a firm grip on Marta and leaps from the dock to the boat. ON BOAT The shocked owner turns as Michael grabs the throttle. [MICHAEL] Don't ask...You'll never believe it. Michael guns the boat. LONG SHOT DOWN as the boat speeds up the Chicago River. ANOTHER ANGLE Hower and his henchmen open fire. BOAT He continues on in safety, shots hitting the water next to it. OMITTED FADE OUT END OF ACT SIX ACT SEVEN FADE IN EXT. THORTEX - NIGHT Closed for business, only security personnel and janitors present. INT. THORTEX - NIGHT A guard checks the rear door, routine, continues past. EXT. REAR AREA - NIGHT A janitor exits with trash, moves to the dumpster...Michael emerges from shadows, to silently slip inside the open door.... The janitor shrugs, goes back inside, locks the door behind him. OMITTED ANGLE IN HALLWAY A janitor's cart is in front of an open office door. As Michael passes he hears two security guards approaching. He grabs the janitor's cart and does an about face, ambling back down the hall, whistling. ANGLE ON GUARDS They round the corner. THEIR POINT OF VIEW His back to us, pushing the cart, a rag in his pocket, Michael disappears around a distant corner. THE GUARDS They check several locked doors, go back the way they came. ANGLE ON OPEN OFFICE DOOR The janitor comes out, reaches for his Windex, discovers no Windex, no cart. He scratches his head. ANGLE ON SECOND FLOOR Using keys from the janitor's cart, Michael checks every door. ANGLE AT "THE ROOM" He tries every key; none work. Resorting to his lock pick, he begins to probe the tumblers. ANGLE IN "THE ROOM" The door opens and Michael appears. He switches on the light, reacts. WIDER ANGLE No one is here, but its purpose is crystal clear. Michael moves into the room, sees the bolted chair and straps, the portable generator -- and, tossed carelessly in a corner, Devon's tie...It sends a chill down his spine. [MICHAEL] Devon.... CUT TO OMITTED HIS POINT OF VIEW - K.I.T.T. The ghetto technicians swarm over K.I.T.T. like ants over a dead beetle, competing for space, occasionally cursing one another in their native tongues -- which include Chinese, Spanish, ghetto slang and several defying identification. But what is amazing is the progress; though spotted with primer, and still absent some key components, like doors, K.I.T.T. is beginning to look like K.I.T.T. again. ANOTHER ANGLE Exiting the semi with blueprints and sketches, RC3 spots him and comes over. [RC3] Hey, Michael! What d'you think? [MICHAEL] Incredible, RC. He's starting to look like a car again. [RC3] These guys are good -- the best. With all the unemployment around, they don't get a chance to show their stuff very often. When they do, look out. Hey, Michael -- this car's gonna do great things. [MICHAEL] I can't wait. Where's Marta? [RC3] In the semi with Bonnie. (re blueprints) If she could write checks as fast as she writes blueprints we'd build us a fleet of Kitts... (yells) Hey Julio, give Chan a little room with that heliarc, man! You're gonna burn him to a crisp. Michael smiles, crosses toward the semi. ANGLE FROM INSIDE SEMI Bonnie is at a computer console, writing programs, Marta watching over her shoulder, fascinated. They look up as Michael enters. Ad-lib greetings, hellos, pleasure at seeing him undercut by the fact he's alone. [BONNIE] What happened? [MICHAEL] He's not there. [BONNIE] And Doctor Quinlin...? [MICHAEL] (shakes his head) I got in -- up into the security wing on the second floor, just like Marta said. I even found the room where they'd been keeping him, but he's gone. A moment of silence, no one knowing what to say. Michael crosses to the console. [MICHAEL] We've got to believe he's still alive. If they wanted to kill him, they'd have done it by now. My guess is they've got something in mind for him -- some purpose that ties in with whatever they're planning for Cernium One-sixteen. (beat) How's Kitt coming?..we're running out of time.... [BONNIE] I've had to integrate some concept changes -- without his Molecular Bonded Shell he's just too vulnerable. I think we can get a forty-percent increase in speed, improved maneuverability -- and a new braking system to handle the increases. I have a surprise for you. She opens a shelf to reveal K.I.T.T.'s voice box, attached to a number of wires and terminals. [MICHAEL] (reacts) Kitt! [BONNIE] He has no perceptors yet. I'll let him know you're here. She hits keys on the computer. [K.I.T.T.'S VOICE] Michael, is that you? [MICHAEL] It's me, buddy, how --- [BONNIE] (overlap) He can't hear you. [MICHAEL] Oh, right. Tell him I'm here and I'm fine and looking forward to having him back. Bonnie hits more keys. Marta watches, intrigued. [K.I.T.T.'S VOICE] (a ghetto lilt) Me too, bro -- sick bay ain't my style. Michael blinks. [K.I.T.T.'S VOICE] I'm the Knight Industries Two-Thousand, sure enough. Ready to ramble, ready to roll, ready to strut my stuff! Michael stares at Bonnie. [MARTA] Does he always talk like that? [MICHAEL] No. (to Bonnie) Does he? [BONNIE] (smiles) No. He's just picked up a few... colloquialisms during his reprogramming. I'm working on it. Michael nods, reassured. Somewhat. A loud argument erupts outside, is finally calmed by RC3. [MICHAEL] (to Marta) Let's find someplace quiet to talk. CUT TO EXT. LOOP TRAIN STATION - DAWN The elevated subway that circles the downtown area. A subway train rumbles by. ANOTHER ANGLE Michael and Marta slowly walk the deserted station. [MARTA] Maybe you should just go to the police. [MICHAEL] With what? We don't have any real evidence. The only edge we have is Kitt -- they think he's dead. [MARTA] Michael, I've told you everything I know. [MICHAEL] Everything you think you know. Now I need the rest -- anything Hower said to you, a phone call you over- heard, anything that might give us a clue. She shakes her head.... MONTAGE The ghetto workers continue nonstop on K.I.T.T.'s frame and body, supervised by RC3...Bonnie makes steady progress reprogramming K.I.T.T.'s CPU...huddles with RC3 over blue- prints...in the subway station Michael and Marta alternately sit or stand, Marta talking, Michael occasionally asking questions. EXT. LOOP STATION - DAWN Subway cars flash by. [MICHAEL'S VOICE] Wait a minute -- what did Hower call it? ANOTHER ANGLE [MARTA] What? [MICHAEL] The place where he was going to meet Nordstrom -- you said it was a restaurant. [MARTA] Some place called 'The Foundry.' [MICHAEL] Are you sure it was a restaurant? [MARTA] What else could it be? [MICHAEL] Marta, did he say it was a restaurant? [MARTA] No, I just assumed it was...why? Michael grabs her hand and they leave. CUT TO INT. GARAGE - DAY In the semi, Bonnie is at the computer, checking everything she can on "Thortex, Inc." [BONNIE] There's no local restaurant or business called 'Foundry,' or a local Thortex subsidiary...Thortex is a shell, a paper corporation. I'm sorry, Michael. WIDER ANGLE Michael and Marta behind her, Michael frustrated. He paces. [MICHAEL] Try Nordstrom, Phillip. She hits keys. [BONNIE] President of Thortex, Inc., same thing ...a closed corporation -- wait a minute. Michael leans over her shoulder. [BONNIE] He also owns half interest in a company that designs and manufactures anti-assault vehicles. He looks at Marta. [MICHAEL] 'The Foundry.' He jots down the address and runs out. ANGLE IN GARAGE as Michael comes out. [MICHAEL] RC, you got a car? [RC3] It's right out back. Ain't much. But it's rag top and 320 horse.... He tosses Michael the keys and Michael quickly exits. RC3 turns to the ghetto workers, grins. [RC3] Wonder how he'll like driving my convertible. They laugh conspiratorially. CUT TO EXT. CITY STREETS - DAY A twenty-year-old convertible with a battered top rounds a corner on two wheels, Michael driving. CUT TO OMITTED INT. FOUNDRY - DAY The Juggernaut is ready for its final assault, new Contact Detonating Tip in place. ANOTHER ANGLE A gun to his back, Devon is forced to enter the cockpit by Hower. ANGLE ON NORDSTROM talking to Von Furst.... [NORDSTROM] (checks watch) We should reach the target area by six-thirty, the departure area by no later than seven. Make sure Doctor Quinlin's aboard the plane in plenty of time. [DR. VON FURST] I can sedate him and have him carried ...it would be easier. [NORDSTROM] No! No sedatives -- I want to return with one of the world's top nuclear physicists, not a limp, drooling old man. He kisses her, then crosses to the Juggernaut, climbing in to join Hower and Devon. ANGLE ON JUGGERNAUT Hower fires up the diesels and the big machine turns, facing a wall. Then starts forward, directly at it. ANOTHER ANGLE The Juggernaut crashes into the wall, revealing a dark pit of an opening inside, and disappears. It's part of the underground subway. CUT TO OMITTED EXT. FOUNDRY - DAY The convertible glides to a stop a short distance away. Michael jumps out, runs behind cover toward the building. ANGLE AT DOOR Michael silently opens it, peers in. ANOTHER ANGLE It's empty, devoid of machine or life save for one lone Technician, ready to leave, turning off lights. The door opens and he steps out. Michael grabs him and slams him up against the wall. [MICHAEL] Where are they?! Where'd they go -- where's Devon Miles! The Technician struggles to breathe. [TECHNICIAN] Who're you...? Michael increases the pressure. [MICHAEL] You don't have enough air for any more questions, only answers. CUT TO OMITTED INT. SUBWAY TUNNEL - DAY The Juggernaut appears out of the darkness and roars by. CUT TO INT. FOUNDRY - DAY Michael is on the phone to Bonnie. [MICHAEL] (phone) Bonnie, there's no time to explain -- they've got Devon, they've got that armored vehicle that nearly destroyed Kitt, and they're heading for the vault. Through the subway system. Call security and alert them... (listens) Right -- Oh, and one more thing. I'm on my way back. Have Kitt ready to roll. The response almost singes his ear. [MICHAEL] (phone) Bonnie, I know that -- I wish we had a choice, but we don't. Even if he's only fifty percent operational, it's still fifty percent more than I've got right now. He hangs up and runs for the door. CUT TO INT. GARAGE - DAY RC3, flanked by Bonnie, addresses the ghetto workers. [RC3] Okay amigos, you heard what the lady said -- ready to roll in fifteen minutes! A wail of protest in half-a-dozen languages goes up. RC3 turns to Bonnie, smiles. [RC3] They said 'okay.' Bonnie smiles, turns back for the semi. [BONNIE] I'll have the CPU ready to install in ten. [RC3] We'll be here. He crosses to K.I.T.T., virtually complete now, strolls around the perimeter like a foreman. [RC3] (sotto voce) Now remember, if Michael or Bonnie notices the 'C' button, play dumb -- which from my own personal experience I know you're good at. I want it to be a surprise. CUT TO EXT. CITY STREETS - DAY The convertible races through the streets, Michael at the wheel. INT. SUBWAY TUNNEL - DAY The Juggernaut roars by at 50 mph, an awesome sight. OMITTED FADE OUT END OF ACT SEVEN ACT EIGHT FADE IN INT. VAULT - DAY "Devon" checks his watch, then walks toward an access door. He is intercepted by Jennifer, who's just arrived. [JENNIFER] Good morning. He covers his reaction at seeing her, smiles. "DEVON" Good morning. I...didn't expect you so early. [JENNIFER] I understand the Cernium is to be moved. I wanted to be here for the grand event. "DEVON" Preparations are almost complete...it won't be much longer. [JENNIFER] (beat) How much longer? He checks his watch. "DEVON" No more than half an hour. (to guards) I want all of you upstairs for peri- meter security...I'll remain here. Almost despite herself, we can see her last conversation with Michael flit across her face. [JENNIFER] I don't understand...If you're preparing to move the Cernium, why do you strip security. "DEVON" My dear Jennifer, you charged me with providing security. Please let me provide it. (beat) Now I have a few things to check down here. I'll meet you upstairs momen- tarily. She studies him briefly, nods and turns toward the elevator. "Devon" proceeds to an access door. INT. ACCESS ROOM - DAY A small area with electrical panel boxes and telephone trunk lines that feed the building. ANGLE "Devon" enters, moves quickly to a telephone trunk box, opens the panel and uses a pair of wire clippers to snip the main cable. Sensing something, he turns. AT DOOR Jennifer watches him with a stunned expression. She turns, running, "Devon" right behind her. ANGLE IN VAULT He catches her by the arm, whirls her around to face a gun in his hand. [JENNIFER] Who...are you? "DEVON" It's a long story and I'm short on time. For that matter, so are you, my dear. CUT TO OMITTED EXT. GARAGE - DAY Michael pulls up in the convertible and rushes inside. INT. GARAGE - DAY The group is still working on K.I.T.T., work cloths spread on fenders, hood and trunk. RC3 is the first to see Michael. [RC3] Hey, the 'main man.' We're almost finished. [MICHAEL] Where's Bonnie? Bonnie looks up from under the dash. [BONNIE] Two more minutes, Michael. He nods, paces impatiently. Tries to peer under a work cloth but RC3 scolds him with a look. [MICHAEL] Sorry. ANGLE INSIDE K.I.T.T. Finishing the installation of the CPU, Bonnie notices a button on K.I.T.T.'s dash, labeled "C". It wasn't there before. RC3 patrols the perimeter. [RC3] C'mon, guys, move like you're hearing sirens, supper's in the backseat and Mama's home hungry. [BONNIE] RC3...what is this button? He peers in innocently. [RC3] What button? [BONNIE] This one. It's marked 'C.' [RC3] Beats me. [MICHAEL] (a plea) Bonnie...! [BONNIE] Okay, okay. She climbs out. ANOTHER ANGLE Michael, Bonnie and RC3 watch as K.I.T.T. is lowered off hydraulic jacks, work cloths removed, etc. The ghetto workers look like an Indy pit crew. [MICHAEL] Give me a quick rundown. [BONNIE] Except for some fringe programs, he's fully operational.... Michael nods, satisfied, climbs into K.I.T.T. ad-libbing "Thanks...you guys are incredible," etc. Bonnie chases after him. [BONNIE] Michael, wait! I developed two new systems -- They won't make up for the loss of his Molecular Bonded Shell, but they may help --- Michael fires up K.I.T.T...or rather tries to; he won't start. Reactions all around. [BONNIE] Just a minute. She reaches under the hood, makes an adjustment. [BONNIE] Try it now. Michael does, and K.I.T.T. fires up. Applause all around. [MICHAEL] Thanks, Bonnie. (to others) RC3, fellas...supper's in the back- seat and Mama's home hungry. He drops K.I.T.T. into gear. They laugh, ad-lib good luck, etc. RC3 gives him a thumbs up and Michael hits the accelerator. ANOTHER ANGLE Overhead door raised, K.I.T.T. flashes by with a roar. Hold on the group.... CUT TO OMITTED EXT. CHICAGO STREETS - DAY Michael swings out of the garage and under the elevated trains, then takes a turn out of the "loop" and onto a faster road. [MICHAEL'S VOICE] Hey, buddy, welcome back! [K.I.T.T.'S VOICE] Thank you, Michael. It's certainly good to be back. ANGLE IN K.I.T.T. Michael admires K.I.T.T.'s systems. [MICHAEL] How do you feel? [K.I.T.T.] I feel fine. (beat) Michael, may I ask you a question? [MICHAEL] Anything, pal. [K.I.T.T.] How do I look? Michael groans. [MICHAEL] Some things never change. [K.I.T.T.] According to Bonnie, my new Super Pursuit Mode and E.B.S. produce an altered configuration. [MICHAEL] 'Super' Pursuit Mode -- forty percent more speed according to Bonnie. But what's 'E.B.S.'? [K.I.T.T.] Emergency Braking System. I'm quite anxious to see how I'll look. [MICHAEL] Unless I miss my guess, you'll get the chance pretty soon. (hits buttons) Plot the fastest route to the vault. [K.I.T.T.] Right away, Michael. INTERCUT - MONITOR A street map of Chicago flashes across the screen, a red dot denoting their location, another dot the vault. [K.I.T.T.] I have it, Michael. May I suggest you try my new Super Pursuit Mode? [MICHAEL] If we ever needed an edge, it's now. Michael hits the designated button. SERIES OF INSERTS An Air Dam slides down on K.I.T.T.'s front end. The rear fin converts to a new aerodynamic shape as the rear end lifts up to expose two jet exhausts...Side vents slide outward. An air intake vent pops up from the hood. ANGLE ON K.I.T.T. The Super Pursuit Mode transformation complete, we see a whole new K.I.T.T. -- sleeker, meaner, a car out of the future dropped into today. K.I.T.T. explodes forward in a burst of speed. ANGLE IN K.I.T.T. Michael is pressed back into the seat, an amazed expression on his face. [K.I.T.T.] Well, what do you think? [MICHAEL] Wow. [K.I.T.T.] I take it you're pleased. [MICHAEL] 'Pleased' doesn't begin to describe it, pal. VARIOUS ANGLES as K.I.T.T. speeds through the streets of Chicago in Super Pursuit Mode. [K.I.T.T.'S VOICE] Estimated time of arrival has been reduced from fourteen minutes to eight minutes, twenty seconds. EXT. TUNNEL - DAY The Juggernaut rolls out of the tunnel, still on the rails, and becomes exposed to outside observation for a short dis- tance as it races through the train yards then back under the massive buildings, the southern branch of the Chicago River on its left framed by the Fashion Mart...It reenters the underground area and directly to a brick wall, racing for it. INT. VAULT - DAY "Devon" checks his watch again, then moves to the emergency security panel and pulls a lever, in effect sealing off the vault and elevators. THE WALL It explodes inward under the impact of the Juggernaut's Contact Detonating Tip, sending a shower of steel and brick. Sirens go off. WIDER ANGLE Hower and Nordstrom exit the Juggernaut, drag Devon down and chain him to a pipe where Jennifer is, also chained. They're both gagged, their eyes transfer their conversation as Jennifer looks between the two Devons. DIFFERENT ANGLES IN VAULT LOBBY, ETC. Full alert, the security team trying desperately to get into the elevators, find themselves sealed out. They open up on the steel door with their weapons, but nothing budges. OMITTED ANOTHER ANGLE IN VAULT "Devon" and Hower load the leaded box containing the Cernium One-sixteen onto the Juggernaut while Nordstrom attaches an explosive device to the wall. He sets the timer to three minutes, turns to look at Devon and Jennifer. [NORDSTROM] Now you see your ultimate value, eh? A scapegoat -- the assumption being that you masterminded the theft of the Cernium, accidentally blowing yourself and Miss Knight up in the process. That assumption will divert attention from my escape...and my plans for our precious new element. He chuckles, climbs into the Juggernaut. It rolls back out through the opening in the wall. OMITTED EXT. TRAIN YARD - DAY A flatbed truck already has its ramp down. The Juggernaut rolls up on the flatbed and is quickly covered with a tarp. The truck pulls away on a dirt road adjacent to the tracks. CUT TO EXT. CHICAGO STREET - DAY K.I.T.T. speeds into the midtown area in Super Pursuit Mode. INSIDE K.I.T.T. [MICHAEL] At this speed, we'd better try your Emergency Braking System. [K.I.T.T.] Good thinking, Michael. Michael hits the E.B.S. button. K.I.T.T. Rear side vents flip out as air brakes, the roof hinging up in the same fashion; K.I.T.T. slows immediately. INSIDE K.I.T.T. Michael hits another switch which converts K.I.T.T. out of Super Pursuit Mode. INSERTS It reverses the process, the air dams, spoilers, rear end, jet exhausts tuck into the car and it is converted back into its normal mode. INSIDE K.I.T.T. Michael notices something. [MICHAEL] What's this button marked 'C'? [K.I.T.T.] 'C?' I have no idea. [MICHAEL] Maybe something Bonnie forgot to tell us about. Kitt, give me a scan and infrared on the vault. INTERCUT AS NEEDED - MONITOR as it scans the building and works its way down to the vault area. Graphics flash across the screen, then the full schematic of the vault appears. [K.I.T.T.] Michael, the vault has already been entered through the sub-basement wall! [MICHAEL] That ramrod -- any sign of the Cernium. [K.I.T.T.] None whatsoever, but I'm picking up an explosive timing device inside the vault and my Heat Sensors indicate two people. [MICHAEL] (realizes) Devon...Kitt, can you micro jam it? The schematic of the timing device. [K.I.T.T.] It's mercury weighted. An attempt could set it off. [MICHAEL] How much time left? [K.I.T.T.] Eighteen seconds. Michael jams down on the gas. K.I.T.T. rips around the building to the side alley and then down a service road that takes them into the train yards. OMITTED MICHAEL'S POINT OF VIEW - THE HOLE IN THE BRICK WALL jams down on the gas...K.I.T.T. shoots forward. [MICHAEL] Full turbo, pal! SCENE K.I.T.T. flies in through the opening in the wall to: INT. VAULT - DAY He skids to a screeching stop. [K.I.T.T.'S VOICE] The console to your left. INSERT - TIMING DEVICE as its digital display counts down the last five seconds. WIDER ANGLE Michael runs past Devon and Jennifer and dives for the device, yanking off the wall as he skids across the floor. He pulls the wires from the explosives as the digital countdown reads one second. ANOTHER ANGLE He slumps against the wall, takes a breath, looks over to Devon and Jennifer, then crosses to them and removes the tape from Devon's mouth. [MICHAEL] In the nick of time, as they say. Kitt, a little help with this lock, por favor. [DEVON] (urgent) Michael, they have the Cernium! INTERCUT K.I.T.T. Graphics of the lock over: [MICHAEL] They can't get far --- [DEVON] You must make sure they don't -- Michael, I heard them talking -- Philip Nordstrom is an assumed identity. The face you see was produced by laser reconstruction -- he was Doctor Von Furst's first subject! [MICHAEL] Devon, you're losing me --- The lock opens and Devon grabs his arm. [DEVON] Philip Nordstrom is an international terrorist known by half a dozen names. He disappeared several years ago, presumed dead. If he succeeds in getting the Cernium out of the country.... [MICHAEL] (a reaction) I'm on my way. Michael glances at Jennifer, then crosses to K.I.T.T. and climbs in. [MICHAEL] I'll let you take care of Jennifer. Between you and me, her silence is a treat. ANOTHER ANGLE As Devon works to free her, Michael and K.I.T.T. exit back out through the hole. CUT TO OMITTED EXT. TRAIN YARDS - DAY Michael heads down the dirt road next to the tracks. ANGLE IN K.I.T.T. Michael turns off the road onto one of the surface streets that crosses the River into the city. [MICHAEL] If the Juggernaut was driving surface streets we'd be picking up police reports. Kitt, scan the area for a truck with a serious overload. [K.I.T.T.] Right away, Michael. INTERCUT - MONITOR The street map of Chicago, crossing left to right, then north to south, various flashes lit and then discounted by K.I.T.T. Then it centers in on one flashing dot. [K.I.T.T.] I have one! [MICHAEL] (looks) Good work. Now check for an airstrip or a pier nearby. [K.I.T.T.] Both within a mile, but Lake Michigan only connects with the other Great Lakes. There's an airstrip south of Soldier's Field. [MICHAEL] That's gotta be it. Plot me a course, pal. WIDE ANGLE Michael spins a U-turn and heads east, past the El of the loop and turning out toward the branch in the river. OMITTED INSIDE K.I.T.T. Michael recovers, hits the overhead buttons. [MICHAEL] Let's try Super Pursuit Mode again. [K.I.T.T.] By all means! INSERT The series of changes. STREETS as K.I.T.T. speeds through on Super Pursuit Mode. [K.I.T.T.'S VOICE] If I do say so, I'm quite pleased with my new look. CUT TO EXT. PARKING LOT - SOLDIER'S FIELD - DAY The truck pulls into the airfield and swings around to a twin engine plane. Dr. Von Furst stands next to the wing. ANGLE The tarp is pulled off the Juggernaut. The box with Cernium One-sixteen is hoisted down and wheeled towards the cargo section of the plane. [HOWER] (looking off) I don't believe it...! THEIR POINT OF VIEW In the distance, K.I.T.T. makes the turn into the entrance. SCENE Nordstrom reacts. [NORDSTROM] Stop it! Hower jumps back into the driver's seat. The Juggernaut roars to life, rolls down the ramp and onto the blacktop... Spins around to meet the oncoming K.I.T.T. ANGLE ON K.I.T.T. as K.I.T.T. jams to a stop with the aid of E.B.S. Mode. Then retracts into his conventional mode. [MICHAEL] I think we have a fight on our hands -- let's not use Super Pursuit Mode unless we have to. [K.I.T.T.] My Comprehensive Configuration Analysis denotes no outward weak spots in that monster. An explosive Contact Detonator has been added to the ramrod since our last meeting. [MICHAEL] That's the bad news. [K.I.T.T.] Michael, don't forget -- I have no Molecular Bonded Shell. [MICHAEL] No, but we've learned a few things since our last encounter. OMITTED JUGGERNAUT heads for K.I.T.T...The explosive tip on the ramrod looking deadly. K.I.T.T. burns rubber as he swings to the side and, using his speed and maneuverability, manages to avoid the deadly ramrod. WIDER ANGLE Michael swings K.I.T.T. around in a full circle, causing the Juggernaut to come to a stop, attempting to follow him. Then Michael drives directly at one of the rear tires, at the last minute swerves away. PLANE It starts to roll down the runway, picks up speed. INSIDE K.I.T.T. Michael eyes the plane, hits the accelerator. SCENE The plane has to stop and swerve out of the way. THE JUGGERNAUT closing in on Michael. K.I.T.T. swerves out of the way at the last moment. [MICHAEL] How long will it take for that plane to swing around for another takeoff run? [K.I.T.T.] I estimate twenty-two seconds, Michael. [MICHAEL] That's how much time we have to get rid of that ramrod. SERIES OF CUTS Michael swings a circle around the Juggernaut, teasing it.... Hower, in the Juggernaut, is enraged. He jams down on the gas.... Michael, right in front of the Juggernaut, leads it off the edge of the asphalt. A fuel truck a distance away. Michael heads directly for them, the Juggernaut's explosive ramrod just feet away from him.... INSIDE K.I.T.T. Michael braces himself. [MICHAEL] Okay, Kitt, Oil Drop and Turbo Boost. The panel lights, designate the functions. INSERT Oil sprays from the underside of K.I.T.T.'s rear end. SCENE K.I.T.T. zooms from the ground and over the fuel truck. JUGGERNAUT'S POINT OF VIEW as the fuel truck comes closer and Hower skids into it. SCENE A huge explosion as the Juggernaut hits the fuel truck with the ramrod's explosive tip. ANGLE ON K.I.T.T. as Michael spins around and heads for the plane, which is making another takeoff attempt. [MICHAEL] They've got a good head start. Super Pursuit Mode, buddy! [K.I.T.T.] Oh, good! INSERTS As before, K.I.T.T. converts to Super Pursuit Mode. DIFFERENT ANGLES K.I.T.T., in S.P.M., races down the asphalt, gaining on the plane, and then, once ahead of it, forcing it off to one side, unable to maintain takeoff speed. ANOTHER ANGLE [MICHAEL] Good work, Kitt. Now let's use your Communications Link to patch in to the plane. [K.I.T.T.] Right away, Michael. [MICHAEL] (beat) All right, gentlemen -- open the door and exit with your hands over your heads. INTERCUT - INSIDE THE PLANE Nordstrom is furious...He picks up the mike in the cockpit. [NORDSTROM] I have Doctor Quinlin. Any further interference and I'll kill him. [MICHAEL] You're going nowhere. I can keep you here indefinitely and you have Cernium One-sixteen on board. It won't stay stable indefinitely... (beat) It's your move. ANOTHER ANGLE The plane's door opens and "Devon" jumps down, starts to make a run for it. Michael climbs out and takes out after him, tackling "Devon". "Devon" gets up, throws a punch. [MICHAEL] I was hoping you'd do that. Now he swings, catching "Devon" full in the face. Two or three more blows and it's all over. DOOR OF PLANE We hold on it for a few beats, then it opens again and, one by one, they step out. [MICHAEL] If you'll all just move a little closer together, I'd like to get a family portrait. (to K.I.T.T.) Kitt, you do the honors. [K.I.T.T.] My pleasure, Michael. A click is heard...and: FREEZE FRAME FADE OUT END OF ACT EIGHT TAG FADE IN EXT. GRANT PARK - DAY A small celebration is in progress...Devon, Bonnie, Michael, Marta, and Jennifer Knight.... [MICHAEL] It's only a little button with a 'C' on it. Why can't you just tell me? [DEVON] Michael, you'll simply have to wait. [BONNIE] I promised RC3.... Jennifer steps over, laughing. [JENNIFER] I've learned two things from this recent incident...One is to be patient and not interfere with things I know very little about... (beat) And the second is that your name is Michael Knight...Spelled like mine, and I'm very grateful and proud that it is. She kisses him. He smiles. [MICHAEL] Then tell your other employees here to let me push the button. [MARTA] Look who's here. They turn as RC3's convertible chugs up the driveway...He has a bottle of champagne tucked under one arm and a dazzling grin. Ad-lib greetings. [RC3] (to Michael) You ready for the great moment? Michael gets into K.I.T.T. [MICHAEL] If this is a joke... (to K.I.T.T.) Are you in on this? [K.I.T.T.] As I understand it, Michael, I am it. RC3 signals Michael with a point of the finger. [RC3] Countdown...Three, two, one...'C' button! OMITTED INSIDE K.I.T.T. Michael presses the "C" button. INSERTS The T-roof lifts up and folds back into the trunk, which opens to receive it. The windows roll down. A flat panel slides out to cover the roof...and then: ANGLE ON K.I.T.T. He is suddenly, miraculously, a convertible. There is a round of applause, oohs and ahhas. [K.I.T.T.] Michael, I love it...but is it me? [MICHAEL] (grins) It is now, pal. (to them) Who do I thank for this? [RC3] Man has to have a rag roof and at least 400 horses under him or life is just regular. [DEVON] A man also has to have a job and a future... (beat) How would you like one, Reginald? [RC3] (pleased) With you? [DEVON] With the Foundation for Law and Government. I'm offering you a job, not an adoption. [RC3] I'll take it! (turning) What do you think about that, Michael? OMITTED ANGLE ON K.I.T.T. Michael driving away with Marta and Jennifer in Convertible Mode. They wave back to the group. [K.I.T.T.] Thank you, Michael. [MICHAEL] For what, buddy? [K.I.T.T.] Getting away from RC3 before he tried to break that bottle of champagne on me. Reactions...laughter. FREEZE FRAME FADE OUT THE END

{"show": "Knight Rider", "season": "s04", "episode": "e01", "title": "KNIGHT OF THE JUGGERNAUT"}

knightriderarchives

ACT ONE FADE IN EXT. PENITENTIARY - DAY - ESTABLISHING A large maximum security prison somewhere in California. The time is midmorning. EXT. INSIDE PENITENTIARY MAIN GATE - TWO GUARDS react as a sedan with an official insignia that reads Department of Corrections slowly approaches. This is the Commissioner's car and is on its way out. As the sedan comes to a stop, a guard respectfully salutes what is presumed to be the Commissioner behind those tinted windows. GUARD #2 I'm sorry for the delay, Commissioner but it's procedure. The guard opens the rear door of the sedan to inspect it. REAR OF SEDAN - GUARD'S POINT OF VIEW The real driver is tied and gagged on the floor, guarded by Lukas, a black convict who wounds both guards with a pistol the instant he opens the door. THE SCENE as the guard goes down and Lukas emerges from the backseat and activates the gate opener. The driver, a convict named Jeffery Cavanaugh, thirty, fast-talking street survivor, stomps on the gas pedal the instant the gates are open. TOWER GUARDS - VARIOUS SHOTS All hell has broken loose and confusion reigns. They are shouting, running, phoning and shooting. THE SEDAN Already on the move as Lukas scrambles back inside. The sedan rockets down the road that leads away from the prison. CUT TO EXT. ROAD - DAY - K.I.T.T. moves along in convertible mode. [K.I.T.T.] The air temperature is 93.367 degrees. Water, 71.893 and the winds are from the southwest at 6.789 knots. This data indicates --- INSIDE K.I.T.T. - TRAVELLING Michael, in a jogging suit, is with Karen Forester, twenty-three, an attractive young lady in beach wear. [MICHAEL] (interrupting) I think he's trying to tell us it's a perfect day for sailing. [K.I.T.T.] And for a painful sunburn. My dermal scan indicates Karen hasn't been exposed to the sun for quite some time. I recommend a screen of PH20 or higher. [KAREN] He doesn't miss a thing. Are his scanners programmed for continuous surveillance, or --- [MICHAEL] (interrupting) I thought we agreed to put the shop talk on hold for today. You know what they say about all work and no play. [KAREN] Yes -- it's a prerequisite for a doctorate in criminology. Right, Kitt? [K.I.T.T.] I refuse to answer on the grounds it constitutes an invasion of privacy. [MICHAEL] Loosen up, pal. Devon gace Karen full approval to study your equipment and capabilities for her thesis -- but not today. They both laugh. As Michael pulls into a Marina area, and parks, K.I.T.T.'s monitor chirps. OMITTED INTERCUT AS NEEDED - K.I.T.T.'S MONITOR to see Devon in his office. [DEVON] I'm sorry to intrude, Michael, but it's of the utmost urgency. [MICHAEL] I had a feeling you were going to say that. [DEVON] Less than an hour ago, while the Commissioner was conducting an inspection of the state penitentiary, two inmates abducted his chauffeur, shot a guard, and escaped in the Commissioner's car. [MICHAEL] I understand your concern, Devon, but it sounds like a matter for the State Police to me. What makes it Foundation business? [DEVON] One of the felons is Jeffery Cavanaugh. [MICHAEL] (searching) Cavanaugh, Cavanaugh. Oh, yeah. I remember him. (off Karen's look) Syndicate hoodlum. I had the pleasure of putting him away last year. [DEVON] When last sighted, Cavanaugh and his cellmate, Lukas were headed your way. Good luck, Michael. And -- caveat emptor. Devon disappears from the screen. [MICHAEL] Whatever happened to -- 'be careful'? [KAREN] That's what he said -- in Latin. Literally translated it means 'let the buyer beware.' [MICHAEL] Good advice. We're talking about a couple of killers, Karen. I'm going to drop you someplace safe. [KAREN] I'm not interested in being safe, Michael. It's now or never for me, I have four days to finish my thesis. I mean, what do I tell the head of the department? When it got dangerous, I went to the ladies' room? I'm not getting out of this car. I'm --- [MICHAEL] Okay, okay. On that condition -- whatever happens, you stay in Kitt, deal? Karen nods emphatically. As Michael hits some buttons on his console: [MICHAEL] Let's button up, pal. OMITTED K.I.T.T. - RAPID FIRE SERIES OF SHOTS as he transforms from convertible to T-top mode. RESUME INSIDE K.I.T.T. As Michael slams him in gear, backs out of the parking spot and takes off: [MICHAEL] First order of business is to access the police band and get an updated position on the getaway car. [KAREN] Michael, this country is a maze of streets and freeways with millions of vehicles in transit. Are you saying that Kitt can --- [MICHAEL] Watch --- Michael hits some buttons on his console. OMITTED K.I.T.T.'S MONITOR - INTERCUT AS NEEDED A grid map of streets and freeways appears. Pulsing blips mark the various positions as K.I.T.T. responds. [K.I.T.T.] The vehicle was last spotted here. Then turned east onto this secondary road, toward Soledad Canyon. [MICHAEL] Plot every escape route Cavanaugh has available, then give me the most probable point of intercept. A few beats before a very fast moving blip appears on the map on K.I.T.T.'s monitor. [K.I.T.T.] I'm onto him, Michael. Michael swings a look to Karen whose attention has been riveted on the monitor. [KAREN] Incredible! Out of all those cars he can tell which one Cavanaugh's driving? [MICHAEL] No, but he can tell there's only one going ninety-five miles an hour. CUT TO OMITTED EXT. ROAD - DAY as the sedan barrels along. INSIDE THE SEDAN Cavanaugh driving with obsessive fervor. Lukas nervous, curious. [LUKAS] Come on, Cavanaugh. How much longer before we make this connection you keep talking about?! [CAVANAUGH] (checks his watch) Cool it, Lukas! I got you out, didn't I?! Now back off! Cavanaugh pulls a walkie-talkie from a pocket. [CAVANAUGH] This is Cavanaugh. Estimated time of arrival, forty-five seconds. You there?! [VOICE] Ready to rendezvous. Come on in. Cavanaugh suddenly reacts to something in the rearview mirror. Blood drains from his face; looks over his shoulder. [LUKAS] What is it man?! [CAVANAUGH] That car tailing us! I know that car! Cavanaugh stomps on the gas pedal. OMITTED K.I.T.T. accelerates after the sedan weaving between other cars. The sedan fishtails into a processing plant. K.I.T.T. right behind. INSIDE K.I.T.T. - TRAVELLING [K.I.T.T.] Shall I microlock his brakes, Michael? [MICHAEL] No, we don't know what's in those tanks, pal. OMITTED ANOTHER ANGLE - PROCESSING PLANT The sedan approaches at high speed, K.I.T.T. in pursuit. INSIDE THE SEDAN as Lukas reacts. [LUKAS] What are we doing in here, Cavanaugh! What is this?! [CAVANAUGH] The end of the line! Cavanaugh slams on the brakes. THE SCENE as the limo swerves, smashes into some crates, Cavanaugh pops the door and runs. Lukas, stunned by the crash, slowly stumbles out, spots K.I.T.T. and empties his gun as he approaches, then runs. INTERCUT - INSIDE K.I.T.T. Karen ducks as the rounds hit and spark off the windshield. [K.I.T.T.] He's out of ammunition by my count, Michael. [MICHAEL] Let's get him, pal! (to Karen) Stay put! K.I.T.T. screeches to a fast stop behind the sedan. Michael jumps out, and goes after the fleeing Lukas. Michael dives at him. The two men go down. They scramble to their feet and grapple for an advantage. [K.I.T.T.] Michael! Cavanaugh's getting away!! Michael wheels around, Lukas springs from a crouch and plows ahead first into Michael's midsection. Michael half slips the attack and finishes Lukas with a Karate combination; then takes off after: CAVANAUGH who pops out from behind some processing equipment and runs, seemingly trapped. Michael is about to catch up when he reacts to the O.S. approach of: A HELICOPTER appearing from behind one of the huge tanks. Descending fast with horse-collar loop in lowered position. Cavanaugh slips into the horse-collar loop and is plucked from the ground as Michael approaches on the run. MICHAEL'S POINT OF VIEW - CAVANAUGH being quickly whisked away by the helicopter. As it soars out of sight. MICHAEL raises his comlink. [MICHAEL] What are the chances of microlocking that chopper, pal! [K.I.T.T.] Negative, Michael. He's behind those tanks and out of my line of transmis- sion. Michael angrily settles for a beat and, we: CUT TO EXT. MARINA - DAY as we pan across and come upon a sign that reads: ENTERPRISES, INTERNATIONAL and see that this is a boat yard which caters to the custom made trade of luxury craft. The pan moves onto a warehouse structure. INT. STRUCTURE - DAY Julian Martin, forty, slick, clotheshorse, polished veneer, is with Cavanaugh. Who's changing into street clothes. Snyder, Martin's enforcer opens an attache case on a table revealing neatly packaged currency and documents. [MARTIN] Three hundred thousand, new identity, passport, ticket to Paraguay. That was the deal. [CAVANAUGH] For three months in the joint. You let me rot in that hell hole for over a year, Julian. And it's going to cost you. [MARTIN] Come on Jeff. I mean, what do you want me to say? I had a judge in my pocket and I lost him to a coronary. It was an act of God. There was nothing I could do. I --- [CAVANAUGH] (interrupting) Bull! I knew Julian Martin when he was Julio Martinez, and didn't have a green card, remember?! When he hit a grocery store for a couple of six packs and thought he scored big! So don't try and snow me, now. You sat on your hands until I threatened to go to the DA. I could've copped a plea and walked with what I have on you! -- and I still can! (beat) A flat million, that's the deal. [MARTIN] (flares) You ungrateful little punk! If it wasn't for me you'd still be hustling in the old neighborhood. You're pushing real hard for a guy who screwed up! [CAVANAUGH] What're you talking about?! [MARTIN] Your friend, Knight. Took me two years to get him out of my hair. You're out of the joint an hour and you bring him down on me again. [CAVANAUGH] That's your problem, Julian. I'll consider this a down payment. Have the rest by the end of the day. Cavanaugh reaches for the attache case. Snyder pulls it back in response to: [MARTIN] (in Spanish) Snyder. Hold the money. (to Cavanaugh) Banks are already closed for the weekend, genius. Besides, nobody takes my money and leaves me holding the bag. I'll take care of Knight. But you're not going anywhere, until he's dead. [CAVANAUGH] One call, my friend sends a package to the DA, Julian. I can drop a dime on you just like that. [MARTIN] And blow a cool million? You're stupid, Jeff, but not that stupid. And don't leave here. If you get busted now, we both go down. Cavanaugh meets Martin's angry gaze without flinching. Then watches Martin and Snyder go. A few beats before he anxiously crosses to a phone. CUT TO OMITTED EXT. FOUNDATION HEADQUARTERS - DAY - STOCK INT. DEVON'S OFFICE - DAY A very agitated Michael is reporting in to Devon. [MICHAEL] That chopper scooped Cavanaugh right out of my hands, Devon! This was a lot more than a couple of cons making a run for the fence. [DEVON] I agree, Michael. Cavanaugh must have made some powerful connections while behind bars. [MICHAEL] (shakes no) I think he had them before he went in, Devon. Let's check his record. They cross to Devon's computer terminal and we go to: EXT. K.I.T.T. - DAY parked near some bushes ostensibly outside Foundation Headquarters. Scruffy a loveable little mutt who's on the lam, runs up to K.I.T.T., paws at the door. [K.I.T.T.] Go away, please. Scruffy continues pawing. Desperate. Looks up at K.I.T.T. with plaintive eyes. [K.I.T.T.] I have no intention of giving your fleas sanctuary in my upholstery. A uniformed animal control officer (dog catcher) rounds the corner with his loops snare searching for Scruffy. [K.I.T.T.'S VOICE] But under the circumstances --- K.I.T.T.'S DOOR pops open. Scruffy jumps in. The door closes. OMITTED THE DOG CATCHER spots K.I.T.T.; senses Scruffy's inside. Scruffy barks. [K.I.T.T.] I know, I know. I'm working on it. K.I.T.T.'s window darken. The dog catcher flinches, steps back, then cautiously tries to see through the windows. As he walks off, bewildered, K.I.T.T.'s door pops open. [K.I.T.T.] All clear, pooch. But please don't make this a habit, my auto-vac system isn't programmed for paw prints. Scruffy barks a "thank you," jumps out, and races off. RESUME DEVON'S OFFICE Michael and Devon are at the computer terminal reacting to data they have come up with. Michael's tapping on the screen indicating a name. [MICHAEL] That's the one -- Julian Martin -- two years ago he and Cavanaugh were knotted tighter than a family of snakes. [DEVON] But since, Martin has cleverly adopted the guise of model citizen and respected businessman making absolutely certain nothing soils his hands. Why would he take a chance by breaking a low-life like Cavanaugh out of prison? [MICHAEL] Maybe he had no choice. (off Devon's look) The guy Cavanaugh killed was an accountant, remember? He'd blown the whistle on a number of Martin's operations; claimed they were syndicate laundries. But we never came up with the records that tied Martin to the victim. [DEVON] Good point. These records indicate, the prosecutor's office was forced to drop the charges against him for lack of evidence. [MICHAEL] Could be something to do with that. As Michael and Devon consider this notion, RC3 and Karen enter the office. RC's draining a soft drink from a can; sets it on Devon's desk. During --- [DEVON] That's merely a theory, Michael. What we need is enough evidence to convince a jury. [MICHAEL] Yeah, and Martin's just given us a way to get it. We nail Cavanaugh, we nail him -- and vice versa. [RC3] Hey, you can't take on that Martin dude without some heavy-duty backup, my man. [KAREN] He already has all the backup he can handle, RC. (to Michael) Remember what you said, Michael, I go with you as long as I stay in Kitt. [MICHAEL] Hang in there RC. I'm saving you for the double heavy-duty action. You dig? Devon eyes the soft drink can; Lifts it from the desk with two fingers like he has a dead rat by the tail. Hands it to RC3. [DEVON] Kindly refrain from desecrating my office with your culinary litter. (smiles affectionately) You dig? [RC3] You got it, skipper. (sotto to Michael) What'd he say anyway? [MICHAEL] You just got a 'D' in neatness. CUT TO OMITTED EXT. COUNTRY CLUB - DAY A posh, Spanish-style country club. Two brawny "doormen" flank the entrance. Next to them is a sign that reads -- MEMBERS ONLY and a podium with computer screen and keyboard as well as a clerk in official blazer. K.I.T.T. arrives and pulls to a stop in the drive lined with expensive cars. INSIDE K.I.T.T. Karen in the seat next to Michael as they roll to a stop and notice the sign. [MICHAEL] I get the feeling non-members get hit for some heavy dues by those characters, pal. [K.I.T.T.] I agree, Michael. [KAREN] How do you plan to get inside? [MICHAEL] Through the main entrance -- access their membership roster, Kitt. Michael pushes some buttons on his console. INTERCUT - K.I.T.T.'S MONITOR - AS NEEDED to see the alphabetized roster. A blur of names flashes past. Stops on the K's. [MICHAEL] Okay. Insert my name between King and Kortner. Michael's name appears on the roster. As he gets out of K.I.T.T. and heads for the entrance. [MICHAEL] Keep your scanners peeled. (to Karen) And you --- [KAREN] (anticipating) Stay put. I know. CUT TO EXT. COUNTRY CLUB SWIMMING POOL AREA - DAY as beauty contestants in bikinis parade past a panel of judges. ANGLE ON JULIAN MARTIN one of the V.I.P. judges eyeing the contestants. Martin leans to a city Councilman next to him and indicates an especially exotic contestant who pirouettes suggestively in front of them. Snyder stands in the b.g. behind Martin. [MARTIN] She's the one I was telling you about, Councilman. (beat) By the way, I hear more and more talk about off-shore drilling areas. If those tide lands just happened to be rezoned for commercial exploration --- [COUNCILMAN] Why, Julian you know my commission can't compromise its objectivity in this matter --- [MARTIN] Of course not, Councilman. But as you very well know, everyone profits from a healthy economy. While the Councilman considers this and eyes another stunning contestant who parades before him. Snyder spots Michael approaching and moves forward to Martin. [SNYDER] What's he doing here? I've got people looking all over for him. [MARTIN] (in Spanish) He saved you the trouble. Find out how he got past the guards. Snyder moves off. Martin turns to Michael for --- [MARTIN] I don't know how you got in here Knight but it's time to leave. [MICHAEL] Soon as you tell me where to find Cavanaugh. [MARTIN] (feigns he can't remember) Cavanaugh -- Cavanaugh. Doesn't ring a bell. [MICHAEL] Don't give me that, Martin. I know you broke him out. And I know why. The Councilman blanches at the mention of Cavanaugh's name. [COUNCILMAN] Jeffery Cavanaugh -- ? (beat) Don't tell me. I'd prefer not to know. The Councilman gets up to leave. Martin tries to stop him. [MARTIN] No problem, Councilman I'll have this cleaned up in a minute. [MICHAEL] Right. Laundry's your specialty, isn't it Martin. You came out squeeky clean two years ago. But this time I'm going to be on you until your neck's in the wringer. The Councilman eyes Martin coldly and leaves. Snyder returns from the main entrance. [SNYDER] His name was on the roster. [MICHAEL] Frankly, Martin, the thought of belonging to a club that'd have you for a member turns my stomach. Michael burns him with a look; turns and leaves. Martin turns to Snyder for --- [MARTIN] Cancel his membership. [SNYDER] That's no ordinary hit, Julian. If you want to get Knight you have to deal with that car of his at the same time. [MARTIN] He's got to have a weak spot. Find it. CUT TO OMITTED EXT. ROAD - DAY as K.I.T.T. comes through a turn. INSIDE K.I.T.T. - TRAVELLING Karen seated next to Michael who pushes some buttons on his console. [MICHAEL] Get me Devon, pal. OMITTED INTERCUT K.I.T.T.'S MONITOR AS NEEDED as Devon appears. [DEVON] Some progress to report, Michael? [MICHAEL] Yeah. I pushed Martin's button and he came right at me. [DEVON] Sounds like he has something to hide. [MICHAEL] And it's name is Cavanaugh. Question is, where? I need the locations of all of Martin's operations. [DEVON] He has numerous fronts and dummy corporations, Michael. This could take some time. I'll get Bonnie working on it right away. Devon clicks off. Michael turns to Karen for: [MICHAEL] I'm sorry about all this. [KAREN] You kidding. I've already got enough material for two PhDs. But I think I've had enough for today. [MICHAEL] Me too. I'll drop you at home. Nothing much will happen until I get that data from Devon. [KAREN] Good. I make the best pasta prima vera this side of the Spanish Steps. What do you say? Michael considers a beat; feigns pushing some buttons on console --- [MICHAEL] Plot me the most direct course to the Spanish Steps, pal. Karen chuckles, and we go to: EXT. CITY - DAY - TO ESTABLISH EXT. COUNTRY CLUB - POOL AREA - DAY Martin is joined by Snyder. [MARTIN] You find a way to get to Knight? [SNYDER] Two of 'em. Snyder flips two photos on the table.... CLOSE ON TWO SNAPSHOTS One of Bonnie, one of Karen. [SNYDER] (continuing) He works with one. Plays with the other. We hold a beat on Martin's look and then we: FADE OUT END OF ACT ONE ACT TWO FADE IN EXT. CITY - SUNRISE (EARLY MORNING) - TO ESTABLISH - STOCK EXT. KAREN'S APARTMENT - DAY as K.I.T.T. parks out front and Michael gets out and crosses to the entrance. INT. KAREN'S APARTMENT - DAY Sun streaming into this simple but comfortable room. Michael pushes open the door and enters as Karen pours coffee from an espresso pot and hands Michael a cup. [MICHAEL] Espresso? [KAREN] After yesterday I figure I'd better start off wide awake today. [MICHAEL] Pasta for dinner, espresso for break- fast -- you must've been an Italian in a former life. [KAREN] This life. I lived in Rome for almost a year. I loved it. [MICHAEL] Karen, I'm getting the feeling there's a whole side of you I don't know yet. [KAREN] Not really. Italian law enforcement agencies have a lot of experience with terrorism. I was studying their techniques. (beat) See, Michael, you were right -- all work and no play. [MICHAEL] I wouldn't go quite that far. She smiles shyly. He reaches out and sits her down next to him. Their playful laughter segues into soulful eye contact. As they hold a look --- K.I.T.T.'S SCANNER pulses faster and faster -- a few beats before: SCRUFFY runs up to K.I.T.T. and paws at his door. [K.I.T.T.] You again? The dog catcher barrels around a corner in pursuit. Scruffy paws frantically at K.I.T.T.'s door. [K.I.T.T.] And him again. Doesn't he ever give up? Come on, get in. K.I.T.T.'s door opens. Scruffy scoots inside. The dog catcher approaches K.I.T.T.; pulls on a door handle. K.I.T.T.'s "Burglar Alarm" goes off, briefly. The dog catcher jumps back, startled. [K.I.T.T.] Kindly keep your 'paws' to yourself, sir. K.I.T.T.'S VOICE MODULE comes alive followed by three sharp barks. THE SCENE as the dog catcher reacts, looking to houses across the street, as a few more barks emanate from that area. [K.I.T.T.] (continuing) I believe the one's you're after are scurrying between those houses across the street. As the dog catcher charges off: K.I.T.T.'S MONITOR chirps and Devon appears. Right in front of Scruffy who's in Michael's seat. [DEVON] Good morning, Michael. Scruffy tilts his head thoughtfully and barks. [DEVON] Michael? Michael are you all right? You seem to be looking rather -- 'scruffy' this morning. RESUME MICHAEL AND KAREN They're now locked in a tender embrace. A beat before Michael's comlink chirps. [MICHAEL] (comlink; dreamily) Yeah, yeah, buddy, what is it? [K.I.T.T.] Devon just called. I gave him Karen's number. He should be --- K.I.T.T. is interrupted by the ring of the phone. Michael snaps to. He and Karen disengage, as he answers it. [MICHAEL] Yo, Devon. [DEVON] Ah, there you are Michael. I had some trouble getting through. Julian Martin just called. He wants to see you right away. I'm afraid I'm still working on that data you requested. [MICHAEL] Maybe we won't need it, Devon. Sounds to me like Martin's going to roll over on Cavanaugh. (to Karen) I'll check this out and come back for breakfast. He kisses her and hurries off. EXT. KAREN'S APARTMENT - DAY as Michael exits on the run, and opens K.I.T.T.'s door. Scruffy scoots out. Michael does a take. [MICHAEL] Did I just see what I think I saw, pal? [K.I.T.T.] What do you think you saw, Michael? [MICHAEL] (ponders) Never mind, Kitt. Forget it. I think maybe I should have finished that cup of espresso. He shakes it off, gets inside and takes off, passing a van parked down the street. We hold on the van as doors pop open revealing marine hardware, repair tools, cans of paint and varnish inside. Snyder and the two guards from the club get out and head toward Karen's hotel. OMITTED EXT. COUNTRY CLUB - POOL AREA - DAY Martin is at a table having breakfast, reading the paper as Michael approaches. [MARTIN] Sit down, Mr. Knight. Order something, the food here is excellent. I like to see a new member get everything he has coming to him. [MICHAEL] This powwow was your idea, Martin. Get to the point. I don't have time to play games. [MARTIN] You had plenty when you embarrassed me in front of the Councilman yester- day. Now it's my turn to make you squirm. (waggles the newspaper) Seen the paper? Every once in a while I run across a nasty story about someone I know. [MICHAEL] I'm working on one right now. The headline reads -- Julian Martin Indicted. [MARTIN] Check tonight's edition, you'll find one that says -- Graduate Student Abducted. I think her name was -- (snaps fingers) -- Karen, Karen something. Michael lunges forward to grab Martin; regains control as Martin moves a towel on the table revealing a handgun. [MICHAEL] You can't shoot me here, Martin. And you know it. [MARTIN] I can if you attack me. [MICHAEL] I'll do more than that if you've hurt Karen. There's no place on this earth you'll be able to hide. And if you think kidnapping her will make me back off, you're wrong. You just gave me another reason to keep on coming. [MARTIN] Hey, take it easy, it was only a rumor. I probably made a mistake. [MICHAEL] That's two mistakes counting Cavanaugh. And I'm gonna use both of 'em to nail you to the wall mister! Michael burns him with a look and leaves. Martin wonders thoughtfully, and we: CUT TO INT. KAREN'S APARTMENT - DAY Trashed, evidence of a struggle; chairs overturned, cups, dishes, etc. from breakfast scattered on the floor as Michael picks his way through. [MICHAEL] (comlink) Looks like Karen put up a fight, but came out second best. I want a com- plete scan of everything in sight, Kitt. [K.I.T.T.] I'm too far away to get any detail, Michael. [MICHAEL] Okay, buddy, we'll work through my comlink. Michael moves about the room passing his comlink over surfaces, windows, etc. As he passes the front door --- INTERCUT - K.I.T.T.'S MONITOR As graphics on a schematic of the hotel room come alive. [K.I.T.T.] Hold it, Michael. Right there. I just picked up a handprint on that window. [MICHAEL] Good going. Run a comparison. Start with Martin, Snyder and Cavanaugh. I want as much hard evidence as I can get. Michael reacts to something he notices on the glass. [MICHAEL] What's this, pal? [K.I.T.T.] A smear of some kind, Michael. It's still wet and appears to be a manufac- tured substance. It's probably nothing important. [MICHAEL] (thoughtful) Maybe, maybe not. Do a chemical analysis. Maybe it'll give us a fix on where they've taken Karen. CUT TO INT. MARTIN'S MARINA BUILDING - DAY - KAREN is here, hands manacled, with Snyder and the two guards from the club. Martin pulls in. He gets out, crosses to Karen. [MARTIN] Sorry but you can thank your boy- friend for the inconvenience. [KAREN] I'll make sure to mention your name. Martin burns her with a look, glances around. Frowns. [MARTIN] Hey, where's Cavanaugh? [SNYDER] The word is he made a call and split. He could be anywhere. [MARTIN] Jeffery and I go way back. Whenever we were up against it, the first thing we did was make sure our insurance was still in force. Under the circum- stances, I'm betting he's with his friend who has the evidence that's keeping him alive. [SNYDER] What do you want to do, Julian? [MARTIN] Have your lady at the phone company trace the call. Get an address. EXT. PARKING STRUCTURE - DAY - ESTABLISHING EXT. TOP LEVEL - DAY as a car pulls in and parks. Jodi Hopkins gets out. She's a vulnerable, likeable woman of thirty-five who looks around anxiously and brightens when Cavanaugh steps out from behind a concrete column where he's been waiting. They run into each other's arms. Kiss, embrace. But, Cavanaugh is nervous just being here. [CAVANAUGH] Oh, baby, I still don't believe I'm holding you. [JODI] Oh, Jeffery, Jeffery. In spite of what everyone said, I always knew you'd get out and we'd be together. [CAVANAUGH] The waiting's over, Jodi. The minute Julian pays up, we're outta here. [JODI] Out of here? You've been saying that since we were kids, Jeffery. I don't know why, but I believed you then and I still do. [CAVANAUGH] That's because I always meant it. Now I've got the bucks to back it up. (beat) You all packed? [JODI] My suitcase has been ready to go for twenty years. She kisses him blissfully. He's distracted, glances anxiously to a grimy, dirty, 1980, green Chevy sedan parked nearby. [CAVANAUGH] Everything cool? [JODI] Of course. It's in the trunk right where you left it. I check every month when I pay the parking fee. [CAVANAUGH] Hey, after what I've been through, seeing is believing -- the key. Jodi pulls some keys from her purse, gives them to Cavanaugh. As they cross to the green Chevy, he opens the trunk and examines an accordion manila folder that contains an accountant's ledger records, file folders, papers, documents, etc. Pleased, relieved. [JODI] You giving it to Julian in exchange for the million? [CAVANAUGH] (flares) You nuts? He'd blow me away if he ever got his hands on this. (beat, softens, realizing) I'm just wired. I got to go. I'm sorry. He closes the trunk, leaving the manila folder inside. He kisses her briefly, but she prolongs it -- hungrily. [JODI] I love you, Jeffery --- [CAVANAUGH] I love you too, babe. We hold a beat on their look and: CUT TO EXT. CITY STREET - DAY - K.I.T.T. moving along. Michael behind the wheel. K.I.T.T.'S MONITOR - INTERCUT AS NEEDED to see Devon in midconversation. [DEVON] Karen kidnapped?! That's very dis- tressing, Michael. I can't help feeling I should have foreseen the possibility. Have you reported it to the authorities, yet? [MICHAEL] No. I think we should hold off. I don't want to make it easier for Martin to kill her than keep her. [DEVON] Do you have any leads as to her where- abouts? [MICHAEL] Kitt came up with a couple of things. Anything yet, pal? [K.I.T.T.] Yes, Michael. The hand print belongs to Snyder, Martin's bodyguard. I've also determined the substance is a varnish of some kind. I'm still breaking down its chemical composi- tion. [MICHAEL] Pull out the stops, pal. [DEVON] And also have him clear a channel, Michael. I'll transmit that data on Martin's operations. Perhaps it will help. [MICHAEL] Let's hope so, Devon. I got Karen into this. I've got to get her out. Michael pushes some buttons on his console and we: CUT TO EXT. MARINA - DAY - TO ESTABLISH INT. MARTIN'S MARINA BUILDING - DAY Martin is writing on a yellow legal pad. He changes a few words. Satisfied, he tears it off, hands it to Snyder. [MARTIN] This ought to do it. Now, what about that address your friend is running down for us? [SNYDER] She was off duty when I called. Took a while to track her down. She's working on it now. They react to Cavanaugh who slips into the building. [MARTIN] I thought I told you not to leave!! [CAVANAUGH] Worried I got hit by a bus or some- thing? If you're thinking about arranging a little accident, Julian, forget it. If anything happens to me, the ledger goes to the DA. I want my money. [MARTIN] Knight's about to become history. Stick around and watch. Then you get your money. Cavanaugh nods. Snyder crosses, takes Karen by the arm and leads her to a phone. He pulls a gun, threatens her with it. Then hands her the sheet from the legal pad Martin gave him. [SNYDER] Here's the speech. You make it. Like you mean it. Clear? Karen nods, torn between spitting in his eye and fearing for her life. CUT TO EXT. CITY STREET - DAY - K.I.T.T. on the move. Michael driving. [K.I.T.T.] Sorry it took so long, Michael. INSIDE K.I.T.T. [K.I.T.T.] (continuing) I finally identified the chemical composition of that varnish. It's a polycarbonic compound with a densely packed molecular structure very similar in profile to polymers used to --- [MICHAEL] (interrupting) Come on, pal. The bottom line. [K.I.T.T.] It's a special custom-made marine varnish. [MICHAEL] Way to go! We just narrowed the search to the Marina area. Michael is about to reverse course when K.I.T.T.'s monitor chirps. K.I.T.T.'S MONITOR - INTERCUT AS NEEDED as Devon appears on screen. [DEVON] Michael. Karen's calling. I'll make it a three-way patch. Though we still see Devon, we only hear a stressful --- [KAREN'S VOICE] (filtered) Michael?! Michael, Martin's people grabbed me. But I escaped. They --- [MICHAEL] (interrupting) Where are you?! Are you okay?! [KAREN'S VOICE] Just listen. I don't have much time! They came after me. I'm trapped in this shipping place -- Ludlow and the waterfront. Hurry! [MICHAEL] On my way! [KAREN'S VOICE] And Michael -- caveat emptor. The phone clicks and Karen's gone. Michael's head tilts thoughtfully. Then he pushes some buttons on his console. [MICHAEL] Okay, pal, super pursuit mode. K.I.T.T. his nose cowling elongates, spoilers deploy, etc. He explodes down the road and we: CUT TO INT. MARTIN'S MARINA BUILDING - SNYDER gun in hand, has just taken the phone away from Karen. [SNYDER] (nods) He took the bait. [MARTIN] Reel him in and gut him. Karen eyes them with hatred as they move to manacle her, then: CUT TO EXT. CONTAINER STORAGE AREA - DAY - A SIGN WITH LOGO proclaims Enterprises, International. We pan across to see a large crane for lifting the large sea-going containers. A flatbed truck. Other tools of the trade. ANGLE ON MICHAEL AND K.I.T.T. as K.I.T.T. rolls to a stop a distance from the site. [K.I.T.T.] There doesn't seem to be anyone around, Michael. Why are we stopping out here? [MICHAEL] You heard Karen, pal. Caveat emptor -- she was warning us it's a trap. Scan this place. See if you can locate her position for me. K.I.T.T.'S MONITOR - INTERCUT AS NEEDED as a schematic of the site forms and is broken up by zig- zagging interference lines. [K.I.T.T.] It's no use, Michael. I'm getting too much interference. There's a concentration of lead in the area. [MICHAEL] You go in up the middle and keep them busy. I'll come in from below. [K.I.T.T.] But if it's a trap, you'll be a lot safer in me! [MICHAEL] Safe and predictable. I'm the one they want. While they're coming at you, I'll be searching for Karen. Michael pushes some buttons on his console. [MICHAEL] Tinted windows, pal. K.I.T.T.'s windows darken as Michael slips out of K.I.T.T. who slowly heads into the maze of containers on auto-pilot, as Michael moves off in a different direction. INTERCUT MICHAEL moving around the perimeter. Toward an office trailer on the far side of the large storage area. Via comlink we hear --- [MICHAEL] Any sign of them yet? [K.I.T.T.] Negative Michael. I'm beginning to think Martin's playing games with --- K.I.T.T. breaks off, reacting to --- A MASSIVE BULLDOZER coming straight at K.I.T.T.'s nose. [K.I.T.T.] Michael! Michael, there's a giant forklift coming straight at me. [MICHAEL] Keep it busy, pal. I need all the time you can give me to search for Karen. THE SCENE - K.I.T.T. spins a series of 360s. Running circles around the charging machine until a second massive forklift comes at him. [K.I.T.T.'S VOICE] Make that two giant forklifts! The two forklifts bear down on K.I.T.T. from opposite sides. [K.I.T.T.] I'm in trouble, Michael! They're going to scoop me off the ground with their forks!! EXT. OFFICE TRAILER - DAY As Michael approaches searching for Karen. He makes a 180 degree and runs into the maze of containers after K.I.T.T. [MICHAEL] (comlink) On my way, but you better turbo out of there!! ANGLE ON THE COMBATANTS as K.I.T.T. turbos straight ahead, his body scraping against the forks of the forklifts on both sides. He runs the gauntlet unaware the forklifts have purposely herded him in the direction of --- A HUGE TIGER PIT camouflaged by sheets of dirt covered plywood that collapses under his weight. K.I.T.T. suddenly drops down --- INSIDE A LARGE STEEL SHIPPING CONTAINER as K.I.T.T. falls from above and lands with a loud crash in the bottom of the container. [K.I.T.T.'S VOICE] I've literally fallen into a trap of some kind, Michael! They've got me! As a metal lid comes down atop the container and, unbeknownst to K.I.T.T. and Michael, cuts off all transmission. ANGLE ON MICHAEL barking into his comlink. [MICHAEL] Where are you, buddy? Talk to me! No response. As Michael runs between the stacks of containers, K.I.T.T. replies assuming Michael can hear him. ON K.I.T.T. inside the container, as K.I.T.T.'s head and taillights come on. [K.I.T.T.] I'm in a large steel box. I'm going to turbo blast my way out if I can. K.I.T.T.'S WHEELS explode with power, burn rubber, smoking. MICHAEL still moving between the containers. [MICHAEL] I can't hear you, pal! What's going on?! Kitt? Kitt?!! K.I.T.T. as his nose cowling rockets forward into the steel wall of the box but to no avail. [K.I.T.T.] It's no use. I can't get a running start to generate power to penetrate the steel. Do you have any sugges- tions? (beat) Michael? Why aren't you responding, Michael? Michael?! THE CONTAINER hoisted aboard a waiting flatbed truck by a crane. The hooks and cables are released. The truck drives off with K.I.T.T. silently imprisoned in the container on its bed. MICHAEL stands dwarfed and surrounded by the containers. Looks around. Nothing. Nobody. A ghost town. [MICHAEL] (comlink) Kitt? Talk to me, Kitt? Kitt?!! Where are you?!! Michael sags with the realization he has now lost Karen and K.I.T.T. FADE OUT END OF ACT TWO ACT THREE FADE IN EXT. CONTAINER STORAGE AREA - DAY The F.L.A.G. semi has been pulled into the area. [BONNIE'S VOICE] (continuing) I've scanned the area and recon- structed the movement of the vehicles. INTERCUT AS NEEDED - SEMI'S COMPUTER MONITOR to see various sets of tire tracks made by the forklifts and K.I.T.T., in schematic graphic form. [BONNIE'S VOICE] (continuing) These tread marks were made by the forklifts. These are definitely Kitt's. INT. F.L.A.G. SEMI - DAY Michael, Bonnie and RC3 are gathered around the computer keyboard and monitor. [BONNIE] (continuing) It looks like they trapped him in some sort of pincer movement. [MICHAEL] Yeah, and it worked. They gave him one escape route. He took it and ended up in that hole. [RC3] Clever dudes, man. But where'd he go? [MICHAEL] Judging from these other tracks, into one of the containers, and trucked away. Kitt's out there somewhere. Let's get a fix on his location. Bonnie encodes at the keyboard in search of K.I.T.T.'s audio signal, and we: CUT TO INT. MARTIN'S MARINA BUILDING - DAY - ON FLATBED arriving with the container. Martin, Cavanaugh, Snyder, the two guards and Karen are here. While a crane prepares to lift the container from the flatbed, Martin turns anxiously to Snyder. [MARTIN] I'm going to handle this one myself. (in Spanish) Give me the Uzi. Snyder hands Martin the compact automatic rifle he's holding, and we: CUT TO INT. F.L.A.G. SEMI - DAY - BONNIE is utilizing her electronic equipment to pick up K.I.T.T.'s audio signal. Her face tells us that she's not finding it. [BONNIE] Nothing! Even if Kitt's voice module malfunctioned, his homing transmitter would be putting out a signal I could trace. [RC3] Maybe the signal's being scrambled by the steel container, you dig? (off looks) My electronic expertise goes beyond ghetto blasters. [BONNIE] (frustrated; wired) I wish you were right RC, but Kitt should be transmitting, regardless. This doesn't make any sense, Michael! [MICHAEL] (putting it together) Lead -- that container must be lined with lead. Kitt had problems scanning because of it. (beat, infuriated) Karen, now Kitt. I'm the one they want. I should just go to that creep Martin and offer him an exchange. [RC3] I'm into chivalry myself, my man. But Martin's the kind of dude who'd say come ahead then blow you all away. Michael nods his agreement, stymied, and we: CUT TO INT. MARTIN'S MARINA BUILDING - DAY The container has been unloaded from the flatbed truck. The crane is about to lift the lid from the container. Martin, Cavanaugh, Snyder, Karen and the two guards watch. Martin is moving in anxiously with the Uzi. [MARTIN] Come on, come on! Let's get this over with! He checks the clip in the Uzi. Slams it back into the breech. CLOSE ON THE CRANE It now starts to lift the lid just barely and we: CUT TO INT. F.L.A.G. SEMI - DAY - BONNIE as one of her monitors picks up an audio signal. [BONNIE] It's Kitt! He's alive! He's transmitting a signal. Michael and RC3 converge and study the monitor. [MICHAEL] All right! Pinpoint its location. Bonnie encodes at her keyboard. A map grows across her monitor. [BONNIE] Somewhere northwest of here. Signal's too weak to compute exactly where. (frustrated) That's all we've got. [MICHAEL] No, it isn't, Bonnie. We narrowed the search for Karen to the marina area. Chances are that's where they've taken Kitt. [BONNIE] You're right. That data I transmitted earlier listed numerous Martin opera- tions on the waterfront. (beat) What are you going to use for transportation? On Michael's look and RC3's grin, we: CUT TO EXT. CONTAINER STORAGE AREA - DAY The tractor of the F.L.A.G. semi has already been discon- nected from the trailer and is pulling away. RC3 behind the wheel; Michael next to him. CUT TO INT. MARTIN'S MARINA BUILDING - DAY The top of the container opens fully to reveal a very vulnerable K.I.T.T. below. MARTIN perches atop the wall of the container and blasts away with the Uzi. The rounds spark and ricochet off K.I.T.T. [MARTIN] It's bulletproof -- Rip open the T-top!! The two guards jump down atop K.I.T.T.'s roof and go to work with pry bars. ON THE T-TOP as the pry bars push into the edge of the top and bend when leverage is exerted. THE SCENE as the guards hold up the bent pry bars. [MARTIN] Open up, Knight. Otherwise we kill the girl. ANGLE WITH KAREN [KAREN] No! Don't do it, Michael! [MARTIN] Last call, Knight. Open up or she dies! K.I.T.T. A few beats then the T-top pops open. Widen to include Martin as he pumps a barrage of bullets into K.I.T.T.'s driverless cockpit. Cavanaugh watching anxiously. INTERCUT - INSIDE K.I.T.T. as the rounds puncture the upholstery of Michael's seat. The smoke clears, revealing Michael isn't inside. [MARTIN] Knight's not in there!! RESUME SCENE [CAVANAUGH] Great move, Julian. Your clowns kidnapped an empty car! All stand there in disbelief except --- KAREN who smiles, relieved, knowing that Michael is alive. CUT TO EXT. VARIOUS MARINA AREA STREETS - DAY - ON SEMI'S TRACTOR RC3 drives. Michael operates the portable scanner. [RC3] This is great. I mean, like I been kinda missing the Street Avenger action. You know action...you and me.... [MICHAEL] That's not what we're doing, RC. This is a professional operation. [RC3] I know, man, I know. I just mean doing something that counts. I like the way it makes me feel. [MICHAEL] (nods) In that case, I know where you're coming from, believe me. Michael reacts to something on the scanner. [MICHAEL] We're getting close. Kitt's signal's dead ahead. Hang a right at the next corner. As RC3 complies --- CUT TO INT. MARTIN'S MARINA BUILDING - DAY Cavanaugh's sounding off. On the receiving end are Martin and Snyder, both of whom are growing livid. Snyder drops off to answer the phone that rings. [CAVANAUGH] I'm up to here with waiting, Julian. And don't give me that stuff about banking hours. You've got cash planted all over town. I want mine now. [MARTIN] I said when Knight's dead. And I meant it. [CAVANAUGH] So did I about my little friend giving the DA those records. You've got 'til noon today. That's it. Cavanaugh moves off to join the guards. Snyder returns from the phone. [MARTIN] Little punk's got me between a rock and a hard place. That's what I get for dragging his butt out of the joint. Nothing I'd like better than to pull his plug. [SNYDER] (smiles) Start pulling. No more rock, no more hard place. His 'little friend's' name is Jodi Hopkins. Got the address right here. [MARTIN] (thoughtfully; remembering) Jodi, Hopkins -- (beat) Cavanaugh? I've got some news -- good news. OMITTED ANGLE Cavanaugh joins Martin. The latter puts his arm around Cavanaugh's shoulder. Pals. [MARTIN] This 'little friend' of yours -- somebody we grew up with, isn't it? [CAVANAUGH] Maybe. What's it to you? What's this all about? [MARTIN] Blackmail. Every time you tighten the screws, you mention a little friend. Naturally, I'd be interested in getting reacquainted with any person who can lay their hands on evidence to put me away for life. [CAVANAUGH] (sarcastically) You're a genius, Julian. I'll bet you even figured out that's why I skipped the reunion. [MARTIN] (shakes no) Can't say I blame you for keeping her to yourself, Cavanaugh. I mean, Jodi Hopkins always was one of those special girls, wasn't she? Any message I can pass on when I see her? (off Cavanaugh's reaction) See, I had good news --- A gunshot rings out. [MARTIN] And bad news. We're momentarily uncertain where it came from. Cavanaugh a look of disbelief on his face, slumps to the floor -- dead. And we now see that Martin is holding the gun. FLASH REACTION SHOTS - KAREN, SNYDER, THE GUARDS As Martin and Snyder move to the car.... [MARTIN] We got one more piece of business with Jodi. (to guards) Wait a few minutes then dump that car in the ocean. Let Cavanaugh drive and our favorite graduate student can enjoy the view. They drive off through a rear exit.... EXT. MARTIN'S MARINA BUILDING - DAY as the semi's tractor rolls into view and stops. INSIDE CAB OF SEMI [MICHAEL] That building there -- it's got to be the one. [RC3] Let's rev this baby up and blow right through the doors. [MICHAEL] Let's not. Just sit here with your hands folded. Got it? RC3 nods contritely and pulls to the curb. Michael raises his comlink. [MICHAEL] Kitt? Talk to me, pal. Can you read me? INTERCUT - CONTAINER - DAY - HIGH ANGLE as we move in to K.I.T.T. inside. [K.I.T.T.] Like you were next to me, Michael. [MICHAEL] I am, pal, right outside. [K.I.T.T.] (sigh of relief) Oh, I was hoping you were going to say that. [MICHAEL] What's going on in there? Is Karen okay? [K.I.T.T.] I think so but I can't be certain. I'm still inside this claustrophobic container and can't send lateral transmissions. [MICHAEL] Not much longer, pal. Can you tell me how many of Martin's men are in there? [K.I.T.T.] Three, from the sound of their voices, Michael. [MICHAEL] It'll take me a few minutes to get into position. Hang in there. I'm going to need your help. [RC3] I want to go in with you, Michael. [MICHAEL] Need you outside. First, you go to that pay phone, call Devon and request police backup. Then, back me up out here. [RC3] You got it, my man. [MICHAEL] Told you I was saving you for the heavy duty stuff. Michael and RC3 get out of the semi's tractor. RC heads for the phone, Michael toward the marina building. Along the way he picks up a small Danforth anchor and attached long rope. He tosses it like a grappling hook to the roof of the building and rappels up the wall on the rope. MICHAEL ON THE ROOF OF THE BUILDING as he comes over the parapet and taking the rope and anchor with him, crosses to an open skylight, looks in to see --- MICHAEL'S POINT OF VIEW - THE SCENE BELOW He sees: the fallen Cavanaugh; Karen manacled to some pipes; the three guards crossing to her, ostensibly to put her in the container with K.I.T.T. for transport to a watery grave; and K.I.T.T. in the open container. INT. MARINA BUILDING - DAY As Michael comes in from the skylight, lowers himself on the rope to a cantilevered balcony below. As he touches down and moves to the edge of the balcony with the anchor rope in hand --- [MICHAEL] (comlink) Kitt? I'm coming in from up top. We're going to 'raid' the place. Understand? [K.I.T.T.] I'm reading you loud and clear. [MICHAEL] Ready -- now! ANGLE ON K.I.T.T. As he activates his anharmonic system and emits blasting police sirens, numerous tire screeches, door slams, the guards pull guns and take cover. [K.I.T.T.] (bullhorn voice) This is the police. You're surrounded. Throw out your guns and come out with your hands up!!! MICHAEL grabs the anchor rope, loops it around the end of the crane boom, and swings on it from the cantilevered balcony toward: THE CONTAINER as Michael sweeps into the shot and kicks loose the steel handle that holds one end of the container in place. ANOTHER ANGLE as the end of the container falls open hitting the floor with a crash like a boarding ramp. K.I.T.T. explodes out of the container. [MICHAEL] Take the other guard!!! MICHAEL drops from the rope and brings down one of the guards who fires at him as he sails through the air. As Michael puts him away with a karate combination, the second guard runs for the access door. THE THIRD GUARD turns his gun on Karen. K.I.T.T. swings around, rounds sparking off his skin as he races past Karen and sideswipes the guard, knocking him down and out cold. [MICHAEL] Way to go, buddy! As Michael runs to Karen's side: EXT. MARTIN'S MARINA BUILDING - DAY As the second guard runs from behind the building and bowls over RC3, who comes at him. RC scrambles to his feet, vaults the hood of a car and brings down the guard with a flying tackle, putting him away with a single punch. [RC3] My man said you stay and you're staying! OMITTED RESUME THE SCENE INSIDE THE WAREHOUSE [MICHAEL] Karen's cuffs need some attention, pal. [K.I.T.T.] No problem, Michael. They're standard issue. The cuffs pop open with appropriate sound effects. Michael helps remove them and embraces Karen, comfortingly. [MICHAEL] You okay? [KAREN] (nods, shaken) Yes, yes, Michael. I'm fine but Martin's gone! [MICHAEL] You know where? [KAREN] (nods) I'll tell you on the way. Head downtown. Michael and Karen get into K.I.T.T. OMITTED INSIDE K.I.T.T. as Michael settles behind the wheel, fires up the engine and pushes some buttons on his console. [MICHAEL] Super Pursuit Mode, pal. We don't have a lot of time. K.I.T.T. as his nose cowling elongates, spoilers deploy and he explodes forward. EXT. MARTIN'S MARINA BUILDING - DAY as K.I.T.T. rockets out the doors into the street in Super Pursuit Mode and accelerates away. FADE OUT END OF ACT THREE ACT FOUR FADE IN EXT. ROAD - DAY as K.I.T.T. barrels past in super pursuit mode. K.I.T.T.'S SPEEDOMETER rapidly approaches 300 mph and continues past. MICHAEL AND KAREN She's more than impressed, eyeing the speedometer with disbelief. As K.I.T.T.'s speed evens out and they ease into normal seating positions, Michael swings a look to Karen. [MICHAEL] You said you'd tell me about Martin on the way. I'd say it's time to start talking. [KAREN] If this isn't 'on the way,' what is. Wow! (beat) Martin's after evidence, Michael. [MICHAEL] That's what I figured all along. Cavanaugh must've used it to blackmail Martin into breaking him out. We've got to beat him to it, Karen. Where's he headed? [KAREN] To see somebody named Jodi Hopkins. That's all I've got. Michael pushes some buttons on the console. [MICHAEL] Maybe that's all we'll need. Jodi Hopkins, pal. I need an address. Make it fast. And as they rocket off into the distance --- CUT TO EXT. FRONT OF JODI'S HOUSE - DAY Martin's car cruises past, Snyder at the wheel. INSIDE MARTIN'S CAR [MARTIN] Park around back. I don't want to be announced. Snyder turns into an alley. CUT TO EXT. STREET - DAY - K.I.T.T. rockets down a straightaway in SPM. [K.I.T.T.] I've found Jodi Hopkins, Michael. INSIDE K.I.T.T. - TRAVELLING (SPM) [K.I.T.T.] But there are three listings. Bel Air, Beverly Hills and Southgate. [MICHAEL] Good work. Question is, which one? [KAREN] I don't know if this will help, Michael. But I overheard something about Jodi and Cavanaugh growing up together. [MICHAEL] He didn't strike me as a guy who grew up in a chic neighborhood, Karen. (beat) Plot me the most direct course to the Southgate address, pal! K.I.T.T. accelerates down the road and we: CUT TO INT. JODI'S HOUSE - DAY She's preparing to leave, stuffing a few last items into her suitcase. She reacts to a noise on the back porch and turns to the door. [JODI] Jeffery? Be with you in a --- ANOTHER ANGLE - DOOR It explodes open as Snyder lunges into the room with his gun. Martin's right behind him. THE SCENE Jodi starts to scream. Snyder cups a hand over her mouth. Shoves her back inside and slams her against a wall. He holds her there and threatens her with the gun as Martin moves to her. [MARTIN] I'll get straight to the point, Jodi. For openers, your blackmailing boy- friend's dead. [JODI] (jolted) Jeffery? Dead?! No! No!! [MARTIN] You're next if you don't hand over those records he gave you. [JODI] But, but I don't have them. Snyder moves the gun closer. Jodi eyes it. Sags, capitu- lating. [JODI] Even if I did know where it is. You'll kill me the minute I tell you. I know you will. [MARTIN] There's only one way to find out, isn't there? Jodi ponders the offer as we: CUT TO EXT. STREETS - DAY - VARIOUS SHOTS - K.I.T.T. races in Super Pursuit Mode. CUT TO EXT. FRONT OF JODI'S HOUSE - K.I.T.T. arrives in Super Pursuit Mode and deploys breaking fins and roof flap to come to a fast stop. [MICHAEL] I don't see Martin's car. Scan the place for me. Michael pushes buttons on K.I.T.T.'s console. INTERCUT AS NEEDED - K.I.T.T.'S MONITOR to see a schematic of the house develop and representational figure of Jodi. [K.I.T.T.] I'm picking up only one person, Michael. A female who appears nervous but uninjured. [MICHAEL] Thanks, pal. Keep your scanners peeled. (to Karen) And you --- [KAREN] (anticipating) Stay put, I know. Michael dashes out of K.I.T.T. CUT TO OMITTED INT. JODI'S LIVING ROOM - DAY Jodi's stunned but unharmed. As Michael rushes to her. [MICHAEL] Jodi? Jodi, where's Martin? Tell me you didn't give him that evidence. [JODI] (shakes no; nervously) I -- I couldn't, I don't have it. But I told him where. You the police? [MICHAEL] No. No time to explain. Where'd he go, Jodi? Where?! EXT. JODI'S HOUSE - DAY - ON K.I.T.T. is still in Super Pursuit Mode. Michael exits on the run; jumps behind the wheel next to Karen and takes off. INSIDE K.I.T.T. - TRAVELING (SPM) [MICHAEL] The evidence is in a green '78 Chevy, in a downtown parking structure. ANGLE ON K.I.T.T. FROM THE STREET as Michael hits the accelerator so hard that K.I.T.T. damn near does a wheelie. INTERCUTTING BOTH CARS - VARIOUS STREETS - VARIOUS ANGLES Each heading for the parking structure at high speed. EXT. TWO PARKING STRUCTURES - DAY Next to each other...Martin's car arrives and rockets up the east ramp. K.I.T.T. coming on strong after two-wheeling another corner. INSIDE K.I.T.T. - TRAVELING [K.I.T.T.] The parking structure is dead ahead, Michael. Through the windshield we see first one parking structure, then a second next to it is revealed as K.I.T.T. completes his approach. [KAREN] Michael, there are two.... Michael hits a button on his console. K.I.T.T. deploys braking fins and roof flap and comes to a screeching EBS stop in front of the two parking entrance ramps that branch off left and right. [MICHAEL] Back into cruise mode, pal. RAPID FIRE SEQUENCE OF SHOTS - K.I.T.T. as he transfers from super pursuit to cruise mode. RESUME INSIDE K.I.T.T. [MICHAEL] Now, give me a quick scan for that Chevy. Michael hits buttons on his console. K.I.T.T.'S MONITOR comes to life. A schematic of the buildings traces out. A pulsing blip appears on the west tower. [K.I.T.T.] I've picked up a green '78 sedan atop the west structure, Michael. [MICHAEL] Way to go, buddy! THE SCENE as Michael floors the accelerator and K.I.T.T. races up the ramp that leads to the West Tower. EXT. TOP OF WEST STRUCTURE - K.I.T.T. careens off the ramp onto the top level, races between rows of cars. Brakes next to a green '78 Chevrolet sedan. Simultaneously, a woman gets out of the sedan, locks the door, walks off. INSIDE K.I.T.T. [MICHAEL] That's a green sedan all right but that sure isn't Martin and Snyder! What's going on, pal?! [K.I.T.T.] My scanner just picked up an identical vehicle on the opposite tower. They look off to see --- LONG SHOT - THEIR POINT OF VIEW - A DUPLICATE CHEVROLET showing two indistinguishable men. RESUME INSIDE K.I.T.T. [MICHAEL] Give me a closeup of that, fast! [K.I.T.T.] Right away, Michael! INTERCUTTING AS NEEDED - K.I.T.T.'S MONITOR to show Snyder prying open the trunk of the Chevy. Martin reaches inside, and removes the manila accordion folder. Chock full of the accountant's records. [K.I.T.T.] They've got it, Michael. [MICHAEL] Too late to cut them off down below. Think we can make it, Kitt? [K.I.T.T.] It's twenty feet more than my previous record. [KAREN] (incredulous) You're not doing what I think you're doing. [MICHAEL] Records are made to be broken -- Hang on! Michael backs up to get more "runway" space. Guns the engine. [MICHAEL] Give me all the turbo boost you've got, pal! Hits turbo boost. K.I.T.T. IN SLOW MOTION rockets across the parking structure, launches into the air and zooms off the edge of the West Structure into space. FLASH CUT - MARTIN reacting to K.I.T.T. while heading for his car. MARTIN AND SNYDER'S POINT OF VIEW - K.I.T.T. heading straight at them. KAREN wide-eyed with fright and wonder. MARTIN shakes off his incredulity. Snyder starts shooting at K.I.T.T. K.I.T.T. The bullets sparking off his skin as he makes a perfect four-wheel landing on the East Structure. Martin is heading to his car as K.I.T.T. screeches to a stop directly behind it, precluding a getaway. [MICHAEL] Take Snyder, pal! Martin's mine!! THE SCENE Martin takes off across the structure. Snyder is running past K.I.T.T. when his passenger door pops open and clobbers him. Snyder goes down and stays down. MICHAEL dashes out of K.I.T.T.; catches Martin from behind with a shoestring tackle. Then puts him away with a karate combination. ANOTHER ANGLE Michael pulls him to his feet for --- [MICHAEL] I can't wait to see the headline in tonight's paper, Martin. On Martin's reaction --- FREEZE FRAME FADE OUT END OF ACT FOUR TAG FADE IN INT. SEMI - DAY - GROUP SHOT K.I.T.T.'s the center of attention with Michael, Devon, Bonnie and Karen semicircled around the Trans Am. [MICHAEL] Kitt was like a gazelle...what a jump. [K.I.T.T.] Michael I prefer to be likened to a rocket. Cars with animal names are very common. [KAREN] You're right, Kitt...You're one of a kind. Sort of a national treasure and you've earned your privacy. [DEVON] What are you going to use as the basis for your thesis? [KAREN] (with a look) Michael Knight. Sexiest crime fighter in America. [MICHAEL] Then the final interview should be at a private party on a very private sailboat. [K.I.T.T.] Karen, thank you, but would you consider doing me another favor? [KAREN] Anything.... [K.I.T.T.] Would you adopt a small dog? You might say he's a friend of mine.... [MICHAEL] So, I did see what I thought I saw. That's why I'm a little itchy. [K.I.T.T.] Sorry, Michael, he needed a place to hide and fleas are not a serious ailment. Reaction and laughs --- ON MICHAEL as he turns to look at K.I.T.T., then shrugs to Karen: [MICHAEL] Sorry, Karen. Guess we'll be having some extra company on that boat --- FREEZE FRAME FADE OUT THE END

{"show": "Knight Rider", "season": "s04", "episode": "e02", "title": "KITTNAP"}

knightriderarchives

ACT ONE FADE IN EXT. INTERNATIONAL AIRPORT - DAY - ESTABLISHING OMITTED INT. TERMINAL - DAY Michael and Bonnie, carrying luggage, walk towards the security check in. There are two security stations, each manned by a security officer. Both stations possess the normal devices -- X-ray, metal detector, alarm.... MOVING SHOT [BONNIE] Maybe I should have taken the train. [MICHAEL] This is the only way you'll ever make it to your sister's wedding in time. [BONNIE] I think I'd rather be late than terrified. [MICHAEL] Flying is safer than driving a car. (into comlink) Tell her, Kitt. INTERCUT - K.I.T.T. [K.I.T.T.] It may be safer than traveling by automobile, Michael, but there is no doubt that air travel is one of the most unnatural modes of transportation ever devised by the mind of man. [MICHAEL] Thanks a lot, buddy. You really helped. [BONNIE] It's not Kitt's fault, Michael. He was programmed to be afraid of flying. [MICHAEL] But you were the programmer. [BONNIE] I know. They reach the first line. ANGLE TO INCLUDE NICK a fifteen-year-old hotshot with an eye for the ladies. Nick gives Bonnie the once-over and likes what he sees. [NICK] You in smoking? [BONNIE] (amused) Non-smoking. [NICK] Good! Nick places his duffle bag on the conveyor belt, stands back and grins at Bonnie. Their attention is drawn by the sound of the metal detector alarm beeping. ANGLE - DETECTOR X-RAY SCREEN AND ALARM LIGHTS The origin of the beeps -- the screen displays Nick's duffle bag with what appears to be a toy car inside. Alarm lights are flashing. ANGLE - CHARLES ZURICH He is a few people behind Bonnie in line. An affable, folksy-looking kind of guy in his later forties, Charles Zurich reacts to the alert. With him in line is Steven, a young, intellectual type; and Kurt, a guy who looks too tough to wear a three-piece suit. All three carry attache cases. Zurich looks at the alarm, then glances O.S. in the direc- tion of the other line where Larry and Eddie, two young, nervous-looking guys, stand. Larry carries a large briefcase. He glances back toward Zurich, who nods, then gestures for them to remain calm. A Security Officer removes Nick's duffle bag from beneath the scanner and opens it. [SECURITY OFFICER] Please, remove the contents. Nick glances quickly at Bonnie, then pulls out a few items of clothing before removing a battery-powered toy car. [SECURITY OFFICER] That's the culprit. [NICK] (embarrassed; for Bonnie's benefit) It's for my little brother. The kid's really into toys. [BONNIE] Most kids are. [NICK] Yeah, isn't that the truth! Nick shoves his stuff back into his bag. The car slips from his hand and rolls along the security desk...Michael grabs it before it rolls off the counter. He examines it and hands it back to Nick who nods and moves on. Bonnie hugs Michael, passes through, leaving him on the other side. [MICHAEL] Give your sister my best. [BONNIE] I will. See you in a week. [MICHAEL] Have fun. OMITTED ON BONNIE as she starts to move down the concourse and is joined by Nick, who has been hovering nearby. [NICK] You flying alone? That's great! Listen, I buy the drinks, okay? And don't argue, a pretty lady like you, are you kiddin'...? Bonnie glances back toward Michael, somewhat delighted to be in the clutches of this fifteen-year-old Don Juan. Michael grins, waves once more and turns to exit the terminal. OMITTED ANOTHER ANGLE Larry places the briefcase on the conveyor belt, then both he and Eddie begin backing away. The Security Officer watches them, then glances up at the X-ray screen, sees what appears to be a bomb inside -- metal pipes, detonator and wires. [SECURITY OFFICER] It's a bomb. OMITTED WIDER ANGLE - MICHAEL reacts, turns to see a Security Officer reacting to detector, then on walkie-talkie. [SECURITY OFFICER] Security, we have an emergency in terminal five. This is a code Red. I repeat, code Red! The security guard from station number one has abandoned his post and is moving people back off the bomb. He is pointing toward Larry and Eddie, who are trying to leave without incident. [SECURITY OFFICER] That's them, they're the ones who planted the bomb! They turn and flee, heading for an exit door to the airfield. The guards take off after them. OMITTED ANGLE - MICHAEL as he runs toward the exit door. [MICHAEL] (on comlink) Kitt, meet me behind the terminal, on the double! INT. K.I.T.T. All systems come to life. [K.I.T.T.] Right away, Michael. The accelerator depresses. OMITTED INT. TERMINAL - SECURITY STATIONS They have been abandoned. Zurich, Steve and Kurt wait a moment longer, then walk around the station unwatched then proceed quickly down the concourse toward the boarding gates. OMITTED EXT. REAR OF TERMINAL - DAY Michael bursts from inside the terminal, looks one direc- tion, then the other, sees something O.S. MICHAEL'S POINT OF VIEW - WHITE VAN Larry and Eddie scrambling inside. K.I.T.T. pulls around the corner. [MICHAEL] Let's stop them right here, pal! Microjam. OMITTED WIDER ANGLE Michael runs towards the van just as the van's doors are opening. Larry tumbles out, followed by Eddie, who stumbles over him as he tries to make his escape. Eddie takes a wild swing, Michael ducks, lands a right to the midsection that sends Eddie reeling back towards the van. Michael brings both up to their feet, as airport security vehicles screech up. OMITTED INT. AIRPLANE (FLIGHT 34) - DAY - ON MARY a stewardess, as she carries pillows down the aisle. She passes Zurich, who is flipping through a magazine. Across the aisle are Bonnie and Nick. Bonnie is trying to read, but Nick obviously has other ideas. [NICK] Would you like the window seat? There's plenty to see. [BONNIE] Thanks. Maybe later. [NICK] The name's Nick, what's yours? [BONNIE] Bonnie. Pleased to meet you, Nick. [NICK] Going to Boston, eh? [BONNIE] Yes, my sister's getting married tomorrow. [NICK] What a waste. [BONNIE] Getting married?..Or Boston? [NICK] No, I meant...my parents were married in Boston. [BONNIE] Oh? Were you visiting a relative out here? [NICK] Yeah, my mother. Now I'm going to see my father. Mary approaches to take drink orders. [MARY] Would either of you care for a drink? [NICK] (brightening) Sure, we'll have a couple of Martinis. Stir, don't shake, we don't wanna bruise the gin. [MARY] (amused) I'm sorry, but I think all of our gin has been bruised. [BONNIE] Make mine a root beer. [NICK] Make it two. Mary smiles at Bonnie, turns to get the order from across the aisle. ANGLE - ANOTHER SEAT A stern-looking woman, Mrs. Swanson, in her sixties is sitting next to her son, Floyd, studious looking and thirty-five and totally intimidated by this woman.... [MRS SWANSON] Make that three root beers and I'll have one of those bruised martinis. [FLOYD] I think I'll have a Scotch mother. [MRS SWANSON] Not a chance. You can't handle liquor any more than your father could. You'll have a root beer. A sympathetic look passes from Mary and Floyd. ANGLE - ZURICH AND MARY [MARY] Could I get you a refreshment, sir? Zurich opens his magazine to reveal a 9mm pistol. [ZURICH] I think maybe the Captain would like some coffee, don't you? Zurich stands, the gun held on Mary from beneath the magazine. She leads him up the aisle to the cockpit door, Steven and Kurt watching from their respective seats. OMITTED ANGLE - COCKPIT DOOR [ZURICH] Now don't get fancy on me, sweetheart ...Just knock on that door and announce coffee. Mary knocks on the door. [MARY] Coffee...? INT. COCKPIT Captain Bill Rogers, a copilot and a navigator. Without looking back, the navigator unlatches the cockpit door and opens it. Zurich slips in. [ROGERS] Mary, don't forget my two lumps this time, would you please? [ZURICH] Wouldn't dream of it, Captain. Rogers and his crew react to Zurich and his gun. [ZURICH] Good morning gentlemen. [ROGERS] Sir, you are committing an act of air piracy, a felony under Federal Aviation law. I must inform you at this time that my responsibility.... [ZURICH] ...Is only for the safety of your passengers and your behavior will, in no way, constitute support of my actions or political beliefs. That's real nice, Captain, now please remain calm. Zurich opens his attache case, revealing a sophisticated electronic device with a small radar screen and many dials and settings. We see a blip on the screen. Zurich sets the dials and pushes a button which causes the screen to turn to "snow." [ZURICH] As of this moment, Captain, we are off radar. Rogers glares at Zurich. [ZURICH] I'm going to take you all to some very pretty country. Your new heading, Captain, will be one twenty- three. (beat) Don't be a hero. He levels the pistol at the Captain who turns back to the controls; then he picks up an intercom. [ZURICH] Ladies and gentlemen, you are now in the hands of the New Dawn Movement. OMITTED ANGLE - STEVEN opens the attache case which sits on his lap and extracts an Uzi with a collapsible stock. Steven locks the stock in place and jumps to his feet, brandishing the Uzi as Kurt, from another part of the plane, also gets to his feet with an Uzi. [STEVEN] If you want to live you'll do exactly as you're told. OMITTED ANGLE TO INCLUDE BONNIE AND NICK Along with the other passengers, they react, stunned. [BONNIE] My God, no! Steven has Mary in front of him. He gives her a large plastic bag. [STEVEN] Your wallets and purses in the bag. Mary starts down the aisle, Kurt steps in behind her while Steven maintains his position at the front of the cabin. The passengers throw their wallets and purses into the bag. [BONNIE] (to Nick) Please, do as they say. Nick angrily takes out his wallet and throws it into the bag. Bonnie then holds up her wallet, a beautifully etched leather piece, and hesitates, then tosses it into the bag. CUT TO OMITTED EXT. HIGHWAY - DAY The semi rolling, K.I.T.T. coming into scene from opposite direction, hangs a 180 and charges after the semi, rolling onto the ramp. INT. SEMI - DAY Devon is on the phone as RC3 enters worriedly. [DEVON] (on phone) Yes, I'll hold. (a beat, to RC3) Shouldn't you be behind the wheel? [RC3] We're on auto pilot. (concerned) Any news of Bonnie? [DEVON] (back on phone) Yes.... Over this Michael and K.I.T.T. pull in, screech to a stop, Michael climbing out. Ad-lib greetings with RC3 over: [DEVON] (on phone) I see. Thank you. (to Michael) Bad news, Michael. It's as we feared. Bonnie's flight disappeared from radar fifteen minutes ago. [MICHAEL] (deflated) What about that bomb? [DEVON] It's a fake...That's why they let Bonnie's flight go on schedule. [MICHAEL] I had a feeling it might be. It was a decoy -- a smoke screen for their real purpose. The phone rings and Devon answers it. [DEVON] (on phone) Yes, patch it through. Devon places the telephone receiver on a modem. [DEVON] That was airport security, they're receiving a transmission from the plane. [MICHAEL] Kitt, pick this up and give me a voice analysis. Michael, Devon and RC3 look expectantly up at the speaker. [ZURICH (O.S.)] Gentlemen.... OMITTED EXT. HARRIS FIELD - BUNKER - DAY In the immediate f.g. we see just the wing and landing gear of a commercial jetliner. Beyond is Harris Field, an abandoned military airfield. Next to one of the hangars is a bunker, with a powerful radio transmitter above. Between the jetliner and the bunker is a perimeter fence. There are signs everywhere of robotic weaponry -- missile packs, .50 caliber guns and mortars and mines. [ZURICH (O.S.)] ...this is the new commander of Flight 34. We are now on the ground and all the passengers are doing fine. INT. BUNKER - DAY A split level, high-tech war room. Zurich stands at the communication center which contains broadcast equipment, computers and a huge monitor above. In the b.g. is a black monolith about ten feet high which will be revealed later as the Doomsday Device. The bunker is totally enclosed, with catwalks above the main floor. The passengers, including Bonnie and Nick and the Swansons in the f.g., are on the main floor. Steven, Kurt, and five guards patrol the catwalks. [ZURICH] (on radio) Fortunately, there were no heroes. Just a lot of people who want to get home safely. INT. SEMI - INTERCUT AS NEEDED [ZURICH] A list containing the names of one hundred and ninety-seven men currently serving time in this state's prisons should be arriving about now at the Justice Department. My demands are simple. In addition to three million dollars cash, I want each and every one of those political prisoners named on that list released. Details of how and where will be forthcoming. Zurich moves to the catwalk railing, studies the passengers. [ZURICH] (on radio) You have twenty-four hours to comply or The New Dawn Movement will have no choice but to begin executing these people one at a time. (a beat) I'll be in touch. Zurich cuts the mike, grins at Steven and throws him a wink. Steven raises his Uzi in a salute. Zurich moves off the catwalk, down to the main floor. Kurt stands at a table piled high with the wallets of the passengers. Kurt hands Zurich Bonnie's wallet. OMITTED CLOSER ANGLE as Zurich opens it, sees ID for F.L.A.G. Kurt nods in Bonnie's direction. Zurich turns and smiles. [ZURICH] Foundation for Law and Government. An organization, as I recall, that meddled in the affairs of others. Zurich hands Bonnie her wallet. [ZURICH] Unless my demands are met, I think it would be appropriate if you're the first hostage to be executed. Bonnie stares incredulously down at her F.L.A.G. card. [ZURICH] Foundation for Law and Government -- I'm afraid it's become your death warrant. OMITTED FREEZE FRAME FADE OUT END OF ACT ONE ACT TWO FADE IN INT. SEMI - DAY [ZURICH (O.S.)] I'll be in touch. Michael pushes the off button. [MICHAEL] Kitt, have you got the voice analysis yet? [K.I.T.T.] Just completed, Michael. Sorry it took so long but it took special cooperation from the authorities to cut through the maze of security clearances. [DEVON] Security clearances? [K.I.T.T.] Yes, it appears our hijacker was at one time in a strategically sensitive position. OMITTED ANGLE - SEMI MONITOR A photo of Charles Zurich, basically a security mug shot. [K.I.T.T.] Charles Zurich, age forty-nine. Until two years ago he was with Special Operations for the National Security Commission. [MICHAEL] And now he's a freelancer. [K.I.T.T.] Exactly, Michael. It seems he was passed over for promotion. The NSC dismissed him when it suspected he was manipulating funds. He was about to be charged when he simply disap- peared. [RC3] Yeah, but what would he want with 197 cons? [MICHAEL] He calls them 'political prisoners,' but I had Kitt check 'em out -- they're hard-core murderers and thieves, not a political bone in their bodies. (beat) Tell me if I'm wrong, Devon, but aren't there 197 troops in an expanded infantry company? [DEVON] My God! [RC3] A ready-made terrorist army.... [MICHAEL] (nods) Yes...but what for? (to K.I.T.T.) Kitt, tap into every source you can -- I want all there is on Mr. Charles Zurich. [K.I.T.T.] Of course Michael. [MICHAEL] (to Devon) Anything on the two guys in the van? [DEVON] (shakes his head) They've been well-rehearsed. [MICHAEL] What about their van? [DEVON] The police were good enough to provide a readout...just odds and ends, really.... On the semi's main frame he accesses the findings. Michael studies the miscellaneous items, all innocuous, some tickets.... [MICHAEL] Doesn't tell you much, does it.... [RC3] (over his shoulder) One of 'em smokes too much, and they like drive-in movies...They've been to the same double feature for the past six days.... [MICHAEL] Sounds more like a meeting place than a movie.... [RC3] I'll be glad to check it out.... [MICHAEL] No, you baby-sit the semi, I'll go to the movies.... He gets into K.I.T.T.... CUT TO OMITTED EXT. SEMI - DAY The ramp lowers, K.I.T.T. rolls out, makes a 180 and roars out. CUT TO EXT. DRIVE-IN THEATER - DAY K.I.T.T., approaching the empty theater, moves past the marquee and toward the closed entry gates. OMITTED MICHAEL'S POINT OF VIEW - GATES Michael drives through, passing a sign which reads: Warning -- Do Not Back Up, Severe Tire Damage. EXT./INT. DRIVE-IN THEATER - DAY The vast lot is empty. K.I.T.T. cruises past the playground beneath the screen, then heads towards the rear past the snack bar. [MICHAEL] Okay, pal, keep your scanner peeled for anything unusual. [K.I.T.T.] Would you care to be more specific? [MICHAEL] Would if I could, buddy. K.I.T.T.'s systems flash across the monitor. Michael drives slowly, eyes covering everything. [K.I.T.T.] Michael, if 'unusual' is the requi- site, I may have something. [MICHAEL] Lay it on me. [K.I.T.T.] The speaker dead center, number 1204 last row has been altered to function as a telephone. [MICHAEL] Let's check it out. As K.I.T.T. moves to the last row, and the center speaker, Michael brings the speaker into the car. [MICHAEL] If we make a connection I want you to run a trace. [K.I.T.T.] I'm ready, Michael. Michael depresses the tone button. [MICHAEL] Zurich told me to come here. Silence. [MICHAEL] He said I could make contact here. I've got some important information for him. [SPEAKER VOICE] Is this regarding 'Deep Sleep'? [MICHAEL] (reacts) 'Deep Sleep'...right. [SPEAKER VOICE] Hold on. [K.I.T.T.] (sotto voce) Michael, the speaker connects directly with a switcher located in the office above the snack bar. An outgoing call is being made at this moment.... CUT TO INT. BUNKER - DAY Zurich picks up the telephone, listens. [ZURICH] I made no arrangements for a contact. (a beat) Find out who he is, then terminate him. (a beat) Yes, that's right. Terminate. CUT TO EXT./INT. DRIVE-IN THEATER - DAY [SPEAKER VOICE] Could you state your business more specifically? [MICHAEL] I could, but it's got to be directly with Zurich. Michael reacts to something O.S. [MICHAEL] Uh oh, looks like we got company. MICHAEL'S POINT OF VIEW - TWO SEDANS barreling towards him from either side of the movie screen. ANGLE IN K.I.T.T. [MICHAEL] No time for tag with the small fry, pal. Contact the police. [K.I.T.T.] With pleasure, Michael. ANOTHER ANGLE The two sedans fly over the humps. A gunman hangs out of each shotgun window, firing an automatic weapon. The sedans close in on K.I.T.T., the bullets pinging off. K.I.T.T. roars off in the opposite direction, the converging sedans almost collide but manage to avoid one another at the last moment. SERIES OF SHOTS K.I.T.T. being chased by the sedans over the humps, between the speakers, along the perimeter fence. [MICHAEL] How close are the police? [K.I.T.T.] Within two blocks Michael.... [MICHAEL] All right, buddy, let's deliver them.... OMITTED SERIES OF SHOTS K.I.T.T., the sedans, Michael finally leads the pack around the back fence, then directly towards the entrance. ANGLE - ENTRANCE featuring sign: WARNING - NO EXIT - SEVERE TIRE DAMAGE! ANGLE - REVERSE SPIKES blocking entrance. ANGLE - K.I.T.T. heading directly at the spikes. [MICHAEL] This'll blow 'em away! REVERSE ANGLE - ENTRANCE featuring reverse spikes as K.I.T.T. rolls over them without damage. The first sedan attempts the same feat and blows all four tires. ANOTHER ANGLE - FIRST SEDAN out of control, spinning and coming to a stop. BACK TO ENTRANCE The second sedan plows through, blowing all four of its tires. WIDER ANGLE as two black and whites, sirens blasting and lights flashing, pull to a screeching stop on either side of the sedans. OMITTED ANGLE - K.I.T.T. [K.I.T.T.] Michael, I've traced that call to a town in southwestern Arizona called Cactus. [MICHAEL] Good work, buddy. Get me Devon. MONITORS - INTERCUT AS NEEDED Devon flicks on.... [DEVON] Michael, are you all right? [MICHAEL] No worse than any normal Saturday night at the drive-in movies. We made connection -- a call from the drive-in to Zurich in a town in Arizona called Cactus. [DEVON] We'll be right behind you. [MICHAEL] Good -- oh, and Devon, whatever Zurich's got planned, the code name is Deep Sleep and let's hope that isn't Bonnie's future. [DEVON] My thoughts exactly, Michael. [MICHAEL] Okay, Kitt. It's time for a little Super Pursuit Mode. Michael hits the SPM button as Devon disappears. SERIES OF INSERTS An air dam slides down on K.I.T.T.'s front end. The rear fin converts to a new aerodynamic shape as the rear end lifts up to expose two jet exhausts. Side vents slide outward. An air intake vent pops up from the hood. ON K.I.T.T. The Super Pursuit Mode transformation complete, K.I.T.T. explodes. CUT TO INT. BUNKER - DAY - ON ZURICH as he patrols on the catwalk. He stops, lights a cigarette and looks down to the floor. ANGLE - ZURICH'S POINT OF VIEW - BONNIE She is looking up at him, then turns away. ANGLE TO INCLUDE BONNIE AND NICK Nick is absently playing with his toy car. [NICK] I should have told them it was my wallet. [BONNIE] Since when could you pass as a Bonnie? [NICK] It's not fair, them choosing you to be the first. [BONNIE] I'm not going to die, Nick. I've got some very special friends who are going to see that I don't. ANGLE ON SWANSON SEATS Floyd is exchanging a look with Mary, the stewardess. His mother catches it and interrupts him. [MRS. SWANSON] I would think in a situation like this you'd be paying some attention to me.... Floyd is a little annoyed, but as usual, patient with her. But not frightened!... [FLOYD] What would you like to discuss Mother? Shall we walk about your summer plans for us in the Hamptons? Shall it be three weeks or four this year... (beat) Or perhaps none at all.... On his mother's shocked look we: CUT TO ANGLE - ZURICH He has been watching Bonnie. He turns to Steven, who sits at the communications panel. [ZURICH] Well...? [STEVEN] The police have the drive-in and four of our men. [ZURICH] Did we get an ID? [STEVEN] Michael Knight. He works for The Foundation for Law and Government. [ZURICH] I see.... Zurich turns and looks toward Bonnie, then moves to the Doomsday Device. [ZURICH] Ladies and gentlemen, your attention, please! They turn their attention to Zurich. [ZURICH] Now, I know some of you believe in miracles...Like those which may have been wrought in the past from organi- zations like...say, The Foundation for Law and Government. Well, stop believing in miracles because if any- one ever managed to get this far... Then, I'd have to activate this right here. Zurich pats the device affectionately. [ZURICH] (pointing to the key) This key is the secret. Pull it and fifteen minutes later everything around here and five thousand feet above us is gone. Incinerated. Everything. (beat) It's the key to life.... Zurich pulls the key, which is a long, thin piece of metal with what appears to be microchips on either side. We hear a few horrified gasps from the passengers. OMITTED ON THE DIGITAL MONITOR In huge digital numbers, the countdown has begun. ANOTHER ANGLE Bonnie and Nick stare with horror at the monitor, as do the other passengers. Holding the key, Zurich looks from hostages to monitor. [ZURICH] Makes you wish the government would cooperate a little quicker, doesn't it? Zurich shakes his head and inserts the key back into the device. Countdown stops at zero minus fourteen minutes and twenty seconds. Zurich leans casually over the railing, facing the hostages, clasping his hands. [ZURICH] What can I do? My hands are tied. I just hope all of you understand how difficult this is for me. I really do.... Zurich shrugs, smiles weakly -- a kind soul caught in a dilemma. OMITTED ANGLE - BONNIE AND NICK [NICK] Geez, Bonnie! [BONNIE] (firmly) Don't let him get to you, Nick. Don't let him do it. [NICK] It's not me, it's you he's gonna get. On Nick's glance at Bonnie.... CUT TO EXT. DESERT HIGHWAY - DAY K.I.T.T. at SPM roaring through the night. INT. K.I.T.T. [MICHAEL] Okay, pal, let's take a look at that map. ON K.I.T.T.'S MONITOR A map of southwestern Arizona -- a scan until we can see the town of Cactus, which sits next to a very large blank area with no ID. [K.I.T.T.] The only town in the area is Cactus, Michael. The call had to go there. [MICHAEL] That blank area next to Cactus.... [K.I.T.T.] Normally unidentified areas of terrain such as this would indicate government restricted areas. [MICHAEL] Get me Devon. [K.I.T.T.] Right away, Michael. MONITOR - INTERCUT AS NEEDED Devon comes on. [MICHAEL] Anything from your people in Washington? [DEVON] Apparently Deep Sleep was a top-secret project, Michael. Only a select group of men knew about it. [MICHAEL] How select? [DEVON] At the highest levels. My contacts have put me in touch with a man named Calvin Holmes who should be here soon. [MICHAEL] He'd better be one of the select few. [DEVON] Holmes is considered this country's top authority on techno-weaponry. He worked on Deep Sleep. [MICHAEL] Let me know when he arrives. I should be in Cactus by sunrise. [DEVON] We're right behind you, Michael. CUT TO OMITTED EXT. DESERT HIGHWAY - DAWN A sign in f.g., riddled with bullet holes, reads: Cactus. [MICHAEL] We better slow down for the town buddy.... ON K.I.T.T. As it moves down highway, the Emergency Braking System engages. INSERT coming out of SPM. The intake vents retract, the side vents retract, the rear fin reconverts and the air dam retracts. EXT. MAIN STREET - CACTUS - DAWN Even though there are a few older cars parked on the street, the place seems deserted. Most of the businesses and cocktail lounges are boarded up. K.I.T.T. cruises slowly past places. INT. K.I.T.T. [MICHAEL] Find that phone, Kitt. [K.I.T.T.] The only operative phone in the immediate area is located in a booth at the end of this street. BACK TO STREET as K.I.T.T. rolls past an old, crotchety-looking man whose wardrobe looks like the town, but on his worn jacket hangs a badge denoting him as sheriff. He steps out from the shadows, watches K.I.T.T. for a beat, runs back and returns with a parking meter and note pad. Amos walks purposefully after K.I.T.T. ANGLE - PHONE BOOTH K.I.T.T. pulls to a stop along the curb nearby. ON K.I.T.T. Michael gets out. [MICHAEL] Do a general surveillance while I check this number out. [K.I.T.T.] Right away. Michael walks away toward the booth as K.I.T.T. goes into surveillance mode. His windows darken. Amos walks up to K.I.T.T., plants the parking meter and begins writing a ticket. Amos cannot see inside. [K.I.T.T.] Sir, that parking meter wasn't there a few minutes ago. Amos continues writing. [AMOS] Well, it is now, sonny. [K.I.T.T.] Sonny?!? [AMOS] Who's in there? [K.I.T.T.] No one, you're talking to an automobile. [AMOS] That crack'll cost you another twenty- five dollars! K.I.T.T. starts his engine and backs twenty feet down the street. Amos sighs, picks up the meter and places it next to K.I.T.T. [AMOS] You drag racers think you can come racin' in here, disrupt our rush hour traffic patterns by parkin' illegally and then leave without so much as a ticket? Think again! [K.I.T.T.] Drag racer?!? Sir, you are out of line! [AMOS] Talkin' back to a sheriff? Fifty more bucks. As Michael returns, Amos tears off the ticket and hands it to him. [AMOS] Better teach this friend of yours a little more respect for the law, mister. Amos grabs his parking meter and ambles off, leaving Michael shaking his head in disbelief as he climbs into K.I.T.T. INT. K.I.T.T. [K.I.T.T.] I'm sorry, Michael, but his methods were.... [MICHAEL] (interrupting) Forget it, pal, tell me what you've got. [K.I.T.T.] Incredible electronic interference to the south, Michael. [MICHAEL] The number in the booth didn't match the one we traced from the drive-in. Let's head south. ON K.I.T.T. as it rolls out of town into the desert. EXT. BLUFF - DAY K.I.T.T. moves up a small hill toward the edge, stops. [K.I.T.T.] Michael...? [MICHAEL] I think we've found Bonnie, pal. [K.I.T.T.] And somebody has found us.... OMITTED ANGLE - MICHAEL'S POIUNT OF VIEW - HARRIS FIELD Sitting on the runway, outside of the fenced area in which the bunker is located, is Flight 34. ON MONITOR as it comes to life with static. [ZURICH (O.S.)] Mr. Knight, you're a long way from the drive-in. But since you're here, I'd like to take this opportunity to welcome you. ANGLE - FIELD From within the fenced area a burst of movement as an armored vehicle appears, loaded with the latest offensive weapons. It moves toward Michael and K.I.T.T. [ZURICH (O.S.)] Welcome to Deep Sleep.... OMITTED FREEZE FRAME FADE OUT END OF ACT TWO ACT THREE FADE IN OMITTED EXT. BLUFF - DAY Michael sizes up the adversary. [MICHAEL] Looks like we got company, pal. WIDER ANGLE The armored vehicle, complete with a mounted .50-caliber machine gun, screams from the other side of the field towards Michael. [MICHAEL] If we're gonna play games, let's not play on their turf. Michael takes off, does a 180, and roars back toward Cactus. OMITTED EXT. MAIN STREET - CACTUS - DAY Michael and K.I.T.T. scream down the street. ANGLE in the opposite direction; the armored vehicle as it turns onto Main Street and stops, facing K.I.T.T. [MICHAEL] If we don't stop them right here, they'll own the ground the semi's going to park on. It's got to go down here and now! OMITTED WIDER ANGLE K.I.T.T. at one end of the street facing the armored vehicle, which sits at the other end. The driver smiles, looks back to his gunner, who nods, then shoots the gate, burning rubber as he heads straight toward Amos, who's holding his ground but getting a little nervous. It opens fire and bullets spray the ground in front of him. OMITTED ANOTHER ANGLE Michael revs the engine. [MICHAEL] Okay, Kitt, let's give these guys a run they won't forget! K.I.T.T. screams straight toward the armored vehicle. K.I.T.T. AND THE ARMORED VEHICLE - INTERCUT careening towards one another. [MICHAEL] Let's microlock their brakes, pal! Michael punches the buttons and K.I.T.T. performs the microlock function. OMITTED ANGLE - ARMORED VEHICLE The brakes lock, sending the gunner flying and the driver smashing into the steering wheel. ON K.I.T.T. as it passes the vehicle, spins into a 180 and heads full speed down the street. K.I.T.T. roars past the Cactus Lounge, Amos appears, ticket book in hand, shaking his fist at K.I.T.T. [AMOS] (just a little less convinced) I mean it, one more time and it's your license! CUT TO INT. BUNKER - DAY Steven on the radio, rips off his earphones and slams them down on the table. [STEVEN] They lost him in Cactus. TO INCLUDE ZURICH [ZURICH] He's a very lucky man -- so far. Steven grabs his Uzi. [ZURICH] What do you think you're doing? [STEVEN] Blood will stop him. [ZURICH] There's still time. We start killing hostages now we've lost our negotiating position. [STEVEN] I'm not going to wait forever. [ZURICH] Trust me. Let him come. Let him commit suicide. ANGLE TO INCLUDE BONNIE who has been listening from the floor. [BONNIE] It's Michael Knight, isn't it? ON ZURICH who glares down at her. [ZURICH] (for Bonnie's benefit) Steven, be so kind as to prepare a transmission. CUT TO EXT. HIGHWAY - DAY as K.I.T.T. roars down the road. INT. K.I.T.T. as Devon comes on. INT. SEMI - INTERCUT Calvin Holmes, whom we will meet later, has joined Devon. He is tall, thin, has the ascetic look of a prophet. [DEVON] Michael, Zurich's just cut the dead- line in half! [MICHAEL] He knows we're here, Devon. [DEVON] Calvin Holmes from the National Security Commission is with me now, Michael. [MICHAEL] I'm eight minutes away from you. Have we got any help coming? He punches out. We stay in the semi. [DEVON] The President has appointed an intragovernmental task force to monitor the crisis and they're in constant touch with Zurich. [MICHAEL] Where are they posted? [DEVON] At a National Guard Armory thirty miles north. They've got tank, heavy weapons --- [HOLMES] (scoffs) -- heavy weapons --- [DEVON] (glares at Holmes) -- and a forty-man antiterrorist force on combat alert. [HOLMES] I don't know why you brought me here. Measures like that are futile. [DEVON] Mr. Holmes, I certainly did not bring you here to concede defeat! [HOLMES] You people just don't seem to understand what you're up against! On Devon's look.... EXT. HIGHWAY - DAY as K.I.T.T. roars past. ANGLE ON SEMI as K.I.T.T. approaches from other direction, and we stay on K.I.T.T. as it hangs a 180, screams out after the semi and moves up into the trailer. ON THE SEMI It heads towards Cactus. INT. SEMI - DAY - ON MONITOR A schematic of Harris Field which will be intercut throughout the following to visualize the various weapons systems as they are described. Michael, Devon and Calvin Holmes. [HOLMES] Ten years ago, Charles Zurich and I worked for the National Security Commission. We were asked to develop an impenetrable fortress to protect top government officials in the event of a non-nuclear terrorist war. We called it 'Deep Sleep.' (a beat) The result of that collaboration is one of the most devastating defense systems ever created. It was a victim of tax cuts and abandoned. Zurich is the one man who would know how to rearm it. Holmes gestures toward the monitor where an aerial photograph of Harris Field appears with a computer-animated overlay showing the defense systems. The outer perimeter system, which encircles the terminal/bunker area and inner tarmac area, is shown via a multitude of pulsating white lights. Inside this area is a series of rectangular red lights. And closer yet to the terminal area are a series of blue, green and yellow lights. [HOLMES] Gentlemen, this is Deep Sleep. [MICHAEL] There's got to be a way. Nothing's impenetrable. [HOLMES] Deep Sleep is. There's no way in, by land, or by air. [DEVON] Explain, Mr. Holmes, exactly what you mean. Holmes' enthusiasm begins to bubble over. (He controls the images on the monitor from the console.) [HOLMES] An aerial attack, using paratroopers? A series of bluish-green lines, representing laser beams crisscross the area -- moving rapidly. Figures representing paratroopers fall through the laser grid and burn a bright orange as they are struck by the beams. [HOLMES (O.S.)] Laser beams creating a grid above the field would burn any object floating through. [DEVON] A plane coming in beneath the grid.... Holmes smiles, pushes a few more buttons. We see the rectangular red lights, a representative plane moving towards the terminal, and the red lights releasing hot, fiery orange missiles at the plane -- a white burst as they strike. [HOLMES] The missiles, sir, would make that a rather unfortunate option. The blue and green lights popping tracer bullets from various locations within the inner perimeter area, then the white lights begin exploding, and missiles fire again --- [HOLMES] You see, the entire field is ringed with land mines, missiles and robotic .50-caliber automatic weapons and mortars. [MICHAEL] Kitt, add this to your analysis of the weapons systems. [K.I.T.T.] Certainly, Michael. [HOLMES] It will do you no good. To insure that the compound would never fall into the hands of our enemies, we installed a doomsday device inside the bunker. Michael and Devon exchange worried glances. [DEVON] Mr. Holmes, are you telling us.... [HOLMES] (interrupting) The explosive has the power of a small nuclear device. We see a simulation of a nuclear explosion wiping out all of Harris Field.... [HOLMES] (almost happily) It all goes...! [MICHAEL] You guys really thought of everything. [HOLMES] Charles and I worked brilliantly together, I must say. [MICHAEL] (angrily) And now innocent people are going to pay! As a phone beeps in the b.g. Devon picks it up. [HOLMES] (a little defensively) You must understand, we were asked to protect top government officials. ON DEVON He turns back to Michael and Holmes. [DEVON] I'm sorry Michael, the antiterrorist force attack has been aborted...It was considered a suicide mission.... SCENE [MICHAEL] Devon, I've got to try. [HOLMES] The odds against you are staggering! [MICHAEL] Bonnie's in there. I have no choice now...I've got a plan.... [DEVON] Are you sure Michael.... [MICHAEL] (beat) What have we got to lose. He climbs into K.I.T.T. OMITTED INT. BUNKER - DAY A depressed Nick sits on the floor, absently playing with his car. Bonnie sits next to him. [NICK] I don't know about dying I never even thought about it. I've never even had a real date. [BONNIE] Nick, we've got friends out there. [NICK] (becoming angry) It's not fair! Zurich approaches, stands behind Bonnie. [BONNIE] Twenty-four hours from now we'll be eating ice cream and laughing. I promise. [ZURICH] You're a dreamer, aren't you? Bonnie and Nick react as Zurich idly kicks Nick's car across the room. He laughs and walks away. She's about as angry as she can get. [BONNIE] Think Michael Knight, Nick. Keep thinking Michael Knight. CUT TO SWANSONS As Zurich passes Mrs. Swanson reaches out to grasp his arm and turns to him angrily and righteously.... [MRS. SWANSON] Young man, you're an animal.... Zurich turns to her, his eyes flare for a beat then settle down to a cold taunting hardness.... [ZURICH] Am I now? Then examine the enormity of the fact than an 'animal' is in the position of power to decide whether you live or die. [MRS. SWANSON] If you're trying to frighten me you're failing...I'm well over seventy years old and been prepared for death for quite a few years... You would simply be advancing the schedule a season or two and not creating anything of awesome originality... (beat) In my eyes you remain an animal.... [ZURICH] (beats) I can create a war...I can walk into any small country with my combat group and sway the balance of power...That in turn makes me the power...I decide who runs the country and then where the next incursion will take place...This incident that surrounds is just a start, the nucleus of what I intend. [MRS. SWANSON] (beat) I think if I manage to live through this I'll require a rabies inoculation. Zurich stares at her a beat then starts to laugh. Floyd takes this opportunity to make a lunge at Zurich but is easily thwarted by Zurich who then coldly glances at Mrs. Swanson, then smashes Floyd across the face unnecessarily.... [MRS. SWANSON] That wasn't necessary.... [ZURICH] I chose to...Another option of power.... Zurich walks away as Mary moves to Floyd's side to administer some aid...Mrs. Swanson shows a little concern and surprise as she speaks to Floyd. [MRS. SWANSON] Why did you do that? [FLOYD] (beats) I also chose to.... A new look of respect from Mrs. Swanson.... [MRS. SWANSON] Floyd, is we make it through all this I'd like to buy you a glass of Scotch. Reactions...Floyd a smile. [FLOYD] I really do prefer root beer.... CUT TO OMITTED EXT. BLUFF - DAY K.I.T.T. pulls up to the edge and stops. [MICHAEL] Kitt, first off scan the bunker, if we do get through we have to know how many guards are inside. [K.I.T.T.] Michael, I can't differentiate between the hostages and the guards. [MICHAEL] We've got to know. (a beat) Wait a second! I've got a wild hunch ...Kitt, give me a visual of this year's MPC electronic toy cars.... One toy car after another crosses the monitor. [MICHAEL] C'mon, c'mon, you've got to be there someplace... (a beat) Hold it, Kitt, go back two! Visual pattern reverses, stopping on a car that looks exactly like Nick's. [MICHAEL] That's it! Now give me a schematic of its design. A schematic of the toy car. [K.I.T.T.] It hardly qualifies as a 'design,' Michael. [MICHAEL] Maybe not but it's the one that Bonnie's new boyfriend was carrying. Locate its ignition system, pal. Focus in on the ignition system. [MICHAEL] Good work! Now put that into your directional memory bank and activate your micropulse. [K.I.T.T.] Right away, Michael. [MICHAEL] Now phase into target using the memory. OMITTED INT. BUNKER - DAY - ON THE TOY CAR sitting on its back against a far wall behind Kurt, who stands guard. Move to Bonnie and Nick, who sit on the floor, looking worried and depressed.... Back to Kurt, who stares out with cold, killer eyes. Then down to the car, still on its back, when suddenly its rear tires begin spinning. CUT TO ANGLE IN K.I.T.T. [MICHAEL] All right, pal, give it a power thrust. [K.I.T.T.] Certainly, Michael. CUT TO ANGLE IN BUNKER Suddenly the car's wheels really whir, the headlights flash on, then off, and finally the entire car jumps as though charged by electricity. The jolt causes it to flip onto its tires and bang into the wall. ANOTHER ANGLE Hearing the tiny sound of the crash from below, Kurt checks it out, shrugs, ignoring it. OMITTED BACK TO THE CAR It backs up, clears the wall and rolls quietly past Kurt's jackboots and out onto the floor. ANGLE - NICK resting on his side, his head propped onto his arm at floor level, daydreaming about better days, when suddenly his eyes open wide. The car heading toward him. He sits up, astounded and thrilled. He nudges Bonnie as the car rolls up to them and stops. The car begins blinking its lights in Morse Code. [NICK] That's Morse Code! It's asking, 'How many guards?' (a beat) I was an Eagle Scout. [BONNIE] It's got to be Michael and Kitt. Use your controls, tap out 'three.' OMITTED EXT. BLUFF/INT. K.I.T.T. - ON MONITOR as electronic impulses flash in code. [K.I.T.T.] They count five guards, Michael. [MICHAEL] (reacts) Good news. He could have twenty men waiting...Give me silent mode pal.... INT. BUNKER - DAY - ON ZURICH standing on catwalk, looking down at Bonnie. [ZURICH] I'm afraid your time has run out. He nods O.S. ANGLE ON STEVEN He moves to the floor and walks directly up to Bonnie. Nick steps in between, but Steven pushes him away. [STEVEN] Don't worry, your time will come. On Nick's worried look: CUT TO EXT. HARRIS FIELD - DAY K.I.T.T. approaching the perimeter area, running silent. INT. K.I.T.T. Devon comes in. [DEVON] Zurich has just announced he's going to execute the first hostage. Michael, he's chosen Bonnie. [MICHAEL] (to himself) I'll be there Bonnie. INT. BUNKER Bonnie stands near the catwalk area, alone against a wall. She is terrified but trying to retain control. She looks at Nick, who holds up his toy car, a signal for hope. She smiles, turns to face Zurich. CUT TO OMITTED EXT. FIELD - ON ARMORED VEHICLE as it guards the perimeter. ON K.I.T.T. moving up behind it. [MICHAEL] Next move pal, electronic ignition starter. Let's shake this place up! CUT TO INT. BUNKER - ON BONNIE ON ZURICH as he pulls out his 9mm pistol. CUT TO EXT. FIELD - ON ARMORED VEHICLE as it starts up, careens towards the mine field. The vehicle hits the fence, detonating a mine, which causes a huge explosion and takes out the fence. CUT TO INT. BUNKER - ON ZURICH aiming his pistol at Bonnie when, suddenly, the alarm beep goes off.... ANOTHER ANGLE as Zurich looks frantically around, forgets about Bonnie and runs up the catwalk. [STEVEN] He's trying to come through! He used the armored vehicle to clear a path through the mine field! [ZURICH] Then our first execution will be Michael Knight! ON BONNIE as Nick runs to her and hugs her. She's shaky and happy to be alive, if only for a few more moments. EXT. MINE FIELD - DAY - ON K.I.T.T. moving through an imaginary maze. INT. K.I.T.T. - MONITOR A schematic of mine field with the mines forming the maze and K.I.T.T. as the cursor. Michael playing the video game of his life. [MICHAEL] (to himself) Okay...easy...stay inside, stay inside! BACK TO EXTERIOR as K.I.T.T. penetrates deeper. ANGLE - ROCKET LAUNCHER It moves, taking aim, and a rocket is launched. INT. K.I.T.T. - MONITOR The rocket, in the form of another cursor, approaching. [K.I.T.T.] Michael, we have a rocket approaching. [MICHAEL] Give me its launch coordinates, Kitt! The rocket launcher on the monitor, then K.I.T.T. changing direction and heading towards it. [MICHAEL] Use the TDS to project a heat source into that launcher, pal. The launcher begins to glow, K.I.T.T. heading straight at the launcher. The launcher glowing brightly, K.I.T.T. on top of it, and at the last second Michael turns hard to the right. OMITTED ANOTHER ANGLE K.I.T.T. screeching to the right, the rocket flies past and makes a direct hit on the launcher. The explosion is tremendous as all the rockets either explode or are launched like a fireworks display. INT. BUNKER - DAY - ON ZURICH slamming his fist down in anger as we hear the explosion. EXT. HARRIS FIELD - ON K.I.T.T. moving across the tarmac. ON AUTOMATIC WEAPONS .50-caliber robotic machine guns take aim and open fire. ON K.I.T.T. as bullets ping off its body. ON MORTARS Also robotic, they take aim and fire. ON K.I.T.T. [MICHAEL] Hang on, we've got mortars coming in! ON K.I.T.T. as it evades the mortar fire raining down. SERIES OF SHOTS The weapons fire on K.I.T.T., who manages to get through and finally out of range next to the bunker. [MICHAEL] Nice work, pal! Very nice! [K.I.T.T.] Thank you, Michael. INT. BUNKER - DAY Zurich stares in disbelief at the monitor. Steven bangs his fist in anger on the console. OMITTED ANOTHER ANGLE Zurich moves toward the monolithic device. Steven watches him, clutching his Uzi. Zurich takes out the key. The monitor begins the countdown. Zurich begins slowly making his way off the catwalk and onto the main floor. [ZURICH] They've got fourteen minutes to make up their minds. [STEVEN] There's got to be a better way. That computer's taken it out of our hands. Zurich continuing to move, Steven glancing alternately between Zurich and the Doomsday. [STEVEN] Shut it down, we'll start executing hostages! Zurich now moving towards a wall. [ZURICH] They'll back down, they've got to. Stay by the phone, they'll be in touch. Zurich stops, looks at the wall. OMITTED INSERT - KEYHOLE exactly like the one on the Doomsday Device, very unobtrusive, virtually unnoticeable in the wall. BACK TO SCENE [ZURICH] They'll let it run down to three, maybe two minutes...and then we'll hear from 'em. [STEVEN] You're doing it all wrong! You're blowing it, Zurich! Zurich palms the key, slips it into the slot and, instantly, the heavy metal walls part. Zurich steps into the opening, smiles. [ZURICH] Then try it your way! The doors close. ON STEVEN stunned, then opening fire on the closing doors. [STEVEN] He's got the key! He's double- crossed us -- left us to die! The bullets riddle the door, but do no good. ON BONNIE [BONNIE] He's done it! ON MONITOR The countdown continuing...now at thirteen minutes, thirty seconds and counting. ON BONNIE, NICK, THE HOSTAGES AND TERRORISTS Reactions. We: FREEZE FRAME FADE OUT END OF ACT THREE ACT FOUR FADE IN A SERIES OF CUTS ON BONNIE standing with Nick. ON MONITOR The countdown is continuing. BACK TO BONNIE who glances at the terrorists, feature Steven and Kurt, still guarding the hostages but shaken by the countdown on the monitor as well. [BONNIE] (to Nick) I've got to try. Bonnie moves quickly towards the catwalk. ANGLE - KURT raising his Uzi. [KURT] Halt! He begins firing. BACK TO BONNIE She runs for the ladder, bullets spraying the floor behind her. She starts to climb up, but stops. ANGLE - BONNIE'S POINT OF VIEW - STEVEN His Uzi pointed. [STEVEN] Get back. ANGLE - BONNIE AND STEVEN [BONNIE] I'm a computer programmer. I have to try and stop it. He left you here to die, can't you see that? Bonnie begins moving up the ladder. OMITTED BACK TO SCENE Steven following her with his Uzi. [BONNIE] Kill me and you all die. I'm your only hope. Bonnie reaches the catwalk level, faces Steven directly. [BONNIE] You can shoot me or you can drop your weapons and let me try. Bonnie turns away from Steven, begins moving toward the communications panel. ON STEVEN who takes aim at Bonnie. OMITTED ON BONNIE as she begins activating the communications panel. ON STEVEN sweating now, finally lowers his Uzi and drops it to the floor. The others follow suit. OMITTED CAPTAIN ROGERS AND HIS CREW quickly move in to grab the weapons as does Floyd Swanson.... ON BONNIE as the communications panel is fully activated. CUT TO INT. SEMI - DAY Devon is picking up Bonnie's transmission, Holmes by his side. [DEVON] It's Bonnie! What's happened in there? INTERCUT - BONNIE [BONNIE] Zurich activated Doomsday and escaped with the key! We've got less than eleven minutes! INTERCUT - MICHAEL in K.I.T.T. [MICHAEL] Bonnie, we're right outside the bunker. Kitt scanned the walls -- they're steel reinforced, too thick to penetrate. INTERCUT - SEMI Holmes shrugs. [HOLMES] It's hopeless. [DEVON] (angrily) You designed this monstrosity, now help us! [HOLMES] (breaking down, helplessly) There's nothing I can do. In case of evacuation, the device was supposed to guarantee total destruction of the facility. [DEVON] Then there was a serious flaw in your design if there was no fail/safe mechanism. Innocent people are going to die because of your idiocy.... [HOLMES] I'm sorry, I.... [DEVON] Stop feeling sorry for yourself! Think, man! How do we stop it? [HOLMES] Without the key... (a beat) Time, we need time to access the computer. ANGLE IN BUNKER - INTERCUT Nick joins Bonnie as she prepares to access the computer. [BONNIE] I need a password! Devon turns to Holmes who shrugs.... [HOLMES] It was Deep Sleep. [DEVON] Try 'Deep Sleep.' Bonnie enters "Deep Sleep." ANGLE - MONITOR It flashes NO ACCESS. ANGLE - BONNIE [BONNIE] I didn't get in. [NICK] Try 'Doomsday'! Bonnie makes the entry and the monitor repeats NO ACCESS. EXT. BUNKER K.I.T.T. parked in front. INTERCUT - MICHAEL AND K.I.T.T. Michael punches buttons. [MICHAEL] Okay, buddy, let's access that endless vocabulary of yours. Any and all syno- nyms for sleep. [K.I.T.T.] Right away, Michael. The words flash across K.I.T.T.'s monitor. INTERCUT - BONNIE She enters them one by one. INTERCUT - OTHERS waiting, tense, time running out. ANGLE ON BONNIE She enters "Coma." The monitor suddenly displays the Deep Sleep menu, featuring "Random Number Access Shut Down Code." [BONNIE] We're in! ANGLE - TERRORISTS, HOSTAGES They sense hope. ANGLE - BONNIE as she types in random number access instructions. OMITTED ANGLE - MONITOR One digit locks in. ANGLE - TERRORISTS, HOSTAGES The hostages and the terrorists step towards the monitor. The Doomsday clock reads nine minutes, twenty-two seconds. The numbers are still rolling and a second digit locks in. Another hopeful cheer. [NICK] We're gonna make it, aren't we? [BONNIE] (convinced) Darned right we are! INTERCUT - K.I.T.T. [K.I.T.T.] Michael, my preliminary calculations indicate that fifteen minutes are needed to break that code. Bonnie and the others have nine minutes remaining. [MICHAEL] We couldn't get them out and safe by then...we've got to get the key. Scan the hangars -- we've tried everyplace else! ANGLE - SCREEN Graphics of the hangars and, in one, the schematic of a C-130 plane. A heat pulse appears in the plane's cockpit. [MICHAEL] That's gotta be him! [K.I.T.T.] Michael, he's on the move! Michael looks O.S. across the tarmac. ANGLE - MICHAEL'S POINT OF VIEW - HANGAR The door opens. The C-130 lumbers out, heading for a runway. ANGLE - MICHAEL [MICHAEL] Get right behind him, pal. EXT. K.I.T.T. - DAY as it takes off after the C-130. SERIES OF SHOTS as the C-130 picks up speed, K.I.T.T. in hot pursuit, angling after the cargo plane. INT. K.I.T.T. - DAY [MICHAEL] Microlock on the entry ramp's system, pal. On my signal.... [K.I.T.T.] Certainly, Michael. INSERT - SCHEMATICS OF C-130 EXT. RUNWAY - DAY The C-130 moves towards a takeoff. K.I.T.T. moves up behind the plane. [MICHAEL] Kitt! Activate! INSERT - MONITOR On the schematic we see the microwaves lock. ANGLE - MICHAEL'S POINT OF VIEW - C-130 They are underneath the plane as the ramp opens before them. BACK TO SCENE [K.I.T.T.] Michael, you wouldn't! You know I'm terrified of flying! [MICHAEL] Sorry, pal, there's no choice. INSERT - K.I.T.T. CONTROLS Michael activates the turbo thrust. ANGLE - MICHAEL as he's thrown back against the seat. ANGLE - C-130 K.I.T.T. rockets up the ramp into the plane as it takes off. INT. C-130 COCKPIT - DAY as Zurich fights for control of the suddenly unstable aircraft. INT. C-130 CARGO HOLD - DAY K.I.T.T. screeches to a stop. Featured on the fuselage wall are parachutes which are attached to harnesses, each with a boldly lettered sign reading: Warning - Test All Hook-up Before Vehicle Drop. ANGLE IN K.I.T.T. [MICHAEL] Let's access the automatic pilot system, pal. I want the plane to circle the field. INT. COCKPIT - DAY Zurich at the controls. The plane lurches into a bank, throwing Zurich into a state of alarm. Zurich attempts to regain control, but it's useless. Zurich pulls out his 9mm pistol, releases the safety, turns to leave the cockpit. INT. CARGO HOLD - DAY - ANGLE - MICHAEL He leaps from cover and jumps Zurich, a couple of blows and Michael disarms him. [MICHAEL] The key, Zurich! [ZURICH] Don't be a fool, you'll never land this plane in time! Your only chance is to fly out of here with me. [MICHAEL] Nobody's flying anywhere, Zurich -- we're locked on auto-pilot circling the field. If Doomsday goes off you die with the rest of us. It's your call. Zurich hands over the key. [ZURICH] You're a fool. [MICHAEL] Kitt, can we bring her down in time? [K.I.T.T.] I'm sorry, Michael. OMITTED ANGLE - MICHAEL seeing something O.S., the hint of a smile. ANGLE - MICHAEL'S POINT OF VIEW - PARACHUTE BACK TO MICHAEL [MICHAEL] Kitt, you're not gonna like this.... [K.I.T.T.] Michael, you wouldn't! As Michael begins to unstrap parachutes. [MICHAEL] (to Zurich) After I'm through, help yourself to one of these. I'll be waiting for you.... CUT TO EXT. PLANE - DAY K.I.T.T. shoots out from the rear of the C-130, free- falling until three parachutes open. [K.I.T.T.] My fear of flying has been fully justified! [MICHAEL] It's the ride of your life! VARIOUS ANGLES as K.I.T.T. drifts to Earth. [K.I.T.T.] A ride, Michael, is taken with four wheels in contact with a hard, smooth surface. [MICHAEL] What's our ETA for touchdown, pal? [K.I.T.T.] Less than one minute -- providing this operation is a success. [MICHAEL] There's nothing to worry about, buddy. These chutes were designed for this. [K.I.T.T.] Falling through space hardly seems the result of design. [MICHAEL] We're getting down in one piece, aren't we? [K.I.T.T.] Michael, I am in no mood to debate the point. [MICHAEL] No time, anyway, here comes Mother Earth! [K.I.T.T.] Thankfully, not a moment too soon! As K.I.T.T. lands. CUT TO INT. BUNKER Bonnie and Nick watching the monitor. ANGLE - MONITOR reading one minute -- ten seconds. BACK TO SCENE Static coming over the radio, then: [MICHAEL (O.S.)] Bonnie? Bonnie? [BONNIE] Michael?!? Where are you??? INT. K.I.T.T. as Michael speeds towards the bunker. [MICHAEL] Bonnie, how did Zurich get out? [BONNIE] A door -- on the south wall, dead center! (a beat) Michael, hurry! [K.I.T.T.] Fifty-two seconds, Michael. ON K.I.T.T. as it roars toward the hangar. EXT. HANGAR as K.I.T.T. screams into the dark, cavernous hangar. INT. HANGAR - INSIDE K.I.T.T. as they roar through the darkness. INT. BUNKER Reaction of Bonnie, Nick and the others as they watch the Doomsday clock counting down. We are now at less than one minute. INT. K.I.T.T. roaring through the darkness. [MICHAEL] How long till impact, buddy? [K.I.T.T.] Eleven seconds and counting. INSERT - TURBO BOOST Michael waits a second, then activates it. OMITTED INT. BUNKER - ON THE DOOR and K.I.T.T. smashes through. Michael brings K.I.T.T. to a screeching halt and leaps out, key in hand. BONNIE reacts to the sound. BUNKER Michael enters via door. ANGLE - BONNIE [BONNIE] Up there, Michael -- on the catwalk! ON MICHAEL up the steps, to the device, slams home the key. ANGLE - CLOCK two seconds left. The process still runs with eight digits locked in. ANGLE - HOSTAGES, TERRORISTS, BONNIE, NICK Joyful celebration. ANGLE - BONNIE as she releases Nick from an embrace and rushes up the steps to join Michael. They embrace. [MICHAEL] (warmly) Hey, Bonnie...you did real well. [BONNIE] You, too, Michael.... INTERCUT - K.I.T.T. OUTSIDE [K.I.T.T.] Michael, is Bonnie all right? [BONNIE] (comlink) I'm fine Kitt, and thank you. [K.I.T.T.] And my congratulations to you young man. You also performed well. [NICK] You're incredible! ANGLE - TOY CAR The toy car beeps its horn and flashes its lights. [K.I.T.T.] And you did well too, young sport! ANGLE - MICHAEL AND BONNIE laughing -- as the last digit locks in. On their reactions we.... FREEZE FRAME FADE OUT END OF ACT FOUR TAG FADE IN OMITTED EXT. MAIN STREET - CACTUS - DAY With the semi in the b.g., Michael, Devon, Bonnie and Nick. K.I.T.T. is parked behind them in front of the Cactus Lounge. [DEVON] Your mother and father are waiting for you in Los Angeles. [NICK] Together? [MICHAEL] Together. [DEVON] They're apparently ready to try again, Nicholas. [NICK] Gee...I guess I won't be going to Boston after all, Bonnie. No more foolin' around for me. I really to help them make this work. (a beat) But I bet we woulda been great together at your sister's wedding.... [BONNIE] No doubt about it. Sorry we missed it.... She laughs and gives him a big hug. ANGLE - K.I.T.T. as Amos approaches from the rear, carrying his parking meter and ticket pad. [K.I.T.T.] Surely you have something better to do. [AMOS] The joke's on you buster, now I'm the only sworn officer in these here parts to ticket a talkin' car??? It just don't get any better'n that, sonny! A moan from K.I.T.T. as he begins moving down the street. Amos hustles after him. [AMOS] I'll teach you respect for law and order if it's the last thing I do! On Michael, Devon, Bonnie and Nick's laughter, we: FREEZE FRAME FADE OUT THE END

{"show": "Knight Rider", "season": "s04", "episode": "e03", "title": "SKY KNIGHT"}

knightriderarchives

ACT ONE FADE IN EXT. CANYON COUNTRY - INDIAN TERRITORY - NIGHT Moonlight falls on the cliffs, which echo with the long and lonely howls of the coyotes. A coyote wanders down the slope. EXT. BURIAL GROUND - ESTABLISHING At the bottom of a ravine, a Landrover is parked by the mouth of a cave. We hear the crunch of pickaxes. INT. CAVE - NIGHT By the glow of a battery-powered lantern, Dr. Quentin Tanner, archaeologist, digs fiercely away at the rock wall. Tanner's a grizzled early sixties, strongly built, with skin red from the desert sun, and the wild fervor of a man who lives for his work and doesn't come up too often for air. Barbara Ralston, his college protege, digs by his side; a clean-cut preppy, she's a little tired and spooked by the surroundings. She slows down to wipe the sweat off her face. They work with small chipping hammers and soft whisk brooms. [DR. TANNER] Let's dig a little faster. Barbara speaks up -- not happily. [BARBARA] Doctor Tanner, all we've got is a tribal legend that hints the relics may be in the fork of this cave.... Dr. Tanner glares at her. [DR. TANNER] You may yet become an archaeologist. But less grades and more grit -- that's what you need. That galls her into digging harder. A loud wail of a coyote echoes through the cave and she jumps up, listening ...Dr. Tanner is amused by her fear. [DR. TANNER] We must be getting closer, Barbara. The spirits are angry with you. As Dr. Tanner chuckles, she tries to shrug off her case of nerves and resume digging. But meanwhile.... EXT. ANGLE ON EDGE OF RAVINE - NIGHT An old pickup wheels into view -- short, squat and ominous. It eases to a stop and perches right at the edge of the rocks. CLOSER ON TRUCK Two Indians in dark baseball jackets put on masks and wait.... RESUME CAVE As Barbara keeps digging.... [DR. TANNER] Stop! Tanner grabs her arm, halting her in midswing. He then scrapes at the hole bare-handed, Barbara eagerly joining him. THEIR HANDS snatch and pull carefully at the stones, and suddenly a brood of small, ancient clay dolls, like mice flushed out of their hole, tumble out of the dirtfall. DR. TANNER AND BARBARA catch them. With Barbara hovering over his shoulder, Dr. Tanner takes a rag and wipes them off. Then he brings it over to his lantern. [BARBARA] Is it...? [DR. TANNER] (quietly jubilant) What we came here for. The guardian spirits of the warrior dead. [BARBARA] The Kobe Indian shrine. CUT TO EXT. MOUTH OF CAVE - NIGHT Dr. Tanner and Barbara rush out of the cave laughing and talking, in high spirits, though their voices are muffled, swallowed up by the depth of the ravine. The camera pulls up and back to disclose the truck lying in wait for them. [TANNER'S VOICE] We've done it...Let's get it to Susan. [BARBARA'S VOICE] It's wonderful. I never really believed till now. REVERSE ANGLE ON TRUCK The Indian in the driver's seat knocks on the back of the truck. The camera tilts up as two other masked Indians, Simpson and a cohort whose identity we'll learn later, hop out of the flatbed, landing with catfooted lightness on the ground. WITH THE INDIANS They silently slip down the ravine. EXT. BOTTOM OF RAVINE - LANDROVER While Dr. Tanner stows the dolls in the back, Barbara jumps into the front seat and starts the engine. He glances up at the rearview and freezes with fear. IN THE MIRROR A dark human form rearing up into view. BARBARA whirls around just as the Indian slugs her down. DR. TANNER jumps as he hears the attack and Simpson grabs him from behind. He tries to twist free, but the big Indian yanks him down and out of view and punches him once. Dr. Tanner doesn't get up. Simpson pokes the driver in the back. [SIMPSON] Go. The camera pulls back as the driver shoves the unconscious Barbara aside, guns the Landrover into a speed turn and heads up the ravine towards the pickup, which revs its motor and pulls away. The coyotes once again begin to howl. CUT TO EXT. OCEAN DRIVE - SANTA MONICA - DAY K.I.T.T. cruising along the palm-lined beaches in his convertible mode. [MICHAEL'S VOICE] (laughing) Stress-relaxation techniques? INT. K.I.T.T. Michael hale and hearty and having fun at K.I.T.T.'s expense. [K.I.T.T.] It really works, Michael. Combined with the right sort of meditation. [MICHAEL] I'm going to have to park you in the shade more often, pal. What do you need with stress-relaxation and meditation? The best kind of stress- relaxation is two weeks in Maui. I can't wait. Michael holds up a colorful Hawaiian shirt.... [K.I.T.T.] Your choice of shirts make that quite apparent. [MICHAEL] The luaus, soft tropical nights... the sun, the sand.... OMITTED MONITOR Devon flashes on the screen. [DEVON] I'm afraid you'll have to settle for a working vacation at the Kobe Indian Reservation. [MICHAEL] Devon, c'mon -- that's a contradic- tion of terms! What about Maui? [DEVON] Maui will have to wait, Michael. Have you ever heard of Doctor Quentin Tanner? [MICHAEL] Can't say that I have. Why? [DEVON] He's a noted archaeologist who's been searching for relics on the Kobe reservation grounds. The Foundation has supported his activities on behalf of native Americans for years. Last night, he and his assistant vanished from the area. [MICHAEL] Devon, it seems to me that's a matter for the Missing Persons Bureau or the police. [DEVON] No time. The bulldozers will be on the land before they get there. There's a conflict between the Kobe Indians and some oilman over the ownership of the canyon where Doctor Tanner was last seen. You're to contact Susan Christopher. She's a social worker. She thinks Doctor Tanner and his assistant may be in grave danger. [MICHAEL] I'll check it out -- on one condition. No more references to 'working vaca- tions.' Devon smiles, clicks off. K.I.T.T. is sympathetic. [K.I.T.T.] Look at it this way, Michael. In the desert, you'll get just what you wanted. [MICHAEL] What's that? [K.I.T.T.] The sun, the sand...But no shirt.... [MICHAEL] (laughs) And dust, and heat, and small animals crawling over your fenders... (beat) We're going to love it.... Michael hits the gas. CUT TO EXT. HIGHWAY - DAY - SHOTS OF MICHAEL AND K.I.T.T. - STOCK heading in to the desert. CUT TO EXT. ROAD - DAY - ON K.I.T.T. - STOCK speeding down a two-lane blacktop towards the reservation. Music underscores the eerie beauty of the stark shapes of boulders and mesas rising up from the red sand. CUT TO OMITTED EXT. RESERVATION - DAY K.I.T.T. drives into the center of the reservation, passing the gas station, the general store and some assorted buildings. ANOTHER ANGLE He pulls to a stop opposite the tribal council lodge and the local medical clinic. CLOSER ON LODGE A bunch of Indians are hanging out on the porch. They turn and all their eyes burn in on.... MICHAEL as he pulls to a stop. The Indians move forward. [MICHAEL] Well, here we are, pal. And people to greet us to boot. [K.I.T.T.] Careful, Michael, this doesn't appear to be a welcoming committee. [MICHAEL] Gotcha. As Michael gets out of the car he is met by a looping punch thrown by Jonathan Eagle, a young hotheaded Indian in a native jacket. Michael is caught off balance and goes down. NEW ANGLE as Eagle rushes forward. [EAGLE] Go back and tell Cyrus Oakes we've had enough of his people putting the squeeze on us. Eagle reaches down to grab Michael who allows Eagle to pull him to his feet. Eagle aims another looping punch at Michael, who slides under it and drives his fist to Eagle's midsection, then quickly turns the limp man around in a choke hold to use him as a shield against the other Indians who start to press forward. Susan exits a building. [MICHAEL] Now take it easy...My name's Michael Knight, Foundation for Law and Government...I just want to talk to Susan Christopher. The Indians start forward. ANOTHER ANGLE Susan Christopher, a good-looking, strongly built woman in her early thirties, races forward. She is part or all Indian herself and not afraid of the conflict or the group. She bangs the topmost Indian on the head, kicks off another, and that gives Michael more than enough edge. [SUSAN] Wait! Stop! I called him...He's here to try and help us find Doctor Tanner and Barbara.... [EAGLE] We don't need a white man's help! [SUSAN] Tell that to your mother. A white doctor delivered your three brothers. There is some laughter from the other Indians. Eagle is embarrassed, so he turns back to Michael to swing another blow which Michael, now prepared, easily ducks. He controls Eagle in an armhold. [MICHAEL] (to other Indians) If you promise to hold him, I won't have to.... [SUSAN] (firmly) He'll be no trouble. Michael lets him go and although Eagle doesn't look happy he at last accepts it. [SUSAN] (to Eagle) Control yourself and you can join us with Thorn. [MICHAEL] Who's Thorn? [SUSAN] Curator of our Kobe Museum. CUT TO INT. RESERVATION MUSEUM - DAY - CLOSE ON THORN Thorn is a formally dressed, scholarly, older, half white, half Indian. The museum is a musty space lit by a skylight and surrounded by glass cases containing Indian relics. [THORN] I worked closely with Doctor Tanner. We were hoping to come up with a major archeological find and have the burial grounds declared a national shrine. [EAGLE] (flaring) Instead Cyrus Oakes will be drilling through the bones of our ancestors to get to his oil. [SUSAN] Oakes has acquired the rights to exploit the land as of eight AM tomorrow. Doctor Tanner was our last chance to keep the grounds intact. [MICHAEL] Isn't it a little far-fetched to believe that Oakes grabbed Doctor Tanner before he could complete his survey. [EAGLE] I told you he wouldn't believe us. Eagle exits the hut. [MICHAEL] I didn't say that, but I'm going to need a little more explanation and a lot more proof before I'm convinced. I'd like to start with the spot where Doctor Tanner disappeared. [THORN] Susan can take you out there...but I doubt you'll find anything. They move off, followed by Eagle's disgusted look. CUT TO OMITTED INT. RESERVATION - THORN'S OFFICE - MUSEUM - DAY A spooky little enclosure in part of the museum, dominated by a large glass case containing a headdress, a satchel and an ancient spear. Thorn goes to his desk, picks up the phone, and starts dialing. OMITTED EXT. CITY SKYLINE - DAY - ESTABLISH EXT. HILL COUNTRY - DAY Cyrus Oakes, a big, middle-aged businessman with a well- tailored suit and big-city attitude and language. He takes a deep breath, enjoying the country air and the view.... [OAKES] Nothing like a little tailgate picnic to christen a new piece of property. He turns around and we see his "tailgate" -- a big stretch limo. Lisa, his blonde and very hot companion, dressed in revealing, flowing silk, comes out with champagne glasses. Oakes starts to open the bottle. [OAKES] What you're seeing, Lisa, is diver- sification. Coal, oil... (pointing with the bottle to the hills) ...Real estate. A natural progression. The land and its resources. Something you can grab a hold onto. [LISA] All yours? [OAKES] Absolutely. [CHAUFFEUR] Mr. Oakes --- ANGLE ON LIMO The Chauffeur holds out his cellular phone. Oakes, not a little annoyed, goes to answer it. [OAKES] Yeah. OMITTED INT. RESERVATION MUSEUM - INTERCUT AS NEEDED Thorn on the phone, nervous. [THORN] Mr. Oakes, it's Thorn.... [OAKES] How'd you find my mobile phone? [THORN] I told your secretary it was an emergency. [OAKES] Then it better be just that. [THORN] Michael Knight. An investigator for The Foundation for Law and Government showed up. He's on his way out to the burial grounds now to snoop around. [OAKES] If you did what you were told there shouldn't be anything there to find. [THORN] It's not just that -- some of the Indians are thinking he might help and I think you're going to have trouble rounding up drill and rig crews. [OAKES] (a few beats, controlling) I pay people to do a job and then I end up doing it myself. (checks his watch) I'll be out at the reservation to talk to them myself. [THORN] What about this investigator? [OAKES] Handle him. Use Simpson. [THORN] Wait a minute, I don't want to be involved in any killings.... [OAKES] I got millions of dollars' worth of oil waiting to be tapped. You got eighty-nine cents worth of Indian relics. Where do you figure your future lies? CUT TO OMITTED EXT. DESERT BLACKTOP - DAY K.I.T.T. cruising through the high desert country. INSIDE K.I.T.T. - DAY - MOVING Susan sits next to Michael, her eyes taking in all of K.I.T.T.'s "extras" but not wanting to comment about them. [SUSAN] I'm sorry about that welcoming committee at the reservation, but Jonathan Eagle has quite a temper and the others are just frustrated enough to follow his lead. [MICHAEL] You seem to be able to control him. [SUSAN] (a laugh) I've known him all my life. When I got my degree and decided to come back to the tribe it was like I never left...Now this whole issue of oil is tearing us apart. [MICHAEL] I can understand your loyalty to tradition and to your heritage...and as beautiful as this country is, I can also understand why someone would try and grab it. [SUSAN] You've got to help us. Somehow, some way...we've got to keep the tribe and the land together.... ON MICHAEL He holds a beat. [MICHAEL] Let's take a look at things, then I'll do whatever I can. Susan, a little more relaxed.... CUT TO EXT. PANORAMIC - DAY - EDGE OF THE RAVINE K.I.T.T. steers off the two-lane blacktop and pulls up at the ravine's rim. Michael gets out and looks over the ravine, and Susan follows him. We pull back to a ridge of boulders up which Simpson is slowly climbing, keeping an eye on Michael and Susan and carrying in his leather-gloved hand a large, ugly-looking sack. CLOSER ANGLE ON MICHAEL AND SUSAN [MICHAEL] Let's do some old-style tracking. [SUSAN] Please, no Indian jokes. Michael leans on K.I.T.T.'s hood. [MICHAEL] This isn't a joke. (to K.I.T.T.) Kitt, give me an imprint reconstruc- tion for the bottom of the cave. I'm looking for evidence of any struggle that might have taken place here last night. [K.I.T.T.] Right away, Michael. [SUSAN] (startled) They've certainly put some interesting accessories on cars lately! [MICHAEL] You won't find these on any other model. ON SCAN SCREEN A hologram of the ravine. In quick sequence, two pairs of footprints head into the cave. Then two pairs come out towards a line of tire tracks -- and two new pairs of footprints converge on them. [K.I.T.T.] Thank you, Michael. I show an unusual pattern for the past twelve hours. ON MICHAEL AND SUSAN Michael leans inside K.I.T.T.'s side window, pointing to the image. [SUSAN] That looks like Doctor Tanner's land cruiser. [MICHAEL] Those footprints intersect by the car -- and then they disappear. [SUSAN] He wasn't meeting anyone out here. [MICHAEL] Then he just might have been ambushed after all. Show me where he was digging in the cave. (to K.I.T.T.) Surveillance Mode, Kitt, watch my back --- [K.I.T.T.] Of course, Michael. EXT. CAVE Michael and Susan cautiously enter the cave mouth. INT. CAVE TUNNEL They slip inside, Michael bent almost double in the tight space. The cave track forks and Susan points him to the right. ANOTHER ANGLE as they head deeper into the cave, they pass a cleft in the rocks above. The camera tilts up to reveal the sunlight pouring down from the surface and the ominous silhouette of Simpson's head peering through the crack. UP ON THE ROCKS ABOVE Simpson kneels at the top of the crevice. A gunny sack in his hand, setting himself to throw it down.... RESUME SCENE Michael and Susan get to the dead end where Tanner was digging. There's no room to stand -- they're crouched against the wall. Suddenly, the comlink crackles to life. [K.I.T.T.] Michael. [MICHAEL] Yeah, Kitt? INT. K.I.T.T. - SCREEN A pulsating, red light on a holographic readout of the ridge. [K.I.T.T.] I've detected an intruder on the rocks above you. BACK TO MICHAEL AND SUSAN as we hear dirt sliding loose in the crevice and Michael yanks Susan towards him. [MICHAEL] Stay back! THE GUNNY SACK - ANGLES AS NEEDED It crashes down and bursts open to release a horde of rattlesnakes. MICHAEL AND SUSAN recoil against the cave wall in the tight, dark corner -- the rattlers all around them.... FADE OUT END OF ACT ONE ACT TWO FADE IN INT. CAVE - DAY The rattlers move, coil.... MICHAEL AND SUSAN are backed against the wall. Michael, eyes glued to the rattlers, raises the comlink. [MICHAEL] (in a low voice) Kitt, go into Electrical Generation Mode and pump about two hundred volts through the comlink. [K.I.T.T.] If I do, Michael, it will cause more damage to you than to those snakes. The rattlers coil in wait. Michael unstraps the wristband. [MICHAEL] I'm taking the comlink off, pal. Wait for my signal. Susan, transfixed with fear, shrinks back as Michael dangles the comlink in front of the rattlers. They crawl towards the bait -- he hurls it at them. [MICHAEL] Now, Kitt! THE RATTLERS pounce. MICHAEL grabs Susan to protect her. ON THE RATTLERS They attack the comlink and are stunned by the jolt of the current. RESUME MICHAEL AND SUSAN Michael takes Susan by the hand and they slip by the snakes, some of which are still twitching on the ground. They pass them. Michael picks up his comlink...Susan, overwhelmed with relief, clings to Michael for support. CUT TO EXT. RAVINE - DAY Michael and Susan hustle up the ravine slope. Michael gives the still-shaky Susan a hand over some rocks. [MICHAEL] Are you all right? [SUSAN] Oh, I'll be fine. I've seen my share of snakes... (trying to smile) ...just not all at once.... Michael grins at her display of pluckiness and rushes over to where K.I.T.T. waits for them. [MICHAEL] Kitt, locate the guy on the ridge. [K.I.T.T.] I'm afraid he's gone, Michael. [SUSAN] We've got to be able to stop Oakes now. Isn't this enough proof? [MICHAEL] Not yet. Nothing to tie him directly to any crime. A guy like Oakes works through middlemen. But I think I have a lead on who those middlemen are. [SUSAN] What's that? [MICHAEL] There were only two people who knew we were coming here. Eagle and Thorn. Susan takes it in. [SUSAN] It couldn't be Eagle. Not the way he feels about the land. [MICHAEL] That leaves Thorn. He was working with Doctor Tanner at the dig, right? Susan is shocked as it sinks in. [SUSAN] I've worked with Thorn for a year.... [MICHAEL] Susan, it's just a hunch so far. But I wouldn't recommend trusting Thorn with any of our travel plans from now on. CUT TO EXT. RESERVATION LODGE - DAY A crowd of Indians has gathered around the porch. K.I.T.T. pulls up behind the group. Michael and Susan exit...They stare ahead at a meeting taking place. MICHAEL AND SUSAN'S POINT OF VIEW - OAKES stands on the porch, speaking to a bunch of Indian pipe fitters and construction workers. OAKES He spots them a distance away and continues his speech as he refers to them...His Stetson still a prop in his hand. [OAKES] Who do you people want to listen to, a welfare worker paid by the state who has nothing to gain by this influx of money and jobs...How much money has she put in your jeans since she came back? You people start to do well and she's out of her job...Or do you want to listen to that 'inves- tigator' in the fancy car...He's got a steady paycheck coming in from a place called F.L.A.G. SUSAN AND MICHAEL She's furious. [SUSAN] That creep.... [MICHAEL] So that's Cyrus Oakes.... BACK TO SCENE [OAKES] I'll guarantee six months employment at double minimum to any and all of you who report to my compound at six AM tomorrow morning.... OMITTED ON THE PORCH Oakes claps the shoulder of a potential Indian worker. [OAKES] Oakes Industries can also guarantee plenty of overtime.... ANOTHER ANGLE - THE INDIAN CROWD begins to turn away -- except for Eagle, who furiously breaks from the front rank of the crowd and marches up to the porch. RESUME MICHAEL AND SUSAN [SUSAN] (alarmed) Eagle! Michael shoulders his way up front. ANGLE ON EAGLE Alone, he confronts Oakes and the construction workers. [EAGLE] How can you shake this man's hand? He's taking the land that's right- fully yours. He's destroying your birthright. SIMPSON lumbers forward. A couple of other henchmen frame him in the b.g. [SIMPSON] He's offering them jobs, Eagle. Jobs, not ghosts. [EAGLE] That's what you think it's about, Simpson? Ghosts? That land is the heart of our tribal heritage! [SIMPSON] Get lost, kid. With one hand, he shoves Eagle against the wall -- but Eagle jumps right back at him. Simpson catches him, hoists him up and draws back his fist for a crashing blow -- only to have it grabbed from behind by Michael. He steps in and yanks Simpson across the porch. CLOSER ON SIMPSON He crashes against the post. MICHAEL squares himself in front of Simpson, who's stunned to see him still alive. [MICHAEL] Speaking of ghosts, you look like you've just seen one. ANGLE ON THORN Thorn stands a short distance away and watches him...and he's dumbfounded by Michael's appearance. WITH OAKES He suavely steps forward to handle the situation, passing as close as possible to Thorn. [OAKES] (under his breath) I thought you took care of this. Thorn has no answer. ANGLE ON MICHAEL AND SIMPSON both called for action...Oakes steps in...Michael turns away from Simpson to face Oakes. The Indians surrounding the porch, behind Michael, perk up at his coming confrontation with the oilman. [OAKES] You seem to know so much, Knight -- when did you become an Indian? [MICHAEL] When I went through a snake ceremony and lived. The line is directed at Oakes and Thorn, who flinch at it. [OAKES] You sound like a lucky man...But I wouldn't press it if I were you. [MICHAEL] You're not me. Some of the Indians in the square laugh at Michael's comeback. Oakes' eyes show a brief flash of hatred -- then he holds a restraining hand up to Simpson, nods and moves off.... Thorn, with a last frightened look at Michael, heads out of the square. The rest of the Indians hang back with Michael and Susan. Eagle is still fuming, eyes Michael. [EAGLE] I didn't need your help. [MICHAEL] You really should think a little more before you jump someone twice your size. But in this case, you might also have helped me out. [EAGLE] Yeah? How? [MICHAEL] Flushing Simpson out. He looked awfully nervous just now. And I'm gonna find out why. CUT TO ANGLE ON K.I.T.T. - A SHORT DISTANCE AWAY As the Indians mill about in the b.g., one old man, Blue Feather, slowly walks up to K.I.T.T. He's blind, cautiously he touches the windshield, touches the rim. [K.I.T.T.] May I help you? Blue Feather is thunderstruck -- then smiles blissfully. [BLUE FEATHER] I knew it. In my heart, I knew it. And he begins an old tribal chant, bowing and dancing. [K.I.T.T.] What in the world are you doing? [BLUE FEATHER] It is as my dreams foretold. The god of the wind has come to Earth to instruct us in this time of crisis. [K.I.T.T.] I beg your pardon. Cross-checking my data bank on tribal customs, I find that your god of the wind material- izes as a horse. [BLUE FEATHER] It is 1985. So in your wisdom, you have chosen, instead, to come as a car. [K.I.T.T.] No I haven't. [BLUE FEATHER] Ah! You are trying to trick me, as the legends said you would. But I know you, Great One. I know you. He begins the chanting again. [K.I.T.T.] Well, I...I have to agree, I could be compared to 'lightning on a summer's day.' 'Wise as the all- seeing hawk,' hm? Blue Feather corrects the chant and starts to do some serious "dovening" when Michael, a little startled, comes up to the door. Blue Feather smiles. [BLUE FEATHER] Blessed is the servant of the mighty steed. He shall do great things. He drifts away. Michael chuckles and slides into the front. INT. K.I.T.T. [K.I.T.T.] 'Servant.' You know, Michael, I never thought of it that way. [MICHAEL] Yeah, well don't start to, 'mighty steed.' [K.I.T.T.] Sometimes I don't think you appreciate me enough. [MICHAEL] All right, god of the road, all powerful one.... MICHAEL'S POINT OF VIEW - SIMPSON heads over to his Datsun pickup. [MICHAEL] ...if I may check if my suspicions are on target...please beam your all- seeing scan on Mr. Simpson's shoes and his truck. [K.I.T.T.] (irritated) You don't have to rub it in. THE SCAN SCREEN flashes with shoe impressions and tire tracks. [MICHAEL] Thank you, your magnificence. Now compare them with the footprints from the ravine and the snake attack. The first imprint is flashed parallel to one from K.I.T.T.'s memory. [K.I.T.T.] We have a double match. And Michael, you can stop worshipping me now. I see your point. [MICHAEL] Thanks, pal. RESUME MICHAEL'S POINT OF VIEW - SIMPSON gets into the truck. With one last dour look back at Michael and K.I.T.T., he revs up the motor and heads off. INT. K.I.T.T. [MICHAEL] All right, let's talk to our snake handler. CUT TO SIMPSON He is suddenly cut off by Michael and K.I.T.T...Simpson jams on the brakes and exits his truck in a rage. EXT. ROADSIDE - DAY Michael is out of K.I.T.T. and meets Simpson's swinging charge with a couple of punches to the ribs and a blow to the side of the head...He shoves Simpson against the fender of the truck and holds him.... [MICHAEL] The game of tag is over. You're it, snake man. [SIMPSON] What's your beef? You cut me off, you're the one looking for trouble. [MICHAEL] You tried to kill me and chances are you're involved in Doctor Tanner's disappearance. Talk to me. Simpson reacts slightly but holds. [SIMPSON] I don't know what you're talking about. Cut me loose or call the cops. [MICHAEL] No cops yet, Simpson...just you and me. [SIMPSON] (building) What do you want from me? [MICHAEL] Like I said, it's tag and you're it. You belong to me and it's just a matter of time before I come back with enough facts to take possession. (beat) Go tell that to Oakes. Michael steps back, Simpson drives off. INT. K.I.T.T. Parked. [K.I.T.T.] Michael, would you explain that last bit of action to me? I assume you have a plan. [MICHAEL] It's simple, pal. We don't have much time before Oakes takes possession of the land. We've got to get them thinking scared and getting careless. (punches buttons) Now let's do some checking into Oakes and his operation. Unless I miss my guess, he's got Doctor Tanner and Barbara stashed around here somewhere. [K.I.T.T.] Right away, Michael.... The monitor comes to life. CUT TO OMITTED EXT. OAKES' COMPOUND - DAY An impressive cluster of fenced-in oil rigs perched on a high plateau. Simpson's truck heads for the gate and is waved inside. OMITTED INT. OAKES' COMPOUND OFFICE - DAY Oakes slams down his phone, gets up from his chair and shouts at Thorn. Simpson enters over: [OAKES] One of you left a trail -- Michael Knight's headed here! (to Simpson) He's got a reason to be here. (to Thorn) You don't. [THORN] I'm here because I'm scared! [OAKES] Scared? I don't care if you're shaking like a leaf -- if you're spotted with me before we take the land tomorrow the whole deal can fall apart! [THORN] It's gone too far -- farther than you ever said. I'm willing to settle for a percentage of what you promised if I can have it now. [OAKES] So you can turn around and tell Knight everything you know?! [THORN] No! I just want to get away...I don't want any trouble.... OMITTED ON OAKES He studies Thorn a few beats, then turns to Simpson. [OAKES] You feel the same way? [SIMPSON] I only told you what happened to me so you'd know. I still want my end of the payoff...And I'll do what I have to do to get it. Oakes nods, turns back to Thorn, his look and voice soften; he is now charmingly lethal. [OAKES] Okay, Thorn, wait over in the cook shed. I'll have to send for the cash. You do want cash, don't you? Thorn nods, exits gratefully. Oakes turns his look to Simpson; they understand each other. [OAKES] I think you know what has to be done.... [SIMPSON] (nods) Anything else? [OAKES] Yeah. One detail. Arrange it so they go together -- him and that Knight character. CUT TO OMITTED INT. HUT - DAY Two cots, two chairs, blacked-out windows. Dr. Tanner and Barbara Ralston sit and eat as Lucas, an Indian guard holding a rifle stands over them. [DR. TANNER] Do you know what the penalty is for kidnapping? [LUCAS] Yeah. 'Bout the same as it is for murder. Barbara flinches. Tanner won't be put aside by words. [DR. TANNER] You have the mentality of a cro- magnon man. [LUCAS] (untouched) Maybe, but at least I know where I am -- and I ain't no prisoner. Lucas laughs at his own joke, then is interrupted by a phone ringing outside the hut. He picks up his rifle and moves through a double set of doors to the outside to: INT. COMPOUND AREA And we see that the hut is located in an off section of the compound; he picks up a phone on the wall of the hut. [LUCAS] Lucas. INT. OAKES' COMPOUND OFFICE - INTERCUT AS NEEDED [OAKES] Come on over to my office...I've got a bonus job for you. [LUCAS] Sure thing, Mr. Oakes. CUT TO OMITTED EXT. BLACKTOP - DAY K.I.T.T. getting closer to the Oakes compound. EXT. OAKES' COMPOUND - YARD - DAY Simpson escorts Thorn across the yard. [SIMPSON] Lucas will take you to the bank -- Oakes has arranged for the money in cash -- $25,000. EXTERIOR - BY THORN'S CAR NEAR THE GATE - DAY Lucas quickly slips an explosive device into the trunk of Thorn's car. He slams it down and backs away before Simpson and Thorn arrive. WITH THORN AND SIMPSON Thorn, a little tentatively, steps in. Simpson slugs Thorn and shoves him into the car. [SIMPSON] He's all yours. OMITTED ANOTHER ANGLE Lucas gives a little nod back before he drives off. CUT TO WITH K.I.T.T. Michael drives K.I.T.T. along a twisting hill road over- looking a narrow defile between the cliffs. WHAT HE SEES - OAKES' COMPOUND across the way. INT. K.I.T.T. [MICHAEL] I'd say Oakes has a pretty big stake in this operation. [K.I.T.T.] And he's protecting it very carefully, Michael. That fence is electrified. Its control grid goes back to a timed computer-locking system. Michael punches the appropriate buttons. [MICHAEL] Okay, pal. Use your Comprehensive Configuration Analysis and give me a rundown on any weak spots. EXT. CLIFFSIDE ROAD K.I.T.T. wends his way towards Oakes' compound. EXT. COMPOUND - DAY Thorn's car heads out the gate. INT. K.I.T.T. Michael watches the car come out. [MICHAEL] That's Thorn's car! Kitt, plot an intercept course! EXTERIOR - WITH K.I.T.T. - DAY They roar down the ravine road, heading straight for Thorn's car. EXT. CLIFF ROAD - DAY The two cars, churning up dust, head towards each other. INT. THORN'S CAR - DAY Lucas driving straight towards K.I.T.T. Lucas kicks open the door. Jams a stick between the accelerator pedal and the front seat.... WITH CAR - DAY - MOVING Lucas rolls out of the car. THORN'S CAR heading straight for K.I.T.T. INT. K.I.T.T. [K.I.T.T.] He's heading right at us, Michael! [MICHAEL] (pushes buttons) Kitt, scan that car. Now! ON SCREEN A graphic of the Chevy and Thorn, the trunk flashing red. [K.I.T.T.] Michael, Thorn's inside -- uncon- scious -- and there's a packet of explosives in the trunk! Michael gives the wheel a hard and fast turn to the right. LUCAS at the roadside, he presses a remote switch.... EXT. ROAD - DAY K.I.T.T. turns off the road just as Thorn's car explodes into flame. INT. K.I.T.T. K.I.T.T. suddenly and violently jolts to the side. OMITTED EXT. SIDE OF RAVINE - ANGLES AND STOCK AS NEEDED The explosion triggers an avalanche on the western slope, and it brings K.I.T.T. down the hill in aa mass of falling rock. FREEZE FRAME FADE OUT END OF ACT TWO ACT THREE FADE IN EXT. WEST SLOPE OF RAVINE K.I.T.T. spins down the mountain. INSIDE K.I.T.T. As K.I.T.T. is buffeted with rocks and dirt, some of which pours into the car, Michael, gagging on the dust, tries to drive free of the rock slide. [MICHAEL] Kitt, dig in and move! [K.I.T.T.] I have no traction, Michael! The whole slope's coming apart! [MICHAEL] I'm hitting turbo boost! Try and land us somewhere solid! INT. DASHBOARD He hits "Turbo Boost". ON K.I.T.T. K.I.T.T. shoots out of the torrent of falling debris. EXT. RIM OF NORTHWEST SLOPE - DAY He slams down with a rattling jolt on the edge of the ravine. INT. K.I.T.T. Michael whips back into his seat and then brakes to a sudden stop. ANOTHER ANGLE He looks out the window, and knows there's nothing he can do as: EXT. CLIFFS Thorn's car burns out of control halfway down the slopes. OMITTED INT. K.I.T.T. - DAY Michael is angry and dejected. [MICHAEL] Oakes figured he'd get two for the price of one, Kitt. Setting up Thorn and using him as bait for me. [K.I.T.T.] I'm afraid he came very close. (beat) I'll need Bonnie. Michael patches in to the communications. MONITOR Bonnie flashes on. [BONNIE] Michael! I've been getting strange readouts from Kitt...Like an earth- quake. [MICHAEL] Nope. Just a rock slide. [BONNIE] I wish I thought you were kidding. Is Kitt all right? [MICHAEL] I love you, too, Bonnie. I'm fine, thanks. But Kitt's gonna need some stabilizer readjustment. I'm coming in. [BONNIE] I'll be here. Michael has to smile as she signs off. CUT TO EXT. SEMI - DAY K.I.T.T. drives up the ramp into the semi. INT. SEMI - DAY RC3's knees poke out from under K.I.T.T.'s chassis as, lying back on the roller, he gives K.I.T.T.'s undercarriage a working over. [RC3] So much for that. He wheels out from under K.I.T.T., pops up from the cart, and, lounging against K.I.T.T.'s fender. [RC3] Those stabilizers were hit over-under- sideways down. Hey Michael, didn't you read that part of the Drivers' Manual? Where it says watch out for falling rocks? Devon strides in. [MICHAEL] Right. Thanks. And speaking of manuals, RC, the Foundation Manual specifically states that, when not otherwise engaged, the driver of the Flag semi should be at the wheel. [RC3] Bonnie's autopilot is so smooth. [DEVON] Too smooth. RC I prefer a more personal driving experience. [MICHAEL] See you around. RC. [RC3] Yeah, you got it. He smiles, quickly heads back to the driver's seat. [DEVON] It's so unnerving to have RC3 back here chatting while over six tons of truck rolls down the highway driverless. (then) Our check on Cyrus Oakes proved very fruitful, Michael. It seems that seven years ago he tried to railroad an Indian tribe in Oklahoma out of some oil-rich land. He was convicted of thirteen counts of land fraud, filed an appeal and then beat the case on a technicality. A most unsavory character. (shaking his head) It makes me fear the worst for Barbara Ralston and Doctor Tanner. [MICHAEL] Perhaps Devon, but I don't think so. Oakes has tried to kill me twice, and his compound in the middle of the desert has as much security as an Army barracks. I think he's hiding them there. (beat) I want to get 'em out. [DEVON] You'd best forget about another frontal assault on the compound. [MICHAEL] I'm ahead of you, Devon. But I know enough about Oakes to plan another way in. Bonnie tears off a print-out from a computer...hands it to Michael who reads it.... [BONNIE] Here's his activity for the day. [MICHAEL] Oakes will be spending tonight hosting a business party at an exclusive club ...your computers are on top of everything.... [BONNIE] Right down to where he gets his hair and nails done.... [MICHAEL] Be a shame to interrupt his moment of pleasure.... CUT TO EXT. SEMI - DAY K.I.T.T. roars out the semi. CUT TO OMITTED EXT. RESERVATION CLINIC - EVENING K.I.T.T. drives up to the clinic. Michael gets out steps up to the porch where Susan is working late. She turns around, relief on her face.... [SUSAN] (worried) Michael, where have you been? [MICHAEL] Well, I ran into a small explosion on the cliffs below Oakes' base camp. So did Thorn. He's dead. [SUSAN] Oh no. Seems like every time you turn around there's more madness going on. [MICHAEL] Yep. Oakes'll stop at nothing, and he's smart. But I've got a few moves of my own to try. If they're alive. I'm pretty sure Oakes is hiding Doctor Tanner and Barbara Ralston at his base camp. [SUSAN] They're alive? [MICHAEL] It's a good bet. It looks like that canyon is your sacred shrine, and Doctor Tanner found some kind of proof of that. So Oakes is keeping him under wraps until he can grab it all for himself. [SUSAN] I knew it. I always knew it. [MICHAEL] Now listen. Until eight AM that's your land out there. Get everyone who wants to save the burial ground to go and dig there in the morning. If I'm late get them to stay. Buy me some time. [SUSAN] Oakes won't let us stay very long. I don't want my people hurt. [MICHAEL] I'm not gonna let anything happen to you or your people. Susan agonizes over it -- and then decides to trust him. [SUSAN] We'll be there. Michael, moved by the devotion in her voice, hugs her comforts her. CUT TO OMITTED EXT. A SHORT DISTANCE FROM THE CLINIC - EVENING Blue Feather slowly walks up to K.I.T.T. [K.I.T.T.] Well, it's my acolyte! Hello! The old man leans forward, prayerfully touching K.I.T.T. [BLUE FEATHER] I knew you'd come back. I've come for my first lesson, Great One. [K.I.T.T.] In what? [BLUE FEATHER] The Secrets. [K.I.T.T.] Ah, yes. Of the universe, as it were. Well, let's see...let's start simple...Basic stress relaxation and meditation technique. Clear your mind. Concentrate on your breathing. [BLUE FEATHER] Great One, our tribe has known these things for centuries. [K.I.T.T.] Well, of course, but, ah...ah...you must start with what you know, and... ah...in your own way get to the great truth by small steps. [BLUE FEATHER] I see. You shelter your deepest wisdom, and in that way tell me to find my own path. [K.I.T.T.] (relieved) Exactly. [BLUE FEATHER] Then I will trouble you no more. Good-bye, Great One. [K.I.T.T.] Good-bye, my friend. I think I'll miss you. The old man, with a few bows, backs away. Michael passes him en route to K.I.T.T., amused by this spectacle. [K.I.T.T.] You know, Michael, this being a god is very demanding. Michael gets into the car. [MICHAEL] Stick with what you do best, Kitt. Let's go. CUT TO SERIES OF SHOTS - HIGHWAY K.I.T.T. racing to the city. OMITTED EXT. HAIR SALON - NIGHT - ESTABLISH INT. HAIR SALON - NIGHT Empty, except for the Oakes group...An attractive female hair stylist works on Oakes' hair as another beauty manicures his nails...The Henchman/Chauffeur stands at the door and a business associate, Jim, watches Oakes pampering with amusement. [OAKES] It's called luxury Jim.... [JIM] A fifty-year-old barber and a hot towel is luxury...There's got to be a better word for this.... [MICHAEL'S VOICE] There is, but none of them are very nice.... DOORWAY Michael steps in, the Henchman steps in front of him to block his way.... [HENCHMAN] You can't come in here. It's private.... [MICHAEL] I'm already in and throwing one me out could prove dangerous to your health.... [OAKES] Let Mr. Knight in.... SCENE Michael smiles at the Henchman, moves him aside and steps over to Oakes.... Jim, breaks the excruciating silence. [JIM] Who's your friend? [MICHAEL] Cyrus and I go back to the Curran County days. Back when he was running his game with the oil fields on Indian land. Oakes steps up to Michael, nods towards the side. [OAKES] We'd better talk elsewhere. Michael lets Oakes lead him away to a dark corner of the room. [OAKES] You're one hell of a good investi- gator, Mr. Knight. But you're really pushing it now. Michael meets Oakes' anger with some of his own. [MICHAEL] You're right. Why spoil your pleasures by dredging up anymore of your past? Let's get to the point. I know how much that Kobe burial ground is worth to you, and how much your old record could screw it up. [OAKES] So what do you plan to do about it? [MICHAEL] Nothing. For a half a million dollars. In cash. [OAKES] You're crazy. [MICHAEL] Easy, Cyrus. I know it takes a bit of time to raise that kind of money. Even for you. So I'll settle for an initial installment of fifty thousand. Tonight. [OAKES] You'll have to come to my compound to collect it. I have a business dinner...it'll be a couple of hours. [MICHAEL] Fine. It's a tough drive, but I know it pretty well. CUT TO OMITTED EXT. DESERT ROAD - NIGHT In the vast darkness, K.I.T.T.'s lights shoot down the blacktop. ANGLE IN K.I.T.T. Michael at the wheel, thinking. [K.I.T.T.] Michael, I can't believe you're going to walk right into Cyrus Oakes' compound. [MICHAEL] I'm not. [K.I.T.T.] But you just said you were. [MICHAEL] I said I told Oakes I was. There's a difference. (beat) I've got something else in mind.... CUT TO INT. CLUB - NIGHT Oakes is on the phone to his base camp. [OAKES] Yeah, listen. Michael Knight is headed on over there to meet with me. When he gets there, you hold him. I'll be there and deal with him in a more permanent fashion. K.I.T.T. - NIGHT - DRIVEBY FURTHER DOWN THE ROAD K.I.T.T. comes up a hill, and as he passes by we see the hive of lights of Oakes' compound down below. ANOTHER ANGLE K.I.T.T. coasts to a stop. INT. K.I.T.T. [MICHAEL] All right, pal. Scan the camp personnel. He punches the required buttons. ON SCREEN A hologram comes on of the camp, red lights winking all around the perimeter, two flashing in the center of the compound. [K.I.T.T.] There's a concentration of men by the front gate. [MICHAEL] Yeah. Betcha they're waiting for me. But look at this -- they're keeping a guard by that hut. Close in on that and give me an infrared scan. The image zeros in on one Quonset hut. A very faint image of two seated people appears. [MICHAEL] I think we've just found Doctor Tanner and Barbara Ralston. [MICHAEL] Silent mode, pal. OMITTED INSIDE K.I.T.T. Michael patches in the required circuits. [MICHAEL] Okay, Kitt, neutralize that fence. ON SCREEN The holograph shows the fence as it de-enhances. EXTERIOR - LOOKING PAST K.I.T.T. DOWN THE HILL Michael slips out and races to Oakes' compound. EXT. COMPOUND A guard patrols a narrow land between two huge earth-moving vehicles. Pan from him to the fence and, through the links, Michael sprinting up to the perimeter. REVERSE ANGLE OVER MICHAEL'S SHOULDER - THE FENCE He walks into frame. Looks up the links. Looks down. MICHAEL'S POINT OF VIEW - DEAD BIRDS are scattered at his feet. CLOSEUP - MICHAEL - THROUGH FENCE He looks down, picks up a piece of iron, tosses it at the fence. No zap. He grabs the fence and starts to climb. ANGLE ON GUARD As the guard walks by, Michael, seen past him, gets to the top of the fence, climbs down, then races stealthily along the fence. EXT. POWER STATION Michael gets to the corner and hides. MICHAEL'S POINT OF VIEW - A GUARD crossing the alley between the huts. He goes by and Michael races past him along the walls. OMITTED EXT. HUT Lucas, outside the hut, lights a cigarette -- and is clubbed to the ground by Michael. INT. HUT Dr. Tanner and Barbara stop eating, amazed as Michael rushes in. [MICHAEL] (in a whisper) I'm Michael Knight, a friend of Susan Christopher. I'm here to get you out. Come on. He leads Dr. Tanner and the somewhat stunned Barbara out the door. OMITTED EXT. COMPOUND Michael leads Barbara and Dr. Tanner past the other huts. EXT. BY THE GATE - NIGHT Guards wait for Michael. One of them Simpson. He looks up at the fence and is dumbfounded. SIMPSON'S POINT OF VIEW - AN OWL is perched on the wire. EXT. YARD - WITH MICHAEL AND THE KIDNAP VICTIMS They are coming towards the fence when --- LIGHTS go on all around the camp, accompanied by a shrieking alarm. MICHAEL whirls around to see guards surrounding him, Dr. Tanner and Ralston. He raises his hands high. Simpson steps forward to glare at Michael, seems about to slug him, but instead his eyes settle on Michael's watch (the comlink). He rips it from his wrist. Smiles.... [SIMPSON] Nice watch you won't be needing this.... Michael looks.... FREEZE FRAME FADE OUT END OF ACT THREE ACT FOUR FADE IN EXT. OAKES' COMPOUND - DAY (SUNRISE) The sun rises over the yard. INT. POWER STATION - MORNING Michael sits in a chair flanked by two guards, in front of him, seething with anger. DR. TANNER AND BARBARA sadly watch him. Roaring machines can be heard. Michael, Barbara and Dr. Tanner bristle to attention. CUT TO EXT. ENTRANCE TO THE COMPOUND - MORNING A line of bulldozers, pipe and shaft drivers, and trucks of workers rev up at the gate. OAKES waves them on over the thunderous clamor. [OAKES] Let's move 'em out, boys! I want to be there at eight AM.... CUT TO EXT. BURIAL GROUND - DAY In the morning silence of the desert, Susan and Eagle look over a group of about twenty Indian men and women who are digging at the rubble of the cave. Some members of the group are getting restive as Susan worriedly checks her watch. Finally a middle-aged Indian man, Thomas, calls out to her. [THOMAS] Susan! She looks in the direction of the voice from the crowd. [THOMAS] Oakes and his men are coming! Where is this guy Knight? The crowd gets angry. But before Susan can answer them, Blue Feather steps out from the edge of the group. [BLUE FEATHER] The god of the wind will come, as he said he would. [THOMAS] Yeah, sure. The wind ain't gonna stop Oakes' men from bustin' heads. And I got a family. He looks sadly at Susan. [THOMAS] Why don't you face it. It's over. Some people begin to lay down their shovels. [SUSAN] It's not over! Listen to me! All I'm asking is that we stand here just a little while when they come and demonstrate our feeling for this land. [THOMAS] What good will that do? The land belongs to Oakes! [SUSAN] Not yet it doesn't...Michael Knight has still got something to say...and from what I've learned about him -- he'll be here to say it.... She looks over the group. They consider what she said, and decide to trust her. As one, they go back to digging. CUT TO INT. POWER STATION - DAY Michael and the captives hear the sound of footsteps and the door slamming open. OAKES accompanied by his goons, strides across the room. [OAKES] I'm sorry our meeting was delayed, but I believe you've caused some real trouble now. For yourself and your friends. Oakes nods over to Simpson and his goon, who hoist Dr. Tanner and Barbara, fiercely struggling, out of their chairs. [BARBARA] Let go of me! [DR. TANNER] Where are you taking us? Barbara's face drains with abject fear as she and Dr. Tanner are taken out the door. SCENE Oakes crouches down in front of Michael, taunting him. [OAKES] In fact, Mr. Knight, you might say you killed them. [MICHAEL] Let them go, Oakes, you got what you wanted. [OAKES] And I intend to keep it. You'll join them in a different way. I think we'll give you another shot at the electrified fence. Good-bye, Mr. Knight. Oakes turns on his heel and leaves. CUT TO EXT. RAVINE - DAY Susan and the Indians, waiting at the bottom, hear the rumble of massive engines in the distance. CUT TO ON THE BLACKTOP - DAY The line of rigs pound through a haze of dust. CUT TO OMITTED INT. HUT Lucas trains his gun on Michael, orders him to get up. Michael does, raising his hands but just high enough to touch the hanging metal lamp between him and Lucas. In the next instant he pushes it hard as he can. THE LAMP smashes Lucas in the head. MICHAEL jumps for him, and, as Lucas tries to wield his rifle, deflects the stock and smashes him down. He kneels to the floor, grabs Lucas' wrist, and, while unstrapping it, speaks into his comlink. Michael lifts up his comlink. [MICHAEL] (quietly) Kitt? I could use a little posse to the rescue, buddy. I'm surrounded by bad guys. CUT TO EXTERIOR - BEHIND THE HILL - K.I.T.T. revs up. [K.I.T.T.] Right away, Michael. OMITTED INT. K.I.T.T. Dash signals light up. The pedal floors. ZOOM-IN K.I.T.T. He explodes from behind the hill.... ANGLE DOWN THE HOOD ...speeding toward the electric fence. AT THE FENCE Impact -- he smashes through the sizzling wires as guards hurl themselves out of the way. CUT TO MICHAEL straps on the comlink, looks around, then heads for the window. OMITTED ANGLE - WINDOW Michael hurtles into it and smashes through the glass. EXT. GROUND BY THE POWER STATION He lands, rolls, and starts to run. [MICHAEL] (on comlink) I'm coming out, Kitt! Lay down a smoke screen! CUT TO WITH K.I.T.T. MOVING THROUGH COMPOUND K.I.T.T. shoots across the yard, spurting a blanket of thick black smoke. The guards stagger blindly in his wake. CUT BACK TO OMITTED WITH MICHAEL He runs around the corner of the hut. EXT. COMPOUND - ALLEY BETWEEN THE HUTS Guards see Michael and open fire. RESUME MICHAEL He ducks the shots and does a credible job of broken-field running into the path of K.I.T.T.'s smoke. OMITTED CLOSER ON MICHAEL ...racing through the wake of the smoke screen.... [MICHAEL] Block 'em for me, Kitt! ON K.I.T.T. He cuts in front of the guards, whose bullets squib harm- lessly off his fender. WITH MICHAEL He races through the smoke to the truck. ANGLE ON GOONS confused by the noise and the smoke they barely have time to react as Michael wades into them. CLOSER ON MICHAEL - ANGLES AS NEEDED He quickly grabs and dispatches the first goon -- but then Simpson leaps on him from the back. They fight. Simpson brings Michael down with a couple of body blows, then yanks out of his hip sheath a long-bladed Bowie knife and prepares to stab him. But Michael grabs his arm, kicks Simpson, then rolls away and decks him. He pins him with his knee. [MICHAEL] You're caged, snake man. He looks up. [MICHAEL] Doctor Tanner! DR. TANNER AND BARBARA rush out from behind the truck. Michael races over, hustles them towards K.I.T.T. [MICHAEL] Into the car! Hurry! We've got to double time it to the burial ground! He pushes them in, shuts the door. EXTERIOR - ANGLE ON K.I.T.T. OMITTED WITH K.I.T.T. He blasts through the fence, shooting down the road. [MICHAEL'S VOICE] Gimme Super-Pursuit Mode, pal! OMITTED K.I.T.T. - SERIES OF INSERTS Out comes the gleaming Air Dam, the sleek nose cone, the vent in the hood and ferocious jet exhaust pipes. OMITTED WITH K.I.T.T. K.I.T.T. in SPM shooting down the road. OMITTED EXT. BURIAL GROUND - DAY The earth movers line up at the top, motors growling and pouring smoke. Oakes stands in front with a bullhorn. EXT. BOTTOM OF RAVINE The frightened but steadfast group of demonstrators look up at them. RESUME OAKES [OAKES] (on bullhorn) This land is the property of Oakes Industries. If you people don't disperse, we will forcibly remove you. SERIES OF SHOTS - THE DEMONSTRATORS Susan, Eagle, Blue Feather facing Oakes' men down. WITH K.I.T.T. - DAY streaking down the blacktop. [MICHAEL] C'mon, Kitt, give it all you got! THE SPEEDOMETER hitting 300. LOOKING UP AT THE RAVINE RIM - DAY The construction workers line up behind Oakes. He checks his watch, looks at the demonstrators, shrugs. [OAKES] I don't want a tap dance. Let's kick 'em out now. He leads his workers down. ON THE DEMONSTRATORS They brace themselves for the onslaught. ON OAKES AND HIS MEN They line up in front of the group. Ready to rumble. ON ROAD K.I.T.T. in SPM bearing down. THE E.B.S. SYSTEM deploys, the fins shooting out as air brakes. EXT. RAVINE Men jump back from the machines as K.I.T.T. screeches to a stop between them. EXT. RAVINE - SERIES OF SHOTS Susan and the Indians smile with relief. Oakes looks up and is absolutely stunned as --- EXT. RAVINE - K.I.T.T. races up to the edge. The Air Dams, spoilers, etc. tuck in. The door opens and Michael rushes out. ANGLE - OAKES AND HIS MEN He turns behind him to summon his muscle. [OAKES] Get him! CLOSER ON MICHAEL Dr. Tanner and Ralston get out of the car behind him. Michael looks back at them and then at Oakes' men. [MICHAEL] You men might want to think twice before you become accessories to a kidnapping and a murder. OAKES looks at his group of men. [OAKES] You heard what I said! [MICHAEL] If there is oil here it belongs to the tribe and you don't need Oakes to find it.... They don't budge. Oakes tears up the trail. MICHAEL comes down to intercept him. WITH OAKES He tries to get by Michael, but Michael grabs his arm. Oakes manages to sneak in a gut punch, but then Michael deflects his next blow and with a quick one-two combination knocks Oakes flat on his back. THE INDIANS applaud and cheer. Even Eagle smiles.... MICHAEL catching his breath, stands over Oakes. [MICHAEL] You'll end up with all the land you'll ever need...and eight-by- eight cell... (beat) No digging permitted. FREEZE FRAME FADE OUT END OF ACT FOUR TAG FADE IN EXT. RAVINE - DAY The dig in full swing -- a whole group of Indians, moving in and out, led by Eagle. Dr. Tanner proudly claps Barbara on the shoulder. Then he looks up towards the top of the ravine, shouting at someone up above. [DR. TANNER] Come on! We could use us another pair of strong arms! (pointing to the Indians) You can see how much fun it is! ON MICHAEL taking it light as he looks down at Dr. Tanner, puts his arm around Susan.... [MICHAEL] I've already got my hands full, Doc. (to Susan) Are there any other caves we can search privately? [SUSAN] (laughs) I don't think Eagle would like it. [MICHAEL] (a reaction) You...and him? [SUSAN] Since we were seven years old, but he'll understand this. She walks into his arms and gives him a tender and lingering kiss. Michael breaks away, a little surprised, and sees --- ON K.I.T.T. Blue Feather is laying a whole bouquet of desert flowers on K.I.T.T.'s hood. Michael walks up and takes them. [MICHAEL] These are beautiful. [BLUE FEATHER] They are simply my way of offering thanks to the both of you for helping us in our crisis as the legends foretold. INT. K.I.T.T. As Michael gets into the car. [K.I.T.T.] You know, Michael, I did fulfill the ancient promise of their god of the wind. [MICHAEL] Please. Don't get it into your... circuits that you have any sort of divine heritage, Kitt. [K.I.T.T.] But what if it's true? What if I, without knowing it, am in fact --- [MICHAEL] Let me answer your question with a question, Kitt. What's wrong with merely being a superb piece of machinery, a partner, and a friend? [K.I.T.T.] Nothing at all. [MICHAEL] I rest my case. [K.I.T.T.] But Michael? You could bring me flowers some time. Off Michael's "Oh, brother..." expression, FREEZE FRAME FADE OUT THE END

{"show": "Knight Rider", "season": "s04", "episode": "e04", "title": "BURIAL GROUND"}

knightriderarchives

ACT ONE FADE IN EXT. PARAGUAYAN CONSULATE - DAY - ESTABLISHING SHOT An extended, isolated, walled compound set on a hill, looking a little like a fortress with its high walls, guarded gates, consular flag flying. At this distance, we probably will not be able to make out the nationality of the colors. INT. LIVING ROOM - THE CONSULATE Three men who are watching a television screen, each with his own interest and fascination. The first is Antoun, fortyish, cadaver-thin, pockmarked, ill-suited in American garb. He might look less sinister in a burnoosem but nothing would help the garish twitch at his lower lip which gives him a perpetual, humorless grin. The second man is August Hollenbeck, fifties, a suit-and- tie American scientist, a little sweaty, the latter helped along by what is on the television screen, afflicting him with a growing unease and distaste. The third man, Simon Carascas, is the presence -- head man at the consulate, big, bluff, open shirt and gold chain. Outgoing, gregarious, which means -- as he pulls his dagger out of your back, he hopes you don't take it personally. ANGLE - THE TELEVISION SCREEN - STOCK A biological laboratory where cute, inoffensive monkeys are enjoying themselves, peering at us with trusting eyes. [CARASCAS] This experiment has also been filmed with guinea pigs and dogs. A mechanical claw makes a slow approach to a beaker filled with a cloudy substance, and opens it. [CARASCAS' VOICE] Monkeys, as you know, are primates and react more like human beings. ANGLE - THE THREE MEN watching in fascination, Antoun with greedy anticipation; Hollenback, uneasy, Carascas, casual, indifferent. [CARASCAS] Once released, the bacteria travel by air. Watch the time -- in seconds. One...two...three...Yes, Antoun they're already in extreme pain, look. [HOLLENBECK] That's enough. Shut it off, Simon. We're all familiar with the horrible death it causes. Let's get this over with. ANGLE - THE TV SCREEN The monkeys are stretched out, motionless. ANGLE - THE THREE MEN Carascas nods a signal, and Vascone, a consulate guard comes into shot to switch off the TV set. He is a big man, with a kind of feral strength, and a useful capacity for carrying out orders. Antoun is still staring at the darkened TV screen, running something over in his head. [ANTOUN] I like it. The Hammer-of-the-Desert will take it. Carascas nods. Hollenbeck wipes his face nervously, moves quickly to the door, Vascone on his tail. Carascas and Antoun stare after him; a beat, then follow. EXT. CONSULATE COURTYARD Hollenbeck is ushered to his waiting car by Vascone. We stay on Carascas and Antoun who hang back. [CARASCAS] You know the price. [ANTOUN] One million dollars. [CARASCAS] In advance. Ten times that much on delivery. Antoun nods in the b.g., Hollenbeck gets behind the wheel of his car. Vascone slams the door shut behind him. [ANTOUN] When? [CARASCAS] It will go out on the next shipment. Hollenbeck's car approaches the consulate gates. They open. [ANTOUN] And that man -- your partner -- he seemed to be in a hurry to leave. Will he give us any trouble? Hollenbeck's car moves through the gates. Another car pulls out from behind the building. Two men with automatic weapons appear and get in the back. Vascone gets in beside the driver, and the car moves after Hollenbeck's car. [CARASCAS] Don't concern yourself about him. EXT. A ROAD - IN THE HILLS K.I.T.T., alone on the road, curving up into the hills. ANOTHER ANGLE - K.I.T.T. approaches an abandoned gravel pit, a series of declivities gouged into the hills, dirt roads leading in and out, and here and there the remains of work shacks. INSIDE K.I.T.T. - TRAVELING [MICHAEL] Why would Hollenbeck pick this prime vacation spot for our rendezvous? K.I.T.T.'S MONITOR - INTERCUT AS NEEDED to see Devon in his Foundation office. [DEVON] As a safety precaution, Michael. If his customers discover he's had a change of heart and offered to help us, his life would be in jeopardy. [MICHAEL] He should have thought of that before he sold them the canister. [DEVON] I agree. But the fact remains, a lethal bacteria developed with a Foundation grant has fallen into the wrong hands, and the responsibility is mine. [MICHAEL] Devon, there's no way you could have known Hollenbeck's experiments would accidentally produce a weapon. [DEVON] But they did, Michael, and I won't have a moment's peace until you and Kitt retrieve that canister. [MICHAEL] You can count on us, Devon. [DEVON] I am, Michael. And be careful. Michael clicks off and pushes some buttons on his console. [MICHAEL] Give me an area scan, pal. I want to know if Hollenbeck's here yet. K.I.T.T.'S MONITOR - INTERCUT AS NEEDED as a schematic of the area develops and we see a moving blip on a road that leads to the gravel pits. [K.I.T.T.] A car is approaching, Michael. Two people in front. [MICHAEL] That's it. He said his daughter would be driving. EXT. APPROACH TO GRAVEL PITS Hollenbeck's car moves up the dirt road leading to the abandoned pits. Behind the wheel is Gaye Hollenbeck, early twenties, slim and good-looking. On the passenger side is her father, August Hollenbeck. A second car, following Hollenbeck, appears on the road. Inside are Vascone and the other three men. Automatic weapons suddenly thrust out the windows. RESUME INSIDE K.I.T.T. [K.I.T.T.] I'm picking up another car with four men inside. The automatic weapons open fire. [MICHAEL] Hollenbeck's in trouble, pal! Michael stomps on the accelerator. K.I.T.T. takes off, whipping into motion with a squeal of tires. HOLLENBACK'S CAR Bullets shatter the rear window. Gaye and Hollenbeck are startled, fearful. Gaye steps on the gas. Vascone's car accelerates in pursuit. K.I.T.T. speeding along the makeshift road in pursuit of the two vehicles as Vascone's men continue to fire at Hollenbeck's car. RESUME INSIDE K.I.T.T. [K.I.T.T.] Shall I microlock their brakes, Michael? [MICHAEL] No. The cars are too close together. We're going to have to do some open field blocking. Turbo boost, pal. Michael pushes some buttons on his console. K.I.T.T. accelerates and launches into the air. MICHAEL is slammed back into the seat. WIDE ANGLE - THE ROAD Vascone's car running parallel to Hollenbeck's. K.I.T.T. drops into frame, lands between the two cars, taking a burst of gun fire. The disabled Hollenbeck car glances off a road bank, comes to rest. Vascone has had enough, and roars off. INSIDE K.I.T.T. [K.I.T.T.] We can catch that vehicle easily, Michael. [MICHAEL] Scan the Hollenbeck's vital signs first, pal. K.I.T.T.'S MONITOR - INTERCUT AS NEEDED as a vital sign scan of Gaye and Hollenbeck appears. [K.I.T.T.] Hollenbeck has been wounded, Michael. Pulse very faint. Blood pressure sixty over thirty and falling. His daughter appears uninjured. [MICHAEL] Forget the shooters and call the paramedics, pal. ANGLE - THE HOLLENBECK CAR Vascone's car vanishes in the distance as Michael pulls up in K.I.T.T., is quickly out to help Gaye. She looks tearfully at Michael as she holds her seriously hurt father. INT. FOUNDATION - CLOSE ON TELEVISION MONITOR The screen shows a picture of Carascas. [DEVON'S VOICE] Simon Carascas, head man at the consulate. Over the years he has been trading hi-tech contraband to proscribed countries. The little Hollenbeck has told us from his hos- pital bed confirms what we suspected -- Carascas has the missing canister of genetic material --- ANOTHER ANGLE - DEVON, MICHAEL, BONNIE listening intently to Devon's words. RC3 enters as the slide changes to a picture of the consulate compound. [DEVON] -- somewhere on these premises. [RC3] Why not blow in there with a S.W.A.T. team and search the place from top to bottom? I mean, it used to happen in my old neighborhood all the time. [DEVON] Unfortunately, this isn't your old neighborhood, RC. It's a foreign consulate, and therefore illegal for anyone to set foot on the premises without permission. [RC3] Who said anything about asking permission? Michael smiles and advances the slide through a series of shots of the consulate interior. [MICHAEL] The place is a nest of surveillance cameras monitored by armed security personnel RC -- an army of 'em. An intruder wouldn't stand a chance. [DEVON] But your instincts are correct, Reginald. While you've been on the road, Michael, Bonnie and I have formulated a plan to covertly infiltrate the consulate. It must be done before the canister leaves via diplomatic courier which would make it untouchable. [MICHAEL] We've never been up against anything like this before. No way Kitt and I can handle it alone. We're all going into the field to get it back. [RC3] Hey, I'm ready. There's gotta be a way to get to that Carascas dude. [MICHAEL] Two of them -- his passion for classic cars and -- beautiful women. He swings a look to Bonnie who steps forward holding up a slinky, revealing evening dress. [BONNIE] I think this will work. [MICHAEL] (appreciateively) It would work for me. Bonnie smiles demurely. Devon advances the slide. [DEVON] No, the canister is being kept in a consulate vault located in the same underground area where Carascas keeps his classic cars. RC3 glances to K.I.T.T., starts putting it together. [RC3] I think I know where you're coming from, boss -- we're adding to the man's collection, right? [BONNIE] Right on, RC. And I'll need your help to create Kitt's new identity. She holds up a baseball-sized plastic sphere. [BONNIE] This is the key to it -- a super- cooled plastic that can be instantly liquified. She sets the sphere down; activates a remote-control device. CLOSE ON THE SPHERE as the ball glows as if illuminated from within, then melts and runs onto the table revealing a cube concealed inside. RESUME THE SCENE [RC3] Outta sight. This is gonna be a piece of cake. [MICHAEL] Not exactly. Hollenbeck is being moved to a better-equipped hospital to insure he stays alive to testify. [DEVON] However we've learned Carascas is bringing in a contract killer to make sure he never does. [MICHAEL] Kitt and I will be riding shotgun between hospitals while you two make a shell to turn him into an exotic antique. K.I.T.T.'s scanner suddenly pulses faster. [K.I.T.T.] I've never thought of myself in quite that way, Michael. [MICHAEL] You'll get used to it, pal. We all get there sooner or later. Michael swings a look to Devon who forces a smile, then --- [DEVON] Yes, provided our switch is success- ful. Camera pans with his look to a gleaming, shiny metallic canister, cylindrical in shape, set on a table near the monitor. INT. VAULT ROOM - THE CONSULATE - DAY - CLOSE ON A MATCHING CANISTER Pull back as Vascone carefully lifts it into a packing crate as Carascas watches. [CARASCAS] Careful. [VASCONE] It won't break. [CARASCAS] I know. I'll still be glad when it goes out. [VASCONE] (shrugs) Nine hours. A buzzer sounds. They trade looks in reaction. [CARASCAS] He's here. Vascone closes the packing crate, and the two start quickly out. Carascas waits as Vascone closes the security door, locks the electronic controls, then both move away. THE BASEMENT SHOWROOM Six classic cars in prime condition. Pascal, like the cars, an antique -- white-moustached, is polishing one of the cars, slowly and methodically, encumbered by his age. [PASCAL] You enjoy this don't you? Yes, yes, I can always tell. You brighten and come alive at my touch, instantly, and in a way that tells me --- He pauses, sensing a presence and looks up from his work to see: NEW ANGLE - FEATURING CARASCAS AND VASCONE Carascas glaring at the old man and pointing obsessively to a speck of dust on the car's fender. [CARASCAS] What is that, Pascal? You can see it, can't you? Pascal nods, chastised. Too frightened to answer. [CARASCAS] Then it shouldn't be there, should it? (beat; silence) Should it?! [PASCAL] (timidly) No, Mr. Carascas. [CARASCAS] If you spent less time talking to the cars and more caring for them, you'd notice these things yourself. Carascas leads the way to the stairs, going up to the main level. The old man looks after them fearfully, addresses himself to the speck of dust and blows it off the fender. MAIN ROOM - THE CONSULATE Two guards stand by while a third man paces nervously, radiating the energy and containment of a caged tiger. His name is Lupo. [CARASCAS] Ah, Lupo -- been a long time. [LUPO] You only call when you have a problem, Simon. I keep telling you, my wife is a gourmet cook. Any evening, eh? [CARASCAS] A little celebration perhaps --- Carascas gives Lupo an envelope. He checks the cash inside and removes a small photo of Hollenbeck. [CARASCAS] This will not be easy. The man is well guarded. [LUPO] If it were easy, you wouldn't have to pay me one hundred thousand dollars to eliminate him. Carascas smiles thinly. EXT. CONSULATE GATES - DAY An old Chevy convertible drives up the gates. Behind the wheel is RC3, dressed as a "sharp dude." The Guard at the gate stares at him coldly. RC3 honks his horn impatiently. [GUARD] What do you want? [RC3] C'mon, man, the car. I'm making a delivery. Can't you see? The Guard scowls dubiously. [RC3] Look, man, it's your hide if I don't make it. I mean, Mr. 'C' ain't gonna like losing this baby. You better call him 'n check me out. You dig? The Guard is thoroughly confused, hesitates. RC3 nods him encouragingly toward the gate phone. INT. MAIN ROOM - THE CONSULATE - ANGLE FEATURES THE PHONE as it rings. Carascas, close by, picks it up, not pleased by the intrusion. [CARASCAS] What is it? (beat, puzzled, softens) I'll be right there. He hangs up; swings a look to Lupo for --- [CARASCAS] You're usual guarantee is something should go wrong? [LUPO] I've already arranged for back up. His name is Hajeck. Johnny Hajeck. Carascas nods and starts for the door leaving the two men behind. EXT. CONSULATE GATES RC3 and the Guard at the gate. RC3 has gotten out of the car, watches as the Guard goes back to meet Carascas, approaching. ANGLE AT GATE Carascas turns from the Guard, looks at the Chevy with disdain. RC3 moves up fast, talks through the gate. [RC3] Hey, man, you think I'm trying to hustle this ragtop? No way! I'm here to put you onto this. He holds some Polaroid prints up against the gate. Carascas scowls, shakes his head. RC3 holds up another and then a third. It electrifies Carascas. He moves quickly to the gate, takes the picture, looks at it closely. INSERT - POLAROID SHOT A picture of a 1955 Lynx Imperial Racer. BACK TO SCENE as Carascas looks up from the Polaroid, coolly suspicious. [CARASCAS] How did you know I was interested in antique cars? [RC3] It's my business to know. It's not exactly a secret that Simon Carascas has been after a '55 Lynx 'Imp' for years. [CARASCAS] (correcting) Lynx Imperial, and I don't believe you have it. Only two were ever made. Neither has ever been in this country. [RC3] (holding up the print) Where do you think I took this? In China? (beat) Of course, if you ain't interested --- He starts to move away. [CARASCAS] Wait! Where can I see the car? [RC3] Deal first. Like what's my end? [CARASCAS] Ten percent of the selling price. [RC3] Twelve -- and stay near the phone, my man. I'll be in touch. He hops into the car, turns the key, and roars off. EXT. AMBULANCE ENTRANCE - CITY HOSPITAL - DAY Normal activity for this time of day. An Ambulance standing by. Some hospital personnel visible. K.I.T.T. pulls to a stop within close range, Michael at the wheel. [MICHAEL] I want a surveillance scan of anyone or anything near that ambulance, pal. [K.I.T.T.] All systems activated, Michael. (beat) There they are. HOSPITAL ENTRANCE - POINT OF VIEW - A GURNEY is rolled by two orderlies toward the ambulance. Gaye hovers over Hollenbeck, who has an IV plugged into him, the plastic sack carried high by one of the orderlies. THE AMBULANCE DRIVER gets out, moves around and opens the rear door. It's Lupo in hospital whites. He signs a clipboard held out by an orderly. [LUPO] Give you the old John Hancock, there. (beat) In we go, folks --- As the orderlies shove the auto-collapse gurney into the ambulance, Gaye following after it, we: RESUME INSIDE K.I.T.T. [K.I.T.T.] My scan is picking something up, Michael. K.I.T.T.'S MONITOR - INTERCUT AS NEEDED to see a graphic of Lupo and a military .45 in shoulder holster clearly delineated behind his uniform jacket. [MICHAEL] Yeah, unless a forty-five is standard paramedic issue these days, we've got a problem, pal. RESUME THE SCENE as the orderlies move off, Lupo closes and locks the door of the ambulance. He's moving around to the driver's side to get behind the wheel. [K.I.T.T.] A big one, Michael. That man just locked Hollenbeck and his daughter inside the ambulance. What are we going to do? [MICHAEL] More like what you're going to do. Don't fail me now, pal. Michael pushes some buttons on his console. LUPO reaches for the door handle and we: FREEZE FRAME FADE OUT END OF ACT ONE ACT TWO FADE IN EXT. HOSPITAL STREET - DAY - CONTINUOUS as Lupo's fingers come to rest on the ambulance's door handle, the engine suddenly starts. It takes off leaving a surprised, baffled Lupo standing in the middle of the street, grabbing at air. INSIDE K.I.T.T. as Michael reacts, pleased at the result. [MICHAEL] Nice work, pal. Guess he'll have to catch the next bus. [K.I.T.T.] I'm afraid he's decided not to wait, Michael. Look --- LUPO is dashing toward a car parked across the street. As he pulls open the door and jumps in next to his associate who's behind the wheel. [LUPO] Move! Move! We've got to catch that ambulance! The car rockets down the street after the ambulance. RESUME INSIDE K.I.T.T. [MICHAEL] Okay, pal, park the ambulance someplace safe. And we'll take him. [K.I.T.T.] Very good, Michael, but you realize I can't do that and microlock at the same time. [MICHAEL] No problem. There's more than one way to bring those guys down. Michael stomps on the accelerator. THE SCENE as K.I.T.T. pulls abreast of Lupo's car. Lupo leans out the window and opens fire with the .45 The rounds spark off the window next to Michael's head. Lupo reacts, baffled, and watches as K.I.T.T. accelerates past Lupo's car and does a tire screeching ninety right in front of it. INSIDE LUPO'S CAR The driver slams on the brakes. He and Lupo cover their faces, realizing they have no chance of stopping. THE SCENE as Lupo's car plows into K.I.T.T. at high speed. Lupo's hood wrinkles and pops open. The entire front end accordions, tires askew and flattened. K.I.T.T., of course, not a scratch. ANOTHER ANGLE - LUPO'S CAR The driver kayoed by the crash. Lupo scrambles out. Michael gets out of K.I.T.T. and goes after him. He catches up and grabs Lupo's shoulder using his momentum to spin him into a devastating right. Lupo drops and stays where he falls. [MICHAEL] Bring the ambulance around, pal. [K.I.T.T.] I was anticipating you might say that. As Michael turns, the ambulance pulls to a stop next to him. ANOTHER ANGLE - AMBULANCE Michael pulls open the door and leans in. [MICHAEL] You two okay? Gaye is dazed, baffled, nods before --- [GAYE] I'm confused and frightened, Michael. A runaway ambulance, people shooting -- when is it all going to stop? [MICHAEL] Soon, that's a promise. (glances to Lupo) And I think I know exactly what my next move is going to be. He crosses to K.I.T.T., pulls the door open and leans in for: [MICHAEL] Get me Devon, Buddy. Something he has to check out for me first. CUT TO EXT. A PASADENA STREET - DAY tree-lined, well-kept, expensive houses on both sides. A Mercedes 600 bearing the consulate crest and flags waving stops at the curb. Driving is Vascone. Carascas in back with Franco. NEW ANGLE RC3 approaches in his ragtop, pulls up in front of the Mercedes. RC3 gets out as do Carascas and his mechanic. Vascone remains in the car. RC3 looks suspiciously at Franco. [RC3] You're supposed to be alone, man. [CARASCAS] Franco is my mechanic. An expert. If this is a hoax, you'll pay for it. [RC3] This ain't no scam. Hey, man, you need a little security, take him along. No problem. He indicates for Carascas to precede him to the house. EXT. AT FRONT ENTRANCE OF HOUSE as RC3, Carascas and Franco approach. RC3 rings the doorbell. The door opens, and Bonnie appears wearing the dress seen earlier. A chic, class act, a vogue jet setter. [RC3] This is the man I told you about. [CARASCAS] Simon Carascas. [BONNIE] Contessa Alisha Craven-Hall. Please, this way. She turns and leads the way toward the garage. INT. GARAGE - DAY as the group approaches a car under wraps. We sense the tension, excitement building in Carascas, a long time craving finally fulfilled. And in Bonnie and RC3 for other reasons. [BONNIE] I can't tell you how pleased I was to find a man who shares at least -- one of my passions. [CARASCAS] We'll soon find out if you share one of mine, Contessa -- I am obsessed with authenticity. Franco --- ANOTHER ANGLE - THE CAR as Franco steps forward, hesitates a beat, then pulls off the cover revealing the Lynx in all its pristine beauty, gleaming and polished. Carascas catches his breath as Franco opens the doors, the hood. He motions Carascas over. CLOSER ANGLE - CARASCAS AND FRANCO [FRANCO] (sotto; an aside) It's genuine. See this little nick. The Baron himself put it there on one of those tight curves at Le Mans. [CARASCAS] (tense; containing excitement) You're sure. [FRANCO] I was there, on his crew. Carascas turns and crosses to Bonnie. [CARASCAS] Incredible. May I ask how you come to have this car? [BONNIE] The Baron had it flown here -- for our anniversary. [CARASCAS] You were married to him? [BONNIE] Not exactly. The word isn't in his vocabulary. Nor mine for that matter. Bonnie baits him with an alluring smile. Carascas lets his eyes take her in. [CARASCAS] How much are you asking -- for the car? [BONNIE] Two-fifty, firm. [CARASCAS] It's not worth a penny over two hundred thousand. Bonnie moves closer establishing eye contact -- seductively. [BONNIE] But you're buying it from me. [CARASCAS] (muses, envisioning) True, a car's value can often be increased by the reputation of the owner -- Hitler, the Beatles, a contessa, perhaps. [BONNIE] In this case, would that criteria be satisfied if the owner were to -- deliver it personally, for example. [CARASCAS] More than satisfied, Contessa. I have no doubt of it. [BONNIE] Good. (beat; adds) Oh, don't feel defeated -- I always get my price. Carascas nods and smiles in anticipation. Bonnie returns his look, a fetching smile before: [BONNIE] Cash. INT. HOSPITAL ROOM - DAY Gaye is looking down at her father. He is comfortable and asleep. Angle widens to include Michael, behind her. She turns to him. [GAYE] You know, it all started out with what sounded like harmless business transactions. [MICHAEL] That's how these people work, Gaye. They lead you into quicksand. Before you know it you're in so deep there's no way out. [GAYE] (nods, sadly) He thought sharing his knowledge might serve the cause of world peace. I sensed he was in trouble. At first he was evasive, then frightened and angry when I questioned him. There was nothing I could do. I just --- The phone rings. Michael picks it up. [MICHAEL] Hello? INTERCUT - DEVON on the phone in the Foundation. [DEVON] Two things, Michael. First, Carascas went for the Lynx. [MICHAEL] Way to go, Bonnie and RC. Is Kitt ready? Devon glances off to --- A 1955 LYNX IMPERIAL RC3 putting the finishing touches on it. RESUME THE SCENE [DEVON] Indeed, Kitt has been transformed into as exotic an antique as I've ever seen. Second, I checked out that 'ambulance driver' as you requested. He's a contract killer named Lupo. [MICHAEL] What about a backup shooter. Anything on that? [DEVON] Yes, your suspicions were correct. He's already engaged one, a fellow named Johnny Hajeck. The police just picked him up at our request. He'll cause you no trouble. [MICHAEL] Carascas is no fool, Devon. Soon as I make my move he's going to have me checked out. [DEVON] You're fully covered. I've just completed work on your police dossier. ON COMPUTER MONITOR to see the name John Hajeck atop a lengthy rap sheet and two numbered mug shots of Hajeck. Devon encodes at the keyboard and the photos are replaced by mug shots of Michael. [DEVON] The next move is yours, Michael. Make it well and carefully. Michael hangs up; turns to Gaye for --- [MICHAEL] Gaye, we'll need you in this. [GAYE] Whatever I can do, Michael. Anything. [MICHAEL] You know there are risks. [GAYE] Michael, this is the man who destroyed my father. And is trying to kill us. Michael smiles at her resolve and courage. EXT. ROAD - DAY leading up to the consulate in b.g. The Mercedes has to stop for a branch that lays across the road. Vascone, leaves the engine running, gets out to move the branch. Carascas watches from in the backseat. INSIDE THE MERCEDES Carascas is startled as a door opens, and Michael slides in beside him, reaches over, presses the control, and: THE DOOR LOCKS operate automatically, locking all the doors. BACK TO SCENE Michael turns to the startled Carascas. [MICHAEL] Lupo's been busted. [CARASCAS] I don't know what you're talking about or even who you are. Now get out. [MICHAEL] (shakes no) The name is Hajeck Johnny Hajeck. Carascas reacts to the name -- a beat, cautiously. [CARASCAS] Lupo's backup man. Yes, he mentioned you. VASCONE returns to the car; tries to get back in, finds it locked. He flares when he spots Michael with Carascas. RESUME MICHAEL AND CARASCAS who holds up a hand, quieting Vascone. [MICHAEL] It's going to cost you an extra fifty thousand to waste Hollenbeck. [CARASCAS] (considers, nods) Deal. But that buys me an observer -- right there next to you when you make the hit. [MICHAEL] (nods) Eight-thirty. Have your man at the hospital with fifty thousand. I'll come here to collect the balance after it goes down. Carascas nods tersely. Michael activates the door lock to open. He exits one rear door and heads off down the road as Vascone yanks open the other and leans in to Carascas. [VASCONE] You okay? [CARASCAS] Yes, no thanks to you. (beat) He says he's Johnny Hajek. Check him out. If he's okay, I'll fill you in on what happens next. (a beat) Either way I don't want to be bothered by him again. You understand? Vascone nods. He'll be happy to take care of Johnny Hajek. EXT. CONSULATE GATES - NIGHT Out of the darkness comes RC's ragtop pulling a flatbed trailer carrying the Lynx. Driving is RC3, flashily dressed and, beside him, a classy, sexy Bonnie. RC taps the horn. [RC3] Open the gates, my man. They were expected. The gates open, and they move on through. EXT. CONSULATE COURTYARD RC3 pulls to a stop, at the door of the consulate. Gets out of the Chevy, goes to Bonnie's side and escorts her out. The consulate door is opened by a uniformed guard. He bows slightly to Bonnie and admits her. The guard hands RC3 an envelope, and closes the door. RC3 goes back to his car and begins disconnecting the trailer. INT. MAIN ROOM - CONSULATE The table is set for an elegant dinner for two, candlelight and wine. Bonnie is ushered in, left alone. She looks around, crosses to the "entertainment console", finds a radio station with soft music. Then crosses to a sideboard, pours a couple of martinis from a decanter. Carascas enters. Bonnie turns, hands him a glass. [BONNIE] I took the liberty --- Carascas takes a sip; sets the glass down and gently pulls Bonnie into a light embrace, studying her face. [CARASCAS] Another one of my passions -- (off her look) Assertive women of considerable beauty. She fingers the open collar of his shirt, seductively --- [BONNIE] Armani -- hand sewn, pure silk. I like powerful men with taste. Very elegant. [CARASCAS] Very perceptive. As she undoes one of the buttons on his shirt, and sniffles. [BONNIE] The Baron wore them exclusively -- until he started spending time with me. I'm afraid you'll have to remove it, Simon. [CARASCAS] (lasciviously) Oh, I was planning to --- [BONNIE] The sooner the better, hurry. He hastily undoes a few more buttons and Bonnie sniffles again. [CARASCAS] Of course. I have no objection to dispensing with the preliminaries, Contessa, if you don't. [BONNIE] We'll have to dispense with the evening if you don't do it quickly. (massive sneeze) I'm allergic to silk. He looks at her a little chagrined. [CARASCAS] Well we wouldn't want an intimate moment shattered by one of those sneezes. Would we? I'll be right back. He goes out of the room. Bonnie quickly extracts a small electronic box and screwdriver from her purse. ON THE ENTERTAINMENT CENTER as she begins to attach the device to the back wiring of the stereo-TV complex, working coolly and efficiently. INT. BASEMENT SHOWROOM - NIGHT as the Lynx is parked between two of the classic cars. INSIDE THE LYNX Pascal is behind the wheel. He shuts off the engine. Sits awestruck for a moment, runs his fingertips across the dash down onto one of the leather seats. [PASCAL] You're more beautiful than I ever imagined. A dream come true. I will care for you like no other person could -- I promise. He gets out closes the door after him. A beat before: A PANEL ON THE LYNX'S DASH slides aside revealing K.I.T.T.'s monitor and voice module. The words COMMUNICATIONS OVER-RIDE LINK appear. Followed by the word ACTIVATE that flashes. ON THE LYNX as Pascal runs his fingertips over the gleaming finish camera follows and picks up a metallic rod that telescopes from the tailpipe area toward a complex electrical connection on a wall. PASCAL does a take noticing it; stares at the rod puzzled. Touches it gingerly. It keeps telescoping toward the connection. [PASCAL] I don't know what you got there. Nothing in the specifications about one of those. (beat; ponders) Maybe Mr. Carascas would know. Pascal reaches for a wall phone; pauses when he hears. A voice comes from the Lynx -- K.I.T.T.'s voice. [K.I.T.T.] Excuse me? [PASCAL] Who said that? [K.I.T.T.] I did. [PASCAL] (startled) You talk? But how? None of the others have ever --- [K.I.T.T.] (interrupting) There's no cause for alarm. A voice module is one of my special features. That connector which is going to make your life a lot easier, is another. [PASCAL] What do you mean by that? [K.I.T.T.] It will provide power to my on-board battery charger. I'm sure you're aware of how batteries in antique cars tend to run down. When they're stored. [PASCAL] I sure am. Mr. Carascas gets very angry with me when one of his cars won't start. Pascal watches fascinated as --- THE CONNECTOR ROD reaches the electrical connection on the wall and plugs in. [K.I.T.T.] Well you won't have to worry about that with me. Pascal nods. Good. INT. MAIN ROOM Bonnie has attached the device to the stereo-TV. A pinpoint of light goes. The connection is completed. She puts the screwdriver into her purse, picks up her drink. A beat later Carascas re-enters, wearing a different shirt. [CARASCAS] Better? [BONNIE] Much. You know, you've handled this much more good naturedly than the Baron. He really couldn't --- [CARASCAS] (interrupting) Please, I can't let this go on another minute. (off her look) Do you really think you're fooling me? Bonnie fights a massive Adrenalin surge; keeps her cool. [BONNIE] What do you mean, Simon? [CARASCAS] You're not who you say you are -- (skeptically) -- Contessa Alisha Craven-Hall. [BONNIE] Your obsession for authenticity is blinding you to the facts. I brought you the car didn't I? [CARASCAS] Yes, but I checked out the Baron. His last girl friend was a blonde -- a world class skier from Northern Italy. [BONNIE] Oh, Gabriella -- 'like making love to a snowdrift', is how the Baron put it. A beast of a girl. That's why he gave me the Lynx. [CARASCAS] (considers; threateningly) I don't like being deceived. It makes me into a hostile person. [BONNIE] I assure you I haven't misrepresented myself. [CARASCAS] I'll be the judge of that. He eyes her a beat, then moves in and runs his fingertips over her face. Bonnie eyes him seductively, covering her disgust. EXT. A STREET DOWN THE HILL FROM THE CONSULATE - NIGHT RC3's ragtop parked just off the main street. He looks up at the sound of a vehicle. THE MERCEDES 600 approaches, its flag removed. Vascone driving alone. RC3 watches it pass, starts up and follows in his ragtop. EXT. HOSPITAL - NIGHT as we pan across the facade and down to pick up the Mercedes as it pulls into the parking lot. Vascone gets out and crosses toward another car. Two thugs get out and join him. As they briefly converse MOS. INTERCUT - RC3 as he pulls to a stop in his ragtop and observes the meeting. [RC3] (to himself) Oh, oh, Michael my man. Something tells me Mr. 'C' is setting you up for major double-cross. Lupo moves off alone. The two thugs vanish in the darkness. EXT. HOSPITAL - NIGHT as Vascone comes around a corner passing some shrubbery along the side of the building. Michael steps out behind him. Jabs a forefinger into his back. [MICHAEL] Hold still. Real still. Michael frisks Vascone. Removes a gun; jams it in his waistband. [MICHAEL] You won't need this. [VASCONE] Okay, okay, go easy. Carascas -- he wants me to be a witness. [MICHAEL] I know. I wouldn't have it any other way. Michael pulls an envelope from Vascone's inner pocket and checks it for cash. Satisfied --- [MICHAEL] (nodding a direction) Thanks. Now move! With Michael close behind him, Vascone walks in the indicated direction around the side of the hospital. BACK OF HOSPITAL - FEATURING A FIRE ESCAPE Michael prods Vascone to the fire escape, Vascone starts up the fire escape, Michael following. ANGLE - THE FIRE ESCAPE - VARIOUS SHOTS The ascent, to the second or third floor. To a hospital window. Michael plays it to the hilt, cautioning Vascone out of sight of the window, then sidling up himself to look in. INT. HOSPITAL ROOM - NIGHT - ON HOLLENBECK in bed, bandaged but awake and looking off. Pan to Gaye beside the bed, also looking off. Pan with their look to two uniformed "policemen", on guard near the door. A deep sense of tension pervades. BACK ON THE FIRE ESCAPE Michael fits a silencer to his gun, carefully slips the gun barrel through the slightly open window and aims. Vascone watches tensely. THE HOSPITAL ROOM - SHOOTING PAST MICHAEL Michael fires. We hear the pop-pop of the silencer, and see the two cops fall. Now Michael shoves the window open, steps inside. THE HOSPITAL ROOM Michael turns on Gaye. He pulls the trigger. Gaye falls to the floor. Michael looks back over his shoulder. POINT OF VIEW SHOT - THE FIRE ESCAPE Vascone peering through the window. BACK ON SCENE Michael fires the remainder of the clip into Hollenbeck. He stares for a moment, then turns and goes back out onto: THE FIRE ESCAPE Vascone stares at him with grudging admiration. Michael pops another clip into his gun, gestures for Vascone to precede him down. [MICHAEL] To your car. They start down, and we go to: INT. HOSPITAL ROOM Four unmoving "bodies" as the door opens and Devon enters. [DEVON] All right, everybody. The cops get up off the floor, Gaye picks herself up, Hollenbeck opens his eyes. Gaye hugs her father as Devon watches. [DEVON] You did well. Very well. He nods at the two "cops", and they follow him out of the room. EXT. A SECLUDED AREA - HOSPITAL PARKING LOT As Vascone and Michael approach the Mercedes 600. THE TWO THUGS waiting in the darkness guns drawn. We hold a beat and we: FREEZE FRAME FADE OUT END OF ACT TWO ACT THREE FADE IN EXT. HOSPITAL PARKING LOT - CONTINUOUS The two thugs waiting for Michael and Vascone as they approach the Mercedes. ON RC3 He gauges the situation, reaches for the light switch with one hand, grabs a tire iron in the other, ready for action if necessary. ANGLE - FEATURING VASCONE AND MICHAEL approaching the Mercedes. Suddenly, from adjacent shrubbery, RC3's headlights flash twice. Michael rushes, grabs Vascone, uses him as a shield just as the two thugs spring. [VASCONE] (shouts) Don't shoot! Go! Get out of here! The two thugs take off into the darkness. Michael grins at Vascone. [MICHAEL] I'll bet Carascas is going to be thrilled with the way you handled this. I can't wait to see his face when he finds out he's still a hundred thousand in the hole. He prods Vascone toward the passenger door of the Mercedes. [MICHAEL] Open it and get in --- Vascone slides across the front seat to the wheel. Michael gets in next to him. The engine starts and the car takes off out of the parking lot. INSIDE RC3'S RAGTOP RC3, watching the action, relieved at the outcome. [RC3] (to himself) Nice work, Michael, my man. INT. MAIN ROOM - THE CONSULATE - NIGHT The music is playing. Carascas takes a wineglass from Bonnie's hand, sets it aside and kisses her, deeply. CLOSER - BONNIE repelled by him but faking it. Opens an eye, glances expectantly, anxiously to the entertainment center. The music continues to play. Her gaze swings to her watch, as Carascas breaks the kiss, leans his face back from hers. [CARASCAS] Well, if that's an allergic reaction I'm more than happy to have been the cause of it. [BONNIE] They say continuous exposure can build an immunity to even the most virulent strains. [CARASCAS] I'm sure you'll still be pleased to know, my sleeping quarters are done entirely in satin, Contessa. She forces a smile. He moves in for the kill, and we are: ON THE DASH OF THE LYNX As the panel slides back, we hear the same music Bonnie and Carascas are listening to. K.I.T.T.'s monitor comes to life. The words "NEWS BROADCAST, TRANSMIT" appear. ON THE LYNX as we move across the gleaming surface onto the rod telescoped out from beneath and follow it to the wall connector. RESUME BONNIE AND CARASCAS He is leading her ostensibly to his bedroom when he pauses and reacts as the music cuts off and we hear --- [ANNOUNCER'S VOICE] We interrupt this program for a special bulletin. Mass murder at Southside Hospital this evening. Police report four people shot to death in gangland style. The victims include two police officers, a visitor and a patient who had been hospitalized by an earlier attempt on his life by gunmen. Stay turned to this station for more on our next newsbreak. As the music resumes, Carascas brushes past Bonnie impatiently, switches off the radio, punches on the TV set. ON THE DASH OF THE LYNX to see the graphics change to Devon at a TV news desk. [DEVON] -- no further details yet. We do know four people were killed. INT. MAIN ROOM Carascas at the TV set, Bonnie watching as Devon continues. [DEVON] We've learned that the patient was research scientist August Hollenbeck and the woman his daughter. Hollenbeck had been involved in another shooting just two days ago. It is not known yet whether the two incidents were related. However --- Carascas listens intently, and we: CUT TO INT. HOSPITAL ROOM - NIGHT Gaye is on the phone, Hollenbeck reading. [GAYE] It's closed? Are there any vending machines in the building? Just outside? She hangs up; crosses to the bed. [GAYE] Daddy, I'm starving. I'm going to run downstairs and get a sandwich. You'll be okay? He nods. She leaves the room and we go to: EXT. HOSPITAL - NIGHT as a car comes from the parking lot. INSIDE THE CAR We recognize the two thugs who ran from Michael and Vascone earlier. Call the one in the passenger's seat Jorge. [JORGE] We're gonna be in deep with Carascas for this one. The driver nods, tight-lipped. Jorge does a take when he sees Gaye outside. He points incredulously. [JORGE] Hey, hey, it's her! She's supposed to be dead! This could square it for us. Let's take her. THE SCENE Gaye at a row of vending machines along the wall of the hospital. The car screeches to a stop next to her. Jorge leaps out and brutally grabs Gaye and drags her into the car. [JORGE] Go, go. Haul it outta here! The car takes off into the darkness and we: RESUME BONNIE AND CARASCAS still watching TV as: [DEVON] (continuing) The gunman apparently entered the room through the fire escape, and fled the same way, making good his escape. Witnesses say --- A signal buzzer sounds. Carascas punches off the TV set, picks up an extension line. [CARASCAS] Yeah? -- I'll be right out. He glances to Bonnie, gestures to the bedroom beyond. [CARASCAS] Make yourself comfortable. I won't be long. He strides out. INT. ENTRANCE HALL Carascas joins Michael, Vascone and three or four consulate guards. Michael, holding a gun on Vascone. [MICHAEL] Nice try, Carascas. But your shooters blew it. My money. Now. [CARASCAS] You would have done the same in my position. No? That's how the game is played. [MICHAEL] But you lost. Lucky you did. My people would be all over you. And they don't miss. Carascas slaps an envelope in Michael's hand. [CARASCAS] Paid in full. Now get out of here. [MICHAEL] Not a chance. Too much heat on the street tonight. Do you know a safer place to spend it, than a diplomati- cally immune consulate? [CARASCAS] Be my guest. But I'll have to ask for your weapon. (opens jacket) I don't carry one. Michael hands over the gun. Carascas smiles. [CARASCAS] Show him to the guest room. The guards escort Michael through a doorway into: A CORRIDOR Luxurious like the rest of the residence. All but one of the guards drop off into a control room. Michael glances to see: MICHAEL'S POINT OF VIEW - THE GUARD ROOM dominated by a bank of TV screens, the security center of the compound. INT. GUARD ROOM A guard is staring up at a monitor which shows Michael being escorted down the corridor. INT. CORRIDOR Michael and the guard come around a turn in the corridor and approach the door to the guest room. Michael looks up to: A TV SURVEILLANCE CAMERA mounted near the ceiling, pointing at the door. INT. GUEST ROOM The door opens, Michael enters. The door closes behind him. He looks around. The room is well-appointed, bed, desk, etc. And --- ANOTHER TV CAMERA taking in the whole room. INT. GUARD ROOM The guard watching the monitor showing Michael in the guest room. RESUME MICHAEL as he discreetly raises his comlink. [MICHAEL] Kitt? DASH OF LYNX - INTERCUT AS NEEDED as the panel slides aside and K.I.T.T.'s voice box comes to life, as does his monitor, where we see Michael in the room. [K.I.T.T.] Yes, Michael? [MICHAEL] Are you picking me up? [K.I.T.T.] And watching you. I'm patched into the surveillance system as well. [MICHAEL] Any problems? [K.I.T.T.] No, Michael. As a matter of fact, I found myself in some interesting company. I mean, suddenly it occurred to me, being a classic means being part of history. It means that having reached a certain plateau, one enjoys a status that few --- [MICHAEL] (interrupting) Okay, okay, I hear you, pal. Just remember beauty is only skin deep. [K.I.T.T.] And can melt away at the flick of a switch. It's not necessary to remind me. [MICHAEL] Good. It's time for Hajeck's favorite pastime. Put me on a five-minute loop. [K.I.T.T.] Rolling tape now, Michael. Michael crosses to a table; pulls a deck of cards from his pocket and begins laying out the cards. DASH OF LYNX We see Michael playing solitaire on K.I.T.T.'s monitor. INT. GUEST ROOM - THE CONSULATE - NIGHT Michael is sitting on the bed playing solitaire. [K.I.T.T.] Okay, Michael, I've got enough. [MICHAEL] What about the corridors? [K.I.T.T.] I prerecorded them earlier. They'll appear empty on all the surveillance monitors. [MICHAEL] Start feeding both into the surveil- lance system. I'm getting out of here. Michael opens the door, peers out, then slips out of the room. We hold a beat, establishing it is empty but --- INT. GUARD ROOM The guard is watching a monitor that shows Michael still playing solitaire. THE CORRIDOR as Michael moves toward --- A STAIRWAY LEADING DOWN TO THE BASEMENT Michael approaches the stairs, starts down, passing a TV camera. ON MONITOR IN GUARD ROOM The same staircase, but empty, no sign of Michael. INT. BASEMENT SHOWROOM as Michael comes down the stairs and moves between the classic cars laid out in all their beauty. He pauses, just a moment of uncertainty. [MICHAEL] Kitt? [K.I.T.T.] Over here, Michael. Michael crosses quickly to the Lynx. NEW ANGLE - MICHAEL AND THE LYNX Michael looks at the Lynx for a beat --- [MICHAEL] Time for the canister, pal. CLOSE - THE LYNX A compartment opens, and the dummy canister is revealed. BACK TO SCENE Michael takes the canister out. [MICHAEL] Stay tuned. I'm going to need your help on this one. He heads for the vault. INT. ENTRANCE HALL Carascas and Vascone are in conversation when the door is flung open, and Gaye, stunned, unsettled, face tear- streaked, is forcibly brought in by the two thugs. Vascone blanches, in total shock. [CARASCAS] Who is she? [VASCONE] Hollenbeck's daughter. [CARASCAS] I thought she was dead?! [VASCONE] She was. I saw the hit go down. I saw it!! [CARASCAS] Get Hajek! Vascone heads out with a pair of guards. INT. VAULT DOOR Michael is looking at the intricate electronic lock. He carries the dummy canister. He raises his comlink. [MICHAEL] The lock, Kitt. THE DASH OF THE LYNX as K.I.T.T.'s monitor comes alive with a schematic X-ray of the lock mechanism. The combination dial starts twirling. Various numbers and letters print out across the screen. RESUME MICHAEL at the vault as the dial continues to spin. [K.I.T.T.'S VOICE] This is a tough one, Michael. It will take me at least -- ten seconds. [MICHAEL] Make 'em count. We hear electronic clicks a few beats before the lock pops. Michael opens the door and goes into the vault. INT. CONTROL ROOM The guards on duty look startled as Carascas and Vascone, dashing down the corridor, burst in to check the monitors. Both relieved when they see --- THEIR POINT OF VIEW ON MONITOR that shows Michael playing solitaire. INT. VAULT Michael is looking around, his eyes finally coming to rest on the crate we had seen earlier. He opens the crate, sees: INSERT - THE CRATE with the canister inside. INT. CORRIDOR AT GUEST ROOM Carascas, Vascone and guards. One of the guards opens the door. INT. GUEST ROOM They blow into the room and find it empty. [VASCONE] He's not here! How the --- [CARASCAS] The vault!! Check the vault!! They dash out of the room. INT. VAULT Michael carefully lifts out the real canister. [K.I.T.T.] Hurry, Michael! They've discovered you're not in the guest room! Michael picks up the tempo, replaces the canister in the crate with the false one, closes the crate. INT. VAULT STAIRWAY Michael emerges with the real canister and dashes up the stairs to: BASEMENT SHOWROOM - THE LYNX as Michael approaches with the canister. The compartment in the Lynx opens. [K.I.T.T.] Michael, my sensors tell me they're coming! [MICHAEL] I'll take my chances. Long as they don't have this. He stashes the canister away. We watch the compartment close. Michael then moves away from the Lynx into the open. Vascone and the guards appear, stop on seeing Michael, level guns at him. [CARASCAS] What are you doing down here?! [MICHAEL] Admiring your fleet of classics. I'll bet you have no idea what you've got here. [CARASCAS] You're slick, whoever you are. Michael puts his hands up. They approach slowly and take him prisoner. INT. MAIN ROOM Bonnie is collecting her wrap, her purse as Carascas stands at the open door, scowling. [CARASCAS] Please leave. [BONNIE] (wryly) I hope it's nothing I said. [CARASCAS] Just get out! Bonnie slides past him out the door. INT. ENTRANCE HALL Bonnie heads for the front door, when: [GAYE'S VOICE] Bonnie! Bonnie turns, startled. NEW ANGLE - TO INCLUDE GAYE being held by the two thugs in a corner alcove near the door to the main room. [BONNIE] I'm afraid you've mistaken me for someone else. Bonnie shoots a glance to Gaye to clue her in. Carascas catches it, looks from one to the other. [CARASCAS] Bonnie -- Well, 'Contessa,' now that's more like it. Take them both! The guards move in and around Bonnie and Gaye and we: FREEZE FRAME FADE OUT END OF ACT THREE ACT FOUR FADE IN EXT. LOADING AREA - REAR OF CONSULATE - DAY The Mercedes 600, flags flying. The packing crate containing the canister is being loaded into the trunk by Vascone and two guards. Carascas watches, then looks toward the house. ANOTHER ANGLE as Bonnie and Gaye are hustled into the back seat. Vascone closes the door on them. Behind the wheel is a consulate guard driver. [CARASCAS] (nods at the back seat) If what they say about the Hammer-of-the-Desert is true, these ladies will be very appreciated. [VASCONE] What about 'Hajeck?' [CARASCAS] We'll deal with him when I get back. (off a thought) He's a phony, she's a phony, bad things come in threes. Check out that car. Strip it. Vascone nods his understanding. Carascas gets into the front seat beside the driver, and the Mercedes moves off. Vascone watches it go, moves purposefully back towards the house. INT. HOLDING ROOM - DAY a prison cell, windowless, bars on the heavy front door for observation from outside. Michael is alone peering through the bars, then turns away to conceal his comlink. [MICHAEL] Kitt? DASH OF THE LYNX - INTERCUT AS NEEDED As the panel slides back, K.I.T.T.'s voice module comes to life and monitor clicks on. [K.I.T.T.] Are you all right, Michael? [MICHAEL] If you consider being locked in a filthy six by six locked room okay, I'm fine. [K.I.T.T.] How can I help you, Michael? [MICHAEL] Keep your scanners peeled. I want to know if Carascas leaves the premises. A grid map develops on the monitor. A pulsing blip moves away from the consulate. [K.I.T.T.] He's already left, Michael. He took Bonnie and Gaye with him. [MICHAEL] Stay on him, pal, and I've got another lock for you. Michael passes his comlink over the lock. An analytical schematic appears on K.I.T.T.'s monitor, replacing the map. [K.I.T.T.] We've been up against this type before, Michael. I already have the data stored. (beat) That should do it. The lock emits metallic clicking sounds and pops open. [MICHAEL] It sure did. Be right there. Michael opens the barred door; about to slip out into the corridor; pauses in reaction to --- [K.I.T.T.] Hold it, Michael. INT. BASEMENT SHOWROOM - DAY as Vascone and Pascal approach the Lynx. [K.I.T.T.] (continuing) Vascone is coming. [VASCONE] (to Pascal) Get the tools. We're taking this baby down to the frame. Pascal looks at him, displeased, then crosses to a wheeled tool chest. Vascone tries to open the door of the Lynx; can't budge it. [VASCONE] The keys. Come on, open it. [PASCAL] It's not locked. The keys are inside. Vascone tries the door again, nothing. He scowls, goes to the tool chest, removes a large pry bar and goes to work on the door. RESUME MICHAEL IN THE HOLDING CELL [MICHAEL] (comlink) What's going on, pal? INTERCUT DASH OF LYNX K.I.T.T.'s monitor and voice module visible. [K.I.T.T.] They're trying to dismantle me, Michael. [MICHAEL] (smiles) You mean, your outer shell. The Lynx. [K.I.T.T.] Yes, I'm afraid I've started thinking of it as a part of me. [MICHAEL] Well, it's time for the butterfly to shed its cocoon, pal. We've got to get out of here. Ready? [K.I.T.T.] Ready, Michael. Michael pulls a small remote control device from his pocket. (The one Bonnie used earlier to transform the sphere) and depresses the button. INT. BASEMENT SHOWROOM - DAY Vascone stymied by his inability to pry open the door of the Lynx, angrily tosses the pry bar aside. Glares at Pascal --- [VASCONE] Get me the oxy-acetylene torch. One way or another, this body's coming apart. But a sudden flash of light comes from the Lynx before Pascal can respond. He and Vascone are startled, spooked; shrink back and watch in amazement as: THE LYNX glows from within, a searing, electric red that pulses in waves, the surface of the vehicle suddenly becoming dripping wet, as a liquid cascades off onto the floor. CLOSE ON BODY OF LYNX - VARIOUS SHOTS as they soften, melt and liquify, running down like watery molten wax -- revealing K.I.T.T.'s shiny black surface beneath. INTERCUT MICHAEL [MICHAEL] (comlink) On your cue, buddy. [K.I.T.T.] Vascone's more than distracted, Michael. [MICHAEL] On my way. RESUME THE SCENE as the last of the Lynx "melts" away and cascades onto the floor leaving a "water dotted" K.I.T.T. amidst the other classic vehicles. Michael enters from behind Vascone, who is frozen, aghast at the spectacle he's just seen. ANOTHER ANGLE as Vascone senses, whirls pulling his gun. Michael knocks it aside as it fires once. Then puts Vascone away with a karate combination. Vascone goes down into a puddle of the liquified Lynx body. [MICHAEL] You've just been slimed, pal. Vascone stays down. Michael grabs Vascone's gun and levels it at Pascal not knowing if the old guy has a gun or is one of Carascas' men. [K.I.T.T.] No, he's on our side, Michael. [MICHAEL] Thanks, pal. Next, Carascas. [K.I.T.T.] He's still within scanner range, Michael. As Michael pulls open K.I.T.T.'s door and gets behind the wheel. [MICHAEL] Good work, buddy. Super Pursuit Mode, hit it. Michael pushes some buttons on his console. K.I.T.T. - SEQUENCE OF SHOTS as he transforms from regular to Super Pursuit Mode, fins, air scoops, spoilers, nose cowling deploying. INT. BASEMENT SHOWROOM - DAY Pascal watches in awe as K.I.T.T. transforms and then rockets away. [PASCAL] Wow! That's what I call a classic! INT. THE RAMP - DAY as K.I.T.T. burns rubber heading up the ramp. Uniformed guards scatter at his approach. EXT. COMPOUND GROUNDS - DAY as K.I.T.T. comes up off the ramp, scattering more guards and blasts through the gates and takes off. INSIDE K.I.T.T. [MICHAEL] Give me directional scan on the Mercedes, pal. Bloopings and beepings. [K.I.T.T.] I've got it, Michael. Carascas is heading for the harbor area. [MICHAEL] Figures. He's probably going to deliver that canister in person -- play it safe and get out while he can. EXT. THE MERCEDES - DAY The Mercedes 600 crossing into the harbor area. INSIDE THE MERCEDES Bonnie and Gaye in the back seat. [GAYE] I'm sorry, Bonnie. I was upset. I wasn't thinking. I --- [BONNIE] You couldn't help it. (sotto) Michael will find us, somehow. He will. INSIDE K.I.T.T. - TRAVELING Michael focusing on the road ahead. [K.I.T.T.] My sensors tell me they're at the waterfront. [MICHAEL] Probably for a boat stashed somewhere for a quick getaway. K.I.T.T. blows past camera in Super Pursuit Mode. EXT. WATERFRONT WHARF - DAY as the Mercedes pulls to a stop next to a "cigarette" -- a super fast speedboat. Carascas gets out quickly, crosses to the trunk and carefully takes out the crate with the canister. The driver forces the two women out of the car at gunpoint and directs them toward the boat. EXT. SERIES OF ANGLES - DAY K.I.T.T. barreling along in super pursuit mode entering the waterfront area. ON THE WHARF Carascas gets down into the speedboat; reaches back for the crate with the canister. The driver forces Bonnie and Gaye towards the wharf edge, and down into the boat. K.I.T.T. explodes onto the street, rockets down toward the wharf. CARASCAS AND THE DRIVER react to K.I.T.T.'s approach on the wharf. The women are already on the boat. Carascas hits the ignition. The engine starts to turn over. THE DRIVER still on the wharf. He whirls, automatic weapon in hand and cranks off a burst. Behind him, we hear the engine of the speedboat roar to life. K.I.T.T. rockets onto the wharf toward him in Super Pursuit Mode, rounds sparking off his shell. INSIDE K.I.T.T. the rounds sparking off the windshield in front of Michael. [K.I.T.T.] My scanners indicate Carascas has just started the engine, Michael! [MICHAEL] Microlock it and hit the EBS, pal! The shooter's yours. Carascas is mine. K.I.T.T. as he deploys braking fins and roof flap and screeches to a fast EBS stop. Michael leaps out and heads for the speedboat. K.I.T.T. takes off after: THE DRIVER boxing him in with sudden bursts of speed, forcing him back until he screams, drops his gun and falls off the wharf into the water. CARASCAS - IN THE BOAT trying to restart the stalled engine, then freezes, holding Bonnie and Gaye as shields as Michael levels Vascone's gun at him. [MICHAEL] Let's talk trade off! [CARASCAS] No deal. (gun on the gals) I'm holding all the cards. Michael aims his gun at the crate that contains the canister. [MICHAEL] (shakes no) I put a bullet in that canister -- we're all dead. [CARASCAS] (considers) What do you want? [MICHAEL] The women for your freedom. [CARASCAS] And I take the canister. [MICHAEL] You got it. [CARASCAS] Deal. Carascas releases the two women. Bonnie climbs up onto the wharf, helps Gaye up. Both run for safety to Michael. [MICHAEL] Bon voyage. Carascas gives it the gas, the speedboat roars away from the wharf. ANOTHER ANGLE - INCLUDE K.I.T.T. as Michael and Bonnie start to laugh as they watch Carascas roar off. [GAYE] What's so funny? He's got the canister! [MICHAEL] He sure does. I'd give anything to be there when the Hammer-of-the- Desert opens it. [BONNIE] Yeah, but Carascas will wish he wasn't. [GAYE] What are you two talking about? [MICHAEL] I switched canisters. He's got a phony. [GAYE] (brightening) You mean, it's empty? [MICHAEL] Not exactly --- [BONNIE] What did you fill it with anyway? [MICHAEL] Oh, nothing special -- I'm sure the Hammer has camel pens full of it. Gaye joins in the laughter and we: [FREEZE FRAME] END OF ACT FOUR TAG TO FOLLOW

{"show": "Knight Rider", "season": "s04", "episode": "e06", "title": "KNIGHT STING"}

knightriderarchives

ACT ONE FADE IN EXT. OCEAN - DAY A sleek and powerful hovercraft armed with rocket launchers and gun turrets shoots across the waves at breakneck speed. EXT. TESTING FACILITY PIER - DAY A group from Lowell Industries, the builders of the vehicle, watch the machine put through its paces. Among them are Amy Lowell, the President of Lowell Industries, and Vince Lewison, chief designer of the hovercraft and its systems. Amy is a crisply dressed, beautiful woman in her mid- thirties, the model of a successful female corporate executive. Vince is plump, balding, looks like a math professor, with a habit of nervously clicking his ball-point pen. He's feverishly excited as he watches and narrates the test. [VINCE] Come on, gyro guidance, don't let me down. WITH HOVERCRAFT It bears down on an obstacle course of yellow buoys. ANOTHER ANGLE It slaloms effortlessly right through them. ON THE PIER [AMY] (delighted) Perfect, Vince! [VINCE] Now for the fireworks. (getting on his walkie- talkie) Hit the Jeep. INT. HOVERCRAFT The pilot of the two-man crew, Jake, answers on his headset. [JAKE] Roger, Mr. Lewison. THE HOVERCRAFT It doubles back for more maneuvers. TWO TECHNICIANS are stationed on the sand. In the distance is an old Jeep. CLOSER ON THE HOVERCRAFT It spins ninety degrees and goes up the sand. ANGLE ON BOW The machine-guns chatter. THE JEEP goes up in flames. SCENE The hovercraft flies along the surf. ON COMPUTER VIDEO SIGHT An old LST, moored just off the beach, is zeroed in on by flashing computer graphics. ANGLE ON PORT A missile is shot from the hovercraft. THE LST is blasted out of the water. A TARGET BOAT zigzags through the water, picking up speed. EXT. BEACH The hovercraft spins on a dime, making an 180 degree turn on the sand. It skims towards the beach. CLOSE UP - FIRING TUBE A surface-to-air "smart" missile is launched. INT. HOVERCRAFT CONTROL On another screen, computer graphics are transmitted by the missile as it moves in closer and closer to its target.... ANGLE ON TARGET BOAT It's intercepted by the missile and blown to smithereens. ON THE PIER The onlookers burst into applause. Amy hugs Vince. She turns to the crowd. [AMY] Thank you. I know my father would've been proud of you for the terrific work you've done. And while I can't speak for our prospective customers, I have a feeling that once the Navy sees what we've got here, Lowell Industries will be on the map again! Another round of applause, which rises in fervor as.... THE HOVERCRAFT circles to a stop to receive the plaudits of the crowd. ANOTHER ANGLE ON THE BASE OF THE SKIRT of the hovercraft, which floats about two feet above the water. A frogman suddenly leaps above the surface and hauls himself over onto one of the metal struts. ANGLE AS NEEDED - ON THE DECK OF THE CRAFT Two other frogmen pull themselves up and race over the side. ON THE PIER Amy, Vince and their colleagues are horrified. ON THE HOVERCRAFT - INTERCUT WITH PIER A quick and brutal takeover. The frogmen, brandishing wicked divers' knives, haul out the crew. Jake, trying to resist, is beaten and thrown overboard. His partner quickly follows. AMY AND VINCE along with the rest of the crowd, watch the fighting in agony. SCENE Their cries are useless. While the crew flounders in the water, the hijacked craft races out into the open ocean. CUT TO EXT. ROUTE 1 - DAY Michael tools along in Corvertible Mode down the beautiful stretch of coastline. INT. K.I.T.T. [MICHAEL] You can't beat this scenery, huh, Kitt? WHAT HE SEES The famed Monterey cypress on the hill looming past the next bend in the road. [K.I.T.T.] I agree, Michael. It's a wonderful place to be spending your birthday. [MICHAEL] That it is, pal. [K.I.T.T.] You know, Michael, given that it's such a special day for you, you seem a bit subdued. [MICHAEL] Well, I guess it's just one of those birthdays when you realize...there's been a lot of birthdays. There's a beep of a horn. Michael looks over as a gorgeous girl in a hot convertible pulls up beside him and waves at him. Michael grins and waves back. [K.I.T.T.] Well, Michael I detect no flagging of your vital functions. [MICHAEL] (cheering up) You're right, pal. You know what really ticks me off? Here it is my birthday, my vacation, and once again I'm going along with Devon. [K.I.T.T.] I can promise you that The Foundation's suite at the Carmel Pines Hotel is absolutely first class. [MICHAEL] Oh, I'm sure Devon will have a bottle of Lafitte Rothschild waiting for me. The problem is, I'm more in the mood for a case of brew. [K.I.T.T.] If you prefer a 'case of brew' to one of the world's finest wines, that's your problem. [MICHAEL] Okay, okay. Maybe I can get to like first-class, Devon-style. Old world elegance, formality.... He turns into: EXT. CARMEL PINES HOTEL - MONTAGE - DAY The grounds of the Carmel Pines Hotel look like a nonstop party. Volleyball. Tennis. Jacuzzis. Groups hoisting umbrella drinks at umbrella tables. And, to the rocking beat on the sound track, bikini-clad girls prancing everywhere. WITH K.I.T.T. Michael pulls into the parking lot as even more of those lovelies walk by, checking him out. [MICHAEL] I take it back, pal. The Foundation knows how to pick 'em. [K.I.T.T.] Now aren't you ashamed you doubted Devon? [MICHAEL] Not in the least. DISSOLVE TO EXT. POOL - CARMEL PINES HOTEL - DAY The camera pans down the line of sunbathers sprawled out on deck chairs, some with drinks perched on the arm rests, until we finally arrive at Michael, contentedly sipping a Chablis. MICHAEL'S POINT OF VIEW - A BEVY OF GOOD-LOOKING WOMEN -- and one in particular, walking to the edge of the pool. It's Amy Lowell. She takes off her robe and tosses it back on a chair, revealing a stunning figure, and then briskly, almost angrily, dives into the water. Michael admires her as she fires off a quick lap, and then hoists herself out of the water, immediately catching Michael's eye. [MICHAEL] Nice form. Amy, pleased by his response, moves directly to him. [AMY] The best exercise there is. Good therapy too. [MICHAEL] Yep. Almost as good as sitting by the pool. (extending his hand) Michael Knight. [AMY] Amy Lowell. She takes the deck chair beside him, clearly liking what she sees, but perhaps a little evasive. [AMY] So, here for the weekend? [MICHAEL] A little more than that. A well- deserved vacation, which just happens to coincide with my birthday. [AMY] Happy birthday! How are you celebrating it? [MICHAEL] Well, it just occurred to me that an afternoon by the pool, followed by a candlelight dinner, is pretty hard to beat. Amy chuckles to herself. [MICHAEL] I guess I'm moving a little fast, but then again, so does vacation time. [AMY] It's not that. I have a confession to make, Michael. I was very well prepared for how you'd move. [MICHAEL] Amazing. You could tell that just by looking at me. [AMY] No, more like I was told that about you. Michael becomes aware, but not entirely sure.... [MICHAEL] I don't want to ask, but I will.... [AMY] And I'll answer. By Devon Miles. Before he arranged for us to meet.... ON MICHAEL the trapped look. [MICHAEL] Why do I get the feeling I've just strayed from off-duty to on-call? Michael is a little angry, though not directing it at Amy. He takes her hand. [MICHAEL] Come on. [AMY] Where are we going? [MICHAEL] My office. CUT TO INT. K.I.T.T. - ON MONITOR Devon flashes on the screen. [DEVON] Ah, Michael. I trust you've arrived at the Carmel Pines Hotel. Michael sits in the car with Amy beside him. [MICHAEL] (stiffly) I have. [DEVON] And something in your tone of voice suggest you've made the acquaintance of Miss Amy Lowell. [MICHAEL] Right again, Devon. A very charming young woman, and I would thank you for putting me in contact with her, if it wasn't your way to stop my holiday before it started. [DEVON] She's the Chief Executive officer of a weapons manufacturing firm, Lowell Industries, and she's run into a bad security problem. [MICHAEL] Devon, I'm on vacation. Not en route to vacation, on vacation. Plus it's my birthday. So if I meet a woman, I want her to whisper sweet nothings in my ear, not crises involving military hardware. [DEVON] Michael, a hovercraft of revolutionary design was hijacked during a test run. If this craft gets into the hands of some strongman in one of the world's trouble spots, it could be a devas- tating problem for all of us. [MICHAEL] Devon, that's why we have armed forces and a Coast Guard for something like this. Amy cuts in, trying to hold back how upset she is. [AMY] You're absolutely right, Michael. But we wanted The Foundation to clear up the matter without the military stepping in. Since my father's death we've lost our government contracts, and this was our first real chance to regain them. The Navy was all set to buy our hovercraft. [MICHAEL] And if you can't get the hovercraft back, and the Navy learns your security was breached --- [AMY] We'll lose the contract, and we could be bankrupt within a month. Michael is moved by her story. Amy looks hopefully at him. [MICHAEL] Looks like I'll be playing a new party game: Find the Hovercraft. Amy is relieved and happy -- as is Devon. [DEVON] Thank you, Michael. And Michael... (consciously punning) Many happy returns. Devon signs off -- and Amy clasps Michael's hand. [AMY] Thank you so much. Shall we go to the testing facility? MICHAEL He's got no choice. [MICHAEL] The testing facility...How romantic. CUT TO EXT. LOWELL INDUSTRIES TESTING FACILITY - DAY Michael is waved through the gate by a security guard. EXT. BEACH - DAY Vince and Amy explain to Michael how the crime took place, while K.I.T.T. waits a short distance away. They stride up to the edge of the surf and point out towards the pier. [VINCE] That's where it happened. Right there! [AMY] It was like some kind of nightmare. To watch them come out of the water and take it like that -- to be so powerless.... Michael raises his comlink. [MICHAEL] Kitt, check the area near that pier ...the divers had to station them- selves nearby.... [K.I.T.T.] The tides and current have removed anything traceable from the water.... [AMY] That car is amazing. [VINCE] I'd love to study that software.... [MICHAEL] It gets better. Kitt, check the pilings for any marks that don't belong. [K.I.T.T.] I found something, Michael. Michael rushes over to K.I.T.T., followed by Amy and Vince. INSERT ON SCREEN A graph of the pier pilings. [K.I.T.T.] I show residues of Neopirine and injection-molded thermoplastic from diving accessories as well as some minute traces of blue paint. [MICHAEL] That would have to be the tanks. It sounds like a color code for rental equipment. Kitt, run down the scuba rental outfits in the area. [K.I.T.T.] Well Michael, we have H and C Salvage, Nemco, Quincy Divers --- [AMY] Wait a minute. My Dad used to hire Quincy to clean the bottoms of company boats. [MICHAEL] It might be a good place to start. He pops open K.I.T.T.'s door. [AMY] Michael, you have no idea how much I appreciate your being here. She clasps his hand warmly. Vince also pops in. [VINCE] Me too. I haven't been able to sleep since this happened. So if you require any assistance... (in a confidential tone) I practice on the pistol range every week.... [MICHAEL] (kindly) It's good to have you here to back me up, but just hang loose till I get back.... CUT TO EXTERIOR - WITH K.I.T.T. - DAY Michael drives off a harbor road into a parking lot. The camera pans over to a cabin hung with the sign QUINCY DIVERS. ANOTHER ANGLE K.I.T.T. pulls to a stop, and Michael leaves the car, in a beach shirt, huaraches and jeans. He hustles across the lot. INT. CABIN - DAY Michael saunters up to the service desk, behind which stretches racks of all sorts of diving paraphernalia -- knives, spear guns, gloves, tanks, the works. Henry Quincy, an old sunbronzed roughneck, steps up to greet him. [QUINCY] Can I help you? Michael inevitably notices some blue striped tanks on the wall. [MICHAEL] Yeah. Name's Michael Knight. I understand you've done some work in the past for Lowell Industries. [QUINCY] Uh-huh. We did all their boat-bottom cleaning. I knew Mr. Lowell and his daughter since when he was a tinkerer in his garage. She was a cute little thing. [MICHAEL] Yeah, well, maybe you can help me out. I'm investigating the theft of some of their equipment by some scuba divers. [QUINCY] No kiddin'. [MICHAEL] A security guard reported seeing a diver with a blue tank... (indicates the ones on the wall) ...just before he got away. [QUINCY] Lemme stop you there, 'cause you're right on target. I just lost three of my best outfits to some bums who breezed in here two days ago. They left their deposits and never came back. Don't mind the C-notes, but it sure is one hell of a pain to replace that equipment. [MICHAEL] Can I see the deposit slips? Quincy pops open the register, pulls out the deposit slips. [QUINCY] I don't have to tell you -- the names are probably worthless but you might try this address. It's about a mile down and right on the pier. Michael takes the paper, shakes Quincy's hand. [MICHAEL] Thanks for your help. [QUINCY] Listen. Lemme know right away if you find those tanks. It's peak of the season. Michael waves good-bye and heads out. As soon as Michael leaves Quincy heads for his phone. Dials a number. Waits. [QUINCY] Get me Mr. Kleist. INT. WATERFRONT SHED - DAY An Uzi automatic is cradled in the grip of a Guard as he walks through the shed and right across the hovercraft's bow. [GUARD] Mr. Kleist? Telephone. He looks up towards the hovercraft deck, occupied by the strange specter of a tall, impeccably dressed, white-haired German -- the international arms broker, Kleist. Kleist instantly turns on his heel and leaves. INT. BACK STORAGE ROOM outfitted with a ship-to-shore radio and portable phone. Kleist picks up the phone. [KLEIST] Yes? QUINCY - INTERCUT AS NEEDED [QUINCY] Mr. Kleist, it's Quincy. We got a problem here. [KLEIST] What is it? [QUINCY] Guy named Michael Knight is investi- gating the theft of some equipment from Lowell Industries. How much you wanna bet he's looking for the hovercraft? [KLEIST] Well, what did you do? [QUINCY] Sent him to the fake address we used for the three divers. That bait shack at the end of Rawlins Pier. Nothing there but wharf rats and stray dogs. [KLEIST] Fine. I'll see to it that Mr. Knight troubles us no longer. He hangs up.... EXT. RAWLINS PIER - DAY K.I.T.T. drives into a bad news part of the waterfront, a stretch of empty pier. INSIDE K.I.T.T. [K.I.T.T.] This looks rather deserted. Are you sure we're not on the proverbial wild goose chase? [MICHAEL] Maybe so. But I still want to take a look. Keep your scanners alert, pal. He gets out of the car. WITH MICHAEL He heads down the lonely stretch of rotted-out pier CLOSER ON MICHAEL He knocks on the door. [MICHAEL] Hello! Anybody home? Getting no answer, he heads around the corner of the shack. ANGLE THROUGH SHACK WINDOWS He looks through the cracked, filthy plate glass. Suddenly he hears the roar of a car motor. [K.I.T.T.] Michael! A very fast-moving vehicle just turned onto the pier! [MICHAEL] I'm comin', pal! ON MICHAEL He races around the corner of the shack. [K.I.T.T.] Michael, look out! He freezes to a stop. WHAT HE SEES The car is heading at top speed straight towards him. FREEZE FRAME FADE OUT END OF ACT ONE ACT TWO FADE IN: EXT. ON THE PIER - DAY Michael stares at the oncoming car...and holds his ground. THE CAR keeps on coming.... ANGLE PAST MICHAEL'S FOOT The wheels of the car speeding closer.... RESUME PIER - ANGLES AS NEEDED At the last moment Michael leaps away. The car zooms by him, comes to a screeching stop right onto the bait shack porch. MICHAEL races down the pier as K.I.T.T. charges up to get him. He leaps into the car. INSIDE K.I.T.T. - ON MICHAEL [K.I.T.T.] Michael, that was cutting it very close. WHAT MICHAEL SEES The car, driven by a man in a telltale red shirt, heading right back at them. [MICHAEL] It's called playing chicken. And it just might work. Michael accelerates and guns K.I.T.T. forward. [K.I.T.T.] (horrified) Michael, what are you doing? ANGLE AS NEEDED - ON PIER The two cars heading right for each other.... INSIDE K.I.T.T. - ON MICHAEL [MICHAEL] Here we go! Michael hits "turbo boost". ON K.I.T.T. In slow motion he sails up and over the speeding car. ANOTHER ANGLE He lands some distance down the pier, while.... THE KILLER CAR goes careening off the pier and smashes into the ocean. ON THE PIER Michael jumps out of K.I.T.T. and races to the pier's edge. WHAT HE SEES A row of bubbles trailing across the water. [MICHAEL] Scuba gear! He had some scuba gear stowed in his car, and he's just made use of it. [K.I.T.T.] I'm sorry, Michael, but deep sea diving is not one of my specialties. INSIDE K.I.T.T. - ON MICHAEL He jumps back in, disgruntled but unbowed. [MICHAEL] It's okay, Kitt. We're alive. And we got ourselves a scorecard. [K.I.T.T.] I'm afraid that reference escapes me. [MICHAEL] You can't tell the players without one, pal. And I think we've just found out that Mr. Quincy is definitely one of our players. CUT TO EXTERIOR - WITH K.I.T.T. - DAY - MOVING He cruises down a beach road. INSIDE K.I.T.T. - ON MONITORS [DEVON] Well, Michael, you have some progress to report? [MICHAEL] I'd say we struck a nerve somewhere. I've just left off playing a game of bumper cars at eighty miles an hour. [DEVON] Any idea who the other driver was? [MICHAEL] Not yet. But the man who sent me to that little encounter was one Henry Quincy, owner of Quincy Divers. I need all the history you can dig up on him. I'm headed there now. CUT TO EXT. QUINCY DIVERS - DAY Michael pulls up some distance away so as not to attract attention. INSIDE K.I.T.T. - ON MICHAEL [MICHAEL] Any sign of him? ON MONITOR A blueprint of the interior of the shack. [K.I.T.T.] I'm afraid he's gone, Michael. [MICHAEL] No use announcing our presence to nobodies. I've got some other moves to put on Mr. Quincy. [K.I.T.T.] No more tryouts for the demolition derby, I hope. [MICHAEL] No way, pal. I've got to head back to Lowell Industries to talk to Amy. So for now, let's go with a simple microthermal detector. He pulls out of a dash compartment a wafer-thin device no longer than a matchbox. WITH MICHAEL He steps out of K.I.T.T., saunters down the pier. ON QUINCY'S DOOR He attaches the device between the steel door handle and the glass, then he steps away. INSIDE K.I.T.T. - ON MICHAEL resuming his seat. [MICHAEL] Smile, Quincy. You're going to be on Knight Industries candid camera. And when you least expect it -- you'll be mine. INT. WATERFRONT STORAGE AREA - DAY Quincy, standing on the mezzanine platform above the hover- craft is astounded and enraged. [QUINCY] You said you'd take care of Knight! Kleist and his red-shirted thug watch Quincy impassively. [KLEIST] I'm afraid Mr. Knight's car had more capabilities than we expected. [QUINCY] Great. Well, at least we're gettin' outta here in two hours. [KLEIST] The schedule is not as we planned. The hovercraft pickup will be delayed twelve hours because of bad weather. [QUINCY] This gets better and better! We're gonna have to sit on this beast for another day. Meanwhile, a guy with an army in his car is gonna be coming after me! [KLEIST] Now just a minute, Mr. Quincy --- [QUINCY] No, you listen to me! I feel like I'm being hung out to dry! You gotta give me my payment now and let me get out of here. [KLEIST] Mr. Quincy, an operation such as this is strictly a cash-on-delivery business. I can't pay you until after the ship arrives and our customers pay me. [QUINCY] Well...what am I supposed to do? [KLEIST] (as if talking to a child) Go back to your office. Go about your business so you don't attract attention to yourself, and when you close up, come back here. And don't worry. If Knight comes and gets in your way -- we'll be ready for him. [QUINCY] All right. That's what I wanted to hear, Kleist. That's more like it. As he backs away, trying to act tough, Kleist turns to his red-shirted goon. [KLEIST] He's become a major liability. When he closes up, kill him. CUT TO EXT. LOWELL INDUSTRIES ENTRANCE - DAY Michael parks K.I.T.T. in a private lot just outside of Lowell's "glass box" hi-tech complex and adjacent to the beach. He gets out, gives K.I.T.T. a friendly pat. [MICHAEL] Scanners peeled, pal. A short time after he leaves, a beach bum, Chuck, trudges by the lot, dressed in cutoff jeans and an old Windbreaker. He wears headphones and moves a metal detector in front of him. It beeps loudly -- he bends down and digs, but all he comes up with is a beer can flip top. He tosses it away, disgusted. K.I.T.T. is curious. His scanner perks up at Chuck's presence. CHUCK hears the detector beep again. He's about to dig, when.... [K.I.T.T.] I wouldn't bother. [CHUCK] Who said that? He looks, sees no one, takes off his headphones and checks it for bugs. [K.I.T.T.] You'll only find an old hotel key. Believe me. [CHUCK] Come on. Where are you? [K.I.T.T.] I'm on the other side of the wall. Chuck looks over and sees K.I.T.T. [CHUCK] Ain't nothin' there but a car. [K.I.T.T.] That's true, Chuck. Chuck puzzles it out. [CHUCK] Unusual kinda car.... [K.I.T.T.] With many added functions. For example, if you want to find something worth your while, I'd go five feet due west. Chuck is at first suspicious, but then dutifully paces it off. [K.I.T.T.] Now dig about six inches under the sand. Chuck bends over, rakes his hand through the sand, and comes up with a gold watch. He stumbles backwards, absolutely amazed. Then he looks at K.I.T.T. with a gleam in his eyes. [CHUCK] My name's Chuck. How'd you like to be my partner? [K.I.T.T.] I have a partner, Chuck. But we could be friends. [CHUCK] Friends? With a car? CUT TO EXT. TERRACE DECK - TESTING FACILITY - DAY Michael is watching the beach scene in the distance and looking at a file. Vince and Amy are watching Michael. [MICHAEL] So this is the sort of work Quincy does for everyone? Hull cleaning? Barnacle scraping? [AMY] Yes. Why? [MICHAEL] Because it suggests he's always been small time. [VINCE] You're right. He's a virtual beach bum eking out a living on the water- front. [MICHAEL] Then he wouldn't have enough money and know-how to hijack the hovercraft and transport it all by himself. I think we're dealing with a well-funded, well-organized operation. Quincy's just a part of it. [AMY] Yes, but who's behind it? Some big industrialist? He couldn't steal it and pass it off as ours. And the designs are patented. [MICHAEL] Yes. Which is why I'm pretty sure that the hovercraft's been stolen on behalf of an unfriendly foreign power. [AMY] Oh, brother. [VINCE] Well, I have to go, Michael. If you need any help in your ongoing opera- tion, anything at all --- [MICHAEL] Don't worry. I'll give you a holler. He claps Vince on the shoulder, and Vince leaves. Amy looks at Michael with a rueful smile. [AMY] Some way to be spending your birthday. [MICHAEL] Well, at least the day's been productive. [AMY] I'm sorry, but I feel it should be more than that. Wait here. Maybe I have a little something for you. INT. LOWELL INDUSTRIES She goes back to a little refrigerator. [AMY] Let's see.... Meanwhile, Michael glances out over the deck. WHAT HE SEES A beautiful vista of some last lone bathers, seabirds, a guy flying a kite. ON AMY as she kneels by the fridge. She can see him survey the shoreline. [AMY] We used to have a little place right down there. I'd play on the beach and my dad would work the whole day in his garage. Sometimes I wish he could have spent more time with me, but now I understand -- his work just consumed him. He built Lowell Industries from that small machine shop in his garage to a thriving, diversified business. [MICHAEL] It's too bad he couldn't have lived to see you running it. [AMY] Oh sure. The company's flagship project stolen right out from under me.... [MICHAEL] Amy, I refuse to let you beat up on yourself on my birthday. Amy smiles. [AMY] You're right. Speaking of which.... She comes out with a box of candles in one hand, a cupcake in the other. [AMY] Best I could do. She puts the candle on the cake and lights it. [AMY] Happy birthday, Michael. I'm so glad you're here. [MICHAEL] I wouldn't be anywhere else. She holds up the cake. He blows out the candle and kisses her. [AMY] Hmm. She puts in and lights another candle. He blows it out. A deeper kiss. [MICHAEL] Two candles. Whatever else I may or may not have done, Amy, I certainly passed infancy. [AMY] You're right. She picks up another candle, when the comlink crackles to life. [MICHAEL] Not now, pal. ON MONITOR An infrared scan of Quincy. [K.I.T.T.] Quincy's just arrived back at his place, Michael. RESUME SCENE [MICHAEL] Be right there...I'm afraid duty calls. [AMY] (lays down the third candle) That's okay. We'll get to your adolescence and maturity later. One more much deeper kiss, and Michael, very pleasantly surprised, leaves. CUT TO EXT. PARKING AREA - A SHORT DISTANCE AWAY Michael jumps into K.I.T.T. as he pulls up and drives away. [CHUCK] Wait a minute. Let's make an arrange- ment. But K.I.T.T.'s gone. INT. K.I.T.T. - INTERCUT WITH MONITOR [MICHAEL] Yo Devon. What have you got on Quincy? [DEVON] Apparently the local authorities have been watching him for a long time. He's been charged twice for drug smuggling and interstate transport of automatic weapons, though never convicted. [MICHAEL] Well, we'll have to change that, won't we? CUT TO EXT. BEACH ROAD - NIGHT K.I.T.T. roaring past the piers. EXT. PIERS The red-shirted goon pulls up on a motorcycle. Hearing K.I.T.T.'s motors, he jumps off the cycle and hides. EXT. QUINCY DIVERS - NIGHT Quincy locking up his shack, en route to his car, when he hears the sound of K.I.T.T.'s engines. He looks up, then makes a run for the boats. ON K.I.T.T. He brakes to a stop, and out runs Michael, giving chase. ANGLE ON PIER - NIGHT Michael catches up with Quincy, grabs him, whirls him around -- and Quincy surprises him by clutching his arms and savagely butting his head into Michael's stomach. Michael falls back, and Quincy readies another punch, but Michael smashes him with an uppercut that ends the contest. Michael hauls him up. [MICHAEL] You're coming with me. And you're telling me everything you know. [QUINCY] Okay, okay, I'll --- There's a shot -- and Quincy sags in Michael's arms. ON MICHAEL He instantly realizes what's happened, and drops Quincy and dives to the pier as a second shot rings out. THE RED-SHIRTED KILLER lowers his gun, and races for his cycle. MICHAEL heads back for K.I.T.T. THE KILLER ON HIS BIKE peels out from the pier and onto the road. K.I.T.T. AND THE KILLER'S BIKE - VARIOUS SHOTS racing through the night down the docks. EXT. BY THE WHARVES - NIGHT Part of the L.A. riverbed, with six-inch wide sewer feed lines extending through the concrete. The killer heads for one of them. INSIDE K.I.T.T. - ON MICHAEL [K.I.T.T.] Michael, he's heading for that pipe. ON PIPE The killer skids down the concrete and heads right inside. RESUME - INSIDE K.I.T.T. [K.I.T.T.] We can't make it, Michael. ON K.I.T.T. He skids to a stop. [MICHAEL] Scan for him, pal. [K.I.T.T.] With all this concrete and inter- secting steel pipes? I'm afraid it's impossible. ON MICHAEL Michael wearily acknowledges another getaway. FREEZE FRAME FADE OUT END OF ACT TWO ACT THREE FADE IN EXT. DECK OF AMY LOWELL'S OFFICE - DAY As Amy and Vince watch him, Michael paces, thinking hard, then gets on the comlink. [MICHAEL] Any luck, Kitt? CUT TO INT. K.I.T.T. Rows of phone numbers flashing along the monitor. [K.I.T.T.] Nothing yet, Michael. CUT TO SCENE [AMY] What's Kitt doing now? [MICHAEL] We're checking Quincy's phone records over the last six months. If we can match a number to a name off one of The Foundation's active files, then maybe we can get a lead on Quincy's boss, and also on where the hovercraft is stored. It's a long shot, but it's all we got for now. [VINCE] So Kitt can't just activate his scanners and run the hovercraft down? [MICHAEL] Not along a hundred miles of waterfront. Amy thinks about it and makes a tough decision. [AMY] I'm sorry, Michael, but we'd better alert the military authorities before it's too late. [VINCE] I have to agree, Amy. He starts to leave. [VINCE] I can make the necessary calls when I get into town. [MICHAEL] Wait a minute. I'm no whiz when it comes to hovercraft technology, but wouldn't guidance and weapons systems as sophisticated as this use some sort of radio frequencies in their operation? [AMY] The gyro guidance.... [VINCE] Yes. It uses a special frequency to transmit instructions to the pilot, as well as to coordinate all systems of steering and surface propulsion. [MICHAEL] So it's absolutely crucial to the hovercraft. I think we can jam that frequency and burn out that system. [VINCE] But you'd need a tremendous power source. [MICHAEL] Leave that to me. All you have to do is give me the frequency band. [AMY] What happens when you burn it out? [MICHAEL] The hovercraft's a prototype. They'll have to come back here to grab a duplicate system. And when they do, we'll nail them. [VINCE] Yes! The old pincher trap! Best military move there is. [AMY] But Michael, if that doesn't work, and the hovercraft gets out on the ocean, we may lose it for good. [MICHAEL] Just give me a couple more hours, Amy. That's all I'll need to know if this is gonna work. And I really think it will. His self-confidence cheers up Amy and Vince. CUT TO K.I.T.T. The scanner's flashing away, and a pair of filthy, baggy pants a beeping metal detector cut across it. [K.I.T.T.] Chuck! [CHUCK] Listen. I saw you and your partner pull in a while ago. ANGLE ON CHUCK He pulls up a sack of sandy junk jewelry, and opens it. [CHUCK] Leave him, and this could all be yours. CUT TO LOWELL INDUSTRIES - DAY Michael comes striding out, recharged and ready to go. [MICHAEL] (on comlink) Kitt? Come and get me. We're ready to roll. CUT TO RESUME K.I.T.T. Chuck is spreading the junk jewelry out temptingly before him, when K.I.T.T. revs up his engines. [K.I.T.T.] Chuck, it's a very fine offer. But I'm afraid I have to move on. Good-bye. K.I.T.T. backs up and peels out. [CHUCK] A'right then! If that's your attitude ...you'll never work on this beach again! CUT TO EXT. GATE TO LOWELL INDUSTRIES - DAY K.I.T.T. driving through, en route to the semi. CUT TO EXT. FREIGHTER AT SEA - STOCK A large ship powers towards the coast. INT. RADIO ROOM OF SHIP - DAY The Libyan radio man, watched by his captain, is transmit- ting on a special code the E.T.A. of the ship's arrival. CUT TO INT. WATERFRONT SHED - DAY Kleist, wearing headphones, transmits an acknowledgement on his shortwave radio equipment. He takes off his headset and turns to his subordinate, Miller, a lean, ascetic-looking navigation specialist. [KLEIST] The ship will be at the rendezvous point in an hour. Test the systems and prepare to depart. CUT TO EXT. SEMI - DAY K.I.T.T. powers down the road, zooms up the ramp. INT. SEMI - DAY Bonnie is patching in circuits in the back of the board, working under the gun. RC3 is holding a penlight for her and Michael is anxiously watching. [BONNIE] Boy oh boy. Converting the unscram- bling devices to a scrambling mode, hooking them up to an extra power source -- if this works, I'm going to put sorcery on my resume. [MICHAEL] Bonnie, you've always been magic to me. [RC3] Hey, Michael. Walter Payton's running like he got one of those youth cocoons. The Bears are up by ten in the third. You stand to lose those two Tina Turner tix, my man. Devon rushes in. [DEVON] RC, we all stand to lose a little more than that if we distract Bonnie at this moment. [RC3] You got it, boss. Devon turns to Michael. [DEVON] We've been monitoring the Coast Guard reports. An unidentified Libyan ship has just appeared twenty miles offshore. CUT TO INT. HOVERCRAFT - BRIDGE - DAY As Kleist looks on, Miller turns to the two-man crew. [MILLER] Systems test. INT. HOVERCRAFT - SYSTEMS TEST SEQUENCE The machine gun rotates and locks into place. The graphics scan the screen of missile launcher one. It slides into position. Finally, with a flurry of signals and beeps, the target sight of the "smart" missile flashes on. And in the bow of the hovercraft, its nose cone locks into place, ready to fire. KLEIST marvels at the hovercraft. [KLEIST] What a beautiful killer she is. CUT TO INT. SEMI - DAY Bonnie is patching in circuits at the back of the boards. [BONNIE] Okay, now we should be able to boost this frequency and sweep it across the waterfront. One more thing.... She brings up a portable radio and turns it on to a strange British station. [MICHAEL] What's that? [BONNIE] A station that reports on sheep dog racing from England. It's on this frequency. If it burns out, we're in. CUT TO INT. SHED - DAY Kleist joins Miller and Carter on the hovercraft, donning a headset. [KLEIST] Gentlemen, let's get ready. EXT. PIER - DAY The wooden doors of the shed open slowly and ominously. INT. SHED - DAY The light of day floods the building. With an enormous whoosh the hovercraft revs up its compressed air propulsion system. CUT TO INT. SEMI - DAY Bonnie slaps the circuit board back into place, and scoots around to the controls. [BONNIE] Here goes nothing. She hits some buttons on the console -- and nothing happens. [BONNIE] Wouldn't you know it? I'm going to have to check all those circuits. [RC3] Excuse me, but maybe I can bring my own tremendous computer sophistication into play here. [DEVON] RC, this is no time for jokes! [RC3] No. But it's time for juice. He bends down towards the computer -- and turns the "Power" switch to "On". Everyone's a little embarrassed, and very relieved. [MICHAEL] Good call, RC. She hits the buttons again -- and lights flash on all across the board. The lights in the semi dim from the power surge. [BONNIE] Okay, Michael. Looks like we're transmitting. They watch the radio -- the station cuts out. [BONNIE] We did it! [MICHAEL] Now we'll never know who won. CUT TO INT. SHED/BRIDGE OF HOVERCRAFT [KLEIST] Let's go. Kleist is on the bridge in a headset, flanked by his confederates Miller and Carter, who's just about to drive the hovercraft forward, when --- INSERT - HOVERCRAFT SCREEN "Guidance Malfunction" flashes on, and then the screen blanks out. [MILLER] Sir, the gyro-guidance system is down! [KLEIST] What the hell is wrong? [MILLER] I don't know! We have power, but it's not getting anywhere! It must be a problem with the frequency transmission! [KLEIST] Can we fix it? [MILLER] We only have the hovercraft itself, Mr. Kleist. We don't have the spare parts. Kleist furiously tears off his headset. [KLEIST] Then you're going to have to take the men, head back to Lowell, and get a systems replacement. [MILLER] Right away. He races off the bridge. As we hear the bustle of Miller ordering the men together. KLEIST picks up a cellular phone and starts to dial.... CUT TO EXT. SEMI - DAY K.I.T.T. comes racing out of the semi. INSIDE K.I.T.T. - ON MICHAEL [MICHAEL] All right, pal. Let's give Amy a call. CUT TO INT. AMY LOWELL'S OFFICE - DAY - INTERCUT AS NEEDED Amy hears the phone ring and races to grab it, while Vince anxiously watches her. [AMY] Hello? [MICHAEL] Amy, it's Michael. Just wanted to let you know we sent out the signal. You should be receiving our visitors very shortly. [AMY] Everything's ready. [MICHAEL] Good enough. I'll be right there. Michael starts patching in Super Pursuit Mode. [MICHAEL] Let's go into Super Pursuit Mode, pal. I want to make sure I get there in plenty of time. He hits the switch. EXT. K.I.T.T. Nose cone, air dams, spoilers shooting out, and.... WITH K.I.T.T. ON ROAD He rockets towards the testing facility. CUT TO EXT. BEACH - DAY Kleist's car heads for Lowell Industries, Miller and two goons inside. CUT TO GATE TO LOWELL INDUSTRIES TEST SITE - DAY K.I.T.T. zooms past the gate. EXT. REAR OF TEST SITE BUILDING - DAY The EBS goes into action and K.I.T.T. finally stops behind the wall and out of sight. SIDE K.I.T.T. - ON MICHAEL [MICHAEL] Okay, pal. Let's wait for the guests to arrive. ANGLE ON GATE The car pulls up, and Tyler checks them out. [TYLER] Could you display your pass, please? The guard freezes with terror as an Uzi is shoved in his face. A hand then reaches out to grab his collar and yanks him down as the gun crashes on his head. Down he goes. The car roars on.... INSIDE K.I.T.T. - ON MICHAEL ...as he hears the snarl of the engines. [K.I.T.T.] A strange car just made a very hostile entrance through the gate. [MICHAEL] Sounds like our cue, pal. He hits the accelerator. ON K.I.T.T. K.I.T.T. races out from the cover of the building. EXT. COURTYARD OF LOWELL INDUSTRIES The goons are jumping out of the car when K.I.T.T. bears down on them. They yank up their automatics and open fire. ON K.I.T.T. The bullets harmlessly squib off his windshield. INSIDE K.I.T.T. - ON MICHAEL [MICHAEL] Okay, pal. You take two, I'll take two. Now! EXT. K.I.T.T. - ANGLE ON MICHAEL He leaps out of the car. K.I.T.T. drives right through the four men, splitting them up two leap away to either side, hitting the deck. WITH MICHAEL He wades into two of the guys, immediately punching Miller out, and grabbing his gun. As the second guy yanks up his rifle, ready to shoot him, Michael deflects the barrel with Miller's gun and knocks it out of his hand. As the goon comes for him, Michael sidesteps him and punches him out. WITH K.I.T.T. K.I.T.T. tightly circles the other guys, knocking them in a heap. Once they're up, Michael has a rifle on them. They throw up their arms and surrender. [MICHAEL] Okay. Now you're going back with an extra load -- Kitt and me. I've got some business to settle with your boss. [VINCE'S VOICE] You'll be dealing with me first, Mr. Knight! It booms out alarmingly loud, through a loudspeaker system. Michael looks up at Amy Lowell's office, and is stunned. WHAT HE SEES Standing by the window, Vince holding a microphone, one arm thrown around Amy Lowell's neck, and the other pointing a gun at her head. FREEZE FRAME FADE OUT END ACT THREE ACT FOUR FADE IN INT. HALLWAY - LOWELL INDUSTRIES - DAY Kleist's three goons march Michael down the hall at gunpoint. ON VINCE With his gun at her head, he takes Amy down the hall. [VINCE] Michael, I'd hoped something like this wouldn't have to happen. But you were so smart, I had to be a little smarter. [MICHAEL] That's right, Vince. Very smart move. [VINCE] I don't see any flaws in it at this point. [MICHAEL] Once you hand in that gyro-guidance system you've lost your usefulness. Your new boss'll take the hovercraft and leave you stranded on the beach. [VINCE] Nice try, Michael. But I will be needed to guide our new customer through the technology. Then my boss will leave me stranded on the beach -- in a country with perpetual sun- light and no extradition. They've arrived at the steel door of the dust-free storage room where the gyro-guidance spare parts are kept. [AMY] So you're selling our hovercraft to hostile powers and violating all the trust my father placed in you. You're a thief and a traitor, Vince. [VINCE] Oh no. Not a thief. I'm a profes- sional in the highly competitive field of weapons design selling his services to the highest bidder. Vince makes a mock bow and motions Amy and Michael inside. The guards push them through the door. INT. STORAGE ROOM - DAY Shelves of printed circuitry and other equipment line the walls. As the goons surround Michael and Amy, Vince walks over to a shelf just past them. [VINCE] I designed a revolutionary surface effect ship for Lowell Industries and all your father ever gave me for masterminding the project that would save his firm was a modest salary and a pat on the back. Vince takes a sheaf of gyro-guidance printed circuits. [VINCE] (continuing) Well now the international arms trade has become a bonanza. And I'm going to get what I'm worth. As he walks past Michael and Amy.... [VINCE] (continuing) Before I forget...since you'll be spending some time in this room, let me acquaint you with its unique fire- prevention feature. He points toward a row of ugly green canisters near the ceiling. [VINCE] (continuing) Halon, Mr. Knight. A gas that extinguishes fire by withdrawing the oxygen from the air. Vince motions to a goon. He raises his shotgun -- and shoots out one of the ceiling lamps. The glass explodes, the filament crackles in its circuit. Vince hands the goon some papers out of his pocket, which the goon sticks on the barrel of his rifle. He lifts them up to the live bulb socket, and they catch fire. [AMY] You're committing murder, Vince. [VINCE] A freak accident, Amy. A terrible misfortune. There's a loud hiss as the canisters come to life, spewing deadly halon gas. [VINCE] (continuing) Happy birthday, Mr. Knight. Sorry you won't have any more of them. The guards and Vince back out and slam the door. ON THE OTHER SIDE OF THE DOOR Vince punches some programming buttons -- it's a computer lock. He and the guards then race outside. INT. STORAGE ROOM Michael and Amy are already getting short of breath. [MICHAEL] How do they turn off? [AMY] When the door's opened! [MICHAEL] Let's keep low! They stretch out along the floor to utilize as much of the air as possible. [MICHAEL] (on comlink) Kitt? EXT. LOWELL INDUSTRIES - DAY Vince and Kleist's goons run for their car. We pull back to reveal K.I.T.T., scanners peeled, waiting. [K.I.T.T.] Michael, where are you? Kleist's men are getting away. [MICHAEL] Get a surveillance lock on that car. THE SCANNER shoots back and forth. THE MONITOR registers the car as: THE CAR shoots out the gate. INT. STORAGE ROOM [MICHAEL] Okay. Now come and get us quick! INSIDE K.I.T.T. - ON DASH The dash lights up...the pedal hits the floor. WITH K.I.T.T. He takes off.... ANOTHER ANGLE and goes crashing right through the wall of the ground floor of the building. INT. LOWELL INDUSTRIES - WITH K.I.T.T. He rolls right up to the steel door. INT. STORAGE AREA [MICHAEL] Pick the lock! INSIDE K.I.T.T. - ON MONITOR Graphics of the regular microlock being interfered with. [K.I.T.T.] Michael, it's a computer lock! I'm going to have to decipher the access code and transmit the program! INT. STORAGE ROOM Michael and Amy are starting to gasp for breath on the floor. [MICHAEL] Hurry up or there won't be anyone to rescue! ON MONITOR numbers scan but: THE CANISTERS hiss away. MICHAEL AND AMY stretch out on the floor, sinking fast. INSIDE K.I.T.T. - ON DASH Finally a sequence enhances on the monitor. The anharmonic synthesizer beeps as K.I.T.T. transmits the program. THE DOOR CLICKS OPEN MICHAEL AND AMY Jump up and burst through. INT. HALLWAY They lean on K.I.T.T., taking lungfuls of precious oxygen. [MICHAEL] Kitt, you are most definitely a breath of fresh air. [K.I.T.T.] I'm sorry about the delay, Michael. [MICHAEL] You did fine, pal. You did just fine.... Amy rushes into Michael's arms, and they hug each other. CUT TO EXT. LOWELL INDUSTRIES - DAY K.I.T.T. roars by the gate, racing towards the piers.... INSIDE K.I.T.T. - ON MONITOR An area scan of the piers, a red light on one of them.... [K.I.T.T.] I've located the car, Michael. It's parked by Chalmers Pier. [MICHAEL] Then they must be preparing to move the hovercraft. Kitt, if there was ever a time for SPM, it's now. Michael punches in the system. ON K.I.T.T. Out comes the air dam, the nose cone and the pipes as K.I.T.T. goes into Super Pursuit Mode. INSIDE K.I.T.T. - MICHAEL is slammed back into his seat by the acceleration. ON K.I.T.T. He rockets down the road. CUT TO INT. BRIDGE OF HOVERCRAFT - DAY Vince rushes to Kleist's side. [VINCE] All ready, Mr. Kleist! [KLEIST] Then let's prepare to depart. Vince delightedly dons his headphones, as do Miller and Carter and the two others on the crew. EXT. ROAD - DAY K.I.T.T. speeds towards Chalmers Pier. INT. BRIDGE OF HOVERCRAFT - DAY Miller pushes some buttons. THE HOVERCRAFT SCREEN lights up to show all systems in working order. EXT. BEACH ROAD K.I.T.T., still in SPM, makes a sudden turn off the road and right onto the sand, aiming for the shed in the distance. INSIDE K.I.T.T. [K.I.T.T.] There it is, Michael. Chalmers Pier, dead ahead. EXT. BRIDGE OF HOVERCRAFT - DAY The compressed air engines rev up once again.... [MILLER] Chief, look! He points out over the bow. POINT OF VIEW - HOVERCRAFT K.I.T.T. sprints to a stop with the EBS. Tucks in his SPM accessories. Squares off for battle with the hovercraft. Vince is screaming with rage and frustration. [VINCE] How could he have done it! It was foolproof, Mr. Kleist! I swear! Kleist doesn't even answer him. EXT. THE BEACH - DAY The hovercraft on one end, K.I.T.T. on the other, ready for their duel in the sun. INT. BRIDGE OF HOVERCRAFT [KLEIST] Well? Get him! Miller starts the engines. THE HOVERCRAFT floats over the sand, accelerating as it heads for the water. K.I.T.T. blasts towards the hovercraft at the same time. INSIDE K.I.T.T. - MICHAEL [K.I.T.T.] Michael, what are we going to do? [MICHAEL] Try and keep it on the beach! We can't fight it on the open sea! EXT. K.I.T.T. races between the hovercraft and the ocean. INT. HOVERCRAFT [KLEIST] Run right over it! ON HOVERCRAFT It smashes into K.I.T.T. head-on. K.I.T.T. bounces and spins off the rubber skirt. INSIDE K.I.T.T. - MICHAEL recovers from the jolt of the impact. [MICHAEL] Wo! Kitt, are you all right? [K.I.T.T.] My mechanical systems are fine, Michael. But some electronic functions have been disabled. K.I.T.T.'S POINT OF VIEW - THE HOVERCRAFT circles around for another charge. [MICHAEL] How about Microlock? ON SCREEN It lights up, "System Failure." [K.I.T.T.] I'm afraid that's one of them. [MICHAEL] Then we can't stop their engines. Okay, pal. We'll just have to beat them at their own game. (flooring the pedal) Let's see how tough this thing really is. THE HOVERCRAFT makes another run. K.I.T.T. goes right into it, blasting the side of the craft and spinning it into an arc. INT. BRIDGE OF HOVERCRAFT Kleist and the others are jolted almost off their feet. [MILLER] Sir, that car has the speed on us. We're not gonna be able to get by it. [KLEIST] Then let's chase it and blow it off the pier! Miller wrenches the wheel. ON HOVERCRAFT It spins a 180 and comes after K.I.T.T. with machine-guns blazing. INSIDE K.I.T.T. [MICHAEL] Let's get some distance, partner. ANGLE ON K.I.T.T. The bullets go squibbing off his back window as he pulls away. INT. HOVERCRAFT Miller, manning the weaponry, is furious. [MILLER] The machine-guns have no effect on him! I'm firing missile launcher One! EXT. HOVERCRAFT - ON MISSILE LAUNCHER ONE The rockets are fired. ON K.I.T.T. Taking evasive action through a chain of explosions on the beach. INT. HOVERCRAFT [KLEIST] Engage the smart missile! Now! ON HOVERCRAFT SCREEN The graphics for the lethal "smart" missile light up. [KLEIST] Fire! EXT. HOVERCRAFT - ON MISSILE TUBE The smart missile is launched. INSIDE K.I.T.T. [K.I.T.T.] Michael, that missile is programmed to track electrical impulses! And it's homing right in on us! Michael floors the accelerator. [K.I.T.T.] (continued) Shouldn't we go to SPM? [MICHAEL] No time! EXT. PIER - ANGLES AS NEEDED K.I.T.T. reaching down the sand...the smart missile just behind them and gaining. INT. HOVERCRAFT Kleist grins at the result. He turns to Miller. [KLEIST] Now take us out to sea. INSIDE K.I.T.T. [MICHAEL] See those sand dunes up ahead? ON K.I.T.T. He reaches towards two parallel dunes. [MICHAEL] All right. Thread the needle. Now! WITH K.I.T.T. He shoots between the dunes. WITH MISSILE It explodes harmlessly on the dune ridge. INSIDE K.I.T.T. - ON MICHAEL [MICHAEL] Oh brother. That was way too close. Let's get the hovercraft. ON K.I.T.T. He goes into a speed turn and tears across the beach. INSIDE K.I.T.T. [K.I.T.T.] Michael, I'm afraid that the hovercraft has just gained the open sea. ANGLE ON HOVERCRAFT Near a breakwater jutting out into the ocean, the hovercraft leaps the surf and makes it to the water. INSIDE K.I.T.T. - ON MICHAEL [MICHAEL] We've still got a chance, Kitt. Let's head for that pier. EXTERIOR - DAY - PANORAMIC - THE PIERS As the hovercraft roars out to sea, K.I.T.T. speeds onto the breakwater, parallel to the hovercraft, gaining on it.... ANGLES ON THE HOVERCRAFT AND K.I.T.T. The hovercraft slicing the surf, K.I.T.T. roaring down the pier.... INSIDE K.I.T.T. - ON MICHAEL [K.I.T.T.] What do you plan to do? [MICHAEL] Gotta go fishing, pal. It's our only chance. He hits the "winch button." THE WINCH Shoots out. ON HOVERCRAFT It hooks onto the hovercraft's rail. INSIDE K.I.T.T. [MICHAEL] All right, pal. Pull! SCENE - K.I.T.T. From the pier, tows the hovercraft in. INT. HOVERCRAFT BRIDGE [KLEIST] What's happening? [VINCE] We're at maximum power, and he's still got us! CUT TO SCENE - THE HOVERCRAFT is pulled back, back -- and hits the edge of the pier. WITH MICHAEL He jumps out of K.I.T.T., runs down the pier and leaps onto the deck. CUT TO SCENE Miller charges him -- and Michael lays him out, hurling him into the second crew member. He sees Kleist and Vince run out in the distance. WITH MICHAEL He chases after Vince. Vince looks at him with absolute horror, then throws one punch -- which Michael easily deflects before bringing him down with a right to the jaw. He then chases after Kleist. Kleist tries to get away, but Michael grabs him and, when Kleist swings around, arms flailing, he decks him. Michael looks at the beaten Vince and Kleist. [MICHAEL] You two may not be worth much. But you're the best birthday present a guy ever had. FADE OUT END ACT FOUR TAG FADE IN INT. F.L.A.G. HEADQUARTERS - DAY Bonnie brings out of the back a birthday cake with four candles burning. Amy, Devon and RC congratulate Michael. K.I.T.T. stands behind them. [AMY] Four candles, hm? I see you're still being discreet. [BONNIE] There's more to it than that, Amy. [MICHAEL] Bonnie's right. It's four years we've all been together. Four years ago I was reborn. [AMY] (quietly) I'll drink to that. They clink glasses and sip their wine. [DEVON] On the subject of rebirths, I'd like to propose a toast to the new beginning for Lowell Industries. Congratulations on the contract for a fleet of hovercrafts! Amy beams as everyone applauds and drinks the wine. Devon smiles broadly and turns to Michael. [DEVON] (continuing) And for your splendid work above and beyond the call of duty, The Foundation would like to show its appreciation in a special way. [RC3] Oh. The Tina Turner tickets are on me, boss. (to Michael) The Bears folded in the fourth quarter. [DEVON] RC. That's not what I meant. [MICHAEL] I think what Devon means is that I finally get to go on vacation? [DEVON] More than that, Michael. I don't believe I ever told you this, but the Foundation maintains a resort in the Caribbean, and --- Michael stops him right there. [MICHAEL] The offer's mucho appreciated, Devon. But I think that this time Amy and I will be heading for parts unknown. As Michael throws his arm around Amy, and everyone laughs. FREEZE FRAME FADE OUT THE END

{"show": "Knight Rider", "season": "s04", "episode": "e07", "title": "MANY HAPPY RETURNS"}

knightriderarchives

ACT ONE FADE IN EXT. MOTOR SPEEDWAY - DAY - ESTABLISHING The greatest racing show on earth, thousands of fans in the grandstands, a 500 mile race at full, screaming tilt. THE RACE - DAY - SERIES OF SHOTS A two-car dice for the lead. The second place car's color scheme will be used for the Thomas Flyer. IN THE THOMAS FLYER PITS Bonnie watches the action with her oldest friend from engineering school, Elena Thomas. Elena wears dirty coveralls and a Thomas Racing Team baseball cap, but her beauty shines through. She's tense, excited -- that's the car she designed racing out there. Next to them, just plain tense, is Elena's father Mac, a grizzled Texan ex- racer in his fifties, who has been crippled in a severe racing accident years ago. It's his team -- and every cent of his money tied up in his daughter's creation. They watch and react as: THE THOMAS FLYER drafts in the lead cars slip stream, then slingshots out of a turn, maneuvers past the lead car and pulls away opening up a lead. RESUME THE PITS as Elena who wears the headset and pipe stem mike, talks to the driver in the car. The group shouts over the engine noise. [ELENA] Way to go, John! Fuel consumption's looking real good! Stretch it out! Stretch it out! (to Mac) This is the one, Dad! [MAC] It sure is! [BONNIE] Told you I was going to change your luck! [ELENA] Yeah, long time coming! [BONNIE] (indicates track) He's pulling away! [MAC] There's no stopping him now!! ANOTHER ANGLE - HILLTOP ALONGSIDE TRACK - DAY A thin young man with an aluminum camera case climbs unno- ticed onto the top of hill, opens the case. Inside is a broken-down sniper's rifle. Lurani puts the pieces together. RESUME PITS - BONNIE, MAC, ELENA as we hear and they react to: [P.A. VOICE] Now leading after 184 laps, John Bender in the Thomas Flyer. Mac cracks a wary smile, Bonnie whoops and hugs Elena as the P.A. crackles over the engines' roar. EXT. HILLTOP - DAY - ON LURANI Rifle assembled, Lurani, prone, tracks the target through his scope. OMITTED ANGLE ON LURANI squeezing the trigger. The noise is covered by the wail of the engines. BACK TO TRACK ACTION The Thomas Flyer goes into a spin.... INT. FOUNDATION - ANGLE TO MONITOR - THOMAS FLYER (DAY 2) spinning into the wall, with a fiery, horrifying explosion. The image then runs backward, the car reassembling itself and retreating from the wall. We realize we are watching a TV replay of the crash. ANOTHER ANGLE Bonnie's at the controls of the main frame, Devon watching gravely. RC also there.... [BONNIE] See, there's just no reason for the crash. She runs it one more time. After the crash, the network coverage goes to a hand-held image of the Thomas pit, Bonnie standing helplessly by, Mac holding Elena comfortingly in his burly arms. Bonnie freezes the video again, on a closeup of Mac and Elena. [BONNIE] Elena was my closest friend in college. She's the best engineer I know. Nothing she designed would just lose control like that. [DEVON] Granted, it seems unlikely, Bonnie, but what do you expect me to do? [BONNIE] Lend me Michael. He can get to the bottom of this. [RC] I'd be willing to go Devon...I'll cover for Michael till he can get there.... Devon glances at RC then ignores him.... [DEVON] Michael is needed in Cincinatti, the Palmerston affair.... [BONNIE] Not until Monday. Give him to me for thirty-six hours, that's all. (indicates monitor) Look at them, Devon. Their driver is dead, their entire life's work is at stake. This is the first real shot they've had since Mac's accident. Who else was the Foundation created to serve, if not them? [RC] She's got a point there boss. From everything Bonnie's told me, sounds like something weird's been going down. [DEVON] (to Bonnie) Is it because they're your friends? [BONNIE] It's because they're victims, and they deserve our help. They need it. [DEVON] (ponders) Forty-eight hours? She knows she's got him. [RC3] Atta boy, boss. You knew all along you were going to give in. You're just a righteous dude at heart. You shouldn't be so into hiding it. [DEVON] Spare me your street-corner psycho- logy, Reginald and get into some righteous driving, now. Devon eyes him, points to the drivers section. EXT. STREET - DAY - ON K.I.T.T. cruising along in convertible mode. INSIDE K.I.T.T. - DAY Michael finger-pops along with a high-volume, high-style, MTV-style video visible on the monitor. [K.I.T.T.] Michael, these videos are a complete waste of time. [MICHAEL] Hey, they've got everything; rhythm drama, excitement. Remember Kitt, music hath charms to soothe the savage breast. Take a look. INSERT - MONITOR Guys in loincloths, girls in loincloths, the works. [K.I.T.T.] I'm not only looking Michael, I'm showing it. Very soothing.... [MICHAEL] C'mon pal, loosen up. Feel the beat. [K.I.T.T.] If I keep feeling that beat, I won't just loosen up, I'll fall apart. [MICHAEL] You're uni-welded can take it. [K.I.T.T.] But I don't want it. The volume is suddenly cut to zero. [MICHAEL] Hey! [K.I.T.T.] Devon's calling, Michael. And if you ask me, not a moment too soon. [MICHAEL] Everybody's a critic these days. (patching in) Hi, Devon, what's up? [DEVON] Bonnie needs your help, Michael. She is on her way to meet you at Il Cavallino, restaurant, on Route 14.... [MICHAEL] Then, I guess we're on our way. (to K.I.T.T.) ETA to Il Cavallino, pal? [K.I.T.T.] 12.368 minutes, Michael. EXT. STREET - DAY - ON K.I.T.T. speeding off. EXT. IL CAVALLINO - DAY - ESTABLISHING Its parking lot full of exoticars, and K.I.T.T., T-top up. INT. IL CAVALLINO - DAY Posh, decorated with Bugatti grilles and racing paintings. Michael and Bonnie are in a booth. [MICHAEL] Racer's luck -- or driver error. Goes with the territory. [BONNIE] Michael, it's not just the crash. It's like Mac and Elena are cursed. All season things have been fouled up. A back up engine went AWOL, trans- missions that are suddenly dry, bolts unscrew themselves. It's sabotage, Michael, I'm positive. [MICHAEL] Who? [BONNIE] Another team, someone with a grudge -- that's what I need you to find out. They're racing the backup car at Riverside tomorrow. Join them, find out what happened. Protect them. [MICHAEL] Okay. Kitt and I'll check it out. If it is sabotage, we'll get to the bottom of it. But if your buddy Elena screwed up and it's faulty engineering, you know I'm going to be honest about it -- no matter who gets hurt. [BONNIE] What Elena doesn't know about race car design hasn't been invented. She didn't mess up. [MICHAEL] We'll see. CUT TO EXT. RIVERSIDE COURSE - DAY - ESTABLISHING K.I.T.T. drives in and through.... EXT. THOMAS GARAGE AREA - DAY Elena, once again in coveralls and Thomas Racing baseball cap, spots handsome, cocky young Steve Cochran one of the circuit's top drivers, lounging against a wall outside Altfield Racing's elaborate shop. She walks over to him. [ELENA] Steve got a second? [STEVE] For you, always. Trouble is, lately that's all you ever have for me. He aims a friendly kiss at her -- she takes it on the cheek. [ELENA] It's over, Steve. That's the way it has to be. (beat) Come back and drive for us. [STEVE] You know I got a deal with Altfield. [ELENA] What you've got is a handshake. (beat) And Wayne said it was okay to talk to you. [STEVE] So make me an offer. Altfield is talking 300 G's a year, but since you guys gave me my first ride, I'd be willing to take two and a half. [ELENA] Steve -- if we don't finish near the top here our sponsor'll bail out, and --- [STEVE] (interrupting) Maybe I missed something, there. Did you offer me the two and a half or what? [ELENA] You know we can't go that high. Every cent's tied up in the cars. I'm asking for your help. [STEVE] Hey, driving's always been a mix of business and pleasure with me, Lenie, you know that. Trouble is, I don't see this paying off either way. [ELENA] Don't put it on that basis, Steve. Please. CUT TO EXT. RIVERSIDE GARAGE AREA - DAY - ON K.I.T.T. cruising slowly among the gleaming racers being removed from their transporters; drivers in Nomex suits leaving their mobile home quarters. INSIDE K.I.T.T. - TRAVELING as they pass a candy-apple red racer packed with day-glo decals. [K.I.T.T.] That paint job would stun a blind man at fifty paces, Michael. [MICHAEL] Come on, pal racing's a colorful sport. It's all part of the spectacle. [K.I.T.T.] Well I have no intention of ever becoming one. It was Henry Ford who said any color as long as it's black. And I agree. Elegant, quiet, basic black. [MICHAEL] Can't imagine why, pal. Say, speaking of quiet, I think we're more likely to fall into some useful information if we don't blow in like Crockett and Tubbs. Let's keep a low profile, okay, pal? [K.I.T.T.] You know me, Michael. Compared to these rolling billboards I'll be the soul of discretion. EXT. GARAGE AREA - DAY - STEVE AND ELENA still talking. They're joined by Mac and Wayne Altfield, Steve's boss, tall, leathery, Mac's age, head of the richest, color-coordinated team in racing. Mac's oldest friend -- drivers together, friendly rivals, and as car owners they've kept the relationship strong. Wayne slaps Steve on the back. [WAYNE] She having any luck? [STEVE] She's real persuasive, Mr. Altfield, but I guess I'm still driving for you. Elena fumes. K.I.T.T. rolls into view in the b.g. and pulls to a stop. [MAC] Sorry, hon, you can't expect the boy to give up a good ride to go with us. [ELENA] But Dad.... [WAYNE] Now, you know I joke about this all the time, but if you two are serious about staying competitive, you could do worse than come in with me. (arm around Elena) Altfield and Thomas Racing. It'd be a real family affair, huh 'Lenie? [MAC] Wayne, we've been through all that. I'm an independent, always will be. [WAYNE] I know, I know, just a dream. (beat) Let you know if I run across anyone who needs a ride. Steve and Wayne saunter into his garage as Michael approaches. He sees his opening and steps in. [MICHAEL] I'm looking for one, Miss Thomas. Elena, and Mac turn to face the interloper. [MAC] Who are you? [MICHAEL] My name's Michael Knight. You are looking for a driver, aren't you? [ELENA] I've never heard of you. Where've you raced? [MICHAEL] Here and there. [ELENA] Famous track, here and there. [MAC] (explaining) We need an experienced open-wheel racer, not a rookie, son. [MICHAEL] I see. Tell me, what's the track record here? [MAC] (Track record mph) [MICHAEL] Okay, if I hit a hundred and fifty- five, will you give me a shot? [MAC] Mighty bold offer, son. But I kinda like it. [ELENA] Dad -- put an unknown at the wheel of a two-hundred-thousand-dollar race car? And it's the only one we have?.. It's crazy. (to Michael) Do you even have your ticket? [MICHAEL] Of course. I'll get it to you after I run the lap -- (indicates K.I.T.T.) -- in that T-top over there. [ELENA] Oh, come on, Mr. Knight. [MAC] Hold on. I'm still running this team, Elena. (to Michael) Her objection makes sense. But I'm tired of making sense. Maybe, being an underdog, I got sympathy for a fellow canine. (beat) You do a lap at a hundred fifty, fifty-five -- (indicates K.I.T.T.) -- in that, and maybe you got a deal. [MICHAEL] Every dog has his day, Mac. Something tells me today is ours. Michael gets into K.I.T.T. and takes off onto the track. EXT. RIVERSIDE COURSE - DAY - ON K.I.T.T. cruising around a curve, just warming up. The track is empty. INSIDE K.I.T.T. - DAY Michael checks a system readout. [MICHAEL] Tires at optimum temperature -- guess we're about ready for a hot lap, eh, pal. [K.I.T.T.] A hot lap? Michael, I can run this course twice as fast as these cars with one wheel tied behind my axle. [MICHAEL] You know that, and I know that, but we don't want to look too good. Remember -- low profile. Remember -- low profile. [K.I.T.T.] Yes, Michael. EXT. RIVERSIDE START LINE - DAY - ON K.I.T.T. running up to the start of the lap. EXT. RIVERSIDE PIT WALL - DAY Mac and Elena watch K.I.T.T. pass. With them, a barrel- shaped mechanic, Lon, clicks a stop watch. They are joined by Wayne who wanders over from his garage. [WAYNE] Giving that boy a try, huh, Mac? What's he got? [ELENA] Nothing. [MAC] Nothing but confidence. K.I.T.T. ON RACE TRACK - DAY going through a tight hairpin as if on rails. ANOTHER ANGLE - K.I.T.T. ON RACE TRACK - DAY accelerating like lightning down a straight, stray papers swirling in his backwash. INSIDE K.I.T.T. - DAY Michael relaxing at the wheel. These speeds are a doddle. [MICHAEL] How're you coming on my competition license? [K.I.T.T.] I've already inserted your name in the CART computer. INSERT - MONITOR - AS NEEDED as Michael Knight's name is inserted in the alphabetical list. [MICHAEL] I'll need some hard copy, pal. [K.I.T.T.] I'm imprinting the official seal now, Michael. As K.I.T.T.'s tray slides out, delivering a fresh new racing license to Michael. [MICHAEL] Thank you very much. EXT. RIVERSIDE COURSE - DAY - ON K.I.T.T. shaking through an S-bend, heading past the pits. EXT. RIVERSIDE PIT AREA - DAY Steve joins the group as K.I.T.T. flashes past the finish line, Lon clicks the watch. Mac takes one look at the time, breaks into a willey grin and swings a look to Elena who nods grudgingly. Steve's brows raise thoughtfully. This guy can drive. Lon, who's not too terribly bright, scratches his head, shaking the obviously broken watch. Wayne turns to Mac. [WAYNE] Ain't seen a drive like that since we were kids. Looks like you got yourself a driver. [MAC] That's no driver, that's a phenom. (beat) Qualifying ends in two hours Elena. The new Flyer ready? [ELENA] Doing my best Dad but I sure could use another pair of hands. [MAC] Wayne, you once offered me any help I needed. Can you spare a mechanic? [WAYNE] Sure. I could let you have Alfie Girdler. [MAC] Really appreciate that, Wayne. [WAYNE] Hey, we're all family here, aren't we? Michael pulls up in K.I.T.T., gets out and joins the group. Mac pumps his hand. The crowd moves in around them, very impressed. [MAC] Let me tell you son, I'm impressed. [MICHAEL] Thank you. [STEVE] Yeah, pretty good for a solo run. [MAC] Real good. I'd say we just found us a driver. [MICHAEL] (to Elena) Care to make it unanimous? [ELENA] (shakes no) I think we've all forgotten something. [MICHAEL] My ticket --- She holds out her hand, challengingly. Michael pulls the license from his pocket and drops it in her palm. Smiles --- [MICHAEL] Come on -- this is going to take a team effort. They hold a look, a trace of a smile breaks the corners of her mouth, and we --- CUT TO EXT. MARINA - DAY A ritzy yacht basin. Off the end of the a pier bobs a thirty-five foot cruiser, the Bullseye, all teak and mahogany and stainless steel. INT. THE BULLSEYE - CABIN - DAY Very plush. A phone rings, is answered by Betty, a buxom, bikinied blonde with a slight overbite. [BETTY] (into phone) Hello? Yeah, he is, hold on. INT. BULLSEYE CABIN - DAY - WIDER Betty turns to the figure leaning back in a lounge chair and expertly flipping darts across the room at a board... Lurani.... [BETTY] For you. He said he's a client.... He eyes her as she undulates past, flips the last dart, then gets the phone. [LURANI] (into phone) Yeah, I heard from my Swiss friend. He tells me you deposited an extra ten thou, what's that, a bonus? (listens) Sure, I can use more work, living on water is expensive...and gets boring ...He got a name? Behind him, Betty pouts. Lurani grabs a pencil and paper. INSERT - PAPER ON LURANI'S DESK As he spells.... [LURANI'S VOICE] K-N-I-G-H-T. Michael Knight. He puts down the pencil and picks up a knife, flicks it open and toys with it. LURANI IN BULLSEYE CABIN speaking into the phone. [LURANI] Racing's a dangerous game, isn't it? He flips the knife at the dart board.... DART BOARD The knife hits dead center. LURANI [LURANI] Sometimes even deadly. FADE OUT END OF ACT ONE ACT TWO FADE IN RIVERSIDE RACE COURSE - MICHAEL'S POINT OF VIEW FROM THOMAS FLYER - DAY Over the steering wheel, as Michael guides the low-slung racer. MICHAEL IN THOMAS FLYER - DAY Knight painted on his helmet, hands steering, shifting the stiff tranny. A whole other world from driving K.I.T.T. ELENA AND MAC AT PIT WALL - DAY with Lon the mechanic holding the stopwatch. Elena checks Michael's time, on her stopwatch...is dismayed. [ELENA] Dad, he's ten miles an hour off the pace. [MAC] It's only his first lap, he's got three to qualify. [LON] (teasing) Shoulda let him qualify in his own car, Mac. That one's jackrabbit fast. Lon strolls over to K.I.T.T., scanning peacefully. [LON] Sure would like to see the mill he's got in there. Lon ducks under the bumper, trying to find the hood release. [K.I.T.T.] Stop that, right this minute. [LON] Huh? How do you open this here hood? [K.I.T.T.] You don't. It would be an invasion of my privacy. I'm sure you'd rather be examined by your own mechanic, or doctor, whichever best applies. Lon realizes he's been talking to a Trans Am. He's puzzling over this, moves away to --- [MAC] Lon, get over here with that watch, Michael's coming around for his final lap. Lon shuts up. Michael passes. Elena checks the watch, shrugs. [ELENA] Five miles an hour faster. Not awful. MICHAEL IN THOMAS FLYER - DAY Pushing it to the limit; fighting the steering wheel, shifting through the gears, squeezing every tick of speed out of the car. INSIDE K.I.T.T. - INTERCUT MONITOR [K.I.T.T.] Michael, your car picks up a three- foot sway going into a turn and needs additional RPMs on the downsweep. [MICHAEL] Thanks buddy.... INSIDE RACER [K.I.T.T.] That's much better Michael, but I would suggest you adjust your steering to this new pattern. [MICHAEL] You're right again pal...I got it now...It's been a while since I've gone this fast in another car. Could have used you sooner. [K.I.T.T.] Sorry Michael, I was protecting myself from a mechanic.... INTERCUT - FLYER - VARIOUS SHOTS As it dives into a turn comes out within a millimeter of brushing the wall, screams down the straightaway past the pits, etc. IN THE FLYER PITS As Michael flashes across the finish line, Lon clicks the stopwatch. [LON] Hundred and fifty point three.... [MAC] Way to go! Puts us right in the middle of the grid. [ELENA] Yeah, well a pro would've gained more than that on his third run.... EXT. THOMAS GARAGE AREA - DAY Michael and the Flyer are met by Mac, Elena, Lon and Girdler, the Altfield-uniformed mechanic. [MICHAEL] The tires are too slick. We better go to the softer compound. [ELENA] Don't tell me how to set up the Flyer, rookie. [MICHAEL] I wouldn't think of it. (to Lon) Softer tire compound, and I'm missing two hundred revs from the top end. [GIRDLER] You got it. Alfie Girdler. [MICHAEL] (they shake hands) Hi. [ELENA] Anything else you'd like me to install? A coffee maker, a Jacuzzi? [MICHAEL] Right now, Elena, the only luxury I need is to see a smile on your face. Things are going just fine. Elena gives him the smile, sheepish and a little flushed. [MAC] Let's get this show on the road. Elena goes with the men as they push the Flyer into the garage. All except Lon, who lags behind with Michael. [LON] Tell me, uh, that car of yours, you ever hear it talk? [MICHAEL] Talk? Yeah. Sometimes driving on a long, hot summer night, I can hear Kitt talking to me. [LON] What do you do? [MICHAEL] Get the ball joints lubed and it clears right up. (winks) See you around. EXT. LOCAL GARAGE - DAY - ESTABLISHING A garage-type building with corrugated doors. INT. LOCAL GARAGE - DAY Godzilla in a T-shirt, Tankel leads Lurani over to a low, pointy-nosed shape under a tarp. [TANKEL] This oughtta do nicely. Off comes the tarp, revealing a lowered sedan with the meanest looking, spiked steel-ramming prow welded to its snout. [LURANI] The usual fee? [TANKEL] I figure it's worth double, easy. (points to metal prongs) Special equipment. [LURANI] (nods) Just so it's done this afternoon. There's a reception for owners and drivers at Il Cavallino --- Tankel nods, indicates the pointy spears. [TANKEL] The gas tank -- Knight's not going to a reception, he's going to a barbecue. CUT TO INT. THOMAS GARAGE - DAY Elena sits alone, staring at the burned, twisted hulk of the crashed Flyer, next to the new one. She's wearing her cocktail dress, and if she wasn't so sad, she'd be stunning. She doesn't hear K.I.T.T. coast in behind her, or Michael getting out. [MICHAEL] Hi. [ELENA] (turns; a beat) Aren't you going to the reception? [MICHAEL] (nods) I was hoping to get a lift with someone. [ELENA] I don't think I'm gonna make it. [MICHAEL] (gestures to Flyer) What do you think caused that, driver error or mechanical failure? [ELENA] (a beat) I did. Something I fouled up. I killed John, as sure as if I shot him. [MICHAEL] He was a pro, Elena. He knew what could happen when he got behind the wheel. [ELENA] It could be you, next. [MICHAEL] I know that, I wouldn't take the risk if I didn't believe in the car. And in you. [ELENA] (indicates new Flyer) It is a good car, isn't it? [MICHAEL] You know it. Elena nods, thanks him with a smile. [MICHAEL] Now, how about that reception? They tell me there's going to be music, and I'm ready to dance up a storm. [ELENA] (smiles; stands) I'll get my car. (moves to door) Thanks, Michael. [MICHAEL] No problem. She exits. [MICHAEL] (to K.I.T.T.) Okay, pal. Like I said before I want a complete metallurgical stress analysis on the frame and suspension, then an engine fail-rate simulation on the first Flyer. I want to know what went wrong and why. Then pick me up at Il Cavallino. [K.I.T.T.] Commencing scan now. K.I.T.T.'s nose scanner goes into action. INSIDE K.I.T.T. - ON MONITOR as a schematic of the Flyer's engine develops. CUT TO EXT. IL CAVALLINO RESTAURANT - DAY Again the parking lot is full of high-priced iron. Michael and Elena climb from her cherished old convertible. Camera pulls back to reveal Tankel at the wheel of the killer car, (N.B. with the ramming prow retracted or somehow camouflaged) checking Michael's appearance against a photo. INT. CAVALLINO - DAY Private party time, chock full of handsome racers, older, more conservative owners and sponsors, groupies of all shapes and sizes, many letting loose on the dance floor. Steve Cochran detaches himself from two girls as he spots Michael and Elena enter. Steve's already a few drinks to the far side of liver damage. [STEVE] Come on babe, let's dance. [ELENA] Sorry, Steve, I've already promised this one to Michael. [MICHAEL] (smiles, gently) Team loyalty, you know. [STEVE] Hey, it's okay. He's probably good at the slow stuff -- waltzes, fox- trots, like the way he drives. As Elena moves onto the dance floor, Michael lays back a beat for --- [MICHAEL] Oughtta try it sometime, Steve. Go through life with your foot to the floor, you blow right past the stuff that counts. Michael joins Elena on the dance floor. Steve watches for a thoughtful beat then turns and heads for the bar. INT. THOMAS GARAGE - DAY Lon enters as K.I.T.T. is completing his scan...He reacts, looks around the garage to be sure it's empty then approaches K.I.T.T. and pushes on his fender cautiously, then harder.... [K.I.T.T.] Please don't do that.... [LON] (reacts) Ball joints??? I ain't crazy...you can talk --- [K.I.T.T.] In that order, no, yes, and yes. [LON] Then will you answer a couple of questions? [K.I.T.T.] Must I? [LON] You want me to push on your fender? [K.I.T.T.] (beat) I guess I must...But later, I have to go now.... ANGLE as K.I.T.T. moves out. [LON] Wait a second, you big rollerskate I wanna see your engine. [K.I.T.T.] I'm busy old boy. INT. IL CAVALLINO - DAY - ANOTHER ANGLE Michael and Elena slow dancing now, working quite well together. Wayne taps Michael on the shoulder. [WAYNE] May I? Michael smiles, hands her over and leaves the floor, joining Mac. They watch the two as they dance. [MAC] She sure likes her Uncle Wayne. [MICHAEL] You two go back a ways, don't you. [MAC] As far as there is. Starting with quarter midgets at the Doon, Iowa fair. [MICHAEL] Who won? [MAC] Wayne, every time. Wayne's brought Elena back over by now. [WAYNE] Yeah, I got the tin trophies, but who got the girl? [MAC] Nipped you at the checkered flag on that one, didn't I Ace? [WAYNE] I was gonna come along on the honey- moon -- that's where Beth drew the line. Both of the older men are lost in their memories for a moment. [WAYNE] (to Elena) You're a very lucky young lady, 'Lenie.' (off her reaction) You look like your mother, not old crankcase face over there. Laughter, while Michael chews this over. Wayne's right, she doesn't look like her father a bit. He files the info away for future reference. EXT. IL CAVALLINO PARKING LOT - DAY - ELENA'S CAR Michael and Elena come out of the restaurant and cross to her car in the parking lot, talking. CLOSER ANGLE - MICHAEL AND ELENA Walking toward her car. [ELENA] After Dad hit the wall at Indy, it was like he died. Driving was his life. [MICHAEL] So you had to keep his dream alive. [ELENA] Yes, by the time I was seventeen I could rebuild an Offy blindfolded, spit like a camel and swear like a marine. [MICHAEL] (lightening it up) Must've gone over big in Sunday school. [ELENA] Seriously, Michael, I paid my dues in this business, that's why.... [MICHAEL] (interrupts) ...when some mysterious rookie shows up, talking big, you find it hard to trust him. [ELENA] Not just you, anyone. If we lose tomorrow, it's not just the race or that Dad and I won't have more than the clothes on our backs. It's everything that's kept Dad going will be gone. [MICHAEL] It's not going to come to that, I promise.... Michael happens to glance off, sees something coming, bright and fast. POINT OF VIEW - TANKEL'S KILLER CAR is driving straight at them, his ramming prow positioned to smash them against the side of Elena's convertible. AS BEFORE Elena has seen Michael's alarm and is aware of the danger, so she is almost ready when Michael grabs her and half- tosses her over the convertible, vaulting quickly after himself. ANGLE - KILLER CAR A split second later plows into the side of Elena's convertible, totalling it. Tankel starts to disengage from the wreck, as: MICHAEL AND ELENA He pulls her behind another car for hiding. [MICHAEL] (into comlink) Kitt...Pick me up, pal! [K.I.T.T.] I'm almost there, Michael.... OMITTED ELENA'S CAR - DAY [ELENA] (confused) ...who're you talking to? What's going on? [MICHAEL] I'll explain later. Stay right where you are. I'll be back for you. [ELENA] Please don't leave me! [MICHAEL] Do as I say! It's me they're after...I'll lead him away.... ANGLE - K.I.T.T. screams to a stop, opens driver's door and Michael jumps in, peels out. THE KILLER CAR has disengaged, does a smoking 180 in pursuit of K.I.T.T. and Michael, as we: FADE OUT END OF ACT TWO ACT THREE FADE IN OMITTED EXT. TWO-LANE HIGHWAY - DAY K.I.T.T. screams past camera. Seconds later, Tankel's killer car races by. ANOTHER ANGLE as Tankel comes abreast of K.I.T.T. and slams into the pyroclastic body, bouncing off it. INT. K.I.T.T. - MOVING [MICHAEL] Kitt, Microlock his brakes! I want him.... [K.I.T.T.] I can't, Michael. We're at a blind angle for Microlock. [MICHAEL] Then see if you can identify him.... AS BEFORE Tankel is still abreast of K.I.T.T., once again swerves into his side. This time the speed, momentum and elastic effect of the pyroclastic body sends the killer car off the road.... ANOTHER ANGLE - KILLER CAR ...careening into a tree. The car erupts into flame and explodes. OMITTED ANOTHER ANGLE as K.I.T.T. pulls to a stop. [MICHAEL] Any vital signs, Kitt? [K.I.T.T.] Too late, Michael. Vital signs are negative. Zero-zero alcohol level too. [MICHAEL] I figured as much. (beat) Did you get a picture of the driver? [K.I.T.T.] I have one Michael, but --- INTERCUT K.I.T.T.'S MONITOR AS NEEDED to see a photo of Tankel behind the wheel of the killer car, but his face is blurred, not clearly recognizable. [K.I.T.T.] (continuing) As you can see it will be difficult to get an identification from it. [MICHAEL] I knew it was a long shot, pal. Thanks for trying. Come on, there's nothing else we can do here. EXT. THOMAS GARAGE - NIGHT - ESTABLISH INT. THOMAS GARAGE - NIGHT Elena, Michael and K.I.T.T. are gathered around the smashed, burned, original Flyer. [ELENA] Thank God you're all right, Michael. Who would want to kill us? [MICHAEL] I told you it was me they were after. [ELENA] Why? How can you be so sure? [MICHAEL] Give me a minute and I might be able to answer that. (beat) Kitt, what did your analysis of the wrecked Flyer turn up? [K.I.T.T.] The crash was the result of failure of the left rear wheel rim, Michael. [MICHAEL] Caused by? [K.I.T.T.] I'm not sure. My scan detected traces of lead on both sides of the break. As well as microscopic grains of cordite. [ELENA] I don't believe this a talking micro- scope on wheels. [MICHAEL] (ignoring) Sounds like an explosive bullet to me, pal. [K.I.T.T.] Good thinking, Michael. That round would have to be fired from an Anderson sniper special, a very rare and highly illegal weapon. [ELENA] (gasps) You mean, the Flyer was sabotaged during the race by a gunman? [MICHAEL] (nods grimly) And whoever was behind it tried to kill me because he knew we were close to finding out. [ELENA] (glances to K.I.T.T.) We? Michael, if you don't tell me about this car right now, I'll slug you. [MICHAEL] I guess our cover is a little blown, pal. Introduce yourself, Kitt. [K.I.T.T.] Miss Thomas, I am the Knight Industries Two Thousand.... [ELENA] (putting it together) Knight Industries -- wait a sec, you're Bonnie's work, aren't you? I'd know it anywhere. [MICHAEL] In a way, we're both Bonnie's work. And I think it's just about time to bring The Foundation in on this all the way. EXT. SEMI - DAY running through the early morning. INSIDE SEMI Bonnie at the main frame keyboard, Michael, Elena and K.I.T.T. beyond. MAIN FRAME MONITOR - INTERCUT AS NEEDED The 500-race footage, the Flyer frozen at the start of the crash. [BONNIE'S VOICE] (over clicking keys) Speed, location of first impact, secondary bullet path, and we vector back to the exact firing position. The enhanced image tracks sideways from the doomed car, across the track and pits, zeroing in on the hills alongside the track. [BONNIE] (continuing) Which is on the hillside alongside the track. Michael leans in closer to see Lurani's prone form, the barrel of the gun. Bonnie zooms in but the face is just a smeared glob of pink. [MICHAEL] Can you digitize a useful face out of that mess? [BONNIE] No way. I've been trying for an hour. That's as good as it gets. [MICHAEL] Kitt's got another one you can take a whack at -- (off reactions) -- the driver of the car that almost killed me and Elena. [BONNIE] That could take quite a while. [ELENA] But Michael has to race in four hours. [MICHAEL] (indicates picture on monitor) Yeah, with my head in his sights. Do your best Bonnie. We've got to get to the track. Devon has entered and during the following we: INTERCUT - RC3 in cab of semi driving and listening to their conversation over the intercom. He "urges" Devon to give in. [DEVON] You'll do no such thing, Michael. Turn what evidence you have over to the proper authorities. You're due in Cincinatti, as you well know. [BONNIE] But Devon.... [DEVON] I'm sorry, Bonnie, but the time restriction was clear. [ELENA] If Michael doesn't race.... [MICHAEL] Don't worry, I'll be there. What's more important, Devon, the livelihood and personal safety of these people, or some con man selling counterfeit Rembrandts to the Palmerston Museum? I know how I feel about it. [DEVON] But The Foundation has committed itself to... (a beat) You know me entirely too well, Michael. How much more time do you need? [MICHAEL] Seven hours. Till the checkered flag drops. Smiles. [DEVON] I'll give you eight.... Michael's look and they all react as in the cab RC3 grabs his hand mike and they hear: [RC3] Way to go boss. Told you, you were a righteous dude. CUT TO EXT. RACE TRACK - VARIOUS SHOTS The track is opening for business. EXT. THOMAS GARAGE - DAY Mac, Lon, Girdler and assorted grease monkeys work over the Flyer in the b.g., Elena supervising with Michael, Steve Cochran, who steps by on the way to Wayne's garage. [STEVE] The way you guys are going at it, you think you actually have a chance of winning. [ELENA] A good chance, Steve. Now shove off will you. [STEVE] Sure. And I'll shove that rookie right off the track while I'm at it. [ELENA] (flares) Hey, you pull anything like that and --- Michael crosses to Elena; interrupts coolly. [MICHAEL] Take it easy, Elena. We've got him worried. He's just trying to psych me out. (to Steve) I'd be working on my car, if I were you. Going to need every rev you can squeeze out of it. [STEVE] Listen hot shot, you waltzed in, lucked out and got a ride -- (glances to Elena) -- won't be as easy to grab Elena. [ELENA] Nobody's grabbing anybody, Steve. [MICHAEL] You heard the lady. You have a problem with me, we'll settle it after the race. [STEVE] You got it, Knight. This isn't over. [MICHAEL] Right. But it's not me you have to beat. It's the Flyer. Their eyes lock in angry stares. The tension broken by Wayne, who arrives and grabs hold of Steve's arm. [WAYNE] Cool off, Steve. Your job is racing my car, not going ten rounds with my friends. (to Michael and Elena) Sorry, folks. Wayne exits with Steve. A beat before --- [K.I.T.T.] (comlink) Michael, Bonnie's calling. [MICHAEL] (comlink) On my way, pal. INSIDE K.I.T.T. as Michael approaches, opens the door and leans in. [MICHAEL] Got something for me, Bon? K.I.T.T.'S MONITOR - INTERCUTTING BONNIE IN SEMI [BONNIE] Yes, an ID on the driver of the car that attacked you -- one Jonathan Tankel, 124 Industrial Way. [MICHAEL] Good work, Bonnie. Get over here and fill in Mac and Elena while Kitt and I check it out. Michael settles behind the wheel, starts the engine and rockets out of there. He punches buttons, as: [MICHAEL] Plot me the most direct course, pal. [K.I.T.T.] It's close by, Michael. Our ETA is 2.825 minutes. EXT. THOMAS GARAGE AREA - DAY - VARIOUS ANGLES - K.I.T.T. Elena, Lon, Girdler, Mac, Wayne and Steve watch from various positions, puzzled, as K.I.T.T. peels out. EXT. LOCAL GARAGE - DAY It is deserted. K.I.T.T. pulls up in front of the closed, corrugated door. INSIDE K.I.T.T. - DAY Michael hits a console button. [MICHAEL] Give me a personnel scan, pal. I want to know who I'm up against. INSERT - MONITOR K.I.T.T. scans the featureless interior. INSIDE K.I.T.T. Michael checks the scan. [K.I.T.T.] No one, it's empty, Michael. The door's not even locked. This is an easy one. [MICHAEL] Too easy. Could be a trap...Keep scanning -- for chemical compounds this time. INSERT - MONITOR A red dot pulses danger from a point opposite the door. INSIDE K.I.T.T. [K.I.T.T.] I'm picking up a high concentration of potassium nitrate, charcoal and sulfur, directly behind the door. [MICHAEL] Gunpowder. Let's open it from here, pal. Michael hits a button on his console. EXT. LOCAL GARAGE - K.I.T.T. The garage door lifts, revealing the muzzle of a double- barrelled shotgun. The booby-trapped weapon immediately blasts away, emptying both barrels on K.I.T.T.'s hood. INT. LOCAL GARAGE - DAY as K.I.T.T. drives in and Michael gets out, the gun smoke clearing. He examines the gun in its wired bracket, thinking. [MICHAEL] Put together by a pro. We know it couldn't have been Tankel --- [K.I.T.T.] That's right, Michael, but who? [MICHAEL] Somebody he was working for who knows I'm still in one piece.... Michael spots something across the area; crosses --- ANOTHER ANGLE - PAY PHONE as Michael arrives and pulls a blank pad from the wall next to the phone. [MICHAEL] Somebody Tankel's been talking to. I hope. INSIDE K.I.T.T. as Michael gets behind the wheel; removes the top sheet from the pad and puts it into K.I.T.T.'s analyzing tray. [MICHAEL] Infrared scan this for impressions from the last couple of notes. INTERCUT K.I.T.T.'S MONITOR - AS NEEDED to see the square of paper and gradually, the writing F.L. becoming visible. As K.I.T.T.'s scan continues down the page from top to bottom --- [K.I.T.T.] I can discern the name of F. Lurani Michael. Does it mean anything to you? [MICHAEL] (thoughtful beat) It sure does, pal -- Fredo Lurani. Hit-man supreme...he works off a boat. Could be anywhere along the Coast. [K.I.T.T.] Don't despair, Michael. I have what appears to be an address coming through. (slowly as it develops on monitor) Slip 313 Bayshore M. [MICHAEL] That's it. Bayshore Marina. Slip 202. Let's get there! Michael slams K.I.T.T. in gear. Hits the accelerator. EXT. LOCAL GARAGE - DAY - K.I.T.T. roaring back onto the street, heading for the nearby harbor. INSIDE K.I.T.T. - DAY Michael pushes some buttons on his console. [MICHAEL] Get me Bonnie at the garage, buddy. [K.I.T.T.] Right away, Michael. INTERCUT THOMAS GARAGE - BONNIE Engines roar. Bonnie takes the phone from Girdler, who stays nearby, working on the Flyer with Mac and Elena. Wayne, and a controlled Steve, are now also within earshot, kibitzing. Bonnie has to talk quite loud. [BONNIE] Michael, the race is going to start soon. Where are you? [MICHAEL] We'll be cutting it close. Just have the car ready. We got a fix on the killer. Kitt and I are on our way to take him out, first. [BONNIE] Good luck Michael. Be careful. [ELENA] (concerned) Is he okay, Bonnie? Is he going to be here for the race? [BONNIE] He'll be here Elena, believe me -- but the killer won't. Michael is on his way to nail him right now. Everyone around Bonnie's heard this. One of them is threatened by it. EXT. MARINA - K.I.T.T. - DAY Michael pulls up to the end of the dock, off which rides Lurani's boat. THROUGH K.I.T.T.'S WINDSHIELD - THE BULLSEYE Michael can see Betty, in bikini, as she hands a highball to Lurani, who is briefly visible before ducking back into the cabin, then she exits the boat and walks up the pier past K.I.T.T. ANGLE TO K.I.T.T. [K.I.T.T.] Very seaworthy Michael. [MICHAEL] Good on land too.... [K.I.T.T.] The boat Michael. [MICHAEL] Of course, well, he's there, all right -- and if that girl's anything to go by, pretty darn relaxed. Watch out for me, pal. [K.I.T.T.] Right behind you, Michael. K.I.T.T. scans, as camera moves with Michael over the gate and up the dock. INT. BULLSEYE CABIN - DAY Lurani moves to pick up the phone. [LURANI] (into phone) Thanks. I'll be ready for him if he shows. He pulls out a .45 automatic, cocks it thoughtfully as he hangs up. EXT. BULLSEYE - DAY Michael has crept to the end of the pier. He leaps onto the fantail and makes his way along the rail to the cabin door, on the side. Michael pauses a moment, throws the side door open, leaps inside, ready to take Lurani by surprise. INT. BULLSEYE CABIN - TOWARD SIDE DOOR - DAY Michael is shocked to find it empty. OMITTED NEW ANGLE [K.I.T.T.'S VOICE] (comlink) Michael, behind you. Michael hasn't had time to react. Lurani appears behind him and knocks him out with the .45 butt. [LURANI] Amazing how many people die in boating accidents these days.... EXT. BULLSEYE - ANGLE TO WATER as an unconscious Michael is thrown into the briny. LURANI quickly moves off the boat. INT. K.I.T.T. We can see no movement on the Bullseye. [K.I.T.T.'S VOICE] (comlink) Michael, Lurani is escaping...come in, please...Michael, there's been a disturbance in your vital signs. Michael? FADE OUT END OF ACT THREE ACT FOUR FADE IN OMITTED EXT. BULLSEYE - ANGLE TO WATER - DAY Where Michael was thrown overboard. A diminishing number of bubbles rise to the surface now. INT. K.I.T.T. [K.I.T.T.] I'm on my way. The motor ignites. EXT. PIER AREA - K.I.T.T. Roars as close to the water's edge as the location permits. ANGLE TO WATER As Michael's half-conscious form suddenly breaks the surface. [MICHAEL] Kitt! [K.I.T.T.] I see you, Michael.... [MICHAEL] The grappling hook, pal...Give me a hand.... [K.I.T.T.] My thought exactly, Michael.... EXT. K.I.T.T. fires the hook. EXT. WATER - MICHAEL As the hook splashes nearby and he grabs it. WIDE SHOT as K.I.T.T. reels Michael to shore. TIME CUT TO INSIDE K.I.T.T. - DAY Michael collapses into the seat, speaks in a mumble. INSERT The oxygen panel opens from headliner.... [MICHAEL] How much time till the race? [K.I.T.T.] Ten minutes, Michael. But you need a rest. You swallowed a lot of water. [MICHAEL] (hits console button) Give me an eighty percent oxygen flush at 20 psi. It works for hangovers, it ought to work for this. That's the price I had to pay to identify a killer. The pure oxygen hisses. BACK TO SCENE Michael gulps it, starts K.I.T.T. [K.I.T.T.] Nine minutes. [MICHAEL] (hits button) Notify the authorities about Lurani. Probably headed for the airport. Super pursuit mode, pal. EXT. MARINA - SERIES OF SHOTS - DAY The super pursuit aero aids deploy and K.I.T.T. rockets away. EXT. RIVERSIDE TRACK - AERIAL SHOT - DAY - STOCK The stands are packed, the cars are gathering on the grid. EXT. GARAGE AREA - DAY Bonnie, Mac, Elena, Lon, and Girdler wait with the readied Flyer. No Michael. [P.A. VOICE] Cars and drivers to the track.... EXT. K.I.T.T. - DAY Moving at space shuttle speed through the afternoon. INSIDE K.I.T.T. - DAY - EXTREME CLOSE UP [MICHAEL] Lurani was warned. He knew I was coming. [K.I.T.T.] Yes, but by who? [MICHAEL] Anyone could have overheard our call to Bonnie. [K.I.T.T.] Steve Cochran? [MICHAEL] Too small a man for that big a hate. Bonnie and Elena sure aren't suspects...Gimme a rundown on Mac Thomas' insurance policies. MONITOR - GRAPHICS [K.I.T.T.] He has five hundred thousand dollars coverage on the assets of Thomas Racing. BACK TO SCENE [MICHAEL] Phew, that's a lot more than he's got tied up in the team. Fraud puts Mac on the suspect list. Next, Wayne Altfield -- if Mac's team replaced his as top dog, what's he stand to lose? [K.I.T.T.] (riffles data) Conservatively, about eight hundred thousand dollars a year, Michael. But his total earnings are many times that. He can afford the loss easily -- and he is Mac's best friend. [MICHAEL] Not much to go on, is it? Let's fold up.... EXT. ROAD - K.I.T.T. as he slows up and converts to normal mode. EXT. THOMAS PIT AREA - DAY K.I.T.T. pulls to a halt. Michael leaps out, is surrounded by the Thomases and Bonnie. [ELENA] Michael, you had us scared stiff. [MICHAEL] I know the feeling, dry and wet... But at least I made it on time.... Mac holds up Michael's driving suit. He clambers into it as he talks. [BONNIE] Did you get the guy? [MICHAEL] No, but he thinks he got me. I bought us some time. Bonnie...Stay with Kitt and keep his scanners peeled.... [P.A. VOICE] Two minutes. All racers to the grid. [MAC] Better mount up, son. MICHAEL is in the Flyer. Lon and Girdler push it out. Bonnie climbs into K.I.T.T. as Michael revs the Flyer. Mac gives him thumbs up, Elena a pat on the helmet. Wayne Altfield steps away from his buzzing pits, wishes the Thomases luck. MICHAEL raises his visor, looks sharply at the trio standing together. MICHAEL'S POINT OF VIEW FROM FLYER - WAYNE, ELENA, MAC The three faces line up at identical angles. RESUME MICHAEL IN FLYER Something about those faces, and something Wayne once said...Into the comlink. [MICHAEL] Kitt, how about a snapshot of those guys? INSIDE K.I.T.T. The trio appears on the monitor. [BONNIE] Something for the family album, Michael? [MICHAEL'S VOICE] Maybe Dick Tracy's Crimestopper's Textbook. I don't know yet. EXT. RIVERSIDE COURSE The racers move from the pits, around the track onto the start grid. EXT. MICHAEL IN FLYER - DAY Warming the tires. Intercut with Bonnie in K.I.T.T. INSIDE THE FLYER [MICHAEL] (comlink) Kitt, the tachometer is reading way off.... [BONNIE] Could be a loose connection. [MICHAEL] Maybe I'm being paranoid but I'm betting something's been planted. [BONNIE] I'll run a scan during the pace lap, Michael. EXT. RIVERSIDE COURSE - START/FINISH LINE - DAY The cars roll in a tight pack for the pace lap. EXT. PIT AREA - ANGLE TO K.I.T.T. AND BONNIE INSIDE K.I.T.T. Bonnie punches instructions into the console. [BONNIE] (comlink) Scanning, Michael. INSERT - MONITOR Michael's schematic appears, dissolves into a staticky mess. [K.I.T.T.] I've got a problem, Bonnie. INSIDE K.I.T.T. Bonnie changes the program. No dice. She calls Michael. [BONNIE] Michael, there's too much interference from all these unshielded ignitions. [MICHAEL'S VOICE] Get on it, guys. Green flag's coming up. [BONNIE] We'll keep working on it during the race.... EXT. RIVERSIDE - START/FINISH LINE - DAY The field cranks up at the green flag, and we're racing. EXT. RIVERSIDE - RACE SERIES OF SHOTS - DAY A) Michael makes a daring pass of a car, right at the start. B) Action shots, spectacular passes, shunts. C) Michael, driving with elan. VARIOUS SHOTS A) Bonnie trying all her filters to get a read on Michael's car. B) Mac and Elena cheering as Michael moves up another place. Note: Principals become progressively dirtier during course of the race. INSIDE K.I.T.T. - DAY Bonnie works diligently, half-hearing the P.A. over the roar. [P.A. VOICE] With just four laps to go, Knight is second behind Cochran, who's driven brilliantly to move up from the back of the pack, after that long pit stop. [BONNIE] There he is! INSIDE K.I.T.T. - MONITOR A clear view of Michael's car-schematic. Then the static returns. EXT. RIVERSIDE RACE COURSE - DAY Michael's right behind Steve's car. [K.I.T.T.'S VOICE] (comlink) Michael, we can scan you now, but only as you pass our position. It'll take several laps. [MICHAEL] (comlink) Just do it, pal, I've got my hands full. INSIDE K.I.T.T. - MONITOR Michael's front suspension. Nothing. EXT. RIVERSIDE COURSE - DAY Michael again fails to pass Steve. INSIDE K.I.T.T. - MONITOR Michael's car -- a small package glowing red behind the seat. [K.I.T.T.] An explosive device. C-4, activated in your last pit stop set to blow the moment you lose motion or over- heat --- EXTERIOR - MICHAEL IN FLYER - DAY Eyes set on Steve's car, setting it up for a pass. [BONNIE'S VOICE] (comlink) Michael, bail out! [MICHAEL] We could blow up a grand stand if I do...Where's the bomb planted?! [K.I.T.T.] Directly behind you, Michael. [MICHAEL] Okay, Bonnie's the one who's got to bail out, pal. Then get moving and meet me at the runout lane after the esses on turn seven. As Michael reaches behind the seat, we go to: EXT. K.I.T.T. IN PITS - DAY Bonnie gets out, and K.I.T.T. moves out unobtrusively, but fast. EXT. RIVERSIDE - RUNOFF LANE - DAY The Flyer runs off down the empty lane, K.I.T.T. nosing in behind him. [MICHAEL] (comlink) Pop the trunk pal.... K.I.T.T. pops his trunk, Michael yanks the bomb, tosses it straight up. Momentum carries K.I.T.T. under the bomb. As Michael motors back onto the course's main route, the bomb plops into K.I.T.T.'s trunk. OMITTED EXT. RUNOFF AREA - K.I.T.T. As, bomb safely enclosed inside, it skids to a halt. The bomb explodes inside, harmlessly. K.I.T.T. pumps out the smoke. OMITTED EXT. RIVERSIDE - START/FINISH LINE - DAY The distant explosion's distracted no one from the drama, as Michael passes Steve in the Altfield car right at the checkered flag. MAC AND ELENA IN PITS Excited, running for victory lane with Bonnie. EXT. TRACK - PIT AREA - DAY Michael rolls the Flyer to a halt, leaps out, ditching his helmet. He ignores the offers of champagne, the laurel wreath, the telephone numbers of race princesses. He pushes through to where K.I.T.T. waits and hops in. INSIDE K.I.T.T. - DAY As Michael takes the wheel. [K.I.T.T.] Congratulations, Michael. [MICHAEL] Couldn't have done it without you pal. Head for the garage. Maybe we can track down who put the firecracker under the seat. [K.I.T.T.] Do you have any idea who it was? [MICHAEL] Just a hunch. Run a Linear Comparative Graphics Routine on that snapshot I had you take. All three, faces. CUT TO INT. THOMAS GARAGE - DAY - CLOSE ON A TOOL BOX with Alfie Girdler's name stenciled on the lid. Widen to include Michael who is rummaging through it and K.I.T.T. parked in the doorway of the empty garage. Suddenly Michael freezes at the unmistakable click of a gun cocking behind him. [K.I.T.T.] Behind you, Michael. [MICHAEL] I hear you, pal. (doesn't turn around) Afternoon, Wayne. INT. THOMAS GARAGE - DAY - WIDER Michael turns slowly. It's Wayne, all right. With him is Lurani, resting the rifle barrel across K.I.T.T.'s roof. [WAYNE] C'mon, Knight, you were just guessing. [MICHAEL] Nope, it took me a while, but it snapped into place. It was the money angle that threw me off. [WAYNE] What would I do with more money? [MICHAEL] Right, if it wasn't that, it had to be Elena. Plain as the nose on your face. On both your faces. (beat) She's your daughter -- right, Kitt? [K.I.T.T.] Correct Michael. Elena's face shares sixty-seven points of similarity with Wayne's but only five with Mac's. It's pretty clear. [WAYNE] (nods) Yeah -- her mom, Beth and I, we, we were lovers. She broke it off, but Elena's mine...He stole Beth from me, he stole my daughter, and now he's going to steal my place in racing... (beat; groping) I, I gave her, her genes. I gave her, her education. I --- Elena has arrived, unseen, and has been standing at the door's edge for the last couple of moments, shocked. [ELENA] (steps into view) ...everything except a father's love. I got that from Mac, thank God. [MICHAEL] Elena, get out of here. [ELENA] No. I can't make believe anymore. [WAYNE] You knew --- She moves defiantly to face Wayne. [ELENA] Mom told me just before she died. (beat) Sure, Wayne, you helped us out with money, but then, when you found out you couldn't buy me, you tried to destroy everything. Wayne stands there, his world in ruins. Lurani's getting jumpy. [LURANI] What do you want to do? [WAYNE] (beat) Kill him. Elena, despite Michael's warning look, goes to his side. [LURANI] (turning away; chokes) Both of 'em have to go.... [WAYNE] (reacting) No! Not her...I'll work it out with Elena.... [LURANI] And leave a witness? Not a chance.... ON K.I.T.T. as Lurani aims, steadying the gun across K.I.T.T.'s T-top. K.I.T.T. pops the T-top as Lurani fires. The shot hits the ceiling. K.I.T.T. starts, sideswiping Lurani, knocking the gun away. ANOTHER ANGLE Michael wades in to Lurani, trading punches. WAYNE goes after the loose gun. Wayne tries to go around them for the weapon. Michael notices. [MICHAEL] He's going for that gun, pal! K.I.T.T. pops a door that knocks the whole pile of tires down on Wayne's head. ANOTHER ANGLE Michael gets up from a Lurani punch, grabs a tire rolling by and jams it over the assassin's head, then drops him with a karate blow. Weary, Michael looks at K.I.T.T., with Elena, standing over the downed, groggy Wayne. [MICHAEL] Thanks, guys. Kitt, whistle for the cops, will ya? I'm beat. He leans against the nearest wall, catching his breath. FADE OUT END OF ACT FOUR TAG EXT. FOUNDATION HEADQUARTERS - DAY - TO ESTABLISH INT. DEVON'S OFFICE - DAY As Michael enters joining Bonnie, Devon and RC3. [MICHAEL] What's up guys? [DEVON] Well, Michael, it came to our atten- tion you were forced to pass up the traditional accolades given the winner after the race. [MICHAEL] It wasn't easy ignoring all those trophy queens with phone numbers. [BONNIE] Well, they've already moved on to the next race and of course Mac and Elena have the trophy --- [RC3] But, we still put together a little victory lane celebration just for you. RC3 drops a cap covered with racing logos onto Michael's head; then another on top of it, and another. As Michael juggles the hats that tumble into his arms --- [MICHAEL] Not something Kitt would approve of but -- I think this one is me. As Michael sets one of the hats at a rakish angle, Bonnie wraps a laurel wreath over his shoulders. [BONNIE] And the traditional laurel wreath of course. [DEVON] And lest you think we've forgotten, the tradition wouldn't be complete without --- Devon comes up with a magnum of champagne; hands it to Michael. Michael studies the bottle for a beat. [RC3] Come on Michael, come on, open it. [BONNIE] Yeah, the winner always shares with his crew. A wicked smile breaks across Michael's face as he gets an idea; nods in agreement --- [MICHAEL] Right, it's the tradition to end all racing traditions. Michael starts to vigorously shake up the bottle of champagne. The others realize what he's up to. [BONNIE] You shouldn't have said that, RC. [RC3] I knew I shouldn't have said that. [DEVON] Really, Michael, don't you think this would be carrying the --- Devon's sentence is cut off by the pop of the champagne cork. Everyone dives for cover, and Michael cracks up as the bubbly explodes out of the bottle, and we: [FREEZE FRAME] THE END

{"show": "Knight Rider", "season": "s04", "episode": "e08", "title": "KNIGHT RACER"}

knightriderarchives

ACT ONE FADE IN EXT. HOTEL MAXMILLIAN - DAY The chrome and glass cylinders of a space-age hotel rise toward the sky and rock music thunders out. CLOSE ON A/C FOOTING as a climbing rope is looped around the steel support of the air conditioning unit on the roof and ties securely. ON THE ROOF OF THE HOTEL - DAY as Julie Rogers, attractive, petite, blonde, tugs on the rope testing the knots, then crosses to the parapet paying out a coil of rope. She wears a jump suit, sports shoes and small backpack. She tosses the rope over the side; pauses thoughtfully for a beat, then climbs over the parapet. ON THE FACADE OF THE HOTEL - VARIOUS SHOTS as Julie expertly repels her way (about six stories) down the steel and glass facade on the rope to: A BALCONY as Julie comes down on the rope and lands. She immediately slips out of the backpack, removes a pair of dressy heels from it and sets them aside. Then, she unzips the jump suit revealing dressy clothes beneath. As she continues to change, we go to: INT. "TO THE MAX" DISCO - DAY A chic, elegant dance spot. Banner's proclaim GRAND OPENING. Beautiful bodies in high-style clothes are gyrating to a live band. Camera follows Samantha, twenty, sexy, dark hair flowing as she moves through the dancers, passing Bonnie who's dancing with handsome, well-dressed Matt Erickson. OMITTED BALCONY DOORS as Samantha arrives; casually leans her back against them appearing to be into the music. She reaches behind her and undoes the latch. The door pops open and Julie slips inside joining her -- dressed for the occasion. [SAMANTHA] Good, Julie. Right on the money. Ready? Julie nods nervously. Samantha picks up her uncertainty. [SAMANTHA] You better be. That's him. Brooks Brothers. Julie follows Samantha's nod to: BONNIE AND MATT dancing. [BONNIE] This place is so different from Foundation headquarters, Matt. Hard to believe they were both designed by the same architect. A female hand snakes over Matt's shoulder. He turns and sees it belongs to Samantha. [SAMANTHA] Not if you're as talented as Matt Erickson. [MATT] (brightening) Hey, thanks. Have we met? [SAMANTHA] (nods; sexy smile) But we haven't danced. I'm Samantha. As they dance off, Michael arrives and joins Bonnie. [MICHAEL] Hi there, Green Eyes --- [BONNIE] You kidding? Me? Jealous of my friend in his hour of glory? (beat) She is kinda cute.... [MICHAEL] Sure, but can she reprogram a range- finder? He winces from an elbow in the ribs. ON THE DANCE FLOOR - MATT AND SAMANTHA dance close, eyes locked. The song ends, she whispers something to him; smiles, heads off past --- JULIE standing near the exit, fidgeting, frightened. As Samantha passes, she slips something we don't see to Julie. MICHAEL AND BONNIE are rejoined by Matt, who's feeling his pockets for his keys; reacts to Michael having arrived. [MATT] Well, the Lone Eagle of the highway finally made it. [MICHAEL] He landed hours ago. You've just been too busy to notice. [MATT] Hey, when you're hot, you're hot. Samantha's freshening up. Why don't the four of us --- Matt pauses; is now patting all his pockets. [BONNIE] Lose something? [MATT] Yeah, my keys... (beat; freezes) My wallet, too! [MICHAEL] That girl! Bonnie, check the ladies' room. I'll cover the door. As Michael heads for the entrance/exit to the room, he discreetly raises his comlink. [MICHAEL] Kitt, look for a pretty lady, dark hair, leaving in a hurry. EXT. HOTEL PARKING LOT - DAY - K.I.T.T. is parked in a tight space, amid other cars. [K.I.T.T.] Did the 'Lone Eagle' strike out again. [MICHAEL] Very funny. She's a pickpocket. Keep your scanners peeled. K.I.T.T.'s scanner pulses faster. BALCONY - JULIE zips her jump suit and goes over the side on the rope. OMITTED EXT. HOTEL - DAY - VARIOUS SHOTS - JULIE is ten stories in the air, rappelling down the rope, bouncing off the chrome and glass cylinder with a practiced flair. She hits the ground running. ANOTHER ANGLE - INCLUDE K.I.T.T. as Julie dashes to a red sedan parked nearby, guns it and rockets out of the parking lot at high speed. [K.I.T.T.] Michael, someone just made a very unconventional exit. INTERCUT - K.I.T.T.'S DASH/MICHAEL IN DISCO Michael tenses, responds to comlink as the others react. [MICHAEL] Which door, pal? [K.I.T.T.] None. She came out a window. [MICHAEL] We're on the twelfth floor, buddy. [K.I.T.T.] I told you it was unconventional. [MICHAEL] Track her and pick me up. EXT. HOTEL - FRONT ENTRANCE - DAY - K.I.T.T. screeches up as Michael emerges from the lobby. INSIDE K.I.T.T. as Michael dives behind the wheel and starts the engine. [K.I.T.T.] She's out of scanner range, Michael. In a red sedan heading --- [MICHAEL] (finishing) North on Piedmont or east on Wheeler. [K.I.T.T.] North on Piedmont. How could you predict it so quickly? [MICHAEL] Matt lives on Wheeler. His office is on Piedmont. Had to be one or the other --- [K.I.T.T.] I don't understand, Michael? [MICHAEL] Safest scam in the book -- Rip 'em off while they're out having a good time and they won't show up and catch you in the act. (beat) Let's show this gal just how wrong she can be. Super Pursuit Mode, pal. Michael hits some buttons on his console. K.I.T.T. transforms into pursuit mode; nose elongating, spoilers deploying, etc., and speeds off into the night. CUT TO EXT. ARCHITECT'S OFFICE - DAY Amid a Century Plaza-type complex. We move in to find a sign reading "Matt Erickson A.I.A." INT. MATT'S INNER OFFICE - DAY - JULIE opens the door with Matt's keys, slips inside. Then crosses to and unlocks a drawing file; rifles it until she finds the set of plans she's seeking. She lays it out on the desk and produces a compact 35mm camera from her purse. She starts snapping pictures of --- BLUEPRINTS - CAMERA MATTE Complicated architectural drawings, which we recognize as the distinctive Hotel Maxmillian. CUT TO EXT. ARCHITECT'S OFFICE - DAY K.I.T.T. pulls into a parking space behind the red sedan. [K.I.T.T.] That's the sedan. Shall I check the license plates? [MICHAEL] No, I know that car. It's Matt's. Keep your scanners peeled. Michael gets out and crosses toward the offices. INT. OFFICE - DAY - MICHAEL slips in through the open door. [MICHAEL] I know you're in here, lady. INTERCUT - JULIE concealed behind a desk. She grabs a book from a nearby shelf and throws it. The noise makes Michael turn in that direction. THE SCENE As Julie runs behind Michael, leaps a drafting table in a perfect tuck, hits the floor in a somersault, and is out the door running. Michael springs after her. EXT. OFFICE AREA - DAY Julie hurdles benches and obstacles with extraordinary grace, yards ahead of Michael. He raises his comlink on the run. [MICHAEL] She's headed around back, pal! ON K.I.T.T. auto-starting, and driving off. ANGLE IN ALLEY Julie dives behind some boxes. A second later, Michael appears followed by K.I.T.T., who screeches to a stop -- the alley dead ends in a ten-foot wall. [K.I.T.T.] Behind those boxes, Michael. [MICHAEL] Pretty fast, lady. But you're cornered, now. I won't hurt you. JULIE For a second, it looks as though she'll give herself up. Then she bursts from the boxes at a full run. Michael gapes as she takes one last bounce on the ground, and uses a dumpster to vault with a twist up and over the wall. She's vanished. Michael stares stunned. [MICHAEL] She just stopped being predictable. Michael reacts; crouches to examine something. OMITTED INSERT - JULIE'S FOOTPRINT a distinctive imprint in the soft earth. [MICHAEL] (continuing) -- but she may be traceable. He passes his comlink over the footprint. [MICHAEL] Photograph this, pal and run down the manufacturer or distributor for me. K.I.T.T.'s scanner pulses in response as Michael crosses. INSIDE K.I.T.T. as Michael settles behind the wheel. [K.I.T.T.] Michael, over 100 million sports shoes are sold every year. It could take days. [MICHAEL] I know it's a long shot but it's the only one we've got. Maybe we can get some help. CUT TO EXT. TWO LANE HIGHWAY - DAY The semi's ramp drops down and K.I.T.T. slides up inside. INT. SEMI - DAY Michael crosses out of K.I.T.T. as Bonnie moves in. Devon is at the computer terminal in b.g. [MICHAEL] How's it going? [BONNIE] I'm updating Kitt's data banks now. [RC3] (sotto) I don't know why but the man's real uptight over the scene at the hotel last night. [DEVON] Very uptight, Reginald. And my hearing is more acute than you think. Michael, Bonnie and RC3 trade a look as Devon crosses. [DEVON] I want that incident vigorously investigated, Michael. [MICHAEL] Devon, I know you personally selected Matt to design our headquarters, but I think even he'd be surprised by your reaction. [DEVON] That's because like you he doesn't know our Secretary of State is attending a meeting at the hotel -- a top secret gathering of NATO Defense Ministers to map out strategy in space. The conference starts in just over forty-eight hours. My concern is --- [MICHAEL] (seeing it now) Security -- if two young women can get inside and pull off a simple scam what could some battle-hardened pros do to that conference? [DEVON] Precisely -- and how do we know those women weren't professionals testing the waters? I suggest you start with them. [MICHAEL] We already have. [RC3] The lady left a calling card boss. [BONNIE] A footprint. Kitt's been running a trace on it. [K.I.T.T.] Yes, and I've just identified it as a training shoe often used by gymnasts. [MICHAEL] Keep at it pal. In the meantime, I'm going to have a chat with Matt. Michael moves off, a concerned expression falls across Devon's face. He hides it when he sees Bonnie looking. EXT. HIGHWAY - DAY - ON THE SEMI as K.I.T.T. slides down, out, and away. CUT TO EXT. MATT ERICKSON A.I.A. - DAY We recognize the site from last night. Michael slides up in K.I.T.T., parks on the street. As Michael heads off --- A WOMAN an offbeat type, suddenly appears in the trendiest of flexitards, headband, pulse watch and Walkman headset...huffing and puffing her way past K.I.T.T. K.I.T.T.'S SCANNER scanning. K.I.T.T.'S MONITOR does a diagnostic breakdown: we see a holographic-like diagram of her body and metabolic information below. [K.I.T.T.] Oh my, what a terrible physical specimen. We hear K.I.T.T.'s voice through her headsets. [K.I.T.T.] Madam, forgive me, but you really should stop. [WOMAN] (gasping for air) Half-a-mile and I'm already hallucin- ating...I'm hearing voices! It's probably old cupcakes screaming in my thighs.... [K.I.T.T.] This is not cupcakes, this is the voice of reason. Trust me, for some, exercise is a spectator sport! [WOMAN] And who's out there doing all the spectating??? Single Men! (summoning up all her reserves) This is one small sprint for a woman; one giant leap towards a cute lawyer! Off she goes...not a pretty sight. [K.I.T.T.] I've never seen a happier jogger.... CUT TO OMITTED INT. MATT ERICKSON'S OFFICE - DAY Matt and Michael have given the office a careful check. [MATT] I don't get it, Michael. Nothing's missing. [MICHAEL] As far as we know --- (off Matt's look) Usually they lift your keys, take your car, get your address from the registration and rip off your house. What was that girl doing here? [MATT] I don't know. They couldn't have gotten this address from my registration --- [MICHAEL] That's my point. This is no ordinary street con, Matt. Those girls were after something -- something they knew was here. Michael glances around the office. Something on Matt's drafting table catches his eye. INSERT plans for the Hotel Maxmillian as Michael examines them. RESUME THE SCENE [MICHAEL] I thought the architect's work was over once the building opens for business. [MATT] Yeah, most of the time it is. [MICHAEL] But the Hotel Maxmillian was different. [MATT] No, I've been working on a new mall project. I haven't looked at the hotel for weeks. [MICHAEL] Somebody has. Matt swings Michael a puzzled look and we: CUT TO EXT. HIGHWAY - DAY - K.I.T.T. TRAVELING INSIDE K.I.T.T. - TRAVELING [MICHAEL] Looks like those girls were after the plans for the hotel. [K.I.T.T.] Any idea why, Michael? [MICHAEL] Yes, I'd say Devon's concerns about that defense conference are valid. Any more on that sport shoe for me? [K.I.T.T.] It was made by Sportique -- their 'Fastop' model. The local distributor is Aero-Nastics, a fitness center downtown. [MICHAEL] Sounds like a place where the little lady who wears 'em might hang out. Let's jog over there. Michael tromps on the accelerator and we: CUT TO INT. OFFICE - DAY - ON SAMANTHA [SAMANTHA] Don't congratulate her. She almost blew it. Widen out to reveal Samantha is in a small, well-kept office. Julie sits in a chair facing Jason Nelson, thirty, athletic, handsome, cool, and Christine Briggs, thirty- eight, vicious, efficient, in charge. Nelson removes the film cassette from Julie's camera. [NELSON] But she didn't blow it. Did you? Julie, dressed in jeams and a work shirt, doesn't react. Nelson runs a hand over her shoulder, massaging --- [NELSON] You used to complain, during workouts remember? But one more excursion and they'll pay off for all of us. A glance passes between Nelson and Briggs, broken by --- [JULIE] (incensed, betrayed) Hold it. You said just this once! You promised that if I --- [BRIGGS] (interrupting) Shut up! Last night was a test and you almost failed it. Remember what I said would happen if you did?! Want me to keep those promises?! Julie shakes "no"; shrinks back frightened, cowed. [SAMANTHA] Come on, Julie. You can handle it. It's your ticket out of here. [JULIE] I don't even belong here and you know it. Nelson steps between them; runs one hand over Julie's hair; the other across Samantha's back. Unseen by Briggs, she eyes him during --- [NELSON] Ladies, ladies, calm down, please. This sort of thing has no place on our team. Now relax. Easy does it. Okay? The girls nod and settle. Nelson moves close to Briggs; puts a finger to her lips for --- [NELSON] See? They're no different than you are, Christine. They like to be handled gently, considerately. (smiles, turns back to Julie) Practice at ten as usual, okay? [JULIE] Forget it. I can't do it. I can't live through another night like that. [BRIGGS] (explodes) You won't live through tonight if you don't! She locks eyes with Julie a long beat, then Julie breaks it off. Briggs swings the look to Nelson for --- [BRIGGS] Get her out of my sight! We follow Briggs as she angrily storms off and we: CUT TO CLOSE ON JULIE as she is shoved into frame and whirls to camera. Suddenly -- a cell door clangs; the bars right across her face. We pull back to include two uniformed guards, Walsh and Roark, an especially vile fellow. Julie looks around the cell, puzzled. [JULIE] Hey? Hey, where's Alice? [ROARK] In a body bag -- started a knife fight in the shower. [JULIE] What?! She wouldn't do that? She was getting out next week. She --- [ROARK] Yeah, because she was meeting with the DA this week. (smirks to Walsh) Inmate violence -- never know who they'll waste next. They exchange grins; turn and move off. Julie's face fills with fear and panic. We hold a beat and then we: [FREEZE FRAME] END OF ACT ONE ACT TWO FADE IN EXT. SMALL SHOPPING MALL - DAY as K.I.T.T. pulls into the parking lot. The sign above a storefront -- AERO-NASTICS - FITNESS & GYMNASTIC CENTER. INT. AERO-NASTICS - DAY Chrome and mirrors, muscled guys and shapely gals giving Nautilus machines a workout as we pan across to gymnastic apparatus and mats where students aged six to twenty cartwheel, tumble, etc. ON GYMNASTICS BEAM as a twelve-year-old girl does an amazing flip on it. Dina Shelton, nineteen, a lithsome beauty in a leotard, evaluates the maneuver as Michael observes from behind sunglasses. In the b.g. is an area where leotards, wristbands, sport shoes, etc., are displayed and sold. [DINA] Nice -- but the rotation had a big wobble. Let's go again. [MICHAEL] Sure looked like a 'ten' to me. [DINA] (smiles) Unfortunately, the judges don't wear sunglasses. Can I help you? [MICHAEL] Yes, I'm interested in a pair of Sportique 'Fastops.' Who runs the concession? [DINA] I do, but we don't carry that brand. [MICHAEL] That'll be news to them. [DINA] (remembering) Oh, right, we took a half dozen pairs on trial. Didn't sell real well. [MICHAEL] Because they didn't have you endorse 'em -- I'm Michael, Michael Knight. [DINA] Dina Shelton. [MICHAEL] Dina, it'd be a help if you could check your records and tell me who bought those six pairs of Sportiques. [DINA] Nobody. We gave them to Jason -- Jason Nelson. He's one of our instructors. [MICHAEL] Where can I find him? [DINA] Gainesboro prison -- (off Michael's look) He's their sports director. What's this all about Michael? [MICHAEL] A routine with a high degree of difficulty. EXT. GAINESBORO PRISON - DAY - TO ESTABLISH K.I.T.T. is parked inside the yard. [BRIGGS (V.O.)] Yes, of course I've heard of The Foundation Mr. Knight. INT. WARDEN BRIGGS' OFFICE - DAY Michael is with Briggs. [BRIGGS] (continuing) Jason's class'll be over in a few minutes. Why don't you fill me in while we wait. [MICHAEL] I have reason to believe one of your inmates may have been involved in a burglary last night, Warden. Nelson might be able to help me find her. [BRIGGS] We do our best to rehabilitate our girls but -- some do fall back into old habits after they get out. As for an escapee -- our security procedures are state of the art. She turns to a computer on her desk; encodes a few numbers. Michael watches as the roster of the inmates scrolls past. [BRIGGS] All present and accounted for. What gave you the idea anyway? [MICHAEL] A footprint from a shoe I've traced here. [BRIGGS] We issue footwear to every inmate. Most take it with them when they leave. I'm afraid you're looking at thousands of suspects. [MICHAEL] I've already narrowed it to six. [BRIGGS] (stopped; concerned) I see. How does Jason fit in? [MICHAEL] The imprint was from a sports shoe -- the model he donated to the prison. On Briggs' look, we: CUT TO INT. EQUIPMENT ROOM - DAY - NELSON as we widen to include Briggs, Roark and Michael. [NELSON] I gave them to inmates in the gymnastics program. Who else? [MICHAEL] Then one of them could very well be the girl I'm looking for. [BRIGGS] I told you I run a tight ship, Mr. Knight. It has to be someone on the outside. [NELSON] Yes. Those aren't the only pairs of Sportiques in existence. I mean -- we also bought two hundred pairs of sweat sox. Maybe you'd like to know who's wearing them, too? [MICHAEL] Hey, I know it's a long shot but we could settle this in a few minutes with a lineup. [BRIGGS] This is a State facility, Mr. Knight. The paper work will take months not minutes to clear. I'll cut through as much red tape for you as I can. (to Roark) Make sure Mr. Knight has no trouble finding his car. Roark escorts Michael from the equipment room and we: CUT TO EXT. PRISON YARD - DAY as Michael and Roark exit the building and cross toward K.I.T.T. in the b.g. Michael reacts O.S. when he sees: JULIE as she dashes barefoot down a runway; hits a springboard that catapults her toward a vaulting horse. She does the same flip she did to get over the wall in the alley earlier. RESUME MICHAEL AND ROARK as Michael turns from him and takes a step in Julie's direction. Roark grasps Michael's arm to stop him. [ROARK] Hold it, buddy. You heard the Warden. Michael nods and moves toward K.I.T.T., discreetly raising his comlink for --- [MICHAEL] Page Roark to call the Warden's office, pal. K.I.T.T.'S DASH CONSOLE as Enharmonic Synthesizer illuminates. ROARK'S WALKIE-TALKIE scratches to life. Widen to include he and Michael, during: [PAGE VOICE] Officer Roark? Officer Roark, call the Warden's office immediately. [MICHAEL] Sounds like serious business. Roark hesitates a beat before heading off to a locked security phone on a wall in the b.g. ANOTHER ANGLE - JULIE has just completed another vault as Michael joins her; gestures to her bare feet. [MICHAEL] Hi, almost didn't recognize you without your training shoes. Julie recognizes Michael but covers her reaction. [JULIE] I'm sorry but, I don't think we've ever met. [MICHAEL] The other night, in the alley; that vault over the wall -- world class. [JULIE] I'm an inmate here. I don't go running around alleys at night. [MICHAEL] And an escaped prisoner doesn't come back for the social life and conti- nental cuisine: Unless of course you have an identical twin. [JULIE] Look, whoever you are -- (thinks; decides) I've minded my business, done as I was told and I'm this close to getting out, alive. (pleading; desperate) Don't screw it up -- please. [MICHAEL] I don't know what'd going on here but I'm going to find out and you're --- Michael is interrupted by Roark, who shouts as he and Walsh hurry across the yard toward them. [ROARK] Knight?! Okay, Knight. I don't know how this happened but the Warden just come down on me real hard. First chance I get I'm doing the same to you. [MICHAEL] Anytime. Cutting guys like you down to size is my specialty. [ROARK] (to Walsh re Julie) Put her in solitary. As Walsh roughly escorts Julie toward the building in the b.g., Michael turns his body away from Roark and brings his comlink to his mouth for: [MICHAEL] Get a photo of that girl via comlink, pal. Michael turns his comlink in Julie's direction a beat before Roark shoves Michael toward K.I.T.T. K.I.T.T.'S MONITOR to see Julie's face with SLR range-finder graphics as K.I.T.T. snaps her picture. CUT TO INT. BRIGGS' OFFICE - DAY as she whirls to Nelson angrily. [BRIGGS] I don't like this, Jason. He saw Julie. He knows it was her last night. [NELSON] Easy does it, Christine. There's no way he can prove it. [BRIGGS] Yet. Knight isn't the kind that quits. He'll keep pressing until we stop him. [NELSON] Time will stop him. We'll be long gone with all the money we'll ever need before he figures it out. (off her look; reassuring) We will. That's a promise. Briggs eases; presses herself against Nelson. He wraps his arms around her and gently kisses her. EXT. HIGHWAY - DAY as K.I.T.T. barrels through a turn. [K.I.T.T.] She's rather cute, isn't she, Michael? MONITOR - INTERCUT AS NEEDED to see the photo K.I.T.T. took of Julie. [MICHAEL] Cute and desperate, pal. Let's find out who she is. A high-speed data search rolls across the monitor. [K.I.T.T.] Her name is Julie Rogers, she's just seventeen. Two years ago she was a highly promising member of the National Gymnastics Team that went to the Pan Am Games. [MICHAEL] Pan Am Games -- something happened when that team came back into the country. Am I right? [K.I.T.T.] Yes. One of the athletes was caught smuggling hard drugs through Customs. Her name was --- [MICHAEL/K.I.T.T.] (together) -- Julie Rogers. [MICHAEL] And I'll bet the Foundation her coach was Jason Nelson. [K.I.T.T.] Shall I check that, Michael? [MICHAEL] No, look into Warden Briggs. I've got someone to talk to about Nelson. [K.I.T.T.] Somehow I just knew you were going to say that. INT. AERO-NASTICS GYM - DAY - CLOSE ON DINA SHELTON practicing her own routine on the bar; does a flip, then balances as she responds to Michael's request for info. [DINA] Nelson? Sure, tell you whatever I can. Give me a minute to finish and --- Dina does a spectacular flip off the bar and lands on her feet face to face with Michael. [DINA] (continuing; flirtatiously) -- I'll be free the rest of the day. She cartwheels across the mat away from Michael. [MICHAEL] (to himself) Unfortunately, I'm not --- On Michael's look we: CUT TO EXT. AERO-NASTICS PARKING LOT - DAY Here comes our woman jogger. Remember Gabrielle Anderson- Scheiss in the Olympics? This is worse. She runs an exhausted, out-of-control serpentine path towards the gym. [K.I.T.T.] And they say there are no more miracles left. Come on baby, you can do it! [WOMAN] No...it's over...fat wins...pain wins... (sniffing) Everything smells like fondue! K.I.T.T. simulates the sounds of a cheering crowd and inspirational music. [K.I.T.T.] Nonsense! You've only run 1.2 miles! What about your men? [WOMAN] I'll become a nun! Black is slenderizing! ANOTHER ANGLE Just as she hobbles to the door, a young Man comes out... and they collide. He tries to help her up. [MAN] Gee, I'm so sorry. [WOMAN] That's okay. It hurt more to run. [MAN] Hey, if you want to sue me, that's perfectly fine... (smiling) I'm a lawyer.... CLOSE ON HER FACE Bingo. She casually takes off her headsets...and drops them into the garbage pail...as they go hand in hand into the building. [K.I.T.T.] How deeply moving. Someday it'll be my turn...'Kitt and the freeway of love....' OMITTED RESUME MICHAEL AND DINA They're having a drink at the gym juice bar. [DINA] Nelson's a very talented guy. AAU champion; a Gold at the Nationals. Coached me for a while, too. But Julie was his shot at coaching the Olympic team. [MICHAEL] Then Julie was arrested and that was the end of it. Nelson must have been devastated. [DINA] No, he blew it himself before that. Got caught pushing performance drugs on his athletes and was suspended. [MICHAEL] I don't get it. He was at the Pan Am Games with Julie. [DINA] The charges were dropped and he was reinstated. Something 'happened' to the witness against him. [MICHAEL] Things 'happen' to witnesses who testify against the mob not gymnastics coaches. [DINA] Don't judge him too harshly, okay? I mean he's been really great to Julie. He used his connections to get her transferred to Gainesboro. [MICHAEL] (jumps on it) She was assigned to another prison and Nelson arranged for her to be moved. [DINA] Yes, so they could continue to work together. [MICHAEL] (putting it together) Let me tell you, they've come up with one heck of a routine. On Michael's thoughtful look, we: CUT TO EXT. HIGHWAY - DAY as K.I.T.T. barrels down a straightaway. [K.I.T.T.] This road leads to Gainesboro Prison, Michael. INSIDE K.I.T.T. [MICHAEL] They all do today, pal. [K.I.T.T.] I know what you mean. Briggs' record reads like an inmate's. Twenty-seven reprimands for cruel and unorthodox disciplinary methods. She's on the brink of being fired. [MICHAEL] Let's push her over the edge. She made a big thing of her computerized security system. Access it for me. Michael punches some buttons on his console. K.I.T.T.'S MONITOR - INTERCUT AS NEEDED as appropriate sound and visual effects tell us K.I.T.T. is making the necessary electronic connections. [K.I.T.T.] I'm in, Michael. But the system has state-of-the-art safeguards. I can read the data but I can't update it. [MICHAEL] That's okay, I just want a closer look at last night's bed check. Key on Julie Rogers. Names scroll up the screen at high speed. The scroll stops. A flashing rectangle highlights Julie's name. [K.I.T.T.] She spent last night in solitary. I'm afraid her cell mate Alice Pierson spent it in the prison morgue. [MICHAEL] The more we find out the less we know. Remind me to have Bonnie check that out, Kitt. More names scroll up the monitor. [K.I.T.T.] An inmate named Samantha Lawton also spent last night in solitary. [MICHAEL] Wait a minute, the pickpocket who hit Matt was named Samantha. Where are she and Julie now? [K.I.T.T.] Both listed in solitary again, Michael. [MICHAEL] Just like the night of the heist -- if the pattern holds they're getting ready to pull another tonight. Let's keep the place under surveillance. EXT. GAINESBORO PRISON - NIGHT - TO ESTABLISH INT. SOLITARY CELL - NIGHT Julie stares out through a barred window as a guard admits Warden Briggs. A pile of dark clothes sits on the bunk. [BRIGGS] You aren't dressed? [JULIE] I told you, I'm not going. [BRIGGS] Listen, lady. You've got exactly three minutes to get into those street clothes. [JULIE] And if I don't? [BRIGGS] What happened to Alice could happen to you! Briggs smacks Julie across the face, knocking her backward onto her bunk. [BRIGGS] Get dressed. Samantha's here. Julie is rattled; fights for control and starts to change her clothes. Roark brings Samantha into the cell joining them. She wears a tight tank top and jeans, looking very sexy. Briggs crosses to a bunk, unlocks and lifts one end of it, revealing a dark hole in the floor. Samantha starts down a ladder inside. [BRIGGS] Have a nice evening, ladies. Julie swings her a frightened look, then follows Samantha. EXT. GAINESBORO PRISON - NIGHT as a van marked GAINESBORO PRISON comes from the far side of the prison and heads onto the road. INSIDE K.I.T.T. atop a hill or other vantage point. [MICHAEL] That could be them, pal. Scan the van. [K.I.T.T.] It contains a driver and two pas- sengers, Michael. But it's too dark to identify them. They could be prisoners being transferred. [MICHAEL] Not at this time of night. A SEDAN pulls onto the same road and drives off in the opposite direction to the van. [K.I.T.T.] What about that sedan, Michael? RESUME INSIDE K.I.T.T. [MICHAEL] It's a toss up, pal. But there's something suspicious about a prison van running errands at night. Let's tail it and track the sedan on your monitor. Michael pushes some buttons on his console. K.I.T.T.'S MONITOR - INTERCUT AS NEEDED to see a flashing blip moving on the grid work of streets, as the sedan drives off. EXT. HILLSIDE NEAR PRISON - NIGHT K.I.T.T. pulls from concealment, and takes off down the rural highway after the van. EXT. CITY STREETS - NIGHT - VARIOUS SHOTS as K.I.T.T. follows the prison van into a honky-tonk district. A few couples laughing, having a good time. INSIDE K.I.T.T. [K.I.T.T.] There's nothing in this part of town anyone would want, Michael. [MICHAEL] (correcting) Any car would want. Seriously, I don't get it either. Briggs sure didn't spring for a night on the town for some inmates. CUT TO EXT. POWER PLANT - NIGHT The sedan bearing Nelson and the girls pulls into cover near a good-sized rural transformer station. Cables and generators hum as power throbs out to the city. INSIDE NELSON'S SEDAN Nelson produces an explosive device and hands it to Julie, who puts it into a small backpack. [NELSON] Give Samantha time to make her move before you make yours. Julie nods. The girls get out of the sedan and move off toward the power plant. CUT TO EXT. HONKY-TONK STREET - NIGHT The prison van pulls to the curb in front of a disco. Music blares at ear-splitting volume. INSIDE K.I.T.T. [MICHAEL] They're stopping, pal. Full alert, all systems. [K.I.T.T.] My audio sensors are being jammed by that racket, Michael. [MICHAEL] That's not a racket, that's reggae. [K.I.T.T.] I don't think it matters. Look --- POINT OF VIEW THROUGH WINDSHIELD as guards Roarke and Walsh in atrociously patterned Hawaiian shirts exit the van and are engulfed by a number of squealing hostesses, who usher them inside. RESUME INSIDE K.I.T.T. [MICHAEL] We blew it. We should have followed the sedan. K.I.T.T.'S MONITOR to see the pulsing blip on the grid work of streets. [K.I.T.T.] It's clear across town at a power plant substation, Michael. [MICHAEL] Give me all the pursuit power you've got, pal! Michael punches some buttons. K.I.T.T. transforms into pursuit mode, nose elongating, spoiler deploying, etc., does a tire-smoking 180 and peels out. CUT TO EXT. POWER PLANT - NIGHT as Samantha, openly carrying a tire iron, approaches a uniformed Guard, who is distracted by her sexy come-on. [SAMANTHA] Hi. Am I glad to see you. [GUARD] I was hoping you'd say that. [SAMANTHA] (chuckles) My car -- got a flat just down the road. Think maybe you could help me out? She holds up the tire iron. As the Guard eyes Samantha, assessing the meaning of her request: JULIE slips from the shadows and dashes through the darkness behind the Guard. She takes a running leap, vaults the fence with ease and moves around the far side of a transformer. ON THE TRANSFORMER as Julie climbs the structure to a catwalk at the top. She removes the explosive device from her backpack and plants it in a well-concealed spot. As she turns and starts her descent, she bumps a metal gate in the railing that encloses the catwalk. It clangs loudly. RESUME SAMANTHA AND GUARD as he reacts to the noise and turns to see Julie making her way down the transformer to the ground. [GUARD] Hey? Hey what are you doing up --- Before he can finish, Samantha coldcocks him O.C. with the tire iron. He drops like a rock as Julie vaults the fence and rejoins Samantha. Julie bends to the fallen Guard. [JULIE] This guy's not breathing, Samantha. He needs helps. [SAMANTHA] It's your life you ought to be worried about! Come on. Let's get out of here. Come on! Samantha grabs Julie and practically drags her away. CUT TO K.I.T.T. rushing down the dirt road leading to the power plant, speeding past Nelson's hiding place. INSIDE K.I.T.T. Michael grips the wheel with determination. Over Michael's shoulder, we see the girls emerge from the plant. [MICHAEL] There they are, Kitt. Give me E.B.S. and back to cruise mode. RAPID SEQUENCE OF SHOTS - K.I.T.T. as he deploys braking fins and then transforms from S.P.M. to cruise mode. EXT. PLANT - NIGHT Samantha and Julie freeze in K.I.T.T.'s powerful headlights, then run. Michael gets out of K.I.T.T. to go after them. NELSON'S SEDAN rockets out of the darkness and screeches to a fast stop in the road. Julie and Samantha jump in. Nelson floors it, heading right for Michael. [K.I.T.T.] Michael, look out! Michael freezes momentarily, then dives and rolls to safety as the sedan goes fishtailing past him. He rises to watch as: THE SEDAN purposely sideswipes a power pole. The wires and pole come crashing down atop Michael. The sedan keeps on going. MICHAEL is pinned beneath the pole. A broken wire is snapping and sparking next to him, as K.I.T.T. pulls up. [K.I.T.T.] Michael, get out of there, quickly. That high tension wire is getting closer and closer! [MICHAEL] I can't pal. I'm pinned. I can't move. We hold a beat and then we: FREEZE FRAME FADE OUT END OF ACT TWO ACT THREE FADE IN EXT. POWER PLANT AREA - NIGHT - ON MICHAEL - CONTINUOUS ACTION Michael is pinned beneath the fallen power pole. The snap- ping, sparking wire moving closer and closer. K.I.T.T. waits nearby. [MICHAEL] Set your grappling hook, pal. MICHAEL ducks backward as a wire whips past his face. [K.I.T.T.] But if it hits that wire, my circuitry will be charcoal! [MICHAEL] If it hits me I'll be charcoal. Make it fast. OMITTED INSERT - K.I.T.T.'S GRILL as the grappling hook fires. MICHAEL catches the hook as it passes, then drops it carefully onto an insulated patch of the shorting wires. [MICHAEL] Now reel it in, pal. Reeeeeal slow. INTERCUT - K.I.T.T.'S WINCH grinding the line in slowly. Gradually it pulls the pole aside just enough to release the pressure on Michael, and he slips free. [K.I.T.T.] Power surge coming, Michael! Michael dives to safety just as the wire explodes in a fire- works display. INSIDE K.I.T.T. as Michael gets behind the wheel. [MICHAEL] You all right, buddy? [K.I.T.T.] Nothing Bonnie can't cure with a little hi-tech TLC. [MICHAEL] Good. Get that sedan on the screen for me. Michael punches buttons, then slides K.I.T.T. in a spinning turn onto the road away from the plant. K.I.T.T.'S MONITOR - INTERCUT AS NEEDED to see a map grid and pulsing blip. [K.I.T.T.] They're heading back toward the prison at a high speed. They have a huge lead. They -- (beat, down) I'm afraid they're already back in the prison, Michael. Michael slams his palm against the steering wheel in frustration. CUT TO INT. BRIGGS' OFFICE - NIGHT Briggs is raging at Nelson, Julie and Samantha. Roark observes in the b.g. [BRIGGS] How the hell did Knight get onto you?! [SAMANTHA] He's probably a cop. How else? [NELSON] No way. He's a freelancer with a hot car. He didn't stop us tonight. Forget him. [JULIE] But that man at the plant -- what if he's dead. What if --- [BRIGGS] (interrupting) Shut up! That's what happens to people who get in the way -- (a look to Roark) -- people like Michael Knight. They get killed. CUT TO EXT. HIGHWAY - NIGHT - K.I.T.T. AND THE SEMI The car slides up the ramp and into the trailer. INT. SEMI - NIGHT Devon, RC3 and Michael gathered, Bonnie in the b.g. at the computer console. [DEVON] Michael, am I to understand that -- that these young women get out, commit crimes and go back to prison? [MICHAEL] Exactly -- the perfect alibi. You may have heard of one of them -- Julie Rogers? [DEVON] Yes, the gymnast -- a promising future cut short by a drug smuggling conviction, as I recall. [MICHAEL] Right. She swore she'd never seen the drugs before; ended up serving time anyway. [RC3] Sounds like the lady was set up to take the fall. [MICHAEL] (nods emphatically) Nelson, the prison athletic instructor was her coach at the time. I'm betting he and Briggs are up to their barbed wire in this. [DEVON] What I fail to comprehend is how they fit into sabotaging the defense conference. [MICHAEL] I agree. It doesn't piece together. And there are more pieces. According to Kitt's data search, Briggs should be facing brutality charges. But the witness against her was killed in a fight with another inmate. Ditto for the girl that could have cleared Julie. Bonnie tears a print-out from her computer and joins the group. [BONNIE] I ran that check for you, Michael. The witness against Briggs was Alice Pierson. [MICHAEL] Julie Rogers' cellmate. [BONNIE] (nods) Six months ago her fingerprints were found at the site of a robbery. She was eliminated as a suspect because --- [RC3] Don't tell me -- she was in solitary at Gainesboro at the time. [BONNIE] Right. [MICHAEL] Now she's in the morgue. (beat) It looks like Briggs eliminates any- one who can incriminate her. If Julie's work is finished -- she's next. A beat as Michael's comment hits Devon, Bonnie and RC3. [DEVON] Then how do we draw these people out and protect Julie at the same time? [MICHAEL] I've got an idea but it's risky. (to Bonnie) You willing to try something a little -- unusual? Off Bonnie's looks we: CUT TO INT. GAINESBORO PRISON GYM - DAY - TIGHT ON JULIE ROGERS [NELSON (V.O.)] Go! Julie leaps from a standing start and grabs a rope dangling from the gym ceiling. With a catlike grace she starts climbing up it, hand over hand. NELSON AND BRIGGS watch her eagerly, Nelson checking a stopwatch. [NELSON] Faster, Julie. Faster. ANGLE FROM CEILING Julie reaches the ceiling, clambers onto a rafter and walks it like a balance beam. She reaches the end of the rafter, crouches and grasps another rope hanging down to the floor, swings into midair. [NELSON] Atta-girl. Good, good. NEW ANGLE Julie slithers to the foot of the line and is off across the floor in a tumbling exercise which takes her flipping and flying over and under several small crossbars mounted on vertical stanchions. She passes them all without touching any, until: THE LAST BAR gets knocked off its stand as Julie does a flip over it. Nelson punches the watch; catches a look of utter disgust from Briggs. [BRIGGS] You just blew it, honey! (to Nelson) What do we do now? [JULIE] (overhears; lashes back) Find someone else! [BRIGGS] There is no one else! (to Nelson) You hand-picked her. Now make sure she gets this right! [JULIE] Well, maybe I can't! Maybe I just can't do it! Nelson crosses to Julie; manages the muscles in her neck and shoulders during --- [NELSON] Sure you can, Julie. I know you can. I've seen you do it. It's your ticket out of here. A look between them, then Nelson raises his watch, nods. Julie starts off. Nelson moves close to Briggs for --- [NELSON] Maybe we ought to forget it. [BRIGGS] Are you crazy?! We're this close to ten million dollars, Jason -- Ten million. I've been living in gray crud for too many years to chuck it all now. [NELSON] Our future is in the hands of a scared teenager. That's crazy. I don't think she can pull it off. [BRIGGS] You make sure she does. You promised me sunshine and good times, mister, and you're going to deliver, aren't you? She kisses him lightly on the lips; the kiss of a cobra. His eyes fill with contempt as she turns and leaves. CUT TO EXT. HILL ABOVE PRISON - DAY K.I.T.T. glides to a stop in brush, Gainesboro visible below. K.I.T.T.'S MONITOR - INTERCUT AS NECESSARY Michael punches buttons. The monitor comes alive with a picture of the prison. [MICHAEL] (continuing) Okay, zoom in for me, pal. [K.I.T.T.] How far? The soup stain on the tower guard's tie? [MICHAEL] (chuckles) No, the front gate will be fine. The monitor responds with a zoom in to the front gate area. [MICHAEL] (continuing) Okay, now access the computer terminal in the guard shack. [K.I.T.T.] I can transmit data to the monitor, Michael, but remember that system has state-of-the-art safeguards. I can't make additions to memory. Michael reacts as a black and white paddy wagon pulls up next to the shack. [MICHAEL] No problem. But you better make it fast. EXT. PRISON GATE - DAY The driver of the van is signing a clipboard for the Gate Guard. Behind them, the daily volleyball game is in progress in the prison yard. CLOSER ON THE VAN The uniformed driver looks up and beneath his cap, we see his face. It's RC3. [GATE GUARD] (puzzled) You say you got a transfer from upstate? [RC3] Yeah, a real wildcat. Spent the entire ride trying to get through the screen and rip my head off. The Guard leans back into the shack; types on his computer keyboard --- [GATE GUARD] Sorry, buddy, we haven't been notified. [RC3] Listen, my man. No way I'm taking her back. Better tap dance on those buttons again. The Guard encodes on the keyboard again. INTERCUT - K.I.T.T.'S MONITOR/CONSOLE where we see Bonnie's name on the screen. [K.I.T.T.] Ready to transmit, Michael. Michael depress a button labled -- TRANSMIT ON THE MONITOR IN GUARD'S SHACK as Bonnie Barstow prints out, followed by transfer arriving and a lengthy criminal record. RESUME THE SCENE as the Guard leans back out to RC3. [GATE GUARD] Just came through. Got a rap sheet that makes Ma Barker look like a brownie. [RC3] That's why the chick's here. [GATE GUARD] We'll take good care of her. Go on in. The car proceeds into the yard. The other girl inmates stop and take notice as it stops. Devon gets out and opens the back door. [RC3] Okay, sweetcakes. End of the line. The prisoner gets out wearing prison denims and carrying a duffle bag. As she turns to RC3 and winks -- we recognize a very tough-looking Bonnie Barstow. [BONNIE] Thanks for the lift, creep. He turns her over to a waiting guard, Roark, who grabs Bonnie brusquely and shoves her toward the yard. NELSON AND WARDEN BRIGGS watching from her office window, menacing. ON BONNIE RC3 drives off and the gates shut behind her. Off a look which tells us she suddenly feels very alone.... [FREEZE FRAME] END OF ACT THREE ACT FOUR FADE IN EXT. HILL ABOVE GAINESBORO - DAY - ON K.I.T.T. - ESTABLISHING parked in concealment but with a view. Michael's inside. INTERCUT MONITOR - ANGLE IN K.I.T.T. Michael scans an image of Bonnie on the video screen. [MICHAEL] So far, so good. Bonnie's inside. [K.I.T.T.] I don't like this plan, Michael. The people in that place are not nice. And I don't mean the prisoners. [MICHAEL] We'll have Julie out of there in no time. Get as close to the west tower as you can. As they move toward the prison, we: CUT TO EXT. PRISON YARD - VOLLEYBALL GAME - DAY Bonnie struts across the yard. She intercepts the volleyball from the game nearby and picks it up as one of the female player/prisoners comes to retrieve it, a tough but pretty girl named Darlene. [DARLEEN] Right here, rookie. Hand it over. [BONNIE] You want it? Bonnie defiantly tosses the ball back over her shoulder. [BONNIE] Go get it, creep. [DARLEEN] You get it. Before you get your face mashed. Bonnie shakes no and shoves past Darleen, bumping her hard with a shoulder. [BONNIE] (taunting) Anytime, sweetcakes. Anytime. Darleen grabs Bonnie; whirls her around and throws a punch. Bonnie blocks it and lunges at Darleen. In a second they're grappling in a violent wrestling match. Other girls gather and shout them on. Guards run toward them as --- EXT. NEAR PRISON WALL - DAY - K.I.T.T. glides to a position directly beneath a guard tower. THE GUARD ATOP THE WALL is watching the fight; attention riveted to the fighting women. INSIDE K.I.T.T. [MICHAEL] She did it! Here we go, Kitt! Michael punches "EJECT LEFT" on his console. VARIOUS ANGLES as the T-top pops open and Michael slips up and out of the driver's seat, ejecting up the side of the wall. LOOKOUT TOWER ATOP WALL - PARAPET Michael lands. The guard turns. Michael comes up from his landing crouch and puts away the guard with a karate combination. RESUME THE FIGHT IN THE YARD Guards Roark and Walsh are separating Bonnie and Darleen. BASE OF LOOKOUT TOWER - MICHAEL now wearing the guard's cap and jacket, emerges from a door moving toward the main building's entrance. SCENE - THE YARD - NELSON AND BRIGGS have spotted the commotion and joined the guards. Briggs grabs Bonnie's face; squeezes it in her hand. [BRIGGS] Congratulations, Barstow. You just set a record for getting thrown in solitary. I'm going to enjoy teaching you the ropes. (to Roark) Put her in the hole. I want to review her records. The guards lead Bonnie off and we: CUT TO INT. CELL BLOCK - DAY Michael slips along the cell doors until he finds the one he's looking for. He "plays" guard here. [MICHAEL] Okay Rogers. Let's go. Move it. INT. JULIE'S CELL - DAY She scowls at first then recognizes Michael. He softens her reaction with a look. [JULIE] (sotto) What are you doing here? [MICHAEL] Stopping Nelson and Briggs from sabotaging that defense conference. [JULIE] (baffled) Defense conference? I don't know what you're talking about. [MICHAEL] This is no time for games Julie. That conference could swing the balance of world power, and --- [JULIE] (shakes her head) That's not the target. (off Michael's look) It isn't. It's an industrial exhibit on the top floor -- a display of crystals. [MICHAEL] Crystals? (deduces a beat) Perfect ones -- they're the only kind worth stealing. They can increase the output of a laser by a hundred. In unfriendly hands --- He lets the sentence trail off as he turns to the cell door; passes his comlink over the lock. [MICHAEL] Okay pal, you're on. K.I.T.T.'S MONITOR as the diagram of the lock assembly appears on the monitor. [K.I.T.T.] It's a standard lockup tumbler, Michael. No problem. RESUME MICHAEL AND JULIE The lock clicks open. Michael slides back the cell door. As Julie and Michael move down the corridor, we: CUT TO INT. WARDEN BRIGGS' OFFICE - DAY - ON MONITOR as names of the inmates scroll up the screen. [ROARK] No record for a Bonnie Barstow. THE SCENE as Roark at the monitor continues to encode. Nelson stands to one side equally baffled. [BRIGGS] She's here, Roark. There has to be something on her --- [ROARK] (shakes no) Nothing --- [NELSON] I don't like this. Something's wrong. I think maybe we should --- [BRIGGS] (interrupting) Let's ask Barstow what she thinks. Briggs marches out of the office, Nelson and Roark following. CUT TO INT. BONNIE'S CELL - SOLITARY - DAY Michael and Julie in the corridor. Bonnie still inside. [BONNIE] Come on, Kitt, come on --- The tumbler clicks open as Michael slides the cell door open. [BONNIE] Thanks. Five more minutes in that hell hole and I'd be right off the deep end. [BRIGGS (V.O.)] Think how you'll feel after five years! Michael, Bonnie and Julie turn to face: NELSON, BRIGGS, ROARK AND WALSH The two guards have riots guns fixed on them. Michael boils over. [MICHAEL] (explosive) What do you promise these girls?! A chance to get out of here alive?! Is that how it works?! [BRIGGS] Don't push your luck, Mr. Knight. In the cell! Both of them! Roark and Walsh move in, forcing Michael into the cell, pushing Bonnie in with him. The door slams shut. JULIE is on the outside of the bars, face to face with Michael. A poignant moment before Nelson grips her arm, pulling her along. [NELSON] Forget them, Julie. It's time to concentrate. Today's performance has to be a 'ten.' As the group moves off, Briggs leans to Roark for --- [BRIGGS] Wait 'til we're gone, then kill them. CUT TO EXT. HILL OUTSIDE PRISON - DAY - K.I.T.T. [K.I.T.T.] Devon? Devon, I have to talk to you right away. INTERCUT MONITOR - ANGLE IN K.I.T.T. Devon's concerned face looks out from the screen. [DEVON] What's the problem, Kitt? [K.I.T.T.] Michael said if he didn't contact me in ten minutes to have RC3 back him up. I'll tell you where he wants him positioned. [DEVON] Make it fast. Michael could be trying to reach you right now. CUT TO INT. BONNIE'S CELL - DAY Bonnie paces as Michael talks into his comlink. [MICHAEL] Kitt? Kitt, come in, pal. (beeping sound) Still busy. [BONNIE] Busy?! I'm going to die and Kitt's line is busy?! I don't mind telling you, I'm scared stiff. [ROARK] You oughtta be, honey. They whirl to see Roark, riot gun aimed at them. As Roark unlocks the cell door, Michael raises his comlink for: [MICHAEL] I hope you're tuned in now, pal. [ROARK] What's that? Who you talking to? [MICHAEL] A friend. And if this is my lucky day, you'll get to meet him. SMASH CUT TO EXT. PRISON - FRONT GATE - DAY - K.I.T.T. smashes through the wire and metal of the front gate and bursts onto the yard, past several amazed prisoners and guards who are firing at K.I.T.T.; the rounds ricocheting off. RESUME BONNIE, MICHAEL AND ROARK who bump-loads his riot gun; levels it at Michael just as K.I.T.T. smashes through the wall of the cell past Bonnie and Michael. As Roark dives out of the way, the riot gun fires. Michael yanks it out of his hand and decks him with a right cross. [MICHAEL] Just call me Mr. Lucky --- Bonnie and Michael jump into K.I.T.T. and blast out in reverse. EXT. YARD - DAY K.I.T.T. backs out of the cell and heads across the yard as Briggs emerges from her office and yells to the guards. [BRIGGS] Do something! Shoot! Stop them!! Stop them!! The guards empty their magazines on K.I.T.T., the rounds ricocheting off as he rockets toward the gate he blasted through earlier. Several black and whites, sirens screaming are on the way into the yard. Briggs sees what's happening and runs. INT. SOLITARY CELL - DAY - BRIGGS runs down the corridor and enters the cell. She crosses to the bunk and lifts it up, exposing the mouth of the tunnel, but before she can climb out of it. RC3 pops up, a gun in his hand trained on her. [RC3] Hi! I'm here to offer you a lifetime subscription to the prison newsletter. CUT TO INSIDE K.I.T.T. - TRAVELING [K.I.T.T.] Where to, Michael? [MICHAEL] Hotel Maxmillian, pal. Michael tromps on the accelerator; K.I.T.T. takes off and we: CUT TO EXT. HOTEL MAXMILLIAN - DAY - TO ESTABLISH as we move in to a banner that proclaims -- INDUSTRIAL EXHIBITION --- EXT. HOTEL - DAY as Nelson and Julie walk quickly along a deserted section of hotel ground. Nelson hand-carries a small backpack. [NELSON] After I blow the power, you'll have two minutes to get the crystals before emergency power kicks in. [JULIE] And if it takes me longer? [NELSON] The laser alarms will reactivate and you'll have to elude them -- (off her look) The tumbling routine in the gym -- those bars were in the same position as the lasers. Piece of cake. He stops at a corner of the building then removes a nylon climber's rope with a hook on one end from the backpack. He spins the rope and throws it toward --- CONCRETE SUPPORT No more than three inches wide, topping an arched connector between the hotel and one of two adjacent parking structures. The rope hits and loops around it like a bolo. SCENE Nelson pulls it to make sure it's taut, then hands Julie the backpack. As she slips it on --- [NELSON] In case you're thinking of running -- remember -- Briggs'd hunt you down like an animal. She'd have you shot on sight. He offers Julie the end of the nylon climbing rope. [NELSON] (continuing) Get us those crystals and in an hour, she'll be signing your parole. Julie thinks, decides and takes the rope from Nelson. He removes a remote detonator from his pocket and depresses the button. CUT TO CLOSE ON THE BOMB The high-tech device Julie planted earlier, as it blows: EXT. SIERRA VISTA POWER PLANT - DAY A beat before it is wracked by a massive explosion. CUT TO THE HOTEL - JULIE AND NELSON suddenly, all around them, the power goes off. [NELSON] Go! Julie takes a deep breath, starts climbing. VARIOUS ANGLES - JULIE'S CLIMB She shinnies her way up the nylon line, higher and higher. CUT TO EXT. STREETS - DAY - ANGLE ON K.I.T.T. speeding into the outskirts of the city, racing through traffic. CUT TO EXT. HOTEL - ATOP NARROW SUPPORT - DAY - JULIE is walking across the narrow beam. She loses her balance for a moment, then regains it and reaches the --- HOTEL ROOF as Julie sprints across to a skylight. She raises the cover, then reaches into her pack and produces a second nylon rope which she drops down inside. She disappears through the skylight. INT. EXHIBIT GALLERY - DAY - JULIE slithers down her rope and hits the floor. She crosses to a cluster of display cases and we see: CLOSER ANGLE - THE CRYSTALS Julie marvels at them then reaches into the cases and starts sweeping them into her backpack. EXT. HOTEL - DAY As K.I.T.T. screeches up to the front entrance. Michael jumps out and sprints inside, leaving Bonnie in K.I.T.T. RESUME JULIE She's sweeping the last of the crystals into her backpack when the power comes back and lights go on in the room. Julie looks around, finds herself surrounded by: FULL SHOT - LASER ALARM SYSTEM A dozen pencil thin, glowing bands of laser light suddenly crisscross the room between the display cases at varying heights. Julie's in the middle, frightened, trapped. INT. LOBBY - DAY - MICHAEL races through the startled bystanders and approaches two heavily armed guards on duty in front of high oak doors and starts talking fast. INT. EXHIBIT GALLERY - JULIE is taking several deep breaths, gathering her courage. Finally takes a few fast steps toward the first beam of laser light. CLOSE ON HELICOPTER as Nelson pulls up in his car, gets out, climbs into the chopper. CLOSER - THE BEAM as Julie's torso pinwheels over the bright red shaft of light. THE SCENE as she lands in a tuck and roll allowing her momentum to carry her beneath the next beam. She comes up and goes right into a cartwheel that carries her over the next two beams. JULIE'S FEET as they land on the floor, barely an inch from a beam that skims just above the surface of the carpet. THE SCENE as Julie's momentum carries her into a tumble over the last beam. She comes out of it in a crouch and springs for the rope catching hold of it eight feet above the floor. She starts climbing frantically. ANOTHER ANGLE FROM ABOVE as Julie makes her way up the rope to the ceiling and slips out the skylight, a beat before --- THE DOORS burst open. Michael and the guards enter. Michael looks up, sees the open skylight above. [MICHAEL] Too late -- she's gone. INSIDE K.I.T.T. as Bonnie reacts when she sees Michael approach and jump in next to her. With a squeal of tires they take off, racing around the perimeter of the hotel. [BONNIE] Did you find her? [MICHAEL] No. She went out the skylight. How many ways off that roof, pal? K.I.T.T.'S MONITOR - INTERCUT AS NEEDED A graphic view of the hotel and adjacent high-rise parking structures. [K.I.T.T.] Only one, Michael. The connector to the parking structure. But it's less than three inches wide. No normal person could do it. [MICHAEL] Julie Rogers is no normal person. He hammers a right turn into the parking structure. VARIOUS ANGLES - K.I.T.T. whizzes around and around up the ramps of the structure. EXT. PARKING STRUCTURE ROOM - DAY The Trans Am bursts into daylight atop the parking structure. [BONNIE] Look --- ANGLE - JULIE tightrope walking the top of a very high dividing wall which connects the two parking structures, at least sixty feet above the ground. She holds her hands out to her sides for balance and steps tenuously. At the other end of the wall is: A CHOPPER PAD Nelson stands next to a helicopter urging Julie forward. [NELSON] Come on, Julie. Don't stop now. Nelson does a take; pulls a gun and fires when he sees: BONNIE AND MICHAEL are getting out of K.I.T.T. They take to cover behind his doors. The bullets ricochet off. JULIE wobbles atop the wall, terrified. RESUME MICHAEL, BONNIE, K.I.T.T. [K.I.T.T.] Michael! Julie's pulse rate is skyrocketing. She's got vertigo! She's going to fall. [MICHAEL] Calibrate wind speed, distance and running room. [BONNIE] Michael, you're not going to.... [K.I.T.T.] Oh, yes he is. Michael and Bonnie scramble back into K.I.T.T. FULL SHOT - JULIE AND NELSON She approaches the opposite roof and Nelson, but the wind from the chopper blades makes her going tougher. [NELSON] Come on, Julie. Just a few more feet. Julie fights the breeze and her nerves, then takes the last step to Nelson. He pulls her to safety and tries to strip off her backpack. She struggles in his grip. EXT. ROOFTOP - FOLLOWING K.I.T.T. Michael floors it in reverse, backing the Trans Am to the farthest edge of the structures roof. [MICHAEL] Hang on! As K.I.T.T. revs up, the car shudders, the turbines rise in pitch. VARIOUS INSERTS - TIRES, SCANNER, DASH shudder and smoke, instruments red-lining. VARIOUS ANGLES - SKI MODE K.I.T.T. roars across the roof of the structure and tilts up into ski mode heading for --- THE NARROW BEAM That connects the two buildings as K.I.T.T. ski modes on two wheels across the beam that Julie has just traversed. NELSON looks up, can't believe his eyes. K.I.T.T. reaches Nelson's roof and comes out of ski mode settling down. On all four wheels. Michael's out of the car in a flash and after Nelson. Nelson goes for his gun but he's got his hands full with Julie. THE BACKPACK FULL OF DIAMONDS hits the pavement, sending an icy shower onto the pad. RESUME FIGHT as Michael drops Nelson with a couple of quick karate blows, then puts his arms around a trembling Julie. [MICHAEL] If they gave out medals for guts, kid, you'd take the gold. As they look down at Nelson. [FREEZE FRAME] END OF ACT FOUR TAG TO FOLLOW

{"show": "Knight Rider", "season": "s04", "episode": "e09", "title": "KNIGHT BEHIND BARS"}

knightriderarchives

ACT ONE FADE IN OMITTED EXT. GOVERNMENT DATA CENTER - ISOLATED AREA - EARLY MORNING A cement building which sits back from a single-lane roadway. Charged electrical fences, with their security locks, cross checks, and warning signs in bright red, protect it from any intruders. To the side of the electronically controlled entrance gate is a guard shack. Establish this, then: ANGLE The van, a driver and a passenger inside, slows to a stop in front of the guard shack. The Guard moves to the passenger's side of the van. The lab-coated passenger has a full beard and wears thick, steel-rimmed glasses. He is the Durant. GUARD Good evening...Doctor Hanson...Sorry but I have to see your ID card. As Durant hands the Guard an ID card. NEW ANGLE A bull of a man, Martoni, appears. In a blur, Martoni is behind the Guard and knocks him out...The Guard is pulled back, hidden from view by the guard shack. Martoni reaches into the shack, activates the gates, races to and into the van as the gates start to open. THE VAN barrels through the open gates with accelerated speed, telling us that its engine has been turbo-charged. It reaches the loading dock of this huge, gray building, screeches to a halt. EXT. LOADING DOCK In a flash, the three men are out of the van. The driver, Stocker, now has a Mach Ten in his hands positioned and ready to fire. Martoni is carrying a well-polished reflec- tive case...The three men move onto the dock. They reach a door requiring an identifying hand impression for it to open. Durant places a plastic charge behind the blocking lever. Stepping back, he plays out the battery- controlled wires. On the move: [DURANT] Let's move...stay on schedule, we have a safe ten minutes.... Durant activates the charge. The explosion rips the door open. INT. DATA CENTER - CORRIDOR An alarm system starts blaring. A security guard, automatic drawn, comes racing from an adjoining corridor. As he makes his turn: STOCKER opens fire at the onrushing guard. INT. SEMI - ON ALARM LIGHT flashing...Devon, reacting, moves next to a monitor, hits a button and speaks over the mike.... [DEVON] Michael I'm receiving an alarm from the Government Data Center.... EXT. ROAD - K.I.T.T. [MICHAEL'S VOICE] I'm punching in. INT. K.I.T.T. Graphics cross the monitor screen. [MICHAEL] I'm on my way...What about local police response? [DEVON] Nothing immediate. It would take local authorities over twelve minutes. [MICHAEL] Let's get there buddy...Plot a direct course. OMITTED EXT. K.I.T.T. Into S.P.M., screeches off.... CUT TO INT. DATA CENTER - RELAY STATION Row after row of communication panels stand in silent duty. We pan to discover the three men at an open panel. Angle adjusts and we find Martoni removing a section of the switching panel. He then takes a pair of tweezers and picks up a minute chip (a bugging device) and connects its two wires to a section of this panel. As he starts to replace the panel: CUT TO EXT. GATE - K.I.T.T. soars through the gate, and speeds towards the data center. EXT. LOADING DOCK - K.I.T.T. spins to a stop, using E.B.M., and converts to normal mode, blocking the van's exit and pinning it against the dock. MICHAEL vaults from the car and races towards the dock, shouting back at K.I.T.T. [MICHAEL] Keep the van pinned and your scanners peeled. I'll try to keep them inside 'til backup gets here! [K.I.T.T.] Right, Michael. OMITTED INT. DATA CENTER - CORRIDOR Durant, his steel-rimmed glasses removed, is racing down the corridor, leading Martoni and Stocker. Martoni is carrying his aluminum case...Stocker's Mach Ten is positioned to fire. EXT. DATA CENTER - ON MICHAEL moving carefully through the blown-away door. His eyes go wider. INT. DATA CENTER - CORRIDOR Michael and the three men are a step away from a head-on collision. Michael, in a flash, recovers from the shock. He lunges at Stocker, whose gun goes off and Michael is hit...As Michael sinks down he reaches for Durant and his hand grabs hold of Durant's beard. The beard rips away ...as Durant spins away, covering his face. He pushes Michael away which projects Michael backward and off the dock.... OMITTED EXT. DATA CENTER - LOADING DOCK - ON MICHAEL As Michael hits the ground: [K.I.T.T.] Michael!! INT. K.I.T.T. K.I.T.T. jams his gear shift to reverse. As he starts to spin out: DURANT, MARTONI AND STOCKER stand over Michael's bullet-ridden body. Michael's eyes fight to focus on Durant's face. Martoni holds the aluminum case to his chest...Stocker stands ready to fire. Durant gives his command: [DURANT] Finish him! SCENE Suddenly they see K.I.T.T. Stocker panics, swings his weapon...firing...emptying the rest of his clip at K.I.T.T. K.I.T.T. streaks towards the fallen Michael, as bullets bounce off his hood and fenders. DURANT hiding his face with his arm, breaks for the van...Martoni and Stocker follow. K.I.T.T. skids to a halt over Michael's fallen body, protecting him from further harm. INT. K.I.T.T. He gains contact with a paramedic unit. [K.I.T.T.] This is an emergency! Dispatch a unit to the Data Center -- twenty-two thousand Hill Mount...Man in need of immediate life support systems! EXT. K.I.T.T. - ON MICHAEL His life ebbing away...His eyes try to focus as he stares up at K.I.T.T.'s red scanning lights. We hear, through his comlink: [K.I.T.T.] Move Michael, move any part. (beat) Please Michael.... THE RED SCANNING LIGHTS blur out of focus as Michael slips into a coma. CUT TO THE BLURRED RED LIGHTS Stay for a beat...and then refocus and find the rotating red lights, atop the paramedics' ambulance. Pull back and reveal: EXT. DATA CENTER - CRIME AFTERMATH SCENE - DAY Black and whites have arrived on the scene. Uniformed officers comb the area as Michael's body is strapped to a gurney by two paramedics. IV tubes are held steady as the gurney is wheeled to and loaded into the rear of the ambulance. The medic climbs inside. As the driver races towards the front, the rear doors are slammed shut. ANGLE The ambulance pulls out...K.I.T.T. follows. INT. AMBULANCE - DAY - MOVING SHOT Wires lead from Michael's chest to an EKG monitoring system. The medic squats beside Michael, placing a blood pressure cuff on his arm. CUT TO EXT. ROADWAY - DAY K.I.T.T. trailing behind the speeding ambulance. (Blind drive.) INT. K.I.T.T. - MONITOR - MICHAEL is on K.I.T.T.'s screen. As the medic places an oxygen mask over Michael's face: [K.I.T.T.] Oxygen, give him oxygen...That's correct...Now check pressure and vitals. OMITTED INT. AMBULANCE We see the ambulance driver look back over his shoulder with a questioning look. The Medic responds with: [MEDIC] The patient is in extremis -- I think we're going to lose him. MONITOR K.I.T.T.'s monitor flashes to the ambulance's EKG screen. Michael's heartbeat is barely registering. INT. AMBULANCE - HOLD ON MICHAEL then pan in tight to his eyes...his eyelashes barely flicker -- and then...no movement at all...A beat of this and then the screen starts to destroy and over Michael's face we: [NURSE MILLER (V.O.)] (echoing) Code blue...code blue!! DISSOLVE TO OMITTED INT. HOSPITAL CORRIDOR - DAY - CEILING LIGHTS as they roll by...widen to reveal all the controlled madness of hospital personnel administering aid to a patient nearing death is taking place as Michael is being wheeled down the hospital corridor by the paramedics. An old warhorse, Nurse Miller, is racing alongside the gurney. Miller continues to yell to an approaching doctor. [NURSE MILLER] Code blue, doctor...We have a clearance in the operating room! As the doctor joins in the race to the operating room: DISSOLVE TO OMITTED THE LIGHT white, clear...and of an indescribable brilliance. MATCH CUT TO INT. HOSPITAL OPERATING ROOM - THE LIGHT positioned above the operating table. Three masked doctors lean into the glare. OMITTED INT. HOSPITAL CORRIDOR - NIGHT Devon and Bonnie stand, waiting and watching, as the Head Surgeon approaches. Reaching them, he nods. [HEAD SURGEON] I don't know how...but he made it. Tears start to well up in Bonnie's eyes. Devon wraps his arm around Bonnie, comforting her as he covers his emotion. [BONNIE] I didn't think he had a chance.... [DEVON] Of course he did... (beat) He wouldn't have had it any other way. EXT. K.I.T.T. - HOSPITAL PARKING LOT - NIGHT on K.I.T.T.'s screen. The EKG monitor...The heartbeat grows stronger. [K.I.T.T.] Well done Doctor...and thank you. On this: LONG DISSOLVE TO EXT. DURANT'S ESTATE - DAY - ESTABLISH THIS LUXURIOUS ESTATE with its iron gate, manicured grounds, and the mansion Victorian situated on the summit of the property. Then pan to the swimming pool area, with its panoramic view, and find a long-stemmed beauty swimming laps in the pool. Continue to pan past the beauty to poolside, then move in to: DURANT sitting in a lounge chair reading The Wall Street Journal, a stack of newspapers next to him. This is our first clear look at Durant. He is in his late forties, with cold, dark eyes and a bearing of elegance. We sense an inward energy in Durant that sits like a coiled spring. WIDER Stocker exits the house and crosses to Durant's lounge chair. Durant continues to read, then discards the paper and picks up a New York Times.... [STOCKER] It's working like a charm...In the next few days we could be selling information for millions. This is the score of a lifetime. Durant continues to read as he talks. [DURANT] For you maybe, not for me...The access into the government computers could be worth six, eight million...After overhead there'll be less than two million for me...That's twelve to eighteen months of this lifestyle. Not nearly enough.... [STOCKER] It means lot more than that to me.... Durant finally looks up at him.... [DURANT] Different tastes Stocker...Perhaps you'll develop more of them as you realize you can afford them...As for me, I'm easily bored... (points) Like her...She's been here too long.... [STOCKER] A day? [DURANT] Too long...Dismiss her...I've got more important problems. Have you heard from Martoni? [STOCKER] Klus did...He's in the computer room. Durant, as he moves away from the pool area and into the house.... [DURANT] He always is...Between computers and model planes all he needs is eight hours sleep and a box of Corn Flakes.... OMITTED INT. HOUSE - DAY Durant and Stocker move through and to section of a room. We see that this is an advanced, complete, high-tech computer control center. A computer expert, Klus, sits at the controls of a complex machine that has a coded message on its screen. On a large work table is Klus' latest project, in the final stages of construction -- a Cox Cessna 182 Skyline model airplane. Klus turns to Durant, indicating the computer readout: [KLUS] It's from our contact in East Germany ...They're ready to transfer funds.... Durant stops him with a hand gesture. [DURANT] What did you hear from Martoni? Klus holds a beat, then: [KLUS] He said Michael Knight is still alive and in the hospital. (beat) Works for some organization called 'F.L.A.G.' He said you'd know them.... Durant's eyes tighten.... [DURANT] The Foundation for Law and Government ...A group of specialists. Durant turns back to Klus. [DURANT] Tell the buyers there'll be a delay in the final transfer. [STOCKER] (reacts) What do you mean delay? [DURANT] Michael Knight has to be eliminated first. He's seen my face. There'll be no money for any of us till I know Michael Knight is dead.... Reactions.... CUT TO INT. HOSPITAL ROOM - NIGHT - ON MICHAEL lying in his hospital bed, staring out towards the window, watching the night close in. His thoughts are miles away as we hear: [DEVON (O.S.)] We found the remains of a false beard with traces of makeup. Whoever it was, he disguised himself as one of their scientists.... WIDER Bonnie and Devon are in the room. [DEVON] Nothing seems to be missing... (beat) ...Michael, are you listening to me? Michael, still staring out the window, nods "yes." Bonnie takes hold of Devon's arm. [BONNIE] I think we should go... (to Michael) Rest...Rest, Michael -- for as long as it takes.... Michael doesn't respond. Bonnie leads a troubled Devon out of the room. HOSPITAL CORRIDOR Two paces out of Michael's room and Devon stops, turns, his eyes lock on Michael through the open door. [DEVON] His wounds are healing, he's not.... [BONNIE] It could be just a temporary after effect...Mental scars take longer to disappear.... [DEVON] Michael's walked away from death before. His withdrawal is not because of that -- I believe it goes far deeper.... They move off. Camera moves to: TIGHT ON MICHAEL His eyes, now staring at the ceiling, start to mist with tears. CUT TO INT. K.I.T.T. - HOSPITAL PARKING LOT - NIGHT Find Michael's hospital room on K.I.T.T.'s screen. [K.I.T.T.] Michael, are you feeling better... INT. MICHAEL'S HOSPITAL ROOM - INTERCUT AS NEEDED Michael composes himself, then speaks into his comlink: [MICHAEL] Kitt, where are you? [K.I.T.T.] In the parking lot, Michael. Dirty, dusty and humiliatingly wedged in between a foreign disaster and a Detroit mistake! [MICHAEL] How long have you been there? [K.I.T.T.] Since they brought you here. (beat) You have no idea how many baby carriages and wheelchairs have bumped into me...So, if for no other reason -- other than my dignity -- please get up from that hospital bed.... [MICHAEL] (a sad smile) Soon, Kitt...soon. K.I.T.T. becomes compassionate. [K.I.T.T.] Michael...we both know you're strong enough to leave now. If you're going through an emotional crisis having trouble resuming your life again, I may not be able to solve it but I'm ready to listen.... Michael digs deep into himself, trying to explain -- as much to himself as to K.I.T.T. but remains silent. [MICHAEL] The problem is...I'm not sure what life I want to resume again -- if any. Michael reacts to the sound of someone coming into his room. A beat...and Nurse Miller comes into frame. In her hand is a paper cup with two tablets. She shakes her head. [NURSE MILLER] I've had patients that talk to walls ...but never to a watch...Take these pills before I do. She hands Michael the tablets and a paper cup of water. Michael downs the tablets. She flips on the TV camera that baby-sits the patients.... INT. K.I.T.T. - NIGHT - ANGLE TO INCLUDE WINDSHIELD We see Nurse Miller on K.I.T.T.'s screen as she tucks Michael in. Angle adjusts and, through the windshield, we see the "changing of the guard" of the hospital's personnel ...nurses, orderlies and doctors headed to, and into, the Personnel entrance directly in front of K.I.T.T. [K.I.T.T. (O.S.)] (softly) Good night, Michael.... CUT TO INT. HOSPITAL - PERSONNEL ENTRANCE AREA - NIGHT - CLOSE ON MAN IN ORDERLY'S UNIFORM He moves down the corridor with those entering...then as he breaks from the main group, we recognize his face -- it is Martoni. INT. MICHAEL'S HOSPITAL ROOM - ON MICHAEL in that "twilight zone," slipping into a troubled sleep. Hold a few beats...then hear the sound of the door to Michael's room quietly being opened. SCENE In the shadows of Michael's darkened room, see the form of a man in an orderly's uniform, groping his way towards Michael's bed. His face becomes recognizable as he stops and takes, from his jacket pocket, his knotted rope. It is Martoni. NEW ANGLE Martoni wraps the strangling cord around his hands as he stares across the room at Michael, sleeping the troubled sleep. Martoni starts to move towards Michael's bed. CUT TO INT. K.I.T.T. - NIGHT - MONITOR Michael's hospital room is still on K.I.T.T.'s screen. K.I.T.T. sees Martoni. Emergency signals flash across the screen. [K.I.T.T.] Michael! Code Blue...Code Blue! K.I.T.T. activates the "Code Blue" emergency alarm in Michael's room. INT. MICHAEL'S HOSPITAL ROOM - NIGHT A loud, gonging sound echoes through Michael's room -- shattering the stillness. Martoni is frozen with shock -- Michael is startled into an awakened state. Martoni recovers, starts to attack Michael, as the sound of the alarm continues.... INT. HOSPITAL CORRIDOR The nurses and orderlies react to the sound -- start to race towards Michael's room. MICHAEL'S ROOM Michael and Martoni, bathed in shadows, wrestle on the bed, crash to the floor. Martoni has Michael in a choke hold...Michael, reaching...reaching...for a weapon with which to free himself from Martoni's death clutch...He finds it -- a bed pan. With his last breath of strength, Michael swings out and bashes the bed pan into Martoni's face. We hear the sound of hard metal hitting flesh...and the lights are flipped on. Standing at the open door is Nurse Miller...behind her, hospital personnel. An exhausted Michael and the unconscious Martoni are on the floor. The sound of the alarm ends. Michael, into comlink: [MICHAEL] Thanks pal. [K.I.T.T.'S VOICE] I'm sorry they don't allow cars in hospitals. I would have been a lot closer. [MICHAEL] I know you would have buddy.... ON NURSE MILLER Her reaction.... CUT TO EXT. MICHAEL HOSPITAL ROOM TERRACE - DAY Bonnie and Devon with Michael. Michael, dressed in a robe, staring out. It's obvious that he's in a deep state of depression. [MICHAEL] It's final, Devon...I'm leaving The Foundation. [DEVON] (compassionately) You've just gone through a series of harrowing experiences and I don't believe you're thinking clearly.... [MICHAEL] I've had days to think clearly and my decision is made. Michael turns and faces Devon. [MICHAEL] I've had one incomplete life already -- as Michael Long. My life as Michael Knight -- may not be the answer. [DEVON] (again, compassionately) It won't be that easy to leave, believe me, I know. (beat) You've seen too much -- you've witnessed the violence -- the injustices...You've seen the good that we can do -- you've been part of it too long to walk away. (beat) Michael, certain men are chosen to enjoy a little and endure much... You're that breed of man.... [MICHAEL] (beat) No, Devon...you're that breed of man. I want to be the kind with no respon- sibility. (beat) I don't want to be involved in any of the so-called 'great' schemes of this world. [DEVON] Michael, I don't think you mean that.... [MICHAEL] I'm tired, Devon. It seems as if it's been one long process of getting tired. I think I'm finally there. Michael turns away from Devon and Bonnie. Bonnie is about to say something. Devon stops her with the shake of his head. Then, to Michael: [DEVON] Even though there's someone out there who wants you dead.... Michael doesn't respond. Devon, after a beat.... [DEVON] ...We'll be back in the morning.... We hold on Michael as Bonnie and Devon exit from frame. A beat...then Michael moves, once again, to the window and stares out. EXT. HOSPITAL ENTRANCE - DAY The door swings open...RC3 is standing there...He eyes Devon and Bonnie.... [RC3] You people are looking like he's dead.... [BONNIE] No, but he's not really alive either. [RC3] Where I come from breathing is alive ...the rest is up to you.... [DEVON] (beat) Thank you RC...You've said something that's basic yet brilliant...Michael needs a will to live...a reason to care. I'll have to find that for him. He has a right to that even if F.L.A.G. loses him.... Reactions. CUT TO EXT. INTIMATE RESTAURANT - NIGHT that overlooks the ocean in a quaint beach community. We hear the sound of a female voice singing a tender love ballad. The ballad continues as we move: TIGHT ON PLACARD adjacent to the entrance door, with Stevie Mason's photo on it and an announcement reading: "APPEARING TUESDAY THROUGH SATURDAY." INT. INTIMATE RESTAURANT - NIGHT It is nearing closing time. The patrons who half fill the room are totally engrossed as the ballad continues. The pianist moves his fingers over the piano keys as Stevie Mason, looking her loveliest and totally involved in the love song, sings it to its conclusion. The patrons respectfully applaud. Stevie takes her "bow." STEVIE She turns to her accompanist and: [STEVIE] Thank Aaron...Let's take ten.... She turns back to the room and her eyes lock on something across the room -- she freezes as she sees: DEVON standing on the far side of the room. NEW ANGLE as Stevie, her body tense with emotion, crosses the room. Reaching Devon, she stares up into his eyes...Forcing the words: [STEVIE] ...You've come to tell me Michael's dead, haven't you? [DEVON] No. He's alive...But something in Michael has died...and he needs you. Play the moment.... FADE OUT END OF ACT ONE ACT TWO FADE IN EXT. HOSPITAL PARKING LOT - DAY Michael is crossing the lot, carrying his suitcase, moving towards K.I.T.T. Reaching K.I.T.T., he leaves the suitcase out on the pavement, opens the door, moves in. INT. K.I.T.T. - DAY Michael leans back in the driver's seat, trying to find a way to say "good-bye" to K.I.T.T...A beat...then: [MICHAEL] Kitt...there's something I have to tell you.... [K.I.T.T.] I had you on my monitor and I don't understand...this is your life -- you're programmed the same way I am. Michael, with a sad smile: [MICHAEL] Think of it this way...my computer bank has been overtaxed... (absently) There comes a point when you can't do any more -- when all your energies are used up.... [K.I.T.T.] Michael, will that happen to me? [MICHAEL] No, Kitt, you don't have to worry about that...Now, I have to say 'good-bye' friend. [K.I.T.T.] -- Michael -- I may not be flesh and blood, but I am a friend...and I wish you happiness. (beat) But I still don't understand. [MICHAEL] In a way, neither do I. MICHAEL his emotions rising to the top, takes off his comlink, places it in the glove compartment...gently shuts the door, then exits K.I.T.T. EXT. HOSPITAL PARKING LOT - DAY Camera stays as Michael picks up his suitcase, moves away from K.I.T.T. and heads across the parking lot. EXT. STREET - DAY - ON MICHAEL exiting the lot, moving onto the sidewalk. He stops in his tracks...A puzzled look registers on his face. NEW ANGLE Michael is face to face with RC3, who stands next to the limo, its rear door open. [RC3] Come on, Michael, you're not getting away that easy. You've got a 'good-bye' party to go to. [MICHAEL] No way, RC. I've already said my good-byes. [RC3] Hey, man, I haven't known you that long, but everything I've seen about you and heard about you tells me you don't take the easy way out...You've got two people waiting that have been to hell and back with you. They want to say good-bye. If I have to throw a flying tackle, you're not leaving them cold. Michael glares a warning at RC3. [RC3] (smiles) ...You're still hurting...I may even be able to take you.... Michael holds a beat, then a half smile...RC3 lets out a grateful breath, smiles back...opens the limo door. [RC3] Thanks Michael, I think you just saved my hide.... CUT TO INT. INTIMATE BEACH TOWN RESTAURANT - ALCOVE - DAY Devon and Bonnie stand next to the maitre d' at the entrance to the dining room. Michael and RC3 are approaching... Michael, reaching Devon: [MICHAEL] ...This isn't going to change anything.... [BONNIE] We know that, Michael.... [DEVON] We're not trying to. We've accepted your decision. (smiles) Now, let's enjoy ourselves. Devon motions to the maitre d' to lead the way, indicates to Michael that he should follow. Camera holds: TIGHT ON MICHAEL AND MAITRE D' as they move through the dining room to an intimate, corner booth set for two. A silver ice bucket stands chilling a bottle of champagne. Michael reacts to the setting. [MICHAEL] This can't be our table.... NEW ANGLE as he turns back towards where Devon and the others should be. But, instead, Stevie stands there alone with a broad smile. [STEVIE] I'm allergic to whip cream, or I would have come out of a cake. Michael stands there, dumbfounded. [STEVIE] Are you going to stand there with your mouth open, or are you going to offer a lady your well-scarred body for a warm hug. [MICHAEL] I don't understand.... [STEVIE] You're not supposed to...All you have to do is tell me how wonderful I look.... She loses her bravado and is in his arms...he holds her, kisses her.... [STEVIE] (mocked scolding) Devon told me you've always known where I was...every club I've worked ...I always expected a call.... [MICHAEL] It would have just ended in another good-bye...Stevie, why are you here? [STEVIE] Over the last few years the only times we've spent together have been when I was in some sort of crisis. A long beat...Then: [STEVIE] This time Devon said you needed me. But you have to say it -- I have to hear it from your lips. Michael stares into her eyes, all of his pent-up emotions rising to the top. His eyes start to well with tears. [MICHAEL] I don't know if I can, right now.... [STEVIE] (smiles) I didn't say 'when.' (beat) I'll hang around and wait a while, I'm a very patient lady.... Michael takes her face in his hands, they embrace. DISSOLVE TO EXT. BEACH TOWN RESTAURANT - DAY Michael and Stevie exit the building hand in hand. The glow of their encounter is still evident. Suddenly, O.S. we hear the sounds of romantic ballad. Michael and Stevie do a double take and we go: WIDE and find K.I.T.T. parked in front of the restaurant, the music is emanating from K.I.T.T. NEW ANGLE puzzled, Michael and Stevie cross to K.I.T.T., reaching his open window. [MICHAEL] Kitt, what are you doing here? [K.I.T.T.] I'm on 'R and R.' Bonnie said my computer bank is overtaxed. [MICHAEL] Don't put me through this. Saying 'good-bye' wasn't that easy. [K.I.T.T.] Michael, the Foundation has no need for me until they find a replacement for you. For once, Michael -- just once -- be practical...You're out of work...and you need free transporta- tion! Michael turns to Stevie for the answer. Stevie smiles, shrugs. As they start to move into K.I.T.T.: CAMERA ZOOMS BACK TO INT. HIGH-POWERED SEDAN - DAY - ON STOCKER behind the wheel of the sedan, equipped with a car phone, parked within viewing distance of the restaurant. Stocker's eyes are riveted in K.I.T.T.'s direction. K.I.T.T. - DAY As Michael and Stevie get into K.I.T.T.: [MICHAEL] For the first time we have something new.... [STEVIE] What's that? [MICHAEL] Time...there are no deadlines anymore. CUT TO EXT. BEACH - DUNES - DAY K.I.T.T. flying through the air, clearing a sand dune. INT. K.I.T.T. - DAY - MOVING SHOT Stevie, in a bathing suit, Michael, in jogging pants and sweat shirt, loving it as K.I.T.T. goes sailing over another sand dune. [K.I.T.T.] Stevie, I really don't think this is what The Foundation perceived when they designed me! [STEVIE] Kitt, remember -- you're on 'R and R!' MONTAGE - BEACH (to be choreographed) EXT. SHORELINE - DAY - ON STEVIE AND MICHAEL Michael and Stevie, framed in the beauty of the shoreline... the ocean behind them, the sky above...Joy is bursting out on their faces. Music heard over.... [STEVIE] (with a broad smile) Michael, not that I'm complaining, but don't you think that music is a touch too much? [MICHAEL] (gestures) Hey, whatever works for you...You want mariachis? You got it! The words are barely out of Michael's mouth when we hear a Mariachi band playing a Mexican hat dance. WIDE and see that K.I.T.T. is on the shoreline, trailing ten paces behind them. The music is blaring out of his sound system. Stevie raises her hand in surrender. [STEVIE] (laughing) I surrender! Enough! The music of the "Mexican Hat Dance" stops, and we hear K.I.T.T. come over through Michael's comlink. [K.I.T.T.] This was Michael's choice, Stevie... I prefer the classics. [STEVIE] Play something soft, Kitt...something soft and easy.... The music begins. Stevie takes Michael's hand and they start walking the beach. BEACH As they walk. [STEVIE] This is a little too perfect to be happening. [MICHAEL] No, it's the way I'll always want for you.... [STEVIE] There's a thing called reality Michael.... [MICHAEL] Not yet, Stevie, not yet.... They hold each other.... CAMERA ZOOMS BACK TO EXT. HIGH GROUND - BEACH AREA - DAY Stocker is standing next to his sedan, with a pair of binoculars to his eyes, focused on Michael and Stevie below. Stocker lets the binoculars drop from his eyes, then moves to and into his car. INT. STOCKER'S SEDAN - DAY Stocker picks up the car phone, dials a number. EXT. DURANT'S ESTATE - DAY INT. DURANT'S MANSION - COMPUTER SECTION - DAY - INTERCUT STOCKER AS NEEDED Durant with the phone to his ear. [STOCKER] ...He's got that black car on remote control again. He's with this girl ...looks like they've known each other a long time.... Durant, becoming impatient: [DURANT] If you can see him you can get a shot at him.... [STOCKER] It's long range and if I miss, that car of his will be on me.... [DURANT] Then get close enough to be sure. [STOCKER] We're talking empty beach here... nothing gets that close to them but that car and some sea gulls.... [DURANT] (beat) Then we'll have to handle it another way.... Durant places the phone back in its cradle, looks over to the Cessna model. CUT TO EXT. STEVIE'S BEACH HOUSE - TERRACE - NIGHT (GOLDEN HOUR) The sun is setting; the sky, multicolored...as Michael and Stevie lean over the railing of Stevie's rented beach cottage, staring out at the view. K.I.T.T. is parked on the sand below the terrace. Michael keeps staring at the sunset. [MICHAEL] Stevie, I love you. ON K.I.T.T. The music starts to play. MICHAEL smiles, but yells over to K.I.T.T. [MICHAEL] Kitt stop listening.... The music stops.... [STEVIE] What did you say? [MICHAEL] I said I want to marry you...now... right away.... Stevie steps over to him. A serious look.... [STEVIE] I don't know Michael.... [MICHAEL] What do you mean you don't know...? [STEVIE] You've chosen something that you find higher and more important than happi- ness or unhappiness...and that's the gap between us. Michael, shaking his head "no." [MICHAEL] That's the gap behind us...I'm never going back to The Foundation. [STEVIE] Are you sure? [MICHAEL] Positive.... Stevie stares deeply into Michael's eyes, trying to find the truth...She does, and starts nodding her head "yes." Then she initiates an embrace...Michael glances over her shoulder to K.I.T.T. [MICHAEL] Now Kitt.... The music starts, Stevie laughs. DISSOLVE TO EXT. DURANT'S ESTATE - POOL AREA - EARLY MORNING A sleepy-eyed Beauty #2 is having breakfast at poolside. We hear the sound of a model airplane in flight overhead... Beauty #2 tilts her head up towards the direction of the sound. EXTERIOR - SKY - EARLY MORNING - TIGHT ON MODEL AIRPLANE (Cox Cessna 182 Skylane -- 36-inch wingspan)...Going through a series of maneuvers in the sky. A beat of this ...and then the "182" banks, descends, and comes in for a landing. NEW ANGLE as the "182" taxies across the back lawn of Durant's estate. ANOTHER ANGLE and we see Klus at the controls of a two channel remote control radio. Standing next to him is Stocker and Durant. The "182" comes to a stop. As Klus removes a set of small weights from inside the body of the "182": [KLUS] It maneuvers perfectly with the weight.... Stocker hands Durant a packet containing the plastic explosives: [STOCKER] That's enough plastique to flatten a three-story building.... [DURANT] I like to be sure...gambling is the only vice I've never acquired.... CUT TO EXT. STEVIE'S BEACH HOUSE - TERRACE - EARLY MORNING K.I.T.T., still parked below on the sand, as Stevie, in shorts and a blouse, crosses the terrace, carrying soiled breakfast place settings from the table as Michael, wearing a jogging outfit, comes out of the house. He moves to Stevie, gives her a "good morning" peck in passing and continues to run...Stevie moves into the house.... ANGLE We stay with Michael as he moves to and down the terrace steps, crosses the sand to where K.I.T.T. is stationed. Reaching K.I.T.T. in the b.g. We start to hear the sound of the "182" flying somewhere in the distance. [MICHAEL] How you doing, pal?! [K.I.T.T.] Fine, Michael. But I was just wondering -- do you think the lack of activity and the salt air will corrode my chassis? The sound of the "182" becomes more prominent. [MICHAEL] (smiles) Kitt, I have never known you not to cover your backside. The sound catches Michael's ear as he looks out over the water. MICHAEL'S POINT OF VIEW - THE "182" far out over the water as it banks and starts its descent. EXT. CLIFF - DAY Klus, Stocker and Durant stand on high ground overlooking the ocean and cottages below. Durant's eyes are tight and purposeful as he works the controls of the two-channel remote-controlled radio. MICHAEL AND K.I.T.T. at the water's edge. Michael's eyes are glued in the direction of the "182." Puzzled, but not alarmed: [MICHAEL] Kitt, am I nuts, or is that plane headed towards us? INT. K.I.T.T. - MONITORING SCREEN - DAY K.I.T.T. begins to scan the "182" as it levels out twenty feet above the ocean's surface, and sets a direct course for Stevie's beach house. [K.I.T.T.] Michael, if its course remains set -- it will impact with the cottage.... EXT. BEACH - ON MICHAEL [MICHAEL] Check it out...Give me a scan.... [K.I.T.T.] Michael, I detect explosives on that craft! Michael's eyes widen with shock as he breaks into a full out run for the cottage. Through his comlink: [MICHAEL] Microjam its controls.... [K.I.T.T.] Even if I do his glide path will continue right into the house.... SERIES OF INTERCUTS Stevie in the kitchen. The "182" in flight, locked on its target. Michael, racing across the sand. K.I.T.T., scanning channels. The "182," closing in on the shoreline. Michael, bounding up the stairs to the cottage. INT. STEVIE'S BEACH HOUSE - DAY - ON STEVIE [MICHAEL (O.S.)] (shouts) Stevie!!! She turns, wide-eyed, totally confused, as Michael bursts into the room, grabs Stevie's arm, half dragging her, as he races through the cottage. EXT. SHORELINE - SKY - DAY - ON "182" The "killing machine" en route to its target.... EXT. STEVIE'S BEACH HOUSE - TERRACE - DAY as Michael and Stevie burst through the open doors! SERIES OF INTERCUTS Michael and Stevie racing across the terrace -- The "182" about to kamikaze into the beach house! At that moment of truth, Michael and Stevie leap over the railing of the terrace! THE "182" crashes into the beach house...A deafening explosion as the cottage shatters and bursts into flame! ON STEVIE AND MICHAEL clutched in each other's arms, on the sand...The tears stream down Stevie's face. FADE OUT END OF ACT TWO ACT THREE FADE IN OMITTED EXT. BEACH TOWN - BLUFF - DAY (DUSK) overlooking the ocean and the smoldering, burnt-out remains of Stevie's beach cottage. Michael and Stevie stand a few paces away from K.I.T.T., staring down at the scene below. Stevie is still emotionally shaken as Michael tells her: [MICHAEL] It was meant for me, Stevie...They tried to kill me when I was in the hospital...they tried now...and they'll try again.... [STEVIE] And if they kill you they kill me. Suddenly, K.I.T.T. interrupts with: [K.I.T.T.] Michael, Devon is calling --- Michael and Stevie, stunned, exchange glances...Then Michael moves to and enters K.I.T.T. Stevie stands outside, peering in. INT. K.I.T.T. - DAY - MONITOR Devon, sitting behind his desk at the Foundation, is on K.I.T.T.'s screen. [DEVON] Michael, I can't say how sorry I am ...Word just came to us that Martoni let it slip from prison, that Durant has put a hold on all activities until Michael Knight is dead. Michael's eyes go wide. [MICHAEL] (flares) What have I got to do with Durant! Half the agencies in the world are looking for him and he singles me out?! [DEVON] Durant thinks you've seen his face. He was with Martoni at the Data Center. You're the only witness that can tie him into a murder. [MICHAEL] (stunned) Everything 'came down' in a blur -- I didn't have time to ID him. [DEVON] We know that...But, apparently 'Durant' is obsessed with the thought that you can identify him. [MICHAEL] You've got Martoni. Let him ID Durant and sew him up.... With a weak gesture: [DEVON] Martoni won't talk about Durant. Nobody ever has and lived...and there's no way to form a link, we can't find Durant. [MICHAEL] (cold) No one is that hidden! Michael breaks the connection...The screen goes blank. [K.I.T.T.] Michael.... Michael, cutting him off: [MICHAEL] Not now! Michael slams open the door and exits K.I.T.T. NEW ANGLE Michael, still furious, moves to the edge of the cliff and glares out. Stevie moves to his side and, after a long beat: [STEVIE] Michael...Marry me. Michael, jolted, turns to her. [STEVIE] Marry me as soon as possible.... [MICHAEL] Stevie, we'll be looking over our shoulders the rest of our lives.... Shaking her head "no": [STEVIE] We're going back to the Foundation. You're going to help Devon get what- ever information he needs on that man -- Durant...Then we walk away and leave it in Devon's hands. [MICHAEL] Stevie, let me go back alone and finish this. [STEVIE] ...Michael, until that day you're my husband, I'll never be certain that you'll leave the Foundation. (beat) Leave alone, Michael, and you're gone again. As Stevie awaits his answer: CUT TO INT. SEMI - DAY Stevie, Devon, Michael and K.I.T.T. are present -- eyes all glued on Bonnie at the control panel, finishing another data search on Martoni. Exasperated, Bonnie turns to Michael. [BONNIE] Believe me, I've run data search after data search to tie Martoni in with Durant. It's always the same result -- a blank. [MICHAEL] (frustrated) Try it once again. Bonnie shoots a look to Devon, Devon nods his head "yes." As Bonnie reinitiates the process: CUT TO INT. DURANT'S COMPUTER ROOM - DAY The computer expert, Klus, sits watching the screen before him. As its information rolls by, he turns to address the passing Durant: [KLUS (COMPUTER EXPERT)] The Foundation is running another series of checks on Martoni through their banks. [DURANT] They'll discover nothing...There are no ties back to me. And Martoni will sit and do his time -- quietly. [KLUS] You're sure.... [DURANT] I'll bet his life on it.... He walks on.... CUT TO INT. SEMI - DAY Stevie, Devon, and Michael are still present. Bonnie turns away from the control panel, turns to Michael and gestures "nothing." Michael, after a long beat of thought, forms his conclusion, then he gently reaches out and touches Stevie's cheek. [MICHAEL] Stevie, why don't you let Devon show you around outside...The Foundation has beautiful gardens.... Stevie hesitates, momentarily. Then, sensing that Michael wants her to go, she doesn't resist. Devon leads her away. ANGLE - MICHAEL crosses to Bonnie and draws up a stool. [MICHAEL] Bonnie, I'd like to see Kitt's view of what happened that night I was shot.... K.I.T.T.'s voice displays a bit of concern: [K.I.T.T.] Michael, it won't be pleasant.... [MICHAEL] I know, but I have to see it. [K.I.T.T.] Very well. ANGLE ON BONNIE'S LARGE COMPUTER SCREEN The blank screen starts to flicker...then shows a reenact- ment, from K.I.T.T.'s point of view, of the scene at the Data Center in Act One: Michael reaching the blown-away door leading into the Data Center, then moving, carefully, through the door. Michael disappears for a beat...and we hear the gunshot. The push...and we see Michael's body hurling, backwards, out of the door, crashing onto the dock -- and then to the ground below. Then the screen flickers again and we see Durant, Martoni and Stocker standing over Michael's body. Note: Martoni is holding the aluminum case to his chest. Michael's eyes fight to focus on Durant's face. Durant gives his command: We freeze on this. Michael studies the frozen frame before him. [MICHAEL] Kitt, enlarge by five. THE SCREEN'S PICTURE is enlarged as if a camera was zooming in on the subjects. BACK TO SCENE Michael studies this picture.... [MICHAEL] Kitt, transfer the image of the man directly over me to a separate channel. A second screen displays the lone figure of Durant. Michael looks at this image...and then back to the blowup. Michael studies the blowup for a beat...Then: [MICHAEL] There's an image...a reflection on Martoni's metal case. Kitt, zero me in on it -- on another screen.... A THIRD MONITOR now shows the blurred image of Durant's reflected face. BACK TO SCENE Michael studies the screens. [MICHAEL] Okay, Kitt, now I want you to compute the reflectory angles and build an image from those two points of view. [K.I.T.T.] I understand the request. But, Michael, I will need a little time -- these are not simple calculations and evaluations. [MICHAEL] Whatever it takes, buddy. As the screen starts to scramble: CUT TO EXT. FOUNDATION GROUNDS - DAY Stevie and Devon are walking the grounds, their thoughts centered on Michael. After a long beat: [DEVON] Stevie, I can understand your hostility towards the Foundation, but I'd like us to remain friends.... [STEVIE] I'm not hostile Devon, but I am uncomfortable. We're two people fighting for the same man.... Devon looks at her, questioningly. [STEVIE] I'm a woman fighting to have the 'small dream' with the man she loves...And you're fighting for him to fall in love with an 'ideal.' [DEVON] Wisely put -- but incomplete. I love Michael as a man would love his son. (sad smile) Stevie, I woke up one day and found that life was 'duty.' Then Michael came to us and brought with him... not only his dedication...but his joy of life. [STEVIE] And you can watch him face death every day...caring for him the way you do? He wants it to end. [DEVON] I know...It's difficult for me to let go -- but believe me I have...For Michael's happiness. Stevie senses the truth of Devon's statement. Suddenly they both react as: ANGLE Michael and Bonnie come hurrying toward them; in Michael's hand, a print-out of Durant's face...Michael extends the print-out for Devon to see. [DEVON] Michael, what is it?... [MICHAEL] A print-out of Durant's face. As Devon studies the print-out, his eyes widen in disbelief.... [DEVON] I thought he was dead...it was confirmed. [BONNIE] You know him? [DEVON] (nodding) His name was Kurt Rolands...an explo- sives expert, a double agent, and one of the top European connections...An explosion fifteen years ago was supposed to have killed him and three others. ON STEVIE excluded from Michael's and Devon's conversation...We sense her awareness of Michael's inextricable involvement. She starts to tense.... [DEVON (O.S.)] He was licensed to kill by both sides. I believe he enjoyed that.... RESUME ANGLE - ALL Michael's eyes shift towards Stevie for a beat...and then back to Devon. He hands Devon the print-out. [MICHAEL] It's your ball game, Devon. Play it to win. (to Stevie) We're getting married. Michael puts his arm around her.... [BONNIE] Stevie, as a wedding gift, I'd like to be the one who makes the arrangements.... Stevie, joy in her eyes, nods then turns to Devon. [STEVIE] Devon...would you do me the honor of giving away the bride? ON DEVON who, for one of the rare times in his life, loses his composure. EXT. COUNTRY INN - DAY K.I.T.T. sits, parked, in front of the entrance and under the overhang, with ribbons streaming from front to rear. A string of old shoes and a few tin cans are there as finishing touches...RC3, dressed in a tuxedo, looks back at his handiwork. [K.I.T.T.] RC, this is embarrassing. [RC3] You think you got problems, look at me... [K.I.T.T.] I see your point. RC3 laughs, moves in to: INT. COUNTRY INN - FOYER - DAY RC3 enters and skips down to the lower level, nodding as he passes Bonnie, who is dressed in a long, flowing, pink chiffon, bridesmaid's gown. Bonnie is addressing Mildred Thames -- forty and dignified. We hold on these two. [BONNIE] Thank you, Mildred...Everything is lovely...Now, I have to get back to the bride. [MILDRED] This is very exciting...I love last- minute weddings.... [BONNIE] It's long overdue. [MILDRED] Do you know where they're going on their honeymoon? [BONNIE] It's their secret. Bonnie turns and starts her move to the bride's dressing room. Camera tracks with: BONNIE as she crosses the foyer, dropping her hands, checking her dress and its flow and, at some point, she enters a narrow hallway. As Bonnie passes a closed door, camera holds, moves: TIGHT ON DOOR HANDLE It turns, slowly...the door opens, revealing the obscure figure of a man, from the waist down, exiting the room. His hand reaches out and pulls the door closed behind him. CUT TO INT. BRIDE'S DRESSING ROOM - DAY - ON STEVIE'S MIRRORED IMAGE reflecting her beauty, as she stands in her white, beaded lace wedding gown. NEW ANGLE Stevie, in front of a full-length mirror, places her veil over her long, flowing, blonde hair. A beat...and then Bonnie moves into frame. [BONNIE] I hope I look half as beautiful on my wedding day. Stevie takes a very deep breath and slowly lets it escape. [STEVIE] Bonnie...it's here...it's happening. So, why am I so nervous? Bonnie smiles as she moves to correct the flow of Stevie's train. CUT TO INT. GROOM'S DRESSING ROOM - DAY Michael stands in front of his mirror adjusting the collar of his tuxedo shirt, as RC3 stands by enjoying Michael's tension. A beat...and then, from Michael's comlink, we hear: [K.I.T.T.] Michael, do I really have to drag old shoes behind me? Michael shoots a look at RC3. [MICHAEL] Kitt, it's traditional. [RC3] If he doesn't wear the shoes I don't wear this monkey suit.... [MICHAEL] Kitt please, you're going to start a revolution.... [RC3] It's time Michael.... Michael makes one final adjustment, then follows RC3 out the door. EXT. LAWN PATH - WEDDING AREA - DAY RC3 leads Michael to the crest of the path where Devon stands, dressed in proper attire. The three eye each other and Michael smiles, nervously, then stares down towards the ceremonial canopy approximately thirty yards away. [MICHAEL] Everything is just...just so right.... MICHAEL'S POINT OF VIEW - WEDDING AREA Magnolias grace an arched trellis; on each side, white wicker fonts hold huge bouquets of roses. A small, white, chest-high pulpit, for the minister, stands back from the opening in the trellis. Behind this, completing the picture, are greenery, foliage, and a rock grotto, with a waterfall cascading down its face. A gray-haired minister wearing a mustache and glasses, stands back by the stream, reading his marital book. A small party of guests, standing on the lawn under the trees, suddenly turns to look up the slope, as the beginning bars of the "Wedding Song" are heard permeating the scene. RESUME ANGLE - MICHAEL, DEVON AND RC3 Devon's eyes lock on Michael. He places his hand on Michael's shoulder. A moment between two friends when no words are needed...and then Michael follows RC3 down the long path to the side of the trellis...stops and stares back up the slope. Devon checks his attire and stands there, alert and ready. ANGLE - THRESHOLD OF WEDDING PATH Bonnie appears, taking the "step, pause, step" cadence down the walk. She glances at Devon as she passes him. He nods his reserved greeting back and then turns to await the bride. Through the open doors, Stevie steps out into the sunlight. She radiates beauty as she glides to where Devon stands. Stevie and Devon proceed down the path.... THE MINISTER turns and crosses to the pulpit...There is something familiar about his manner. MICHAEL totally caught up in the moment, has his eyes riveted on Stevie. ANGLE - MILDRED standing in the open door at the threshold of the wedding path, satisfied that all is going well, heads back into the interior of the Inn. ANGLE - STEVIE AND DEVON reaching the halfway point of the wedding path. ANGLE - BONNIE moving into her position, across from Michael and RC3. ANGLE - MINISTER moving to the pulpit. As he places his book on the stand. ANGLE - FAVORING MICHAEL including Devon and Stevie, nearing. INT. INN - DAY - ON MILDRED moving towards her nearby office. ANGLE - MICHAEL as Stevie steps next to him. ANGLE as the Minister now approaches the lecturn. MICHAEL AND STEVIE their eyes only on each other as the Minister's Voice starts to drone as he walks. [MINISTER'S VOICE] Ladies and gentlemen we are gathered here together to join these people in holy matrimony. ANGLE - THE MINISTER'S HAND as it drops to the pulpit's shelf -- to a cloth-covered object. His hand slides under the cloth and starts to take from it a PK10 automatic.... ANGLE - TIGHT ON STEVIE tears misting her eyes. ANGLE - TIGHT ON MICHAEL eyes locked on Stevie. ANGLE - MINISTER Durant, in a disguise of gray hair and mustache, starts to bring the automatic up from the pulpit's shelf. INT. MILDRED'S OFFICE - THROUGH THE OPEN DOOR - THE UNCONSCIOUS BODY of a gray-haired minister with a mustache. The air is shattered with the piercing scream of Mildred's voice as she looms up, horrified, before the camera's eye. EXT. THE WEDDING PARTY AND GUESTS as they react to the sound of Mildred's horrified screams which echo, shattering the serenity of the moment. DURANT as his automatic comes into view. STEVIE as she screams: [STEVIE] Michael!!! SCENE - SIMULTANEOUSLY Mayhem breaks loose as Durant opens fire...Michael shoves Stevie away, hurdles through the air -- hits the ground -- tumbles -- Durant's first shots squibbing next to him. Devon tries to protect Stevie with his body, but shoves him aside and races towards Michael. RC3 starts to make a move towards Durant -- Durant kicks the pulpit, crashing it into RC3 as he continues to fire again away, maniacally. Michael comes off the ground as Stevie nears. He dives through the air at Stevie -- his arms spread -- trying to cover her body with his as bullets cascade around him. A bullet finds its mark in Stevie an instant before Michael's body hits Stevie, covering her -- pulling her to the ground. NEW ANGLE as Durant makes his break, firing back towards the onrushing RC3 and Devon. He races past the waterfall, towards a low fence that separates the property. He leaps the fence and, suddenly, Stocker's van screeches onto the lawn area behind the fence. Klus, driving, spins the van to a momentary halt as Stocker, at the van's open door, opens fires. Devon and RC3 are forced to hit the ground as Durant leaps into the van...The van screeches away. CUT TO ANGLE - MICHAEL AND STEVIE surrounded by Bonnie and the few local wedding guests. Michael, still on the ground, has Stevie cradled in his arms. Overwhelmed with emotion, refusing to believe what is happening, he stares down at Stevie, whispering: [MICHAEL] No...no.... Stevie, her life slipping away, makes that last effort to reach her hand up and touch Michael's tear-stained cheek. [STEVIE] ...Remember only...how much I love you.... Her eyelids flicker...then close. Michael, his eyes drenched with tears, pulls Stevie's body to his chest, starts rocking her, slowly and gently in his arms. Back and forth...back and forth...as we: FADE OUT END OF ACT THREE ACT FOUR FADE IN OMITTED EXT. CEMETARY STREET - DAY Bonnie, RC3, Devon and Michael exit the cemetary solemly and move to a parked limo...Devon holds the door open and Bonnie and RC3 enter... Michael looks over to where K.I.T.T. is parked...Devon eyes him. [MICHAEL] I'm not going back with you. [DEVON] Michael I don't think this is a time for you to be alone. ON MICHAEL As he takes off his tie he stares back at Devon. A fire seems to be burning in his eyes.... [MICHAEL] I have to do this alone... (beat) I'm going after Durant on my own. [DEVON] Michael, no! The Foundation is working in conjunction with every law enforcement agency in the country. Stone cold and deadly: [MICHAEL] Tell them to stay out of the way. [DEVON] Michael. You can't do that...There's a judicial system! [MICHAEL] I don't need judges and juries on this one.... Michael brushes past Devon to K.I.T.T., gets in and pulls away.... CUT TO INT. PRISON INTERROGATION ROOM - DAY - ON MARTONI Martoni is being shoved into the room by a guard...The guard slams the door shut behind him. Martoni's eyes go wide with fright. [MARTONI] Nobody...nobody can make me talk to you.... WIDE and we find Michael, his eyes burning into Martoni from across the room. [MICHAEL] Then don't talk...but you're going to listen.... Michael moves closer to Martoni, nose to nose. [MICHAEL] (deadly) Get word back to your boss, Durant. I know what he is -- who he is -- and what he looks like. [MARTONI] You're talking to a wall -- I don't know from nothin'. Grabbing him by the shirt collar: [MICHAEL] When he killed my wife, he issued his own death certificate. [MARTONI] (terrified) ...I don't know nothin' about killing your lady. All I do is plant bugs. [MICHAEL] We've already got you nailed for the murder of one of the guards at the Data Center -- and the attempt on me at the hospital. [MARTONI] You have to put me on trial first.... [MICHAEL] It'll be months before you get to trial meanwhile the word will go out that you gave me Durant... (drops a photo) That's his face...his name is Kurt Rolands. Martoni stares at him, stunned. [MICHAEL] You're going in a 'stoolie's room' you'll jump at shadows and wonder when he's coming for you. [MARTONI] (coming apart) You're reading me my 'last rites'... you're giving me a 'death sentence'! [MICHAEL] (cold) You got it. Michael starts to exit the room. Martoni stops him cold with: [MARTONI] What do you want from me?! [MICHAEL] Durant. [MARTONI] He could be in twelve different places now. [MICHAEL] Then you better pick the right one.... [MARTONI] (few beats) Purdue Auto Parts on Eighth Street... It's a contact point...Purdue is a big guy always wears a vest and a cigar...He knows.... Michael reads the terror in Martoni's eyes -- and believes he's telling the truth...He starts to open the door to leave. [MARTONI] Hey, I can't walk out of this room clean! Michael turns back and stares at him. [MARTONI] Please! You got to mark me up or else word's gonna get back to Durant that I 'dropped the dime'...Please, you gotta! Michael, his eyes locking on Martoni for a long beat...Then he turns, walks out, closing the door on Martoni's life. CUT TO OMITTED INT. AUTO SHOP - DAY - CLOSE ON PURDUE As described...He's a big dude wearing a leather vest and a cigar jammed in his face. He works at something at the counter, then looks up as he hears the entrance signal bell and then he is yanked to his feet and over the counter.... WIDER ANGLES Purdue reacts quickly and fights back but despite his size and strength he is futile against Michael's silent fury...He cannot be stopped.... CLOSER Michael finally gets a grip on the beaten Purdue and jams him against the wall...Purdue's eyes show his fear.... [PURDUE] There's money in the register... till...it's yours. [MICHAEL] Keep it. You'll need it. [PURDUE] Then what are you after? [MICHAEL] I want Durant. [PURDUE] You're crazy...I'll be dead.... [MICHAEL] (tightens grip) Then you only have to decide if it's now or later.... ON PURDUE He realizes that Michael means exactly what he says. [PURDUE] I've never seen Durant...I'm just a contact.... [MICHAEL] You talk to him...Put me in touch with him.... Purdue's head snaps around as he hears an electronic beeping sound. He holds a beat then: [PURDUE] That's him. Durant.... ANGLE Michael takes Purdue by the jacket and they move to a small section of the store where a two-way radio is stashed behind some boxes on a shelf...Michael holds a beat then picks up the mike. Before Michael can say anything Durant's Voice announces.... [DURANT'S VOICE] You've done extremely well Michael Knight but attempting to trace this frequency won't help you a bit. It will take days and I'll be long gone by then.... [MICHAEL] I'm still coming for you Durant...Me ...alone...You run and I'll be right behind you...I'll be narrowing the gap each day and then I'll have you.... INT. DURANT'S HOUSE - COMPUTER AREA - INTERCUT AS NEEDED Durant at the radio...He holds a beat. He shows little emotion but perhaps a trace of amusement. Klus is behind him. [DURANT] We'll have to eliminate Knight sooner or later... (flicks on mike) What are you suggesting? [MICHAEL] You and me...Let's finish this. [DURANT] An excellent idea...Wait in your car at First and Hill Street. I'll give you a location.... [MICHAEL] You have one hour Durant, then I start the hunt again.... Michael yanks the radio off the shelf smashing it...Turns to Purdue. [MICHAEL] That gives you exactly fifty-nine minutes.... Michael turns and exits the store, leaving a sweating and scared Purdue. EXT. STORE - DAY Michael gets into K.I.T.T. and peels out.... INT. K.I.T.T. - DAY - MOVING [MICHAEL] Blank out the Foundation. Keep them shut down, Kitt. Keep all currents to F.L.A.G. shut off. (beat) I need you just a little longer -- then you can return to the Foundation. [K.I.T.T.] No...Michael, I don't believe what you're doing is right, but, I'll stay with you. TIGHT ON MICHAEL moved by this. A beat...then the deadly burning returns to his eyes. [MICHAEL] Thank you.... CUT TO OMITTED EXT. DESERTED CITY STREET - INDUSTRIAL AREA - DAY K.I.T.T. moves slowly down the street. It comes to a dead end. K.I.T.T. pulls up to the curb to stop. INT. K.I.T.T. - DAY Michael scans the area...nothing. OMITTED CLOSE ON SCREEN The message: 136 COMMERCE ST.... DURANT [K.I.T.T.] Michael, are we going to continue this? [MICHAEL] Yes.... EXT. CITY STREETS - DAY - MOVING SHOTS ON K.I.T.T. at an accelerated speed, working his way through the traffic. CUT TO EXT. OLD FIRESTONE BUILDING - DAY - ESTABLISH THIS HUGE, FIVE-BLOCK STRUCTURE then find K.I.T.T. pulling to a stop at the east entrance to the building. INT. K.I.T.T. - DAY The panel lights rotate and then: [K.I.T.T.] I am monitoring several guidance systems, Michael. This is an obvious trap. Michael nods in agreement, but we sense the feeling of relief...At last he is going to meet the "enemy." [MICHAEL] Yes.... EXT. STRUCTURE - DAY - ON K.I.T.T. as he passes through a wide entrance. INT. STRUCTURE - DAY We examine this massive structure. Row upon row of enormous concrete pillars stretch away to the shadows of the burned-out and desolate interior, lit by the smoked skylight and broken windows. INT. K.I.T.T. - DAY The screen is alive with readouts: [K.I.T.T.] (alarmed) Michael, we're facing a gauntlet... There are three men on that catwalk at the far end of the building. [MICHAEL] Compare them to the photo you have ...I want Durant. Michael lays his hands on the top of the steering wheel and nods. Now we'll see that this man's mind and this machine are united into a single unit.... INT. STRUCTURE - DAY As K.I.T.T. sits at the far end, the camera views the gauntlet they must run to reach the end. Attached to each pillar is a rocket-launching device holding four rockets. These rockets are on pivots, and can be directed and fired to cover the entire area. Camera pans up to the tower. DURANT, KLUS AND STOCKER stand behind a control panel. As Durant lays his hands on the controls: [DURANT] Come on...Come on.... INT. STRUCTURE - DAY - ON K.I.T.T. K.I.T.T. starts forward at a creep.... INT. K.I.T.T. - DAY - MOVING SHOT Michael jams his foot down on the accelerator and whips the wheel to the left. INT. STRUCTURE - DAY A cloud of dust erupts from the rear, and K.I.T.T. leaps to the left as the first rocket is launched...It hits, in a burst of phosphorus flames, where K.I.T.T. should have been! ANGLES Now, other rockets are launched and K.I.T.T., under Michael's control, swerves left and right, avoiding their impact! INT. K.I.T.T. - DAY - MOVING SHOT Michael spins the wheel, then accelerates, and yells: [MICHAEL] Lock the front brakes! INT. STRUCTURE - DAY - ON K.I.T.T. as he does a sliding "180" and avoids two rockets -- spins away as another rocket hits where K.I.T.T. was, momentarily, stopped! INT. K.I.T.T. - DAY - MOVING SHOT K.I.T.T.'s panel is flashing. [K.I.T.T.] These rockets are being fired by hand -- no guidance systems are in use. Michael looks up at the end of the run. MICHAEL'S POINT OF VIEW THROUGH WINDSHIELD - TOWER He is almost halfway there.... K.I.T.T. as a rocket explodes within inches of its mark! INT. K.I.T.T. - ON MICHAEL as he spins the wheel and hits the brakes and then the accelerator. INT. STRUCTURE - DAY - ON K.I.T.T. spinning -- sliding -- tires screeching -- avoiding rocket after rocket as they explode around him!! Always maneu- vering forward toward his goal -- the tower! INT. K.I.T.T. - DAY Michael activates K.I.T.T.'s turbo charge!!! K.I.T.T. vaults upward -- his afterburner ignited!! NEW ANGLE as K.I.T.T. smashes into the tower's catwalk supports!!! ANOTHER ANGLE as the tower sways and topples -- crashing to the ground!!! We look through the dust and debris...Then: DURANT staggers up from the debris to his feet.... MICHAEL bolting out of K.I.T.T. -- racing towards Durant. WIDER Durant regains his legs, starts to race towards a door leading out of the building...Michael, full out, cutting the distance between them...gaining -- gaining -- gaining!!! As Durant reaches the parking area, Michael dives through the air -- finds his mark!! Michael and Durant crash to the ground. A brief exchange...Michael's uncontrollable rage makes it no contest. Slamming Durant's head against the ground, Michael starts to choke the life out of the Durant.... [K.I.T.T. (O.S.)] (shouts) Michael!!..Michael, stop it! You wouldn't be able to live with your- self!! ANOTHER ANGLE K.I.T.T. has neared the fray. Michael, jolted back to his senses, debates this for a moment...and then he reaches down and drags Durant to his feet. [MICHAEL] (cold) Durant, you're not going to die today -- it's too easy...Four countries want you for capital crimes...If you're lucky you'll be executed after trial...If not you'll do one life sentence after the other. (beat) You'll watch your life rot away...in the mirror of a prison cell. As Michael begins to drag Durant towards K.I.T.T., we pan to: TIGHT ON MICHAEL'S FACE There is no sign of satisfaction on his face -- no signs of a purpose fulfilled -- just the numb look of a man who's won, but lost. FADE OUT END OF ACT FOUR TAG FADE IN EXT. BEACH - EARLY MORNING Michael, showing the effects of a sleepless night, walks the lonely beach with K.I.T.T. trailing...At some point, he stops, picks up a stone and flings it out into the ocean. CLOSE ON MICHAEL as he watches the stone skip...and then disappear. TIGHT ON MICHAEL'S FACE A beat...then dissolve to a series of shots of Stevie taken from this episode, ending with: ANGLE - STEVIE AND MICHAEL - FILTERED at the ocean's edge: [STEVIE] I read something when I was very young ...'You may break, you may shatter the vase...but the scent of the roses will hang 'round it still.' Stevie gently places her hand on Michael's cheek. [STEVIE] ...The scent of the roses will linger, Michael...always. We come back to the present as: MICHAEL walks to and into K.I.T.T. with a new resolve. INT. K.I.T.T. - DAY - TIGHT ON MICHAEL As Michael fires the engine: [K.I.T.T.] Where are we going, Michael? [MICHAEL] Where else. Home, family... (beat) The Foundation. FADE OUT THE END

{"show": "Knight Rider", "season": "s04", "episode": "e11", "title": "THE SCENT OF ROSES"}

knightriderarchives

ACT ONE FADE IN OMITTED EXT. COAST HIGHWAY - DAY as the Foundation semi blows past camera. INT. SEMI - DAY - ON K.I.T.T. hood open, Bonnie working underneath. She finishes, closes the hood and turns to Michael, talking with Devon in the b.g. [BONNIE] He's all set Michael. ANOTHER ANGLE - RC3 visible through the spokes of a motorcycle wheel -- an old wreck he has broken down on a workbench. He's diligently cranking a ratchet, attempting to put the bike into running order. As Michael and Devon pass him on the way to K.I.T.T. --- [RC3] Hey, my man. I thought you were going to the Hotel Convention Center with us. Where you headed? [MICHAEL] Bonnie just fine-tuned Kitt's systems. I'm road testing him. (winks at Devon and Bonnie) You know -- engine running, exhaust throbbing, wheels turning --- [RC3] There are a lot of miles left in this baby. You'll see. [BONNIE] How much you pay for that, 'baby?' [RC3] Nothing. This guy gave it to me. [DEVON] Reginald, you were robbed. RC3 looks hurt. Everyone else laughs. Michael crosses, gets into K.I.T.T. and starts his engine. OMITTED EXT. THE SEMI - DAY - TRAVELING K.I.T.T. slides down the ramp and spins a 180 away. We follow as K.I.T.T. drives off, passing the maroon sedan in the opposite direction. ANGLE As K.I.T.T. pulls away, we stay with a maroon sedan that has been tailing. INSIDE THE MAROON SEDAN Gordon is behind the wheel, Farrell next to him. [FARRELL] That's him. Let's go. Move it. Gordon whips the wheel, putting the car into a screeching U-turn. Farrell pulls a shoulder-mounted rocket launcher from the backseat and we go to: INSIDE K.I.T.T. - TRAVELING the beach and crashing surf zipping by in the b.g. [MICHAEL] I'm ready whenever you are, pal. [K.I.T.T.] All systems 'go,' Michael, but there's a car behind us coming up very fast. I suggest we let him pass before we start. Michael glances to the: OMITTED REARVIEW MIRROR The maroon sedan accelerating rapidly. THE SCENE as the sedan pulls abreast of K.I.T.T. and Farrell thrusts the rocket launcher out the window, aimed right at Michael. MICHAEL reacts, slams on the brakes. OMITTED FARRELL changes the angle of the rocket launcher tracking back with K.I.T.T. and fires. K.I.T.T. is nose diving to a fast stop. The rocket hits the tarmac right in front of him and explodes. K.I.T.T.'s momentum carries him right over the exploding mass. INSIDE K.I.T.T. rocked by the explosion underneath, as Michael tromps on the accelerator. [MICHAEL] Give me a damage report, pal. [K.I.T.T.] Negative, Michael. All systems at optimum output. [MICHAEL] Good. Give me a video scan of that car. Michael pushes buttons on his console and we are: OMITTED CLOSE ON THE SEDAN Farrell looks back to see if Michael is pursuing. [FARRELL] He's coming! Go! Go! Gordon tromps on the accelerator. The sedan takes off down the highway. HIGHWAY - VARIOUS SHOTS as K.I.T.T. pursues the maroon sedan. A TRUCK backs out of a street right in front of K.I.T.T. Michael slams on the brakes coming to a dead stop. [MICHAEL] No turbo-boost, pal. There are cars on the other side. Michael pulls K.I.T.T. around the truck. The chase leads to --- EXT. MALIBU PIER - DAY as we pan across to establish and pick up the sedan, approaching at high speed. OMITTED ANOTHER ANGLE as the sedan rockets down the approach ramp and K.I.T.T. pursues. [MICHAEL] We got them on a dead end, pal. PARKING LOT ON THE PIER as the sedan weaves between other cars and screeches to a stop. Farrell and Gordon get out and run. K.I.T.T. screeches to a stop, right behind the sedan. Michael jumps out and takes off on foot after the two men. OMITTED ON THE PIER As Michael chases Gordon and Farrell past fishermen and by- standers, etc., we are: CLOSE ON K.I.T.T.'S HOOD as his scanner pulses faster in response to an approaching figure. The distorted reflection of a woman, "Bonnie," moves across K.I.T.T.'s hood and holds. "BONNIE" Hi, Kitt. [K.I.T.T.] Bonnie? What are you doing here? "BONNIE" I was monitoring your channel and overheard what happened. I brought something that can help Michael. CLOSE ON SHOULDER BAG as "Bonnie's" hands remove an electronic box. ["BONNIE'S" VOICE] (continuing) It's a CPU booster. Open your door. It'll only take a second to install. OMITTED INT. K.I.T.T. - ANGLE ON DASH Door opens. "Bonnie's" hands plug the electronic box into K.I.T.T.'s CPU (computer unit) then close the door. [K.I.T.T.] Is there anything specific I should tell Michael about it? ON "BONNIE" who we'll soon reveal to be Bronwyn Appleby, attractive, late twenties, an appealing naivete. She reads from a file card and speaks into a pipe stem connected to a "Walkman-sized" device from which Bonnie's voice emanates. "BONNIE" That won't be necessary, Kitt. There's no way he could overlook its impact on you. As "Bonnie" turns and crosses to: A BLACK AND GRAY BUS A mean-looking war wagon festooned with numerous antennae and radar dish. As "Bonnie" approaches the bus, we are: CLOSE ON "BONNIE'S" NECK as her fingers grasp the edge of a latex mask and begin peeling it off, revealing: BRONWYN as she pulls the mask completely off, then removes a wig. She glances back at K.I.T.T.; gets into the bus and drives off. OMITTED RESUME FOOT CHASE ON THE PIER as Farrell and Gordon head down a staircase that leads beneath the pier. A SMALL FLOATING DOCK nestled between the pilings as Farrell and Gordon come off the stairs and dash across the dock and jump into a speed- boat. They rocket away from the dock seconds before Michael arrives -- too late to make the jump into the boat. [MICHAEL] (comlink) They're in a speedboat, pal. Track 'em with your scanner for me. OMITTED INTERCUT - K.I.T.T.'S MONITOR AS NEEDED to see an area scan of the pier and surrounding ocean, the radar sweep picks up a blip and we hear an electronic ping. But --- [K.I.T.T.] I'm sorry, Michael. I'm not picking up anything --- [MICHAEL] (react) You can usually pick up an ignition from this distance. The blip and ping continue on the monitor. [K.I.T.T.] It must be shielded, Michael. I'm not getting any signal. K.I.T.T. shuts down his monitor. Michael tightens a fist in frustration as the speedboat vanishes in the distance. EXT. THE PIER - DAY K.I.T.T., parked adjacent to the maroon sedan as Michael approaches and examines the sedan. [MICHAEL] Scan for prints, pal. [K.I.T.T.] I already have, Michael. There aren't any. [MICHAEL] That's funny, neither one of those guys were wearing gloves. Michael wonders a beat, shrugs, crosses and gets into K.I.T.T. INSIDE K.I.T.T. Michael starts the engine, drives off and pushes some buttons on his console. [MICHAEL] Let's see what you picked up on video. Run the tape. [K.I.T.T.] My preliminary scan indicates -- the images will need enhancement beyond my capabilities. [MICHAEL] Okay, we'll let Bonnie do it in the semi. (beat) You know, I have a feeling she may have over-tuned your systems, pal. You're -- different. OMITTED EXT. CONVENTION CENTER - DAY The semi is parked outside as K.I.T.T. approaches and rockets up the ramp. INSIDE THE SEMI - DAY parked, as K.I.T.T. pulls to a stop. Michael gets out and is joined by Devon and RC3. [MICHAEL] Where's Bonnie? [DEVON] In the convention hall. I'm about due myself. She'll be back as soon as she's made certain the arrangements for Doctor Albert's press conference are going smoothly. [MICHAEL] Couldn't be going worse than Kitt's road test -- (off their looks) -- couple of guys just tried to blow me away with a rocket launcher. [RC3] Not the kind of road test you had in mind. [DEVON] Any idea why, or who they were? [MICHAEL] (shakes no) No, but I have a tape. The image needs to be enhanced, then, maybe we can ID them. CLOSE ON MONITOR - INTERCUT AS NEEDED to see a sharp videotape replay of the maroon sedan as it accelerated away after Farrell fired the rocket. [DEVON] Crystal clear, Michael. No need for enhancement. [MICHAEL] (baffled) Yeah, look at that. Zoom in. Devon stops the tape as Farrell looks back. We zoom into a closeup of his face. As Devon does some encoding --- [RC3] You could've watched this flick in Kitt, man. You into building mileage, or what? [MICHAEL] (shrugs, puzzled) Kitt said the image wasn't clear. [DEVON] Why would he say that? [MICHAEL] He's having a little attitude problem. It started right after the attack. The impact may have knocked Bonnie's adjustments out of line. A mug shot of Farrell appears on the monitor with basic info. [DEVON] Ah -- one Nicholas Farrell. He has an extensive criminal record. [MICHAEL] And a lot of explaining to do. We'll postpone Kitt's checkup for now. Michael crosses toward K.I.T.T. and we go to: OMITTED EXT. HIGHWAY - DAY as K.I.T.T. blows past camera. INSIDE K.I.T.T. - TRAVELING [K.I.T.T.] I'm sorry about that, Michael. My video analyzer must have malfunctioned. [MICHAEL] No problem, pal. The important thing is --- EXT. HIGHWAY - DAY - ON BUS - TRAVELING The war wagon, we saw Bronwyn get into on the pier earlier, barrels past camera. OMITTED INSIDE THE BUS A sleek, hi-tech interior with an electronic command center that includes monitor, computer console, etc. Bronwyn is with Marco Berio, a brilliant, embittered electronics genius, who is at the command center, listening to --- [MICHAEL'S VOICE] (continuing) -- we identified the guy who tried to kill me. And that's where we're headed now. Three seventeen Cloverfield Avenue. [BRONWYN] That's not good, is it, Marco? Can you do something? Marco pushes a button that puts the audio intercept on hold. [MARCO] (shakes no) I don't have control over the vehicle's behavior yet. [BRONWYN] But I thought you said you would. [MARCO] I will, Bronwyn. I will. (fervently) You see, at this very moment my analytical mode interceptor is breaking down each sub-set in the vehicle's program. It's already tapped into the audio matrix. Next it will trans-polarize the millions of command module permutations and devise an override which will give me total control. Within hours the Knight Two Thousand will be responding to my voice commands. [BRONWYN] (nods blankly) It's brilliant but I don't think you answered my question -- (off his look) -- about them going to Farrell's place? Marco blinks, coming back to the moment. He turns, grabs the phone and punches out a number. [MARCO] Farrell? -- Yes. You'll be having a visitor -- Right, that's him -- I don't know how but he did. Be ready. He hangs up thoughtfully and we: RESUME INSIDE K.I.T.T. - TRAVELING Michael pushes some buttons on his console. [MICHAEL] How much further pal? K.I.T.T.'S MONITOR - INTERCUT AS NECESSARY to see a grid map develop and a flashing rectangle that indicates their destination. [K.I.T.T.] Farrell's place is precisely 3.25 miles directly southeast of our position, Michael. [MICHAEL] Okay, plot me the most direct course. [K.I.T.T.] (put out) Really, Michael, all you have to do is look at the monitor. [MICHAEL] (puzzled) What? [K.I.T.T.] It's right there. You make a right at the second stoplight and proceed 2.90 miles down Cloverfield Avenue. [MICHAEL] What's wrong with you today, Kitt? [K.I.T.T.] (hesitant, puzzled) I, I don't know Michael. I'm sorry, that just slipped out. I'm --- INTERCUT - INSIDE BUS Berio and Bronwyn listening, reacting as --- [K.I.T.T.] I'm feeling rather strange all of a sudden. CUT TO EXT. CONDOMINIUM COMPLEX - DAY as K.I.T.T. pulls up and parks out front. As Michael gets out and crosses toward the complex: [MICHAEL] Keep your scanners peeled. ANOTHER ANGLE as Michael crosses toward the entrance. He reacts to the sound of a revving engine and the screech of tires. OMITTED A SEDAN not the maroon one seen earlier, Farrell and Gordon inside, rockets forward from a parking space and comes right at Michael. ANOTHER ANGLE - STREET as Michael dives to avoid being hit and the sedan sideswipes another car, just missing him. The sedan screeches to a stop. The passenger door opens. Farrell jumps out with an automatic rifle and fires --- MICHAEL scrambles to his feet and dashes to cover behind another vehicle. As the rounds stitch the sheet metal, we: FREEZE FRAME FADE OUT END OF ACT ONE ACT TWO FADE IN EXT. STREET - DAY - CONTINUOUS as the bullets whiz past, Michael rolls away and dives behind a car. He calls urgently into his comlink. [MICHAEL] Come and get me, Kitt! K.I.T.T. as he auto-starts and goes roaring off, makes a screeching turn and goes barreling down the street. RESUME MICHAEL scrambling about, ducking behind cars, as Farrell fires. K.I.T.T. races down the street toward Michael, the rounds sparking off his shell, as Farrell whirls in reaction and fires. [MICHAEL] (into comlink) Do a one-eighty and pin him to the car! [K.I.T.T.] I'm not so sure that's the best maneuver --- [MICHAEL] Do it, Kitt! Now!! K.I.T.T. responds, stops on a dime, whirls and goes skidding sideways at Farrell. He fires at K.I.T.T., then dives out of the way as K.I.T.T. sideswipes the sedan just missing him. [GORDON] Come on! Let's get out of here! Farrell jumps in the car next to Gordon, fires a parting burst at Michael, who hits the deck as the bullets just miss him. As the sedan roars away, K.I.T.T. drives up to Michael, who is getting up off the ground in pain, rubbing a banged- up knee. [MICHAEL] Thanks, buddy, you saved my hide. How did those two know we were coming? [K.I.T.T.] Does that mean you suspect me? [MICHAEL] (reacts, gives him look) No, I was just wondering out loud. You know, you're starting to get paranoid, pal. [K.I.T.T.] Well, it sounded like an accusation to me, Michael. [MICHAEL] (does a take) Come on, Kitt --- INT. BUS - INTERCUT - TRAVELING as Marco and Bronwyn listen to all this on K.I.T.T.'s audio channel and react. [MICHAEL'S VOICE] (continuing) Is that how a friend treats a friend? [K.I.T.T.'S VOICE] There you go again -- more accusa- tions. [MICHAEL] I don't have time to argue, pal. Get that sedan on the scanner for me. [K.I.T.T.] No, you'll have to learn to change your tone, Michael. I don't like being ordered about. [MICHAEL] Are you serious? K.I.T.T. stonewalls it. [MICHAEL] Come on, Kitt talk to me. Silence. [MARCO] (annoyed) They blew it. He angrily clicks off the audio intercept. [BRONWYN] I don't understand, Marco. I thought you wanted them to get out of there. Not kill the guy. [MARCO] (covering) Of course. But Knight attacked them, Bronwyn. What else could they do? [BRONWYN] I don't know. It didn't sound that way to me. [MARCO] Hey, whose side are you on anyway? [BRONWYN] Come on, Marco. You don't have to ask me that. You know how I feel about what happened to you. Marco glances at his watch and clicks a switch on the command center console. BUS MONITOR - INTERCUT AS NECESSARY as comes to life with a local TV broadcast. Devon stands inside the hotel with Dr. William Albert, a tall, ascetic, older fellow in tweeds and mismatched socks. Convention preparations going on in the b.g. A banner proclaims Electronics Exposition. [DEVON] -- And tomorrow, it will be my distinct pleasure to present the Foundation's Man of the Year award to the man most responsible for FLAG's preeminence in the field of computer technology -- the distinguished -- Doctor William Albert. Devon gestures to Dr. Albert. Strobes flash. The crowd of news people push in. Some applause breaks out. [MARCO] (seethes) I haven't told you half of what they did to me. [BRONWYN] Marco, I know. But you're so close to getting the car. It's worth millions. Why worry about them? [MARCO] Because revenge, not money, is the cure for bitterness --- He pauses and glances to the monitor, where Dr. Albert is basking in the media attention. [MARCO] -- And the better the timing the sweeter it gets. He swings her a look, half-crazed, half-lust, and we: EXT. HIGHWAY - DAY - K.I.T.T. blasts past camera. INSIDE K.I.T.T. - TRAVELING as Michael pushes some buttons on his console. [MICHAEL] I want Bonnie to do a rundown on Farrell. (purposely polite) Will you get her for me, pal, please? [K.I.T.T.] Not now, Michael. I have a headache. [MICHAEL] You know, you never acted this way before. That explosion must have shaken up your CPU more than I thought. [K.I.T.T.] I guess so. I've never felt this way before. [MICHAEL] Well, maybe a little Vivaldi will make you into a nicer person. Michael clicks on the radio. The soothing strains of the Four Seasons waft from K.I.T.T.'s speakers. A few beats before we hear fast blurts of various kinds of music and news as K.I.T.T. scans the dial, finally settles on a blasting loud, horrendous German Um-pah-pah band. [MICHAEL] What's that? [K.I.T.T.] Beer hall music. Nothing like a little Um-pah and a lot of brass. [MICHAEL] That's not your kind of music, Kitt. You've always hated tubas. [K.I.T.T.] Well, we're all entitled to grow. The racket is deafening. The entire interior of the car vibrating. Michael winces in pain and clicks it off. [MICHAEL] Not at the expense of others, pal. Now, get me Bonnie. [K.I.T.T.] You can dial direct, Michael. [MICHAEL] That's it. I can't take this another minute. Sorry, buddy. But I'm shutting you down. Michael reaches to the console and shuts down K.I.T.T.'s CPU. EXT. STREET - DAY as Michael parks K.I.T.T. near an intersection where a school crossing Guard is directing traffic with hand-held stop sign. She's wearing official jacket, reflective vest, peaked cap. Michael gets out of K.I.T.T. and walks toward a phone booth, down the street. ANOTHER ANGLE - K.I.T.T. the crossing Guard removes her cap and lays it and her stop sign on K.I.T.T.'s T-top. He darkens his windows as she leans against him and wipes her brow --- [GUARD] Boy, what a day --- K.I.T.T.'S CONSOLE as T-top lights up and flashes. K.I.T.T. talks to himself with a tinge of gleeful anticipation. [K.I.T.T.] It's not over yet, lady. ON K.I.T.T.'S T-TOP as it pops, sending the cap and stop sign sailing through the air. PHONE BOOTH - MICHAEL has just entered and lifted the receiver -- does a take. THE GUARD does a double take -- from the T-top to the flying objects and back to K.I.T.T. [GUARD] Who did that? [K.I.T.T.] I did. And unless you want to meet a similar fate, madam, I suggest you keep your ample derriere off my door. [GUARD] Watch your language young man, or I'll report you to the principal. She turns in a huff to walk off. K.I.T.T.'S DOOR pops open and whacks her in the rear end. She jumps startled and hurries off. CUT TO OMITTED EXT. THE SEMI - DAY The convention center in the b.g. The semi's phone is ringing as we move in. INSIDE THE SEMI as Bonnie crosses to a communications panel, passing RC3, who is still working on his motorcycle. [BONNIE] Give it up RC, that pile of junk will never see the open road again. [RC3] Yeah? Wait'll you see this pile of junk lean into a turn flat out, and --- [BONNIE] Didn't anyone ever tell you -- you put junk into a turn, you get junk out --- Bonnie arrives at the console and answers the phone. [BONNIE] Hello? INTERCUT - MICHAEL IN PHONE BOOTH [MICHAEL] Hi. It's Michael. I've got a major snafu on my hands. Something's wrong with Kitt's CPU. [BONNIE] Yes, RC told me what happened. But that kind of impact shouldn't affect Kitt's systems the way it --- [MICHAEL] I'm in a phone booth, Bonnie. He refused to patch me through. [BONNIE] Oh, right -- I'll have to run an all systems analysis. Better bring him in. [MICHAEL] No, he's being a royal pain in the tailpipe. I'll never get him into manual. You'll have to bring him in by remote control. [BONNIE] Okay, but that can get tricky without communications. [MICHAEL] What about a direct patch through the auxiliary channel in my comlink? [BONNIE] Good idea. Hang on a sec. Bonnie sets down the phone; turns to the console, flips a few switches, pushes a button or two. A couple of lights flash. She lifts the phone. [BONNIE] Try it now. CLOSE ON MICHAEL'S COMLINK as he hits a button, switching to an auxiliary channel. [MICHAEL] How's that? Am I coming through? Michael's voice now comes from Bonnie's console instead of the phone. And her's from Michael's comlink. [BONNIE] Loud and clear, Michael. [MICHAEL] Great. I'll get right back to you. Michael hangs up, exits the booth heading for K.I.T.T. Bonnie turns her attention to her console and we go to: ANOTHER ANGLE as RC3 reacts to Devon's entrance. [RC3] You look great on the tube, boss. [DEVON] Why thank you, Reginald. (reflecting) You know, I used to ride one of those. [RC3] (skeptical but hoping) You're putting me on. You, on a chopper? [DEVON] Oh yes, during the war. One day while delivering a dispatch I heard the whistle of an enemy round. I dove for cover and when the smoke cleared -- my motorcycle looked just like yours. RC3 sags in despair and we: ANGLE ON K.I.T.T. parked at curb...Michael gets inside. [MICHAEL] I'm back inside Kitt. OMITTED INT. SEMI - INTERCUT AS NEEDED Bonnie, with Devon standing alongside. RC3 has crossed from his cycle and joined them. As Bonnie reacts and encodes: [BONNIE] I'm setting up the remote control access now, Michael. [MICHAEL] (hands off wheel) Good. He's all yours. As Bonnie continues encoding on keyboard. They react as the monitor starts to break up. [BONNIE] There's a lot of interference on the board. (beat) I'm having trouble gaining access, Michael. EXT. HIGHWAY - DAY - THE BUS barreling along at high speed. INT. BUS - ANGLE ON COMMAND CENTER Bronwyn next to Marco, listening and reacting, pleased; excitement building. [BRONWYN] Marco, does that mean the car is ours? As the interference on their monitor suddenly clears and a picture of K.I.T.T.'s interior, with Michael appears. Marco swings an enthused look to Bronwyn. [MARCO] Yes, we're in! We have behavioral control. Marco tightens a fist in triumph. Bronwyn shudders with delight and hugs him. EXT. THE SEMI - DAY - TO ESTABLISH parked outside the convention center. INT. SEMI Their monitor is still scrambled, as Bonnie taps away at terminal, Devon and RC3 watching anxiously. Bonnie is shaken. [BONNIE] I can't gain access. I've lost him. [RC3] You're always talking about system bypasses, and auxiliaries. What about them? [BONNIE] I tried all those channels. They're blocked. [DEVON] Try again. You've got to key back in somehow. Bonnie resumes working at the keyboard. INSIDE THE BUS - TRAVELING [BRONWYN] (elated) Okay, come on, come on, bring him in! Marco throws a switch on the command center with expectation. [MARCO] Knight Industries Two Thousand this is your new command center. Do you read? K.I.T.T. answers in a modified voice, a malevolent tone with an Exorcist hiss. [K.I.T.T.] Yes, I read you command center. [MARCO] You'll proceed to the coordinates I'm about to transmit. Nothing. I repeat nothing will cause you to slow or stop. [K.I.T.T.] I understand. Ready to receive data. Commence transmission. As Marco encodes, we: RESUME INSIDE K.I.T.T. - INTERCUT AS NEEDED still parked at curb. [MICHAEL] (into comlink) We're still dead in the water here, Bonnie -- what's happening? [BONNIE] I'm not sure -- all of Kitt's major systems are malfunctioning. I have no access to him. Suddenly, K.I.T.T. activates, his panel lighting up -- and he starts to move off. [MICHAEL] Whoa! Hold it, pal! Where are you going? [K.I.T.T.] (hissed voice) That's classified information, Mr. Knight. Your access has been withdrawn. [MICHAEL] You must have keyed in something, Bonnie -- we're moving! [BONNIE] I didn't program it! As K.I.T.T. picks up speed we: OMITTED INTERCUT - MARCO AND BRONWYN pleased by what it taking place. EXT. STREET - INTERSECTION - DAY as the crossing Guard pushes a woman in a wheelchair across the street. She holds her stop sign up at --- K.I.T.T. who is accelerating down the street right for the inter- section. RESUME INSIDE K.I.T.T. Michael reacts to the impending disaster. [MICHAEL] Kitt!! The intersection! Kitt! Stop! Dead stop!!! MICHAEL'S FOOT slams onto the brake pedal; stomps on it repeatedly to no avail. K.I.T.T. continues to accelerate toward: THE INTERSECTION as the crossing Guard shoves the wheelchair with all her might and dives out of the way, K.I.T.T. blasts between them. OMITTED K.I.T.T. keeps on accelerating down the street and we: RESUME INSIDE K.I.T.T. - TRAVELING real fast. [MICHAEL] (into comlink) He just blasted through a school crossing. I can't stop him. He's picking up speed! [DEVON] Michael, you better get out of there! Michael tries the car doors -- they don't budge. [MICHAEL] Easier said than done. He's locked up tight. [K.I.T.T.] That's right. As I said, your system's access has been nullified. [DEVON] We're in danger of losing both Kitt and Michael! Initiate emergency procedures, Bonnie! [BONNIE] Michael, I can open Kitt's T-top with the frequencies in your comlink. Bail out and we'll pick you up. Ready? [MICHAEL] Let 'er rip! The T-top above Michael pops open. [K.I.T.T.] That system is not cleared for use. Michael shakes his head at the Exorcist hiss; dismayed at what's happened to K.I.T.T. and at the idea of bailing out. [MICHAEL] No time to explain, pal. I've got to get out of here before you kill both of us. [K.I.T.T.] I've been instructed to warn you, you're making an unauthorized exit. [MICHAEL] I'll be back for you, Kitt. That's a promise. I'm sorry. Michael starts to get out of the seat. OMITTED ON K.I.T.T. as Michael climbs out the open T-top. ANOTHER ANGLE as he jumps free of K.I.T.T. and tumbles to a landing on the shoulder, and rolls to a standing position. INT. BUS as Marco and Bronwyn react to the monitor, which shows the interior of K.I.T.T. is now empty. [MARCO] Knight got out somehow. [BRONWYN] Great! Now you have exactly what you want! [MARCO] Yes, and I'm going to give it it's first search and destroy mission. [BRONWYN] You're going to kill him? Why? He hasn't attacked anyone this time. [MARCO] But he will. (off her look) Precisely. We won't have a moment's peace. I'm doing this for us, Bronwyn. I have no choice. She agonizes with uncertainty as he clicks on the mike. [MARCO] Command center to Knight Two Thousand. Reverse direction, immediately. K.I.T.T. does a tire-smoking 180 and heads for Michael. ANGLE - MICHAEL He smiles when he sees K.I.T.T.'s 180, calling out to him as the car approaches. [MICHAEL] Well, that's more like it, buddy -- I guess Bonnie finally got through. OMITTED K.I.T.T.'S MONITOR Michael's picture is on the monitor. [MARCO'S VOICE] Michael Knight is your target. Lock on and destroy. The picture of Michael is overlaid with the "cross hair" graphic of a pilot's missile tracking radar system. The words locked-on appear and flash. [K.I.T.T.] Michael Knight sighted. Attack mode engaged. ANGLE - K.I.T.T. As his engine revs and he goes roaring forward. ANGLE - MICHAEL [MICHAEL] (reacting, as he realizes) No, pal, no! And, as K.I.T.T. comes charging at him and he reacts, we: FREEZE FRAME FADE OUT END OF ACT TWO ACT THREE FADE IN EXT. ROAD - DAY - VARIOUS ANGLES As K.I.T.T. comes roaring at Michael, he is just barely able to dive out of the way of the onrushing car. K.I.T.T. comes to a screeching stop and spins about. MICHAEL scrambles to his feet and looks around desperately. ANOTHER ANGLE - BUS STOP with bench, phone booth, etc., Michael behind it. K.I.T.T. comes roaring at him, goes off road and crashes through the bench, booth, etc. Michael is just able to run and dive to safety, inches ahead of K.I.T.T.'s bumper! CLOSE ON MICHAEL as he gasps for breath, he talks into his battered comlink. [MICHAEL] Somebody's got control of Kitt -- and that somebody wants me dead! INT. BUS [MARCO] Recompute target position and adjust for evasive action. Attack when ready. ANGLE - K.I.T.T. roaring towards Michael. MICHAEL Michael breathing hard, looks around anxiously, spots an abandoned structure nearby and runs toward it. K.I.T.T. takes off in pursuit. Michael reaches the structure; dashes beneath a loading dock. K.I.T.T. is right on his tail and smashes into the supports that hold up the loading dock. It collapses on top of Michael. CLOSER - LOADING DOCK Michael buried beneath it, unmoving. INT. BUS - INTERCUT - ANGLE MONITOR Marco looking at the image of Michael, lying there "dead." [MARCO] Mission accomplished. Return to base. RESUME MICHAEL as K.I.T.T. drives off, camera moves in on Michael, lying there inert, as he opens one eye cautiously, to see: ANGLE - K.I.T.T. vanishing from view in the distance. ANGLE - MICHAEL as he crawls out from beneath the collapsed loading dock and shakes his bettered comlink in an effort to get it to work -- unsuccessfully. EXT. COUNTRY ROAD IN ANOTHER AREA - DAY - THE SEMI as it barrels along. INT. SEMI - TRAVELING as Devon is busy at computer board, RC3 alongside, Bonnie is working scanner. [DEVON] Come in, Michael! Michael, do you read me?! The comlink is dead. [RC3] What about Michael? [DEVON] An inappropriate choice of words, RC. ANGLE As they all exchange an emotional look, Bonnie continues to study the scanner. Then she reacts. [BONNIE] I'm picking up something at 200 yards -- (does take) It's Michael -- he's alive! [DEVON] Is he injured? [RC3] Not serious enough to keep him from standing tall. As they all react happily, Devon joins in momentarily, then fixes RC with a stare and points him back to the cab. ANGLE - ROAD - MICHAEL as he spots the approaching semi and hails them. CUT TO EXT. RURAL ROADSIDE - DAY The roar of a motor is heard and the driverless K.I.T.T. speeds into the clearing and screeches to a stop next to the bus, parked on the shoulder. OMITTED EXT. BUS - DAY Marco and Bronwyn come out of the bus. Stand there looking at K.I.T.T. for a few beats. A look of anitcipation between them before they move toward him --- ANGLE - K.I.T.T. parked silently, scanner moving, looking dangerous. [BRONWYN] He's beautiful, Marco and he's ours. [MARCO] 'It' is a tool, Bronwyn. 'It' belongs to whoever controls it. (beat) And for whatever we choose to use it. Bronwyn eyes Marco with uncertainty, and we: CUT TO INT. SEMI - TRAVELING as all are gathered around Michael, reacting to what he's saying. [BONNIE] Kitt tried to kill you?! [MICHAEL] I had to play dead to escape. I was lucky they didn't have Kitt check my vital signs. [RC3] Why would he turn into a mean dude like that? [DEVON] Bonnie, is it possible that someone has gained control of Kitt's CPU? [BONNIE] Yes, but only by attaching a compo- nent directly. There wasn't one when I fine-tuned Kitt this morning. [RC3] Then some dude got his hands on Kitt after that. [MICHAEL] (putting it together) Yeah, while I was chasing those guys on the pier. That attack was a decoy to get me out of Kitt. Had to be. [DEVON] It's clear someone has Kitt. Where do we start? [MICHAEL] Farrell's my only lead. What else we have on him? Bonnie crosses to her console and encodes. Data comes up on the monitor. [BONNIE] He works for manufacturer of high- tech systems, Berio Electronics. [DEVON] (blanches) Did you say, Berio? [MICHAEL] Devon, you look like you've just seen a ghost. [DEVON] Worse -- an enemy. Before any of you joined the Foundation, when Kitt's systems were being conceptualized -- Marco Berio worked under Doctor Albert as a CPU specialist. To make a long story short, Berio claimed he didn't get the recognition he deserved and left, threatening to destroy FLAG. [MICHAEL] He's off to a heck of a start. [RC3] Next stop, Berio Electronics? [MICHAEL] Right. But I need wheels. I can't exactly sneak up on 'em in the semi. [RC3] (winces, knowingly) I knew I shouldn't have said that. During the above, Michael reacts to RC3's motorcycle and slowly crosses to it. As he eyes it, RC3 shakes his head. [RC3] No, Michael -- no -- please. As he looks pleadingly at Michael, Michael gets more and more interested in the cycle, as he examines it. EXT. SEMI - NIGHT As the ramp lowers and Michael, wearing a helmet, rides the motorcycle down onto the road, guns it and goes roaring off. ANGLE MICHAEL ON MOTORCYCLE - INTERCUT - NIGHT - TRAVELING [BONNIE'S VOICE] Michael -- does your new comlink check out okay? [MICHAEL] (into comlink) Receiving you fine. And tell RC his bike's running great. I'll take good care of his pride and joy. [RC3] (grin) You hear that Bonnie -- my 'pile of junk' is humming along. [BONNIE] I heard, RC. Michael also said he'd take care of it -- (beat) You know how he takes care of equipment --- ON RC3 His look changes to one of fond memory. [RC3] My wheels --- EXT. ROAD - NIGHT As Michael comes roaring along on the motorcycle. EXT. BERIO ELECTRONICS PLANT - NIGHT as Michael comes speeding up and stops at the fence that encloses the plant. A converted warehouse next to an alley. [MICHAEL] (into comlink) I'm at the plant now. INT. SEMI - INTERCUT - CLOSE ON BONNIE AND DEVON AND RC3 [MICHAEL] The place looks clear. I'm going in. Bonnie and RC3 share an anxious look. OMITTED EXT. ALLEY - NIGHT as Michael remaining on the cycle opens the unlocked gate in the fence. He drives through to a roll-up truck door. Produces his lock pick and gets to work on the lock. ON ROLL-UP DOOR as Michael picks the lock, then rolls the door up just high enough to get beneath it. RESUME MICHAEL as he drives into the plant on the motorcycle. OMITTED INT. BUILDING - NIGHT - ON MICHAEL - VARIOUS SHOTS as he drives between stacks of crates, equipment, etc. Eerily illuminated by the headlight on the cycle. The beam, finally comes to rest on --- A CARDBOARD MOCK-UP On a drafting table, is a detailed cardboard mock-up of part of a building -- (what we will later reveal to be the Hotel Convention Center). OMITTED NEW ANGLE - MICHAEL flips on the lights in the building, then drives over to the mock-up. as he looks it over, not knowing what it means, but suspicion building, we go to: EXT. ALLEY - NIGHT as a car's headlights blaze down the alleyway. The car pulls to a stop in the open gate. Farrell and Gordon get out and react to the light that spills out from beneath the roll-up door. [FARRELL] Nobody's supposed to be here. What's with the lights? As they pull guns and cross toward the building. RESUME MICHAEL [MICHAEL] (comlink) Bonnie? I found a mock-up -- part of a building. I'll photo transmit via comlink. He positions the comlink, presses a button. INTERCUT - INSIDE SEMI Bonnie codes some instructions as a linear schematic of the mock-up develops on the screen. [BONNIE] Got it, Michael. [MICHAEL] It may not be anything, but see if you can identify the building. Michael reacts to a noise that alerts him to someone's presence in the building. [MICHAEL] I've got company, Bon. No Kitt. No scanners. No warning. Michael quietly rolls the cycle behind a high wall of crates, moving out of view. OMITTED RESUME FARRELL AND GORDON now inside the building, moving cautiously, guns ready, on the opposite side of the wall of crates. They react and look when they hear the roar of the cycle engine. MICHAEL does a jump over the wall of crates on the cycle, sailing right over Farrell and Gordon, knocking loose many crates from the top rows. ANOTHER ANGLE as the crates come tumbling down on Farrell and Gordon on the other side, burying them. ANGLE - MICHAEL The bike lands and blazes past the heavies sprawled out on the ground. They fight their way free of the crates, and run after Michael. OMITTED EXT. PLANT - NIGHT - THE MOTORCYCLE rockets out from beneath the roll-up door and drives right over the hood, roof and trunk of the sedan that is parked in the open gate blocking Michael's escape. Farrell and Gordon arrive and fire at Michael, drilling the sedan with rounds. OTHER SIDE OF SEDAN as the motorcycle comes off the trunk, lands hard and goes speeding out of the alley. OMITTED EXT. RURAL ROAD - DAY - TO ESTABLISH as we pan across and pick up the bus and K.I.T.T. parked nearby, his scanner pulsating. (His top is now fully closed once again.) INSIDE THE BUS - DAY Marco is on the phone, listening, displeased. He hangs up, turns to Bronwyn for --- [MARCO] Knight's still alive. [BRONWYN] Marco, we have the car, lets get in it and get out of here. No one will be able to stop us. Not even him. [MARCO] No, it must carry -- out it's primary mission, first. [BRONWYN] I don't understand. You said --- He pushes past her to the command center. Clicks on the mike --- [MARCO] Knight Two Thousand, this is command center. [K.I.T.T.] (Exorcist hiss) I read you command center. [MARCO] Your course is preprogrammed. Your target is the Convention Center. Bronwyn reacts, lunges forward; grabbing his arm. [BRONWYN] No, no there are thousands of people in there. You'll kill them, you'll --- He backhands her a shot that sends her sprawling. [MARCO] Not me! FLAG! Foundation vehicle goes berserk at Convention Center, dozens killed! (back to mike) Activate engine. Commence attack. ANGLE - K.I.T.T. [K.I.T.T.] Affirmative. Estimated arrival time 4.75 minutes. As his starter turns over, his engine starts and he moves off out of the clearing. CUT TO EXT. SEMI - DAY parked outside the Convention Center. INT. SEMI - TRAVELING Bonnie, RC3 and Michael are gathered around the computer monitor. [MICHAEL] (incredulous) The Convention Center? You sure? ON THE MONITOR - INTERCUT AS NEEDED To see a schematic line drawing of the mock-up Michael trans- mitted earlier. Now, another schematic in a different color moves across and matches it perfectly. [BONNIE] Positive. I cross referenced the mock-up with Building Department files. [RC3] Devon's in there. Kitt goes turbo- blasting into that main hall --- [BONNIE] But he wouldn't. Kitt's programmed not to take a human life. Let alone thousands of them. [MICHAEL] Bonnie, if Berio can program Kitt to attack me, he can program him to attack anything. (off reactions) Scan for Kitt's configuration. Bonnie encodes at her console, a few beats before --- [BONNIE] I'm picking up one that matches Kitt's! [MICHAEL] Give us a closeup. A grid map of the area branches across the monitor. A blip is pulsating. The image flips to a holographic outline of K.I.T.T. [RC3] It's him man! [BONNIE] He's 9.3 miles away -- and heading towards us! [RC3] He's either coming home or he's a torpedo. [MICHAEL] Do a target analysis, Bonnie. [BONNIE] That will take some time, Michael. As Bonnie starts encoding at the console: [RC3] What if we run out of time? Gotta be something we can do. OMITTED ON MICHAEL His dilemma.... [MICHAEL] There's one thing we can try. They all turn to him.... [MICHAEL] Destroy Kitt first --- Reactions: FADE OUT END OF ACT THREE ACT FOUR FADE IN INT. SEMI - DAY as all watch the monitor anxiously. As K.I.T.T.'s blip moves closer to the Convention Center. Bonnie working at the keyboard. INT. CONVENTION CENTER - DAY - PODIUM as Devon moves to it, to applause, adjusts the mike --- [DEVON] Thank you all very much. In getting our awards program underway -- I'd like to begin with --- OMITTED INT. BUS Berio, Bronwyn, Farrell and Gordon in the b.g., watches the image of the Convention Center transmitted from K.I.T.T. It's coming closer and closer. ANGLE - K.I.T.T. racing down the road that leads to the Convention Center. INT. SEMI - INTERCUT - MONITOR AS NEEDED [MICHAEL] Anything yet? Bonnie is encoding on the keyboard. A number of lines connect K.I.T.T.'s position to the semi and Convention Center, a triangulation of his course. [BONNIE] Yes, calculating from Kitt's moving position, through ours -- vectoring forward --- Michael, Bonnie and RC3 react as a bright red line darts across the map on the monitor from K.I.T.T.'s position and bull's-eye the Convention Center. [RC3] The Convention Center. [BONNIE] Range -- 5.2 miles! He's gaining! He's unstoppable, Michael. (beat) What about evacuating the place? [MICHAEL] No. Not enough time. Come on, Bonnie think. Is there any way we can tap back into Kitt? [BONNIE] Not as long as Berio owns his mind. Michael nods troubled, thinks a beat, then --- [MICHAEL] If we could switch Kitt's memory module we could regain control. [BONNIE] That's right, Michael. But how? Michael swings an anxious glance to the monitor, before --- [MICHAEL] We have to try, Bonnie. Get the replacement, hurry. As Bonnie moves off, RC3 turns to Michael. [RC3] Come on, Michael. You can't intercept Kitt and stop him to change the module. No way. OMITTED NEW ANGLE as Michael crosses to the motorcycle. [MICHAEL] Then we do it on the move. (to RC3) Can you really handle this thing? [RC3] We're about to find out. Bonnie returns with the computer module and gives it to Michael. RC3 rolls the motorcycle off its kick-stand and readies it. [BONNIE] Pull the module in Kitt's control panel and replace it with this one. [MICHAEL] Got it. Let's roll, RC, we're running out of space. Michael and RC3 head for the motorcycle --- OMITTED ANGLE - K.I.T.T. as he makes a skidding turn onto a road that dead ends at the main entrance to the Convention Center. OMITTED EXT. SEMI The ramp lowers and the bike speeds down it and away. RC3 is on the cycle racing the engine. Michael on the jump seat behind him, both now with helmets on. They go roaring off in the opposite direction from the Convention Center. OMITTED INT. CONVENTION CENTER - DAY Devon stands at the podium. Dr. Albert and a few dignitaries seated behind him. [DEVON] -- and for those of you who aren't familiar with Doctor Albert's landmark achievements -- if that's even remotely possible -- I'd like to take a few moments to enumerate some of them. One of his earliest and most --- As Devon continues, we: CLOSE ANGLE - RC3 AND MICHAEL - TRAVELING Michael reacts; shakes RC3's shoulder gestures when he sees: ANGLE - ROAD AHEAD OF THEM - K.I.T.T. comes speeding into view. RC3 AND MICHAEL - TRAVELING [MICHAEL] -- Do your thing, RC! RC3 cranks the throttle. The bike does a wheelie and takes off. As it settles down. [RC3] You okay back there? [MICHAEL] Yeah, just keep at least two wheels on the ground! ANGLE - ROAD RC3 does a skidding turnabout, guns his motor and goes roaring after K.I.T.T. RC3 AND MICHAEL - TRAVELING [MICHAEL] Nice going -- now just hold her steady as you can! He starts to climb up on the jump seat. INT. SEMI - INTERCUT AS NEEDED as Bonnie watches the monitor anxiously. INT. BUS - INTERCUT AS NEEDED as Marco reacts to monitor, sees the motorcycle. [MARCO] It's Knight again! (beat; into mike) Adjust attack program to intercept intermediate target. ANGLE - K.I.T.T. AND MOTORCYCLE as RC3 comes shooting up alongside K.I.T.T., Michael balances himself precariously on the jump seat. [MICHAEL'S VOICE] Okay, Bonnie, blow the T-top.... The T-top flips open. K.I.T.T. swerves and tries to hit the cycle. RC3 backs off, Michael almost falling, but recovering his balance. Then, as RC3 moves back alongside the speeding K.I.T.T. ANGLE - K.I.T.T. RC3 is still racing alongside, Michael balances himself, gauges the distance and leaps across the gap -- landing on the speeding K.I.T.T.! K.I.T.T. swerves to throw him off. [MICHAEL] That's no way to greet an old buddy! Michael scrambles to hold on and finally manages to climb down through the open top. RC3 veers away on his motorcycle, his job done. INT. K.I.T.T. - TRAVELING as Michael lowers himself into the driver's seat and whips off his helmet. [MICHAEL] How've you been, pal? [K.I.T.T.] I ain't your pal! [MICHAEL] You just said 'ain't'. You must be sick! INSIDE K.I.T.T. - MICHAEL'S POINT OF VIEW - THROUGH WINDSHIELD - THE CONVENTION CENTER coming closer and closer. RESUME MICHAEL as he takes the replacement memory module from his pocket and starts to bend down to reach under the dash. [MICHAEL] Now, just relax, Kitt...easy. INT. BUS - INTERCUT - MONITOR - TRAVELING [MARCO] He thinks he can sabotage us! Let's see if he can handle the electronic anti-theft system! INT. K.I.T.T. As Michael is reaching under the dash, suddenly there's a piercing alarm sound, lights flash and Michael's hands touching the dash are suddenly hit with an electric charge. INTERCUT - ROAD SHOTS The distance between the Convention Center and K.I.T.T. quickly diminishes. INT. K.I.T.T. - TRAVELING as Michael fights the electric charge he's being subjected to. INT. SEMI - TRAVELING [MICHAEL] Bonnie! I keep getting zapped by his anti-theft charge! [BONNIE] (into her comlink) The fuse box! Pull the red fuse! INT. K.I.T.T. - TRAVELING Michael, reacts once to the electric shock then is barely able to reach down to the fuse box at the base of the seat. INSERT - THE FUSE BOX Michael pulls out the red fuse. INSIDE K.I.T.T. The alarm effect immediately stops, as well as the electric charge -- and Michael tries to pull himself together. As he reaches under dash again --- [MICHAEL] You're not making this easy, Kitt. [K.I.T.T.] I don't intend to -- your weight is slowing me down. [BONNIE'S VOICE] (on comlink) How are you doing, Michael? [MICHAEL] (working away) I've got hold of his memory module but I can't get it loose. [BONNIE'S VOICE] Like a kid-proof medicine cap. Push-in and twist it to the right -- and hurry. EXT. CONVENTION CENTER - DAY K.I.T.T. is closing on the Convention Center. Now rocketing across the parking lot that leads to the glass entrance doors. INT. CONVENTION CENTER - DAY - PODIUM [DEVON] -- and of course, as tradition dictates, the Foundation for Law and Government's Man of the Year award is always presented to an individual who throughout his career has furthered the cause of those principles that we all --- As Devon continues, we: INT. BUS - TRAVELING - INTERCUT Marco wracked by anxiety at the possibility of Michael successfully making the module switch. [MARCO] (into mike) Accelerate to maximum speed! OMITTED INT. K.I.T.T. - TRAVELING As "Pursuit Mode" lights up on the panel, the speedometer climbs and the car really barrels along, Michael is still working frantically under the dash. ANOTHER ANGLE - MICHAEL comes up from beneath the dash to check K.I.T.T.'s promimity to the building. His expression says -- holy shit! THE GLASS ENTRANCE DOORS - THROUGH WINDSHIELD closing fast -- really fast. ON THE PODIUM Devon is holding the plaque, building to the moment of presentation --- [DEVON] -- and now, it gives me great pleasure to present this award to a man of tranquility, a man of peace --- Devon bites off the sentence and reacts as does everyone else at the presentation as: K.I.T.T. blasts through the entrance doors shattering the glass that explodes in every direction. RESUME MICHAEL as he dives back under the dash and is finally able to pull loose the memory module. Then, Michael jams in Bonnie's replacement module, K.I.T.T. suddenly speaks in his normal voice. [K.I.T.T.] Michael! Where have you been? INT. SEMI as Bonnie reacts to the computer board lighting up and the scrambled monitor clearing, showing Michael inside K.I.T.T. [BONNIE] Seconds left, Michael! Hurry! INT. CONVENTION CENTER - DAY - VARIOUS SHOTS as K.I.T.T. blasts through the area destroying displays, tables, chairs and scattering conventioneers attending the award presentation. INT. K.I.T.T. - TRAVELING As Michael grabs the wheel and hits the button: [MICHAEL] Dead, stop, pal, now!! [K.I.T.T.] Hang on, Michael! ANOTHER ANGLE - PODIUM as Devon and Dr. Albert react, startled, stunned, frozen. K.I.T.T. comes to a screeching stop. His nose cowling taps the podium gently. It wobbles and falls over. OMITTED INT. K.I.T.T. as Michael smiles and waves to Devon, then pats K.I.T.T.'s dash. [MICHAEL] Welcome back, good buddy. [K.I.T.T.] What happened, Michael? What am I doing in here? I had this terrible nightmare. [MICHAEL] It's over now. INT. SEMI as Devon, and Bonnie react in relief. ANGLE - IN THE GLASS SHATTERED ENTRANCE - RC3 on his motorcycle, he lets out a victory gesture and yell. INT. BUS [MARCO] I lost access! I don't know what happened! [BRONWYN] I do, you failed. I'm glad. Ganz taps away frantically at keyboard --- INT. K.I.T.T. - INSIDE THE CONVENTION CENTER as Michael backs toward the entrance doors. [K.I.T.T.] It was horrible. [MICHAEL] You would have hated yourself. You even said 'ain't.' [K.I.T.T.] Eugh! Unforgivable! I feel violated. How did it happen? [MICHAEL] Marco Berio, and he's still on the loose. As Michael stops next to RC3 and pops K.I.T.T.'s passenger door. [MICHAEL] Come on, RC. There's lots of them and only one of me. RC3 jumps in and K.I.T.T. does a 180 and takes off. INT. BUS [MARCO] They'll be coming after us! Let's get out of here -- fast! [BRONWYN] No. No, you're insane, Marco. You're a killer. I'm not going with you. Marco pulls a gun and levels it at her. She freezes. [MARCO] Of course you are. You're my insurance policy. (to driver) Move it, let's go! ANGLE - BUS as it starts up and moves out of the clearing in brush, onto a road and goes speeding off. INT. K.I.T.T. - TRAVELING [MICHAEL] What are we looking for, pal? [K.I.T.T.] Their command post is a bus, Michael. [MICHAEL] Way to go, buddy. Let's find it. [K.I.T.T.] That won't be easy. There are 3,642 buses operating in this county. [MICHAEL] Not carrying the kind of electronic gear Berio had to be using. [K.I.T.T.] Good thinking, Michael. I'll scan for microwave emissions. ANGLE - MONITOR - INTERCUT AS NEEDED as the tracking scope lights up and a hologram of inter- secting streets and roads appears. INT. K.I.T.T. - TRAVELING as a blip lights up on the tracking scope and flashes red. [K.I.T.T.] I've made contact, with a vehicle emitting a very high level, Michael. It's traveling at excessive speed too. [MICHAEL] Nice work. I'm betting you haven't lost your touch. Let's go get them. INSERT He hits "SUPER PURSUIT MODE" on control panel. ANGLE - K.I.T.T. The changes take place, then K.I.T.T. surges forward, swings onto another road and goes racing off. INT. BUS - TRAVELING as they speed along, Marco looking out rear window, reacts. [MARCO] Knight's tracked us down! Farrell, Gordon and Marco take out guns, a bazooka and open rear windows. ROAD - FULL ANGLE - VARIOUS SHOTS - INTERCUT - WITH INTERIOR SHOTS As Michael and K.I.T.T. come speeding up on the bus, Berio, Farrell and Gordon fire away at them. The bus driver tries to slam into K.I.T.T. But K.I.T.T. evades him, cuts in front of the bus and forces it to the side of the road. ANGLE - SIDE OF ROAD As K.I.T.T. pulls up to the bus, Berio appears at an open door and starts firing at Michael -- but the bullets bounce off K.I.T.T. Michael keeps buttoned up, talks on PA. [MICHAEL] You've had it, Berio. The police are on their way -- so give yourself up. [MARCO] Something you don't know, Knight. I have a hostage in here! Out of my way or she's dead! He nods to Farrell --- ANOTHER ANGLE - BUS WINDOW as Farrell appears and pulls Bronwyn into view threatening her with a gun. INSIDE K.I.T.T. as Michael reacts: [MICHAEL] I lied about the police, pal. But they don't know that, do they? [K.I.T.T.] That's absolutely right, Michael. Ready when you are. Michael pushes some buttons on his console. CLOSE ON K.I.T.T.'S CONSOLE as a harmonic synthesizer illuminates. Suddenly the sounds and sirens of police vehicles approaching and coming closer blasts from K.I.T.T.'s speakers. INSIDE THE BUS as Farrell is distracted, and Bronwyn reacts, shoves him with all her might. He pitches forward half out the window. She runs. MICHAEL AND RC3 are already out of K.I.T.T. Michael grabs the driver's arm and flips him out of the window and shoves him at RC3. [MICHAEL] Yours RC! As RC is putting away Farrell, Michael collars Gordon who dashes from the bus with Marco Berio, who eludes Michael's grasp. As Michael takes on Gordon. [K.I.T.T.] I'll take care of Berio, if you don't mind, Michael. [MICHAEL] All your's pal! As K.I.T.T. rockets off after Berio, Michael finishes off the driver with a karate combination. ANGLE - MARCO As K.I.T.T. cuts him off, both his doors swing open. As Marco tries to avoid him, K.I.T.T. spins around so that one of the doors whacks Ganz. [K.I.T.T.] That's for making me say 'ain't!' As Marco gets up and tries to run again, K.I.T.T. spins and whacks him with the other door. [K.I.T.T.] That's for making me attack Michael. As Marco gets up groggily and still tries to escape, K.I.T.T. spins and whacks him one last time. [K.I.T.T.] And that's just for computer lovers everywhere! As Marco goes down and stays down.... ANGLE - MICHAEL as he gives a thumbs-up gesture to K.I.T.T. and RC3 who returns it. We hold a beat and then we: FADE OUT END OF ACT FOUR TAG FADE IN OMITTED EXT. CONVENTION CENTER - DAY With order fully restored, K.I.T.T. and Michael have arrived to greet Bonnie, Devon, and RC3 who have just successfully concluded and adjourned the Man of the Year ceremony. [MICHAEL] Well, Devon, when the Foundation throws a party -- it throws a party. [DEVON] Please, Michael. Don't remind me. [K.I.T.T.] I agree. To think I introduced myself to the man who designed my systems by -- toppling his podium. [BONNIE] He understands, Kitt. In fact, Doctor Albert and I will be working on some safeguards so they will never be tampered with again. [RC3] See? You ain't ever gonna be guilty of such hideous behavior like --- [K.I.T.T.] (interrupting) Very funny, RC3. I have the feeling I 'ain't' ever going to hear the end of this. [MICHAEL] Don't worry, pal. We promise never to hold anything you said in captivity against you. [K.I.T.T.] Thank you, Michael. Now if you'll all excuse me, this has been a most harrowing experience and I'm still feeling somewhat unnerved. [MICHAEL] (mischievous twinkle) Well, maybe a little music will turn you into a nicer person --- Michael reaches into the dash, turns on the speakers -- and out blares the German oom-pah music. [K.I.T.T.] Michael, please turn that elephantine trumpeting off! [BONNIE] Kitt, I thought you liked tubas? [MICHAEL] Right, nothing like a little oom-pah and a lot of brass. You said so yourself. [K.I.T.T.] But I wasn't myself --- [RC3] Hey, man, we're all entitled to grow. Could be the next new wave. [DEVON] (in agony) Could be the last thing any of us ever hear. [K.I.T.T.] (sighs) Forgive them, Vivaldi. They know not what they do --- Over everyone's laughter, we: [FREEZE FRAME] THE END

{"show": "Knight Rider", "season": "s04", "episode": "e12", "title": "KILLER K.I.T.T."}

knightriderarchives

ACT ONE FADE IN EXT. ESTATE ENTRANCE - DAY as Devon's limousine approaches and stops. The chauffeur hands an engraved invitation to the attendant. The limousine moves onto the grounds. EXT. ESTATE GROUNDS - MANSION - DAY as Devon's limo pulls to a stop and a uniformed valet opens the rear door. Bonnie, especially alluring, in a chic dress glides out followed by Devon who looks dashing in a tuxedo. We hear an upbeat piano playing as they cross to the mansion. [DEVON] As I recall, the last party we attended here, the guests were still dancing on the tables at sunrise. Took me two days to recover. [BONNIE] You must've taken someone else, Devon. I think, I'd remember you dancing on a table. Devon chuckles as they enter the mansion, and we: INT. MANSION - DAY A party amidst priceless antiques and works of art. Host, Jonathan Dutton, fifty-three -- handsome, board chairman is seated at a concert grand. His daughter Samantha, twenty-four -- beautiful, intelligent; everyone calls her "Sam," stands next to him. Elegantly attired guests gathered around. Dutton spots Devon and Bonnie and seques into an exaggerated fanfare. ANOTHER ANGLE - FAVORING DEVON AND BONNIE as they cross and join Dutton and Samantha. [JONATHAN] Devon, Bonnie -- good to see you! [DEVON] Jonathan. Looking proud, aren't we? [BONNIE] I hear the scent of perfume's permeated the Board Room, Sam -- congratulations. [SAMANTHA] Thanks. Keeping it in the family, as Daddy always says. [DEVON] Yes, no denying you've inherited his business acumen, Sam. [JONATHAN] Promise you won't hold it against her now? [SAMANTHA] He'd better not --- Samantha hugs Devon; plants a big kiss on his cheek. [SAMANTHA] -- I've had a crush on this man for as long as I can remember. Devon reddens slightly as the others laugh, and we: RESUME THE MANSION ENTRANCE as a 4 x 4 pickup roars past the attendant, rockets up the drive and screeches to a stop in front of the mansion. Erik Whitby, twenty-two, six feet three inches, 225 pounds of muscle, mackinaw, jeans and unbridled anger, gets out and blows past the parking valet. RESUME THE PARTY - FAVORING JONATHAN as he holds a glass of champagne aloft and addresses the guests who have gathered around him. [JONATHAN] A year ago, our Humboldt Division was so awash in red ink, I'd decided to shut it down. But my little girl kept insisting she could turn it around. So I dropped the entire mess in her lap -- just to shut her up. (beat; laughter) Tonight, we celebrate our third quarter of record sales and profits. Thanks to the young lady who one day will replace me as chairman and --- Dutton is suddenly interrupted by an ear splitting racket. CLOSE ON A CHAIN SAW that roars to life -- pull cord snapping back; exhaust belching; the jagged teeth traveling at blinding speed. Widen to reveal Whitby holding the saw. THE SCENE As frightened, guests shrink back from Whitby who brandishes the saw. He dashes between them to: A LARGE SCULPTURE A Grecian figure on a pedestal, as the chain saw bites into the surface and cuts the torso in half. RESUME THE SCENE Guests react horrified as the statue tumbles. Whitby turns and searches for his next target; Dutton dashing after him. [JONATHAN] Stop! Stop it!!! What are you doing?! (yells to someone) Call security!! Dutton bites off the sentence as Whitby whirls; the snarling teeth of the chain saw keeping Dutton, Devon and others who approach at a distance. [WHITBY] Back off me!! Just back off Dutton! You got this and more coming! Whitby whirls from the group and attacks. AN ANTIQUE TABLE Sawdust fills the air as the saw slices the table in half. It caves inward. Trays of hors d' oeurves, glasses, bottles of champagne, tumble into the crevice. RESUME THE SCENE - ANOTHER ANGLE as Whitby spins from the table swinging the saw in a wide arc. [WHITBY] How does it feel, huh?! Don't like having things you care about destroyed, do you?!! He lunges at Dutton, Devon and others who approach. They flinch as Whitby turns and buries the chain saw in: THE PIANO as the saw slices deep into the keyboard. A weird cacophony of chords and the screech of metal against metal as the saw jams amidst the popping strings and becomes stuck. RESUME THE SCENE as Whitby fights to pull the saw free, Dutton, Devon and other guests grapple with him amidst cries of -- "I've got him! Get his other arm!" Whitby struggles; seethes as they subdue him. Dutton holds his glare for a beat, then swings a look to Devon who's shocked, concerned, and we: CUT TO EXT. HIGHWAY - DAY - K.I.T.T. - CONVERTIBLE MODE - TRAVELING We move in on a white Stetson that sits atop Michael's head. [K.I.T.T.] I'm glad that assignment is over, I've had my fill of pot holes. INSIDE K.I.T.T. [MICHAEL] Come on, New York's a fascinating town. Where else can you ride the subway one minute and a brahma bull the next? [K.I.T.T.] Michael -- while you were playing cowboy in Madison Square Garden, I was stuck listening to that parking attendant's life story. His accent was so thick I had to use my voice synthesizer to understand him. [MICHAEL] I rest my case. [K.I.T.T.] Well, speaking of oddballs -- don't you think it's time you took off that hat? [MICHAEL] No way, pal. I earned the right --- Michael groans; adjusts his seating position. [MICHAEL] (continuing) -- I've got more bruises than the Big Apple has bagels. Why is it bugging you? [K.I.T.T.] Well, after what you said to that cowgirl in the hip-hugger chaps --- [MICHAEL] It was a joke. I'm not getting a set of horns for a hood ornament. [K.I.T.T.] What about the palomino upholstery and six shooters for door handles? INTERCUT AS NEEDED - K.I.T.T.'S MONITOR as it chirps and Devon appears in his Foundation office. [DEVON] A horse shoe hanging from the rear- view mirror might be a nice touch. [MICHAEL] (laughs) Yo, Devon. What's up? [DEVON] Something I'd like you to look into. [MICHAEL] If it isn't a hot tub, I pass. [DEVON] I'm afraid logging country is the best I can do, Michael. Yesterday someone named Whitby, Erik Whitby vandalized Jonathan Dutton's home with a chain saw. I'm baffled as to why. Jonathan's the most decent man I know. One of those people who doesn't have an enemy in the world. [MICHAEL] He's also a big supporter of The Foundation, Devon. It might have something to do with one of our cases. [DEVON] Good thinking. I'll have Bonnie run a check. By the way, she's already transmitted technical logging data to Kitt. He'll brief you in transit. One other thing, Michael, Whitby's had a number of run-ins with local authorities. [MICHAEL] Are you sure they shouldn't be handling this. [DEVON] They have handled it, Michael. Whitby was arrested and charged. But you see I'm still --- [MICHAEL] I know where you're headed -- he's out on bail and you're worried he might go off the deep end again. [DEVON] Precisely. He was paroled this morning in the custody of his sister. I'd like you to keep an eye on him. [MICHAEL] While I'm at it, maybe I can find out what lit this guy Whitby's fuse. [DEVON] From what I've observed it's a very short one, Michael. Be careful. CUT TO EXT. HIGHWAY - DAY - VARIOUS SHOTS - K.I.T.T. - TRAVELING from downtown freeway to rolling countryside and into towering forests. EXT. WHITBY'S COTTAGE - DAY Erik Whitby is chopping wood in front of a modest but comfortable cabin surrounded by stands of trees. He pauses as K.I.T.T. pulls to a stop in the gravel drive. Michael gets out and crosses to Whitby. [MICHAEL] Morning -- are you Erik Whitby? [WHITBY] Depends on why you want him. [MICHAEL] I've got some questions that need answers. [WHITBY] You got a badge to back 'em? [MICHAEL] I'm not with the police. I just want to talk. [WHITBY] Then you must be working for Dutton. Hit the road -- or this'll do my talking. Whitby grabs a double-barrel shotgun that leans against the timber. Michael stands his ground; raises his arms slightly indicating he has no weapon. [MICHAEL] Set that aside and --- CLOSE ON THE SHOT GUN as one of the barrels fires. MICHAEL dives and rolls to cover behind a pile of logs. His Stetson flies off and is hit by the shotgun blast. [WHITBY] First barrel's a slug! Next one's bird shot! ANOTHER ANGLE as Whitby's pickup turns into the gravel drive and screeches to a stop. Ellen Whitby, twenty-eight, a fresh-scrubbed, earthy beauty, in jeans and tank top jumps out and hurries to Whitby. [ELLEN] Erik! What's going on here?! As she takes the shotgun, breaks it and removes the remaining shell, Michael eases out from behind the pile of logs. [WHITBY] Ask him. [ELLEN] Who are you, mister? [MICHAEL] Michael Knight. I'm with The Foundation for Law and Government. Your brother got creative with a chain saw and upset a lot of people. I'm worried about their safety. [WHITBY] I knew you were with Dutton! Well, mister, you tell him our parents spent their lives harvesting these trees! Now they're resting beneath 'em. Michael follows Whitby's look to see: TWO SMALL HEADSTONES side by side atop a little knoll beneath a towering pine tree. The name Whitby on both. [WHITBY] (continuing) They left us this land, and nothing, nothing's going to keep us from working it just like they did! [MICHAEL] That's still no reason to vandalize a man's home. According to local police, you have a habit of popping off when you don't get your way. Erik bristles. Ellen holds him back, a hand on his arm. [ELLEN] That was years ago, mister. He was just a kid. He's past all that, now. We're not bad people --- [WHITBY] (nods) If I wanted to hurt Dutton, I would have, believe me. I was just making a point that's all. [MICHAEL] I'd say you made it. Now, tell me what this is all about. [ELLEN] You really want to know? [MICHAEL] Didn't drive all the way up here just to get shot at. Ellen studies Michael a beat, deciding, and we: CUT TO INT. WHITBY'S COTTAGE - DAY - CLOSE ON COFFEE as it's poured into cups. We widen out to include Michael, Ellen and Whitby, settling around a table in the rustic kitchen. Ellen gestures out the window next to her --- [ELLEN] See that timber? It should have been sold and milled months ago. [WHITBY] (bitterly) Of course Dutton's mill is the only one around, but he won't buy it. [MICHAEL] Look, Dutton's an intelligent businessman. There has to be a good dollars and cents reason for that. [WHITBY] There is -- he can get all the timber he wants for half our price. [ELLEN] And the only way to do that is by operating illegally. [MICHAEL] Wait a minute. Logging is a regulated industry. As I understand it, each region has an inspector to prevent illegally cut timber from being sold to the mill. [ELLEN] Right. He's called the scaler. He works in the field; tickets each log to verify it hasn't been pirated. The mill can't accept one that doesn't have a ticket. [WHITBY] Yeah, and Dutton's found some way to get around him. [MICHAEL] Hold it. The only person here I know who's committed a crime is you. (beat) You put your temper on hold and I'll see if what you said is true. Michael stands to leave; takes his shotgun-ventilated Stetson from an adjacent chair; examines it a beat --- [MICHAEL] Either way, you owe me a hat. EXT. WHITBY'S CABIN - DAY as Michael exits and gets into K.I.T.T. [MICHAEL] Better button up, pal. No telling what we might run into. Michael hits a button on the console and --- K.I.T.T.'S T-TOP unfolds from the trunk and locks into place. CUT TO OMITTED EXT. COUNTRY ROAD - DAY - K.I.T.T. - TRAVELING between groves of towering pines. [K.I.T.T.] I'm a little puzzled, Michael. It appears you've signed a truce with the enemy. INSIDE K.I.T.T. [MICHAEL] It's a long shot but there's a chance the Whitby's are just a couple of hard-working people who're getting the short end of the stick. Michael pushes some buttons on his console. [MICHAEL] I need some information, pal. Run- down what saw mills are paying for raw lumber these days. Give me the national average. INTERCUT AS NEEDED - K.I.T.T.'S MONITOR as it comes to life and columns of figures assemble and a pulsing rectangle highlights $79.90 PER 100 BOARD FEET. [K.I.T.T.] It fluctuates, Michael. But at the moment it's seventy-nine dollars and ninety cents per hundred board feet. RESUME THE SCENE as Michael glances to the screen and reacts to the data. [MICHAEL] Okay, let's see if we can do worse. [K.I.T.T.] Worse? Did I hear you correctly? [MICHAEL] Sure did. For starters, I want to see if the mill is undercutting the going rate like the Whitby's claim. [K.I.T.T.] All right but it's rather obvious we aren't a lumberjack and his faithful mud-caked pickup. [MICHAEL] Way ahead of you, pal. I've already got an angle that'll cover it. [K.I.T.T.] You know I have to admit, I hope it turns out Whitby is innocent. I owe him a favor. [MICHAEL] (sensing the setup) Okay, pal, let me have it --- [K.I.T.T.] He forced you to take off that hat. Michael's laugh segues to the roar of: CUT TO EXT. MOUNTAIN LOGGING OPERATION - DAY - MONTAGE - STOCK A MASSIVE OFF LOADER The engine straining as the powerful jaws close around a giant log and loft it from a truck. EXT. SAW MILL - DAY A sign reads -- DUTTON INDUSTRIES HUMBOLDT MILL -- pan across as K.I.T.T. pulls to a stop. Michael gets out and crosses to: A LARGE BLACKBOARD on the wall of the mill where prices are chalked -- (approximately half the going rate determined earlier). Michael studies the figures, then crosses to the off loader that's unloading the truck. He shouts to the Operator. [MICHAEL] Excuse me? Can you tell me where I can find the scaler? The Operator nods; gestures behind the off loader. [OPERATOR] Right back there. His name's Gerry Nash. CLOSE ON THE ENDS OF LOGS a scaler's ticket stapled to each. We widen as Michael joins Gerry Nash, thirty-four, a lumberjack-type with a Deliverance mentality. An axe hangs next to a walkie- talkie on his belt. The off loader almost hits Nash as the jaws clamp onto another log. [NASH] (shouts to operator) Hey! Watch it!! That's five thousand horsepower worth of trouble you're jockeying!! [MICHAEL] Hi, name's Knight. Mike Knight -- White Wood Pulp and Paper. I under- stand you're the scaler in this region. [NASH] Right. Nash. Gerry Nash! Real busy right now! Gotta head out into the field. [MICHAEL] Well, this'll only take a sec. We're purchasing a lot of acreage in this area. And I'm checking out how much this mill pays for timber. [NASH] Don't look like the type who can't read -- prices are right over there. Nash gestures to the blackboard. [MICHAEL] I've seen 'em. If those numbers are for real, the people who run this place aren't buying timber they're stealing it. [NASH] You've got a lot to say for somebody new to this grove. Way I hear it, these loggers are getting a fair shake. [MICHAEL] Way I hear it, the only way to cut timber for those prices -- is to cut it illegally. The off loader lifts the last log from the truck and pulls away. [NASH] I hope that's not an accusation. 'Cause nobody's pirating any timber in my district and I wouldn't recommend anyone try -- (beat; pointedly) -- if that's where you're headed. [MICHAEL] No, sir. White Wood P&P's a stickler for regulations -- and we stick it to anybody who isn't. Especially if he happens to be the guy who supposed to be enforcing 'em. Michael burns him with a look, crosses to K.I.T.T., gets behind the wheel and takes off after the truck, and we: RESUME NASH eyeing K.I.T.T. following the truck. He pulls the walkie- talkie from its holster; clicks it on. [NASH] Dave? Come in Dave. Come in? Do you read? Over. INTERCUT ON ANOTHER WALKIE-TALKIE as Dave, twenty-eight, tall, sinewy, clicks it on and we widen out to reveal he's standing in a grove that's been clear cut; not a tree standing. [DAVE] Loud and clear, over. [NASH] A guy in a black T-top been asking some hard questions. He just followed one of your trucks outta here. He's headed your way. [DAVE] You saying he didn't buy a round trip ticket, Gerry? [NASH] You got the idea. Nash clicks off and we: CUT TO EXT. FOREST ROAD - DAY as the logging truck from the mill barrels through the turns in the narrow, twisting road. We hold and pan back to pick up K.I.T.T. coming through the same turns. [K.I.T.T.] How did you make out at the mill, Michael? INSIDE K.I.T.T. [MICHAEL] The Whitby's story held up, pal. I figure Dutton's paying half what the timber is worth. [K.I.T.T.] Where are we going now? [MICHAEL] Wherever that truck's going. OMITTED K.I.T.T. T-TOP MODE - FROM ABOVE as he moves along the winding ribbon that cuts through the forest and begins to climb a steep grade. We pull back to include Dave observing from above the road. He waves, signaling to: ANOTHER LOGGING TRUCK parked off the road at the top of the grade. Phil is behind the wheel. He returns the high-sign, as the truck Michael and K.I.T.T. are following passes him going in the opposite direction. Phil starts his truck and pulls onto the narrow road, picking up speed. The truck is going right at K.I.T.T. OMITTED INSIDE K.I.T.T. as Michael sees the truck rocket into view. [K.I.T.T.] Michael, that truck's coming at us head on! [MICHAEL] Let's micro-lock the brakes, pal! [K.I.T.T.] He's too close! There isn't enough time! MICHAEL'S POINT OF VIEW THROUGH WINDSHIELD The massive grille of the truck coming at K.I.T.T. head on. We hold a beat and then: FREEZE FRAME FADE OUT END OF ACT ONE ACT TWO FADE IN EXT. FOREST ROAD - DAY - CONTINUOUS as the truck and K.I.T.T. rocket toward a head-on collision. INSIDE K.I.T.T. [MICHAEL] We'll have to turbo boost over him, pal! [K.I.T.T.] He's too close for that too! There's not enough room! [MICHAEL] Then we'll have to make the most of what we've got! Michael whips the wheel; tromps on the accelerator. K.I.T.T. makes a swerving maneuver up the sloping shoulder; the edge of the road. And a sheer drop-off inches away from his tires. ANOTHER ANGLE - HEAD ON as K.I.T.T. rockets past the onrushing truck; barely a sliver of daylight between them. The truck keeps going. As K.I.T.T. comes down off the shoulder and spins out across the road --- [K.I.T.T.] That was a close one, Michael! OMITTED K.I.T.T.'S FRONT TIRE hits a log at the edge of the road. It spins beneath K.I.T.T. and smacks hard into his undercarriage. INSIDE K.I.T.T. [MICHAEL] Sure was. Hey?! What was that? [K.I.T.T.] We hit a rock. It must have bounced up and hit me in the --- As they accelerate away, K.I.T.T.'s voice is interrupted by an electronic screech that garbles a few words, then --- [K.I.T.T.] Like I was sayin', Mickey. I just took a helluva shot right between the eyes. [MICHAEL] (a little take) What's wrong with your voice pal? The impact must have damaged your communications module. You sound just like a disgruntled Bronx cabbie. [K.I.T.T.] A Bronx cabbie? Come on, stop putting me on, Mickey. I --- The car hits a bump. The electronic screech interrupts K.I.T.T. [K.I.T.T.] Oh, dear, my CPU automatically stored all the words I had to 'translate' while talking with that parking attendant in New York -- the vocal boards in my synthesizer must have loosened and retro-activated. [MICHAEL] Makes sense, you returned to normal when we hit that bump. I think you better keep your scanners peeled for the next one -- and make sure you don't hit it. CUT TO EXT. WHITBY'S COTTAGE - DAY Erik is getting into the pickup. Ellen comes from the cottage and calls after him. [ELLEN] Where you headed? [WHITBY] (evasively) Nowhere special. Just feel like getting out for a while. [ELLEN] (knowing better) Last time you said that you ended up at Dutton's party. [WHITBY] (smiles; arms splayed) No chain saw -- I just want to see if this guy Knight's on the level. [ELLEN] Give him some time. He seemed sincere. Something about him -- a good feeling. I --- [WHITBY] Sure you don't mean good-looking? [ELLEN] That was uncalled for and you know it. [WHITBY] Okay, I'm sorry. I'm just not as sure of him as you are. You heard what he said, Ellen -- he's here 'cause Dutton sent him here. (off her look) Look, I won't do anything stupid. Just gonna check him out. They hold a look for a beat and we --- CUT TO EXT. SAW MILL - DAY as Michael roars up in K.I.T.T. and screeches to a stop next to Nash, who's supervising the unloading of another truckload of logs. As Michael gets out --- [MICHAEL] Nash?! Just the guy I want to see. (beat) I was a couple of miles up that road when a truck came out of nowhere. Almost had a head-on. [NASH] Yeah, well these logging runs aren't the Hollywood freeway. What's it got to do with me? [MICHAEL] Truck was headed here. Thought maybe you saw it. [NASH] I see lots of 'em. What were you doing up there anyway? [MICHAEL] Checking out acreage for my company. [NASH] No land for sale up there. You were headed in the wrong direction. [MICHAEL] Funny, but the more I talk to you, the more I know I'm right on target. Michael burns him with a look. The tension is broken by Samantha Dutton's Mercedes that pulls up in front of the mill. Nash moves off as Samantha, wearing expensive designer clothes inspired by wilderness gear gets out carrying a bulging briefcase and crosses toward Michael. [SAMANTHA] Mr. Knight? (off Michael's reaction) Three years ago? At Foundation Headquarters. I'm Sam Dutton. Michael glances from Sam to the briefcase and back. [MICHAEL] Hello -- I remember a shy, young woman who'd curl up with a good book over a balance sheet any day. And it's Michael. [SAMANTHA] Well, Michael, Daddy's little girl grew up and became Daddy's right hand man. A busy one. Mind if we talk on the way to my office? ANOTHER ANGLE Follow Michael and Samantha as she leads the way through the mill yard. [SAMANTHA] I've been looking forward to meeting you again. I didn't expect it'd be here. [MICHAEL] Neither did I -- until Devon asked me to look into an incident at your father's last night. [SAMANTHA] Yes, I know. What I meant was, he told me you'd be keeping an eye on the Whitby's. [MICHAEL] I had a talk with them. I don't think they're out to hurt anyone. [SAMANTHA] (cooling) Really. Then what prompted the remodeling job on Dad's house? [MICHAEL] Frustration. The Whitby's claim they can't get a fair price for their timber because somebody's underselling them -- and they're right. Samantha stops walking; turns to Michael, angrily for --- [SAMANTHA] Michael, if someone wants to cut timber and give it to us for nothing that's their business. Not the Whitby's. Not yours. [MICHAEL] But it's your's to make sure it's been cut legally before you buy it. Samantha bristles; whirls to a stack of logs next to her; yanks a scalers ticket from the end of a log and slaps it in Michael's hand. [SAMANTHA] These guarantee it. [MICHAEL] Not if there's a fox guarding the chicken coop, they don't. [SAMANTHA] Which means? [MICHAEL] If my guess is right, somebody's pirating timber and Nash slaps these tickets on it. This stops her. As she reacts, we go to: ANOTHER ANGLE as Whitby's pickup drives past the mill and slows when Whitby sees Samantha and Michael. He observes the following from a distance. RESUME THE SCENE as Samantha shakes no in disagreement. [SAMANTHA] I'm a businesswoman, Michael. I can't afford to guess, I have to know. I've been dealing with Nash for over a year and I can tell you you're wrong. [MICHAEL] You keep this between us and I'll prove I'm not. Deal? Michael extends a hand. Samantha studies him a beat; eases; reaches out and shakes it. In the b.g., Whitby slams the truck in gear and angrily drives off, unnoticed by Michael or Samantha. [SAMANTHA] (grudgingly) Deal. (beat) Now, I've got a lot of work to do. [MICHAEL] (off scaler's ticket) That makes two of us. Michael watches her go, then crosses to K.I.T.T. OMITTED INSIDE K.I.T.T. as Michael gets in, places the ticket in K.I.T.T.'s analyzer tray, slides it closed and hits some buttons. [MICHAEL] Analyze this, Kitt. I want to know where this tree grew up. [K.I.T.T.] That's an easy one, Michael. It's a simple binary code. INTERCUT AS NEEDED - K.I.T.T.'S MONITOR as the ticket's numerical data is transformed into words. [K.I.T.T.] According to the ticket, the log was cut from the Castleberry Grove. That's a legal cutting area according to the data Bonnie gave me. [MICHAEL] Okay, now get a picture of the ring pattern of the same log -- the one without a ticket. ON K.I.T.T'S SCANNER as it pulses, scanning. K.I.T.T.'S POINT OF VIEW - THE CUT END OF A LOG The same one that Samantha removed the ticket from. As we move in very close on the distinctive pattern of the rings: [K.I.T.T.] Got it, Michael. RESUME INSIDE K.I.T.T. [MICHAEL] Let's get out of here. Michael slams K.I.T.T. in gear and drives out of the mill. As they head down a tree-lined road --- [MICHAEL] Okay, pal. I'm betting that log wasn't cut from the Castleberry Grove. Analyze the ring pattern. Tell me everything you can about it. If I'm right, it won't match the ticket. INTERCUT AS NEEDED - K.I.T.T.'S MONITOR A diagramatic of the logs rings highlighted by a rippling effect from the center to the outermost rings as K.I.T.T. analyzes. [K.I.T.T.] The specimen is a forty-seven-year-old Pinus Ponderosa. It survived a flood as a sapling, a harsh winter in its fifteenth year, a forest fire in its forty-second and --- [MICHAEL] (interrupting) Hold it. Hold it. That forest fire was five years ago. When was the last fire in the Castleberry Grove? The graphics on K.I.T.T.'s monitor changes into a high speed data search, then suddenly: [K.I.T.T.] July, 1964, Michael. [MICHAEL] That's over twenty years ago. That log couldn't have come from the Castleberry Grove. That ticket was forged. Michael accelerates. The car hits a bump as it swings through a turn. We hear the electronic screech before --- [K.I.T.T.] Hey, Mickey? You mind tellin' me where we're goin'? [MICHAEL] (can't believe it) Oh, no...Bonnie's got to fix your vocal boards first chance we get. If you don't drive me crazy first, we're going to the Whitby's to give them the good news. [K.I.T.T.] Betcha they're gonna be happier than a couple of cab drivers at a demolition derby. Anything else I could do for ya? [MICHAEL] If that tree wasn't from the Castleberry Grove, where was it from? See what you can come up with. Okay? [K.I.T.T.] Mickey -- for you, da moon, you know that. [MICHAEL] Kitt -- Get me the moon, get me the data, get me anything you like -- just do it without talking, please? CUT TO EXT. WHITBY RANCH - DAY - CLOSE ON AN AXE as it cuts into a log, chips flying. Widen to reveal Ellen swinging the axe as Whitby's pickup screeches to a stop in the drive. He jumps out, angrily slams the door. [ELLEN] What's wrong, Erik? [WHITBY] You can take all those good feelings and forget about 'em! Knight's not helping us. He's working with the Dutton's. During the following exchange, we move with Ellen and Whitby as he crosses and grabs a chain saw that leans against the timber and moves back to the pickup. [ELLEN] What? Erik? What are you doing? [WHITBY] Turning that mill into a pile of kindling. [ELLEN] That's not the answer. [WHITBY] If they won't mill our timber, they aren't milling anybody's. Hurt 'em in the pocketbook -- they'll start seeing this our way. [ELLEN] You're only going to hurt yourself. (beat) Erik, you're my brother. You're more important to me than the timber, the business. If you get arrested again -- Don't do this, please? Please! ANOTHER ANGLE K.I.T.T. pulls into the drive behind the pickup as Whitby pulls away from Ellen and tosses the chain saw into the pickup. She crosses to Michael as he gets out of K.I.T.T. [ELLEN] Michael -- he's going to try and shut down the mill. Maybe you can talk some sense into him. [MICHAEL] Somebody better. He has his sights set on the wrong target. Whitby pushes Michael aside and moves to the door of the pickup. Michael grabs his arm, stopping him. [MICHAEL] You oughta hear me out. Whitby whirls and throws a punch at Michael. He catches Whitby's wrist; snaps his arm up behind his back in a hammer lock and slams him up against the side of the pickup. [MICHAEL] I said you oughta hear me out. And if that doesn't stop you -- I will. Whitby gets the message; eases; nods. Michael releases his grip on him. [MICHAEL] I was right. Nash is a thief. He's putting scaler's tickets on stolen timber. [WHITBY] (challenging) And you've got proof of that --- [MICHAEL] No -- but I know where to get it. Whitby swings a skeptical look to Ellen, then back to Michael, and we: CUT TO CLOSE ON A MAP as Whitby unfolds it on the tailgate of the pickup. Widen to include Whitby, Ellen and Michael. Michael studies it for a beat before circling an area with a marker. [MICHAEL] Right there. [ELLEN] That's a national park. They're cutting on federal land? [WHITBY] You're crazy. Makes no sense pirating in those areas. They're policed by rangers. [MICHAEL] Who have millions of acres to cover. They could patrol for years and never catch Nash in the act and you know it. I'm getting tired of you biting the hand that's trying to feed you. Michael punctuates his comments with a look; holds it. Whitby thinks; decides and nods. [WHITBY] What's your next move? [MICHAEL] (indicating map) Get in there and get evidence to make those pirates walk the plank. [WHITBY] That's high ground. They'll spot you before you get near the grove. [MICHAEL] You know this country. There must be a back road I can take. On Whitby's smile we --- CUT TO EXT. DIRT ROAD - DAY K.I.T.T. bounces along the overgrown road that snakes between the trees. [K.I.T.T.] Back road? This isn't even a cowpath. INSIDE K.I.T.T. Michael being jostled; trying to find a comfortable position. [MICHAEL] Tell me about it. Bull riding was easier. I'm getting bruises on top of my bruises. K.I.T.T. hits a huge bump. Michael lurches in his seat. We hear the electronic screech as K.I.T.T.'s voice changes. Michael is at his wits end. He reaches to his console and shuts off K.I.T.T.'s voice modulator, inter- rupting him. [K.I.T.T.] Mickey, ya gotta --- [MICHAEL] Sorry about that, pal. You've always been a scintillating conversation- alist. But until Bonnie can do her stuff, I'm forced to restrict your scintillation to official business. RESUME DIRT ROAD that becomes more and more overgrown as K.I.T.T. comes through a turn and stops in a grove of trees. ANOTHER ANGLE as Michael maneuvers K.I.T.T. between some of the big trees to the crest of a ridge, stops K.I.T.T. and gets out. MICHAEL'S POINT OF VIEW of a large grove being clear-cut by a crew of timber pirates. INSIDE K.I.T.T. [MICHAEL] Kitt, you see what I see? [K.I.T.T.] I certainly do, Michael. [MICHAEL] Crank up your zoom lens and fire away. I'm going in for a closer look. Keep your scanners peeled --- As Michael gets out and moves off, we hear chain saws and heavy equipment. K.I.T.T.'S SCANNER pulses faster and starts scanning. K.I.T.T.'S MONITOR - 35MM VIEWFINDER MATTE as K.I.T.T. zooms, focuses and rapid shoots photos of: An axe -- biting into a trunk; wood chips flying. A chain saw -- making the final cut. A huge tree -- as it shudders and falls. A offloader -- loading logs onto the trucks. Gerry Nash -- stapling scaler's tickets to the logs. INTERCUT MICHAEL as Michael moves between the trees, observing. [MICHAEL] Make sure you get a mug shot of Nash stapling those tickets. A warning light flashes on the console. [K.I.T.T.] I got it, Michael, but we better get moving, my scanners just picked up someone in the area. [MICHAEL] Hang in there, I'm on my way. Michael makes his way between the trees back to K.I.T.T., gets in and drives off. OMITTED ANOTHER ANGLE as Dave and Phil arrive on the run as K.I.T.T. pulls away. Dave gestures to the departing T-top. [DAVE] Come on, we can cut him off! They take off running between the trees. OMITTED ON WOODEN STAKES that hold the logs in place, as the two men use the back side of the axes to knock the stakes loose. The logs start rolling. THE SCENE K.I.T.T. comes through a turn and the logs tumble down the hillside with a deafening roar toward K.I.T.T. below. INSIDE K.I.T.T. as Michael reacts to the sound. [MICHAEL] I hear it, but I don't see it, Kitt. [K.I.T.T.] A logslide, Michael! Directly above us. We'll never get out of the way in time! Michael whips the steering wheel to avoid the first log that bounces down onto the road in front of K.I.T.T. [MICHAEL] Then we go around 'em! THE SCENE - WIDE as K.I.T.T. is clobbered by the logs that fall from directly overhead. The dust settles revealing a mountain of logs, that completely buries K.I.T.T. A long beat before we hear --- [K.I.T.T.] Hey, who turned out the lights? FREEZE FRAME FADE OUT END OF ACT TWO ACT THREE FADE IN EXT. MOUNTAIN OF TIMBER - DAY - CONTINUOUS As we fade in we faintly hear --- [K.I.T.T.] Michael? INSIDE K.I.T.T. Tiny beams of light project through spaces between the logs. [K.I.T.T.] Michael, remember that old saying about makin' a silk purse our of a sow's ear? [MICHAEL] Kitt -- first you talk with a New York accent, now you're talking in riddles. If you have something to say, say it straight out. [K.I.T.T.] It just occurred to me, there's enough lumber on top of us to make 10,658 hot tubs. [MICHAEL] If you mean we're in hot water up to our eyeballs, you're right. Now talk to me about turning it into a pile of toothpicks. [K.I.T.T.] I'm sorry, but turbo boosting isn't one of our options at the moment! [MICHAEL] Why not?! We have enough power. Get your turbo up to maximum thrust and blast us out of here. [K.I.T.T.] You're absolutely right, Michael. But I'm afraid we're trapped. The logs have interlocked around us like a giant cage, which will move along with us. [MICHAEL] Then we shake things up a little, first. Michael pushes some buttons. ON K.I.T.T.'S CONSOLE as the hydraulic lift graphic illuminates. ON K.I.T.T.'S HYDRAULIC JACK as it lowers to ground. RESUME INSIDE K.I.T.T. as Michael pushes more buttons. The car starts moving up and down repeatedly. THE MOUNTAIN OF TIMBER shudders; starts vibrating; moving up and down causing logs to loosen and tumble free. [K.I.T.T.] I think that did it, Michael. RESUME INSIDE K.I.T.T. Michael pushes some buttons. [MICHAEL] Okay let 'er rip --- K.I.T.T.'S CONSOLE as the turbo boost graphics illuminate. MICHAEL is snapped back into the seat. THE MOUNTAIN OF TIMBER suddenly erupts in an explosion of logs, splinters and wood chips. ANOTHER ANGLE - SLOW MOTION as the explosion of logs continues and K.I.T.T. emerges into view amidst the debris that fills the air. ANOTHER ANGLE as K.I.T.T. sails through the air, lands hard on the dirt road and takes off at high speed. INSIDE K.I.T.T. [MICHAEL] Way to go, pal! Now let's get out of here. They're pirating the timber. That's how they can sell it for half price. [K.I.T.T.] Yeah, we've got enough evidence to nail Nash and those palookas but good. [MICHAEL] Not so fast. That's twice they were waiting for us. Somebody has to be tipping them. I'm not moving on Nash until I find out who. Get me Devon. (beat) His voice will be music to my ears. Michael pushes some buttons on his console. [K.I.T.T.] Hey, gimme a break will ya? I don't like this any more than you do, Mickey, it's the pits. K.I.T.T.'s monitor chirps. K.I.T.T.'S MONITOR - INTERCUT AS NEEDED to see Devon in his Foundation office. [DEVON] (distastefully; cringing) 'Mickey? The pits?' Michael, it sounds like you drove to logging country via the Brooklyn Bridge. [MICHAEL] I'm ready to jump off a bridge. He's driving me crazy. (beat) Two things, Devon. First anything on that check of Whitby yet? [DEVON] Yes, I was about to report he has no connection to Foundation cases. His actions must be related directly to the Duttons. [MICHAEL] They sure are. It's a business matter. Whitby's not getting a fair shake from their saw mill. Which brings me to item two. I want you to set up a meeting with Jonathan and Sam for me to discuss it. [DEVON] I'm not sure that's a good idea, Michael. Jonathan is quite upset you've been getting involved in his business instead of dealing with Whitby. [MICHAEL] You said to find out what's going on not support an assumption. And that's what I'm trying to do -- But somebody on the inside's working against me. I've got to rattle some cages and find out who. [DEVON] Well Jonathan doesn't rattle easily. As they say, he's the coolest customer I know. CUT TO INT. MANSION - DAY - CLOSE ON JONATHAN [JONATHAN] Pirated timber?!! That's absurd!! Pull back to reveal Devon and Michael and Samantha gathered around Dutton in a warm-up suit working out on an exercycle. He's infuriated by what Michael has told him. [JONATHAN] (continuing) You don't know what you're talking about Mr. Knight. Dutton Industries follows every Federal regulation to the letter. [SAMANTHA] That's right. Our records are an open book Michael. There's a scaler's ticket for every log we mill. I'll be more than --- [MICHAEL] (interrupting) Those tickets are forged. Look -- (hands out photos) Nash is certifying stolen timber. That's why the Whitbys can't compete. Dutton examines the photographs disdainfully as he pedals; brandishes them at Devon --- [JONATHAN] Are you telling me The Foundation is supporting Whitby?! The man who barged in here and destroyed priceless antiques with a chain saw?! [MICHAEL] The man was desperate. He and his sister are decent people trying to scratch a living out of their land. They're the victims here. [JONATHAN] You're putting the well-being of a couple of misfits before that of my employees! What about them?! There are 2,300 jobs at stake here! Devon, I want this assignment dropped. [MICHAEL] Not a chance, Devon. This leads right to his door. He and Sam are going to have to deal with it. [JONATHAN] I built this business from scratch to use your word Mr. Knight -- I'll decide what I deal with! Dutton gets off the exercycle; shoves the photos into Michael's hands and heads for the doors that lead outside. Michael is about to go after him when Devon holds him back; settles him with --- [DEVON] Easy, Michael. Let me try --- EXT. MANSION TERRACE - DAY - CONTINUOUS as Dutton explodes onto the terrace, the group following led by Devon, who catches up to Dutton for --- [DEVON] Michael's right Jonathan. It's time to face facts -- Your mill has been purchasing stolen timber. [JONATHAN] Just whose side are you on, Devon?! [DEVON] As always, the side of truth. [SAMANTHA] Don't get so upset, Daddy. I have to admit, I probably should have --- [JONATHAN] (interrupting) Don't admit anything. The media gets hold of this, you'll be tried and convicted before you know it. [DEVON] The innocent have nothing to fear from Foundation activities, Jonathan. You know that. [MICHAEL] But those who are involved do, Mr. Dutton. That's a promise. Michael and Dutton hold a look. A beat before Michael turns and leaves. Devon nods to Jonathan and follows and we go to: ANOTHER ANGLE as Jonathan softens; puts a consoling arm around Samantha. We follow as they go down a staircase from the terrace to the grounds. [JONATHAN] You okay, princess? [SAMANTHA] I guess so Daddy. I'm sorry about this. Maybe, I didn't ask all the questions I should have. Maybe I was too anxious to turn it around for you -- but I didn't break any rules. I didn't do anything illegal. [JONATHAN] I know you didn't. If Nash has taken advantage of us, I'll deal with him in my own way. [SAMANTHA] Daddy, you've got enough to do. Let me handle it, please? I'm the one they used. I'm responsible for this. Give me a chance to clean it up. [JONATHAN] It's a little late for that, Sam. Frankly, any other manager would be on his way out the door -- but I can't fire the future Chairman of the board now can I? Dutton smiles paternally. Samantha smiles, relieved. He kisses her on the forehead, and we: CUT TO EXT. MANSION ENTRANCE - DAY as Michael and Devon cross toward K.I.T.T. Devon's limo and Samantha's Mercedes also parked in the drive. [MICHAEL] Devon, I hope you're not going to ask me to drop this case -- because I won't. [DEVON] You know better than that Michael. My sole concern is a man's good name and reputation. [MICHAEL] This won't be the first time a big company tried to swat one of the little guys -- and got caught. [DEVON] (nods grimly) Just be certain -- beyond any doubt -- before you take action that might injure Jonathan. [MICHAEL] You have my word Devon. The two men hold a look and we: CUT TO EXT. SAW MILL - DAY - ON GERRY NASH the huge off loader moving logs in the b.g. [NASH] Easy, take it easy will you? ANOTHER ANGLE as Samantha whirls angrily to face Nash. [SAMANTHA] Take it easy? Michael Knight is going to bring this whole thing down on top of us. [NASH] Knight? We buried him under enough timber to build a city. [SAMANTHA] That wasn't his ghost who just had a meeting with my father. We've got to get rid of him. He went to Whitby's place from the estate. You can get the three of them off our backs if you move fast. [NASH] What about your old man. He gonna just let it go? [SAMANTHA] I've handled him for the last year haven't I? I've got this thing where I want it and nothing's going to ruin it. Not even him. You do your job and I'll do mine. She punctuates her reply with a cold look. Nash turns to go. [SAMANTHA] Nash? No slip-ups this time. I want Michael Knight out of my way for good. Nash nods forebodingly and we: CUT TO EXT. WHITBY'S RANCH - DAY K.I.T.T. and the Whitby's pickup parked in the gravel drive. INT. WHITBY'S HOUSE - KITCHEN - DAY as Michael, Ellen and Whitby review the photographs K.I.T.T. took of the pirating operation. [ELLEN] Michael, these are fantastic. [WHITBY] Yeah, we can use them to put Nash out of business and get ours back on its feet. [MICHAEL] (nods emphatically) There'll be no timber to pirate where he's going. Now, I want you to get these to the authorities. Nash is mine. [ELLEN] I don't know how to thank you, Michael. You're --- She is interrupted by the screech of tires, and --- [K.I.T.T.] Michael! Michael, there's a pickup circling the house. [MICHAEL] (comlink) On my way, pal, thanks. Whitby grabs his shotgun. Michael holds him back. [MICHAEL] I'll handle it. You stay with Ellen. Whitby eases and nods. Michael heads for the door --- EXT. WHITBY'S HOUSE - DAY as Nash speeds past the house in a pickup. OMITTED THE FRONT DOOR OF THE HOUSE swings open and Michael appears at the very instant. NASH tosses a fire bomb at the house. [NASH] You oughtta be more careful, Knight. You just started a forest fire! THE FRONT DOOR A loud whoosh, as the bomb lands and explodes, in roaring flames. ON MICHAEL He's driven back, slamming the door. RESUME INSIDE THE HOUSE as Michael rejoins Ellen and Whitby. [MICHAEL] Nash -- That's three times. [WHITBY] Yeah, every time you make a move he's all over you. [MICHAEL] Sam Dutton -- (off reactions) She's the only one who could be tipping him. There another way out of here?! [WHITBY] In there! Whitby points to a hallway. As they cross toward it, Ellen screams as they pass --- AN OPEN WINDOW As billowing smoke shoots up to and across the ceiling. MICHAEL grabs Ellen; pulls her aside as the smoke billows around them. He shepherds Ellen down the hallway after Whitby to: ANOTHER DOOR as Whitby pulls it open and a wall of black smoke explodes in their faces. Michael and Whitby work together to get the door closed. [ELLEN] We're trapped! They turn back. THEIR POINT OF VIEW - THE ROOM smoke seeping in every window; pouring into every opening and billowing overhead. MICHAEL, ELLEN AND WHITBY engulfed in smoke and bathed in the flickering orange glow of the flames. We hold a beat and then we: FREEZE FRAME FADE OUT END OF ACT THREE ACT FOUR FADE IN EXT. WHITBY'S HOUSE - FRONT DOOR - DAY K.I.T.T. in front of the house; the area where the fire bomb landed engulfed in flames. INT. WHITBY'S HOUSE - DAY Michael, Ellen and Whitby surrounded by thick smoke. [MICHAEL] (comlink) We're trapped! We can get to the rear porch but we need you to open the door for us! [K.I.T.T.] I understand, Michael. On my way. RESUME K.I.T.T. He starts his engine; builds power for a beat and peels out heading for the house. OMITTED THE REAR PORCH OF THE HOUSE as K.I.T.T. approaches at high speed and slams into the porch knocking it off the house. He makes a diving stop adjacent to the door and below it. ANOTHER ANGLE as Michael, Ellen and Whitby appear in the escape opening from inside the house. ANOTHER ANGLE - K.I.T.T.'S T-TOP as it automatically pops open. INSIDE K.I.T.T. smoke outside all of K.I.T.T.'s windows as the trio climbs in through the open T-top. [WHITBY] (incredulous) Nobody's in there. [ELLEN] Yeah, there's no driver. I don't understand. [MICHAEL] He's here. You just can't see him. As Michael settles behind the wheel and slams K.I.T.T. in gear: [MICHAEL] Thanks, we were just about to become three crispy critters. K.I.T.T. engulfed in smoke, peels out and rockets away from the house. OMITTED ANOTHER ANGLE Drives a distance away from the house and stops. Michael, Whitby and Ellen get out and look back as --- [MICHAEL] Okay pal, hit the CO-2. THEIR POINT OF VIEW - WHITBY'S HOUSE smoke billowing as K.I.T.T. drives up to the source of the fire. Suddenly, his fire extinguishers blast the area, putting out the fire. RESUME MICHAEL, WHITBY AND ELLEN Whitby and Ellen are overcome by a sense of hopelessness. [ELLEN] (down) They're just going to keep on coming at us, aren't they? [WHITBY] (bitterly angry) Yeah, they're beating us; beating us at every turn. [MICHAEL] You don't strike me as quitters. It's not over if you don't want it to be. [ELLEN] I'm not even sure what I'm fighting for, anymore. [MICHAEL] How about your parents? You said they left you this land. [ELLEN] (nods sadly) They loved it. It was their whole life. [MICHAEL] Something tells me they wanted it to be yours too; wanted you to keep what they'd started alive and have an easier time of it than they did. (beat) Now you're going to walk away? Let Sam Hutton and Nash take over? Ellen and her brother exchange looks, as the impact of Michael's words hit home. [MICHAEL] I didn't think so. [WHITBY] You know it. Nothing I'd like better than to help put them where they belong. [MICHAEL] I was counting on it. The Whitbys brighten, and move into a conspiratorial huddle with Michael, and we: CUT TO OMITTED EXT. SAW MILL - DAY Samantha is supervising as a off loader unloads logs from a truck. Nash's pickup pulls to a stop next to her. Nash, Phil and Dave pile out. ANOTHER ANGLE as they move aside with Samantha. [SAMANTHA] Is it done? [NASH] Well done. A little forest fire just came out of nowhere and blew right through Whitby's place. [SAMANTHA] Good. Then it's business as usual. [DAVE] Yeah, we won't have Knight gettin' in the way anymore, either. [SAMANTHA] Then start cutting timber, we've got a lot of orders to --- She is interrupted by the screech of tires as: K.I.T.T. screams through a turn and approaches the saw mill at high speed. THE SCENE as Samantha, Nash, Dave and Phil react. [SAMANTHA] I thought he was dead? [DAVE] He is dead! [NASH] He's gotta be! No way anybody got out of that blaze alive! They scramble as K.I.T.T. swerves off the road; comes right at them; and nose dives to a fast stop. Michael jumps out. [SAMANTHA] Get him! Get him, don't just stand there!!! [MICHAEL] That one's your's pal! K.I.T.T. takes off after Phil who's running away. ANOTHER ANGLE Dave comes at Michael. He sidesteps, grabs Dave's arm and uses his momentum to flip him. Dave gets to his feet. He grabs an axe from a pile of logs and gets ready for Michael who approaches. As they circle warily, we go to: OMITTED ANOTHER ANGLE Phil is being pursued by K.I.T.T. He hears the roar of the engine; turns; freezes as K.I.T.T. comes right at him; slams on the brakes and pins Phil against a pile of logs. He struggles to get free but to no avail. RESUME MICHAEL AND DAVE as Dave lunges at Michael and swings the axe. Michael dives beneath the blade, knocking Dave to the ground. Dave gets to his feet first; rears back and brings the axe down toward: MICHAEL as he rolls at the last instant. The axe buries in the ground where Michael would have been. THE SCENE Dave runs. Michael scrambles to his feet and goes after him. Dave jumps into his pickup and takes off. MICHAEL puts on the brakes and reverses direction. As Michael makes a beeline for K.I.T.T.: THE HUGE LOG OFF LOADER roars to life, Nash at the controls --- K.I.T.T. still has Phil pinned against the pile of logs. He's struggling to get free as Michael arrives. [MICHAEL] Timberrrr! Michael puts him out with a short hard right and gets: INSIDE K.I.T.T. as Michael jumps behind the wheel and starts the engine. [K.I.T.T.] Expertly felled, Michael. [MICHAEL] Thanks for baby-sitting him. Now let's get that pickup. But as Michael slams K.I.T.T. into reverse --- THE OFF LOADER roars in behind K.I.T.T. The jaws poised to strike. [K.I.T.T.] We have a problem, Michael! INTERCUT NASH in the cab of the off loader, operating the controls. THE HUGE JAWS OF THE OFF LOADER are about to clamp around K.I.T.T. like he was a log; just inches from his surface. [MICHAEL] We've got to get loose, Kitt! Michael floors the accelerator. K.I.T.T. explodes forward just as the steel jaws clamp shut, narrowly missing him. THE SCENE K.I.T.T. swings around. The off loader lifts a massive log; tries to drop it on K.I.T.T. It misses, but traps him behind it. K.I.T.T. does a circling 180 to get around it. A cat and mouse battle (to be choreographed) between K.I.T.T. and the off loader follows. CUT TO A ROAD Dave's pickup is barreling along at high speed. He comes through a sharp curve and sees: A ROADBLOCK Ellen, Whitby and some other loggers man two pickup trucks that block the road. Dave's pickup does a 180, careens out of control and stalls at the side of the road. Whitby jumps into his pickup and pulls in front of Dave's so he can't escape. DAVE throws open the door and freezes, looking down the barrels of Whitby's shotgun. [WHITBY] Right there. Or you go down like a sapling. And we: CUT TO RESUME SAW MILL The battle between K.I.T.T. and the off loader continues. K.I.T.T. is getting the upper hand, maneuvering the off loader to the edge of a slope. OMITTED ANOTHER ANGLE - SAMANTHA sees Nash and the off loader have almost had it. She dashes to her Mercedes and takes off down the road at high speed. INSIDE K.I.T.T. [MICHAEL (O.S.)] (reacting) Sam's getting away, pal! We've got to finish this guy fast! Michael hits buttons on his console. The eject graphics illuminate. K.I.T.T.'S T-TOP as it pops open and Michael ejects from behind the wheel. MICHAEL sails through the air and lands on the off loader. He puts Nash away with two fast punches that knock him out of the off loader onto the ground. Michael shuts off the engine, jumps down and runs to K.I.T.T. ANOTHER ANGLE as Michael gets into K.I.T.T. and accelerates, fishtailing onto the road after Samantha's Mercedes that's already out of sight. CUT TO EXT. ROAD - DAY as Samantha's Mercedes comes through a turn at high speed and approaches: THE ROADBLOCK as Ellen, Whitby and a group of loggers are wrapping up Dave and his pickup. They move onto the road to stop Samantha. The Mercedes comes right at them. SAMANTHA tromps on the accelerator. THE SCENE as the Mercedes barrels toward them. [ELLEN] She's not gonna stop! Ellen and the loggers dive to safety as the Mercedes blasts past on the side of the road that had been blocked by Whitby's pickup, and keeps on going. Whitby runs into the middle of the road and fires his shotgun at the fleeing car. CUT TO OMITTED INSIDE K.I.T.T. - TRAVELING at high speed on the same road. [K.I.T.T.] It looks like she's heading for home, Michael. [MICHAEL] We've got some catching up to do, pal. Give me all the pursuit power you've got. Michael pushes some buttons; is snapped back in his seat. K.I.T.T. - PURSUIT MODE as K.I.T.T. transforms -- nose elongating; rear spoilers deploying, etc. and -- takes off at full pursuit speed. INTERCUT - K.I.T.T.'S SPEEDOMETER rapidly approaching and exceeding 400 mph. OMITTED ANOTHER ANGLE - ROAD as K.I.T.T. explodes out of a turn and maneuvers between the pickups after the Mercedes. [MICHAEL] Notify the police, pal. Have them meet us at the Dutton estate. ELLEN AND THE LOGGERS cheer as K.I.T.T. blows past them at pursuit speed and vanishes down the road and we: CUT TO EXT. JONATHAN'S ESTATE as the Mercedes roars into the drive; screeches to a stop. Samantha jumps out and hurries inside. We pan back to pick up K.I.T.T., who approaches at pursuit speed. K.I.T.T.'S BRAKING FINS explode outward and we widen as K.I.T.T. screeches to a stop behind the Mercedes. Michael jumps out and crosses to: THE FRONT DOOR OF THE MANSION as Michael arrives and shoulders the door open, almost running over Jonathan Dutton, who responds. [JONATHAN] What do you want? [MICHAEL] Sam. Where'd she go? Michael pushes past Dutton into the house. INT. MANSION - DAY as Dutton hurries after Michael, leaving the door open. [JONATHAN] Why? Why are you bothering her? [MICHAEL] She tried to kill me. [JONATHAN] Are you out of your mind? Get out of here before I call the police! [MICHAEL] Already on their way. (off Dutton's reaction) I'm sorry about this, Mr. Dutton but Sam's behind the timber pirating. She just had Nash torch the Whitbys' house. The three of us barely escaped. Michael whirls in reaction to --- [SAMANTHA] That's true Daddy. ANOTHER ANGLE A siren rises O.S. as Samantha nervously enters with a gun. [SAMANTHA] Michael's right. [JONATHAN] (stunned; incredulous) Why? Sam, I -- I don't understand. [SAMANTHA] Because you pushed and pushed -- be productive Sam; women are getting power in the marketplace Sam; there's no one to take over the business, Sam -- (beat) Because I knew I couldn't fail, Daddy, that's why! Don't you --- Sam bites off the sentence as: THE TWO UNIFORMED POLICEMEN come into the room behind Michael and draw their guns. [SAMANTHA] No! No, stay back. [MICHAEL] (to police) Go easy. Let me handle this. (turns to Samantha) You have to take responsibility for what you did, Sam. You know that. Michael takes a step forward, hand held out to Samantha. [MICHAEL] Give me the gun. Then we can --- [SAMANTHA] (interrupting) No, no. Daddy -- Daddy, tell them we don't want Michael here. Tell them all to go. [JONATHAN] (shakes no) I'm sorry, Sam. I -- I can't. It's time we both faced our responsibili- ties. (to Michael) I'll cover the Whitby's losses and make everything right. And you'll all -- do what you have to. A look between Dutton and Samantha. A long beat before he turns and leaves. [SAMANTHA] (wails) Daddy?! Daddyyyy? Dutton keeps going and exits. Samantha is shaking nervously; starting to break down. Michael moves in and takes the gun from her hand. She collapses, sobbing in his arms. [MICHAEL] Easy, Sam. Take it easy. We hold a beat and then we: [FREEZE FRAME] END OF ACT FOUR TAG FADE IN EXT. WHITBY'S PLACE - DAY where the Whitbys have been repairing the fire damage to their cabin. Michael, Ellen, Whitby and Devon are all anxiously gathered around Bonnie, who is working on K.I.T.T., replacing his voice synthesizer. As she finishes --- [BONNIE] Well, that should put an end to Kitt's New York accent, Michael. But I don't see why it couldn't wait until you got back to The Foundation. [MICHAEL] (thick N.Y. accent) That's 'cause youse ain't got no idea what kinda torture I was going through. Lemmee tell ya, he was drivin' me up da wall. [K.I.T.T.] (perfect diction) I wish you would stop rubbing it in, Michael. It was your driving that caused my English to become less than perfect. [DEVON] Ah ha, English! So that's what you think you're speaking. Well before you get too disillusioned, I believe it was Winston Churchill who said the Americans and the English were staunch allies separated by a common language --- [ELLEN] Well, what we have to say is the same in any language -- thank you. Michael, thanks for everything. [WHITBY] Oh, before you go --- Whitby takes a Stetson from the cab of his pickup; drops it on Michael's head. [WHITBY] (continuing) Couldn't let a staunch ally leave without that. [K.I.T.T.] (groans) Oh, no --- [MICHAEL] I heard that, pal -- (New York accent) -- but this is your lucky day. 'Cause, I'm gonna make youse an offer you can't refuse. (beat) I won't tease you about your New York accent -- long as you don't tease me about my cowboy hat. A deal? [K.I.T.T.] (beat) Very good, Michael, I accept your offer. [MICHAEL] Whew, for a minute there I thought he was going to say -- Okay pardner, now let's saddle up and make tracks. The group laughs. We hold a beat and then we: FADE OUT THE END

{"show": "Knight Rider", "season": "s04", "episode": "e13", "title": "OUT OF THE WOODS"}

knightriderarchives

ACT ONE FADE IN EXT. THE OCEAN BREEZES HOTEL - NIGHT - ESTABLISHING A LUXURY RESORT HOTEL somewhere on the coast. INT. CABARET THEATRE - NIGHT The lights go down. The audience hushes in anticipation. BONNIE AND RC3 are seated at a table with Dr. Ian Browning, forty-five, a bespectacled, pleasantly mannered computer scientist, and Maxwell Henderson, fifty, a wealthy dynamic businessman. Bonnie leans to RC3 for --- [BONNIE] Magic shows are for kids RC. I don't know how I let you talk me into this. [RC3] You're going to thank me. This Templeton dude is something else. Bonnie's look says, "that'll be the day." They react to --- [ARIEL (O.S.)] Ladies and gentlemen, the Ocean Breezes is proud to present the incomparable, the world famous, the Amazing -- Templeton! ON THE STAGE - A PIN SPOT A match lights -- lights a cigarette -- a spotlight reveals Templeton, a handsome, charming, hypnotic fellow of thirty- five, on stage in top hat and tails. Applause. Suddenly, he vanishes in a blinding flash of smoke. RESUME BONNIE AND RC3 Bonnie's mouth drops when she sees Templeton. She's clearly but pleasantly stunned when she recognizes him. [BONNIE] Hey, it's him. [RC3] You know the dude? [BONNIE] (nods) I met him on the tennis court today. Pick-up doubles game. (clearly taken by him) He's really -- (catches herself) -- got a great backhand. RC3 smiles knowingly. The audience's reaction directs their attention to --- THE SPOTLIGHT swings to the rear of the cabaret, where the magician miraculously reappears in another flash of smoke. As the audience applauds enthusiastically. TEMPLETON wanders toward the stage, shaking hands with guests, bowing to the ladies. When he reaches the stage he talks to the audience as if he were casting a spell. [TEMPLETON] Thank you my friends and good evening. My name is (The Amazing) (Austin) Templeton, and tonight I am going to change your life! Indeed, before the evening is over, you will never again trust that which allows you to perceive this world, your very own senses. He makes a dramatic gesture. [TEMPLETON] (continuing) And now, may I have a volunteer from this illustrious gathering? BONNIE shoots up her hand. [TEMPLETON] Someone with a car in the parking lot? Bonnie drops it in disappointment. ON THE STAGE A young lady, Pam, volunteers. Nancy, Templeton's attractive assistant, leads her into the wings. Templeton crosses to Gary, Pam's date, placing a hand on his shoulder. [TEMPLETON] Have no fear, sir. The lady is in no danger. I may even return her to you. The crowd chuckles. Templeton moves away, then spins back to Gary. [TEMPLETON] Your name is Gary Shaw, is it not? Gary nods in astonishment. Templeton hands him his wallet, followed by other personal articles. [TEMPLETON] Your wallet, I believe -- ah, your handkerchief -- your watch. The audience applauds with delight as Templeton moves to: BONNIE'S TABLE Templeton establishes eye contact and a familiar tone with Bonnie. [TEMPLETON] The red rose whispers of passion -- (drawing a red rose out of the air) And the white breathes of love -- (a white rose, with his other hand) O, the red rose is a demon but the white rose is a dove. He places the two roses together and they change into a silk handkerchief. ON THE HANDKERCHIEF as a white dove flutters into view and flies off above the audience. The crowd goes wild. TEMPLETON materializes a dozen red roses which he gallantly presents to Bonnie. He whispers to her. [TEMPLETON] Until later. Then he moves through the audience giving back the articles he 'took' from them earlier: necklaces, earrings, watches, etc. The crowd loves it. [BONNIE] (delighted) Looks like he wants to play singles this time. [RC3] Hey, you're kinda hung up on the guy aren't you? Bonnie nudges RC3 in the ribs though she's clearly delighted at Templeton's attention. Browning and Henderson are amused. TEMPLETON arrives back on the stage and holds up a lady's brassiere. [TEMPLETON] And who might this belong to? Silence for a second, then everyone starts to laugh. Templeton flings the brassiere into the wings as Pam drives her car onto the stage. She gets out. [TEMPLETON] As you can see, the car is now perfectly empty. CUT TO EXT. HOTEL - MAIN ENTRANCE - NIGHT - K.I.T.T. arrives and parks. [MICHAEL] Plot a course for the airport while I fetch Henderson, pal. We hear K.I.T.T.'s monitor come to life. A few electronic sounds before: [K.I.T.T.] Done, Michael. [MICHAEL] Oh, and patch into the airline's computer, make sure he has a reservation. [K.I.T.T.] That's already been taken care of. Michael grins, gets out and enters the lobby. CUT BACK TO INT. CABARET THEATRE - NIGHT - TEMPLETON is now wearing a monk's robe over his tuxedo. He spreads a large plastic cover over Pam's car. Nancy is not onstage. As Templeton pulls the hood of the robe over his head. [TEMPLETON] Pam, would you please draw back the cover on your car -- Now! ON THE CAR as Pam removes the cover revealing a large tiger inside, peering out through the windshield. The crowd applauds. The applause doubles as: THE HOODED MONK'S ROBE drops to reveal, not Templeton but -- Nancy! A beat before: THE CAR'S TRUNK LID pops open and Templeton rises out of it. The audience is on its feet in appreciation. As Templeton basks in the adulation --- MICHAEL enters and crosses to Bonnie's table. A few ad-libbed greetings. The applause is so loud, Michael had to lean in to Henderson to be heard. [MICHAEL] I'm sorry to interrupt, Mr. Henderson. Devon wants you to fly back immediately. [HENDERSON] Oh, what's the problem? [MICHAEL] There's been a legal snag with the Curtis Foundation. [HENDERSON] I'll need a little time to pack my things, Michael. [MICHAEL] (nods) Meet you at your room in ten minutes. ANOTHER ANGLE - BONNIE'S TABLE Henderson starts to leave. Browning catches his sleeve. [BROWNING] Anything wrong? [HENDERSON] Devon wants me back in town. Some problem with the bequest. As Henderson moves off: TEMPLETON reacts and watches out of the corner of his eye, as: HENDERSON slips out of the theatre. The audience applauds wildly. RESUME TEMPLETON as he steps to Nancy and whispers as they go into another bow. [TEMPLETON] I'm changing the sequence. We'll do the escape next. Nancy looks surprised. He nods firmly. She moves off. He turns to the audience --- [TEMPLETON] I would like two male volunteers, please. As two men get to their feet --- CUT TO OMITTED INT. HOTEL CORRIDOR - NIGHT Henderson opens a door and enters his room. INT. HENDERSON'S ROOM - NIGHT He crosses to his suitcase, places it on the bed and starts packing. CUT TO INT. CABARET THEATRE - NIGHT Templeton has been placed in a straitjacket, festooned with padlocks. The volunteers help him get into a black bag. Then help him onto: A TABLE positioned on the stage. A bed of vicious two-foot-long spikes hangs directly above it. [TEMPLETON] Many thanks, gentlemen. I would shake your hands, but --- Nancy places a silk hood, with a sequined monogram (important for later) over his head. The bag is tied shut. The volunteers snap padlocks securing chains already in place around the bag. Nancy gestures grandly to the audience. Nancy gestures to a large sweep-hand clock set at 3:00. [NANCY] The countdown will begin the instant I light this candle. The Amazing Templeton will have exactly three minutes to escape before it burns through the rope and the spikes plummet onto the table. An intake of breath from the audience as: OMITTED MICHAEL looks at his watch and leans across to Bonnie, RC3 and Browning. [MICHAEL] I'd better go fetch Henderson. Catch you guys when I get back. Michael gets up from the table and leaves. NANCY strikes a long fireplace match and lights the candle. The clock starts. The seconds tick away loudly. CUT TO INT. HENDERSON'S HOTEL ROOM - NIGHT Henderson straightens his tie in a mirror, pausing suddenly when he notices (in the mirror) that someone is standing right behind him. He turns and we go to: ANOTHER ANGLE we see Templeton. He wears gloves, and the silk hood from the performance is half-stuffed into a pocket. He "magically" produces a silk handkerchief. [HENDERSON] My God! What -- what are you doing here? [TEMPLETON] Improvising. Your last-minute change of plans makes it necessary --- Templeton pulls a dagger from the handkerchief and he lunges toward Henderson, and we: CUT TO INT. HOTEL STAIRCASE that leads from the lobby up to a row of balcony rooms as Michael bounces up the stairs. CUT TO RESUME HENDERSON'S ROOM Templeton crouches over the body removing Henderson's wallet and papers. Then he purposely opens drawers and suitcase, scattering the contents, and exits. INT. HOTEL CORRIDOR - NIGHT as Templeton leaves the room. A Maid comes around the corner, seeing only Templeton's back. He does not see her as he walks briskly to the emergency stairs and goes through the door. CUT TO CLOSE ON CANDLE The flame burning through the rope; a few strands part. INT. CABARET THEATRE - NIGHT The clock's sweep-hand counting down, 2:02, 2:01, 2:00 --- [NANCY] Two minutes! The audience is getting nervous. RESUME CANDLE as the strands of the rope continue to burn and unravel. INT. HOTEL CORRIDOR - NIGHT Michael is approaching Henderson's room when he hears a scream. He runs around the corner to find the Maid staggering out of Henderson's room in hysteria. Michael grabs her as he looks in and sees Henderson's corpse. [MICHAEL] Henderson! INT. HENDERSON'S ROOM - NIGHT As Michael enters and quickly checks the corpse for life signs. Finds none. As he passes the Maid on the way out --- [MAID] (pointing to stairs) A man -- He went that way! Michael runs out of the room to: THE EMERGENCY STAIRWELL As Michael comes through the door and looks over the railing. MICHAEL'S POINT OF VIEW - THE STAIRWELL A glimpse of a fleeing figure several floors below. MICHAEL races in pursuit. He calls K.I.T.T. on the comlink. [MICHAEL] Kitt, I'm chasing someone down the emergency stairs. EXT. HOTEL PARKING LOT - NIGHT - K.I.T.T. [K.I.T.T.] On my way, Michael. K.I.T.T. auto-starts and takes off. K.I.T.T.'S MONITOR - INTERCUT AS NEEDED a graphics display of the hotel area. Suddenly a blip moving in the alley appears on screen. EXT. ALLEY BEHIND HOTEL - NIGHT as Templeton comes off the stairs and takes off on a dead run into the alley. The silk hood is stuffed half into his pocket, flapping in the breeze. ON THE STAIRCASE - NIGHT Michael is in pursuit, taking two steps at a time. [K.I.T.T.] I have him on my scanners. [MICHAEL] Way to go! Keep on him! ONSTAGE The clock reaches 0:00 and buzzes loudly. CLOSE ON THE ROPE as the last few strands burn through and part. THE BED OF SPIKES crashes onto the coffin, the points visible as they punc- ture through the bottom of it. THE AUDIENCE gasps. Some leap to their feet. IN THE ALLEY as K.I.T.T. comes in and screeches to a stop, ostensibly blocking Templeton's escape, as Michael runs out of the stairwell door. [MICHAEL] Hit the floods, pal. Let's illuminate this place. K.I.T.T.'s headlights pop-up come on, revealing: THE ALLEY bathed in light, no sign of Templeton -- and a dead-end wall. RESUME THE STAGE As the bed rises withdrawing the spikes from the coffin, Nancy and Ariel run to the coffin and unlock the chains as fast as they can. Templeton suddenly bursts from the coffin, quite unharmed, and acknowledges the tumultuous applause. IN THE ALLEY Michael kicks a garbage can in frustration. [K.I.T.T.] One second he was on my scanner, the next he was gone. [MICHAEL] But it's a dead end. The only way out of this alley was past you. [K.I.T.T.] I'm sorry, Michael, there was no one. THE AUDIENCE on their feet, applauding. ONSTAGE Templeton and Nancy take another bow. They whisper. [NANCY] They really thought you'd gone too far this time --- [TEMPLETON] Always keep them guessing, my dear. He notices: MICHAEL reenters the theatre, baffled, unnerved as he crosses toward Bonnie and RC3. TEMPLETON [TEMPLETON] Always keep them guessing. CUT TO OMITTED EXT. FOUNDATION - DAY - TO ESTABLISH INT. FOUNDATION - DEVON'S OFFICE - DAY He is on the phone, distraught at the news of Henderson's death. [DEVON] I'm stunned, Michael. I don't know what to think. INT. SEMI - DAY - INTERCUT Michael, Bonnie, RC3 and Browning are gathered around the monitor. [MICHAEL] The police think he surprised a burglar when he went back to his room to pack. [DEVON] And you concur? There were no unusual circumstances? [MICHAEL] Well, one thing -- I chased the guy and he vanished into thin air. Why do you ask? [DEVON] Of the four Curtis Bequest trustees, Henderson is the second in recent months to die unexpectedly. [MICHAEL] Too much of a coincidence --- As Michael considers the implications, Browning moves closer to the monitor. [BROWNING] Devon, I know this isn't foremost in our minds, but the deadline is near. Considering Max didn't sign those papers, can just you and I award the grants? [DEVON] Of course, Ian. I thought you were aware, power of attorney reverts to the surviving trustees. I'll be on the next flight. Will you be able to pick me up, Michael? -- Michael? Michael has been turning an idea over in his head. A beat before Devon's query brings him back. [MICHAEL] Oh, sure Devon, no problem. Devon clicks off. Michael turns thoughtfully to Bonnie for --- [MICHAEL] Bonnie, the killer was on Kitt's scanner one second, and gone the next. Check his systems, will you? Bonnie turns to her console and begins to encode. [BROWNING] A malfunction in any number of them could have that effect. [RC3] (impressed) You know your electronics, Doc. [BONNIE] Doctor Browning developed many of Kitt's systems, RC. (beat) And they're all working perfectly. [MICHAEL] (stymied) We had the guy trapped in a dead end alley too. This looks more and more like a well-planned escape. Devon may be onto something. [BROWNING] How could it be a premeditated killing, Michael? Henderson wasn't supposed to be in his room. [MICHAEL] A lot of people saw him leave the cabaret. One of them could have followed him. RC? [RC3] (shakes no) According to the Usherettes, nobody else left during the show. Sorry. [MICHAEL] (muses) There was one person who did. Everyone swings Michael a puzzled look. [BONNIE] You just lost me. Who? [MICHAEL] Templeton. [BONNIE] Templeton? Michael, he was in a straight jacket inside a sealed bag and then in chains! You said your- self the police think it was a burglary. (beat, pointedly) I think maybe you malfunctioned this time. She forces a smile, then leaves. Michael swings a look to RC3. [MICHAEL] What'd I say? [RC3] The magic word. (off Michael's look) Templeton -- She's having lunch with him. Michael and RC3 hold a look and we: CUT TO INT. TEMPLETON'S DRESSING ROOM - DAY Templeton is before a mirror primping prior to meeting Bonnie. Satisfied, he heads for the door, then turns back when the phone rings. [TEMPLETON] Yes? -- No, that's not how I work. You decide who. I pick when and where -- That degree of risk doubles my fee. (writes on pad) Yes, I have it. Templeton hangs up, then tears the sheet from the pad. We move in to reveal Templeton has written the name "Devon Miles" on it. FREEZE FRAME FADE OUT END OF ACT ONE ACT TWO FADE IN EXT. THE OCEAN BREEZES HOTEL - DAY EXT. ALLEY BEHIND HOTEL - DAY K.I.T.T. slowly cruising. INSIDE K.I.T.T. [MICHAEL] There's got to be another way out of here, Kitt. [K.I.T.T.] I'm still reading negative on all systems. [MICHAEL] Maybe Bonnie's right. Maybe I did malfunction. [K.I.T.T.] Wait, I've just found a concealed fire door. [MICHAEL] Probably covered over when they gave the hotel a face-lift. But I'll bet it still works. Michael gets out of K.I.T.T. and we go to: OMITTED EXT. ALLEY Michael approaches the wall and begins to examine it. [K.I.T.T.] I still don't know why I missed it last night. [MICHAEL] Because you weren't analyzing the structure, you were scanning for personnel. Michael finds a loose brick in the wall -- a veneer face that hinges open revealing a control button. Michael pushes it. Appropriate sound effects and the door rolls open. [MICHAEL] Abracadabra, buddy. See you later. Michael slips through the open panel and we go to: INT. HOTEL PASSAGE - DAY Dark and forbidding. Michael gropes his way along the passage, which finally opens into: THE HOTEL BASEMENT - DAY Damp, silent, dim. Several corridors lead off in different directions. Michael is uncertain which to take. He moves a few steps to his left, then does a little take when he sees: MICHAEL'S POINT OF VIEW something glittering in the darkness. RESUME MICHAEL as he changes direction and moves between the old wooden supports beneath the hotel and finds: TEMPLETON'S SILK HOOD snagged on a nail that protrudes from one of the supports. The glitter comes from the sequined monogram. THE SCENE as Michael studies the hood, smiles, feeling vindicated. He moves off into the area where he found the hood. ANOTHER ANGLE as Michael comes forward out of the darkness and comes upon a ladder. O.S. laughter from above grows louder as Michael climbs up to: A TRAP DOOR As Michael reaches the top of the ladder, he pushes up the hinged panel slightly and peers through the narrow opening to see: MICHAEL'S POINT OF VIEW - THE CABARET Bonnie is sitting on a chair amidst some of the props from Templeton's act, watching him shuffle a deck of cards with great dexterity. She's having a wonderful time. [BONNIE] You are incredible! How do you do that? Templeton hands her the cards and moves behind her chair. Leaning forward, he takes her hands in his. [TEMPLETON] Keep this thumb on the top of the deck and then feed the cards into your other hand. Like this --- Bonnie does as instructed but the cards fly everywhere. She laughs and turns to Templeton. Their faces are very close together as: MICHAEL comes up through the trap door and joins them. [MICHAEL] Excuse me. Up to some old tricks, Mr. Templeton? [BONNIE] (surprised) Michael. [MICHAEL] Sorry to intrude. (off Templeton's look) I found a hidden door in the alley where I lost Henderson's murderer last night. It led me here. [TEMPLETON] This is a very old hotel. Its base- ment is a labyrinth that leads many places. Now, Miss Barstow and I were about to leave for our luncheon. So, please get to the point. [MICHAEL] I'll show it to you. Michael pulls the silk hoos with the sequined monogram from a pocket and hands it to Templeton. As he examines it --- [MICHAEL] It is the hood you use in your act. [TEMPLETON] Indeed, I'm afraid it is. [MICHAEL] The killer left it behind last night. Michael flicks a vindicated look to Bonnie. She reacts with concern. The moment is broken by Templeton, who makes a grand, distracting gesture with his arms; snaps his fingers and picks up a tube that is clearly empty. ON THE TUBE as he uses his thumb and forefinger to pluck an identical silk hood from inside it, and then another and another, flamboyantly tossing each into the air. THE SCENE The air around Templeton, Bonnie and Michael filled with diaphanous silk hoods that settle gently to the floor. [TEMPLETON] (smiles) I suppose I should have said, one of them --- [BONNIE] (relieved; conciliating) See, Michael? Anybody could have taken that hood. [TEMPLETON] Oh, I assure you, I'm working on it, Mr. Knight. But, to date, being in two places at the same time is a state of being that has eluded me. (to Bonnie) Shall we? He and Bonnie move off. Templeton pauses, turns back to Michael as if he's forgotten something. [TEMPLETON] Oh -- interesting little toy --- He holds Michael's comlink between thumb and forefinger. [TEMPLETON] (continuing) -- but not to my taste. He tosses the watch at Michael, who stares after them in frustration. CUT TO EXT. HOTEL ENTRANCE - DAY - K.I.T.T. K.I.T.T. is parked in the drive. A luscious, busty Blonde is being escorted out the door by a burly, cigar-chomping Harry. She's the Judy Holliday type. He's the William Frawley type. He's grabbing her by the elbow as she reluctantly follows, leading her to his parked Buick Electra. [BLONDE] But Harry, I only asked him for his autograph! [HARRY] You want a movie star's autograph? You do like everyone else -- you hand him a piece of paper. Not your underwear! [BLONDE] But I didn't have any paper! [HARRY] If I didn't stop you, you wouldn't have had any underwear! He opens his car and gives her the keys. [HARRY] Now you be a good girl and wait in the car. I gotta go back and pay the bill. [BLONDE] But who will I talk to? [HARRY] Talk to the radio! Just don't wear out the battery! Harry leaves. [BLONDE] (under her breath) I wore out your battery a long time ago.... She notices K.I.T.T. parked near her. She goes over to him, admiring him. [BLONDE] Now this is my kind of car. Tough. Sleek. Sexy. [K.I.T.T.] Thanks. You're not so bad yourself. The Blonde looks inside K.I.T.T. [BLONDE] Hey, you must've left your car phone off the hook. Where you calling from?... [K.I.T.T.] From within my central terminal brimming with the freshest software, megabytes and silicone chips. [BLONDE] Oh, you're calling from the supermarket. She leans into K.I.T.T.'s window, revealing her ample cleavage. [BLONDE] Would you be a honey and pick me up some of them silicone chips? They sound yummy. [K.I.T.T.] Believe me, if anyone needs them, it isn't you. [BLONDE] Whoever you are, you sure have a sexy voice. I'd love to see what you look like. [K.I.T.T.] Actually, I'm right under your --- She's still leaning in the window. [K.I.T.T.] ...nose. [BLONDE] I'll bet you're tall, dark and handsome. [K.I.T.T.] I'm definitely dark and handsome. I'm only tall when I'm climbing a steep incline. [BLONDE] You sound real classy. I can picture you all decked out in black tie. [K.I.T.T.] Try black top. EXT. PARKING LOT - DAY After K.I.T.T. is summoned by Michael, his motor comes to life. The rear wheels smoke as they spin backwards. The Blonde jumps aside. [BLONDE] Hey! Where you going?! [K.I.T.T.] You'll have to excuse me, but duty calls. [BLONDE] Wait! How about a phone number? [K.I.T.T.] It's on my license plate! K.I.T.T. speeds away. [BLONDE] This guy thinks of everything! OMITTED INT. K.I.T.T. electronically chuckling. CUT TO INT. BACKSTAGE - DAY Nancy, in jeans, casual top, is checking some props for the evening performance as Michael crosses to her. [MICHAEL] Excuse me. You're Templeton's assistant, aren't you? [NANCY] Yes, Nancy Marston. [MICHAEL] Michael Knight. I caught the show last night. I was hoping you could answer some questions about how Templeton -- does it. [NANCY] I'm sorry, I grew up in this world but I never got into it. I spend most of my time working on an M.B.A. I'm just helping out my dad. [MICHAEL] If you're Templeton's daughter, his youth is his greatest illusion. [NANCY] (laughs) No, no, that's my father over there. His name's Ariel. He's the one you should talk to. He taught Templeton everything he knows. (calls out) Daddy. Ariel sets down the prop he's checking. As they move together. [NANCY] Daddy, this is Michael Knight. He has some questions for you. [ARIEL] (anticipating) More questions? I told the last fel- low from the Humane Society the tigers are never drugged, they get plenty of exercise and the doves are always --- [MICHAEL] Excuse me, but I just wanted to know if the coffin is constructed so Templeton stays someplace inside? Or so he can get out and go back in after the spikes are withdrawn? [ARIEL] You're not the first to wonder, Mr. Knight. That escape is brilliant, isn't it. The supreme expression of Austin's genius. But one magician never reveals the mystique de mode of another. It's an unwritten code. (eerily) A pact among sorcerers with unspeak- able consequences for those who break it. Ariel lets the moment play, then picks up a prop and heads off toward the stage. [NANCY] Why do you want to know? [MICHAEL] Let's just say I'm a fan. By the way, it looked like the escape went right to the wire last night. Did it take longer than usual? [NANCY] No, no, it didn't, all part of the act. (beat) But Austin did move it up all of a sudden. It's usually his finale. [MICHAEL] It may have been somebody else's too. Off Nancy's reaction, we: CUT TO EXT. CITY AIRPORT - DAY - TO ESTABLISH EXT. ROAD - DAY as K.I.T.T. comes from the airport and heads for the hotel. INSIDE K.I.T.T. - TRAVELLING Devon is sitting next to Michael. [DEVON] (surprised) You suspect Austin Templeton, the magician? [MICHAEL] Yeah, more and more. [DEVON] I don't understand. What would he have to gain by the deaths of the Curtis Trustees? [MICHAEL] I don't know. But with fifty million dollars at stake, I'm sure he's thought of an angle. (beat) Who was the first trustee to die unexpectedly? [DEVON] A gentleman in Tucson, Arizona named Jason DeSylva. [MICHAEL] Let's see if Templeton's played any dates in Tucson recently. Michael pushes some buttons on his console. K.I.T.T.'S MONITOR - INTERCUT AS NEEDED as a search of hotel bookings scrolls up the screen, then stops on one that is highlighted by a rectangle. [K.I.T.T.] He performed there the entire month of July. Michael swings a look to Devon, who nods grimly in response. [DEVON] July eighteenth. I'll never forget it. They hold a look. K.I.T.T. blasts down the road and we go to: EXT. OCEAN BREEZES HOTEL ENTRANCE - DAY K.I.T.T. pulls up outside the entrance. Michael and Devon get out and unload Devon's suitcase. [MICHAEL] Wait for me in the parking lot, pal. THE DOORMAN does a double take when he sees: K.I.T.T. auto-start and take off driverless down the circular drive, leaving Devon and Michael on the sidewalk outside the lobby. As they wait for a bellman they react to the screech of tires and turn to see --- A HEARSE turning into the hotel drive and accelerating right towards them. (Note: All windows are tinted.) Michael grabs Devon and shoves him out of the way just as: INSIDE THE HEARSE Templeton stomps on the accelerator, whips the wheel and: THE HEARSE rockets onto the sidewalk, missing them by inches as they dive out of the way. THE SCENE As bystanders react, Michael helps Devon to his feet and the hearse makes a tire-smoking one-eighty in the drive and comes back at them. [MICHAEL] (into comlink) Kitt! We're under attack! [K.I.T.T.] On my way. Michael bear hugs Devon and lunges with him through the lobby doors. ANOTHER ANGLE as the hearse swerves past the doors just as they make it inside the hearse plows into luggage, planters and almost clips the doorman who dives out of the way. The hearse rockets down the drive as: K.I.T.T. screeches to a stop at the entrance. Michael comes from the hotel and jumps behind the wheel. K.I.T.T. takes off in pursuit of the hearse. POINT OF VIEW THROUGH K.I.T.T.'S WINDSHIELD to see a car coming toward them in the narrow drive. INSIDE K.I.T.T. - TRAVELLING [K.I.T.T.] Oh, dear, this could be a problem. [MICHAEL] We need some fancy footwork! Michael pushes some buttons on his console. K.I.T.T. goes up on two wheels and just shaves past the car in ski mode. ANOTHER ANGLE as K.I.T.T. settles down and comes out of the drive into the street in pursuit of the hearse. EXT. CITY STREET - DAY The hearse sails down the street, fishtailing out of sight around a corner. K.I.T.T. appears, in hot pursuit. INSIDE K.I.T.T. - TRAVELLING Michael pushes some buttons on his console. [MICHAEL] Try to get an ID on the driver. [K.I.T.T.] It's impossible at this range, Michael. ON AN INTERSECTION A real funeral procession is making a left turn. A hearse in front and several cars right behind it. A TRUCK blasts through the intersection. The other cars in the procession are forced to wait. When the way is clear: TEMPLETON'S HEARSE streaks across the intersection in the opposite direction. INSIDE FIRST PROCESSION CAR The members of the Smith family, dressed in black, watch the hearse speed by in amazement. Smith throws up his hands, then proceeds to turn the wheel. THE SMITH CAR makes a right after Templeton's hearse. The other cars in the procession follow. K.I.T.T. races down the street. The real hearse is travelling towards him at a sedate and proper speed. INSIDE K.I.T.T. - TRAVELLING [MICHAEL] He one-eightied on us! [K.I.T.T.] No, that isn't the hearse we're --- Too late, as Michael whips the steering wheel. ON K.I.T.T. AND THE REAL HEARSE which is forced to stop as K.I.T.T. intersects the hearse's path. The Driver rolls down his window. [HEARSE DRIVER] You maniac! This is a funeral! [MICHAEL] Sorry! K.I.T.T. peels off in pursuit of the other hearse. INSIDE K.I.T.T. - TRAVELLING [K.I.T.T.] I tried to warn you. [MICHAEL] Just keep scanning. ON TEMPLETON'S HEARSE as it tears down a street. The funeral procession is trying to keep up with it. Templeton just manages to weave his way across an intersection, but the pursuing cars are forced to break suddenly, swerving left and right to avoid a series of rear-end collisions. K.I.T.T. weaves between the swerving cars. [MICHAEL (O.S.)] There he is! INSIDE TEMPLETON'S HEARSE - TRAVELLING Templeton looks in his rearview mirror. TEMPLETON'S POINT OF VIEW K.I.T.T. is closing the gap. ON THE HEARSE AND K.I.T.T. as they tear down the street. Suddenly the hearse does a one-eighty. [K.I.T.T.] He's coming at us head on! MICHAEL'S POINT OF VIEW - THE STREET AHEAD as the hearse comes straight at them. THE HEARSE rockets toward K.I.T.T. Michael waits till the last instant then whips the steering wheel, right, left, right. K.I.T.T. swings around the hearse with a centimeter to spare. The hearse spins wildly out of control. A BRICK WALL as the hearse slams into it and bursts into flame. K.I.T.T. swings around and pulls up nearby. [MICHAEL] Hit the CO2! [K.I.T.T.] No need to, Michael. [MICHAEL] No vital signs? [K.I.T.T.] None whatsoever -- as a matter of fact, there's no one in that vehicle. Michael looks at the hearse in astonishment. We hold a beat on his expression, as we: FREEZE FRAME FADE OUT END OF ACT TWO ACT THREE FADE IN EXT. HOTEL - MAIN ENTRANCE - DAY as K.I.T.T. comes up the drive at high speed and screeches to a stop. Michael jumps out. [MICHAEL] Cover the back alley. K.I.T.T. auto-starts and takes off. Michael heads into the hotel. OMITTED INT. HOTEL LOBBY - DAY as Michael moves through quickly. K.I.T.T. turns into the alley and screeches to a stop. [K.I.T.T.] No sign of him, Michael. [MICHAEL] Hold your position. OMITTED INT. BACKSTAGE CORRIDOR Michael is making a beeline for Templeton's dressing room. We follow him down the corridor. He arrives at the door and blasts right through it. INT. TEMPLETON'S DRESSING ROOM Templeton is now seated at a makeup table, in smoking jacket, a makeup bib around his neck, feigning he's been here all along. He whirls in reaction. He keeps his left hand in the pocket of the jacket throughout the following. [TEMPLETON] This is becoming a daily event, Mr. Knight. [MICHAEL] And it's going to continue until I prove you killed Henderson. [TEMPLETON] (sigh of distress) I thought you'd gotten that out of your system. [MICHAEL] Getting out of things is your specialty -- a straightjacket and chains, a flaming hearse. [TEMPLETON] You do have a vivid imagination, Mr. Knight. You think I can escape from anything. [MICHAEL] Not solitary confinement. Michael burns him with a look, turns and exits slamming the door behind him. A beat before Templeton grimaces in pain and pulls his left hand from his pocket revealing blood running down onto his hand from beneath the cuff of his jacket. INT. BACKSTAGE CORRIDOR - DAY as Michael comes down the corridor from Templeton's dressing room and crosses to Nancy who is feeding two caged tigers. [MICHAEL] I need to talk to you for a minute. [NANCY] Sure, soon as I'm finished. Better stay back, she tends to be --- Nancy is interrupted by the roar of: THE TIGER teeth bared in a deep-throated roar, lunges at Michael several times with a massive paw that pounds against the mesh of the cage. THE SCENE as Michael lurches backwards to escape the swiping claws. [NANCY] Michael! Are you okay? [MICHAEL] Yeah. Always been allergic to cats. That's one angry tiger to use in a magic act. [NANCY] Oh, we've been using the other cat this week. This one's in heat. And take my word for it, you never get close to a tigress in heat. [MICHAEL] I thought that was the whole idea. [NANCY] (smiles) An interesting one. [MICHAEL] I agree. But that's not what's really on my mind at the moment. (beat) Did you see Templeton go into his dressing room in the last five or ten minutes? [NANCY] No, I haven't seen him at all. I've been here for over an hour. Michael digests this a beat and scans the area filled with props. [MICHAEL] I'm looking for the props he uses for the escape. [NANCY] Oh, they're taken away and stored after each performance. Austin really goes off the deep end when someone tries to examine them. [MICHAEL] I'll bet. You know where they're kept? [NANCY] No. But it isn't here because they go by truck. Ask Dad. He might know. She gestures to the stage. Michael nods, moves off. Nancy turns back to the cage, jumps back as: THE TIGER roars and lashes through the bars with a paw. We hold on the bared teeth, the crazed eyes for a few beats and go to: THE STAGE Michael is with Ariel who is setting up a prop. [ARIEL] Oh, I'm afraid I can't tell you that. [MICHAEL] I don't understand. You just told me they're taken to a warehouse. But you won't tell me where it is? [ARIEL] (nods) I told you I can't betray him. Like all those who have sold their souls to the devil, Austin Templeton must be left to destroy himself. [MICHAEL] You don't believe that. [ARIEL] What I believe isn't important. Austin believes he's a true sorcerer. And if you're going to catch him, Mr. Knight, you'll have to 'catch him in the act' so to speak. Michael digests Ariel's reply, an idea forming, then: [MICHAEL] (nods, emphatically) I intend to. EXT. SEMI - DAY - TO ESTABLISH INT. SEMI - DAY Bonnie, Devon, RC3 and Dr. Browning are with Michael who has just brought them up to date. [BONNIE] That's twice you've been positive it was Austin and proven wrong, Michael. [MICHAEL] No one else could have pulled a stunt like that. That hearse was an inferno. [RC3] I think it's time to start looking someplace else. [MICHAEL] Not until I'm positive there's no way Templeton can get out of that coffin during the act. Either his alibi holds up or it doesn't. [DEVON] I agree, Michael. In the meantime, Doctor Browning and I have fifty million dollars in grants to award. Shall we, Ian? [BROWNING] It will take me a few hours to pull my papers together, Devon. How about over dinner? [DEVON] (settling) Well, I do have some Foundation matters that need attention. [MICHAEL] Keep an eye on 'em, RC. [RC3] You got it. You going to check out that 'table of death' routine? [MICHAEL] That was my plan but Templeton trucks it out of here after every performance. So --- [BROWNING] Not surprising. As we've all seen, he's a cunning adversary. I assume you have a plan of some kind. [MICHAEL] Yeah, I'm going to catch his act again tonight. (beat) I'm taking Kitt with me. The group questions Michael with looks. He ignores them and continues. [MICHAEL] I could use an observer in the audience, Bonnie. [BONNIE] (mysteriously) Oh, I'll be there. We hold on her enigmatic smile and: CUT TO EXT. HOTEL PARKING LOT - DAY K.I.T.T. is waiting. The Blonde approaches K.I.T.T. as he scans her. [K.I.T.T.] Well hello, there. The Blonde smacks the side of the car with her purse. [BLONDE] Creep! [K.I.T.T.] Please, it's "Kitt." The Blonde looks inside the car and sees no one is there. [BLONDE] He's gone again! What's the matter with you? You afraid to face me or something? [K.I.T.T.] On the contrary. I'm always delighted to take in your ample -- personality. [BLONDE] Well what was the big idea of tearing off like that the other day?! [K.I.T.T.] I had other priorities. [BLONDE] Oh yeah? Like your wife?! [K.I.T.T.] I'm not married. [BLONDE] Or maybe your girl friend?! [K.I.T.T.] No, I don't have one of those, either. [BLONDE] You high-class guys think you can just take advantage of a pretty girl just because you got the right lines -- (considers what he said) Did you say you're not married? [K.I.T.T.] That's right. [BLONDE] Why not? [K.I.T.T.] You might say I haven't yet met my match. [BLONDE] (coy, primping) Oh yeah? Well what kind of match you looking for? [K.I.T.T.] Oh, something very stylish, preferably in red, loaded with sophisticated software, total artificial intelligence, fully padded seat, removable top with an adaptive megabyte system that can interface for hours. [BLONDE] You animal! What kind of girl do you think I am! She kicks K.I.T.T. in the tire and storms off. [K.I.T.T.] What did I say? OMITTED EXT. INDUSTRIAL AREA - DAY - WIDE as we pan across and move in to a warehouse. A car pulls up. A man, whose identity is concealed by the angle and the distance, gets out and crosses toward the entrance. INT. WAREHOUSE - DAY gloomy, deserted, darkened. The man's silhouetted figure comes through the door and moves between rows of abandoned scenery, props, etc. ANOTHER ANGLE as the man moves into an area littered with magician's equipment: two halves of a box, a huge saw, oversized playing cards, a large circular board with straps and throwing knives stuck into it. Suddenly there is a loud splash. The man whirls to see: A LARGE GLASS TANK filled with water and ostensibly a human head bobbing in it. THE MAN screams, horrified, turns into camera revealing it's Dr. Browning. His momentum carries him right into Templeton, who appears suddenly, and fishes the (prop) head from the water. [BROWNING] You almost gave me a heart attack. [TEMPLETON] That would have been a very costly mistake. I'd lose five million dollars if I kill the wrong trustee. [BROWNING] We're both out five million until you kill the right one. You're supposed to be the best. Why isn't Devon Miles dead? What happened? [TEMPLETON] (rhetorically) What happened? (beat, twisted) I planned and executed the escape of the century this afternoon. It was brilliant, beyond your wildest con- ception. Hades brought to life. (beat, saddened) No one was there to see it -- (coming back) -- except Michael Knight. Miles would be dead if it wasn't for him and that car. I have to deal with them first. [BROWNING] That won't be easy. That car contains state-of-the-art technology. Knight plans to use it tonight to disprove your alibi. [TEMPLETON] That is a problem -- (muses, brightens) -- and perhaps also the solution. [BROWNING] I'm not sure I understand what you mean. [TEMPLETON] Remember, Ian, I'm not only a master assassin but a truly great conjurer capable of hanging an adversary not only with a rope but with his own logic as well. [BROWNING] Knight is quite capable of hanging you, believe me. [TEMPLETON] (pointedly) Hanging both of us, Ian. (off Browning's reaction) I'm going to need your help this time. Browning questions him with a look. Templeton moves closer to explain his plan, and we: CUT TO EXT. HOTEL - NIGHT - TO ESTABLISH INT. CABARET STAGE - NIGHT as Templeton finishes his opening monologue. [TEMPLETON] Indeed before the evening is over you will never again trust that which allows you to perceive it -- your very own senses. He makes a dramatic gesture. [TEMPLETON] And now may I have a volunteer from this illustrious gathering? One with a car in the parking lot. Michael is up and moving toward the stage before anyone else. [MICHAEL] Right here. [TEMPLETON] Ah, Mr. Knight. (to audience) I must tell you, this gentleman and I met earlier today, but he is in no way part of my act. [MICHAEL] You can say that. [TEMPLETON] (continuing) As a matter of fact, he's a bit of a magician himself. [MICHAEL] (into comlink) Okay, pal, you're on. The backstage doors to the parking lot open and: K.I.T.T. drives on stage, clearly no one behind the wheel. As the audience reacts. [TEMPLETON] Now, Mr. Knight, please make sure your car is empty and the doors locked. As Michael does so, Nancy hands Templeton the robe and exits while he puts it on. To Michael's surprise --- BONNIE comes from the wings wearing a "playmate tux" like Nancy as she throws the cover over K.I.T.T., and Michael helps her position it. [MICHAEL] What are you doing up here? I thought you were --- [BONNIE] Austin thought it would be fun if I got into the act. [MICHAEL] We'll see if he's still laughing after Kitt analyzes it. [TEMPLETON] Mr. Knight, you may pull the cover off the car -- Now! Michael grabs the cover, holds a beat, then whisks it off, revealing: K.I.T.T. the tigress sits behind the wheel, her head sticking through the open T-top. THE ROBE drops to reveal Nancy. TEMPLETON climbs out of K.I.T.T.'s trunk. During the wild applause: K.I.T.T. AND MICHAEL whisper. [K.I.T.T.] This is very undignified. [MICHAEL] Hang in there. Did your scanners pick up how he did it? [K.I.T.T.] No, I'm afraid not. Michael swings a puzzled look to Bonnie and we: CUT TO INT. HOTEL RESTAURANT - NIGHT RC3 reads a magazine at a table by himself. There are just a few late diners. Devon and Browning are several tables away from RC3. They sit across from each other, their table littered with papers, computer print-outs and the remnants of their meal. [DEVON] This is getting us nowhere, Ian. These are perfectly reputable companies and you've vetoed them all. [BROWNING] With good reason. Now, here's my list. As Devon reads the list, his jaw drops. [DEVON] Ian, everyone in the business com- munity knows these are all inactive corporations; shells that produce nothing. Surely you're not serious. [BROWNING] Oh, but I am. You see, I'm getting a considerable fee for awarding forty of the fifty million to them. [DEVON] (livid) You're retaining ten million dollars? Is that what has made you --- Devon bites off the sentence as Browning slides his brief- case between them and he hears a click. [BROWNING] There is a gun here. If I let go of the handle, it will go off. Do you understand? [DEVON] (nods) What do you want? [BROWNING] Send RC on an errand. Now. Devon looks over at RC3 and makes a difficult decision. [DEVON] Reginald -- (as RC3 approaches) Be a good feelow and get a file on Rigg Electronics from the semi, would you? It's on my desk. [RC3] Sure. You ought to be okay in here for a couple of minutes. Be right back. As RC3 leaves, Devon glares defiantly at Browning. CUT BACK TO INT. CABARET STAGE - NIGHT The bed of spikes drops onto the table as previously. The audience gasps as the spikes are withdrawn and Nancy and Ariel run to undo the chains. MICHAEL in the audience. [MICHAEL] (into comlink) Are you getting any readings, Kitt? INTERCUT - K.I.T.T. in the wings, looking onstage. [K.I.T.T.] I started scanning the 'table of death' the instant Templeton got into it. I'm having the same problem I had with the tiger. [MICHAEL] (incredulous) Nothing? No scan at all? K.I.T.T.'S MONITOR - INTERCUT AS NEEDED to see a field of zigzagging interference lines. [K.I.T.T.] That's correct. My systems are going haywire for some reason. Michael is puzzled. Reacts as: OMITTED TEMPLETON leaps out of the coffin to a standing ovation. MICHAEL is the picture of frustration. CUT TO INT. HOTEL RESTAURANT - NIGHT RC3 returns with some files to find Devon and Browning gone. He looks around, puzzled; crosses to the maitre d', who shrugs, shakes no in response to RC3's question. CUT TO INT. BACKSTAGE AREA The performance is over. Michael crosses to K.I.T.T. poised in front of the doors that lead to the parking lot. [MICHAEL] Let's go, pal. Bonnie's meeting us in the semi to run a check on your scanners. [K.I.T.T.] The sooner the better. I still have no idea why --- ON K.I.T.T.'S DOOR as Michael pulls it open. The growl of a tiger from inside the car interrupts K.I.T.T.'s reply. MICHAEL reacts and lurches backward when: OMITTED THE TIGER lets out a mighty roar and lunges at Michael from inside K.I.T.T. FADE OUT END OF ACT THREE ACT FOUR FADE IN BACKSTAGE - NIGHT - K.I.T.T. The tiger explodes out of K.I.T.T. in pursuit of Michael. ANOTHER ANGLE - NANCY responds to the commotion and arrives on the run. THE TIGER reacts; stops; changes course and heads across the back- stage area toward her. [NANCY] No! Simba no!! Heel!! Heel!! The cat keeps coming. MICHAEL grabs a tied-off rope; pulls it loose and swings through the air on it, passing in front of the tiger. He sweeps Nancy out of its path. They run like crazy. The tiger chases after them with a roar. OMITTED INT. BACKSTAGE CORRIDOR as the tiger pursues Michael and Nancy. She slips. The tiger almost gets her. Michael grabs her arm, drags her into Templeton's dressing room. Michael slams the door an instant before the tiger lunges at it. THE TIGER She starts to paw at the door furiously. INT. TEMPLETON'S DRESSING ROOM Nancy screams as the door begins to give way under the tiger's rage. [MICHAEL] (into comlink) Kitt! -- Kitt! K.I.T.T.'S MONITOR - INTERCUT AS NEEDED [K.I.T.T.] Michael, where are you? The dressing room door splinters. [MICHAEL] In deep trouble. Why didn't you warn me about the tiger? [K.I.T.T.] I don't know. My scanners didn't detect her presence. THE TIGER bashes a huge paw through the door; keeps clawing wildly. RESUME SCENE [MICHAEL] (still on comlink) Yeah, I noticed. What do you know about tigers? [K.I.T.T.] Not much I'm afraid. The tiger fianlly breaks down the door and explodes into the room. Michael grabs a chair to protect Nancy and himself. [MICHAEL] Now would be a good time to learn. Can you synthesize the mating call of a male tiger? [K.I.T.T.] I'll check my enharmonic data bank. The tiger snarls and gets ready to pounce. K.I.T.T. enharmonically synthesizes the mating call. INT. TEMPLETON'S DRESSING ROOM The tiger loses interest in the humans, lets out a terrific roar and pads out of the room. [NANCY] (to Michael) Looks like Kitt's equipment's doing the job. INT. BACKSTAGE AREA Simba sniffs around K.I.T.T. She roars now and then. [K.I.T.T.] I may be able to reproduce the tiger's mating call but, after that, she's on her own. (to tigress) Go away! Shoo! INT. DRESSING ROOM CORRIDOR Michael and Nancy escape. [MICHAEL] (into comlink) We'll get help. In the meantime, just keep her happy. [K.I.T.T.] Keep her happy!? [NANCY] The only thing that works is Mozart, the 'Eine Kleine Nachtmusic.' It really calms her down. [MICHAEL] You hear that? INT. BACKSTAGE AREA [K.I.T.T.] Thank you. At least the tiger has taste. K.I.T.T. suddenly bursts with music. As the Mozart piece plays, the tiger quiets down; settles on K.I.T.T.'s hood and goes to sleep. [K.I.T.T.] There's a good kitty. CUT TO EXT. WAREHOUSE - NIGHT Browning and Devon arrive in Browning's car. Browning prods Devon with his gun. They enter. INT. WAREHOUSE - NIGHT Browning and Devon move along the darkened rows of scenery until they arrive at an illuminated area where Templeton waits. [TEMPLETON] Welcome Mr. Miles. I understand your Foundation is heavily involved in research of all kinds. [DEVON] I don't see what research has to do with this. [TEMPLETON] You're about to give your life to it. He materializes a pair of handcuffs and snaps them on Devon's wrists. On Devon's reaction, we: CUT TO INT. SEMI - NIGHT Bonnie is setting up at her console to run tests on K.I.T.T. who has yet to arrive. A concerned RC3 is with her. [BONNIE] I haven't seen either of them, RC. Have you checked the cabaret? [RC3] Yes, I looked everywhere. I --- He is interrupted as the tailgate lowers and Michael drives K.I.T.T. into the Semi. He pulls to a stop and gets out, reacting to RC's presence. [MICHAEL] I thought you were keeping an eye on Devon and Doctor Brown? [RC3] Devon sent me to get a file. When I got back to the restaurant they were both gone. I can't find them anywhere. [BONNIE] I don't like this Michael. What are we going to do? [MICHAEL] For openers, check out Kitt's scanners. I have a feeling I may be needing them. Bonnie turns back to her console, starts encoding. [BONNIE] None of his sensory circuits have been damaged. Bonnie continues to encode. [MICHAEL] Which leaves his program. [BONNIE] I'm checking it now. (beat) Look, it's been revised. His scanners have been deactivated. [MICHAEL] Only two people could have done that. You're one -- Doctor Browning's the other. [RC3] That means he's got Devon, Michael. I blew it. I'm sorry. [MICHAEL] It's not your fault, RC. I'm going to need your help. [RC3] What you need is a place to start. [MICHAEL] That we've got. Off Bonnie and RC3's reactions, we: CUT TO OMITTED INT. CABARET BACKSTAGE AREA - NIGHT Nancy is removing props from the stage. Ariel is testing a small device (size of a golf ball) that creates the "vanishing puffs of smoke" used during the act. As he sets it off. They hear a screech of tires; turn to see K.I.T.T. roar onto the stage and screech to a stop next to them. RC3 remains in K.I.T.T. Michael gets out and crosses to Ariel. [MICHAEL] Ariel, you have to tell me where that warehouse is located. Ariel stares at him, stonewalls it. [NANCY] Daddy, it's a matter of life and death. Two people have been killed. More are going to die. Michael picks up one of the smoke devices. Gestures with it, then slips it into his pocket as he talks. [MICHAEL] This problem isn't going to vanish in a puff of smoke, Ariel. These two are two greedy killers who'll stop at nothing. [ARIEL] (thinks; decides) It's about five miles south of here --- EXT. HOTEL - NIGHT as K.I.T.T. rockets out of the stage exit, and takes off across the parking lot. [ARIEL (V.O.)] (continuing) -- 4660 Industrial Boulevard. INSIDE K.I.T.T. [MICHAEL] Okay, pal. Plot me a course and super pursuit mode! (beat) Hang on, RC. Michael pushes some buttons on his console. RAPID-FIRE SEQUENCE OF SHOTS - K.I.T.T. as he deploys his spoilers, elongates his nose cowling, etc., and takes off down the street in SPM. RESUME INSIDE K.I.T.T. as Michael and RC3 are slammed back in their seats by the acceleration. THE SPEEDOMETER climbs rapidly to 250, 300 MPH and past. K.I.T.T. blows past camera in SPM and disappears over the horizon. INT. WAREHOUSE - NIGHT Devon is still handcuffed and stands next to the water- filled tank. Browning watches as Templeton wraps a long chain around Devon's legs. [TEMPLETON] As I said, all in the spirit of research, Mr. Miles. You see, in this escape, the audience must believe I'm drowning. After watching you die, my performance will be frighteningly authentic. [BROWNING] I don't like this, Austin. Get it over with, quickly. [DEVON] It's one thing to order an execution but quite another to witness it. Isn't it, Ian? Browning turns away as Templeton places a hood over Devon's head and pulls the drawstring tight around his throat. CUT TO INSIDE K.I.T.T. - NIGHT - TRAVELING blasting down a street in an industrial area in SPM. [K.I.T.T.] The warehouse is at the end of this street, Michael. Michael pushes buttons on his console. [MICHAEL] Okay give me cruise and silent modes, pal. RAPID SEQUENCE OF SHOTS - K.I.T.T. transforms from Super Pursuit Mode to Cruise Mode and drives to a noiseless stop beside the warehouse. RESUME INSIDE K.I.T.T. - INTERCUT AS NEEDED [MICHAEL] Who's in there? [K.I.T.T.] Three men. My metal scan indicates one of them is bound in chains. [MICHAEL] Okay, let's move. Michael and RC3 slip out of K.I.T.T. EXT. WAREHOUSE - CONTINUOUS [MICHAEL] You cover the back, RC. [RC3] You got it. [MICHAEL] Kitt, you're going to announce our arrival. As the two men run into the darkness. MICHAEL dashes up close to the door of the warehouse. [MICHAEL] (into comlink) Okay, now! INT. WAREHOUSE - NIGHT Templeton and Browning put Devon (hooded and in chains) into the water-filled glass tank. As he tries to surface, Templeton slams the lid on the tank and padlocks it. The magician watches as Devon writhes to free himself. [TEMPLETON] Fascinating. So dynamic! The noise of a car engine revving O.S. Templeton and Browning spin around in time to see: K.I.T.T. crash through the main door of the warehouse and speed towards them. Scenery, packing crates, etc. go flying. Templeton holds his ground. Browning runs. [BROWNING] Look out! DEVON hooded, spinning helplessly in the water. OMITTED BROWNING runs between the rows of scenery only to find RC3 in his path. RC3 grabs him. [RC3] Where's Devon Miles?! Where is he?!! [BROWNING] Inside. Inside dying. RC3 rears back and decks Browning with one punch. RESUME K.I.T.T. As he pursues Templeton and stops within inches of smashing into him in an attempt to pin him against a wall. Suddenly, Templeton vanishes in a cloud of smoke and reappears right in front of: MICHAEL who is dashing toward the tank to free Devon. He puts on the brakes, staring right down the barrel of a gun Templeton levels at him. [TEMPLETON] A valiant attempt, Mr. Knight. But all for --- THE SMOKE DEVICE in Michael's hand, as he sets it off and a cloud of smoke explodes in Templeton's face. He is interrupted by: RESUME THE SCENE Michael's foot flashes with blinding quickness and knocks the gun from Templeton's hand in a karate kick. ANOTHER ANGLE as Michael comes out of the spinning kick, grabs Templeton, spins him around and shoves him toward RC3 who's running into the area from his run-in with Browning. [MICHAEL] He's yours, RC! As Michael dashes to the water tank, we go to: ANOTHER ANGLE as Templeton spins right into RC3's fist that comes out of nowhere. He blocks the punch. Tries to throw one of his own. RC3 blocks it and decks him. THE WATER TANK Devon, bubbles rising in a steady stream from the silk hood, as Michael climbs atop it, reacting to the pad lock. [MICHAEL] (into comlink) Kitt, I need some help with this lock! THE PADLOCK on the tank cover snaps open. THE SCENE as RC3 joins Michael at the tank. They pull off the top, drag Devon up out of the water and remove the silk hood. Devon gasps for air for a moment. [MICHAEL] (into comlink) Now, the cuffs. K.I.T.T. opens the cuffs. They pop off Devon's wrists. [MICHAEL] Devon?! Devon? Are you okay? [DEVON] Right as rain, thank you -- But this was my best silk suit. As they all smile with relief, we: FADE OUT END OF ACT FOUR TAG INT. STAGE - DAY A cleanup of Templeton's paraphernalia is in progress. Devon, Bonnie and RC3 are on the stage, Devon inspecting Templeton's hood curiously as K.I.T.T. glides up behind him. [MICHAEL] Thinking of getting into the act Devon? As Devon drops the hood and turns to K.I.T.T. [DEVON] No thank you. I've had enough magic to last me a lifetime. Michael? Turning to K.I.T.T., Devon's puzzled to find K.I.T.T. driverless. Instantly we hear the trunk pop in the back -- and with a puff of smoke, Michael leaps out of the car. ON BONNIE, DEVON AND RC3 at most, mildly impressed. [DEVON] Amusing. But hardly mystifying. [MICHAEL] (playing it up) Then perhaps I can dazzle your senses with the help of a simple handkerchief. Devon finds it all a bit much, but still obligingly reaches into his breast pocket -- and there's nothing there. [DEVON] I had one right here. I --- [MICHAEL] This one? Michael produces Devon's handkerchief from beneath his jacket. [MICHAEL] Must have flown my way. And he parts the handkerchief to reveal a fluttering white dove. Now the group smiles, and even Devon applauds. Michael hands the dove to Bonnie. [BONNIE] (touched) Maybe I'm the one who should be making a peace offering. (apologetic) Not even a master illusionist should make you doubt your friends. [MICHAEL] Bonnie, he even had me under his spell for awhile. But two can play the escape game. At that tender moment, a synthesized coo echoes through the room. The dove flies away and perches on K.I.T.T. [K.I.T.T.] I believe that's three, Michael. Counting your assistant. [RC3] Yeah, you've got to give K.I.T.T. his moment in the spotlight, too. [MICHAEL] You're right, RC. Now that Templeton's history, we've got an unemployed tiger on our hands. Kitt can perform his famous Seduction and Sedation of a Tigress in Heat -- all by himself. [K.I.T.T.] On second thought, Michael, I think the only magic I'll perform is a disappearing act. Off the other's laughter: [FREEZE FRAME] THE END

{"show": "Knight Rider", "season": "s04", "episode": "e14", "title": "DEADLY KNIGHTSHADE"}

knightriderarchives

ACT ONE FADE IN EXT. BRENTWOOD HILLS MOTOR COURT - NIGHT - HIGH WIDE ANGLE Exquisite single-story bungalows, spaced a good distance apart, sits on the sloping hillside of this motel complex. As the camera slowly pans downs and to one of the bungalows, we find a two-door sedan parked in front, a dim light shining through the window, and we hear: DAMON (V.O.) It was billed as the greatest fight of the decade -- and many think it was.... INT. BUNGALOW - NIGHT - FIGHT ON TV SCREEN (Videotape replay -- little or no sound) Both fighters, bruised and bloody are in the middle of the ring. Keeler tags Grant with a hard, jolting, straight left, and then crosses with a crushing right hand...The punch nails Grant, flush on the cheekbone, sending him crashing into the ropes. Keeler goes in for the kill, blasting away with both hands. Grant bobs -- lets go a wild overhand right. Grant slips under it, lands a left, unloads a devastating right to Keeler's temple. The blow jerks Keeler's head sideways... his knees start to buckle...the bell sounds, ending the round. The referee steps in between the two fighters. Over the round we hear: [DAMON (O.S.)] Keeler, the champion -- Grant, the contender -- went at each other round after round...The fourteenth was the most punishing three minutes of boxing that this sports writer has witnessed in a career that spans over four decades -- neither fighter giving quarter -- neither man listening to the dictates if his body that had to be saying, 'Stop... stop.' The TV screen now shows Doctor Jack Simmons (late forties, dressed in a tuxedo) talking to the fight announcer at ringside. Over the above: [DAMON (O.S.)] At the end of the fourteenth round, fight Doctor Jack Simmons, commen- tating at ringside, had the champion, Keeler, convincingly ahead on points. Angle adjusts and we see the elegant old sports writer, Damon Leland (sixties) sitting on the far side of the room, viewing the video replay of the fight, as he talks into his tape recorder. Sitting next to him, an attractive woman in her early thirties, Jean Tremount. TIGHT ON DAMON his eyes riveted to the TV screen. [DAMON] As you know, I am now deaf -- perhaps too many years of the roar of the crowd...Yet, this affliction lead this sports writer to the discovery of 'why' the champion, Keeler, hit the canvas in the fifteenth round and lost his title. THE TV SCREEN now shows Keeler's corner between the fourteenth and fifteenth rounds. The corner man, working frantically on Keeler, as he whispers something to his trainer, Spiderman (early fifties). Over the above: [DAMON] I now can support that statement with documented proof. RESUME ANGLE - DAMON AND JEAN Jean tenses as Damon continues: [DAMON] And I intend to use that proof to stop the rematch between Grant and Keeler. Damon turns off his tape recorder, turns, facing Jean: [DAMON] That's basically how I'll start my TV spot Sunday evening. Damon reaches down, picks up a file (medical report) from the coffee table in front of him, and glances at it. [DAMON] ...And it will be your documents that will get it done. As they both rise, apprehension mirrors Jean's face. [JEAN] How can I be sure that I won't be implicated?... [DAMON] My reputation...forty years I've never revealed a source. (sad smile) I'm much too old to change.... Damon reaches into his jacket pocket, takes, from it, an envelope that obviously has money in it, hands it to Jean. [DAMON] Thank you. You're doing the right thing -- probably saving a man's life. Jean nods, takes a thin silk scarf from her handbag, places it over her head. Both move towards the bungalow door. EXT. BUNGALOW - NIGHT The door to the bungalow opens, Jean exits, moves to her car (her back to the camera's eye). As she starts to enter, camera zooms back to: INT. LATE-MODEL SEDAN - NIGHT Parked alongside one of the other bungalows, within viewing range of Damon's cabin. Two hard-looking men are in the front seat. Behind the wheel, Blue Lightning (ex-fighter); in the passenger's seat, Dino Benson (lean, stone cold). Both men have their eyes riveted on Jean's car as it pulls away. INT. DAMON'S BUNGALOW - NIGHT Damon, his back facing the bungalow's door, takes the phone off its cradle. He then takes, from his pocket, a battery- run electronic device, the size of a cigarette pack. On its face are two raised dots -- one red, one green. He places the device next to the phone's receiver, dials a number. The red dot flashes once...twice...and then the green light glows steadily. Damon now speaks into the phone. [DAMON] Devon, I know I'm being terribly mysterious.... INT. FOUNDATION - NIGHT - INTERCUT AS NEEDED Devon is sitting behind his desk, phone to his ear, listening intently. We hear Damon's filtered voice come through the receiver: [DAMON] (filtered voice) I must see you to explain it all in detail, tomorrow.... INT. DAMON'S BUNGALOW - NIGHT - ANGLE FAVORING DOOR The doorknob starts to turn as Damon continues speaking into the phone. [DAMON] (into phone) And, if you will get all information possible on the death of a man named Samuells -- Aireon, Massachusetts.... The door flies open and, with catlike moves, Benson enters and starts to cross towards Damon. [DAMON] (into phone) ...Year -- 1978. I believe you'll find.... Benson reaches Damon -- delivers a killing karate chop to the back of Damon's neck. The phone flies from his hand as he crashes to the floor. INT. FOUNDATION - NIGHT - ON DEVON as he reacts to the sound he has heard over the phone... hangs up and urgently dials. [DEVON] Kitt, where is Michael? I must speak to him. INT. DAMON'S BUNGALOW - NIGHT Damon is crumpled up on the floor. Blue, on the far side of the room, takes a small glass-shielded candle from his pocket and lights it, as Benson crouched, leans into the bungalow's fireplace and turns on the gas. We hear the "zzzzzz" of gas escaping as Benson calls across to Blue, who is placing the candle on a table: [BENSON] Put that candle up as high as you can get it -- buy us some time to get away from here. As Blue stretches to place the candle on the top shelf of a floor-to-ceiling bookcase: CUT TO EXT. APARTMENT TERRACE - NIGHT - ON MICHAEL Michael, with an exasperated look on his face, is whispering into his comlink. In the b.g., on the far side of the terrace, is a beauty, seated at a table that has wine chil- ling, candles glowing, and roses. [MICHAEL] Kitt, try to explain to him how much this evening has set me back -- catered dinner -- wine -- and do you have any idea what yellow roses cost. [K.I.T.T.] Michael, we are on twenty-four hour call...And I find nothing important about the price of roses. [MICHAEL] Of course not you never pay cash. [K.I.T.T.] Michael. You have certain obligations I have certain obligations. INT. K.I.T.T. - NIGHT - TIGHT ON SCREEN Devon, tight-jawed, trying to control himself, barks out: [DEVON] Tell him that Damon Leland's life may be in danger! [MICHAEL] (reacting) I'm on my way.... CUT TO INT. DAMON'S BUNGALOW - NIGHT The zzzzzzing of the gas escaping is heard as we pan the room, past Damon's body, up to the flickering candle. EXT. BUNGALOW - NIGHT - BEAMS OF HEADLIGHTS cut through the darkness as K.I.T.T. screeches to a stop. K.I.T.T.'s door opens and, as Michael bolts out: [MICHAEL] Keep the scanners peeled! Give me a readout. NEW ANGLE ON MICHAEL as he starts to move, cautiously, towards the bungalow. Through his comlink: [K.I.T.T.] Michael, I detect one inert human form -- barely discernable vital signs -- yet I'm receiving two odors on my olfactory scan. Michael, reaching the door, starts to turn the doorknob. [K.I.T.T.] One, a perfume...The other... (alarmed) Michael duck.... MICHAEL reacting to K.I.T.T.'s warning, leaps, head first, away from the cabin -- hits the ground -- tumbles, as: THE CABIN explodes!! DISSOLVE TO INT. SEMI - DAY Devon, RC3 and Michael are going over the series of events involving Damon Leland. Bonnie is at the control panel. [MICHAEL] It was the furthest thing from an accident...No one uses his fireplace when it's eighty-five degrees outside -- it was murder. All eyes turn to Bonnie, as: [DEVON] Damon was talking to me...He was working on a boxing story...it had to do with the ex-champ, Keeler. [BONNIE] Kitt has broken down the components of the smell he picked up on his olfactory scan. A mixture of natural gas and 'Joie de Vei.' [RC3] I didn't think that could cause an explosion.... [BONNIE] A timing device caused the explosion. The Joie de Vei is a perfume. [DEVON] Explosive -- but not that uncommon.... [MICHAEL] (nods, agreeing) I knew a lady who bathed in it. It was like walking through a field of violets. [RC3] I can think of worse things.... Devon shoots RC3 a look, then: [DEVON] Bonnie, Leland mentioned the death of Samuells. What did you get on the run down? [BONNIE] Very little...In 1978, two men by the name of Samuells died in Aireon Massachusetts. Simon P. -- seventy- two years old...James T. -- thirty- two...Both deaths are listed 'natural causes.' Michael, looking across at Devon: [MICHAEL] The fight, the death of Samuells and Lelands could tie in together.... [BONNIE] (reads) Keeler, age thirty-six, pro eleven years, forty-six wins, six losses, thirty knockouts, turned pro in 1976, managed by Lou Davis since 1978. [MICHAEL] '78...The year Keeler hooked up with his manager, Lou Davis and the year Samuells died.... [RC3] What's Davis got to do with this?... [MICHAEL] Maybe nothing...or maybe forty mil- lion reasons -- called 'dollars.' It's what Keeler's rematch is worth. RC3's reaction...Then: CUT TO EXT. TRAINING CAMP - DAY - ESTABLISH INT. TRAINING CAMP - MOBILE BUILDING - ROYAL DAVIS OFFICE - DAY Davis, a good-looking, forties, well-dressed polished...He paces nervously, checks his manicure, sprays his breath, looks into one more mirror to unsure his collar lays perfectly...Blue stands on the far side of the room, watching, anticipating...Benson enters the room. Davis turns on him immediately.... [DAVIS] ...You let a chick stroll away from that cabin. You didn't see her face ...you don't know who she is...you mess up and I can lose it all. Benson, tight-eyed and deadly: [BENSON] Keep breaking my chops Davis, and the first thing you lose is me. This stops Davis in his tracks. Benson points to Blue.... [BENSON] I'm not one of your 'ex-pugs,' Davis. I'm a professional... (beat) I said I was reading the morning papers -- all of them. No one has stepped forward -- man or woman. [DAVIS] Not yet -- Time makes people run scared and their mouth starts movin'! [BENSON] (shrugs, casually) If someone else has to be killed -- I'll get it done. (beat) And for you it only cost money. On Benson's half smile: CUT TO INT. K.I.T.T. - DAY - ON MICHAEL - MOVING SHOT behind the wheel, maneuvering the curves of a narrow moun- tain road. A beat...Then: [K.I.T.T.] Michael, I feel I need more data for my information bank. [MICHAEL] Buddy, there's not much to give -- except that, for weeks, Damon Leland had been indicating in his sports column that he was going to try and stop the rematch between Keeler and Grant. [K.I.T.T.] Did Leland have that kind of power? [MICHAEL] If he had proof that someone was 'dirty,' he could publicize it.... [K.I.T.T.] Michael, sometimes I find your colloquialisms colorful -- but confusing. I assume 'dirty' doesn't mean 'unwashed.' [MICHAEL] 'Dirty,' means that, when Keeler went down from a badly thrown left hook in the fifteenth round, maybe -- just maybe -- it wasn't all sportsmanship and athletic ability. [K.I.T.T.] Can you prove that? [MICHAEL] Not yet, for now I think I'll just squeeze and hope somebody yells. [K.I.T.T.] I'm afraid I do understand that Michael.... Michael laughs. EXT. MOUNTAIN ROAD - DAY - ON K.I.T.T. slowing as he approaches a dirt road turnoff. Fronting the turnoff is a huge sign that reads: "KEELER TRAINING CAMP CLOSED TO PUBLIC -- AUTHORIZED PERSONNEL ONLY." K.I.T.T. makes his turn onto the road and proceeds towards the camp. A high chain link fence cordoning off the acreage that comprises the training camp. INT. K.I.T.T. - DAY - MOVING SHOT Michael looks up at the top of the fence and then around to see if there is a way to breach the security. [K.I.T.T.] They're checking press cards.... [MICHAEL] Then we'll have to have one. As they drive on Michael hits the proper buttons. INSERT - K.I.T.T.'S PANEL as it is activated and proceeds to execute a series of codes to copy a press card.... EXT. TRAINING CAMP - PARKING LOT - DAY A dirt area half-filled with press-tagged cars. Michael parks, gets out, and walks towards the entrance and its guard.... EXT. GUARD GATE - DAY The Guard, an ex-pug in civilian clothes, steps out to Michael, who hands him his press card...He reads it. [GUARD] (astonished) The Tombstone Variety...never heard of it.... [MICHAEL] Forty bucks a year will make you a subscriber...how about it? [GUARD] That's what the other eight sub- scribers say? [MICHAEL] (on the move) To tell the truth they get it for nothing. Michael smiles, moves through the gate past the guards, looks and starts up a tree-line path. EXT. KEELER'S MOUNTAIN TRAINING CAMP - FULL SHOT The area is crammed with people. Press photographers snap away with their cameras as celebrites from the fight world mingle with friends and family. Exotically clad waitresses move among the visitors, passing out hors d'oeuvres and soft drinks. A huge tent, with side flaps removed, covers a ring and workout area. Sparring partners bank away at heavy bags... One shadow-boxes in the ring. Training camp personnel go about their business. Angle adjusts to find: DAVIS surrounded by a circle of reporters, giving a press con- ference. Off to one side, in a group of ten to twelve people, are Doc Simmons, Jean Tremount, and a woman in her early thirties who, we will learn later, is Mrs. Ruth Keeler. Davis nods to his PR man, who spots out his well-used speil, his arms waving, his eyes popping, his voice at an emotional shout. As Michael approaches. [PR MAN] (overflowing with energy) They're gonna forget that Rumble in the Jungle!..They're gonna forget that Thriller in Manila!..That was a prelim...When they're asked, 'What was the greatest fight of this century,' every fight fan in the world is gonna shout, 'The battle in Butte!..The battle in Butte!' When they talk about the greatest fight ever, there's gonna be just one memory that stands alone -- the memory of Keeler -- and Grant -- standin' toe to toe under that northwestern sky!!! Michael moves into Frame, joining the press as Reporter #1 shouts from the crowd to Davis.... [REPORTER #1] What about it Davis? Why Butte?! It's not exactly the fight capitol of the world! [DAVIS] Because my heart is with the working man. Those people that can't fly to Vegas, Atlantic City or Tahoe to see a championship fight.... [REPORTER #2] (with a chuckle) Your heart may be with the working man, but you held out for forty million dollars for the TV rights. [DAVIS] (smiles) I never said I was dumb. The working man gets his fight, the promoter gets his profit.... [MICHAEL] How much slimmer would your profit have been if Keeler hadn't gone down in the fifteenth?! Davis glares at Michael, then tries to joke his comment off, with: [DAVIS] The Lord works in strange ways.... [MICHAEL] Damon Leland wrote that Keeler's over-used -- over fought -- and over-aged -- and should think twice about stepping into the ring again. And, if Damon Leland was alive, I gotta hunch Keeler wouldn't! Davis glares at Michael. [DAVIS] But old men begrudge younger men that can stand tall. [MICHAEL] The last time I saw Keeler he wasn't standing tall! He was flat on his face from a punch that, two years ago, he would have laughed at! Who's he standing tall for, Davis -- for himself -- or for your forty- million dollar purse?! Davis controls himself. [DAVIS] You think Keeler's over-used? Talk to the expert. Talk to the man who gave him his pre-training examination! Doc Simmons! All eyes turn to Doc Simmons. A beat...and then Simmons takes a step forward. [SIMMONS] (smiles, gestures) Bo Keeler's a phenomenon...He's got the heart and lungs of a nineteen year old. I've never seen a more magnificent example of clean living in my entire career. If any of you reporters would like a photostat of his medical examination.... Simmons, indicating Jean Tremount. [SIMMONS] ...feel free to call my secretary, Miss Tremount.... Before anyone can respond, Davis, glaring at Michael: [DAVIS] Members of the press can pick up their news kits on the way out! Davis pushes his way through the crowd, heading back towards his office area. Ad-lib murmurs from the crowd as they start to disperse. ON MICHAEL his eyes tight as they trail after Davis. A beat...and then Mrs. Ruth Keeler moves into frame, stares at Michael. Michael's eyes turn to her. Another beat...and she asks: [MRS. KEELER] ...Who and what are you? [MICHAEL] Nothing special, just a man who has a lot of unanswered questions. [MRS. KEELER] I'm Ruth Keeler. And you're special to me...You're the only one outside of Leland who's sounded off like that. [MICHAEL] I still didn't get any answers. [MRS. KEELER] I don't think you expected any, but I'd like you to ask those questions to my husband. Michael stares at her, stunned. [MICHAEL] Why help me? [MRS. KEELER] Because I'd also like those answers. Meet me at the turnoff entrance to the camp. My husband's doing road work. I'll take you to him. On this, Mrs. Keeler spins and walks away. SERIES OF CAMEO SPOTS FEATURING WELL-KNOWN FIGHTERS WIDER The crowd continues to leave the camp. Michael's eyes trail after Mrs. Keeler. At the point when she passes the tent-covered training area, something catches Michael's attention: A COMPACT TV SURVEILLANCE CAMERA fastened to one of the tent's poles, angled towards the boxing ring. RESUME ANGLE ON MICHAEL as his eyes scan the area, noting two other surveillance cameras. He then sees: MICHAEL'S POINT OF VIEW - A MOON-FACED, EX-HEAVYWEIGHT FIGHTER JERRY "RED" "tapes" the hands of one of the sparring mates. NEW ANGLE as Michael crosses to the training area, then moves to Jerry's side. Jerry gives the fighter a "tap" on his hands, the fighter moves away. Jerry looks up at Michael. [JERRY] You need something, mister? [MICHAEL] Yeah -- an expert's opinion. You were at the Grant-Keeler fight. Tell me what you think happened in that fifteenth round. [JERRY] ...You tell me. I just tape hands and mind my business.... [MICHAEL] Keeler either totally ran out of gas -- or he took a 'dive' for the big money in the rematch. Something catches Jerry's eye. [JERRY] Pal, that kinda talk can buy you nothing but trouble. This broken nose don't make me dumb. [MICHAEL] I remember when you fought...You were never afraid.... [JERRY] You saw me fight? Michael nods.... [JERRY] Then stop asking questions or I could lose my only fan.... Jerry moves out as Michael's eyes catch: NEW ANGLE Davis, flanked by Benson, Blue and two other ex-pugs. Davis issues a command. [DAVIS] Take him to his car...Make sure he doesn't want to come back! Benson remains at Davis' side as Blue and the two others move forward. ANGLE FAVORING MICHAEL as Blue and the two pugs start to close in on Michael. Michael raises his left hand up to his mouth as if to wipe his upper lip. Into his comlink: [MICHAEL] Kitt, I think I'm about to get my head handed to me. [K.I.T.T.] Apparently they didn't enjoy being squeezed. OMITTED EXT. TENT - DAY Two of the pugs have closed in on Michael. One makes his move and Michael kicks out at the heavy bag. The bag swings -- catches the pug flush in the gut -- sending him sprawling! Michael backs out to an open grassy area as the other pugs continue to close in. Blue circles Michael to cut off his escape route. Michael's head spins, from in front of him, to Blue, circling. [MICHAEL] Fellas, what happened to freedom of the press?? SCENE The answer is obvious, they make a move at Michael. Michael plants his feet -- fakes a punch with his left at the pug coming from the left -- throws a straight right, shoulder high, at the pug on his right. He goes down, as: MICHAEL into comlink. [MICHAEL] Kitt, I can use your company. K.I.T.T. comes barreling out of the trees and into the clearing, slows as he bores into the fray. ANOTHER ANGLE Blue leaps aside and spins to face K.I.T.T. K.I.T.T.'s driver's door flies open, catching Blue flush -- like a left hook to the solar plexus. Blue drops where he stands. WIDER and we see Michael duck under a wild right from one of the pugs and then lands a left hook to the exposed rib. MICHAEL is in a "give and take" with one of the men. The first pug down regains his feet and comes charging. OMITTED FULL SHOT - THE CAMP Davis has called, "Hey, Rube," and the remainder of the "camp people" are racing towards the clearing! ON MICHAEL - INCLUDING K.I.T.T. His eyes go wide as he sees the reinforcement charging towards him. [MICHAEL] Kitt, I think we've overstayed our welcome! Michael bolts into K.I.T.T. -- K.I.T.T. spins his wheels -- makes a "half donut" and is full bore, headed for the trees, as we: FADE OUT END OF ACT ONE ACT TWO FADE IN EXT. MOUNTAIN ROAD TURNOFF - DAY Mrs. Keeler's car is parked adjacent to the sign that reads: "KEELER TRAINING CAMP." K.I.T.T., with Mrs. Keeler in the passenger's seat, is maneuvering back onto the dirt road as we hear: [MRS. KEELER (V.O.)] ...Make a right when you come to the first junction...What kind of car is this?... INT. K.I.T.T. - DAY - MOVING SHOT [MICHAEL] It's an '86...I got an early delivery.... [K.I.T.T.] Really Michael.... [MRS. KEELER] It talks...what'll they have in '87.... [MICHAEL] Quieter cars. [MRS. KEELER] (points) My husband does his work in the viaduct.... This triggers off something in Michael's mind. His eyes tighten with thought...then: [MICHAEL] ...A fighter usually runs in the morning. [MRS. KEELER] A lot of things have changed, including schedules. If they hadn't, I wouldn't be sitting in this strange car with you. Michael starts to say something. She stops him, with: [MRS. KEELER] Let me finish...I don't know who you are -- I only know you asked the same questions I've asked my husband. I'm not getting any answers. I hope you can. They reach the junction. Michael spins the wheel, makes the turn. [MICHAEL] Mrs. Keeler I don't understand the rematch...Bo Keeler has always said he fights for money...I know you and Bo have a beautiful home and well over two million dollars in solid investments. So, why the fight? Tears start to well up in Mrs. Keeler's eyes. A beat... then: [MRS. KEELER] There is no sane reason for him to take any more punishment. I watch him, every morning, getting out of bed -- piece by piece -- every muscle -- every joint -- in his body aching. I hold back while he stands under a scalding shower, trying to numb the hurt. And when he comes out, I ask, 'Why? Why are you doing this to yourself?..We don't need any more....' The tears rolling down her cheeks stop her from continuing. As she wipes them away: [MICHAEL] And he never gives you an answer. [MRS. KEELER] Oh, yes. Things like...'You wouldn't understand...' And he's right. EXT. K.I.T.T. - DAY - MOVING SHOT K.I.T.T. slows as the viaduct comes into view, edging the roadway. Up ahead, we see a "bend." K.I.T.T. pulls over and stops. EXT. VIADUCT - DAY - ON KEELER AND SPIDERMAN jogging in silence, rounding a long, sweeping curve in the viaduct. Stay with this until the bend reaches a straight- away and Keeler looks up and reacts. NEW ANGLE and we see Michael and Mrs. Keeler on the edge of the viaduct, directly in front of the approaching Keeler and Spiderman. ANOTHER ANGLE Keeler and Spiderman, reaching Michael and Mrs. Keeler, jog in place for a beat...Keeler glares at his wife, and then they take off again. Michael looks across at Mrs. Keeler, then camera stays on Michael as he jumps down into the viaduct, races to catch up with Keeler and Spiderman. Reaching them: SCENE Spiderman drops a pace behind as the camera tracks. [KEELER] I don't know how you got my wife to lead you here but I don't like it. Now, what's your problem? Michael's eyes tighten, lock on Keeler. [MICHAEL] Damon Leland's death. He came into town to stop this rematch. Somebody didn't want him to. [KEELER] So, what do I have to do with that?! I'm up to here with you 'no-name' press guys.... [MICHAEL] My name is Michael Knight. [KEELER] So? [MICHAEL] So talk to me, Keeler. Aside from money, tell me why you want to subject yourself to the punishment you're going to get from Grant. [KEELER] (beats) I didn't get a shot at the title 'til I reached thirty. I fought in every smoker and barn you ever heard of. No ranked fighter would give me a shot...I traveled too long a road to give up the title after one loss. Their jog in the viaduct has led them back to the outskirts of the training camp. They stop. Michael, baiting him: [MICHAEL] No ranked fighter would give you a shot until you signed with Davis back in Massachusetts? [KEELER] You got it. Aireon. Massachusetts. I was working a part-time job between smokers.... ON SPIDERMAN tensing. [SPIDERMAN] Champ, you'd better get back to camp for a 'rub' before you begin to tighten up. BACK TO SCENE Keeler moves to, and starts to climb up, a steel ladder riveted to the side of the viaduct. Keeler lets this sit for a quick beat...Then: [KEELER] Give Spider a number where you can be reached. I'll see to it that you can ask anything to anybody. I got nothing to hide. Keeler turns his back on Michael, starts to climb the ladder. Michael hits him with: [MICHAEL] What's the name 'Samuells' mean to you? Keeler freezes, then answers: [KEELER] Zero.... ON SPIDERMAN And we see panic in his eyes. MATCH CUT TO INT. DAVIS' TRAINING CAMP OFFICE - DAY - ON SPIDERMAN The panic remains in his eyes as he states: [SPIDERMAN] When he asked about Samuells, I started to shake. Davis, I can't handle that kind of pressure. WIDER and we see that Spiderman is talking to Davis. Benson is on the far side of the room. [SPIDERMAN] ...If he starts comin' down on me, I'm afraid I might say the wrong thing...Just cut me loose -- let me walk away and disappear. Davis, holds a long silent beat.... [DAVIS] You want out, you have it.... [SPIDERMAN] (relieved) Thanks Mr. Davis. [DAVIS] But only after you make a move for me. Do it and you'll even walk away with money in your pocket. Spiderman stares at Davis, not wanting to hear what he has to say. CUT TO INT. K.I.T.T. - DAY - MOVING SHOT traveling the mountain road, leaving the camp area. Michael asks: [MICHAEL] Pal, the security system at the training camp has television surveillance. I'd like to know if they're 'taping.' INSERT - K.I.T.T.'S PANEL being activated. Then: [K.I.T.T.] The system does include that capability. [MICHAEL] Good. I want to tap in and record all of Keeler's sparring sessions. CUT TO EXT. SEMI - DAY - ESTABLISH INT. SEMI - DAY - ON MONITORING SCREEN The screen shows Keeler in the ring with one of his sparring partners. Keeler is wearing a full face/head protector. The sparring partner is initiating the action; Keeler, taking the defensive approach. (The sparring partner does not throw a punch at Keeler that is higher than chest level.) Time is sounded and we go: WIDER and find K.I.T.T. parked in the semi; Michael, Devon and RC3, with their eyes glued to the screen. Bonnie is off to one side. [DEVON] You're right, Michael...It's the same in every one of the tapes...Keeler keeps backing off. [MICHAEL] ...And Keeler's the kind of fighter that knows only one way -- keep coming in -- keep attacking. He's changed his training pattern and his style... There's got to be a reason.... [RC3] ...It looks like the man is totally out of sync. [MICHAEL] So was Spiderman when I asked about Samuells...Bonnie, has any added information come in on Samuells? [BONNIE] I rechecked the report...both men named Samuells simply died of natural causes. Michael's eyes lock on Devon. [MICHAEL] Nothing is ever as simple as it seems.... Devon, reading him, nods. Then: [DEVON] RC, check with the airlines...you're flying to Aireon. [RC3] I like it...an investigating reporter asking important questions. [MICHAEL] As long as you get some important answers. RC3 exits. Devon and Michael again turn their attention to the monitoring screen. MONITORING SCREEN and again Keeler, with a sparring mate, on the defensive. [MICHAEL (O.S.)] There's got to be something here that we're missing.... BACK TO SCENE [DEVON] Maybe we're making too much of it, Michael. Perhaps Keeler feels that's the only way he can beat Grant. Michael shakes his head "no." [MICHAEL] My hunch is that he doesn't have any choice.... Michael is interrupted as K.I.T.T. comes through his comlink, with: [K.I.T.T.] Michael, the number you gave Spiderman has been dialed. Michael bolts to K.I.T.T., leans in his window. [MICHAEL] Connect me. CUT TO INT. DAVIS' OFFICE - DAY - ANGLE FAVORING SPIDERMAN - INTERCUT MICHAEL AS NEEDED Spiderman, sweating, has the phone to his ear. Across from him -- Davis, Blue and Benson. [SPIDERMAN] (into phone) I gotta make this quick -- I don't like what's goin' on. I'm willing to tell you some things, but not here at camp. [MICHAEL] (into phone) Where?... [SPIDERMAN] (into phone) Where you first saw us in the viaduct ...Follow the curve. It will take you to the catch basin -- eight o'clock tomorrow morning. I'll be there. Spiderman hangs up, looks across to Davis. [DAVIS] Relax...You're halfway there. Spiderman nods, crosses the room, opens the door and exits. The door closes behind him. Davis turns to Benson.... [DAVIS] (to Benson) ...Kill them both. On Benson's casual nod: DISSOLVE TO EXT. VIADUCT - DAY - ON K.I.T.T. winding his way along the edge of the viaduct. A beat... then move: INT. K.I.T.T. - NIGHT - MOVING SHOT Michael, eyes tight: [MICHAEL] Kitt, all systems on alert. Spiderman's 'turned over' too easy. [K.I.T.T.] You do have an alternative, Michael. Arrange for a new meeting place. Michael shakes his head "no." [MICHAEL] If he's straight, I don't want to give him time to change his mind. EXT. TOP OF DAM - DAY We find Spiderman in the shadows -- a man who doesn't want to be here. Camera zooms to: BENSON on high ground, carrying a high-powered automatic rifle, equipped with scope. He looks across to and signals: BLUE crouched, armed with the same type of weapon. Receiving Benson's command, he starts his move to the opposite side of the dam. EXT. CATCH BASIN DAM - DAY K.I.T.T. approaches the basin from the upstream side. There is a small pond of water where the stream is dammed on its way to the spill gate. INT. K.I.T.T. - DAY Michael sits at the wheel and waits for K.I.T.T. to complete his scan of the area. [K.I.T.T.] Michael, I have no way of determining what is on the other side of the dam. It is too large and solid a structure. I believe you should use extreme caution. [MICHAEL] Thank you, buddy. I intend to do just that. He opens the door and steps out. EXT. CATCH BASIN - DAY Michael crosses the base of the dam and finds a series of steel rungs, on its face, leading up to the top. He begins to climb. EXT. TOP OF DAM - DAY Spiderman stands with his back protected by one of the huge concrete pillars. Michael climbs onto the rim and looks around. [SPIDERMAN] Over here.... Michael crosses to him. Their eyes lock. [MICHAEL] Let's get to it. You and I both know Keeler's waltzing through his training sessions. He either intends to make the rematch short and sweet for Grant, or there's something wrong with him. Spiderman is shocked by the bluntness of the question and is caught off guard. [SPIDERMAN] How did you find out? CUT TO BENSON angling his rifle. BENSON'S POINT OF VIEW THROUGH SCOPE Michael and Spiderman appear in the scope. (No crosshairs.) RESUME ANGLE - MICHAEL AND SPIDERMAN Michael reacts and hits the deck as the sound of a shot is heard. Spiderman's eyes go wide as he's hit...He crashes to the cement next to Michael. BLUE sighting through his scope, firing round after round. RESUME ANGLE - MICHAEL AND SPIDERMAN Michael lies flat and pulls Spiderman towards him as shot after shot ricochet off the cement. Michael yells into his comlink. [MICHAEL] Kitt...we're in a crossfire! I'm coming down...Give me a smoke screen.... [K.I.T.T.] Of course Michael.... INT. K.I.T.T. - DAY Lights race across his panel. EXT. K.I.T.T. - DAY Smoke from K.I.T.T. starts to work its way up the dam. EXT. TOP OF DAM - DAY Bullets continue to cascade around Michael, as K.I.T.T. comes through his comlink, with: [K.I.T.T.] Michael, you're up too high. The smoke dissipates before it can reach you.... [MICHAEL] Then I'll come closer...buddy! Michael reaches out for Spiderman and drags him towards the edge of the structure. Reaching it, he cradles Spiderman in his arms. CLOSER ANGLE and we can see that Spiderman's life is slipping away. [MICHAEL] Hang in...just hang in. [SPIDERMAN] (forcing the words) Davis sent them.... Another salvo of bullets explodes around them. Michael takes a deep breath, then, taking Spiderman with him, slides off the edge of the dam. EXT. SIDE OF DAM - DAY - THE LONG SIDE Michael, cradling Spiderman, makes the long slide down the side of the concrete barrier and splashes into the pool of water below. And into the safety of the smoke. BLUE Lowering his rifle, he can't see. BLUE'S POINT OF VIEW - SCOPE SHOT K.I.T.T.'s smoke has blocked the entire area. BENSON lowering his rifle, shaking his head. EXT. BASE OF DAM - DAY K.I.T.T. screeches into frame, Michael shoves Spiderman inside. INT. K.I.T.T. as Michael tromps on the accelerator. VIADUCT K.I.T.T. speeds out of the smoke and to safety. INT. K.I.T.T. Michael turns to Spiderman.... [MICHAEL] I'll have you in a hospital in minutes. CLOSER as Spiderman speaks -- the words barely audible: [SPIDERMAN] ...Tell the Champ he didn't snuff Samuells. [MICHAEL] (stunned) What?... Spiderman starts to speak...his mouth quivers but no words come. A beat...and then he dies. TIGHT ON MICHAEL [K.I.T.T.'S VOICE] He's gone, Michael. Michael's reaction.... FADE OUT END OF ACT TWO ACT THREE FADE IN EXT. FOUNDATION - DAY - ESTABLISH Then move: INT. FOUNDATION - DAY and find Devon, Michael and RC3 in a war council. RC3 has an astonished look on his face. [MICHAEL] Spiderman died saying Keeler didn't kill Samuells. [RC3] It fits the facts I picked up... Simon P., the old guy, died peacefully in his sleep. James Samuells got fired for drinking, went on a three- day binge. Died in his bathtub...Hot water -- blood alcohol over 1.4. (shrugs) He bought the farm. A beat to let this settle in...Then: Michael shakes his head "no." [MICHAEL] There has to be a string that ties it all together. Or, why would Damon Leland want us to check on Samuells' death?! Michael paces. [MICHAEL] Let's go back to square one. Damon Leland was trying to stop the rematch. He must have known something no one else knew. [RC3] Could he have heard something in the post-fight 'rumble'? (correcting) I don't mean 'heard' -- I know he was deaf. But maybe he was given some inside information. ANGLE FAVORING MICHAEL - INCLUDING DEVON AND RC3 Michael's eyes tighten with thought. RC3 has triggered something. Devon shakes his head "no." [DEVON] Damon wasn't at the fight. He watched it in his home -- on television. [MICHAEL] Maybe that's the point. Let's watch the fight the way he watched it. (beat) Without sound. Devon and RC3 shoot a look at Michael and we: CUT TO INT. MASTER CONTROL ROOM - DAY Devon, Michael, RC3 and Bonnie are watching the large monitor. The last few seconds of the fourteenth round are in progress -- without sound. Keeler lets go a wild, overhand right. Grant slips under it, lands a left, unloads a devastating right to Keeler's temple. The blow jerks Keeler's head sideways...His knees start to buckle... The bell sounds, ending the round. The referee steps in between the two fighters. The tape continues to play as Bonnie asks: [BONNIE] What are we looking for, Michael? [MICHAEL] I'll know in the next minute.... ANGLE FAVORING MONITORING SCREEN as it shows Keeler's corner between the fourteenth and fifteenth rounds -- the cornerman, working frantically on Keeler, as he whispers something (inaudible) to his trainer, Spiderman. [MICHAEL] Freeze on that, back it up and blow it up -- then tell me what Keeler is saying. Tell me what Leland heard. As her fingers play across the keyboard: [RC3] (gestures) You've lost me.... [MICHAEL] Damon Leland could read lips. ANGLE ON SCREEN The picture on the screen enlarges, and we see Keeler mouthing some words. A beat...and then hear the sound of the computer typing out words. (Or electronic voice.) BACK TO SCENE Bonnie waits for the completion of the print-out, tears it off, hands it to Michael. He reads it out loud. [MICHAEL] Spiderman -- I can't focus...My arms are numb. I don't know if I can lift them...I'll try...I'll try.... Devon and Michael exchange looks...Then, Devon glances at the screen. [DEVON] Bonnie, give us a shot of Keeler's eyes. Bonnie activates the system, and an extreme closeup of Keeler's eyes appears on the monitor. [MICHAEL] Look at his right eye. It's dilated ...possible concussion, brain injury. [RC3] Then how did he pass the pretraining medical for the rematch? On Michael's look: CUT TO EXT. POSH MIDVALLEY MEDICAL COMPLEX - DAY comprised of single-story buildings of Spanish decor. Find K.I.T.T. parked in the visitor's lot in front of one of the buildings, then move: INT. MEDICAL BUILDING - OFFICE - DAY Jean Tremount is sitting at her desk. Michael stands before her, scanning a copy of the medical report. There is a nervousness playing behind her eyes as she watches him flip through the pages. [JEAN] The boxing commission has copies of all Keeler's medical reports. [MICHAEL] Like you said, 'copies'...I have to verify them against the originals... it's routine. Michael looks at Jean, smiles as he charms her.... [MICHAEL] Besides, if I wasn't sent here I'd have never met you, you're a very attractive woman, Jean.... Jean seems flustered but pleased. [JEAN] Thank you, Mr. Knight. [MICHAEL] You're a rare combination of both looks and aroma...what scent is it you're wearing? [JEAN] Joi Die Vei...it's all I ever use.... ON MICHAEL A knowing beat, then: [MICHAEL] And you were wearing it the night you met with Leland and he was killed. Michael flips the file on the desk...the papers scatter to the floor...Michael gets stronger. [MICHAEL] Now where's the brain scan on Keeler ...is that what you sold to Leland? NEW ANGLE Jean starts to panic.... [JEAN] I don't know what you're talking about...I don't know a Leland and if you want a copy of the brain scan you'll have to see Doctor Simmons.... [MICHAEL] Or maybe you didn't sell anything... maybe you were there to set up Leland's murder.... [JEAN] No...No...I didn't do that! [MICHAEL] Then why were you there?! [JEAN] (coming apart) I can't live with it any longer... (blurts it out) I did sell Leland the brain scan! She breaks. [MICHAEL] I'm not here to hurt you. Pull yourself together. I'll take you someplace where you'll be safe. Davis is covering his tracks with dead bodies. As Michael leads her to the door: OMITTED EXT. MEDICAL COMPLEX PARKING LOT - DAY - ON DOCTOR JACK SIMMONS crossing the lot from the far side -- directly opposite the spot where K.I.T.T. is parked. He stops in his tracks as he sees: SIMMONS' POINT OF VIEW - MICHAEL helping Jean into K.I.T.T.'s passenger seat. As Michael crosses to the driver's side: RESUME ANGLE ON SIMMONS Panic registers as he takes cover behind one of the parked cars. INT. K.I.T.T. - DAY - MOVING SHOT As they pull out of the lot: [MICHAEL] Kitt, can we reestablish files that have been erased from a disk? [K.I.T.T.] Michael, I appreciate the fact that you think my capabilities are inex- haustible, but, I do have my limits. [MICHAEL] I only asked. [JEAN] It talks. [MICHAEL] It still didn't tell me what I wanted to hear.... On Jean's frightened and confused reaction. Then: INT. SIMMONS' OFFICE - DAY Simmons races from the reception area into his office and freezes. Panic mirrors on his face as he stares down at: KEELER'S FILE strewn on the floor. INT. DAVIS' OFFICE - DAY - INTERCUT AS NEEDED Davis is sitting behind his desk, his eyes bulging, the phone to his ear. Benson is across from him. [DAVIS] You told me you destroyed those files! [SIMMONS] (into phone) I did! These are fraudulent! But Jean typed up the original medical report. I don't know what's going on -- but you didn't pay me enough to lose my license. I plan on covering myself -- up -- down -- and sideways. ON DAVIS Davis slams down the phone. [DAVIS] I don't intend to go to jail. (to Benson) You've never been in so you don't know what it's like...They take away everything. Everybody dressed alike and you eat out of tin plates. I've got millions of dollars and I'm not going to eat out of tin plates!! He stares at Benson. Benson, with a half grin, shakes his head "no." [BENSON] ...I'll get to Michael Knight...he may be a 'pro' but I know his next step. For enough money, I'll get your troubles washed away. Davis holds a beat, then nods.... CUT TO INT. SEMI - DAY Michael, Devon, RC3 and Bonnie listen while Jean reveals her self-imposed nightmare. [JEAN] Keeler's cat scan showed brain damage -- neuropathy of the arms. Jack called Davis and told him that, if Keeler went in the ring again, he could suffer a permanent paralysis -- Davis bought him off. [MICHAEL] Does Simmons know that you're aware of all this? [JEAN] I'm aware of everything that happens to Jack...I've been a lot more than his nurse for nine years. [DEVON] Why did you contact Damon Leland and not the authorities? [JEAN] For the money. Jack will never leave his wife. I told myself it would be a down payment on a new life. I had wasted all these years. Bonnie, feeling empathy, intercedes. [BONNIE] Jean, that's enough for now. Come with me -- freshen up and, if you want to talk things out -- I'm here. All wait for Jean and Bonnie to exit the room...Then: [RC3] Someone with as fine-tuned a body as Keeler has to know if something is wrong with him. Michael nods, agreeing. He moves to the phone, picks up the receiver from its cradle, dials a number. INT. KEELER HOME - DAY - TIGHT ON MRS. KEELER - INTERCUT MICHAEL AS NEEDED Mrs. Keeler has the phone to her ear. [MRS. KEELER] (into phone) No...Michael, Bo isn't home. [MICHAEL] The training camp is closed for the day. I have to reach him.... [MRS. KEELER] (into phone) He left a little while ago. Said he wanted to think...My guess is you'll find him in the L.A. viaduct. There's an access ramp at Fourth. Camera pulls back and we see that Benson holds a gun on her.... CUT TO EXT. LOS ANGELES VIADUCT - DAY The wide, concrete canyon, with a monolithic wall protecting each bank, stands, waiting, as K.I.T.T. drives down the access ramp and proceeds along the smooth bottom. INT. K.I.T.T. - DAY - MOVING SHOT Michael looks around and then asks: [MICHAEL] Kitt, scan ahead and see if you can locate Keeler. INSERT Lights play on K.I.T.T.'s panel and, on the display screen, we see a three-dimensional diagram of the viaduct, with a red dot indicating a figure a mile ahead, around a bend. [K.I.T.T.] I have a jogger a mile ahead. Michael's eyes look ahead as K.I.T.T. speeds on. EXT. VIADUCT - DAY K.I.T.T. winds around the bend and disappears. Camera stays on a huge iron door off to the side of the bank. It swings open and water begins to gush from the dark interior of its tunnel. EXT. BEND - DAY - LONG SHOT ON JOGGER running, with a towel over his head. A beat...and K.I.T.T. comes into frame. The jogger looks back over his shoulder. CUT TO CLOSE ON JOGGER and see that it's Blue -- not Keeler. Blue starts to race towards the side wall of the viaduct. INT. K.I.T.T. - DAY - ANGLE THROUGH WINDOW - MOVING SHOT Blue scurries up the cement wall to gain the top. [K.I.T.T.] Michael, why is he running away from us? Before Michael can answer: CUT TO EXT. VIADUCT - DAY - WIDE ANGLE Suddenly the floodgates on both sides of the viaduct start to open and the water bursts through, like torrents of rain. ANOTHER ANGLE - A SERIES OF FLOODGATES opening, one after another -- the water erupting from within, bursting into the air!! ANGLE ON K.I.T.T. caught in the center of this deluge of water! INT. K.I.T.T. - DAY - MOVING SHOT The windshield and windows are blurred -- sound of torrents of water crashing K.I.T.T.'s outer frame resounds and resounds! [K.I.T.T.] Michael, the flood control systems are being purged! Michael, white-knuckled, gripping the wheel: [MICHAEL] Give me everything you've got! Michael is jolted back in his seat as K.I.T.T.'s engine roars as he shifts to maximum power! ANOTHER ANGLE - K.I.T.T. A blur in this manmade hurricane. The storm of water is relentless as it continues to crash down on K.I.T.T.! INT. K.I.T.T. - DAY - MOVING SHOT The incursion from the floodgates shaking K.I.T.T. like a toy! [K.I.T.T.] Michael, I'm starting to lose traction -- I don't know if I can outrace it! ON MICHAEL speechless -- his eyes transfixed -- as the muffled roar of the onrushing wall of water grows louder and louder. FREEZE FRAME FADE OUT END OF ACT THREE ACT FOUR FADE IN EXT. VIADUCT - DAY K.I.T.T. -- sliding -- spinning -- screeching -- clears the gauntlet of cascading water. INT. K.I.T.T. - DAY - MOVING SHOT - ON MICHAEL Michael's eyes dart from side to side, trying to find an escape route...He sees it! MICHAEL'S POINT OF VIEW an incline leading to a huge flood control tunnel. [MICHAEL] Kitt -- the tunnel! EXT. VIADUCT - DAY - ON K.I.T.T. bolts into motion -- his projections come out as he obtains the super speed. INTERCUT - K.I.T.T. AND THE WALL OF WATER that has built from the purging of the systems in its race to the entrance of the tunnel. Then, at the moment that the water is about to engulf K.I.T.T., he reaches the incline and, in a blur, disappears into the mouth of the tunnel. INT. FLOOD CONTROL TUNNEL - DAY K.I.T.T. pulls to a stop. INT. K.I.T.T. - DAY Michael exhales, and then looks forward. [MICHAEL] Buddy, let's see if there's a way out of here. INSERT A three-dimensional diagram of the underground tunnels. RESUME ANGLE - MICHAEL Michael's eyes are locked on the screen. [MICHAEL] Compute the speed necessary to reach that intersection at D9...Buddy, the only way out -- is up. Go for it! Michael is propelled back into the seat by the G-force increase. INT. K.I.T.T. - DAY - MICHAEL'S POINT OF VIEW K.I.T.T.'s headlights play on the walls around them. Items flash by at such a rate that they are nothing but blurs. INT. TUNNEL - DAY - INTERSECTION Light shining through a large grate plays down upon the area. INT. K.I.T.T. - DAY - ON MICHAEL as he shouts: [MICHAEL] Turbo boost!! INT. TUNNEL - DAY - ON K.I.T.T. The super booster ignites, and the nose of K.I.T.T. climbs upward! EXT. CITY STREET - DAY - ON LARGE GRATE The grate crashes into the air as K.I.T.T. erupts up out of the flood control system and lands on the street. The tires grab to slow the car. INT. K.I.T.T. - DAY - MOVING SHOT As Michael steadies the wheel, a sigh of relief. Then: [MICHAEL] Buddy, have you ever heard the poem, 'How do I love thee? Let me count the ways.?' [K.I.T.T.] Michael, this is no time for senti- mentality. [MICHAEL] Right. Get me to the Keeler home. It was a setup and Mrs. Keeler wouldn't have put us in the middle unless she was in danger. DIRECT CUT TO INT. KEELER HOME - DAY - ON MRS. KEELER bound and gagged, tied to a chair in her living room. Angle adjusts and we find Benson at the window, peering out. EXT. KEELER HOME - DAY Establish this well-appointed home, with its gated front and long driveway that leads to the entrance. A beat...and then K.I.T.T. slows as it moves into frame. The front gate is open. K.I.T.T. moves through. INT. KEELER HOME - DAY - ON BENSON at the window. His eyes tighten as he sees K.I.T.T. coming through the gate. He pulls his automatic out and races from the room. INT. K.I.T.T. - DAY - MOVING SHOT Lights play on K.I.T.T.'s panel as he winds his way towards the entrance to the house. INT. KEELER HOME - DAY - FOYER Benson turns the entrance door knob, pulls the door a half- inch ajar. He then steps back ten feet and sets himself -- both arms extendedm holding the automatic cocked and ready. He waits and listens. He hears K.I.T.T.'s door open and close. A long beat...and then the doorbell chimes. [BENSON] It's open...Come on in. Benson waits. The doorbell chimes again. [BENSON] (louder) It's open...Come on in. The door opens and Benson fires at the empty doorway. Suddenly, from behind Benson, Michael moves into frame. His arms are extended -- his fists, gripped together. [MICHAEL] Thank you, but I'm already here. On this, Michael swings his arms like a baseball bat. His gripped fists hit the point of impact -- the back of Benson's neck. SCENE Benson goes sprawling. The automatic goes flying. And Michael is on him in a flash. Benson is quick -- Michael is quicker! It's a "no holds barred" brawl. They use karate and good old-fashioned New York street fighting. At some point, Michael delivers a "gentlemanly-like" foot kick to the side of Benson's jaw. This ends it. Benson crumples in a heap. Michael, standing over him: [MICHAEL] Not nice...but, what do you expect from an amateur?! MICHAEL races from the foyer into the living room. NEW ANGLE as he reaches Mrs. Keeler. Michael starts to untie her: [MICHAEL] Are you all right?... Mrs. Keeler nods "yes." [MICHAEL] Use these ropes to tie up Benson. I'll send help. I have to talk to your husband before the police come in on this. Do you have any idea where he might be? [MRS. KEELER] (nods "yes") ...His church. The place he goes when he's troubled. CUT TO EXT. OLYMPIC ARENA - DAY Establish this old green, wooden and plaster building in downtown L.A. and find K.I.T.T. parked at the foot of a ramp which leads to a huge, wooden delivery door. INT. OLYMPIC ARENA - DAY - WIDE ANGLE FROM ABOVE In this long shot, we see Keeler in the empty arena -- in the center of its square ring -- shadow boxing with slow, deliberate moves. A man alone with his thoughts and memories. We can almost sense the cheers of the crowd as we watch the graceful moves of this old champion in his imaginary bout with a ghost from the past. (There is an overhanging "mike" above the ring.) At some point, Michael appears from one of the lower levels; the champion, unaware, as Michael moves to ringside. NEW ANGLE As Michael reaches ringside, the champ becomes aware of his presence. He stops, moves to the ropes, drapes his arms over, stares down at Michael. Without hostility: [KEELER] You just keep coming, don't you? [MICHAEL] Like you...I don't know any other way. A sad smile...and then Keeler looks around the arena. [KEELER] I won my championship here. [MICHAEL] (nods) I was at ringside. Their eyes lock. A long beat...Then: [KEELER] I never thought Davis would kill Damon Leland, or Spider. [MICHAEL] Or have his muscle man hold your wife under the gun to get to me. [KEELER] Where is she? Is she all right? [MICHAEL] She's safe now, but you're not. You know what could happen if you'd stepped into that ring with Grant. [KEELER] I might have got lucky and knocked him out in the first minute. [MICHAEL] And you might have got dead. I know Davis is holding something about Samuells over your head -- but, what could be so heavy that you'd risk your life for it? [KEELER] I murdered Samuells. Michael reacts -- stunned. [KEELER] He came into a booze joint I was working. He pushed, and I hit him. His friends carried him out and I became Davis' piece of meat -- trimmed, cleaned up and bought. He covered it all. [MICHAEL] No, Keeler...we've checked into Samuells' death. That's not the way it came down. K.I.T.T. comes through Michael's comlink: [K.I.T.T.] (overlapping) Michael!..Michael! [MICHAEL] Not now, Kitt. [K.I.T.T.] Yes, Michael -- now! I think you should know that you're being monitored from the sound booth and more people in the arena.... Michael and Keeler whip their heads in the direction of the sound booth. ANGLES Davis' henchmen appear and start toward the ring. MICHAEL He climbs into the ring next to Keeler. INT. SOUND BOOTH - DAY Davis at the control panel as Michael's voice booms through the speakers. [MICHAEL] (filtered voice) Davis, you're up there and I want you to hear it all!! RESUME ANGLE - THE RING Michael is now in the center of the ring, next to Keeler, directly under the "mike," eyes locked in the direction of the sound booth. [MICHAEL] We can prove that Keeler had nothing to do with Samuells' death. We have proof that you bought Doc Simmons.... INT. SOUND BOOTH - DAY - ON DAVIS starting to shake in rage. [MICHAEL] (filtered voice) And we'll nail you for the murders of Damon Leland and Spiderman. RESUME ANGLE - RING Keeler makes a move to break from the ring. Michael grabs him. [KEELER] (deadly) I want him...I want Davis! [MICHAEL] Then let's see if he'll come down and play. Directing his voice to the sound booth: [MICHAEL] Davis, you're too soft to run and too big to hide! We're going to get you, Davis, and take all your toys away -- your house...your wardrobe.... INT. SOUND BOOTH - DAY Davis, shaking with rage.... [MICHAEL] (filtered voice) Everything! So let's end it right here!! [DAVIS] (explodes) Get them! Get them now! INT. ARENA - DAY - ANGLE ON RING Michael and Keeler stand back to back in the ring. Both men react as they see: WIDER ANGLE Davis' men, led by Blue, spreading out, "circling the wagons," racing to come at Michael and Keeler from every possible angle. RESUME ANGLE - MICHAEL AND KEELER eyes darting from ramp to ramp as Davis' men near. [MICHAEL] Make sure you protect your head?... [KEELER] Yeah...and make sure you can fight as well as you talk. [MICHAEL] I've got a great cornerman... (into comlink) Kitt! As Davis' men start to make a move to climb into the ring: EXT. OLYMPIC ARENA - DAY - ON K.I.T.T. as his motor comes to life. The rear tires smoke as they spin backwards. He spins into a 180, starts a sweeping curve. Then, full bore, makes his run towards the ramp that leads to the huge wooden door. K.I.T.T.'s tires hit the ramp and he speeds towards the arena. INT. ARENA - DAY - RING Blue and another pug have gained the ring. Keeler is whaling away at Blue; Michael is getting none the best of it. Davis' other four men are starting their climb into the ring. INT. ARENA - DAY - THE HUGE DOOR it explodes with sound and splinters as K.I.T.T. comes hurtling through! THE RING All men freeze -- stunned -- except: MICHAEL who uses the moment to let go a "haymaker" directly at his opponent's chin. K.I.T.T. landing on the arena floor, does a 180 to cut off two additional henchmen coming into the fight.... DAVIS on an upper level -- bug-eyed -- frozen, for a beat...Then he starts to run. RING AREA - SERIES OF CUTS AND ANGLES - ON MICHAEL as he looks up, sees Davis making his break. He vaults the ropes and starts to race towards a cutoff path. On Keeler finishing off Blue with a series of crushing blows as another pug comes at him. DAVIS coming down a stairwell, reaching a lower level corridor. MICHAEL full out, rounding the corridor from the opposite direction. CORRIDOR - EXIT DOOR The escape route -- clean -- as Davis enters frame, wobbling towards the door. His eyes go wide as Michael comes hurtling into frame. Michael catches Davis with a body block that sends him smashing against the corridor wall. Davis crumples to the floor. Michael gains his feet, bolts to and over Davis. Davis, between gulps of breath as he looks up at Michael: [DAVIS] Don't hit me!..Don't hit me!! Please!!! I think I'm going to have a heart attack!! Michael, staring down at him, wanting to throw a punch -- but doesn't, as Davis continues: [DAVIS] It's true...I got a bad heart...I could die. [MICHAEL] Do it, Davis -- and save the state a ton of money. Michael reaches down, grabs Davis by the front of his shirt, pulls him to his feet, spins Davis and pushes him towards the interior of the arena. ON MICHAEL knowing he shouldn't, but can't resist...he lets go a drop kick and we know where it's going to land as we: FREEZE FRAME FADE OUT END OF ACT FOUR TAG (TO FOLLOW) OMITTED

{"show": "Knight Rider", "season": "s04", "episode": "e15", "title": "REDEMPTION OF A CHAMPION"}

knightriderarchives

ACT ONE FADE IN EXT. WALLED ESTATE IN HILLS - DAY - FULL SHOT - ESTABLISHING a high-wall mansion-like estate in the hills above the city. MICHAEL AND K.I.T.T. parked inconspicuously nearby. Michael and plainclothes federal agent Lew Jonas stand talking outside. [MICHAEL] Getting close, Lew. About time to move in. [JONAS] My men are almost in position --- He gestures to a ND sedan in the b.g. where three federal agents are moving off toward the estate with shotguns. [JONAS] (continuing) -- fifteen, twenty seconds. [MICHAEL] Good, cause I'm starving. (off Jonas' look) Dinner's on you if we nail Becker this time. Remember? [JONAS] Right. But that's me, not we who's nailing him. You're here to monitor that homing pulse. Nothing else. This is --- Michael interrupts; parrotting back what he's heard a dozen times before. [MICHAEL] This is a federal operation. Whatever happens, I stay out of it. I know, Lew. I know. [JONAS] That's what you said the last time but --- [MICHAEL] (smiles knowingly) Fifteen seconds are up, Lew. Good luck. Jonas nods; eyes Michael a beat; smiles and moves off after his men. Michael turns and gets into K.I.T.T. OMITTED INSIDE K.I.T.T. as Michael settles behind the wheel. [MICHAEL] Our friend Becker behaving himself, pal? INSERT - K.I.T.T.'S SCREEN - CLOSE A bright, pulsing dot moves within one area of the floor plan of the estate (which appears on K.I.T.T.'s screen). [K.I.T.T.] Yes and the pulsing dot indicates he hasn't yet discovered the watchband transmitter planted on him. OMITTED EXTREME CLOSEUP - BECKER'S WRISTWATCH AND BAND Very expensive. As we begin to pull slowly back revealing the arm adorned by the watch, filling an attache case with money. INT. ESTATE - FRONT FOYER - DAY Where the owner of the wristwatch, and the money-stuffed attache proves to be Ronald Becker, age forty-six. Impeccably tanned, tailored and manicured, Becker's charm resides in his rakish lack of polish. As he closes and locks the attache case: SCHNEIDER carrying a single suitcase he enters the foyer through an archway in b.g. He hands the suitcase to Becker who smiles appreciatively. [BECKER] Thank you, Schneider. (caustic) As you by now have undoubtedly guessed, I'm going somewhere. With animal quickness Becker takes a silencer-affixed handgun from the folds of the raincoat on the table; and levels it at Schneider. [BECKER] And since I can't simply fire my old partners, you are also going some- where. Becker fires; Schneider drops. INCLUDING MARCUS as he arrives in the archway. He regards the body poker- faced. Becker hands him the gun. [BECKER] (indicates body) Send that out to be stuffed, or something, will you? Now, both men react to the electronic beeping of the surveillance system. They look up toward: TV SURVEILLANCE MONITOR (SHOWING EXT. - ESTATE - INNER WALL AREA - GATE) The TV screen shows four plainclothes Federal agents breaking the front gate lock from within. Weapons out and ready. RESUME - BECKER AND MARCUS [BECKER] (smiles) Feds are getting smarter these days, Marcus. Take care of them. Marcus nods and moves off quickly. EXT. ESTATE - FRONT PATIO - DAY - FAVORING AGENTS as they move toward the creek bed and into the patio area. OMITTED ANOTHER ANGLE - MARCUS appears from the garage area with a semi-automatic and opens fire. RESUME THE AGENTS caught in the gun fire, they're cut down in midpatio. MICHAEL AND K.I.T.T. are galvanized into action by the sound of the O.S. shooting. [MICHAEL] Go, Kitt! Go! K.I.T.T. and Michael beeline toward the outer wall of the estate. OMITTED ON THE GATES K.I.T.T. rockets between the gates left open by the agents earlier. OMITTED REVERSE ANGLE K.I.T.T. comes into the patio area and screeches to a stop near Jonas' body. OMITTED INT. ESTATE - WINDOW - MARCUS watching for a beat; then turns and heads back towards the O.S. main area of the house. EXT. ESTATE FRONT PATIO - DAY - MICHAEL exits K.I.T.T.; crosses to Jonas' body; crouches examining him. [MICHAEL] Lew! Lew?! Scan his vitals pal! [K.I.T.T.] I'm afraid he's gone, Michael. But the other three are alive. I'll call for assistance. Michael remains crouched over his friend for a few anguished beats. Then, he rushes for the front door of the house -- bursts it open with his shoulder; takes a step inside. INT. ESTATE - FRONT FOYER Michael stops short as he sees; MICHAEL'S POINT OF VIEW - BECKER'S CLOTHING AND JEWELRY on the floor at Michael's feet. RESUME MICHAEL Picks up Becker's wristwatch -- uses his wrist transceiver. [MICHAEL] Kitt...Are you monitoring Becker? EXT. ESTATE FRONT PATIO - K.I.T.T. - INTERCUT [K.I.T.T.] His wristwatch indicates he's right there with you, Michael. [MICHAEL] His watch is. But he isn't. We lost him. On Michael's frustrated reaction, we: CUT TO OMITTED EXT. KNIGHT INDUSTRIES - DAY - FULL SHOT - ESTABLISHING [DEVON (V.O.)] Ronald Becker is quite probably the most.... INT. DEVON'S OFFICE - DAY - MICHAEL, DEVON, BONNIE AND RC3 Devon is behind his desk; the others stand. [DEVON] ...financially successful mobster in U.S. history. Stock swindles, international computer fraud.... [MICHAEL] And murder -- Lew Jonas was the best. Hard to believe he's gone. I'm going to nail Becker if it's the last thing I do! Bonnie lays a comforting hand on Michael's shoulder. [BONNIE] Washington estimates Becker's amassed a billion-dollar fortune. [RC3] Did you say 'billion'? That's with a 'B,' as in.... [DEVON] Yes. The man has swindled the life savings of a great many people, Reginald. The Foundation has decided to act on behalf of those thousands of hardworking citizens. [MICHAEL] Who'll have no chance at all of getting back their money if Becker makes it to South America. [DEVON] Naturally, even the smallest of airfields is being covered; every train and bus depot.... [RC3] Bus depot? The man's loaded, he's gonna take the bus? [MICHAEL] (to Devon) There's got to be a place to start looking for this guy...Business associates, friends, girl friends.... [BONNIE] All three describe a certain Mrs. Claudia Torrell --- CLOSE - CLAUDIA'S FACE She's a physically stunning business person in early to midthirties. [BONNIE'S VOICE] (continuing) ...Sportswoman, on the Best Dressed List; designs and builds exotic vehicles and races them. During the above, we pull back outside Claudia's warehouse. She is supervising mechanics who are working on a number of Baja racers parked around her. In contrast to the mechanics coveralls she's dressed in chic expensive business clothes. CUT TO OMITTED EXT. CLAUDIA'S WAREHOUSE - DAY as Michael gets out of K.I.T.T.; spots Claudia and moves toward her, passing --- MARCUS running a soft, polishing cloth over the finish of one of the cars. He does a take as he recognizes Michael. OMITTED RESUME CLAUDIA as Michael approaches and she reacts. [CLAUDIA] May I help you? [MICHAEL] You will if you'll get a message to Ronald Becker for me. [CLAUDIA] Sorry. I have no idea where Ronnie Becker might've gone. [MICHAEL] I'll pay a lot of money, Ms. Torrell. (before she can reply) Not to see him: not even to talk to him myself. I'll trust you to do that. [CLAUDIA] (dubious) So nice to be trusted. [MICHAEL] I worked at one of the banks Mr. Becker 'cashed in on.' I made my own little bundle while he was making his. [CLAUDIA] And now you just want me to thank him for you. [MICHAEL] He's going to be setting up shop again. I'm going to be working with him. Tell him that for me. ANGLE Marcus catches Claudia's eye; covertly beckons her to join him. [CLAUDIA] (dismissing Michael) Why don't you just -- Go into business for yourself. [MICHAEL] I have. Any new computer system he sets up, I can raid at will. (as she pauses) Tell him, he takes me in, or...I take him off. Anywhere he goes. She looks at him closely -- decides to handle Marcus first; crosses and begins a brief, secretive discussion (MOS) with Marcus. As she does so: CLOSE - MICHAEL surreptitiously speaking into his comlink. [MICHAEL] Kitt, try to get an ID on the guy she's talking to, will you? [K.I.T.T.] I can't Michael. The angle puts him out of my line of view. Claudia finishes with Marcus and returns. [CLAUDIA] I might be able to deliver your message but some things I'll have to know first. [MICHAEL] Whatever it takes. Shoot. [CLAUDIA] Not now; we could be overheard. Tonight; ten o'clock. Pull your car in through those doors. She indicates a set of doors further down the warehouse wall. Michael eyes her, nods --- CUT TO OMITTED EXT. PARK AND BRIDGE - DAY as De Lorca's limousine pulls in from the street. FAVORING BECKER as he gets out of his car. He's nervous and glances back to check the position of Hood #1 behind him, then crosses toward: OMITTED DE LORCA'S LIMOUSINE as the door opens and Roderigo De Lorca, fifty, studiously suave, and decorator-designed emerges. Where Becker is the gut-reacting privateer, De Lorca's frigidity is polished to perfection. He moves off toward Becker's position. OMITTED BECKER AND DE LORCA as De Lorca arrives to stand alongside Becker. [DE LORCA] You're looking just wonderful, Becker. [BECKER] You said one million dollars cash. It's in my car. Becker nods to his Hood #1; De Lorca nods, in turn, to his bodyguard/chauffeur who follows #1 off toward Becker's car. Both wary of each other. [DE LORCA] (noting wariness) We've been adversaries for a long time, Becker. Now let us adjust to being associated. [BECKER] I'll tell you what I'd like to adjust, De Lorca. I'm paying you a million dollars for a lousy one-way ticket to South America. I'd like to adjust the price. [DE LORCA] It's a bargain considering it's the only ticket available. Every agent in the country is looking for you. The only way you'll get into Mexico, let alone South America, is the way I've arranged... (beat) ...and you know it. [BECKER] Okay, what about citizenship papers, passport, official ID -- That all taken care of? [DE LORCA] (nods) Awaiting your arrival. And you have brought the documents transferring your assets? [BECKER] I brought them -- (off De Lorca's look) -- I haven't signed them. De Lorca studies Becker a beat; levels a cold, penetrating look at him. [DE LORCA] Remember the million buys your freedom -- (warning) -- The billions you'll be investing with me will insure it. (softens; smiles) That and the special skills of Miss Torrell. I'd expected she might be with you. ON BECKER A smile. [BECKER] The lovely Miss Torrell is about to skillfully eliminate a potential troublemaker. On De Lorca's reaction, we: CUT TO OMITTED EXT. WAREHOUSE - NIGHT - MICHAEL AND K.I.T.T. as they reach the entrance; and pull to a stop. Michael eyes the place a beat...then: [MICHAEL] Scan the place, pal. I want to be sure Miss Torrell hasn't brought along backup. [K.I.T.T.] As a matter of fact, no one is here. [MICHAEL] Check the place out while we wait for her. INSIDE K.I.T.T. as Michael and K.I.T.T. roll slowly into the ominously darkened warehouse. K.I.T.T.'S MONITOR - INTERCUT AS NEEDED as K.I.T.T. sweep-scans the interior. [K.I.T.T.] I'm detecting tools and engine parts, Michael. The kind used in constructing automobiles. Michael pulls K.I.T.T. to a stop. He gets out and crosses between work benches and equipment; pauses at: OMITTED A TABLE on which engineering drawings of Baja Buggies and engines displayed. As Michael passes his comlink over them: [MICHAEL] Photograph these drawings. EXT. WAREHOUSE - NIGHT As a pickup truck comes around from the rear of the warehouse. Marcus is the driver. Hood #1 stands in the bed with a semi-automatic and opens fire on: A ROW OF FIFTY-GALLON DRUMS that are lined up along the exterior wall of the warehouse. As the rounds puncture the drums and fuel pours out onto the ground, we --- RESUME MICHAEL as he reacts to the gunfire. [MICHAEL] Not the greeting I expected. What's going on?! OMITTED K.I.T.T.'S MONITOR - INTERCUT AS NEEDED to see the molecular structure of gasoline develop across the screen. [K.I.T.T.] The shots were fired outside. My sensors are detecting volatile fumes. OMITTED CLOSE ON A ROAD FLARE as Hood #1 strikes it on the steel bed of the pickup. It "explodes" to life. He holds it high like a torch then throws it. THE FLARE pinwheels through the air toward: THE FUEL DRUMS along the side of the warehouse. The flare lands in a puddle of gasoline. In an instant the row of drums becomes a blazing inferno. Marcus and Hood #1 take off in the pickup. RESUME MICHAEL as he reacts to the whoosh; whirls to see: MICHAEL'S POINT OF VIEW - WAREHOUSE DOORS the flames leaping up and blocking the outside. The entire opening a sheet of flame. RESUME MICHAEL The orange glow of the flames on his face; smoke starting to billow around him. [MICHAEL] This whole place is going to go up. OMITTED FUEL DRUMS engulfed by roaring flames some fuel drums start to explode. OMITTED MICHAEL trapped, as the flames build. FADE OUT END OF ACT ONE ACT TWO FADE IN INT. WAREHOUSE - NIGHT - MICHAEL About to be enveloped by the flames. K.I.T.T. screeches to a stop next to him. [K.I.T.T.] Hurry, Michael before the building explodes! Michael jumps behind the wheel. [MICHAEL] Okay, buddy. Give me everything you've got! [K.I.T.T.] That won't be possible. The intense heat is affecting my power plant. [MICHAEL] Let's hope you've got enough left to get us out of here! Michael slams K.I.T.T. in gear and tromps on the accelerator. K.I.T.T.'s engine hesitates; makes a sickly whine; finally roars with authority. EXT. WAREHOUSE DOORS - NIGHT as K.I.T.T. explodes through the flames. WIDE - THE SCENE as the warehouse erupts in a massive explosion. K.I.T.T. screeches to a stop and a safe distance away. MICHAEL His tense reaction at what he's escaped. CUT TO INT. DEVON'S OFFICE - DAY - CLOSE ON COMPUTER DRAWINGS to see a hard copy reproduction of the Baja Racer engineering drawings K.I.T.T. photographed at the warehouse. We widen to include Bonnie, Michael, Devon and RC3 who's working on his motorcycle. [DEVON] Looks like a carefully constructed train wreck. [RC3] Come on, Boss, stop putting down my wheels. [MICHAEL] He meant these drawings, RC. Got 'em before the place blew up. That's an off-roader, Devon. Setup's perfect for a Baja race. [DEVON] A...what kind of race? RC3 crosses from his cycle and joins them. [RC3] The Baja Five Hundred; Baja One Thousand...They're races run in open country along Mexico's Baja Peninsula. Bonnie turns to her monitor; encodes; some scheduling data appears. [BONNIE] Not at this time of year. [MICHAEL] Wait a minute...That warehouse was full of Baja buggies this afternoon but it was empty tonight. Where are Claudia Torrell's cars if she's not racing them? (beat) Bonnie, run a search for any other race that requires Baja type equipment. As Bonnie encodes at her computer. [BONNIE] Something tells me we'll be setting up Kitt for a little off-road action. Data prints out across the monitor. Bonnie shakes no. [BONNIE] I can't find any races that are sanc- tioned but sometimes the Los Mil Diablos is run this time of year. [MICHAEL] That's the thousand miler that starts in the states and ends in Mexico. [RC3] Right, it was outlawed by both countries, but these guys are fanatics. They run it anyway if they can find a sponsor. [MICHAEL] I'll bet they had no trouble finding one this year -- (off reaction) Becker -- can you think of a better way to get across the border than an off-road race designed to hide the participants! [DEVON] Where's the starting line of the Mil Diablos this year? [BONNIE] It's always a well kept secret. It could be any one of a half dozen towns along Route 107. [RC3] It could take days to check 'em all out Michael. [MICHAEL] I don't care how many days it takes. I owe it to Lew Jonas' wife and kids. You start at one end and I'll start at the other. RC3 reacts, then smiles...He crosses to his cycle. Michael crosses to K.I.T.T. and we: CUT TO OMITTED THE HIGHWAY as K.I.T.T. and RC3 on his cycle reach a point where the road forks. They come to stops. Michael and RC3 exchange a thumbs up, then zoom off on opposite forks. CUT TO OMITTED EXT. CLAUDIA'S MOTOR HOME - DAY as the same pickup we saw at the warehouse pulls to a stop. Marcus still at the wheel; Claudia now in the passenger seat next to him. As they exit the truck cab: OMITTED ANGLE - FAVORING BECKER He emerges from the motor home. Claudia hurries toward him arms outstretched and pulls him into an embrace. [CLAUDIA] Ronnie, I've been so worried. He holds her off a beat; looks to Marcus for --- [BECKER] That troublemaker taken care of? [MARCUS] (nods) Up in smoke. His concern segues to a smile. [BECKER] Come on Claudia -- You look beautiful. Nothing to worry about; De Lorca's covered everything; he'll be waiting for us across the border. Arm in arm with her, he steers Claudia back toward the motor home. As they go: [BECKER] If you don't like De Lorca's country, I'll buy it and you can remodel. CUT TO OMITTED EXT. SMALL TOWN - HIGHWAY - DAY as Michael and K.I.T.T. blow through the sleepy town that is clearly not the start point of the race. Pan K.I.T.T. flashing by us and receding into distance. INSIDE K.I.T.T. - DAY as Michael drives. [MICHAEL] One town down, four to go. If we don't hit it soon we may find ourselves racing Becker to catch him. [K.I.T.T.] If you don't mind, I'd prefer cap- turing Mr. Becker before the starter drops his flag. [MICHAEL] Can't say I blame you. We'll be up against some pretty stiff competition. [K.I.T.T.] Now just one moment, Michael --- EXT. FARTHER ALONG HIGHWAY - DAY - MICHAEL AND K.I.T.T. They continue zooming along. CUT TO OMITTED EXT. LAS FLORES MAIN STREET - NIGHT - FULL SHOT - ESTABLISHING Too busy for this small, desert community. All manner of people from everywhere -- some revving engines as they cruise the street in 4x4 minis and vans, etc. FOLLOWING MICHAEL AND K.I.T.T. as they roll down this main street filled with off-roaders and their fans. [K.I.T.T.] I believe we've found the starting point. INSIDE K.I.T.T. [MICHAEL] Yes. Going to be fun trying to find Becker in this mob...Even Becker has to eat. Michael turns toward the Las Flores Cafe. OMITTED EXT. CLAUDIA'S MOTOR HOME - NIGHT - TO ESTABLISH INT. CLAUDIA'S MOTOR HOME - NIGHT Becker is studying some maps on the fold-out table. Claudia and Marcus enter and join him. [MARCUS] Radios are set to the special frequency, Mr. Becker. You'll be able to talk to all our cars. Becker nods curtly, swings a look to Claudia. [BECKER] I'm not in love with bouncing all over the desert. Claudia puts a comforting hand on his shoulder; starts massaging his neck muscles, settling him down. [CLAUDIA] It's going to be okay, Ronnie. Maybe you're hungry. You know how you get jumpy when you don't eat. [BECKER] (eases; smiles, nods) We've been together too long, Claudia. You know me better than I do. (to Marcus) Marcus? Get us something to eat. Marcus nods and exits the motor home. CUT TO OMITTED INT. LAS FLORES CAFE - NIGHT Music blasts from a juke box, as Michael makes his way through the crowd toward the counter and reacts to the squeals of --- THREE "PLAYMATES" shooting a game of pool. A crowd of race drivers gathered around observing the action. The gals wear tight tank tops and shorts. Call them Bambi, Pastri and Candi. CLOSE ON BAMBI as she stretches across the table with her cue stick to make a shot, thereby displaying her "ample." The moment is appreciated by: A GROUP OF DRIVERS watching from the opposite side of the table, as Michael joins them. They cheer and applaud as Bambi strokes the ball and it drops into the pocket. She thinks they're applauding the shot. [BAMBI] Gee guys thanks! One driver peels a twenty-dollar bill from a roll. [DRIVER] Twenty bucks says you can't make that shot again. He swings a conspiratorial grin to his buddies who elbow each other and ad-lib encouragement to the Playmate. [BAMBI] My mother taught me never to take money from strangers. [PASTRI] Mine didn't. I'll do it! [CANDI] Wait a minute, what about me? [MICHAEL] Don't argue girls. I'm sure these gentlemen will make sure you all get a turn. The drivers laugh and ad-lib total agreement. Michael moves off as the Playmate leans across the table with her cue stick; we go to: OMITTED ANOTHER ANGLE - COUNTER - MICHAEL settles onto a stool. Waitress Ana Lucia Cortez, age twenty-four approaches him. She is quite striking; quite a pleasant person. [MICHAEL] Hi! Name's Michael Knight. As she smiles and hands him a small hand-printed menu: [ANA LUCIA] Ana Lucia Cortez. What'll it be? [MICHAEL] (perusing menu) This is one whale of a turnout for a race that's held in secret. [ANA LUCIA] Just our usual Wednesday night crowd. What do you do? You're no driver; I know all the drivers. Michael removes a photo from his pocket; shows it to Ana Lucia. [MICHAEL] How about this driver? You know him? INSERT - PHOTO - CLOSE A photograph of Ronnie Becker. ON ANA LUCIA as she reacts to the photo. She recognizes Becker but works to cover it; shakes no. [ANA LUCIA] Nope.... ON MICHAEL as he senses she's covering. [MICHAEL] You sure? For a second there I thought I saw a little light go on behind those baby blues. RESUME THE SCENE [ANA LUCIA] They're brown, and I've never seen that guy. Look, I clock out in five minutes. You eating or not? [MICHAEL] (considers menu) How's the seafood dinner? [ANA LUCIA] Awful. [MICHAEL] Oh. -- Well, then -- the porterhouse sounds --- [ANA LUCIA] Like chewing on your shoes? (already writing) Have the burger. It's our specialty. [MICHAEL] (bemused nod) Why don't I have the burger? [ANA LUCIA] Good choice. I'll stick one in the microwave for you. She turns on a heel and moves off as Michael reacts. [MICHAEL] In the microwave? He watches her go for a thoughtful beat; raises his comlink for: [MICHAEL] Kitt? Have Bonnie run a check on an Ana Lucia Cortez. She recognized Becker's photo but for some reason wouldn't let on. [K.I.T.T.] Right away, Michael. Michael ponders this "mystery" and we: CUT TO EXT. LAS FLORES MAIN STREET - NIGHT - ON MARCUS approaching the cafe. He does a double take upon noticing: MARCUS' POINT OF VIEW - K.I.T.T. is parked behind a truck next to the cafe. We zoom in on the "Knight" license plate. RESUME MARCUS He can't believe it. Clearly shaken, he turns and hurries off. INT. LAS FLORES CAFE - NIGHT - MICHAEL as Ana Lucia slides a dish with a burger on it in front of Michael. [ANA LUCIA] Enjoy! Michael lifts the top half of the bun to discover a prune-like crust of meat. Ana Lucia grabs her purse and donning her seater, turns to leave. [MICHAEL] (calls out) Hey? Hey, Ana Lucia? This burger looks like a shriveled fig. ANA LUCIA She pauses; turns back; grins sheepishly. He's right; she's guilty. [ANA LUCIA] Listen, the seafood here is wonderful; the steak is great. Come back tomorrow. I'll make it up to you. [MICHAEL] You can start now. (waggles photo) You sure you haven't seen this guy? Ana nods emphatically. [MICHAEL] What about the sponsor for the race? Any idea who put up the money? She eyes him suspiciously for a beat. Then, deciding --- [ANA LUCIA] You're Highway Patrol. You're going to try'n stop the race. That's why you're asking these questions. [MICHAEL] You kidding? I'm racing tomorrow. [ANA LUCIA] Sure. Look, I've got a car entered, and I've got to adjust the suspension before start time, so --- She turns to leave. He stops her. [MICHAEL] You want to be on that starting line tomorrow? Take me to your suspension. She eyes him for a beat, softens, then nods.... CUT TO EXT. DESERT AND MOUNTAINS - PREDAWN - PANORAMA - STOCK The false light of the crisp predawn hour. INT. ANA LUCIA'S GARAGE - PREDAWN Michael and Ana Lucia are dishevelled, grease-stained and feeling fine over a job well done. Her Baja buggie has been up on jacks, and she collects the last of the tools as Michael lowers the buggie. [MICHAEL] I think we got 'er this time. [ANA LUCIA] Thanks, Michael. you know, I can't believe we haven't run into each other till now. Where else have you competed? [MICHAEL] Was about to ask you the same thing. How'd you happen to get into off- roading, anyway? [ANA LUCIA] You're not Highway Patrol, and -- (examines his hands) -- mechanics' hands have callouses. So, what are you? [MICHAEL] You're pretty sharp for a hash slinger with a lead foot. You sure you --- He stops -- she stops -- both realizing how they sound. They begin to chuckle at themselves and each other, as: [MICHAEL] Y'know, we're about to quiz each other into the ground here. (beat) You're a nice person, Ana Lucia. I think. [ANA LUCIA] I kept you up all night. [MICHAEL] After the race I'll come back and demand equal time. [ANA LUCIA] You won't have to demand. They are both a bit smitten. If they start something, the race will be finished before they are. So, Michael smiles knowingly --- [MICHAEL] Good luck. He turns and leaves and we: CUT TO EXT. EDGE OF TOWN - DAWN - MICHAEL He walks toward camera, past the first couple of buildings on the edge of town. He then turns into an alley-like street between buildings; speaks into his comlink. [MICHAEL] Bonnie come up with anything yet on Ana Lucia, pal? [K.I.T.T.] No, Michael. She's still working on it. Michael considers this as he walks. A few beats before he hears the roar of the car engine behind him. He turns to see an ND sedan bearing down on him at ramming speed. Hood #1 inside. OMITTED MICHAEL dashes ahead of the car; reaches the end of the alley barely in time to leap out of the way -- the vehicle goes barreling past. As he gets to his feet --- MARCUS' PICKUP driven by Hood #2, Marcus seated next to him, comes zooming across Michael's path. It almost clobbers Michael. He avoids it by side-stepping into a doorway at the last instant. The pickup smashes into some trash barrels in the alley. CLOSE - MICHAEL as he uses his comlink. [MICHAEL] (into transceiver) Got a problem, pal! Get over here fast. EXT. LAS FLORES MAIN STREET - DAWN - CLOSE ON K.I.T.T. parked next to the Cafe. He self-starts; and we widen to reveal a flatbed truck loaded with bales of hay has parked right up against K.I.T.T.'s rear bumper locking him in his parking spot. [K.I.T.T.] I have one too, Michael! I've been boxed in! K.I.T.T.'S SHIFTER kicks into reverse. K.I.T.T.'S REAR TIRE burns against the ground. K.I.T.T.'S REAR BUMPER presses against the front of the truck. It moves back six inches. K.I.T.T. rockets forward to go at it again and we: RESUME MICHAEL AND HOODS Hoods #1 and #2 emerge from their vehicles and attack Michael. He decks one of them; knocks the other back against the ND sedan. But as Michael turns to deal with Hood #1 who comes at him again --- MARCUS gets out of the pickup; moves in unseen behind Michael and connects with a lug wrench across the back of Michael's head. He drops, out cold. They load Michael into the pickup and take off. During the above action, we --- INTERCUT - K.I.T.T. maneuvering to get free from between the trucks that pin him. [K.I.T.T.] I'll be free any second! K.I.T.T. rockets backward; pushes into the truck again and again; shoves it back three feet; accelerates forward into a sweeping spin that takes him into the middle of the street. [K.I.T.T.] Michael? Keep talking. I have to get a fix on your position. Michael? There is no reply. K.I.T.T. screeches to a stop in the street uncertain as to Michael's whereabouts. CUT TO EXT. THE WELL - DAWN - LONG SHOT The pickup approaches from far b.g.; halts at the well in f.g. Hood #1 hauls Michael roughly out of the bed. Marcus moves aside some old wooden planks that cover the opening in the ground. The two men dump Michael's uncon- scious body down the well. INT. BOTTOM OF WELL - MICHAEL unconscious; possibly dead lying at the bottom of the old well. Tilt upward, slowly upward, until we're looking at the little round hole of light far away which is the top of the well. FADE OUT END OF ACT TWO ACT THREE FADE IN EXT. DESERT AND MOUNTAINS - DAY - TO ESTABLISH EXT. STARTING LINE - DAY - STOCK The bass rumble of the dozens of off-road racing car engines warming up. THE STARTER raises the green flag high, then drops it. VARIOUS SHOTS - PRINCIPAL RACE VEHICLES as Becker and Claudia, Marcus, Ana Lucia, Hood #1, etc. rocket over the starting line, in their cars, and we: INTERCUT OTHER VEHICLES as Los Mil Diablos begins. The collective roar of the funcos is incredible. During this we: OMITTED INTERCUT - RC3 as he arrives on his motorcycle. He works his way between the vehicles, campers, support trailers, etc. in search of Michael and K.I.T.T. QUICK SERIES OF ANGLES - STOCK The various racing machine of the various classes (including bikes, if desired) digging in and hauling ass. THE PLAYMATES' CAR Clearly a noncompetitive pink Eldorado or its ilk. It rolls toward the starting line. The three gals are waving and blowing kisses to the spectators. Pastri, the sexy black gal, comes to life when she spots: RC3 who's heading out of the area. He does a double take when he sees her; almost crashes the cycle into a parked vehicle as he waves back. [RC3] That's one little package -- no man would take home to momma. RC3 recovers; settles down the cycle and heads toward town. THE RACE - ON CLAUDIA'S CAR - ESTABLISH BECKER in second seat; Claudia driving. INT. CLAUDIA'S CAR - BECKER AND CLAUDIA Becker's nervous to the point of not wanting any part of this. He holds on for dear life as Claudia puts pedal to metal. They shout over the roar of the engine. [BECKER] Hey! Take it easy! You're supposed to run at the rear of the pack! [CLAUDIA] Sorry! Not easy to do when you're used to winning! [BECKER] I don't care! We can't take the chance someone'll see us turn off the course! EXT. - RESUME CLAUDIA'S CAR starting to drop back, passed by other cars. ON MARCUS' FUNCO Marcus driving. He glances to a machine gun in a rack next to him. OMITTED BOTTOM OF WELL - MICHAEL consciousness slowly filtering back. He stirs; his eyes open; he begins orienting himself. [MICHAEL] Kitt? Kitt -- tune in buddy. I need you. EXT. LOS FLORES - STREET - DAY - INTERCUT - K.I.T.T. as his scanner pulses faster when he picks up Michael's signal. [K.I.T.T.] Michael, where are you? [MICHAEL] (peering around) I don't know, but I hope I didn't sign a lease. K.I.T.T. auto starts and takes off down the street. [K.I.T.T.] Keep talking, Michael --- INTERCUT - K.I.T.T.'S MONITOR - AS NEEDED a schematic of the area; the well located by a flashing blip. [K.I.T.T.] (continuing) I'm homing on the signal from your comlink. [MICHAEL] Make it fast. I'm in deep trouble. And that's not just a figure of speech. K.I.T.T. is accelerating; well on his way out of town when: RC3'S MOTORCYCLE turns onto the main street weaving between the few local vehicles left behind after the start of the race. ON RC3 He does a take when he sees: K.I.T.T. driverless, no one behind the wheel, as he rockets down the street far ahead of him. RESUME - RC3 as he wheels his cycle around and takes off after K.I.T.T. who is now a distant speck on the road leading out of town. EXT. DESERT - DAY - WELL The top of the well into which Michael was dumped is in immediate f.g. As we pan across to pick up K.I.T.T., approaching rapidly. [K.I.T.T.] Are you all right? INTERCUT - BOTTOM OF WELL - MICHAEL He's now on his feet staring up at the circle of light far above him. [MICHAEL] Fine but I wouldn't rule out brain damage. You're going to need the grappling hook for this one. OMITTED K.I.T.T.'S NOSE COWLING as it pulls forward over the edge of the well and the grappling hook lowers. [K.I.T.T.] On its way. THE TOP OF THE WELL as the hook lowers toward Michael. [MICHAEL] What about the race! [K.I.T.T.] I'm afraid it started several minutes ago. Michael puts a foot on the hook; grabs hold of the cable. [MICHAEL] Then hit the up button. As Michael begins traveling upward: EXT. THE RACE - FAVORING ANA LUCIA'S BAJA BUGGIE Doing it solo, she's joyously ferocious behind the wheel. Guns the buggie. ON HOOD #1'S FUNCO as he exchanges nods of mutual understanding with: CLAUDIA'S CAR in which we again see Becker and Claudia. He's not having a good time. FULL SHOT - STOCK The rooster-tails abound; billows of dust already obscure many of the myriad vehicles participating. ANGLE - ANA LUCIA driving. Taking the first bumps and jumps with the best of them. ON BROKEN CAR The attrition has already begun. At least this one driving team is already afoot. CLAUDIA'S CAR She maneuvers expertly; jumps her vehicle perfectly -- though another car following hers and taking the same line noses in dangerously. CUT TO DESERT - WELL - DAY - MICHAEL AND K.I.T.T. as Michael is hauled out of the well by K.I.T.T.'s grappling hook. RC3 arrives on his motorcycle; pulls to a stop next to K.I.T.T.; crosses to the well; gives Michael a hand climbing over the edge. [RC3] What've you been doing down there? [MICHAEL] Trying to climb out. [RC3] The race started already. [MICHAEL] I know. We've got some catching up to do. Stay as close to me as you can. Michael jumps in K.I.T.T. and takes off. RC3 jumps on his motorcycle. It takes three or four kicks before the bike starts and RC3 can follow. OMITTED EXT. ROAD - DAY - MICHAEL AND K.I.T.T. moving fast. CUT TO EXT. THE RACE - DAY - FULL SHOT - STOCK The cars still bunched tear up the terrain -- and the terrain returns the favor. CLAUDIA'S CAR racing strongly; up among the first third. She's having a great time; Becker's a little seasick by now. START LINE as K.I.T.T. rockets across onto the race course. INTERCUT - SPECTACULAR SHOT - STOCK A misjudgment, an unseen rock or a too-steep turn causes a spectacular moment in sports (dictated by available stock). ON ANA LUCIA'S BAJA BUGGIE She comes to a fairly flat section (possibly a fire road, as exists along the Baja 1000) -- and stands on it. Competent and then some. MARCUS' CAR hits the same flat stretch. ON CLAUDIA'S CAR As it streaks past camera. EXT. DESERT - DAY - K.I.T.T. is catching up to the rear of the pack. INSIDE K.I.T.T. as Michael reacts to something he sees along the side of the route up ahead. [MICHAEL] Looks like we've got a cheering section, pal. THE PLAYMATE RACING TEAM Their car pulled onto the side of the route. The Playmates in their tank tops and shorts baking in the sun. They wave at Michael and K.I.T.T. as they approach. [BAMBI] Our air conditioning stopped working! INTERCUT - MICHAEL brings K.I.T.T. to a fast stop; lowers his window. [PASTRI] You've got to help us fix it?!! (panic) We're sweating! [MICHAEL] I can't stop now. But I'll send you some help. [CANDI] Long as he's as cute as you! Michael smiles forlornly, contemplating the possibilities. He waves and pulls away. [MICHAEL] (to K.I.T.T.) Shouldn't have trouble finding a crack team of A/C engineers to make this house call. [K.I.T.T.] I'll take care of it. Michael, I must say I'm quite impressed with your devotion to duty. [MICHAEL] Yeah, what a guy, huh? Michael tromps on the accelerator, K.I.T.T. rockets forward and we: RACE STARTING LINE as RC3 crosses it on his cycle and takes off on the course. CUT TO OMITTED EXT. THE RACE - DAY - FAVORING CLAUDIA'S CAR Becker is talking to someone via his radio. CLOSE - BECKER IN CLAUDIA'S CAR It's difficult to transmit because of the bumping and bouncing around -- not to mention the dust. [BECKER] De Lorca?! De Lorca, can you hear me?! EXT. DE LORCA'S VILLA - DAY - FULL SHOT - ESTABLISHING Overlooking the Sea of Cortez, it looks like a private version of the Beverly Hills Hotel. [DE LORCA'S VOICE] I hear you very well, Becker. EXT. DE LORCA'S PATIO - DAY - DE LORCA The man lives well: a large tray of fruit and hors d'oeuvres on the patio table; a monogrammed robe on his back; a bodyguard stands nearby. Becker is dust-clogged and getting bounced around. De Lorca senses Becker's discom- fort, and finds it amusing. [DE LORCA] You sound a bit dusty. You're off and running, I take it... (glances at watch) INTERCUT - BECKER [BECKER] (shouts into mike) On my way! You just be there for me. [DE LORCA] I'm here, Becker. (shows concern) You're alone? Claudia leans over and shouts --- [CLAUDIA] Having a wonderful time; wish you were here! De Lorca smiles, clicks off. CUT TO EXT. DESERT - AT REAR OF RACING PACK - DAY - MICHAEL AND K.I.T.T. Having caught up to the rear of the pack, Michael and K.I.T.T. now begin moving up through it. INTERCUT - RC3 on his motorcycle, catching up to the rear of the pack; passing cars; working his way forward. ON ANA LUCIA'S BUGGIE as she drives. ON MICHAEL AND K.I.T.T. as they come abreast of Ana Lucia's buggie. He gives her a thumbs up. ON ANA LUCIA CORTEZ as she returns it; indicates all is A-okay in response to his gestured query. ON MARCUS' CAR as it is passed by Michael and K.I.T.T. with ease. CLOSE - MARCUS really spooked at seeing Michael still again. Reaches feverishly for his radio mike. [MARCUS] (shouts into mike) Mr. Becker, you're not going to believe this...! INTERCUT - CLAUDIA'S CAR The car driven by Hood #1 running next to it as Becker listens, and reacts to: [MARCUS] (continuing) I just spotted Knight! He's in the race! Becker reacts, stunned; recovers; shouts into the mike. [BECKER] Get him Marcus! I don't care how! But this time you get him!! Marcus clicks off; and accelerates after Michael. RESUME BECKER as he gestures to Hood #1 to help Marcus with Michael. OMITTED FULL SHOT FROM ABOVE Claudia's car continues on a straight line course; Hood #1's car veers off and turns back into the dust cloud created by the rest of the group. ON MICHAEL AND K.I.T.T. still racing well; moving steadily up among the leaders. HIGH SHOT as Marcus' car pulls up next to Michael from behind. And the car driven by Hood #1 approaches from up front, and swings around on the opposite side of K.I.T.T. The cars now running three abreast, K.I.T.T. in the middle. MICHAEL AND K.I.T.T. Hood #1's car on Michael's side. Marcus on the passenger side. [MICHAEL] Kitt, we're being boxed. [K.I.T.T.] I've been noticing that. SPECTACULAR DUAL CRASH - STOCK A couple of the off-roaders tangle and tumble spectacularly. [K.I.T.T.] Something tells me that's what they have in mind for us. RESUME MICHAEL AND K.I.T.T. [MICHAEL] Let's show 'em what we have in mind for them! Michael whips the wheel hard. OMITTED K.I.T.T. swerves left into Hood #1's car. It goes out of control; plows into a dune; flips into the air and tumbles end-over- end into the river. OMITTED RESUME K.I.T.T. AND MARCUS' CAR as Michael and K.I.T.T. sweep in a large arc to give them maneuvering room. Marcus' car is on the inside of the circle, allowing him to pull slightly ahead of Michael. MARCUS pulls the pin on a grenade. ON ANA LUCIA'S BUGGIE as she spots the action off to her left: THE DOGFIGHT As Marcus tosses the grenade in front of K.I.T.T., it explodes causing Michael to stop. Marcus spins a one- eighty and gets out of his car. MARCUS His machine-gun leveled, he fires at K.I.T.T. but --- OMITTED ANA LUCIA'S BAJA BUGGIE enters frame and barrels through shot directly across Marcus' line of fire in front of K.I.T.T. OMITTED ON ANA LUCIA as her car gets laced with bullet holes, and goes out of control in the uneven sand and silt, and flips, tumbling end-over-end finally stopping upside down. RESUME MARCUS as he gets back into his car and speeds off into the distance. RC3 pulls up on his motorcycle as Michael exits K.I.T.T. They rush to Ana Lucia's car to find her unconscious. As they remove the debris which imprisons her: [MICHAEL] Kitt, give me a complete medical scan, and notify the aid station. CLOSE - K.I.T.T.'S SCREEN as K.I.T.T. runs a medical tip-to-toe check on Ana Lucia. INTERCUTS - MICHAEL AND ANA LUCIA - K.I.T.T. [K.I.T.T.] Her vital signs are stable. She has a mild concussion, some bruises, no broken bones. (beat) And inflamed tonsils. [MICHAEL] I'm going to stay here until the guys from the aid station show up. You get back to the race and keep tabs on Becker and his bodyguard. [RC3] You got it, Michael. But how do I let you know where I'm at when I get there? Michael removes his comlink; hands it to RC3. [MICHAEL] With this. Keep in touch. RC3 smiles at this "upgrade in status;" straps on the comlink; gets on his cycle and takes off across the desert. FOLLOWING MICHAEL He moves from Ana Lucia to check out the fog-bound hoods and pick up their weapons. As he goes: [MICHAEL] Contact the local authorities to clean up this mess, pal. [K.I.T.T.] My pleasure, Michael. CUT TO EXT. KNIGHT INDUSTRIES - DAY - ESTABLISHING INT. DEVON'S OFFICE - DAY - DEVON AND BONNIE Bonnie is at her console, encoding; coming up empty. [DEVON] Nothing yet? [BONNIE] (shakes no, frustrated) I've tried every cross-referencing combination I can think of. Ana Lucia Cortez doesn't exist. [DEVON] All the more reason to keep trying. Michael's suspicions were obviously correct. This woman has something to hide. Bonnie nods and gets back to work and we: CUT TO EXT. THE RACE - DAY - FULL SHOT - CLAUDIA'S CAR The number of cars visible to each other has diminished considerably. They're spread out far and wide, with a trail of dust their only markers. CLOSER ON CLAUDIA'S CAR Becker, studying one of the maps, now taps Claudia; gets her attention. [BECKER] This is perfect. We can turn off the course here and go for the border on that highway. ANOTHER ANGLE - RIVER as Claudia pulls to a stop and shares the map with him, then gestures to the adjacent river. [CLAUDIA] We have to get across that river first. [BECKER] This is an off-road vehicle, isn't it?! [CLAUDIA] Off-road. Not underwater. [BECKER] Find a crossing and get me on that highway! Claudia, seeing the flash of anger, nods and drives off along the river bed. We follow for a short distance, and go to: ANOTHER ANGLE - RIVER as Claudia's vehicle turns into the water and makes its way to the opposite side. OMITTED EXT. DESERT - ALONG BORDER - DAY as Michael helps the now conscious Ana Lucia. [ANA LUCIA] Forget the guys from the aid station. I'm going back to that race. [MICHAEL] Without a car? [ANA LUCIA] (gestures to K.I.T.T.) We'll use your car. [MICHAEL] Not a chance. You need hospital observation, young lady. Ana Lucia eyes him a beat, nods, appearing to accept Michael's decision. As she turns she suddenly draws and levels an automatic at Michael who reacts with surprise. [MICHAEL] What's this supposed to mean? (confused) Ana Lucia, there's more at stake here than just finishing a race. [ANA LUCIA] There's more than a race to be finished. I go in your car with you -- (slight shrug) -- Or I go in your car alone. REACTION - MICHAEL Confused, angry frustration. FADE OUT END OF ACT THREE ACT FOUR FADE IN EXT. DESERT - ALONG BORDER - AS BEFORE - DAY Michael and Ana Lucia are squared off just as they were at end of Act Three. Now: [ANA LUCIA] Forgive the deception, Michael. My real name is Ramirez. Lieutenant Estrallita Ramirez, of the Mexican Federal Police. [MICHAEL] No wonder Bonnie hasn't come up with anything on Ana Lucia Cortez. [ANA LUCIA] (nods) I've been after a certain Roderigo De Lorca. We knew De Lorca put up the money to sponsor Los Mil Diablos. But I didn't know why till you showed up asking about Becker. [MICHAEL] Then we're on the same side. (indicates gun) And I won't have to take that away from you. You can holster it now. Ana Lucia studies him a beat, hesitating. [MICHAEL] If I lose Becker because of this delay, I'm going to be real mad. He killed a friend of mine.... Ana Lucia eases; puts the gun away. [ANA LUCIA] Find the race, you find Becker. As Michael and Ana Lucia enter K.I.T.T. to resume their pursuit: [MICHAEL] Kitt? Plot us a straight line course to catch up to the race. [K.I.T.T.] Right away. ANA LUCIA Her reaction to this conversation. CUT TO EXT. OPPOSITE SIDE OF RIVER - DAY - MARCUS' CAR comes through the shallow water, leaves the river and climbs the bank. CUT TO OMITTED A DIRT ROAD as Claudia's car barrels along; swings off onto the highway and takes off at high speed. ON CLAUDIA AND BECKER as he grabs the mike and clicks it on. EXT. DE LORCA'S VILLA - DAY - FULL SHOT - REESTABLISHING [DE LORCA'S VOICE] De Lorca here.... EXT. PATIO - DAY - DE LORCA is on the radio phone, straining to hear. His bodyguard stands nearby. [DE LORCA] Can you speak louder, please! INTERCUT - CLAUDIA'S CAR Becker on the mike. [BECKER] I said we crossed the border about fifteen minutes ago! [DE LORCA] Ah! Congratulations to you both! [BECKER] I want to move out as soon as we get there! [DE LORCA] (into phone) No problem. Everything is waiting for you and Ms. Torrell! CUT TO OMITTED RC3 is following the river bed on his motorcycle. He pauses when he sees: THE TRACKS He is following; turns off into the water. RESUME RC3 as he swings his cycle away from the riverbank to get running room; guns it and takes off at high speed across the river. OMITTED EXT. THE RACE - DAY - LONG SHOT The plumes of telltale dust. ANGLE - K.I.T.T. at the rear of the pack, barreling along close to the river. INSIDE K.I.T.T. Michael driving, Ana Lucia next to him. They react to the chirp of the monitor and hear: [RC3] Michael, it's RC. Do you read. [MICHAEL] Loud and clear, RC. Talk to me. INTERCUT - RC3 He's astride his cycle that's stopped in the middle of the highway on the other side of the river. [RC3] I've got a fix on the bodyguard's car for you. [MICHAEL] Way to go, RC! That means Becker has to be close by. Give me his position. [RC3] I can't. The car left the course, and crossed the river onto a highway. But I don't know which way it went. Michael pushes some buttons on his console. [MICHAEL] Okay, Kitt. It's up to you to find Becker now. INTERCUT - K.I.T.T.'S MONITOR (AS NEEDED) as a search of the desert sweeps across and picks up a pulsing blip on the highway. [K.I.T.T.] My scanner confirms one off-road vehicle on the highway. It's traveling south at very high speed. [MICHAEL] Let's get to that highway! Michael stomps on the accelerator and whips the wheel. OMITTED K.I.T.T. makes a sweeping turn and heads for --- THE RIVER as K.I.T.T. blasts across through the water and accelerates up the bank. ON THE HIGHWAY as K.I.T.T. swings off the dirt road onto the blacktop and takes off. INSIDE K.I.T.T. as Michael swings a look to Ana Lucia. [MICHAEL] Hang on! Okay, pal. Give me all you've got. Michael tromps on the accelerator. K.I.T.T. as he accelerates down the road. RESUME INSIDE K.I.T.T. as Michael and Ana Lucia are slammed back in their seats by the acceleration. As they come out of it, Ana Lucia swings an impressed look to Michael. [ANA LUCIA] Some set of wheels! [MICHAEL] You're not so bad yourself. She laughs. Michael tromps on the accelerator. OMITTED THE HIGHWAY as K.I.T.T. blasts past at high speed. OMITTED EXT. DE LORCA'S VILLA - DAY - REESTABLISHING EXT. DE LORCA'S PATIO - DAY - BECKER AND DE LORCA [DE LORCA (V.O.)] Everything you'll need has been arranged. EXT. DE LORCA'S PATIO - DAY - DE LORCA AND BECKER Becker has already showered and changed into something for semitropical comfort. They are sharing a decanter of something cooling. De Lorca presents the documents. [DE LORCA] Now as to the matter of these as yet unsigned documents of yours.... CUT TO EXT. HIGHWAY - DAY - K.I.T.T. blasts toward and past camera. INSIDE K.I.T.T. [K.I.T.T.] Michael? My scanners indicate that same fellow who keeps trying to kill you and destroy me is back again. [MICHAEL] Some guys don't know when to stop. ATOP A KNOLL - MARCUS is out of his car and overlooking the road on which K.I.T.T. travels. Marcus levels his automatic rifle and opens fire on K.I.T.T. OMITTED K.I.T.T. K.I.T.T. continues straight ahead, as the rounds spark off his shell and windshield. RESUME MARCUS firing continuously. He hears the roar of an engine; turns to see: RC3'S CYCLE rockets into view over the knoll behind Marcus, coming right at him. MARCUS whirls to fire at RC3. But RC3 is right on top of him. He leaps off the bike, bulldogging Marcus to the ground, knocking the weapon out of his hand. THE SCENE as RC3 puts Marcus away with a combination of punches; then, clicks on the comlink. [RC3] I got him, Michael. It should be clear sailing the rest of the way. [MICHAEL] Thanks RC! Michael thumbs up from inside K.I.T.T. RC3 returns it. K.I.T.T. explodes down the highway in Super Pursuit Mode. OMITTED EXT. DE LORCA'S PATIO - DAY - BECKER AND DE LORCA Becker on his feet and boiling; De Lorca still seated and cucumber-cool. Standing in b.g. is De Lorca's bodyguard. [BECKER] Our deal was that I sign over my assets when I'm safely in your country; not before. [DE LORCA] My dear Becker. I am obviously changing the deal. You sign or I go alone. [CLAUDIA (O.S.)] Why not compromise? INCLUDING CLAUDIA looking delicious, as she comes down a staircase onto the patio, around the pool. [CLAUDIA] (to De Lorca) He can sign half of it over now; the other half when we get there. [DE LORCA] (beat; reluctantly) Agreed. Becker broods -- eyes the bodyguard in b.g., nods and crosses toward the documents on the patio table. CUT TO EXT. THE ESTATE - DAY as K.I.T.T. roars off the highway and approaches. EXT. A PLATEAU OUTSIDE DE LORCA'S ESTATE - DAY as K.I.T.T. pulls to a stop next to the wall. Michael and Ana Lucia get out and hurry across the grounds. [MICHAEL] I don't have my comlink, Kitt. Keep your scanners peeled for anything coming your way. OMITTED ANOTHER ANGLE - GROUNDS as Michael and Ana Lucia make their way down the driveway. Michael moves on ahead as they climb a hill that leads up along the side of the house and behind it. RESUME PATIO POOL AREA as Becker finishes signing a ream of documents on the table. Sets the pen aside; looks up to De Lorca and Claudia --- [BECKER] There. De Lorca raises his hand. There's a gun in it. [DE LORCA] Here. De Lorca fires; Becker falls. Claudia, totally unmoved by the sight of a dead Becker, smiles at De Lorca, moves to put her arm in his. ANOTHER ANGLE - STAIRCASE as De Lorca and Claudia ascend the steps. [CLAUDIA] Roderigo, darling, you were right again. He never would've signed over all of it. [DE LORCA] And half is quite sufficient indeed. Without you, dearest Claudia, I'd never have been able to pull it off. As they reach the top of the steps, De Lorca casually levels his gun at Claudia. She backs away, horrified, during: [DE LORCA] I don't know how in the world to thank you properly. [CLAUDIA] Roderigo...But I've given up my whole world for you! [DE LORCA] (hefts document) No. You gave it up for a share of this. De Lorca about to shoot Claudia. [DE LORCA] And now pretty lady. [MICHAEL] Drop it, De Lorca!... OMITTED ANGLE - MICHAEL on the balcony above. De Lorca whirls to fire at him. But Michael is already leaping down onto De Lorca. Michael slams into him. FULL SHOT - MICHAEL AND DE LORCA tumble down the staircase to the pool area. De Lorca's gun skids somewhat toward Claudia. De Lorca slips away as Michael scrambles to his feet to deal with the onrushing bodyguard, who wields a knife. ANA LUCIA is now atop the balcony. She dives forward to land on Claudia, who is bending down to retrieve De Lorca's gun. As they grapple --- THE SCENE The bodyguard comes at Michael. Michael ducks under the swipe of the blade; notices De Lorca sprinting away. [MICHAEL] (to himself) I hope you're out there, buddy! ANOTHER ANGLE As the bodyguard comes at Michael again, Michael disarms him with a karate move; connects with a devastating punch and knocks the guy into the pool, then takes off after De Lorca. ANA LUCIA kicks Claudia's gun away from a flawless spinning back kick, and then decks Claudia with a karate blow. DE LORCA makes for the patio entrance which leads down to the O.S. beach. It appears he might make it. But: K.I.T.T. roars into view and does a side slide that blocks his way. De Lorca turns to run in the opposite direction and runs right into Michael, who drops him with a roundhouse right. EXT. DE LORCA'S PATIO as Ana Lucia arrives, holding a gun on Claudia, who she shoves forward toward De Lorca. [MICHAEL] Well, Becker's mine, for what he's worth now -- (shoves De Lorca toward Ana Lucia) He's all yours --- Michael and Ana Lucia both regard Claudia --- [MICHAEL] I'll flip you for this one. FADE OUT END OF ACT FOUR TAG FADE IN INT. SEMI - DAY And we pull back from the head lamp of RC3's dust-covered, mud-caked motorcycle as he lovingly wipes it down. Scouring the front fender, he winces as he extracts a piece of cactus jammed in the fork. [RC3] Man, one thing for sure about the desert -- the memories linger on. Michael glides into the parking bay in K.I.T.T. RC3 puts a little more oomph into his polishing, as Michael gets out and joins him. [RC3] But this baby sure taught the Baja a lesson. Michael runs a finger along the dirty bumper. [MICHAEL] Not to mention bringing half of it back with you. [RC3] There you guys go again. Putting down my wheels. [K.I.T.T.] Don't look at me, RC. My vocal board is sealed. [MICHAEL] Hey, just because that thing's been on the road longer than Willie Nelson, and looks it, doesn't mean --- [RC3] Now hold it! This is the second time that 'thing' has matched Kitt mile for mile! Through hundred degree temperatures, rocks, deserts, rivers. This is a solid machine! [K.I.T.T.] I agree, Michael. RC3's motorbike can wear that dust with pride. [RC3] Wow, if this bike could talk, it'd say all right, Kitt my man! K.I.T.T. groans at RC3's slang, RC3 gives the bike an affectionate pat on the gas tank. A number of parts, headlight, fender, etc. come loose and crash to the floor. [RC3] (dismayed) Oh, man.... [K.I.T.T.] Don't lose heart, RC. I'm sure with a few minor adjustments you'll be back on the road again. Michael picks up one of the parts from the floor. [MICHAEL] Yeah, a little bit on this road. A little bit on that road --- As RC3 wearily shrugs and smiles, and they both laugh together. FREEZE FRAME FADE OUT THE END

{"show": "Knight Rider", "season": "s04", "episode": "e16", "title": "KNIGHT OF A THOUSAND DEVILS"}

knightriderarchives

ACT ONE FADE IN EXT. PANORAMA - THE WOODS - DAY A beautiful meadow hemmed in by stands of oak and pine. Hikers picnic on the grass or move on toward the foothills just ahead of them. EXT. FOOTHILLS BRUSH AREA - DAY - A SERIES OF SHOTS A rabbit scampers and nibbles flowers. Birds hop bushes. Then we hear the rumbling of a heavy-engined vehicle. The rabbit bolts away into the grass. And then.... ANGLE ON ROCK RIDGE The enormous tires of a high suspension, oversized wheel king cab, all-terrain vehicle (ATV) burst into view. Its driver, whom we'll later know as Gomez, powers it over the rocks. CLOSE ON GOMEZ He reaches for the dash, hits a toggle switch. ANGLE ON GRILL OF ATV A wicked steel nozzle shoots out from below, spewing fire at the screen, and --- REVERSE ANGLE ON BRUSH Tongues of smoke and flame shoot across the mesquite, racing down the mountain. CUT TO EXT. HIGHWAY - WITH K.I.T.T. Michael is tooling along at normal speed, alert but relaxing. [MICHAEL] All our jobs should be this easy, huh, Kitt? [K.I.T.T.] I have to admit patrolling a public park is a welcome change of pace. [MICHAEL] Well, the park service takes over in a couple of days, so don't get too mellowed out. [K.I.T.T.] (scornful) 'Mellowed out'? That sounds like some sort of fuel malfunction. [MICHAEL] (laughing) Not exactly. K.I.T.T.'S MONITOR - INTERCUT AS NECESSARY Devon cuts in, anxious and alarmed. [DEVON] Michael, are you still in the Douglas Ridge area? [MICHAEL] Yeah, Devon. What's up? [DEVON] There's a four-alarm on the fire net just south of the ridge. Initial reports suggest its pattern conforms to the other brush fires. [MICHAEL] Meaning suspicious origin. Okay, Devon, we'll check it out. K.I.T.T. Michael tromps on the accelerator and K.I.T.T. takes off. [MICHAEL] Okay. Let's get there! EXT. SCENE OF THE FIRE - DAY Rangers are evacuating some hikers in Forest Service trucks. Others flee in their own vehicles. We pan across to a concealed Jeep where a man in a bush jacket watches through binoculars. ANGLE ON THE STRANGER Robert Wilson, tough, leathery, an ex-soldier of fortune, lowers the scopes. He sits in the front seat of a Jeep, not in the least bit concerned. In fact, he's smiling. He picks up a walkie-talkie. [WILSON] Gomez! Gomez it's Wilson. Do you read? INTERCUT GOMEZ IN ATV As the ATV barrels along, we get a closer look at Gomez, a tough, wiry character in khakis and a dust scarf. He shouts over the rumble of the massive tires. He also has a hand- set radio. [GOMEZ] Yeah, nice little fire, eh? [WILSON] (tolerant) Real work of art. Now get back here before the fire planes spot you! CUT TO EXT. FOREST FIRE - SERIES OF SHOTS - STOCK People and equipment -- fire trucks, choppers spraying chemicals -- battling the blaze. EXT. ROAD - DAY K.I.T.T. roars up beneath the crest of the blaze. INT. K.I.T.T. [MICHAEL] All right, Kitt, scan for incendiary residues. K.I.T.T.'S MONITOR - INTERCUT AS NEEDED A parade of chemical equations. [K.I.T.T.] I'm picking up traces of a complex petroleum compound, Michael. [MICHAEL] Sounds like we're talking napalm. Look for a possible source. An area scan moves across K.I.T.T.'s monitor, then stops. A red light flashes. [K.I.T.T.] It appears to be a vehicle coming from the Douglas Ridge area. [MICHAEL] Let's check it out. Michael deftly turns the wheel, floors the accelerator. K.I.T.T. streaks along just in front of a wall of flames. [K.I.T.T.] There he is, Michael! OMITTED THE ATV moves along a fire road up ahead. Gomez reacts to the sound of another engine. He spins in his seat, sees K.I.T.T. and stomps on the accelerator. The ATV leaves the road and takes off across rough terrain. INSIDE K.I.T.T. [MICHAEL] We've been made. Let's wrap it up quick. He guns the engine, accelerates after the ATV that is heading for --- A VERY STEEP SLOPE as the ATV plows almost straight up, over loose talus and scree, kicking back a storm of dust. INTERCUT - WILSON watching through binoculars, as K.I.T.T. chases the ATV. ON K.I.T.T. Getting dust blown, he reaches the same slope, loses traction, and begins a long, agonizing slide backwards. INSIDE K.I.T.T. [MICHAEL] Come on, buddy, both barrels! He's getting away from us! [K.I.T.T.] I'm losing traction on this surface! [MICHAEL] Then we turbo boost. [K.I.T.T.] The gradient's too steep. We'd fly straight up and loop back! [MICHAEL] All right, go to video. Let's at least get a mug shot! Michael pushes some buttons on his console. ON K.I.T.T.'S MONITOR - A CLOSEUP OF THE ATV as Gomez looks behind him, laughing. THE SCENE Gomez muscles the ATV over the hill and out of sight. K.I.T.T.'s wheels spin uselessly as he slides backwards and jolts with an embarrassing thump down on the embankment. RESUME INSIDE K.I.T.T. [K.I.T.T.] (after pause) I'm sorry about that, Michael. [MICHAEL] Well, you can't beat an all-terrain vehicle at its own game. As Michael whirls K.I.T.T. around, he reacts when he sees: A WALL OF SMOKE and what appears to be a hazy figure stumbling through it. RESUME MICHAEL [MICHAEL] Someone trapped in there. [K.I.T.T.] My scanners verify, Michael. Michael pops K.I.T.T.'s door and jumps out. IN THE SMOKE as Michael moves through the billowing haze. [MICHAEL] Hey, over here! This way! The figure staggers towards Michael, then drops to the ground. ANGLE Michael fights his way through the smoke to the overcome youth and picks him up.... ANGLE ON DARRYL Darryl Staples, a black youth of sixteen coughs and gasps for air...his eyes water and he waves Michael away in a "macho" fashion.... [DARRYL] I'm okay...I just stopped for a rest. [MICHAEL] (understanding) Sure you did.... The kid can't stand...Michael drapes him over his shoulder, moves towards K.I.T.T. [DARRYL] I told you I don't need no help. [MICHAEL] I'm just leading you. INSIDE K.I.T.T. as they arrive and Michael helps Darryl in.... [MICHAEL] What are you doing out here in the middle of a forest fire?! [DARRYL] Checking out some friends. [MICHAEL] (concerned) There are people still out there? Darryl shakes no; opens his jacket, revealing a small fox, partially singed. [DARRYL] Nope. Rest of the family scooted and left him behind. The fox almost jumps free. Darryl grabs him just in time. [K.I.T.T.] Oh my. May I suggest you keep a firm hold on that creature, young man. I doubt it's housebroken. Darryl does a take, looks around the car, baffled. [DARRYL] Who said that? [MICHAEL] My partner. Darryl eyes Michael like he's lost touch with reality. [K.I.T.T.] Michael?! The fire is spreading rapidly. We've got to go back the way we came.... Michael spins a 180. Darryl's reaction intensifies for a beat before he and Michael look through --- WINDSHIELD - POINT OF VIEW - A WALL OF FIRE blocks our way, coming close.... RESUME INSIDE K.I.T.T. as Michael slams K.I.T.T. in gear and accelerates toward the wall of flames. [MICHAEL] Hang on! [DARRYL] You nuts? We go through that, we get melted. K.I.T.T. through flames. ANGLE ON DARRYL He recoils as the flames whoosh by the windows. [MICHAEL] How'd I do? Darryl shrugs, waggles his hand, then, indicating he's really impressed --- [DARRYL] These wheels are something. [K.I.T.T.] Why, thank you. It's always nice to give credit where credit is due. Darryl sighs, exasperated --- [DARRYL] Come on, what is this? You a ven- triloquist or something? [MICHAEL] (shakes no) That's my friend, Kitt. He's here. You just can't see him. Off Darryl's skeptical look, we: CUT TO EXT. HILLSIDE CABIN - DAY Tess Hubbard, fifty-five, a heavyset, backwoods type; a gruff manner that covers a heart of gold. She stands in the cabin yard that is filled with stuff she's collected: cars, furniture, boxes, crates, etc. She's anxiously peering off toward the distant fire. Hearing a car engine, she whirls around to see K.I.T.T. approach and pull to a stop. ANGLE ON K.I.T.T. She brightens when she sees Darryl and Michael pile out of the car, then eyes Darryl for --- [TESS] Better lay back, Darryl. I'm still deciding whether to hug you cause you're okay or wring your neck for worrying me. Darryl breaks into an appealing smile, opens his arms to hug her. [DARRYL] My money's on the hug. (as they break) Couldn't do either if it wasn't for Michael and Kitt. [TESS] (puzzled) Who? Do a little backtracking for me. This is going too fast. [DARRYL] Dude and his car. The man's driving a serious set of wheels. Blasted through those flames like 'The Refrigerator' heading for the end zone! During the above, a Sheriff's car pulls to a stop. Deputy Bob Clark, a rough-hewn man, gets out and crosses toward them. [CLARK] I could use some clarification too. (nods) Tess, Darryl -- (to Michael) I'm Deputy Clark. Our chopper spotted your car out past the fire lines. You better state your business here. [MICHAEL] Michael Knight. Foundation for Law and Government. We're on a retainer from the Perkins estate. I'm over- seeing its transition to a public park. [CLARK] Your responsibility ends at the fire line. [MICHAEL] Not if I'm checking out who's starting them. [CLARK] You suggesting we have an arsonist at work here? [MICHAEL] Yes, drives an ATV. Your choppers must have spotted it when they saw me. [CLARK] (shakes no) Nothing on the report. [TESS] Come on, Bob. It ran right through my wild strawberries last week. Darryl's seen it too. [CLARK] News to me, Tess. But I'll look into it. (to Michael) I suggest you leave this one to us, Mr. Knight. Michael considers this a beat. Clark notices a moving bulge under Darryl's jacket. [CLARK] What have you got there, Darryl? Darryl opens his jacket. The rabbit starts struggling out. Tess laughs. [TESS] Put him in back. If we have any cages left. Clark smiles; throws an arm over Darryl's shoulders. They head around the back together. [MICHAEL] Looks like you're quite a collector, Tess. Michael smiles at her warmly then glances after Clark. [MICHAEL] (lowered voice) Can you tell me where that ATV was heading when you saw it? [TESS] North ridge -- rock walls and wilder- ness. An ATV's the only way in there. [MICHAEL] (nods knowingly) If you spot it again, give me the call this time.... He hands her a card. She studies it, eyes Michael a beat and nods. He crosses to K.I.T.T.; gets in and drives off. EXT. FOUNDATION - DAY - TO ESTABLISH INT. FOUNDATION WORKROOM - DAY - CLOSE ON MONITOR In slo-mo, the ATV hightails it over the rocks and brush, then up the slope of loose talus. Widen to include Bonnie running the tapes for Michael and RC3. [MICHAEL] There, Bonnie. Right there. Bonnie freezes the frame on Gomez's look back. [MICHAEL] Cross-check that character with our active files, first chance you get. On the monitor, the ATV mounts the final slope, churning up gravel and dirt. Michael winces at the replay of his moment of defeat. [RC3] Man, that is a lot of tire. Bonnie shuts off the monitor. [BONNIE] And we're going to provide Kitt with a lot more tire to catch up with it. [RC3] We'll call 'em RC Radials! [MICHAEL] Easy RC. They'll get us up the slopes, but Tess Hubbard told me it's nothing but inaccessible wilderness at the top. [BONNIE] Terrific. RC3 and Michael are a little puzzled. Bonnie crosses toward a workbench like a magician about to reveal her greatest trick. (Note: S.I.D. pronounced Sid throughout.) [BONNIE] This is a perfect opportunity to field test S.I.D. [MICHAEL] S.I.D.? [BONNIE] Satellite Infiltration Drone. The only one of its kind. She lifts a cloth, to reveal a blank metal cube. [RC3] Looks like a hi-tech hatbox. Bonnie scowls. She pushes a tiny control box on the table. Tiny rods telescope out of S.I.D.'s equator and converge to form a gyrostablizing ring. Three metal probes pop up. [BONNIE] Audio, video, and heat sensor, which lets you know when it's unsafe to activate him. And --- The final touch -- S.I.D. rises and darts forward, driving RC3 back. [RC3] Okay, S.I.D., okay! Sorry! Bonnie continues to work the remote controls. S.I.D. hovers just above the floor and heads across the room. ON THE DOOR as S.I.D. approaches and zips through the partially open door and out of the workroom. RESUME THE SCENE [BONNIE] (to Michael) See? He's specially designed to get into all those tight places where Kitt can't go. [MICHAEL] (skeptically) He's gonna be pretty easy to spot in the wilderness. [BONNIE] (selling) I can disguise him -- a boulder, a tree stump. Name it. [MICHAEL] I've never dressed a drone before. I'll get into the case and let you know. [RC3] Where'd the little twerp -- (off Bonnie's look) I mean, where'd he go, anyway? Bonnie smiles. Gestures to: A MONITOR Devon is talking on the phone in his office. His chair is turned toward the windows behind his desk. We hear: [DEVON] Of course. We're pleased to have been able to help out. INT. DEVON'S OFFICE - DAY [DEVON] (continuing) That's what we do here -- You're most welcome -- Our pleasure. Devon swivels in his chair to hang up the phone. He stops in midturn, startled when he sees --- DEVON'S POINT OF VIEW - S.I.D. hovering right in front of his desk, then rising up a little higher and moving forward toward him. RESUME DEVON as he pushes back away from the desk in his chair and S.I.D. "pursues" him, Devon reacts to laughter. ANOTHER ANGLE Michael, Bonnie and RC3 in the doorway watching, laughing. Bonnie working the control box. ON THE DESK as S.I.D. moves across, knocking over a glass of water. THE SCENE as the trio moves into the office. Bonnie sets the control box down on the desk; pulls Kleenex from a box and starts mopping up the spill. S.I.D. hovers nearby. [BONNIE] Still a few minor kinks to work out. Devon crosses to the control box, hits the "off" button. S.I.D. settles onto the desk. [DEVON] Sorry to dampen your enthusiasm, but that was Sandra Rusk who called. The Perkins land has been closed to the public because of the fire danger. That terminates our responsibility. [MICHAEL] Hold on. Who's Sandra Rusk and what does she have to do with this? [DEVON] She's the liaison between the Perkins estate and the local authorities who are taking over. [MICHAEL] Deputy Clark? That's as good as not having it patrolled at all. [DEVON] Michael --- [MICHAEL] Devon, other people have seen that ATV. But Clark claims he's never spotted it. There's an arsonist on the loose up there. I'm not letting go. I can't. [DEVON] (considers) All right, Michael. But, like it or not, you are going to have to clear your activities with Sandra Rusk. Michael nods grudgingly at Devon. As he leaves, he gives a parting glance to S.I.D., then Bonnie. [MICHAEL] A mushroom? A hedgehog? Bonnie smiles at Michael as he leaves. CUT TO OMITTED EXT. OFFICE BUILDING - DAY - TO ESTABLISH EXT. ACCOUNTING OFFICE - DAY as K.I.T.T. pulls up to the curb. Michael exits and enters the building. ANGLE ON AN AUTOMATIC BANK TELLER As a woman finishes her transaction, the Machine talks to her: [MACHINE/SYNTHESIZER] Thank you, Miss Lawrence. Have a nice day. As she turns to exit, she notes (with obvious disdain) a very offbeat-looking Bum as he comes wandering into the frame. She scurries away...he checks the Machine's till for any loose change...looks both ways...and then starts maniacally pushing all the buttons. ANGLE ON K.I.T.T. "watching" via his scanner.... BACK TO THE MACHINE as K.I.T.T.'s voice comes through it. [K.I.T.T.] Excuse me, but just what do you think you are doing? [BUM] (surprised) What? I...hey...wait a minute here... Am I on Bloopers and Practicial Jokes? Where's Ed McMahon? Who's talking? [K.I.T.T.] The black car next to you...Now I reiterate -- what are you doing? [BUM] (unruffled) Well, if I'm going to talk to a machine it might as well be a car. (beat) I'm trying to facilitate a trans- action of course! I'm road weary and I seem to have mentally misplaced my code number, so give it to me -- and be lively about it! [K.I.T.T.] Sorry, no free samples. Why don't you get a job? [BUM] Hey -- I'm a bum -- this is my job! [K.I.T.T.] Where is your dignity? What you need is a bath! [BUM] What I need is five bucks! I could use some coffee. [K.I.T.T.] Coffee is only fifty cents! [BUM] I'm a big tipper! [K.I.T.T.] (sotto voce) Hmm...according to my memory banks, F.L.A.G. has an account at this bank...This is a reasonably good cause...and a very humane gesture for a car. (to Bum) Very well, you vagrant; but you better put this to good use! ANGLE ON THE MACHINE as a crisp five dollar bill comes popping out. [BUM] (hears machine, happy) Hey, thanks! (a beat) Oh yeah -- when is this going to be on TV? I have to tell all my friends to watch! CUT TO INT. ACCOUNTING OFFICE - DAY Sandra Rusk, a chic and yuppie-sexy brunette in a three- piece-suit, is smiling appealingly at Michael. [SANDRA] Well, Mr. Knight, now that you're here in the flesh, I want to thank you for the fine job you and the Foundation have done. [MICHAEL] The job isn't over yet, Miss Rusk. I need more time to investigate those fires. [SANDRA] Michael, there's nothing left to investigate. No campers, no hikers -- no fires. (beat) I hate to think that you drove down here for no reason, so how about lunch. On the estate. It's the least we can do to --- [MICHAEL] (interrupting) Look, Miss Rusk --- [SANDRA] Sandra. [MICHAEL] Okay, Sandra. We're not dealing with careless campers here. We're up against an arsonist. [SANDRA] (stunned) Arsonist? This is the first I've heard. Are you sure? [MICHAEL] (nods) A guy in an ATV armed with a tank of napalm. [SANDRA] (digests a beat) Well, that certainly changes things... (beat) I'll go along with you on one condi- tion. (off Michael's look) When you catch the firebug, the first round's on me. [MICHAEL] (smiling) I'll keep that in mind. EXT. ROCK QUARRIES - DAY The camera tilts down an eerie vista of sheer rock faces. We hear the shouts of men. Suddenly a soccer ball sails into frame. We follow it to Gomez as he indulges in some fancy footwork. [WILSON (V.O.)] Gomez! ANGLE ON WILSON He stands in front of stacks of wooden crates. [WILSON] Knock it off. We have to talk. Gomez continues dribbling the soccer ball during --- [GOMEZ] I'm sick of talking and I'm sick of waiting. When's that chopper coming in anyway? [WILSON] To-morrow.... Wilson grabs Gomez and throws him against the rock wall. [WILSON] -- if you didn't screw it up. [GOMEZ] What's wrong with you? I did it all. I burned 'em out. I got the park shut down! [WILSON] You were also chased by that black car. [GOMEZ] I left that guy eating my dust. [WILSON] He's an investigator. If he and that chopper get here at the same time, we kiss a ten-million-dollar sale good-bye. [GOMEZ] What do you want me to do? [WILSON] Pack the ATV with hardware. Next time that guy comes after you, blow him away. FREEZE FRAME FADE OUT END OF ACT ONE ACT TWO FADE IN INT. SEMI - CLOSE - COMPUTER MONITOR on which we see typical mug shots of Gomez, along with the usual police data, fingerprints, etc., and then a news photo of him in soccer whites on a playing field in his younger days. Devon and Michael hover near the monitor. [DEVON] Manuel Gomez. A promising world class soccer player who was injured early in his career and faded from the scene. Documents flash by on the screen. [MICHAEL] Didn't take him long to jump from the team roster to the FBI's number one draft pick. [DEVON] He's been connected to break-ins at several pharmaceutical manufacturing plants. [MICHAEL] Legal drugs being easily worth as much as heroin or cocaine on the black market. [DEVON] Probably more and considering the size of the thefts, I'd estimate Gomez has stockpiles thousands of cases. Michael gets up and thinks a beat, before --- [MICHAEL] Strange. A guy who's into stolen drugs suddenly gets into arson. Meanwhile, just behind them, Bonnie gives S.I.D. some final adjustments. [BONNIE] Well, Sid's tuned up and ready to roll. K.I.T.T. cuts in, very skeptical. [K.I.T.T.] I hope you're not taking that aluminum box seriously. [MICHAEL] Absolutely. And it's time Bonnie gave our 'box' its new personality. [K.I.T.T.] You mean you're actually going to use him? He glances to the monitor which displays a picture of Gomez holding a soccer ball. [MICHAEL] Yes, and Mr. Gomez is going to get a real kick out of it. CUT TO OMITTED A HAND examines extremely wide tire tracks and knobby depressions in the soft earth. We widen to reveal Darryl as he looks up to the ridge above him. THROUGH BINOCULARS - ON DARRYL as he hikes further up the hill and we hear: [WILSON'S VOICE] Yeah, yeah, it's him. REVERSE ANGLE ON WILSON perched atop a distant rock quarry, watching Darryl. He talks into a walkie-talkie. [WILSON] (continuing) That kid Darryl. Looks like he's tracking the ATV! CUT TO INT. SHERIFF OFFICE - DAY - INTERCUT - CLARK [CLARK] What do you want to do about it? Wilson gives it some thought -- then smiles. [WILSON] Knight's looking for a firebug, right? You're going to give him one. CUT TO EXTERIOR - WITH K.I.T.T. zooming down the road. INSIDE K.I.T.T. [K.I.T.T.] What's our destination, Michael? [MICHAEL] The north ridge of the Perkins estate. [K.I.T.T.] How do we get in there without being spotted? [MICHAEL] (smiling) I thought you'd never ask. ANGLE ON FRONT SEAT A box (silver cube) sits comfortably in the passenger seat. [K.I.T.T.] (groans) I walked right into that one, didn't I? [MICHAEL] More like turbo boosted. [K.I.T.T.] Don't rub it in, Michael. I mean, it's bad enough he's sitting in front right next to you. Frankly, I think I preferred Darryl's rabbit.... [MICHAEL] For the last time, Kitt, once I activate Sid, he's controlled by your CPU. [K.I.T.T.] (somewhat mollified) Well, as long as he understands who's in charge. K.I.T.T.'S MONITOR - INTERCUT AS NEEDED Devon flashes on. [DEVON] Ah, there you are, Michael. [MICHAEL] Yo, Devon. What's up? [DEVON] Good news. Deputy Clark has just apprehended the arsonist. It looks like you may have stirred him to action. [MICHAEL] What do you know? It will be interesting to hear what Mr. Gomez has to say. CUT TO OMITTED CLOSE ON DARRYL - NIGHT gripping the bars of a cell. [MICHAEL'S VOICE] (skeptically) He's your suspect? INT. HOLDING AREA - NIGHT Michael stands with Deputy Clark outside Darryl's cell. Michael turns from Darryl to Clark, challenges him with a look. [MICHAEL] (continuing) You have evidence? A witness? [CLARK] I caught him myself...he was trying to set a fire right there on the trail. [DARRYL] He's lying, Michael! I was tracking that truck. He drove up and said he had a couple of animals for Tess. When we got here, he hits me with this arson thing. Michael turns to Clark, who explains: [CLARK] I was alone. No need to have a scuffle on my hands. Kid's got a rap sheet. He hands Michael a copy of Darryl's police record. As Michael peruses it: [MICHAEL] Vandalism, shoplifting, some gang activity...He was twelve years old then.... Darryl slouches and moves back into the cell, stigmatized. [CLARK] (to Michael) I don't need you to tell me how to do my job. [MICHAEL] I'm here to do mine. Open up, I want to talk to him. Clark eyes Michael, considering; turns to the cell; unlocks the door. INT. CELL - NIGHT as Michael crosses to Darryl, puts an arm over his shoulders, comfortingly. Darryl shrugs from beneath Michael's arm; eyes him sullenly, then looks away. Michael turns him around -- eye to eye. [MICHAEL] Darryl -- look at me. Did you do what he said? [DARRYL] (shakes no; forthrightly) No. The dude set me up. Like I just told you. [MICHAEL] Then I'll get you out of here. Everything's going to be okay. [DARRYL] Hey, I've been hearing that from counselors since I was nine. Nobody ever delivers any 'okay.' [MICHAEL] What about Tess? She came through for you. [DARRYL] (flares, bravado, covering) Hey, it's no big deal! I'll go back. Three squares, plenty of laughs -- I got a lot of friends on the inside! I can handle it! [MICHAEL] Come on, Darryl, who're you kidding? You're scared and you have a right to be. But I think you're innocent.... [DARRYL] Why, cause you say so?! You think that's going to do me any good? You heard the man. I got a sheet. Back home, nobody is going to believe I didn't do it...Every time a purse got ripped on my street, the man looked towards me.... [MICHAEL] It's different now. You have people who care about you. You have a new life. You have a chance to work hard and make it pay off. [DARRYL] Don't start with that college jive Tess is always laying on me. You think I bought any of that stuff? [MICHAEL] Yes I think you bought that stuff... You'd be a fool if you didn't.... Michael holds Darryl's look for a beat. [DARRYL] Maybe some of it.... [MICHAEL] I'll be back. I promise. Michael turns to the cell door and calls out: [MICHAEL] Clark? Hey, I want out. Clark approaches, pushes his key into the cell lock. ON DARRYL The instant the lock clicks open, Darryl lunges at the door, slamming it into Clark's face. Clark yells in pain as Darryl dashes past him and out of the cell. [MICHAEL] Darryl! No, wait!! ANOTHER ANGLE - OFFICE as Darryl enters on the run from the holding area and Clark races after him. OMITTED THE SCENE as Darryl shoves a chair in Clark's way. He stumbles over it. Darryl runs out the door. Clark scrambles to his feet, furious, gets to the door, draws his gun. MICHAEL comes from behind him and knocks his gun hand up in the air as it fires. [MICHAEL] You crazy? He's a kid! He's unarmed! Clark yanks loose. [CLARK] That was an obstruction of justice, Knight! I'll deal with you later. As Clark takes off after Darryl with the gun, and Michael follows him: [MICHAEL] (on comlink) Make that two obstructions, Kitt.... EXT. SUBSTATION - NIGHT Darryl comes out with Clark after him. As he runs past K.I.T.T.: K.I.T.T.'S DOOR flies open and slams into Clark, knocking him flat. [K.I.T.T.] Is that what you meant, Michael? Michael runs up, briefly glances down at the still dazed and winded Clark. [MICHAEL] Right on the money. INSIDE K.I.T.T. - ON MICHAEL as he jumps into the car. [MICHAEL] You see where Darryl went? [K.I.T.T.] Deep into the woods. I'm afraid we can't go after him. [MICHAEL] He knows 'em like the back of his hand. He'll be all right for now. CUT TO EXT. ROCK QUARRIES - DAY - ESTABLISH INT. TENT We pan down the rows of stacked cases to Paxton, a portly gentleman in a business suit. Careful and ferocious, Paxton is the buyer of the stolen pharmaceuticals. He holds a clipboard, checking off the list. [PAXTON] Two hundred cases of methaqualone. Sixty cases of diazepam, thirty-five of Demerol.... [WILSON] I'm telling you this isn't necessary, Paxton. Just bring in your chopper and get it all out of here. [PAXTON] I don't see the promazine. [WILSON] We couldn't get it in time. [PAXTON] What's the rush? This week. Next --- [WILSON] Hey, no games. You've got to get this stuff out of here today. [PAXTON] This isn't a game, Wilson. I need fifty cases of promazine. Call me when they're here. Paxton turns to leave. Wilson stops him. [WILSON] Hold it! I've burned half the moun- tain to keep a lid on this thing! Now I got some guy in a T-top breathing down my neck. I'm under a lot of pressure! I mean, I --- [PAXTON] (interrupting) I know. But that's your problem, isn't it? (off Wilson's look) You're not the only player in the game. I have other sources. No promazine -- no deal. Wilson nods grudgingly, realizing Paxton's got him. CUT TO EXT. HUBBARD CABIN - DAY Tess unloads some old furniture she's salvaged from her pickup truck, while reacting with outrage to Michael's news. [TESS (V.O.)] That's ridiculous! Sure Darryl's been in trouble. All my foster kids have or I wouldn't get them. I've only lost one over the years but that's because I got him too late. But not Darryl. Not him. He's not the arsonist. [MICHAEL] I know. It's someone named Gomez. I haven't been able to nail him yet. [TESS] (confused) I don't get it. I mean, if you know who it is, why doesn't Clark arrest this, this Gomez? [MICHAEL] Because -- The only way I can figure it, he's working for Gomez, and he framed Darryl to protect him. Tess, enraged, heads straight for the cab of her pickup. [TESS] Well, he's not getting away with it. I'm going down there right now and demand they release Darryl. Michael stops her as she yanks open the door of the pickup. [MICHAEL] Whoa! Darryl handled that pretty well on his own. He escaped. Took off before Clark knew what hit him. Tess brightens immediately, relieved; proud. [TESS] I love that kid. He's got more spunk than anyone I know. [MICHAEL] I'd say you're running a close second, Tess. [TESS] (chuckles, reflects) Yeah, we're cut from the same cloth. He came here straight out of Juvenile Hall. Went toe to toe with me for months. Finally got rid of all the 'mean' and put some pieces back together. (beat) Now, they're coming apart again. [MICHAEL] I won't let that happen, Tess. That's a promise. He puts a comforting hand on her shoulder. She starts to cheer up. [K.I.T.T.] (on comlink) Michael, I'm picking up a report on the police band! There's a robbery in progress at Whitney Pharmaceutical. And an ATV has been sighted in the area! [MICHAEL] Be right there, pal! (to Tess) Hold the fort in case Darryl comes back. [TESS] Where are you going? [MICHAEL] To catch a firebug. He clasps her hand, then heads off for K.I.T.T. CUT TO EXT. WHITNEY PHARMACEUTICAL - DAY - THE ATV comes smashing out of the gates. One of Gomez' helpers lays down gunfire from the cab. POINT OF VIEW - SHOOTER A police car veers to the side, grazing a wall. An officer jumps out, firing uselessly at the fleeing vehicle. EXT. ROAD - K.I.T.T. whips into a turn, races onto the highway, and pursues the ATV. ON THE ATV Gomez spots K.I.T.T. in the distance, pours it on. INSIDE K.I.T.T. - ON MONITOR A red light pulsing as it travels down a road. [K.I.T.T.] We can overtake him easily, Michael. [MICHAEL] But we're going to let him think he lost us. [K.I.T.T.] It appears you're about to resort to that -- novelty. [MICHAEL] I sure am, pal. Sid's the only one who can get to the top of that mountain and find out what's going on. WITH K.I.T.T. He pulls over to the side of the road. ANGLE Michael opens the box and takes out a "soccer ball." ACROSS MICHAEL Michael opens the T-top and: [MICHAEL'S VOICE] Activate Sid, buddy.... [K.I.T.T.] (sarcastic) The toy is activated, Michael.... INSIDE K.I.T.T. - ON DASH Signals wink on K.I.T.T.'s new control box. ON S.I.D. (SOCCER BALL) His rods telescope out to form the gyrostabilizers rudder. His audio video and heat sensor probes pop up. He rises through the open T-top. ON MICHAEL [K.I.T.T.] Well...at least he works. [MICHAEL] (in the spirit of Devon) Be careful, Sidney. WITH S.I.D. Away he goes. He skims the ground, moving down the road after the ATV. FREEZE FRAME FADE OUT END OF ACT TWO ACT THREE FADE IN EXTERIOR - DAY - WITH S.I.D. He shoots down the road just above the surface, closing in on the bed of the ATV. K.I.T.T. MONITOR Gomez looks back, satisfied he's lost K.I.T.T., turns away and stomps the gas pedal. His ATV accelerates. OMITTED INSIDE K.I.T.T. as Michael reacts to Gomez turning his attention back to the road up ahead. [MICHAEL] Now! Put him to bed, pal. Make it fast. Michael pushes some buttons on S.I.D.'s remote-control panel. ON THE ATV - S.I.D. rises up on his jet of air, flies over the tail gate and drops down toward the tarp that covers the cases of stolen drugs. K.I.T.T.'S MONITOR - INTERCUT AS NEEDED (SUBJECTIVE CAMERA) to see S.I.D.'s point of view of the bed at the ATV as he settles into position on the tarp. [MICHAEL] Button him up and we're out of here.... ON S.I.D. as his gyrostabilizing wings retract and telescope out of sight -- now he's a soccer ball nestled in the folds of the tarp; the transformation made an eyeblink before. OMITTED ATV speeds down the road.... K.I.T.T. makes a tire screeching one-eighty and takes off in the opposite direction. INSIDE K.I.T.T. A blue light flashes on the monitor. [K.I.T.T.] S.I.D.'s homing pulse is coming in strong, Michael. [MICHAEL] Good. Keep monitoring until we're ready to activate him again. The monitor chirps. The map with pulsing blip is replaced by a picture of Devon. [DEVON] Michael, I'm glad I caught you. Sandra Rusk has asked us to step out of the case. [MICHAEL] I don't believe this, Devon! First I'm on the case, then I'm off the case! And I'm this close to cracking it! [DEVON] I understand your feelings, Michael, but we still have an obligation to accommodate her. [MICHAEL] All right. But I'm going to try to change her mind. CUT TO EXT. WILDERNESS - ON ATV as it barrels across the rough terrain, then swerves and powers up the very steep slope where it lost K.I.T.T. earlier. As it heads farther --- ANOTHER ANGLE to reveal Darryl wedged into a niche in the rocks, watching. When he's sure the vehicle is far enough away, he breaks from his cover, scrambling frantically down the steep slope. CUT TO EXT. ROCK QUARRIES - DAY The ATV arrives. Gomez jumps out. [GOMEZ] Come on! Move it. Unload these. That chopper's coming in soon. Then we're outta here! ON THE ATV as the men climb up into the bed to unload the crates of pharmaceuticals, one of them sees (S.I.D.) the soccer ball; picks him up, puzzled, examines him, then shrugs and tosses him out of the ATV. S.I.D. hits the ground, bounces a few times and rolls to a stop against a rock wall -- a soccer ball waiting to be activated. CUT TO EXT. CPA OFFICE - DAY - K.I.T.T. parked in the same spot near money machine. INT. RECEPTION ALCOVE - DAY - CLOSE ON SANDRA RUSK Widen during the following to include Michael. [SANDRA] (searching; not harsh) Try to understand my point of view, Michael. You asked for time to catch an arsonist, instead you helped him to escape. [MICHAEL] In my position you would've done the same thing. [SANDRA] What do you mean? [MICHAEL] The suspect was a teenager. Darryl Staples. Clark was going to shoot him! [SANDRA] The Deputy's reaction may have been extreme, but forest fires can be started by young people as well as grown men and I --- [MICHAEL] Not by Darryl. He risked his life to save an animal from that fire. I was there. I won't let him be railroaded because it's convenient.... [SANDRA] (considers; adjusts) I'm not sure that's the case but if you're right this doesn't make much sense, does it? [MICHAEL] None of Clark's actions do. (off her look) I think he's in this up to his neck. As Sandra reacts to this, the phone rings. She crosses; and answers it. [SANDRA] Yes? INTERCUT - PHONE BOOTH AT SERVICE STATION - DAY [DARRYL] Miss Rusk? It's Darryl. Darryl Staples. Is Michael Knight there yet? [SANDRA] Just a moment. She puts the phone on hold, turns to Michael. [SANDRA] I'm sorry. It's a personal matter. Be right back. Michael nods, and she quickly leaves. INT. SANDRA RUSK'S OFFICE - DAY She strides over to the phone and grabs it. [SANDRA] Darryl? Hi -- I'm afraid Michael isn't here. INTERCUT DARRYL [DARRYL] (puzzled) Oh -- Mr. Miles at the Foundation said he was. [SANDRA] He just left, Darryl. Can I give him a message if I see him? [DARRYL] Yeah. Tell him I tracked the ATV. I know where it goes. [SANDRA] Oh, you've been tracking the ATV? We follow her look and camera zooms to Wilson, who gets out of a chair, crosses to her and puts a hand over the phone. [WILSON] Tell him you'll pick him up. ANGLE ON A STRETCH LIMOUSINE as it comes to a stop in front of the bank. ANGLE ON THE DOOR as the door opens...a gorgeous pair of legs gets out, followed by another pair...followed by someone in expensive tassel loafers.... FULL SHOT reveals an elegant gentleman with two identical blondes on each arm, as he approaches K.I.T.T. He taps the hood. [MAN] I say old man, are you there? ANGLE ON K.I.T.T. scanning.... [K.I.T.T.] I don't believe it...it's not possible...Is that you? [MAN] It's me...the bum! [K.I.T.T.] But how can it be? I gave you five dollars -- what kind of investment could you have made? [MAN] Let's see, I bought a bottle of shampoo, the new Penthouse and some gum. [K.I.T.T.] That's all? [MAN] No...I also bought a piece of beef jerky.... [K.I.T.T.] But...but.... [MAN] And a lottery ticket...The rest as they say is history.... [K.I.T.T.] Well then, my friend, you were a good investment after all.... [MAN] All men are.... ANGLE ON THE MAN He holds a hundred dollar bill.... [MAN] Here...this is for you...and thanks.... [K.I.T.T.] No, keep it and pass it on to the next man...You choose him this time my friend.... The Man nods and moves on.... CUT TO INT. RECEPTION ROOM Michael is waiting impatiently when Sandra finally comes out. [SANDRA] Well -- I'm sorry about before, Michael. Maybe I was off base. Perhaps you should continue to look into this. [MICHAEL] (beat) I think we'll be having that drink very soon. They shake hands, and Michael leaves. Once he's gone, Wilson comes up behind her. [WILSON] I thought you were going to get him to back off. [SANDRA] No one can get him to back off. You could at least give me some credit for finding you a place to store those cases of drugs. [WILSON] Nothing's gone right since. [SANDRA] Who knew Perkins was going to die, or that the place would attract campers and hikers? [WILSON] The fires drove them out, didn't they?! [SANDRA] And brought Knight down on us. Sandra eyes him a beat; softens; presses against him. [SANDRA] Easy, honey. Take it easy. (beat) We've 'improvised' before. Wilson eases at the inference; smiles thinly; nods. [SANDRA] And after this one, we'll be improvising with that ten million someplace far away from here. They smile and embrace, and we: CUT TO INT. SEMI - DAY - CLOSE ON A TIRE as rows of metal spikes explode out from the tread. We widen back to RC3 and Michael, who "pings" one of the three-inch-long spikes with a finger. [RC3] Wicked. And the beauty of it is you can kick 'em in on the move. [BONNIE] What do you hear from S.I.D.? [MICHAEL] Nothing yet. I don't want to activate him until we're close enough to back him up. Devon strides over to join them. [DEVON] Perhaps Darryl could suggest a shortcut up the mountain. [MICHAEL] We'll take all the help we can get. What's he got in mind? [DEVON] Well, he tracked the ATV. Didn't he tell you? [MICHAEL] No he didn't. [DEVON] That's odd. I'm certain you were at Sandra Rusk's when we transferred his call. [MICHAEL] She did step out to take a personal call. But she never said anything about --- Devon and Michael stare at each other, both dismayed by the same suspicions. [DEVON] He said he was at the service station at the south end of the estate! Michael jumps into K.I.T.T. [MICHAEL] Let's get moving, pal! EXT. K.I.T.T. - DAY barreling down the highway. CUT TO EXT. SERVICE STATION - DAY The Owner, Ted Flanders, big, middle-aged, wholeheartedly friendly, is cleaning a customer's windshield. Looks up as he hears K.I.T.T. approaching. INSIDE K.I.T.T. - THROUGH THE WINDSHIELD we see the service station come into view. Michael scopes the area. [MICHAEL] I don't see Darryl anywhere. [K.I.T.T.] Neither do I, Michael. He's definitely gone. Michael pulls to a stop next to Flanders. Rolls down his window, leans out. [MICHAEL] Excuse me! I'm looking for a kid -- about sixteen. He called me from here. [FLANDERS] Yeah, yeah, I saw him. Somebody picked him up in a green wagon. [MICHAEL] How long ago? [FLANDERS] Five, ten minutes. You just missed 'em. Headed towards Route 6. K.I.T.T. roars off in pursuit. CUT TO INSIDE K.I.T.T. - ON MICHAEL [MICHAEL] (boiling mad) Scan Route 6 -- where it turns off into the high country. K.I.T.T.'S MONITOR - INTERCUT AS NEEDED The area scan locates them; a pulsing blip moves across the grid map. [K.I.T.T.] I've picked up a car travelling at high speed. [MICHAEL] Let's pour on some of our own, pal. Michael hits super pursuit mode and is slammed back into his seat. RAPID SEQUENCE OF SHOTS - K.I.T.T. as he deploys nose cowling, the fins, the turbines.... THE ROAD as K.I.T.T. accelerates and rips past camera. EXT. FOREST ROAD - DAY Sandra's green station wagon moving fast. INSIDE SANDRA'S STATION WAGON - TRAVELING Darryl is becoming increasingly alarmed and suspicious. [DARRYL] Hey, hey hold it. This isn't the way to town. I thought you said Michael was --- Darryl bites off the sentence when he picks up a look that flicks between Sandra and Wilson. Then does a take when he sees: THE ATV bucking down the mountain and cutting through a meadow, coming right toward the road. RESUME DARRYL He lunges for the car door; tries to open it. Wilson reaches over and pins Darryl back in his seat with a crushing forearm lock across his chest, that brings a handgun in front of Darryl's face. [WILSON] Don't be a dead hero, kid. Darryl nods suppressing his anger. Sandra hits the brakes and pulls the wagon over as: THE ATV rumbles to a stop on the shoulder next to her. She and Wilson, holding a gun, and Darryl get out and cross to the ATV. ANOTHER ANGLE as they pile into the front of the ATV next to Gomez. [WILSON] Come on. That chopper's due right now! Move it! Gomez hits the pedal and the ATV takes off. EXT. ROAD - SERIES OF SHOTS K.I.T.T. whips down the blacktop in super pursuit mode taking a turn at top speed. INSIDE K.I.T.T. - POINT OF VIEW - ATV [K.I.T.T.] There, Michael! Dead ahead! [MICHAEL] Normal mode, pal. Michael hits buttons on the console. RAPID SEQUENCE OF SHOTS - K.I.T.T. as he retracts his side fins, spoilers, etc. THE SCENE as the ATV rockets across rough terrain in the distance and K.I.T.T. shoots off the road and takes off after it. INSIDE THE ATV as Wilson looks back and spots K.I.T.T. closing the gap between them. [WILSON] Damn it. That's Knight. (to Gomez) Get him! Stop him, now! As Gomez pops the door and climbs out of the cab, Wilson slides behind the wheel and stomps on the accelerator and heads for the steep slope where he lost K.I.T.T. earlier. K.I.T.T. accelerates behind the ATV, catching up rapidly. [K.I.T.T.] He's heading for that slope again, Michael! [MICHAEL] Yep, only this time we can really stick it to him. GOMEZ has made his way to the bed of the ATV; and now shoulders a mobile rocket launcher. [K.I.T.T.] We'll have to beat that rocket launcher first. INSIDE K.I.T.T. [MICHAEL] Ready for evasive maneuvering, pal. [K.I.T.T.] It won't work, Michael. A laser sight just locked onto me. CLOSE ON THE ROCKET LAUNCHER as it fires at K.I.T.T., and we: FREEZE FRAME FADE OUT END OF ACT THREE ACT FOUR FADE IN ON ROCKET The explosion of flame as it heads towards K.I.T.T. INSIDE K.I.T.T. [K.I.T.T.] Michael, look out! He slams on the brakes, wrenches the wheel.... ON K.I.T.T. as he spins broadside avoiding a direct hit. The rocket explodes inches from his passenger door. The force of the explosion flips him over. He continues tumbling over and over. INSIDE THE ATV Darryl looks away anguished, then bitterly at Wilson in reaction to --- [WILSON] Knight asked for it. He got it. Now let's go. THE VERY STEEP SLOPE as the ATV approaches at high speed going almost straight up over the talus and scree, disappearing. RESUME K.I.T.T. tumbling to a stop. [MICHAEL] Give me a damage report pal. INSIDE K.I.T.T. [K.I.T.T.] All systems functioning. [MICHAEL] (pointedly) Your brand new tires. Let's use 'em pal --- Michael pushes a button on his console. OMITTED INSERT ON K.I.T.T.'S TIRES as the three-inch steel spikes explode out from the tread and dig into the earth and: INSIDE K.I.T.T. Michael stomps on the accelerator and K.I.T.T. takes off. OMITTED THE VERY STEEP SLOPE as K.I.T.T. approaches at high speed and this time blasts straight up and, over the talus and scree and skids to a stop.... K.I.T.T. skids to a stop. INSERT - TIRES The prongs retract into the tires. INSIDE K.I.T.T. [MICHAEL] That was great! I feel like a kid.... [K.I.T.T.] So do I, Michael, and I've never been one! MICHAEL'S POINT OF VIEW THROUGH WINDSHIELD A Sikorsky chopper comes in and lands...four men get out, walk to tent. [MICHAEL] Now let's reactivate our friend Sid. Michael pushes buttons on S.I.D.'s remote-control unit. EXT. ROCK QUARRIES - ON S.I.D. as his gyro-stabilizing ring and sensor probes deploy and he whistles up off the ground hovering on his column of air. He begins to move, transmitting surveillance video to --- K.I.T.T.'S MONITOR - INTERCUT AS NEEDED As we pan across the camp, bushes occasionally passing by the screen, we come upon the chopper, which has landed in the middle of the encampment. Gomez and his men are loading crates of pharmaceuticals into the back. [MICHAEL] That explains why Gomez turned firebug, pal. The drugs were the deal, arson was the insurance. The pan continues as Paxton jumps out of the cockpit -- we follow him as he crosses over to Wilson and Sandra and, just behind them, Deputy Clark. Wilson shakes Paxton's hand and greets him while continuing to supervise the loading. [MICHAEL] What do you know? The gang's all here. [K.I.T.T.] I guess S.I.D. does have his uses, doesn't he? And now the pan continues past Wilson to where Darryl is sitting at the base of a tree, closely guarded. [MICHAEL] There's Darryl. Looks like he's okay. [K.I.T.T.] And very closely guarded. [MICHAEL] But they don't know we're coming. We'll keep that edge. CUT TO OMITTED THE CHOPPER as Gomez supervises the men as they load the cases into the cargo bay. [GOMEZ] The Promazine next -- in behind the syringes. Coles grabs a case, takes a few steps, almost trips over a soccer ball in his path, and angrily kicks it aside. As the ball arcs through the air, Gomez swings an angry look to Coles. [GOMEZ] Hey?! That cost forty-eight bucks. The ball bounces out of sight into the bushes. Gomez moves off to retrieve it. ON THE BALL Follow as it rolls across the ground and comes to a stop a few feet from where S.I.D. is hovering. INSIDE K.I.T.T. A light begins to flash on S.I.D.'s remote-control unit. [K.I.T.T.] Michael, I'm picking up an alarm from S.I.D.'s heat sensor. Michael glances to: K.I.T.T.'S MONITOR - INTERCUT AS NEEDED at first we see a view of the men loading the chopper. Michael pushes some buttons on S.I.D.'s remote-control unit. The image pans across and picks up Gomez jogging through the bushes right toward S.I.D. [MICHAEL] Button him up pal. Now! Michael pushes some more buttons --- CLOSE ON S.I.D. as he quickly retracts his probes and gyro-stabilizing ring and resumes his soccer ball cover, an eye blink before: GOMEZ comes around some bushes; stops on a dime; baffled when he sees: TWO SOCCER BALLS side by side in the grass. RESUME GOMEZ as he shrugs; moves forward and picks up one of the balls. RESUME [K.I.T.T.] Not a second too soon, Michael. S.I.D. is quite literally in the hands of the enemy. Michael winces, tension building. RESUME GOMEZ - FISH EYE LENS He's comparing the balls; looking from the one he holds (S.I.D.) to the one of the ground. [WILSON] Hey, Gomez! Come on, let's wrap this up! Gomez kicks the ball on the ground in the direction of the ATV and then, as he hustles toward Wilson, tosses S.I.D. after it. RESUME INSIDE K.I.T.T. [K.I.T.T.] He's free and clear again, Michael! [MICHAEL] Great. Activate him and give me a bird's-eye view of what we're up against. ON S.I.D. as he deploys his gyro-stabilizing ring and probes and hovers on his whisper jet of air. We follow as he moves off gaining altitude. ANOTHER ANGLE as he climbs toward the trees and we follow as he passes behind the guard who's watching Darryl. ON DARRYL as he catches glimpse of S.I.D. out of the corner of his eye, then covers his reaction as S.I.D. moves out of sight behind the trees. INTERCUT - K.I.T.T.'S MONITOR AS NEEDED as the view pans across the encampment and comes upon Wilson, Sandra, Clark and Paxton. Wilson is holding the attache that packed with currency; nodding his approval. [K.I.T.T.] Have you decided on a plan of attack? [MICHAEL] No time for anything fancy. The deal's going down. The scene on the monitor becomes partially obscured by foliage and then suddenly wobbles. [K.I.T.T.] S.I.D.'s in trouble, Michael! [MICHAEL] Get him out of there, fast! Michael stomps on the accelerator.... ON S.I.D. snagged in the leaves of a tree, trying to maneuver his way free when he whacks a branch hard, making a sharp noise. EXT. CAMP - DAY Wilson, shaking hands with Paxton completing the deal, the group whirls around at the sound. THEIR POINT OF VIEW - S.I.D. as he gets free of the foliage, and pops into view, moving off in plain sight. RESUME THE GROUP [SANDRA] What's that?! [PAXTON] I don't know, and I'm not waiting around to find out. Paxton takes off toward the chopper. Wilson whips out his automatic and fires at S.I.D. INTERCUT - S.I.D. reacting, darting and weaving as bullets fly all around him, ricochetting off the rockface. [WILSON] If that thing's here, chances are Knight's not far behind. And just as he's said that: S.I.D. is hit by the shots and smokes and explodes. ON K.I.T.T. as he rockets into view. K.I.T.T.'S MONITOR - INTERCUT AS NEEDED A white-out -- then static, the picture goes dark. [K.I.T.T.] Michael, we lost S.I.D. [MICHAEL] Nothing we can do to help him now. We have to get that ATV. ANOTHER ANGLE The gang members open fire on K.I.T.T. with their rifles. The bullets squib harmlessly off K.I.T.T. ON DARRYL as his guard reacts, pulls his gun and fires at K.I.T.T. Darryl runs for cover behind an oil drum. WILSON sees the bullets have no effect, shoves Gomez and shouts. [WILSON] Stop him! Gomez runs off gathering his men. Wilson grabs Sandra's arms -- and they run for the ATV. In the b.g. Paxton jumps into the chopper. It lifts off the ground. INSIDE K.I.T.T. - ON MICHAEL [K.I.T.T.] Michael, that chopper's about to get away. [MICHAEL] Activate your microjammer on the engines and the doors! K.I.T.T.'S MONITOR The chopper bull's-eyed by the microwave jammer. ON CHOPPER It is already high off the ground. It starts to spin in the air. The engine coughs and conks out and the craft settles. The pilot muscles the controls, furious. Paxton flings himself at the doors and finds he's trapped inside. INSIDE K.I.T.T. [MICHAEL] Good work, buddy.... [K.I.T.T.] Thank you, but I'm picking up laser tracking again. As K.I.T.T. replies, we hear the whoosh of --- A ROCKET that explodes right in front of K.I.T.T. leaving a massive crater in the earth. MICHAEL wrenches the wheel, left, right, left as: GOMEZ AND OTHER GUARDS continue to fire the shoulder-mounted rocket launchers at: K.I.T.T. who weaves through a series of explosions. INTERCUT INSIDE K.I.T.T. [K.I.T.T.] I don't think they want us here, Michael. [MICHAEL] Feeling's mutual. Let's take 'em out. Michael tromps on the accelerator. THE ROCKET LAUNCHER GROUP as K.I.T.T. comes right at them, swerves into a sudden side slide, bowling over all three. Two stay down. As Gomez scrambles to his feet --- THE ATV Sandra and Wilson inside, roars to life. As it takes off, Deputy Clark runs up to the tailgate and climbs into the flatbed. [K.I.T.T.] The ATV's on the move. But I can't micro-lock it without releasing the chopper. [MICHAEL] I hear you. The ATV is ours. Michael accelerates after the ATV. GOMEZ running towards the woods. OMITTED INTERCUT - DARRYL hidden behind the oil barrel. OMITTED ON GOMEZ running towards the woods, past Darryl. Darryl pushes the barrel over onto Gomez, who is kayoed. Darryl throws Gomez's gun into the woods.... K.I.T.T. roars across the top of the slope in pursuit of the ATV. INSIDE CAB OF ATV Sandra looks out the window, spots K.I.T.T. [SANDRA] He's gaining on us! INSIDE K.I.T.T. [K.I.T.T.] He's headed for that rocky terrain. [MICHAEL] Okay. Cut him off, now! Michael stomps on the accelerator. K.I.T.T. rockets forward. THE SCENE as K.I.T.T. zooms right past the ATV. ANOTHER ANGLE as K.I.T.T. roars past the ATV, then brakes on a dime and does a one-eighty -- now nose to nose with the oncoming ATV blocking its path. ATV screeching to a stop. ON CAB OF ATV [SANDRA] What's he doing? [WILSON] He's been looking for a torch, hasn't he? Well, he's about to find one. He hits the switch. THE STEEL NOZZLE shoots out, spewing fire. THE ATV a torrent of flame roaring in front of it, crashes right into K.I.T.T. INSIDE K.I.T.T. - MICHAEL'S POINT OF VIEW The scene obliterated in a blaze of napalm that hits the windshield. ON MICHAEL as he sweats in the flames' red glow. [K.I.T.T.] My hood temperature is 350 degrees, Michael! My power plant can't take much more of this. [MICHAEL] Hit the CO2. Now! Michael pushes some buttons on the console. ON THE FRONT OF K.I.T.T. The CO2 gushes out onto the nozzle of the ATV, dousing the flames. ON CAB OF ATV as Wilson and Sandra recoil, the white gunk splatters all over the glass. ANGLE ON ATV It spins a fast U-turn and Clarke is thrown from the rear bed, stunned but alive. INSIDE K.I.T.T. [K.I.T.T.] What now Michael? [MICHAEL] We're going to turn that pickup into a memory.... He hits the gas.... ON K.I.T.T. as he accelerates past the ATV and spins a 90, blocks the road. WILSON POINT OF VIEW THROUGH WINDSHIELD - K.I.T.T. blocking the escape. INSIDE ATV [WILSON] We're big enough to take him out.... VARIOUS ANGLES The ATV hits K.I.T.T. and is launched upward and flips over and over and starts to flame...lands on its side. ATV Wilson and Sandra scramble out.... OMITTED ON K.I.T.T. as Michael briskly gets out. [MICHAEL] Retribution has its moments, doesn't it, buddy? [K.I.T.T.] It certainly does. That one was for S.I.D. Michael walks over to the upended cab of the ATV lying on its side. Wilson and Sandra lying near it.... ANOTHER ANGLE Michael hauls Wilson up.... [MICHAEL] Arson's a nasty habit, mister... Prison can also burn you out. FREEZE FRAME FADE OUT END OF ACT FOUR TAG FADE IN EXT. HIGHWAY - DAY as K.I.T.T. cruises along and we hear --- [K.I.T.T.'S VOICE] You know, I could get used to this Michael. Lighter on the steering, gentler on the gas --- INSIDE K.I.T.T. to reveal Darryl is behind the wheel, Michael next to him. [DARRYL] See? I know how to treat a serious set of wheels. [MICHAEL] Oh, you've had experience with cars like this one? [DARRYL] Yeah, in my old neighborhood. Guys brought 'em in all the time -- at least parts of 'em. [MICHAEL] Well, that kind of experience is behind you. The most serious set of wheels you'll ever own are turning -- (taps his head) -- right in there. Got it? [DARRYL] I know Michael, I know -- high school. (off Michael's look) And college. [MICHAEL] Now you got it. EXT. SEMI - DAY as K.I.T.T. approaches and powers up the ramp. INT. SEMI - DAY as K.I.T.T. pulls to a stop. Michael gets out. Darryl leaps out, fascinated by the electronics, as Bonnie, Devon and RC3 join them. [DARRYL] This is where it all happens, huh?! [BONNIE] That's right. S.I.D. came to life right there on that computer. Darryl saddens a little. RC3 notices. [RC3] Hey, man, you look like somebody just pulled your plug. You okay? [DARRYL] Yeah, I just feel bad about S.I.D. getting blown away. I mean, I know the little guy wasn't human or anything but --- Darryl pauses, shrugs. [K.I.T.T.] My feelings, too, Darryl. Michael crosses to Darryl; leans on the computer monitor, during --- [MICHAEL] Well, at least he went out in a blaze of glory, guys. Bonnie smiles at Devon and RC3, pushes a button on a control box. Michael is startled as the monitor he's leaning on starts to hum, then levitates on a whispering column of air. [DEVON] As you can see, S.I.D.'s glory days are far from over. [DARRYL] (delighted, amazed) He was in a million pieces. How'd you do that? [BONNIE] I just picked 'em up and started over. Know what I mean? [DARRYL] Yeah, I hear you. If at first you don't succeed --- [MICHAEL] Now you've really got it. Darryl beams. Michael throws an arm around his shoulders, we: FREEZE FRAME FADE OUT THE END

{"show": "Knight Rider", "season": "s04", "episode": "e17", "title": "HILLS OF FIRE"}

knightriderarchives

(Please Change General Peralta to Colonel Peralta Throughout) __________________________ ACT ONE FADE IN EXT. SAN DUARTE COUNTRYSIDE - DAY as we pan across an idyllic landscape that fans out at the base of a volcano: a valley dotted with farmhouses, and crisscrossed by roads that cut between geometric fields and wild jungle. A barely audible rumbling rises and builds. THE LANDSCAPE begins to vibrate and then shake uncontrollably. The rumble reaches ear-shattering intensity. REACTION SHOTS -- Cattle mill nervously. -- A bird snaps its head around, then flies off. -- A field worker stops picking the crop, looks up to see --- MONTAGE - THE VOLCANO - VARIOUS SHOTS shaking violently and then erupting in a cataclysmic explosion of smoke, fire and ash that rockets into the air. MOLTEN LAVA boils over the edge of the crater and cascades down the mountainside. As the eruption continues --- EXT. JUNGLE ROAD - DAY - K.I.T.T. is cruising through the twisting turns in convertible mode as he starts to climb a steep grade. [K.I.T.T.] We're exactly one mile from the San Duarte border, Michael. INSIDE K.I.T.T. - TRAVELING Michael, RC3 next to him, reacting to the volcanic eruption. [RC3] Either they're greeting us with fireworks, my man, or that mountain just blew its top three days ahead of schedule. [K.I.T.T.] I'm afraid the latter, RC3. Mount Duarte last erupted in 1874. 346 people were killed, 1,892 injured and --- [MICHAEL] Spare us the statistics, buddy, and scan the road for volcanic debris. Michael pushes some buttons on his console. K.I.T.T.'S MONITOR - INTERCUT AS NEEDED to see a schematic map of the area, and activity where the road crosses a clearly delineated borderline. [K.I.T.T.] The road is clear but I've detected some kind of activity up ahead. K.I.T.T. comes over the crest of the hill and below we see: A BORDER CROSSING A guard shack and crossing arm. A few cars pulled to a stop are being examined and drivers' ID checked by six uniformed soldiers who carry semiautomatic weapons. RESUME INSIDE K.I.T.T. as Michael and RC3 react with surprise and Michael brakes to a stop atop the hill. [MICHAEL] It's no longer an open border, RC. [RC3] Yeah, they slammed the door before we got through it. [MICHAEL] They'll be needing a new one as soon as those vehicles clear. We have to get Harrington out. He pushes some buttons on his console. As K.I.T.T.'s rear deck starts to roll back and the T-top unfolds we: CUT TO INT. PRESIDENTIAL OFFICE - DAY - CLOSE ON TOM HARRINGTON Ivy League, thirty-eight, tie loosened, sleeves rolled to his elbows, on the phone, as we widen out to reveal he is standing in front of a large map of San Duarte that stands in the middle of the room. The volcano and affected areas have been indicated on it. We continue pulling back to include the rest of this opulent room that has been trans- formed into a volcano relief command post. [HARRINGTON] (anxious; hopeful) You're sure? -- Thanks. That's great news. He hangs up; swings a look to: PRESIDENT SOSA fifty-five, aquiline, composed. He wears a white shirt, tie, dark suit, talking on the phone at his desk; as he hangs up, disgusted --- [PRESIDENT SOSA] Sounds like good news, Harrington. [HARRINGTON] (nods; relieved) The plane got off, Mr. President. My wife's on her way back to the States. [PRESIDENT SOSA] Thank God something's gone right. The calls just keep coming. Not one victim of the volcano has been evacuated yet. [HARRINGTON] I thought the Army was handling that. [PRESIDENT SOSA] (infuriated) So did I. I presonally ordered General Peralta to dispatch every available vehicle to the towns most heavily --- Sosa is interrupted by consecutive bursts from a machine gun. He and Harrington whirl to see: THE DOOR TO THE OFFICE as rounds rip through the wood. It explodes open. A Presidential security aide stumbles through it and falls wounded to the office floor. COLONEL PERALTA forty-five, vicious, malevolent, uniformed, sweeps into the office with an armed escort. Sosa moves forward chal- lengingly. [PRESIDENT SOSA] What's going on, Colonel?! I warn you, this is no time for disloyalty. [HARRINGTON] He's right! The volcano has killed thousands of your countrymen. More will die unless --- Harrington is silenced as one of Peralta's guards cranks off a burst that shreds the volcano relief map, knocking it and its stand across the room. [COLONEL PERALTA] Quiet! Our President and his -- (an expletive) -- American advisor have bungled this national emergency! Their incompetence has forced me to declare martial law. Arrest them! [PRESIDENT SOSA] You're insane. You're --- Colonel Peralta signals his men with a nod. The armed escort moves in around Sosa and Harrington. And brusquely shoves them toward the door. [HARRINGTON] I'm an American citizen. I demand --- A soldier backhands Harrington across the face, silencing him. As the two men are herded out of the room, Peralta swings a satisfied look to his Lieutenant (who always wears dark glasses and officer's cap, which tend to conceal his features). [COLONEL PERALTA] That volcano was just the excuse we needed. No one can challenge our actions now. CUT TO K.I.T.T. who is exploding down the road at high speed toward: THE BORDER CHECKPOINT The soldiers signal K.I.T.T. to stop; realize he isn't and unsling their rifles. Two take up positions in the middle of the road in front of the crossing arm. As K.I.T.T. barrels toward them --- RESUME INSIDE K.I.T.T. as the six guards fire, the rounds sparking off his windshield. THE CROSSING ARM proclaims SAN DUARTE BORDER - STOP. The two soldiers in front of it dive to safety as K.I.T.T. blasts past them and through the wooden barrier, splintering it. [RC3] As the boss would say, we're makin' 'smashing progress.' The two soldiers scramble to their feet and start firing again. THE SCENE as K.I.T.T. runs a gauntlet formed by the other soldiers. The six of them unleash a fusillade of shots that spark off K.I.T.T.'s shell. As he takes off down the road into San Duarte. OMITTED INTERCUT - INSIDE K.I.T.T. as he runs the gauntlet. [RC3] They don't like gate crashers down here, do they? [MICHAEL] We can't get kicked out of this party, RC. We've got to meet our contact and get a fix on the situation. [RC3] I think this is called serious! ON A JEEP As two soldiers jump in, start the engine and take off after K.I.T.T. RESUME INSIDE K.I.T.T. [MICHAEL] You know, Devon was right. I shouldn't have taken you along. [RC3] Nothing could've stopped me. [MICHAEL] Thanks RC. [K.I.T.T.] I'm picking up a vehicle in pursuit, Michael. [MICHAEL] Let's shake it, pal! Michael whips the steering wheel to the right. K.I.T.T. swerves off the road toward --- THE RIVER as K.I.T.T. approaches at high speed. RESUME INSIDE K.I.T.T. [MICHAEL] Hang on, RC. Turbo boost! Michael pushes the turbo boost button. He and RC3 are slammed back in their seats by the sudden acceleration as: K.I.T.T. is racing toward the river bank and apparently headed into the water when he suddenly rockets off the ground. ANOTHER ANGLE - LOW as K.I.T.T. sails through the air over the river. OMITTED OPPOSITE SIDE OF RIVER K.I.T.T. lands and takes off across a field, soon disappearing in the jungle overgrowth as --- THE VOLCANO continues to erupt -- smoke, fire and ash blowing into the sky, lava boiling over the edge and down the mountainside. CUT TO EXT. JUNGLE ROAD - DAY as K.I.T.T. cruises through a turn and pulls to a stop in front of an abandoned, weather-beaten shack. Michael and RC3 get out, move around toward K.I.T.T.'s trunk and remove a backpack and radio transmitter. [MICHAEL] Sorry about the accommodations. It's the only cover within satellite relay. [RC3] Hey, compared to some places I've crashed, this is a penthouse on Lake Shore Drive. EXT. THE SHACK - DAY as they move onto an open porch and set down the transmitter and backpack on a rickety table. Michael looks around. [MICHAEL] An empty one. No sign of our contact anywhere. [RC3] Man, you saying we drove twelve hundred miles and got stood up? I mean, I thought Devon said this lady was solid. [MICHAEL] Solid as they come. We're talking national heroine. Lisa Corrales led the fight that put President Sosa in power. Get hold of Devon. Maybe he knows something. THE TRANSMITTER - INTERCUT AS NEEDED as RC3 folds down the front of the unit revealing the control console of a state-of-the-art transmitter/receiver. He flips a few switches. We hear the static of satellite relay. [RC3] This is a signal check. Bonnie do you read? INTERCUT - DEVON'S FOUNDATION OFFICE as Devon and Bonnie react and cross to the communications console. Bonnie clicks it on. [BONNIE] Yes, loud and clear, RC. [DEVON] Michael -- are you two all right? I've been expecting the worst. I haven't been able to reach Harrington at all. [MICHAEL] I'm not surprised. The army's taken over the country. [DEVON] I'm afraid that changes things. As someone once said -- should you or one of your people be caught or cap- tured, the Foundation will disavow any knowledge of your actions. [MICHAEL] That's a distinct possibility. We're fugitives. We ran the border an hour ago. We're at the rendezvous point but our contact isn't here. [DEVON] I thought that might be the case. We were alerted to a possible change in plans. Devon swings a look to Bonnie, who hands him a print-out. [DEVON] According to this communique, you'll find Miss Corrales at the State Television Station making a broadcast against the takeover. [MICHAEL] On my way. [DEVON] Be careful, Michael. Devon clicks off. Michael swings a look to RC3. [MICHAEL] You, too. Anybody from our side shows, tell 'em where I've gone. [RC3] And the other side --- [MICHAEL] Tell 'em you've never heard of Lisa Corrales. CUT TO INT. TV STUDIO - DAY - CLOSE ON MONITOR Lisa Corrales, twenty-eight, an attractive Latina in chic, casual clothes, is talking into camera. We pull back to reveal the monitor is the viewing screen of a TV camera and continue back to include the cameraman and Lisa at the news desk in front of him. [LISA] -- and even the areas most devastated by the volcano have received no relief. This and the closing of border by armed troops prove a coup is underway. She pauses in reaction to --- RAOUL thirty, fiery, zealous, shoulder holster, slacks, open shirt (not fatigues), steps forward and hands her a slip of paper. Lisa quickly peruses the message, looks back up to camera, and, with emotional fervor, continues: [LISA] We've just received confirmation that President Sosa and other members of the government have been arrested. (beat) I urge every citizen to resist the militarists who once again are attempting to destroy our democracy and impose their will on --- She is interrupted by O.S. gunshots that come from outside the station. [RAOUL] Come on, Lisa! Come on, we have to get out of here! Lisa gets out from behind the desk. She and Raoul run from the studio. OMITTED EXT. TV STATION - DAY A soldier comes down an alley and approaches a door. It swings open. Raoul pops through it. The soldier opens fire. Raoul dives and rolls out the door avoiding the gunfire. He comes up in a standing position and fires his .45, dropping the soldier. Raoul reacts to: THREE SOLDIERS who come into the alley in reaction to the gunfire. Raoul runs. They pursue him down the alley, exchanging shots with him. Raoul is hit and goes down. ON THE SAME DOOR as Lisa runs from the building. She confiscates a handgun and a grenade from the soldier who was shot by Raoul. The soldiers spot her and open fire. She dives over a low wall taking cover, then crouches and returns the fire, and we: CUT TO EXT. ROAD - DAY - K.I.T.T. barrels through a turn approaching the TV station. INSIDE K.I.T.T. Michael and K.I.T.T. react to the scene up ahead. [K.I.T.T.] That woman is in trouble, Michael! [MICHAEL] That woman's our contact. Michael hits the accelerator. OMITTED THE SCENE as K.I.T.T. cuts between Lisa and the soldiers. They swing their guns in his direction and keep firing. OMITTED ON LISA as K.I.T.T. screeches to a stop next to her, rounds rico- chetting off his shell. The passenger door automatically pops open. [MICHAEL] Come on, Lisa, come on, get in! [LISA] I'm not finished yet! Michael is incredulous. Lisa fires a few more times. Then, the gun clicks empty. She tosses it aside and pulls the pin on the grenade; pops up over the wall; and tosses it in the direction of: PURSUING SOLDIERS As they spot the grenade, they dive to cover away from the explosions. INSIDE K.I.T.T. as Lisa jumps in next to Michael and slams the door. Michael stomps on the gas and K.I.T.T. hightails it out of there. [MICHAEL] That was dangerous and dumb. [LISA] (flares) War usually is, Mr. Knight. You don't have to remind me. They hold a look, and we: FREEZE FRAME FADE OUT END OF ACT ONE ACT TWO FADE IN OMITTED EXT. REBEL HIDEOUT - JUNGLE - DAY Michael and Lisa are surrounded by crates of guns, ammo, and medical supplies. In the b.g. a few of her people, (no fatigues, no sombreros) are checking weapons. Lisa now wears jeans, bush jacket; belt and holster; snaps a clip into her .45 during --- [LISA] I told you, my best guess is Mr. Harrington is alive and imprisoned somewhere. That's all I can give you. [MICHAEL] I was told you'd help me find him and get him out. [LISA] I'm sorry but you have your mission and unfortunately, I have to repeat mine. Good luck. [MICHAEL] Hold it. Harrington could've bailed out. But he hung in there. He went to the wall for your country. He --- [LISA] (interrupts) Go to the wall?! Not yet he didn't. (off Michael's look) Your slang is our reality. Have you ever seen a firing squad? A woman put against the wall? A man so tortured he begs to be executed? (beat) My parents. I was fifteen. [MICHAEL] I'm sorry. [LISA] (saddened, accepting) It's too late for them and for a good man I left back at the TV station, but not for President Sosa and the others. I'm not turning my back on them to save Harrington. [MICHAEL] I'm not asking you to do that. You're up against an all-or-nothing situation, Lisa. It's going to take planning and team work to beat it. Not adversaries. We pull together -- we can break them all out. I mean it. Lisa studies Michael a beat considering his offer, then, nails him with a decisive look and --- [LISA] I give the orders. You follow them. We start at the TV station. Raoul could still be alive. She takes off before Michael can reply. He catches up. As they weave between the canyon of crates: [MICHAEL] That's a long shot at best. We should be finding out where Harrington and the others are being held. [LISA] With any luck, we will. Raoul has an informer on Peralta's staff. On Michael's reaction we go to: ANOTHER ANGLE as Michael and Lisa cross to K.I.T.T. and get in. INSIDE K.I.T.T. as Michael starts the engine and drives off. [MICHAEL] Back to the TV station, pal. Keep your scanners peeled. [K.I.T.T.] Very well, Michael. Lisa reacts to K.I.T.T. a beat, before --- [LISA] (gaining confidence) This car just might make the difference. [MICHAEL] (feigns he's crushed) Well, so much for speeches about us, and team work, and pulling together. She smiles appealingly; almost vulnerably, revealing a side we haven't seen. Michael returns it, and we: CUT TO EXT. CAPITOL - DAY - TO ESTABLISH INT. TV ROOM - DAY Technicians are setting up TV cameras, lights, and props, as General Peralta reads a dispatch; reacts angrily to the Lieutenant who delivered it. [GENERAL PERALTA] That black car runs a border check- point, and no one stops it?! [LIEUTENANT] We tried, General. But our rounds bounced off and then it -- it leaped the river. [GENERAL PERALTA] (slowly, fuming) Leaped the river --- [LIEUTENANT] (nods uneasily) The same vehicle also rescued Lisa Corrales at the television station. [GENERAL PERALTA] (interrupting) Track this super car down! Take the driver alive. He reacts to a technician positioning the TV lights. [GENERAL PERALTA] No, no, more to the side. I want an aura to appear around me. Peralta turns his attention back to the Lieutenant. [GENERAL PERALTA] This subversive is just the propaganda we need. Conclusive proof outside agitators have infiltrated the country. Get him. The Lieutenant turns on a heel and exits. Peralta crosses to the TV camera and looks into the eyepiece. Then swings a look to the cameraman for --- [GENERAL PERALTA] Make sure everyone can see the flag and the photographs of my family. The cameraman nods and goes back to setting up. Peralta settles in the chair behind the desk trying it out and we: CUT TO EXT. JUNGLE ROAD - DAY as K.I.T.T. comes through a series of turns. [K.I.T.T.] My scanners have just detected a truck approaching, Michael. INSIDE K.I.T.T. as Michael and Lisa react. [MICHAEL] Ours or theirs? [K.I.T.T.] It's a two-and-a-half-ton 6x6. The same type used to move troops. Michael pushes some buttons on his console. [MICHAEL] Prepare for evasive action. Lisa reacts as a truck barrels through a turn up ahead. [LISA] No, no wait. I know that truck. It's Martinez. He's one of us. Pull over. K.I.T.T. pulls to a stop. Lisa gets out and flags down the truck. Michael joins her as the truck lumbers to a stop next to them. Martinez, a grizzled old freedom fighter gets out. [MARTINEZ] Lisa?! I found Raoul on the road! Michael and Lisa hurry to the truck and check out Raoul in the cab. His shirt is stained with blood. He is weakened but conscious. [LISA] Raoul, I thought they killed you. [RAOUL] So did the soldiers. I slipped away from the station after they left. [MICHAEL] That shoulder needs some work. Let's get out of here. Lisa and Michael cross toward K.I.T.T. Martinez gets behind the wheel of the truck next to, and we: CUT TO OMITTED EXT. REBEL HIDEOUT - JUNGLE - CLOSE ON RAOUL being bandaged with adhesive tape by Lisa. We widen to include, Michael, Lisa and Raoul, who is talking on a field phone. [RAOUL] Yes, yes -- you're sure. Good work. (hangs up) My source is positive. Harrington, President Sosa and the others are being held in the Capitol prison. [MICHAEL] First thing we do is find a way in. [RAOUL] A way in? We can't even get there from here. The road is blocked with lava and debris. [LISA] Then, we're beaten before we start. [MICHAEL] No we're not. The way to beat that volcano is parked right outside. [RAOUL] (derisively) In a car? [LISA] I've seen it in action, Raoul. It's the best chance we have. [RAOUL] There isn't another like it in the district. There are patrols and road blocks everywhere. It will stand out even more than he will. [MICHAEL] Not if we camouflage it. All we have to do is make it look like a local vehicle. [MARTINEZ] (sparking to it) I know just what you mean, Mr. Knight. Leave it to me. (to Lisa) What we did that time in Forstaza --- Michael swings him a look. Lisa smiles knowingly. Martinez breaks into a wiley smile and nods and we: CUT TO OMITTED EXT. SAN DUARTE COUNTRYSIDE - MORNING as the sun comes up and bathes the landscape in an orange glow. EXT. REBEL HIDEOUT - JUNGLE - DAY K.I.T.T. is being camouflaged by Martinez and his men who are tying battered suitcases and household items atop his roof and hood. One of them has a brush and bucket of muddy water and is "painting" K.I.T.T. Martinez lashes an old tire over his grille, then crosses, opens K.I.T.T.'s door, and gestures. As Michael (Levi jacket, T-shirt, worn jeans), Lisa and Raoul get in: [MICHAEL] What do you think Kitt? [K.I.T.T.] This is even more humiliating than the time I went under cover in the auto wrecking yard. [MICHAEL] Come on, pal. You have to admit this beats masquerading as a crushed junker. Michael starts the engine and pulls K.I.T.T. out of the hideout. As he accelerates down the road, we: CUT TO EXT. MILITARY ROADBLOCK - DAY Soldiers are checking every vehicle -- frisking passengers for weapons, opening trunks, looking underneath cars. ANOTHER ANGLE - K.I.T.T. barely recognizable in his guise as he approaches. INSIDE K.I.T.T. Michael behind the wheel, Lisa (hair back, sunglasses) next to him. Raoul in the back seat. [MICHAEL] Time for the sound track and special effects, pal. Michael pushes some buttons on his console. ON K.I.T.T.'S DASH as enharmonic synthesizer lights up. RESUME K.I.T.T. as he starts to backfire and smoke, developing a little wobble as he rolls to a stop. A soldier crosses to what appears to be an overloaded rattletrap of a car. RESUME INSIDE K.I.T.T. [LISA] Let me handle him. The Soldier arrives and leans down to the window. [SOLDIER] Where are you going? [LISA] To stay with relatives in Arangia. [SOLDIER] (considers, nods) The route through the Capitol is closed you'll have to detour at --- He pauses as something catches his eye. He studies Lisa's face for a beat. [SOLDIER] What is your name? [LISA] Lizabetta Corazon. [SOLDIER] Remove your sunglasses. Lisa hesitates. The Soldier is distracted for a beat by the scream of a woman who is pulled forcibly by the soldiers from another vehicle at the checkpoint. RESUME INSIDE K.I.T.T. as Raoul leans forward and whispers: [RAOUL] Do it or he'll be even more suspicious. The Soldier turns his attention back to Lisa. She removes the sunglasses. The Soldier studies her face with uncer- tainty; then crosses to another guard and gestures to K.I.T.T. while they talk. [LISA] He recognized me. What are we going to do? [MICHAEL] They want Lisa Corrales. They can have her. You with me pal? Lisa and Raoul exchange anxious glances. Michael pushes some buttons on his console. [K.I.T.T.] Ready when you are. K.I.T.T.'S CONSOLE as enharmonic synthesizer lights up and K.I.T.T.'s voice box activates. Through a filter, we hear: [K.I.T.T.] Attention all military units. Lisa Corrales has been spotted in a black T-top on the river road. CLOSE ON A WALKIE-TALKIE that hangs from the Soldier's ammo belt, as it comes to life. During the following we widen to include the two soldiers. [K.I.T.T.] All units respond and pursue. I repeat, Lisa Corrales has been identified as a passenger in the black T-top that --- The soldiers scramble for their Jeep and take off down the intersecting road. RESUME INSIDE K.I.T.T. as Michael tromps on the accelerator and K.I.T.T. takes off backfiring and smoking past the unmanned roadblock and heads down the road. [MICHAEL] Way to go! [K.I.T.T.] Thank you, Michael. The first chance we get, I'd like to stop and shed this excess baggage. [MICHAEL] Soon as we put some miles between us and that checkpoint. [RAOUL] The more the better. [LISA] Don't worry. Nothing can stop us now! They all exchange looks of uncertainty when in the distance, they see: VARIOUS SHOTS - THE VOLCANO as it erupts in a cataclysmic explosion of lava and debris sending columns of flame and smoke shooting into the air. CUT TO INT. PRESIDENT'S OFFICE - DAY the Lieutenant and a uniformed guard bring Harrington into the office. General Peralta is seated behind the desk. [GENERAL PERALTA] Sit down. [HARRINGTON] What do you want? What is this? Peralta hands him a typewritten speech. [GENERAL PERALTA] A speech you'll make right after mine -- agreeing democracy was an experiment that didn't work. Harrington peruses it, his anger growing. [HARRINGTON] Nothing could make me say this. He throws the sheet on the desk. Peralta smiles confidently and nods to the Lieutenant. He crosses to: A DOOR TO AN ANTEROOM The Lieutenant opens it revealing Harrington's wife Laurette. Armed guards restrain her from moving forward. HARRINGTON reacts and rushes toward her. His chest slams into the flat side of a rifle stock that stops him abruptly and blocks his way. [HARRINGTON] Laurette! My God, they told me you made your flight -- I --- Harrington bites off his words as the soldier slams the door to the anteroom, blocking Laurette from view. Harrington whirls angrily to Peralta who smirks. [GENERAL PERALTA] Evidently, you were misinformed. They didn't teach you how to handle this at Yale, did they? [HARRINGTON] If you hurt her. If you --- Peralta stops him with a lethal stare. He holds out the typewritten speech. Harrington hesitates a beat then snatches it defeatedly from his hand and we: CUT TO EXT. THE ROAD - DAY K.I.T.T., without the camouflage of crates, suitcases etc, barrels down the narrow, concrete ribbon. [K.I.T.T.] It's good to be my old self and on the open road again. [MICHAEL] Enjoy it while you can. It's not going to last. ANOTHER ANGLE - A FORK IN THE ROAD A sign proclaims DETOUR. Michael maneuvers K.I.T.T. around the sign and takes off down the fork labeled CAPITOL. Smoke from the volcano billows in the distance. POINT OF VIEW THROUGH WINDSHIELD The smoke starts streaming past and then a blizzard of ash and flaming debris pelts the glass. INSIDE K.I.T.T. [LISA] Michael, we have no idea what we're heading into. [MICHAEL] Let's find out. Scan up ahead, pal. Michael pushes some buttons on his console. K.I.T.T.'S MONITOR - INTERCUT AS NEEDED to see the road and an animated schematic of lava that expands across, obliterating it. RESUME INSIDE K.I.T.T. [RAOUL] This is insane. We'll be buried alive. How are we going to get through that?! [MICHAEL] We go over it or we go through it. Give me a reading Kitt. [K.I.T.T.] The lava is too spread out to turbo-boost. [MICHAEL] We'll need all the speed we can get. Hang on. Michael tromps on the accelerator. He, Lisa and Raoul are slammed back in their seats. OMITTED K.I.T.T.'S SPEEDOMETER keeps climbing. THE ROAD red hot lava billowing across it, smoke curling to the sky, as K.I.T.T. approaches and blasts into the lava. K.I.T.T.'S NOSE COWLING cuts through the molten mass like the prow of a ship. VARIOUS SHOTS as K.I.T.T. plows through the flaming, smoking mass, bulldozing the lava out of his way. INTERCUT INSIDE K.I.T.T. as the orange glow of the lava plays across the faces of Michael, Lisa and Raoul. THE OPPOSITE SIDE OF THE FLOW as K.I.T.T. blasts free and takes off down the road. RESUME INSIDE K.I.T.T. as Raoul and Lisa react with relief and amazement. [RAOUL] Unbelievable --- [LISA] I told you we'd make it. [MICHAEL] Somebody else I want to tell. Michael pushes some buttons on his console. CUT TO CLOSE ON RC3'S TRANSMITTER as we widen to reveal RC3, hands atop his head, surrounded by three rebels with guns. One of them is Martinez. [RC3] Come on, you guys, we're on the same side. I --- RC3 bites off the sentence. As the radio crackles to life the rebels tense and whirl to the radio in reaction. INTERCUT - MICHAEL IN K.I.T.T. [MICHAEL] (filtered; static) RC? RC it's Michael. Am I coming through? RC? [MARTINEZ] Not a word. [RC3] You ask him, man. Ask him, he'll tell you. Martinez cocks his weapon threateningly, indicating RC3 should be quiet. RC3 stabs a finger at the transmitter's talk switch. [RC3] I read you, Michael. RC3's finger comes off the switch as Martinez grabs RC3; pulls him back throwing him to the ground. [MARTINEZ] Quiet! [MICHAEL] (filtered) Relay to Devon I've made contact. We just got past the volcano and we're going after Harrington. I'll --- The transmission cuts out as the leader fires a blast from his automatic rifle. RC3 flinches; recovers; looks to see: THE TRANSMITTER a smoking, sparkling hulk riddled by machine gun fire. RESUME INSIDE K.I.T.T. [MICHAEL] RC? Come in, RC. Come in. (beat; to others) Something went wrong with the transmission. Michael clicks off. K.I.T.T. keeps barreling down the road. RESUME RC3 RC3's captors drag him to his feet and we: CUT TO OMITTED EXT. ROAD - DAY as we pan across and pick up K.I.T.T. approaching. [MICHAEL] How's it coming, pal? [K.I.T.T.] Just about finished, Michael. [LISA] There it is. Turn into that truck yard. K.I.T.T. swings off the road and heads toward: A TRUCK YARD as Michael pulls to a stop concealing K.I.T.T. INSIDE K.I.T.T. as K.I.T.T.'s tray opens and delivers a plastic-encased ID card that says UNITED STATES GOVERNMENT and displays Michael's name and photo. Michael examines the ID with satisfaction. [MICHAEL] Looks official enough. That ought to get me in. [LISA] Getting you out is what concerns me. [RAOUL] Yes, nothing is official enough for the military. What do you expect to achieve by going in the front door? [MICHAEL] At worst, I get to check the place out. At best, I'll scare Peralta into letting 'em all go. Stay here. Michael slips out of K.I.T.T. Lisa and Raoul exchange uncertain looks and we: CUT TO EXT. CAPITOL - DAY - CLOSE ON MICHAEL'S ID being examined by the Guard at the entrance kiosk. We widen as he looks up and shakes no to Michael. [GUARD] The General isn't seeing anyone. [MICHAEL] (points to ID) See that? United States Government. He indicates the Guard's rifle, uniform, and an Army truck parked nearby, during --- [MICHAEL] Guns, uniforms, trucks -- (pokes Guard's belly) -- food -- all from the U.S.A. If I were you, I'd let the General decide if he wants to go naked and hungry. The Guard thinks a beat; picks up the phone and we: CUT TO INT. PRESIDENT'S OFFICE - DAY Peralta is at his desk, handwriting revisions on a typed copy of the speech he is going to make. Michael is ushered inside by the Lieutenant and a guard. [COLONEL PERALTA] I extended you this courtesy, Mr. Knight, because we buy your government's products -- not its imperialist propaganda. [MICHAEL] I'm counting on it. You've arrested one of our citizens, your President and members of the government. My mission is to secure their release. [COLONEL PERALTA] Typical American arrogance. You should know better than to even ask. [MICHAEL] One call to Washington and the gravy train doesn't stop here any more. Michael snatches Peralta's text from the desk; tosses it back down. [MICHAEL] Make a speech about that. Peralta is stopped by Michael's reply. He studies him a beat, calculating, then nods in decision. [COLONEL PERALTA] I'll give you Harrington. Michael shakes no; picks up the phone on the desk. [MICHAEL] I want a line to Washington, DC. Peralta pushes down the button disconnecting the phone. [COLONEL PERALTA] Maybe we can work something out. I mean --- REVERSE The door to the office flies open. Peralta and Michael whirl to see Raoul enter and level a gun at Michael, who's belted hard by this turn of events. [RAOUL] He's not who he says he is. He's with the opposition. SCENE [GENERAL PERALTA] (stunned, flares) What?! Why did you let him get this far?! [RAOUL] I never thought he would. And it would've cost me my cover to stop him sooner. [MICHAEL] It's going to cost you a lot more than that. I promise. [GENERAL PERALTA] Idle threats are no match for the firing squad, Mr. Knight. Peralta nods. The Lieutenant and guard move in around Michael, and we: [FREEZE FRAME] END OF ACT TWO ACT THREE FADE IN EXT. CAPITOL - DAY - TO ESTABLISH INT. CAPITOL PRISON - CELL - DAY as the door to the cell area opens and Michael is shoved through it by the Lieutenant and guard. They manhandle him past Harrington and Sosa's cells and throw him hard into a cell opposite them. After they leave --- [HARRINGTON] Michael?! Michael, what happened? You okay? Michael pulls himself to his feet; nods, disgusted. [MICHAEL] Yeah, but I won't be much help to you in here. [HARRINGTON] Can we use your comlink to get a message to Devon? Let the world know what's really going on. [MICHAEL] (shakes no) I've lost my relay station. Kitt's compac doesn't have the range. [PRESIDENT SOSA] (despondently) What good would it do, anyway? Peralta would claim it's an orderly transition of government and there's no way to disprove it. [HARRINGTON] (becoming unsettled) He's right, Michael. We were -- counting on you. I mean, they have my wife. They --- [MICHAEL] (interrupting) Take it easy. We'll deal with it. Something I've got to do first. (comlink) Kitt? We have a problem. Talk to me. INTERCUT - LISA AND K.I.T.T. concealed in the truck yard. We see a stake bed truck parked in the b.g. [K.I.T.T.] Go ahead, Michael. [MICHAEL] I'm in a cell in the Capitol prison. You and Lisa have to get out of there now! [LISA] What about Raoul? He went to cover you. We can't leave without him. [MICHAEL] He's a traitor. He's the one who blew my cover. He'll be coming for you and Kitt next. [LISA] That's ridiculous. I don't believe you. He --- [MICHAEL] (interrupting) No time to argue! Kitt, get out of there and find a place to hide. A clever one. [K.I.T.T.] Right away, Michael. (beat) I think I see a way to do both at the same time. Lisa looks puzzled. Michael wonders and we: CUT TO EXT. ROAD - DAY as a personnel carrier filled with troops barrels through a turn and heads down a straightaway. ON RAOUL He stands outside on the running board next to the driver and gestures as he shouts. [RAOUL] Just around the next turn! Hurry! The driver tromps on the accelerator. The truck accelerates down road into the turn. ANOTHER ANGLE as the truck comes out of the turn and pulls into the truck yard where Michael concealed K.I.T.T. The troops pile out. [RAOUL] Between those trucks! Raoul and the troops move in, guns ready. RAOUL'S POINT OF VIEW - THE TRUCKS as he cautiously moves between them -- no sign of K.I.T.T. anywhere. RAOUL is baffled, can't believe it. [RAOUL] That car -- it was right there. CUT TO THE ROAD - THE STAKE BED TRUCK the bed now covered with a tarp and old tires, drives slowly down the road. We reveal Lisa seated next to the driver. CLOSE ON THE OLD TIRES that are stacked on the tailgate to see K.I.T.T.'s scanner pulsing behind them. [K.I.T.T.] (to himself) I never thought I'd see the day. The truck disappears down the road, and we: CUT TO INT. CAPITOL PRISON - DAY as the Lieutenant and guard arrive and unlock the doors to Michael and Harrington's cells. [LIEUTENANT] It will soon be time, gentlemen. I hope neither of you suffers from stage fright. Michael burns the Lieutenant with a look in reply. As Harrington and Michael leave their cells, the Lieutenant stops Michael; grasps his wrist; nods to the comlink. [LIEUTENANT] No personal effects. Remove it. Michael hesitates a beat, then takes off the comlink and drops it into the Lieutenant's palm. As the guard leads Michael off --- THE LIEUTENANT hangs back examining the comlink. He smiles admiringly and straps it on his wrist before following them. CUT TO EXT. REBEL HIDEOUT - ZOO - DAY as a truck drives between the tents, vehicles, crates of weapons, ammo, supplies and comes to a stop. RC3 is yanked from the cab by Martinez and the three rebels who captured him, and shoved toward Lisa. [MARTINEZ] We found him at the shack with a transmitter. [LISA] What were you doing there? [RC3] Manning a relay station. I told these guys I came into the country with Michael Knight to meet you but they --- [LISA] (interrupting) Prove it. [RC3] Come on. How else would I know about him? I couldn't make this up. [LISA] You wouldn't have to. Half the country knows of him by now. [MARTINEZ] Leave this infiltrator to us. We'll find out what he's up to. Martinez and his men move in threateningly around RC3. [K.I.T.T.] Excuse me? Excuse me, but --- Everyone turns to the source of the voice. THE STAKE BED TRUCK as K.I.T.T.'s Voice continues to come from beneath the tarp and tires. [K.I.T.T.] -- I know him. He's telling the truth. The group hurries after RC3 who runs to the flatbed. [RC3] Kitt? Am I glad to hear your voice. What are you doing under there. Where's Michael? RC3 pushes a few of the old tires aside fully revealing K.I.T.T.'s scanner. [K.I.T.T.] I'm afraid he's been arrested. [RC3] He's what? Man, we've got to do something. (to Lisa) Comes down to you and me, lady. You better think up some ideas how we break him out. Cause you don't stand a chance without him. [LISA] Assuming you're right, we'd have to get someone inside to make this work. [RC3] Okay then let's do it. [LISA] Easier said than done. [RC3] There's a way. I know a scam we can pull off. Lisa and the others respond with a skeptical rumble. [K.I.T.T.] If I may, I suggest you hear him out, Lisa. RC3 is extremely resourceful when it comes to 'scamming.' [LISA] I'll bet. But I'll be the one who decides. As RC3 starts to lay out his plan, we: CUT TO INT. TV ROOM - DAY - CLOSE ON HARRINGTON as he speaks into camera; working to hide his disgust. We pull back to include a podium, TV camera, sound equipment etc. Peralta sits behind the desk listening, smiling triumphantly. Raoul stands in the b.g. [HARRINGTON] -- In seconding General Peralta's remarks, not only did the government fail to respond to this national emergency, but also, if not for the General's decisive action many more lives would have been lost to the volcano. Harrington pauses; flicks an anxious, remorseful look to: MICHAEL frustrated, angry, standing to one side flanked by the Lieutenant and guard. He knows what's coming and nods to Harrington with understanding. [HARRINGTON] This and the fact that the Sosa Government has proven to be vulnerable to outside agitators forces me to support martial law at this time. Harrington steps back from the podium joining Michael. The technician points at Peralta indicating he's on --- [GENERAL PERALTA] In conclusion, my fellow citizens, should any of you doubt the presence of subversive elements --- The Lieutenant and guard grab Michael and march him in front of the camera. CUT TO INT. BAR - DAY - CLOSE ON A TV SET to see Michael shoved into view and held there. During the following we pull back to reveal the bar is packed with a rowdy group of soldiers and civilians watching the TV. [GENERAL PERALTA] (continuing) -- this man -- Michael Knight covertly crossed our border and entered the capitol with forces sworn to destroy this nation. ANOTHER ANGLE - RC3 AND LISA in the crush of soldiers and civilians. [GENERAL PERALTA] We have sentenced this American agitator to be executed by firing squad for crimes against the state. RC3 can't believe what he's just heard. He and Lisa exchange anxious looks. He leans to her for --- [RC3] No time for mistakes, make it good. Lisa nods, takes a breath. ANOTHER ANGLE as Lisa swings a fetching look to a soldier next to her; smiles seductively. He brightens; wraps an arm around her. She flares; angrily shoves him away and shouts --- [LISA] Hey! Keep your hands to yourself! The soldier retreats, puzzled, innocent. RC3 steps forward, grabs his shoulder and spins him around. ON RC3 as he realizes the guy is larger than life and he's staring at his belt buckle. RC3 sucks it up and launches his "attack." [RC3] What's wrong with you, buddy?! Don't you know a lady when you see one? RC3 shoves a palm into the soldier's chest repeatedly during: [RC3] Don't you? Huh?! Huh?! Hey I asked you a question man! RC3 finally shoves the soldier backwards onto others at the bar. They throw him back at RC3 who ducks a punch and clips him a shot. They exchange a few blows before: A GROUP OF SOLDIERS descend on RC3 and restrain him. One snaps his arm up behind him in a hammerlock. As they drag him away passing Lisa we are on: RC3'S HAMMERLOCKED ARM as he makes a thumbs-up fist to her behind his back. LISA secretly returns it and we: CUT TO EXT. CAPITOL - NIGHT - TO ESTABLISH INT. MICHAEL'S CELL - NIGHT as Michael, President Sosa and Harrington talk through the bars of the cells. [MICHAEL] They took my comlink. I can't relay messages to Devon. We've got to figure a way to buy some time and figure a way out of here. [HARRINGTON] Perhaps we could make some kind of deal? Give them some information? [PRESIDENT SOSA] It's worth trying. General Peralta is extremely paranoid. If he thinks there's a secret he doesn't know --- [MICHAEL] (interrupting) Forget it. He'd agree to the deal; get the information and kill you anyway. No, we have to --- Michael bites off the sentence as: THE DOOR TO THE CELL AREA opens. The Lieutenant and a prison guard carrying a dinner tray enter, leaving the door open. We see a prisoner, mopping the floor in the adjacent squad room. He starts whistling a happy tune (that we have to get cleared). The Lieutenant lays back supervising, as --- THE PRISON GUARD crosses to President Sosa's cell and shoves a tin plate of slop and a chunk of bread through a slot in the door. As he steps toward Harrington's: MICHAEL reacts to the whistling; cranes to see through the doorway. MICHAEL'S POINT OF VIEW - THE PRISONER swings a look to Michael revealing it's RC3, whistling and mopping. RESUME MICHAEL He hides his reaction as the guard arrives at his cell and shoves the plate of slop and bread through the slot. Michael purposely drops the plate. It hits the floor. The slop splattering everywhere. The Lieutenant flares, and crosses to the cell. [LIEUTENANT] Clumsy idiot! ANOTHER ANGLE - RC3 hurries into the cell area with his mop in one hand; lunges forward sending a punch through the bars at Michael with the other. Finally grabs him by the collar; shakes him angrily during --- [RC3] Be careful, man. You think I got nothing else to do but clean up after you?!! (to Lieutenant) I'll have this taken care of in a minute. [LIEUTENANT] (nods, pleased) Keep this up, you'll be assigned to trustee detail permanently. The Lieutenant glowers at Michael, then heads into the squad room. RC3 and Michael talk in whispers. [MICHAEL] I don't know what you're up to RC but it could cost you your life. [RC3] That's what Lisa said. I only figured a way in. I was hoping you'd have the answer to get us out. [MICHAEL] I don't. This stops RC3 cold for a beat. Then --- [RC3] You're going to the wall at dawn. You saying we're going to let them kill you? Michael ponders a beat; nods. [MICHAEL] Maybe. RC3 looks at him like he's lost touch with reality. Michael gestures, they huddle, and we: CUT TO EXT. CAPITOL - MORNING - TO ESTABLISH INT. SQUAD ROOM - DAY The Lieutenant is alone. Six rifles are laid out before him on a table. He checks the action of one; lays it down and is removing rounds of ammunition from a box when RC3 comes into the room with his mop and pail. As he swabs the floor working his way toward the Lieutenant. [RC3] You sure got a lot of rifles there. [LIEUTENANT] They're for the firing squad. (pointedly) I suggest you don't make a habit of attacking our soldiers. [RC3] Hey, nothing personal. Martial law's the best thing to hit San Duarte since blended margaritas. The Lieutenant nods, pleased. ANOTHER ANGLE RC3 swings the mop like a baseball bat, clobbering the Lieutenant across the chest. He tumbles over backwards. As he tries to get to his feet RC3 decks him with a roundhouse right. He drops like a felled tree and stays down. [RC3] I hate blended margaritas. RC3 crouches down over the Lieutenant to move him aside and we: CUT TO EXT. BALCONY - DAY as Raoul brings Harrington onto the balcony that overlooks a courtyard, joining General Peralta. Harrington burns them with a look. They direct his attention down to: THE COURTYARD where a six-member firing squad stands at attention. The Lieutenant stands Michael in front of some stacked bales of hay opposite the firing squad. The Lieutenant offers him a blindfold. [MICHAEL] (shakes no; angrily) When you kill a man in cold blood you should at least have the guts to look him in the eye. Michael burns the Lieutenant with a look. ANOTHER ANGLE - FIRING SQUAD as the Lieutenant crosses and takes up a position at one end of the line of marksman. [LIEUTENANT] Inspection arms! CLOSE ON RIFLES The members of the firing squad bring their rifles up across their bodies and snap open the breeches. The Lieutenant moves down the line placing a round in each chamber. When he gets to the opposite end, he glances up to: THE BALCONY where Harrington stands in disbelief and frustration next to Raoul and Peralta who smiles thinly and nods. RESUME THE SCENE as the Lieutenant calls out: [LIEUTENANT] Ready! The marksman close the breeches and bring their weapons up into firing position. [LIEUTENANT] Aim! The firing squad sights in on: MICHAEL staring his executioners down. RESUME THE SCENE as the Lieutenant barks --- [LIEUTENANT] Fire! The marksmen squeeze their triggers. VARIOUS SHOTS - THE RIFLES fire the rounds at: MICHAEL as the rounds find their mark and he falls against the wall and slumps to the ground. LONG SHOT - THE SCENE The Lieutenant crosses to Michael; pulls a forty-five to administer the coup de grace. The screen goes black an instant before the weapon fires. FADE OUT END OF ACT THREE ACT FOUR FADE IN EXT. BALCONY - DAY Harrington is apparently stunned. Raoul enjoying his discomfort. Peralta nods to the Lieutenant below. EXT. COURTYARD - DAY The Lieutenant salutes Peralta, Raoul and Harrington leave the balcony. The Lieutenant turns Michael's body over revealing three spots of blood on his shirt. Then turns to the firing squad. [LIEUTENANT] Squad dismissed. The firing squad begins to disperse. [LIEUTENANT] He's an American. The body will be shipped to the States. Carry him inside. He indicates the Sergeant and Corporal. As they cross to Michael, we go to: INT. PRESIDENT'S OFFICE - DAY Raoul is ushering Harrington to the door. He pulls an arm free; turns back to Peralta --- [HARRINGTON] I want to see my wife. [GENERAL PERALTA] After your next speech -- in which you'll report justice here is swift and humane. [HARRINGTON] (flares) No speeches until I know you animals haven't hurt her! Raoul grabs Harrington threateningly. [GENERAL PERALTA] (irritated) At the moment she's sitting comfort- ably in her own bedroom. Don't force me to cage her! Peralta gestures angrily with his head to Raoul. Harrington hides a smile as Raoul brusquely shoves him out of the office. CUT TO INT. SQUAD ROOM - DAY The Lieutenant supervises as Michael's body is carried in by the Sergeant and Corporal and dumped on a table. The other members of the firing squad have placed their weapons in the rack and are exiting. The Lieutenant points to Michael's boots. [LIEUTENANT] Take his boots. ANOTHER ANGLE as the Corporal crosses to Michael and bends down to remove the boots. Michael rears back his leg and shoves a foot into his chest, knocking him backwards. [MICHAEL] You got 'em! Michael leaps up from the bunk and goes after the startled Corporal with a karate blow --- THE SERGEANT pulls a handgun. The Lieutenant knocks it from his hand, spins him around and puts him away with a lightning-fast punch. THE SCENE As Michael finishes off the Corporal, the Lieutenant removes his sunglasses and officer's cap revealing RC3 in the uniform. RC3 and Michael exchange their traditional thumbs up, then drag the unconscious soldiers behind a desk to conceal them. [RC3] You see this guy's face when you came back to life? Like he just ran into a miracle. [MICHAEL] At the moment I'd settle for my comlink. Where'd you park that Lieutenant? RC3 opens a closet and drags out the Lieutenant. He's bound and gagged and in his underwear. As Michael retrieves his comlink from his wrist and puts it on: [MICHAEL] Now that Peralta thinks I'm being crated for shipment, we can make some moves. He clicks on his comlink; raises it to his mouth --- [MICHAEL] Kitt, this is Michael. Kitt? You tuned in out there buddy? REBEL HIDEOUT - ZOO - ON K.I.T.T.'S SCANNER visible beneath the tarp and old tires on the truck. It pulses faster as it picks up Michael's comlink signal. [K.I.T.T.] (relieved; excited) Michael?! Michael, of course I am. INTERCUT - K.I.T.T.'S VOICE BOX [K.I.T.T.] (continuing) I've been monitoring your channel round the clock. Where are you? [MICHAEL] With RC. We're out of jail but still in prison so to speak. [K.I.T.T.] How can I help you? [MICHAEL] Bring Lisa and her people to the Capitol. Contact me as soon as you're all here and ready to move. [K.I.T.T.] My pleasure. I'm quite tired of literally being undercover. As Michael and RC3 grab some rope and start tying up the two soldiers, Michael indicates the "blood" on his shirt. [MICHAEL] By the way, RC, what'd you use for blood? [RC3] Believe me, you don't want to know. They hold a look and we are --- INSIDE K.I.T.T. - VARIOUS SHOTS as he auto-starts, shifts into drive, and depresses his accelerator, burning rubber. EXT. REBEL HIDEOUT - ZOO - DAY as Lisa, Martinez and others react to the noise and whirl around toward: THE STAKE BED TRUCK The tarp and old tires that conceal K.I.T.T. explode as he rockets from beneath them. K.I.T.T. sails through the air and lands, screeching to a stop next to Lisa, Martinez and the assembled group of freedom fighters. [LISA] What's going on, Kitt? What happened? [K.I.T.T.] I'll explain on the way. Follow me! Lisa swings an uncertain look to Martinez. [MARTINEZ] He's gotten us this far. [LISA] Okay, Kitt. We're behind you! Lisa gets into K.I.T.T.'s passenger seat. He takes off. Martinez and the rest of the group grab their weapons; pile into Martinez' truck and the other vehicles and move out after K.I.T.T., and we: RESUME MICHAEL AND RC3 as they finish tying up and gagging the two soldiers. They start to cross toward the door to the cell area when they hear approaching footsteps. MICHAEL presses himself against the wall, behind the door and points to RC3's hat and sunglasses. RC3 gets the message and dons the hat and glasses and plays Lieutenant just as the door to the squad room opens and Harrington enters, followed by Raoul, who holds a .45 on him. [RC3] I'll take him. As Raoul shoves Harrington toward RC3, Michael springs from behind the door, spins Raoul around and bashes him with a powerful right cross that sends Raoul reeling backward. Michael goes after him; connects with another punch that propels him toward: THE OPEN DOOR as Raoul tumbles from the squad room into the entrance hallway, Michael slams and locks the door behind him. Michael grabs a ring of keys from the desk. He, Harrington and RC3 hurry into the cell area beyond. INT. ENTRANCE HALLWAY - DAY - RAOUL scrambles to his feet, crosses to an intercom on the wall; clicks it on. A Klaxon starts whomping. [RAOUL] Attention! Attention all personnel!! OMITTED INT. CELL AREA - DAY Michael, Harrington and RC3 are opening cell doors freeing President Sosa and other prisoners. They react to Raoul's voice reverberating off the stone walls. [RAOUL (V.O.)] (continuing) Knight's escaped! Knight's escaped! He's freeing the others! INT. PRESIDENT'S OFFICE - DAY As Colonel Peralta barks into his intercom. [COLONEL PERALTA] Sound a general alert! Seal off the city! The guard hurries from the office and we: RESUME CELL AREA The last of the prisoners are being freed. Michael's comlink comes alive with --- [K.I.T.T.] Michael? We're here, Michael. [MICHAEL] I hear you, pal. Timing couldn't be better let me tell you. INTERCUT - INSIDE K.I.T.T. - TRAVELING parked just down the road toward the entrance to the Capitol. The other vehicles and rebels on foot following. [LISA] That sounds like trouble, Michael. [MICHAEL] Nothing we can't handle now. President Sosa, Harrington and the others are with me. Just one more person to account for. Michael swings a look to Harrington for --- [MICHAEL] You find out where they're holding your wife? [HARRINGTON] (nods emphatically) Our living quarters in the main building. [MICHAEL] Go with him, RC. Wait till Kitt breaks in and distracts 'em to make your move. (comlink) Okay pal. On my cue. [K.I.T.T.] Standing by Michael. The group crosses to a door that leads outside. OMITTED EXT. PRISON - DAY - SIDE DOOR that is around the corner and out of view of the courtyard. The group comes through the door from inside the prison. [MICHAEL] (comlink) Now! K.I.T.T. kicks into gear and peels out, quickly building speed. LISA is slammed back in the passenger seat, reacts to what she sees. [LISA] Madre dios!! POINT OF VIEW THROUGH K.I.T.T.'S WINDSHIELD as he heads straight for the barricade that closes off the entrance to the compound. OMITTED K.I.T.T. approaches at high speed, and smashes into the barricade. REVERSE ANGLE - BARRICADE as K.I.T.T. comes blasting through in an explosion of flying debris and rockets into the courtyard, rounds spark off his shell as --- TROOPS open fire from various positions. OMITTED RESUME SMASHED BARRICADE as Martinez leads the cheering freedom fighters through the opening K.I.T.T. blasted through it. They're firing their weapons, at the retreating soldiers. RESUME SIDE DOOR OF PRISON [MICHAEL] (shouts) Go! RC3 and Harrington dash across towards the main building. Michael barks into his comlink. [MICHAEL] We're around the corner, pal. Come get us! K.I.T.T. roars to life and takes off across the courtyard. RESUME SIDE DOOR OF PRISON as K.I.T.T. comes around the corner from the courtyard. He screeches to a stop next to Michael and President Sosa. Lisa gets out of K.I.T.T. She and President Sosa embrace. [MICHAEL] Good to see you, pal! [K.I.T.T.] You too Michael. [PRESIDENT SOSA] It's time to reclaim our government. [LISA] They'll never stop us now. (turns to Michael) Thanks to you. Your work is finished. [MICHAEL] (shakes no) Not until I'm certain Peralta and Raoul have a chance to 'go to the wall' for their country. Lisa smiles and nods. [LISA] I'll stay here with President Sosa. Michael takes off toward the main building. OMITTED INT. PRESIDENT'S OFFICE - DAY Peralta is stuffing the contents of a wall safe into a large briefcase when Michael explodes into the office. Peralta reaches for a .45 on the desk next to him. Michael kicks it from his hand and grabs him by the collar. [MICHAEL] Where's Raoul?! Where is he?! [COLONEL PERALTA] I don't know! He's gone. ANOTHER ANGLE Peralta pulls free; throws a punch at Michael and turns to run for the door. Michael stops him and connects with a right cross. Peralta tumbles backwards and hits the floor. He stays where he falls, out cold. Michael exits the office still in search of Raoul. OMITTED RC3, HARRINGTON AND MRS. HARRINGTON as they emerge from a building into the courtyard crossing toward K.I.T.T., they are startled as Raoul jumps out from behind a building with a gun. [RAOUL] Far as you go! They freeze as he crosses to them, moving his gun from one to the other during --- [RAOUL] Who will be first? You? Maybe you? [LISA] No, Raoul, no! He freezes when he hears the voice that comes from behind him. He starts to turn to look back at: OMITTED LISA holding her .45 on Raoul. [LISA] Don't turn around. Just toss your weapon aside. Raoul hesitates a beat, then whirls suddenly and fires. The round whizzes past as Lisa drops to one knee. She is about to blast Raoul but holds her fire when: MICHAEL comes out of the building, knocks Raoul's gun from his hand and stands in Lisa's line of fire. [LISA] Step away from him. [MICHAEL] No. He's entitled to a fair trial. That's what you've been fighting for, Lisa. That's what democracy is all about. It's up to you and President Sosa to make sure the people know the truth. And this is where you start. Lisa digests Michael's words for a tense beat. She and Sosa exchange a nod. She lowers her weapon. Martinez and his men move in around Raoul. [MICHAEL] (nods; smiles) Now, I'm finished. [HARRINGTON] And ours is back on track. Michael questions him with a look. Harrington's arm is around his wife's waist, he pulls her closer to him. A look between them. [HARRINGTON] We're staying. [MICHAEL] (nods; impressed, supportive) Good luck to all of you. [LISA] You'll need some too. The Army still controls the countryside. It won't be easy for you to get past them. [MICHAEL] (gestures to K.I.T.T.) We'll just go out the same way we came in. They hold a look and then embrace. When they break, Michael and RC3 get in and drive off and we: CUT TO MONTAGE - INTERCUT - THE VOLCANO as it rockets smoke, flame and debris into the sky and molten lava bubbles over the edge of the crater and down the mountainside. TV ROOM - PRESIDENT SOSA is at the desk, speaking to camera. [PRESIDENT SOSA] Once again a few traitorous individuals in the military have attempted to take over our country and enslave our citizens. INTERCUT - LISA standing to one side, watching proudly. CLOSE ON A TV SCREEN President Sosa seated at his desk, Lisa standing at his side, as he delivers a TV address to the nation. We pull back to reveal we are inside the bar we were in with RC3 and Lisa earlier. The crowd of civilians listening intently to Sosa's words. [PRESIDENT SOSA] (continuing) And once again we have overcome their tyranny and preserved our democracy and the freedoms we all cherish so dearly. To those who have fought so valiantly -- who have given of themselves in this noble cause --- As President Sosa continues, we: CUT TO K.I.T.T. approaches the lava flow; transforms into Super Pursuit Mode; accelerates at high speed; blasts into the lava; plows through the molten mass and exits to freedom. INSIDE K.I.T.T. Michael and RC3 cheer, we: FREEZE FRAME FADE OUT END OF ACT FOUR TAG FADE IN EXT. ROAD - DAY - STOCK The Foundation semi barrels along. K.I.T.T. Michael and RC3 inside, approaches and rockets up the ramp. INT. SEMI as K.I.T.T. pulls in from the road and pulls to a stop. He pops down his doors and Michael and RC3 rush out to a warm reunion with Devon and Bonnie. [DEVON] Welcome home. For a while, you really had us worried. [MICHAEL] They had us a little worried, too, Devon. [DEVON] Well, I'm sure the government of San Duarte will soon be back to normal. [K.I.T.T.] Which is more than I can say for myself. [DEVON] Come now, Kitt, your systems are programmed to deal with every eventuality. [K.I.T.T.] Not with being smothered by a mountain of furniture and spare tires; nor the volcanic ash that's still clogging my intake vents. [RC3] Bonnie, you think he's getting his point across. [BONNIE] Yes, loud and clear, RC. [MICHAEL] You see, Devon, Kitt's shell got a little scuffed. Now he's indulging in a little -- (choosing the word) -- grousing. [K.I.T.T.] I do not grouse, Michael. I'm simply pointing out that I bore the brunt of the dirty work. [MICHAEL] Hey, pal, I'm the one who faced the firing squad. [RC3] With a little help from the Lieutenant here. I mean, I went to the matt with a guy the size of a phone booth. [DEVON] Funny how this grousing can get around. [MICHAEL] Well, that's what it's all about, isn't it? (off their looks) The democratic process; freedom of speech; the right to speak out --- [K.I.T.T.] My very thoughts, Michael. I mean, considering the situation as it were, I --- [MICHAEL] (continuing; over) And -- the right to tune out. Off everyone's laughter --- FREEZE FRAME FADE OUT THE END

{"show": "Knight Rider", "season": "s04", "episode": "e18", "title": "KNIGHT FLIGHT TO FREEDOM"}

knightriderarchives

ACT ONE FADE IN EXT. MILLENIUM STUDIOS - DAY - TO ESTABLISH THE MAIN ENTRANCE OF A MAJOR MOTION PICTURE STUDIO EXT. RANCH SET - DAY A modern western is shooting. We pan across the film company and hold on Director Mel Tobey, Producer Victor Gavin, Star Clayton Travis and Special Effects Chief Andy Clifford are crossing in front of a barn, the crew in place around them as they talk. [GAVIN] I'd like to get this before lunch. [TOBEY] I'm ready to make one. Let's --- He pauses in reaction to the arrival of: A MERCEDES 450SL as members of the crew move aside and it chirps to a stop next to the group. Karen Bennett, thirty-three, elegant, beautiful, head of production, gets out and joins them. [KAREN] I just heard Travis is doing the stunt himself?! [TOBEY] Karen, please, it's all worked out. Travis and I just did a walk through. I'm ready to roll. Relax. Okay? [KAREN] After what I've been through on this picture, I won't relax until the last shot is in the can. [GAVIN] We'll never get this one if you keep interfering. [KAREN] You're producing a picture that's twenty million dollars over budget, Gavin. If your star gets hurt, we'll never get a penny of it back. [GAVIN] You never will anyway. Whoever said don't throw good money after bad was talking about this turkey. [TOBEY] People, people, I turned down the beach picture to do this 'turkey.' I could be on Maio -- surrounded by squealing coeds in bikinis. Make up your minds, please? [GAVIN] If we shut down, you'll be another eighteen thousand in the hole, Karen. (facetiously) You're head of production. You decide. Karen digests this information; crosses to Clifford. [KAREN] You feel confident about this? [CLIFFORD] (nods) Yes, I've double checked all the charges. Shouldn't be any problem. Karen evaluates a beat; decides; nods grudgingly and we: CUT TO INT. EFX TRUCK - DAY - CLOSE ON REMOTE-CONTROL PANEL The kind used to trigger explosives. Someone is replacing the rear plate. The hands in tight-fitting black leather gloves, tighten the last screw and yank the screwdriver up into cowled sleeves in response to --- [CLIFFORD] Hey, what are you doing here? We widen as a figure in a hooded monk's robe reacts, startled, revealing a glimpse of a grotesque face as it glides away. [CLIFFORD] They're making Spires of Death on Stage 5, pal! Clifford takes the panel and we go to: EXT. RANCH SET - DAY The company is just completing the steps that lead to --- [TOBEY] And -- Action! TRAVIS starts to run toward the barn. CLIFFORD hits a switch on his control panel. RESUME TRAVIS as a buried charge explodes, showering him with dirt. He leaps aside and keeps moving through two more explosions. CLOSE ON REMOTE-CONTROL PANEL as Clifford's finger moves from button 3 to #4; hovers a beat, then depresses it. RESUME TRAVIS He dives and rolls to avoid the fourth explosion. As he comes up onto his feet a fifth explosion hurls Travis skyward, then harshly to the ground. CUT TO CLOSE ON A RED FLASHER as we pull back to reveal a paramedic van. Travis, an IV in his arm, is rolled into it on a gurney. The van takes off, siren wailing. Karen, Gavin and Tobey watch it leave, then --- [GAVIN] You want to tell me what the hell happened back there, Tobey? [TOBEY] (upset; baffled) Why're you asking me? Clifford's in charge of special effects. [CLIFFORD] I set four charges, Mr. Gavin. Five went off. I don't know where that last one came from. But it wasn't mine. [KAREN] Then whose was it? Does anyone else have access to your equipment?! [CLIFFORD] No. No, I'm the only one who -- Wait a minute. There was this guy out by the truck before. But --- [KAREN] What guy? Who? [CLIFFORD] I don't know. He had on a hood, and a mask --- [GAVIN] Oh come on, you're not going to start that Phantom of Stage 12 nonsense. [TOBEY] Yeah. They stopped blaming accidents on him twenty years ago. [KAREN] Well, someone's to blame. And it's time to find out who! Karen turns and heads off the set. CUT TO EXT. SEMI - DAY K.I.T.T. cruises down the road, then rolls in up the ramp. INT. SEMI - DAY - ON A TABLE as Devon, angry, slams down an issue of the Trades. The headline reads "MAYHEM AT MILLENIUM MULTIPLIES". [DEVON] That's the fourth accident in three weeks, and the most serious! Michael ambles over and picks up the paper. [DEVON] (continuing) You've heard about Raging Sky. [MICHAEL] Who hasn't? Battles on the set. Battles off the set. A runaway budget -- twenty-five million and no end in sight. [RC3] Man, what I could do with that. [MICHAEL] What a small country could do with that. But you know movie people -- it's only money. [DEVON] Not Millenium Studios, Michael. For years they've donated time and money to our educational film program. They have too much integrity to be this irresponsible. [MICHAEL] That leaves bad luck and sabotage. [DEVON] Whatever it is, they've asked for our help, and they deserve it. Your contact is Karen Bennett, Vice President in charge of production. Michael nods, turns to get into K.I.T.T.; pauses at --- [BONNIE] Devon, I think you left something out. [DEVON] Well, it's -- it's quite silly, really, but there has been some talk at the studio about the legendary Phantom having something to do with it all. [MICHAEL] You want me to investigate a phantom? This is 1986, Devon. 1986. SMASH CUT TO CLOSE ON A CONFEDERATE SOLDIER As we pull back to reveal we are on a street at a movie studio. Assorted costumed extras -- Southern belles, Confederate soldiers, WWII fly boys, belly dancers -- are coming out of Wardrobe. [K.I.T.T.] As you were saying, Michael --- INSIDE K.I.T.T. as he drives down the studio street. [MICHAEL] Don't rub it in, pal. I don't see a phantom in that bunch. Do you? [K.I.T.T.] No. But around here no one would think twice about it if they did. The belly dancer walks right past Michael's side of the car. He follows her, with his eyes admiring her -- belly. [MICHAEL] I agree. He'd simply -- get lost in the crowd. CUT TO EXT. MILLENIUM STUDIOS OFFICES - DAY - ESTABLISHING K.I.T.T. parked outside the building. INT. KAREN BENNETT'S OUTER OFFICE - DAY As Michael enters, we see Edward Kent, dapper, thirtyish, typing up a storm on a word processor. He continues encoding a few beats; hits a button, like a concert pianist playing the last note of a concerto. During the following the computer printer comes to life and prints out a one- page production schedule. [KENT] You look just like Miss Bennett's ten fifteen. (scans appointment book) Michael Knight. Foundation for Law and Government? [MICHAEL] (nods; then, facetiously) She's expecting me. [KENT] Very quick Mr. Knight. We're all expecting you. I'm Edward Kent, Ms. Bennett's secretary. I encode ninety words a minute. I take short- hand at 120. I don't make coffee, and I've never been chased around the desk. I'm afraid you'll have to wait -- (indicating the door) -- The negotiations are at a delicate stage. He gestures to: THE DOOR TO KAREN'S OFFICE as it suddenly blows open and Tobey storms out. [TOBEY] When you two decide what to shoot, I'll shoot it! (to the world) I could be on Maui. On Maui, surrounded by coeds in bikinis. [KENT] (echoing over) -- surrounded by coeds in bikinis. Tobey leaves the office. Kent turns to the printer that has stopped and tears the page from it. [KENT] (officiously) Excuse me, but if I don't get this distributed -- Millenium will be in the toiletteum. 'Bye --- Kent hurries from the office. Michael crosses toward the door to Karen's office, that has remained open. INT. KAREN'S OFFICE - DAY Karen and Gavin are up from their chairs and shouting. [GAVIN] The insurance company is wrong! I'm the producer and there's no way I can finish this picture without Travis! [KAREN] I think you can. [GAVIN] You're not the one who has to figure out how to do it! [KAREN] I already have. All you have to do is --- She pauses as she notices Michael enter the office. [KAREN] They're casting the beach picture down the hall, 316. [MICHAEL] I'm Michael Knight. [KAREN] (brightens) Oh, from the Foundation. Forgive me. I'll need a minute to finish with Gavin, then we'll talk. [GAVIN] Hold it. I've got twenty million of my own money in this picture. We'll all talk. [MICHAEL] Fine with me. Your people are getting hurt. I'm here to find out what or who is behind it. And I'll talk to anybody who can help. Miss Bennett? Karen nods, grudgingly. [MICHAEL] For openers, you think someone's out to destroy the movie? I mean, four accidents in five weeks is a pretty suspicious pattern. [KAREN] A pattern that leads right to the Special Effects Department. [GAVIN] Yes, that's the one thing Karen and I agree on. Talk to Andy Clifford. (reconsidering) Of course, he'll probably blame it on this legend he's dredged up to cover his butt. [MICHAEL] This legend wouldn't be the -- 'Phantom' some people seem to think haunts the studio. [KAREN] (chuckles) One and the same -- The Phantom of Stage 12. It all started with the original Raging Sky. A nightmare. One accident after another. [MICHAEL] In that case, what are the chances there's a connection? [GAVIN] No way. The person behind them was Dennis Darrow; an actor who didn't get the starring role and vowed it wouldn't be made. The man's been dead for years. [KAREN] Of course, his body never was found -- (sarcastically) Who knows, maybe his corpse sprouted a cape and went -- wherever phantoms go. [MICHAEL] But the bottom line is, he could still be alive. [KAREN] Really Mr. Knight. Darrow's car went off a cliff and exploded. The only thing left were ashes and smoke. [MICHAEL] And a lot of unfinished business. Michael's remark puts an end to Karen and Gavin's off- handed attitude. They exchange looks, with Michael and we: CUT TO EXT. BEHIND MILLENIUM OFFICES - DAY Michael saunters out the rear exit. As he turns a corner: A MOTORCYCLE drives into view, behind Michael and tracks him at a distance between the buildings. ANOTHER ANGLE Michael heads around the corner towards K.I.T.T. We hold and pan back to pick up the motorcycle coming around the same corner. The rider wears a helmet with tinted visor; black rigid riding suit and appears to be almost part of the bike. ON K.I.T.T. scanner humming. [K.I.T.T.] Michael, my scanners have detected someone following you. ON MICHAEL As he reacts and looks back, we hear the whine of the motorcycle engine as it revvs. THE MOTORCYCLE accelerates; does a wheelie and hurtles through the air towards Michael. He barely leaps out of the way. The bike blasts past Michael, and makes a turn to come back at him. ON THE BIKE'S FRONT WHEEL burning in towards Michael.... THE SCENE [MICHAEL] He's all yours, Kitt. Now! K.I.T.T. cuts across the path of the oncoming cycle. It swerves to avoid K.I.T.T., goes out of control, skidding down the alley between the stages. ON A WALL as the skidding cycle slams into it and crashes to a stop. THE CYCLE as Michael rushes to the biker; crouches down and unstraps his helmet. CLOSE ON THE BIKER'S HELMET as Michael removes it -- revealing a complex electronic skull beneath. The "eyes" are lenses, one of which is cracked; and the brain pan is a flashing web of curcuitry. RESUME MICHAEL as he reacts to this discovery. [MICHAEL] What have we got here? [K.I.T.T.] A 1200 cc, four-cylinder direct-drive motorcycle and state-of-the-art robot, hard wired to the frame. [MICHAEL] Which means it had to be remote controlled from somewhere. [K.I.T.T.] It still is. I'm picking up a signal. [MICHAEL] Trace it back to its source. During the above we: INTERCUT - THE PHANTOM in hooded monk's robe watching from atop the roof of one of the stages. He holds a remote-control panel. K.I.T.T.'S MONITOR - INTERCUT AS NEEDED A graph of the bike, framed by K.I.T.T.'s analytic graphic -- until a white pulse erases the grid. [K.I.T.T.] I'm locked on. Michael, I'm also picking up -- (pauses; alarmed) Get away from that thing! Now! INTERCUT - THE PHANTOM as he first presses a button on the remote panel. Then clicks it off and hurries off. ON MICHAEL as he turns and runs and the bike explodes, knocking him to the ground. He gets to his feet and crosses toward the smoking wreckage. [MICHAEL] Thanks, pal. Nice little fail-safe mode. Would've guaranteed a murder without a suspect. [K.I.T.T.] Yes, Michael. And there's no way I can locate the source of that signal now. Michael swings a frustrated glance to the robot cycle; crosses to K.I.T.T., and we: CUT TO A PATCH OF GROUND as a small charge explodes in a flash of light and smoke. EXT. CLIFFORD'S EFX TRUCK - DAY as K.I.T.T. pulls to a stop. Michael gets out and reacts to the sound of a second explosion. He cautiously moves around to --- THE OPPOSITE SIDE OF THE TRUCK as the smoke clears, revealing Andy Clifford. He's posi- tioning two more small charges on the ground. [MICHAEL] From the sound of that you must be Andy Clifford. Clifford nods and points out the explosive charges. [CLIFFORD] Better stand back. Those are very unstable. Got to set them off before me and my pink slip check outta here. He presses buttons on his remote-control panel, setting off the charges -- two quick explosions. [MICHAEL] You know, for a guy who's been accused of negligence, you seem pretty safety-conscious to me. [CLIFFORD] Tell that to the insurance company. Twenty pictures without an accident didn't mean a thing to them. You must be Knight, the guy who's investigating the accidents. [MICHAEL] That's right. And the way I hear it, you claim you got more explosions than you bargained for. [CLIFFORD] Claim? (holds up panel) Four buttons. Five explosions. How's that fifth one mine? Clifford hands the panel to Michael. He examines it, then passes his comlink over the row of buttons. [MICHAEL] Kitt, scan the circuits in this unit for signs of tampering. [CLIFFORD] (indicates K.I.T.T.) What's that all about? [MICHAEL] A little special effect of my own. K.I.T.T.'S MONITOR - INTERCUT AS NEEDED The buttons and the circuitry within the panel with one circuit path highlighted. [K.I.T.T.] The fourth circuit has been rewired, Michael. It transmits two signals when the detonator button is depressed. Michael swings a look to Clifford, who reacts with surprise. Then something dawns on him. [CLIFFORD] Yeah, yeah, that's what that guy was up to. Had to be him. Nobody else was near my equipment until he --- [MICHAEL] (skeptically) The guy in the monk's robe? [CLIFFORD] Yeah, right. The Phantom of Stage 12. I saw that guy, Mr. Knight. He was real. [MICHAEL] I hear you. But let's not call him 'The Phantom,' okay? The 'guy in the monk's robe' will be just fine. [CLIFFORD] Call him what you like. The bottom line is, the original Raging Sky was shot on 12. And people who have seen him say that's where he hangs out. [MICHAEL] Whoever he is, according to Karen Bennett he'll have another crack at making trouble today. [CLIFFORD] That's right. They're shooting a big stunt sequence with Liz Preston right after lunch. [MICHAEL] Gives me a couple of hours. Where's Stage 12? [CLIFFORD] Other side of the lot. No one's shot on it for years. (off Michael's look) Everybody says the legend is a big joke. But down deep this is a very superstitious business, Mr. Knight. [MICHAEL] Superstition or not, it's all I've got. Michael crosses toward K.I.T.T.; gets in and drives off. CUT TO EXT. STUDIO STREET - DAY - K.I.T.T. tooling along, past various intriguing and colorful artifacts found on the lot. K.I.T.T.'S MONITOR - INTERCUT AS NEEDED to see Devon in his office. [DEVON] Hello, Michael. How are things in Hollywood this morning? [MICHAEL] Hitchcock would have loved it. We've got a saboteur on our hands. [DEVON] Glad you didn't say psycho. [MICHAEL] Might be that, too. But right now I need everything Bonnie can find on actor Dennis Darrow, also. Run down the insurance policies on Raging Sky. I want to know who benefits if it shuts down. [DEVON] Right away, Michael. And please, take care. I don't want two phantoms haunting Millenium Studios. CUT TO EXT. STAGE 12 - DAY Michael drives up and gets out. [MICHAEL] Scanners peeled, pal. He walks up to the massive steel door, slides it open. INT. STAGE 12 Darkness. Michael softly switches on a work light. MICHAEL'S POINT OF VIEW Spooky shadows play across the enormous sound stage. Tiers of platforms, old backdrops, and props, etc. populate the eerie landscape. WITH MICHAEL He takes the light off its hook, shining it ahead of him as he walks past brocaded gowns, then armor and swords. [K.I.T.T.] Michael, have you found anything? [MICHAEL] Yes. Enough weaponry for Conan Three, Four and Five. As he walks past one of the knight suits: AN ARM slowly rises into view, gripping a crossbow. ON MICHAEL as he comes upon and is startled by some creepy masks. [MICHAEL] (continuing) -- And enough bad guys, too. [K.I.T.T.] Michael, I've detected some movement. Directly behind you! K.I.T.T.'S MONITOR - INTERCUT AS NEEDED Holograph of the armor and a red pulse behind it. MICHAEL whirls around, on the alert. He swings the lamp, trying to spot his attacker.... RESUME THE HANDS A black gloved finger on the trigger of the crossbow, starting to squeeze. FREEZE FRAME FADE OUT END OF ACT ONE ACT TWO FADE IN INT. STAGE 12 - DAY - ON THE CROSSBOW about to fire. The cord creaks.... ANGLE - MICHAEL hears the sound and grabs a shield. ON THE CROSSBOW The trigger's pulled. The arrow flies --- ON MICHAEL'S ARM as he whirls and raises the shield just as the arrow stabs into it. WITH MICHAEL The impact knocks him back into a pile of armor. He clambers to his feet and hears footsteps in the distance. He starts to run after him. [MICHAEL] Kitt, I'm chasing the guy. Monitor all the exits! [K.I.T.T.] I'm scanning them now. [MICHAEL] Which one, pal?! Where is he?! He aims the lamp in all directions, frustrated. THE PHANTOM is running at full tilt between the rows of sets. He yanks at a tied-off rope as he runs past; hangs on with both hands and is suddenly launches into the air. ANOTHER ANGLE as he soars skyward, his robe billowing around him, then vanishes from view into the darkness of the catwalks and air-conditioning ducts above. ON A SAND BAG attached to the other end of the rope as it plummets toward the floor of the stage and hits with a thud. RESUME MICHAEL as he reacts to the sound; whirls; sees the inert sandbag and thinks nothing of it. He raises his comlink. [MICHAEL] Kitt, he's got to have left the building by now. Give me a fix on the exit. [K.I.T.T.] I can't, Michael, I'm absolutely positive. No one has come out. And no one is in the building either. As Michael stands holding the lamp, baffled: CUT TO EXT. STUDIO STREET - DAY as K.I.T.T. drives, passing a man carrying a massive boulder on his shoulders. INSIDE K.I.T.T. - DAY As Michael reacts to and steers around the "walking" boulder, the monitor chirps. Devon flashes on. [MICHAEL] Yo, Devon. INTERCUT - DEVON in his office. [DEVON] Michael, it looks like you've been in quite a scuffle. [MICHAEL] I just did a scene from William Tell. I played the apple. What's up? [DEVON] Well, Bonnie found very little data on your Mr. Darrow. It seems he died over twenty years ago. [MICHAEL] And nothing's turned up since? She's positive. [DEVON] (slightly perplexed) Not even his remains, as I understand it, Michael. I have something more substantial on your insurance inquiry. Gavin and the studio are fully covered. [MICHAEL] That means they both get their invest- ment back if the picture can't be completed -- which gives us nothing. [DEVON] Well, I've also discovered the studio has just taken out an additional four- million-dollar policy on their star, Liz Preston. [MICHAEL] Uncanny timing. She's doing a major stunt today. I'm on my way to the back lot now. [DEVON] Good luck, Michael. Devon signs off. As Michael accelerates. [K.I.T.T.] Michael, watch out! MICHAEL'S POINT OF VIEW THROUGH K.I.T.T.'S WINDSHIELD as a large flat (the front of a house) rolls from behind a stage right in K.I.T.T.'s path. The two grips who are wheeling it freeze in their tracks. MICHAEL reacts and quickly turns the wheel left, right, left. ON K.I.T.T. as he swerves toward and zooms right through the empty "doorway." RESUME INSIDE K.I.T.T. [K.I.T.T.] This place is full of surprises. [MICHAEL] Something tells me we won't get through the rest of them this easily. Michael swings K.I.T.T. onto the street that leads to the backlot, and we: CUT TO EXT. BACK LOT SET - DAY The stunt supervisor is wiring a squib vest that's on a stunt double. Two elder actors, Buck and Slim, sit around playing cards. They stop and glance with disdain as K.I.T.T. drives up beside them. INSIDE K.I.T.T. - ON MICHAEL [MICHAEL] Okay, pal. Scan that 4x4 and tell me if you spot anything unusual. Michael pushes some buttons on his console and indicates: 4X4 WAGON diligently muddied and battered for the movie, parked nearby. [K.I.T.T.] Only that it's expected to drive at all. [MICHAEL] This is the movies, Kitt. They probably spent a fortune getting those dents and dings in the right places. It should be in perfect running condition and rigged for stunts. K.I.T.T.'S MONITOR - INTERCUT AS NEEDED a schematic of the 4x4 wagon, and the special safety adaptations highlighted. [K.I.T.T.] You're right, Michael. And I detect no evidence of tampering. [MICHAEL] All right, pal. THE SCENE Michael gets out of K.I.T.T., and crosses over to Buck and Slim. [MICHAEL] Excuse me, I'm looking for Miss Preston. [SLIM] (chuckling) You and a hundred other cowboys. Better start twirling you lariat, son -- here she comes. Michael follows Slim's gesture and sees --- LIZ PRESTON an attractive, vivacious, though slightly faded starlet of thirty-three, saunters by, looking smashing in a jumpsuit. She gives Michael the once over. Just as he's about to introduce himself --- [LIZ] Don't tell me. Michael Knight, the investigator I've heard so much about. (flirtatiously) I was wondering when you'd catch up with me. [MICHAEL] (returning compliment) Sorry it took so long. Do you have a few minutes to talk? She nods and follows him. As they leave, Buck and Slim look longingly after them, then at K.I.T.T. [SLIM] It's the car. That's all that matters nowadays. [BUCK] (disgusted) Just what the picture needs -- another jackrabbitmobile. [K.I.T.T.] And what's wrong with fast cars, may I ask? The cowboys are startled -- then assume there's someone in the car and continue. [SLIM] Everything. Raging Sky was a western. How do you remake a western with cars playing the horses? [K.I.T.T.] I've cleaned up a couple of western towns in my day. [BUCK] Hogwash. No gunslinger worth his spurs would back down to a car. We tried to tell that to the director. [SLIM] Come on, Buck, only a fool argues with a mule, a skunk, or a director. [K.I.T.T.] That may be true, gentlemen. But when it comes to law enforcement, the horse has taken its rightful place in history. Buck and Slim shake their heads in dismay, and we: CUT TO EXT. BACKLOT - DAY - WITH LIZ AND MICHAEL as they walk to the set. [LIZ] Well, Michael, the last guy who said he liked all my movies had a thing for desperate, vulnerable women on the run. [MICHAEL] (smiles) Bet you feel like you've become one of your characters lately. (beat) You want out of this movie, Liz? [LIZ] Oh, no. I'm very grateful to be working. But I'd be crazy not to admit I'm a little frightened. [MICHAEL] So are some other people. (off her look) The studio took out an extra four- million-dollar policy on you. [LIZ] Really -- I'm impressed. Michael eyes her curvaceous figure appreciatively. [MICHAEL] So am I. (beat) Now, from the information I have, you're doing the old runaway buggy scene with a twist today. Run me through it. [LIZ] Well, I drive that 4x4 down the hill, a tire blows, I lose control of the vehicle, it hits the bridge, the bridge starts to collapse, and the 4x4 screeches to a halt just before I plunge into the water. [MICHAEL] (teasing) That's it? [LIZ] (laughing) Actually, all I do is drive down the hill and scream a lot. The stunt double handles the rough stuff. [MICHAEL] (warily) I'll make sure to keep it that way. They hold a look. Then Liz walks off to prepare for the shot as Michael watches her, the aura lingering, and then crosses toward: KAREN AND GAVIN in heated conversation, director Tobey in the b.g. instructing the camera crew. [KAREN] Okay, Gavin, I'll run you through it again. We use a stunt double in Travis' wardrobe; lots of explosions and lots of smoke. Nobody'll know it's not him. I'm telling you, it'll work. [GAVIN] I don't care if it'll work. If it was up to me, I'd close down and cut our losses now. I'm sick of people getting hurt and --- [KAREN] There won't be any more accidents. We got rid of them when we got rid of Clifford. You're just using that as an excuse to --- She bites off the sentence when she sees Michael crossing toward them. [KAREN] Mr. Knight. Just the man I want to see. Have you checked Clifford's story? [MICHAEL] Yes. I think he's telling the truth. [KAREN] (stunned) What? Are you saying it wasn't his incompetence that caused the accidents? We really have a maniac on our hands! [MICHAEL] Looks that way. Yes. [GAVIN] That's it. I'm pulling the plug. No way I'm doing this shot. [TOBEY] Again?! Listen, I've got a play or pay contract. Make up your minds or you'll be mailing my checks to Maui. Gavin turns to leave. Karen grabs his arm and stops him. [KAREN] Hold it. (to Michael) Have you had a chance to check the set and equipment we'll be using? [MICHAEL] (nods) It's been checked. [GAVIN] I don't want to hear it, Karen. Do what you want. I'm not taking responsibility. [KAREN] I will. As Gavin walks off, Karen nods resolutely to Michael and Tobey. [KAREN] Okay. Let's do it. [MICHAEL] (on comlink) Come on over here, pal. Show time. EXTERIOR - ON K.I.T.T. as he auto starts and pulls away from Buck and Slim. [K.I.T.T.] (to cowboys) You'll have to excuse me, gentlemen. K.I.T.T. leaves them behind in a cloud of dust. ANOTHER ANGLE ON K.I.T.T. weaving through the crowd without a driver. [K.I.T.T.] Excuse me...Pardon me...Coming through. Most are blase. After all, this is Hollywood. EXT. BACKLOT SET - DAY Tobey and the stunt coordinator give Liz last-minute instructions as she stands beside the 4x4 wagon. [TOBEY] Put it in gear on my signal. About halfway down the hill, start screaming your lungs out. Any problems, hit the walkie. [LIZ] Any problems, I'm going to hit you. She winks. He smiles. ON THE GROUP BEHIND THE CAMERAS - MICHAEL and the others tensely watching. [MICHAEL] (comlink) Kitt, keep your scanners peeled. Let me know if there's the slightest indication something's wrong. [K.I.T.T.] I'll be on maximum surveillance, Michael. ON LIZ She gets behind the wheel of the 4x4. The stunt coordinator buckles her up and gives the vehicle a last- minute check, then slams the door. RESUME GROUP BEHIND THE CAMERAS [TOBEY] (bullhorn) Everybody in their places. Stand by! The various members of the crew tensely waiting.... [TOBEY] And --- Action! ON THE 4X4 WAGON as Liz puts it in gear, releases the brake, and moves down a steeply banked hill, pulling away from the camera towards a ramshackle bridge in the distance. INSIDE THE 4X4 WAGON Liz steers and brakes as the car approaches a winding turn as it heads down the hill. CLOSE ON THE PHANTOM as the hooded figure depresses a button on a remote-control panel. ON THE BRAKE LINE OF THE 4X4 as a small explosive device detonates, severing the line. Brake fluid pours out onto the ground. K.I.T.T.'S MONITOR - INTERCUT AS NEEDED a schematic of the 4x4 and a pulsing blip on a diagramatic of the braking system. [K.I.T.T.] Miss Preston is in trouble, Michael! INTERCUT - MICHAEL as he reacts and raises his comlink. [MICHAEL] What have you got on your scan? [K.I.T.T.] I've detected a malfunction in the braking system. [MICHAEL] Pick me up! ON 4X4'S BRAKE PEDAL as Liz's foot slams onto it and it goes to the floor. She pumps it several times. Nothing happens. THE 4X4 WAGON accelerates through the twisting turns, rapidly gaining speed. Liz starts screaming, for real. TOBEY AND CAMERA CREW He loves it; punches the air, exhilarated. [TOBEY] Great! Great! She's really getting into it! What a set of lungs! LIZ pumps the brakes a few more times; clicks on the walkie- talkie. [LIZ] Help! I've got no brakes!!! I can't control this thing! THE 4X4 WAGON careens wildly out of control down the incline. ON CAMERA CREW Their smiles turn to expressions of horror. They jump aside as K.I.T.T. screeches to a stop and Michael jumps in. They roar off down the road after the 4x4 wagon. INSIDE K.I.T.T. [K.I.T.T.] How do you want to handle this, Michael? [MICHAEL] The brakes are out. We can't microlock. Let's catch up and cut it off. As Michael accelerates. K.I.T.T.'S MONITOR - INTERCUT AS NEEDED as we see a flashing red rectangle on the schematic of the 4x4. [K.I.T.T.] That could be a problem. I'm picking up an explosive charge with a contact detonator beneath the front bumper. [MICHAEL] If that 4x4 hits something it will explode! We have to get Liz out of there! Michael stomps on the accelerator. EXTERIOR - ANGLE ON BOTH CARS as K.I.T.T. pulls up right next to the speeding stunt car. RESUME INSIDE K.I.T.T. [MICHAEL] Okay, pal, take over! Michael pushes a button on his console. THE T-TOP above him pops open. He starts to climb out, and we are: ON THE PHANTOM watching intently, expectantly. ON K.I.T.T. as Michael climbs out the T-top onto the roof. THE SCENE the two cars racing side by side as Michael leaps across to the roof of the runaway 4x4. He reaches down and pops open the door. INSIDE THE 4X4 WAGON as Michael drops from above and slides in next to the astounded Liz. [MICHAEL] Get ready for a quick exit. Michael grabs Liz and holds her tight. ON THE BRIDGE as the 4x4 hurtles toward a concrete abutment. ON THE DOOR OF THE 4X4 Michael, an arm wrapped around Liz, leaps from the 4x4 just as --- THE 4X4 WAGON smashes into the bridge abutment and explodes into a ball of flame. FREEZE FRAME FADE OUT END OF ACT TWO ACT THREE FADE IN SCENE - THE AFTERMATH the flaming 4x4 wagon in the b.g. As Michael helps Liz to her feet, holding her with concern: [MICHAEL] Are you all right? [LIZ] (gasping) I will be. Am I getting older or is this business getting tougher? The group behind the cameras, led by Karen, and Tobey run up to them. Karen embraces Liz. [KAREN] Liz, thank God you're okay. [TOBEY] Yes, I'm sorry. I don't know how that could have happened. I was told the car was checked out. [MICHAEL] It was. Someone must have gotten to it after that. Help Liz get settled down, will you? Tobey nods and leads Liz to her motor home in the b.g. as Gavin joins the group. [GAVIN] That does it, Karen! I've tried it your way; I've tried it his; now we do it mine. The production's canceled. Notify the insurance company to pay off. Gavin turns and storms off. Michael swings a look to Karen. [MICHAEL] Karen, if this is the end of the film, I'm sorry. But it's not the end of the investigation. That's a promise. [KAREN] Oh, it's not the end of the film. That's my decision, not Gavin's. He's just letting off steam. [MICHAEL] Have you ever thought about going along with him? [KAREN] Of course I have. But if we shut the film down and don't make up the cost overruns, we're out of business. [MICHAEL] Why? The studio will still collect on the insurance. You'd come out with something. [KAREN] Michael, I'm not in the business to collect insurance. I'm in the business to make movies. (after a beat) Women in positions of power are still considered a novelty. I have to finish what I've started. [MICHAEL] You obviously know your stuff. You'd never have made it up the ladder if you didn't. [KAREN] There are those who say I wasn't always on my feet. [MICHAEL] So they think it's just a matter of time before you screw up. [KAREN] (nods) They thought I had when Travis landed in the hospital. But I figured out that if we increased the explosives to mask the use of a stunt double, we could shoot the last scene and make it work. [MICHAEL] That stunt double is going to be me. [KAREN] Michael, I appreciate that, but you'd be putting yourself in an extremely dangerous situation. [MICHAEL] I knew that going in. (beat) Like somebody once said -- I have to finish what I've started. She smiles at his repeating her statement. A few beats before they react to Kent, who hurries toward them. [KENT] (full of concern) Karen? Karen, I just heard. [KAREN] Glad you're here. I'm going to have a mob of reporters in my office. Spend some time on the set and find out as much as you can. (squeezes Michael's hand) Thanks. As she hurries off --- [KENT] I hope she isn't expecting the truth. (off Michael's look) When a picture's going down the tube, there are a thousand versions of it. [MICHAEL] I'd be interested in yours. [KENT] You mean, who might be sabotaging this movie? Oh -- no more that half the studio. (off Michael's reaction) This is tinseltown, Mr. Knight. The place where massive egos collide; where people get a kick out of seeing their friends fail; where ten thousand 'mourners' show up at a producer's funeral -- to make sure the bastard is really dead. Take it from me, you've waded into a pool of sharks. Could I tell you stories. [MICHAEL] But not the one I need. [KENT] I'm sorry. I've done my best to tell you how the game is played. [MICHAEL] Whoever tried to kill Liz Preston isn't playing a game. And neither am I. They hold a look and we: CUT TO K.I.T.T. still parked adjacent to Buck and Slim, who are still playing poker. [K.I.T.T.] Just how long have you been at this, anyway? [BUCK] Thirty years. Ever since we made the original Raging Sky. [SLIM] Can't imagine why I keep at it. I've paid for his last three cars, swimming pool, Jacuzzi, and divorce --- [K.I.T.T.] Sounds like you could use some help. [BUCK] He sure could. Be my guest. What's a greenhorn like you know about poker, anyway? Slim is evaluating, his hand ready to draw a card. K.I.T.T.'S MONITOR - INTERCUT AS NEEDED as Buck and Slim's poker hands appear on the screen followed by an X-ray sampler of the deck. [K.I.T.T.] I'd hold that one if I were you. Slim has slipped the card halfway out of his hand, pauses slyly, sensing possibilities afoot. [SLIM] You sure? The last time I filled an inside straight was Duel In The Sun. [K.I.T.T.] Do as I tell you. Slim nervously holds the card and discards another. Buck deals Slim a card. CLOSE ON SLIM'S HAND as he slides the card in place, filling the inside straight. RESUME THE SCENE as Slim grins; then glances over his shoulder to K.I.T.T. [SLIM] You wouldn't have any idea what Buck's holding? [K.I.T.T.] You have to take some chances, Slim. After all, this is a game of risk. (then sotto) But I wouldn't hedge my bet if I were you. ANGLE ON POKER TABLE Slim grins slyly and tosses a wad of bills into the pot. Michael walks by, catching the last bit of the encounter. As he crosses toward K.I.T.T.: INSIDE K.I.T.T. as Michael slides inside and the card display on K.I.T.T.'s monitor vanishes. [MICHAEL] Let's move, pal. He floors the accelerator, deftly turns the wheel as K.I.T.T. rockets away. [MICHAEL] You weren't kibitzing in that game, were you, pal? [K.I.T.T.] Michael -- I was merely helping Slim sample random possibilities and arrive at a computation using --- [MICHAEL] Enough. Sorry I asked. Get me Bonnie. ON MONITOR as Bonnie flashes on. [BONNIE] Yes, Michael. [MICHAEL] How would you like to trade your engineer's cap for a day's work as a script girl? [BONNIE] That's silly. But I've always loved westerns. Can you get me a gutsy Maureen O'Hara role? Michael chuckles. As RC3 and Devon join her at the monitor; RC3 chimes in: [RC3] What will we be doing, Michael? [MICHAEL] They're shooting the climax of Raging Sky tomorrow. It's the Phantom's last chance to sabotage the picture. We're going to stop him. [RC3] All right! Just call us Phantom- busters! [DEVON] Not so fast, RC. (to Michael) It so happens I have some information that may narrow the possibilities as to this Phantom's identity. [MICHAEL] I can use as much help as I can get. What do you have, Devon? [DEVON] While I was looking into the insurance, I checked out the backers of Raging Sky as well. Victor Gavin's corporation is not his corporation any longer. [MICHAEL] Then, the twenty million he says he put up isn't his money. [DEVON] Exactly. It was provided by his new partners, whose capital comes from tainted sources. [MICHAEL] You mean the sort of people who always get paid back, one way or another. [DEVON] I'm afraid so. The monitor flashes off. [K.I.T.T.] Where are we headed now? [MICHAEL] Stage 12. Whoever tried to kill me got past both of us. I'm gonna find out how. CUT TO EXT. STAGE 12 - NIGHT - ESTABLISHING as a figure slips through the darkness into a rear door. INT. FLOOR OF STAGE 12 - NIGHT In the semidarkness, we can glimpse the figure walking between the medieval wardrobe racks -- it's Gavin. He moves quietly but confidently, as if he owns the place. Finally he arrives at the cluster of masks. ANGLE ON MASKS One of them suddenly whirls to camera, revealing the grotesque face of the Phantom. ON GAVIN Gavin whirls, frightened for a beat, then realizes, his demeanor changing to disgust and impatience. [GAVIN] Don't be such a wise guy. You've got a job to do and you still haven't pulled it off. [PHANTOM] I've done everything you wanted, Gavin. This turkey's neck was on the block until Michael Knight showed up and saved it. [GAVIN] Well it's Knight's neck that's on the block now! Gavin buttons his meaning with a look. The Phantom gets the message and nods. CUT TO EXT. STUDIO STREET - NIGHT as K.I.T.T. drives between the closely packed stages. INSIDE K.I.T.T. - ON MICHAEL [MICHAEL] Silent mode, pal. Michael pushes some buttons on his console. K.I.T.T. noiselessly glides to a stop behind Stage 12. [MICHAEL] All right, Kitt. Give me a schematic of the stage. K.I.T.T.'S MONITOR - INTERCUT AS NEEDED The plan of the stage appears, revealing a system of ducts and pipes crisscrossing through the studio. Michael studies the screen. [MICHAEL] Highlight the air conditioning ducts. On the screen K.I.T.T. traces in yellow a system only slightly less complex. [MICHAEL] (continuing) Search for a duct that leads outside the stage. Now only one linkage of ducts flashes on. [K.I.T.T.] This one, Michael. It connects to an adjacent electronic control room. [MICHAEL] I'm out of here. He leaps out of the car. EXT. STAGE 12 as Michael crosses from K.I.T.T. to the door and slips inside. INT. STAGE 12 - WITH MICHAEL moving past the costume racks. He looks around; crosses to a ladder that runs up the wall of the stage and starts to climb. ANOTHER ANGLE ON MICHAEL as he comes up to the top of the ladder and onto a platform next to a duct. He notices a hinged panel in the duct wall. ON THE PANEL as Michael removes it and starts to climb into the duct. INSIDE THE DUCT as Michael enters and starts moving down the narrow sheet metal tunnel. ON A METAL DISC in the duct wall as it slides aside, revealing a small TV camera surveillance lens. INT. STAGE 12 - NIGHT - ON THE PHANTOM Something beeps inside his robe. He pulls out a small unit that looks like a modified Sony Watchman. A red L.E.D. is flashing. He flips it on. CLOSE ON THE "WATCHMAN" as we see Michael moving through the duct on the miniature TV monitor. INSIDE THE DUCT - ON MICHAEL moving as quickly as possible through the claustrophobic duct work. INSIDE K.I.T.T. - ON MONITOR as he tracks Michael, a pulsing blip, through the ducts. RESUME MICHAEL as he comes upon a grate in the floor of the duct. He crouches down and peers through the grate. MICHAEL'S POINT OF VIEW THROUGH THE GRATE OF AN ELECTRICAL CONTROL ROOM directly below him; the walls lined with racks of equipment; a console board with rows of switches. [MICHAEL] Kitt, I found something. Get a fix on this room beneath me. K.I.T.T.'S MONITOR - INTERCUT AS NEEDED a scan of the room and equipment. [K.I.T.T.] It's an electrical control room. It contains remote-control equipment and systems for the studio tour. Michael reacts to something he sees through the grate. [MICHAEL] Hold it --- RESUME MICHAEL'S POINT OF VIEW - CONTROL ROOM as a figure moves into the room. It's the Phantom in hooded monk's robe crossing to the console. RESUME MICHAEL He inches forward for a closer look and whispers into his comlink. [MICHAEL] I got him, pal. He's right here. Michael tries to lift the grating. It won't budge. THE PHANTOM reacts to flakes of dust that sprinkle down from above onto the console in front of him. He looks up. PHANTOM'S POINT OF VIEW - THE GRATE in the ceiling of the control room. As Michael reacts; pulls back, his shadow moving across the waffled surface. RESUME THE PHANTOM as he reacts and dashes to a rack of switches. THE PHANTOM'S HAND hits a switch marked "Fan." INT. DUCT - GIANT FAN comes to life with a mighty roar, the blades quickly becoming a whirling blur. MICHAEL is yanked back by the suction of the fan. He tries to get a handhold, to no avail. He's slammed against the duct. The back of his head whacks into the sheet metal wall. ON THE FAN its giant blades spinning menacingly, closer and closer. MICHAEL slides into unconsciousness as the air current pulls him back toward the whirling blades. [K.I.T.T.] Michael, can you hear me? Michael! FREEZE FRAME FADE OUT END OF ACT THREE ACT FOUR FADE IN INSIDE THE DUCT - MICHAEL is barely conscious, groggy as he's pulled toward: THE FAN Its enormous blades spinning at top speed. RESUME MICHAEL [K.I.T.T.] Michael?! What happened? Answer me! Michael reacts, coming to finally, snaps awake. Looks over his shoulder with horror; fights to get a hand hold. CLOSE ON THE DUCT WALL Where two sections are joined. Michael's fingertips claw and finally get a temporary hold on the raised seam. His fingers start losing their grasp. RESUME MICHAEL [MICHAEL] Kitt! I'm still in the duct! Locate the turbine and turn it off! Now! K.I.T.T.'S MONITOR - INTERCUT AS NEEDED a schematic of the whirling fan blades. A pulsing circle appears over them. [K.I.T.T.] That should do it. The graphic blades stop spinning, but: THE FAN BLADES keep whirling still pulling Michael toward them. [MICHAEL] The motor stopped but the blades are still going, pal! [K.I.T.T.] Those fans have minimum friction bearing, Michael. [MICHAEL] I've got to find a way out of there! Michael fights the pull of the fan; spots: A HATCH IN THE DUCT he kicks it open with his foot. We widen as Michael dives for the open hatch. OUTSIDE THE DUCT as Michael tumbles out the hatch, falling into space from high above the stage floor. At the last instant he grabs a rope that dangles from the catwalks and swings on the counter-weighted line down toward: THE FLOOR OF THE STAGE as Michael arrives on the rope and lands. He catches his breath and reacts to --- [K.I.T.T.] Are you all right? [MICHAEL] Yes. That was quite a ride, but I wouldn't recommend they make it part of the studio tour. Michael crosses toward the door to leave and we: CUT TO EXT. MILLENIUM STUDIOS - MORNING - ESTABLISHING as K.I.T.T. pulls up outside Karen Bennett's office and Michael gets out. INT. KAREN BENNETT'S OFFICE - NIGHT Karen, running on adrenaline, leans over Kent giving him orders. He encodes at his word processor as she talks. [KAREN] -- and notify Studio Security. We're doing that big stunt sequence in the morning, and I want every available guard assigned to the back lot. [KENT] (encoding) Done. [KAREN] Don't know what I'd do without you. [KENT] Don't forget my little friend here. As he taps the word processor and Michael enters. [MICHAEL] I found the Phantom's headquarters. (off their looks) The electrical control room next to Stage 12. Have Security post some people there, too. [KAREN] Of course. Any idea who the Phantom is? [MICHAEL] Right now it's looking like Gavin. The twenty million he put into Raging Sky wasn't his own. He's in debt to some very heavy hitters. [KENT] Don't be so surprised, Mr. Knight. No producer worth his car phone would put his own money in a movie. Karen silences Kent with a look. [KAREN] Have you notified the police? [MICHAEL] To tell them what? That a guy who's produced twenty-six features is running around in a phantom suit? We have to catch him in the act. And I have a feeling I'll make pretty good bait. They hold a look and we: CUT TO OMITTED EXT. PARKING LOT - NIGHT Gavin, in a foul mood, walks hurriedly to his car. As he arrives, the Phantom steps forward out of the darkness. [GAVIN] (aghast) What are you doing here? [PHANTOM] I have some bad news. Knight's found out about your backers. That makes you look suspicious, which makes them nervous. [GAVIN] You have a job to do. It is not your concern. [PHANTOM] Of course it is. I'm here to protect their interests. Why else do you think they insisted you get me a job on the lot. It was part of the deal. [GAVIN] What about our deal. I've paid you a lot of money. You work for me, too. The Phantom pulls a handgun with a silencer on Gavin. [PHANTOM] True. But, unfortunately, it's come down to you or them. Didn't you learn anything from all those B-movies you've produced? He shoots. Gavin falls to the tarmac, dead. The Phantom quickly and quietly disappears into the blackness. CUT TO EXT. MILLENIUM STUDIOS - BACK LOT - DAY - TO ESTABLISH Furious activity as everyone rushes about, especially the special effects and stunt crews. ON MICHAEL wearing the same leather jacket and boots Travis wore in the first scene. He stands behind the cameras next to K.I.T.T. [MICHAEL] We're getting pretty close to show time, Kitt. Scan the ammo we'll be using. [K.I.T.T.] Right away, Michael. RC3 crosses the set and joins Michael. [RC3] I've scoped the whole area. No sign of Gavin anywhere. Michael winces disappointed; thinks a beat; reacts to: [K.I.T.T.] My chemical scan indicates that every round is a blank. [MICHAEL] Thanks, pal. That means Gavin must have something else in mind. As Michael contemplates this realization, Tobey comes up with Liz. [TOBEY] Mr. Knight, I need you for a run-through. [LIZ] Come on, honey. A desperate, vulnerable girl on the run always needs a strong man at her side. [MICHAEL] You got him. (to RC3) Keep looking for Gavin. I'd feel a lot better knowing he's --- Michael bites off the sentence in reaction to Bonnie who hurries toward him. Michael and RC3 step aside, joining her. [BONNIE] Security found Gavin in the parking lot this morning, dead. [MICHAEL] What? That means the Phantom's still out there. [RC3] Yeah. And he could be just about anybody. They turn and look over the set, as we intercut: VARIOUS SHOTS The crew -- the grips -- other studio personnel -- Tobey and Liz lots of animated activity. The last shot in the sequence is --- A TERRORIST who leaps forward with an Uzi. We pull back revealing we're watching a rehearsal as Michael mimes a karate kick, then a chop. The "terrorist" falls back. Tobey nods his approval of Michael's performance. [TOBEY] Not bad for a guy with no training. (to the crew) Let's do one! As the crew members hustle into position. BONNIE looks out at the set from behind the director's chair. RC3 slowly moves through the crowd, on alert, and does a take when he sees: THE MONK'S ROBE billowing as it disappears around the corner of a stage. RESUME RC3 as he hustles after the Phantom. ANOTHER ANGLE - STAGE as RC3 comes around the same corner where we saw the monk's robe. He stops, puzzled, when he sees the street branches out between several stages -- no sign of the Phantom. As he looks around: THE PHANTOM leaps out from behind the motor home and whaps him across the back of the head with the butt of a revolver. RC3 falls to the ground. The Phantom runs, leaving a semiconscious RC3 behind. He tries to shake it off; reaches for his walkie-talkie. EXT. FRONT OF BAR - DAY as the prop man hands Michael his Uzi. Tobey pats him on the back, then shouts through his bullhorn. [TOBEY] Places everyone! As he heads back to the cameras, Michael reacts to: [RC3'S VOICE] Michael! [MICHAEL] (comlink) RC? What's going on? INTERCUT - RC3 still trying to shake it off, on walkie-talkie. [RC3] I spotted him, Michael. But he got away. He's still out there. Off Michael's reaction, we: CUT TO INT. THE BARN - DAY One of the prop people finishes putting soot on the windshield of the stunt car. As he heads off the stunt driver is about to get into the car -- when a hand karate chops him down. ANOTHER ANGLE to reveal the Phantom in his monk's robe. He steps over the fallen stunt driver and crosses to the front of the car. CLOSE ON THE CAR as the Phantom pops the hood revealing machine-guns mounted beneath it. He removes the clip from one of them and replaces it with another. RESUME FRONT OF BARN Everyone poised. Tobey and the camera operator high on a crane. [TOBEY] (bullhorn) Now remember -- Mike and Liz are running toward the barn. The car blasts through the doors after, after they take out the guy with the rocket launcher. Everybody got it? The crew ad-libs affirmative replies and wait for his signal. RESUME PHANTOM - INSIDE THE STUNT CAR as he gets behind the wheel then places an attache case on the seat next to him and opens it revealing a remote-control unit. RESUME DIRECTOR [TOBEY] This is a take. Roll sound...Camera ...Action! ON MICHAEL AND LIZ He grabs her hand and they run across a field toward the barn. Terrorist one emerges from cover and blocks their path -- Michael karate chops him down. As they scramble, terrorist two yanks out an Uzi -- but before he can fire, Michael fires his Uzi and cuts him down. INT. BARN - ON THE PHANTOM'S CAR as he steps on the gas and rockets toward the barn doors. WITH MICHAEL AND LIZ - ANGLES AS NEEDED As they sprint toward the barn, a third terrorist appears and fires a shoulder-mounted rocket launcher. Michael and Liz hit the deck as the ground explodes beside them. Then Michael fires his Uzi, taking out the terrorist. [LIZ] This way, Dirk, hurry! As she grabs Michael's hand, and they run --- THE BARN DOORS explode open as the stunt car blasts through them. RESUME LIZ AND MICHAEL Michael stops short and yanks her back. [MICHAEL] Hold it! [LIZ] Oh my God! Michael and Liz start to back away when they see: THEIR POINT OF VIEW - THE STUNT CAR The engine growling, the dust clearing, the Phantom's grotesque face behind the windshield. INSIDE THE STUNT CAR The Phantom triggers his controls, and --- ANGLE ON CAR as the two machine-guns mounted behind the grille open fire. RESUME MICHAEL AND LIZ Michael yanks her down and behind a feed storage box as bullets punch holes and splinter the wood next to them. [LIZ] Hey! Those bullets are real! [MICHAEL] Kitt, pick us up now! K.I.T.T. auto-starts and, to Tobey's astonishment, rockets onto the set. [TOBEY] I didn't cue a black car! THE SCENE as K.I.T.T. cuts in front of the Phantom's car, machine- guns still blazing. The bullets spark harmlessly off K.I.T.T.'s windows and shell as he pulls in front of Michael and Liz, protecting them. K.I.T.T.'s door pops open. INSIDE K.I.T.T. As Michael and Liz get in, the bullets spatter flame on the windows. [MICHAEL] Hang on! Michael hits the pedal, takes the wheel and spins K.I.T.T. around. SCENE As the Phantom's car takes off, K.I.T.T. does a tire-smoking 180, and pursues. A SERIES OF SHOTS as the Phantom's car blazes down a studio street, cuts through a narrow byway. K.I.T.T. roars right behind. EXT. STUDIO TOUR - GALACTICA - DAY The Phantom takes his car inside, K.I.T.T. follows. The chase continues through the tunnel. INT. PHANTOM'S CAR - ON THE PHANTOM as he presses switches on his remote-control unit. RESUME THE TUNNEL and Galactica comes to life, with a burst of lighting and other effects. INSIDE K.I.T.T. - ON MICHAEL Dazzled and confused by the light, he slows down. [K.I.T.T.] How is he doing that, Michael?! He's not in the control room! [MICHAEL] He must have a remote hookup! Help me out, pal! I can barely see him! K.I.T.T.'S MONITOR comes to life, tracking the Phantom's car. EXT. GALACTICA AND PARKING LOT The Phantom's car shoots out of the tour. Pedestrians scramble as it careens between parked cars, up an embankment towards a road. RESUME INSIDE K.I.T.T. [K.I.T.T.] He's outside, Michael. He's over that hill and getting away! [MICHAEL] Let's cut him off! Hold tight, Liz! THROUGH THE WINDSHIELD as K.I.T.T. exits the Galactica tunnel into the parking lot, the parked cars come closer. Liz screams. ON DASH Michael hits turbo boost. ON MICHAEL AND LIZ are thrown back by the G-force.... ANGLES AS NEEDED K.I.T.T. sails over the parking lot and.... VARIOUS SHOTS of astounded tourists. ROAD - DAY as K.I.T.T. lands and pursues the Phantom's car down the hill and back towards the lot. ON STUDIO STREET The Phantom's car speeds by, K.I.T.T. right behind. EXT. BARN SET - DAY Onlookers rush out of the way as the two vehicles blast back onto the set. TOBEY reacts and shouts at his cameraman. [TOBEY] Keep rolling! Keep rolling! We'll use it somehow! INSIDE K.I.T.T. - ON MICHAEL [K.I.T.T.] Well, Michael, shall we bring this legend to an end? [MICHAEL] Yeah. And I know just what'll become this legend most. And as Michael pushes the appropriate button: VARIOUS ANGLES - THE PHANTOM'S TIRES as the valves blow and they go flat. SCENE The Phantom's car wobbles to a stop. The Phantom leaps out. As K.I.T.T. screeches to a stop next to him, Michael jumps out and grabs him and puts him away with a karate combination. He pulls him to his feet. CLOSE ON THE PHANTOM'S MASK as Michael rips it off, revealing Kent. RESUME THE SCENE as RC3, Bonnie, and two studio security men rush up to them and react. [MICHAEL] This is how the game is played, Mr. Kent. Michael, Bonnie and RC3 react as the actors and crew behind them burst into applause, and we hear --- [TOBEY'S VOICE] (shouts) Cut! FREEZE FRAME FADE OUT END OF ACT FOUR TAG (TO FOLLOW) THE END

{"show": "Knight Rider", "season": "s04", "episode": "e19", "title": "FRIGHT KNIGHT"}

knightriderarchives

ACT ONE FADE IN EXT. OFFICE BUILDING - NIGHT - ESTABLISHING - STOCK INT. TOWERS GEM STONES - NIGHT Jeremy Towers, a man of taste and means, enters the main office of Towers Gem Stones. He is with Jarrett and Max, who like Towers are wearing tuxedos. All three of the men have glazed looks on their faces...almost as if they just hopped off the bus from Rajneesh Puram. (Note: Establish that all three of them are wearing the same kind of ear clips that are used to discourage smoking, drinking and motion sickness.) They are crossing the room toward a wall safe when suddenly a Guard rushes in via a side door with his gun drawn. [GUARD] Nobody move! The three intruders stop. Jeremy Towers turns to face the Guard, who immediately recognizes Towers -- his boss. The Guard lowers his gun, embarrassed. [GUARD] Mr. Towers. I didn't know it was you. Towers moves directly past the Guard without speaking...He heads for the safe. The two heavies follow...so does the Guard. [GUARD] Mr. Towers, are you all right? What are you doing? But Towers is a man with a mission. It's as if he doesn't even hear the Guard. The Guard pushes past Jarrett and Max. [GUARD] That's the safe. Jarrett pushes the Guard away, like swatting a gnat. [GUARD] Mr. Towers. You know the rules -- you made them. I can't let you open that unless you give me a good reason. Mr. Towers! It's Friday night, the silent alarm'll.... Max stops the Guard midsentence, by picking him up by the collar and hurling him across the room where he lands unconscious. CUT TO EXT. CITY STREET - NIGHT - STOCK ZZ Top's "Sharp Dressed Man" plays as K.I.T.T. drives through the downtown skyscrapers. INT. K.I.T.T. - NIGHT (POOR MAN'S PROCESS) Michael doesn't keep time to the music. His thoughts seem far away. There are shopping packages in the backseat. [K.I.T.T.] What's the matter, Michael? [MICHAEL] What makes you think anything is the matter? [K.I.T.T.] When a song like this is on the radio, my steering wheel normally takes a beating. [MICHAEL] I'm trying to decide whether or not to buy that jacket I saw this after- noon at Lorenzo's Boutique for Men. [K.I.T.T.] Do you need it? [MICHAEL] No one needs a black eel-skin bomber jacket. That's not the point. [K.I.T.T.] What is the point? [MICHAEL] I want it. It matches my boots. [K.I.T.T.] Your boots are a long way from your jacket -- do you think anyone will notice that they match? [MICHAEL] Kitt...You'll never understand. ANGLE - DASH as a red light comes on. [K.I.T.T.] Michael, my surveillance scanners are picking up a silent alarm. [MICHAEL] Where? [K.I.T.T.] Towers Gem Stones, Inc. It's right around the corner. Nineteenth floor. [MICHAEL] Let's go. INT. TOWERS GEM STONES - SAFE - NIGHT Towers and the other two men stand in front of the vault door. Red lights silently flash as Towers turns the dial of the combination lock. EXT. OFFICE BUILDING - NIGHT - STOCK K.I.T.T. screeches to a stop. [MICHAEL (V.O.)] The police ought to be here any minute. I'm going up. ON TOWERS as he places his hands on the hand-print panel next to the safe. ANGLE ON SAFE as the door pops open. Towers methodically removes and drops the contents of the safe on the floor. Beautiful priceless necklaces, etc. Jarrett and Max barely react. Towers opens a special drawer, and pulls out a small red velvet bag. Towers hands the red velvet back to Jarrett, who doesn't seem surprised or even pleased to get it. They turn to leave. INT. TOWERS GEM STONES - NIGHT Michael enters and immediately notices the unconscious Guard. Then reacts to Towers and the other two. [MICHAEL] What's going on? The three of them say nothing. Michael notices that their faces are expressionless, as though he isn't even there. [MICHAEL] The police are right outside, so let's just --- Michael bars their exit through the door. [MICHAEL] ...sit down and make ourselves.... Jarrett grabs Michael by the throat and lifts him high off the ground, pinning him against the wall. Michael tries to speak but all he can do is choke. MICHAEL'S POINT OF VIEW - JARRETT He notices the ear clip. RESUME SCENE as Jarrett hurls Michael across the room. He crashes into a desk, clearing it and sliding off the other side. Max and Jarrett run from the room. Michael shakes off the fall and gets to his feet. [MICHAEL] (into comlink) Two of 'em are coming your way, Kitt! Michael reacts to Towers crossing the room behind him. [MICHAEL] One of 'em's here! Michael turns toward: OMITTED TOWERS standing in front of an open window. He pauses, looking down as if he's looking into the afterlife. [MICHAEL] Whatever it is -- it can't be that bad. (beat) Hey, I don't have a gun -- let's talk. Towers moves closer to the window. Michael stops dead in his tracks. [MICHAEL] Please, don't! Towers turns and gives Michael one last look. It is a look that will burn in Michael's mind forever. The look of the damned. Towers turns back. TOWERS' POINT OF VIEW - A DIZZYING THREE-HUNDRED-FOOT DROP TO THE STREET BELOW - STOCK BACK TO SCENE [K.I.T.T.'S VOICE] Michael, the two men are heading for their van. [MICHAEL] Stay put. Don't move. Michael takes a step closer to Towers and he dives out the window. Michael lunges for him -- too late. ANGLE - TOWERS - STOCK falling nineteen stories. OMITTED BACK TO SCENE for Michael's reaction. CUT TO EXT. DONALD CRANE'S HIGH RISE - NIGHT - TO ESTABLISH INT. DONALD CRANE'S APARTMENT - MAIN ROOM - NIGHT There are lots of pre-Columbian art objects and sculpture. Host Donald Crane, host a little Truman Capoteish man, is addressing guests at a small dinner party. The men dressed in tuxedos, women in chic evening gowns. [CRANE] You all know me as a collector of 'special' people around whom I build these intimate evenings. Fortune tellers of every stripe. Pyromancists, telekinetists, table-rappers, psycho- metrists, levitationists, clairvoyants ...but in my voyage through the borderline sciences, none has intrigued me so much as the person you will meet tonight --- As Crane drones on, we go to: CUT TO EXT. CRANE'S HIGH RISE - NIGHT A car pulls up at the entrance. A gruff-looking macho- type, Claude Watkins gets out, wearing a tuxedo. Elizabeth Wesley, hurries up to Watkins, from the shadows. [ELIZABETH] Mr. Watkins, I'm Elizabeth Wesley. It wasn't easy to find you again, so please, don't send me away. I know what they say about my father isn't true, but I have to talk to someone who was on the expedition with him to prove it. Towers...yourself, or whoever the fourth man was. [WATKINS] Miss Wesley, I informed you by letter and I told you countless times I have nothing to say. [ELIZABETH] My father wouldn't kill himself. What happened? His research was very precise. You had to have found Tequatl's crown. Where is it? Watkins tries to push past her, gestures the doorman join them. [ELIZABETH] (getting angry) I didn't come all the way from St. Louis to be protected from the truth! Tell me what happened. Please! The doorman puts a peremptory hand on her arm. [WATKINS] Keep her out of the building. Watkins turns and enters the high rise. The doorman ushers Elizabeth away from the entrance. CUT TO INT. CRANE'S APARTMENT - NIGHT As Watkins enters and Crane reacts and greets him. [CRANE] You came after all, Claude. [WATKINS] Business is business. Blowing smoke in Watkins' face from his ivory cigarette holder: [CRANE] Dear boy, if it weren't for our mutual affection for money you'd be doomed to die of boredom. Crane turns to the other guests --- [CRANE] Now that we're all here -- (beat) Ladies and gentlemen, the guest of honor, from the island of Haiti, I bring you... Harana, Princess of Voodoo! ANGLE ON STAIRS as Harana appears, immediately silencing the crowd with her overwhelming presence and ebony beauty. She radiates sensu- ality in her exotic primitive dress, gliding into the room, surveying with dark and mysterious eyes. [CRANE] Harana has graciously consented to give, those of you who wish it, spiritual guidance...a peek into your very own futures. Enjoy. Applause and shrieks of delight. A few of the braver partygoers approach Harana. Crane retreats to Watkins in a corner drinking a martini. [CRANE] Well? [WATKINS] You've outdone yourself. She's ridiculous. Sexy, but ridiculous. [CRANE] Sex is never ridiculous, dear boy. [WATKINS] Exactly. I want to meet her before I leave. Where the hell is Towers and let's get the meeting over with. [CRANE] I don't know. He was here earlier.... Crane moves off. HARANA surrounded by a knot of admirers, reacts, O.S. when she sees: JARRETT AND MAX enter. They look around the room, the familiar glazed look in their eyes, as they lock on: THEIR POINT OF VIEW - HARANA talking to the admiring group around her. [HARANA] Excuse me for a moment. She moves off toward: JARRETT AND MAX as Harana joins them. [HARANA] (smiles) Gentlemen, you have a small gift for me. [MAX] Yes, a gift.... He looks expectantly to Jarrett who reaches into his pocket and extracts the velvet bag, giving it to Harana. [HARANA] Thank you. I'll open it later. As she talks she touches a strange-looking brooch on her dress. INSERT She turns the top of the pin, as if winding a watch. AS BEFORE Jarrett and Max suddenly lose "the look" and it is replaced by confusion and embarrassment; then that passes and it is as if nothing untoward has occurred. Max turns to Jarrett. [MAX] Nice party. Gotta try the chopped liver, it's nothing but great. Max takes his arm and they start to move off, two old friends out on the town. CUT TO EXT. STREET - NIGHT - STOCK as K.I.T.T. drives past camera. INT. K.I.T.T. - MOVING (POOR MAN'S PROCESS) His mood is thoughtful. [MICHAEL] His name was Jeremy Towers, with a home address on Park. See what you can get on him, Kitt. [K.I.T.T.] I have a Jeremy Towers at that address whose business is wholesale jewelry. He owns, correction, owned the building we just left. [MICHAEL] Go on.... [K.I.T.T.] Towers left a considerable estate, over half of which comprises price- less artifacts from archaeological expeditions abroad. The most recent of these was on a search for the crown of the fabled Mayan King, Tequatl. [MICHAEL] (musing) He had the best life can offer...must have had a zest for adventure, too. Why would he jump like that? [K.I.T.T.] Michael, your tone suggests that you feel responsible. [MICHAEL] Maybe, maybe I was. CUT TO INT. CRANE'S MANSION - MAIN ROOM - ON HARANA Harana is with Watkins who is more interested in his martini. [HARANA] Oh, I know many things about you, Mr. Watkins. For example, you have a lifelong quest that's gone unfulfilled. Watkins looks up from his drink, smiles, coming onto her. [WATKINS] That's usually my line, honey. Look I don't believe in voodoo, okay? [HARANA] (nods, unruffled) I also know, the archeological treasures of Atlantis are the object of that quest. [WATKINS] Right. I'm an archaeologist. (facetiously) Very good. What else did Donald tell you about me? That I've got two ex- wives, that I bet the horses, that I'm a connoisseur of beautiful women. You qualify. What's your time like? [HARANA] (smiles) What is your time like Mr. Watkins? [WATKINS] You name it. [HARANA] Tomorrow evening. Here. I think you'll find it very exciting. [WATKINS] Wouldn't surprise me. Smiling, he hands his martini to Crane and takes her hand, kissing it, then moves off. Crane appears at Harana's side. [HARANA] A stupid man who confuses sex with business. But, no matter. He'll be dead this time tomorrow night. She looks at Crane and he chuckles, sharing a joke that only they understand. FREEZE FRAME FADE OUT END OF ACT ONE ACT TWO FADE IN EXT. ROAD - DAY - STOCK as the semi blows past camera. INT. SEMI - DAY Michael is reading the morning paper. [MICHAEL] 'Jewel tycoon Jeremy Towers, fifty-two, plunged nineteen stories to his death last night; an apparent suicide. Family and friends could provide no clue as to why Towers would take his own life.' Michael looks up, still plagued by self-doubt. He puts the paper aside. Devon picks it up and peruses it, as: [MICHAEL] (flat; down) I spooked him. [RC3] Come on Michael. He was already spooked. There's got to be some- thing weird behind it. Devon looks up from the newspaper. [DEVON] It says here Towers had just left a party where the guest of honor was -- a voodoo princess? [RC3] I had a great aunt who dabbled in stuff like that. She was no princess, but she was a hell of a lady. [MICHAEL] Come to think of it, those two guys with Towers sure looked like they were stoned on something. [DEVON] (admonishing) Michael, really.... [MICHAEL] One of them had the strength of three men. (to Devon) Where was this party? [DEVON] At Donald Crane's. According to the society page, there's another this evening. Crane is listed on the Board of the City Museum. His wealth is in pre-Columbian art. He is a member of the Parapsychological Society. [RC3] (an aside) Whoa, Kitt, how's that in English? [K.I.T.T.] Parapsychology is the study of phenomena not explainable by known natural laws, RC. [RC3] Voodoo. [MICHAEL] I've got to clean this up in my mind, Devon. I think you understand that. [DEVON] (a beat) I suppose we could stretch a point and make Towers' death our concern. [MICHAEL] (smiles) Thanks. [DEVON] Mark you, I don't relish having to justify it to the Foundation. [MICHAEL] Could you stretch the point some more and get me into Crane's party tonight? [DEVON] That's a tall order, Michael. But I have an idea or two. On Devon's look we: CUT TO EXT. WAREHOUSE - DAY INT. WAREHOUSE - DAY - WATKINS A well-endowed and pretty secretary is making notes on a clipboard as Watkins peruses the artifacts in the warehouse. He looks up as Crane enters. [CRANE] (abruptly) I got your hysterical message. [WATKINS] (to secretary) Please excuse us, Miss Lorimar. The secretary closes the files and moves sexily past Crane, exiting, her physical attractions not lost on him. [CRANE] You're inexhaustible, Claude. Can she at least type? [WATKINS] (impatient) Towers is dead. What the hell do we do now? [CRANE] Unless you can raise the poor fellow from the dead, dear boy, absolutely nothing. [WATKINS] What about his key? [CRANE] What about his key? [WATKINS] The vault requires three, remember? Yours, mine and Towers? Without any one of them the others are useless. [CRANE] It's merely a postponement. [WATKINS] Merely?! That's a ten-million-dollar tiara you're talking about! [CRANE] Towers left a will in which the purpose of the key will almost certainly be mentioned. We'll have ourselves a new partner, that's all. [WATKINS] You'd better be right -- for both our sakes. We took part in a murder for a piece of the crown. [CRANE] And you'll have that piece. They hold a look. Watkins breaks it off and exits in the same direction the secretary did earlier. When he's out of sight, Crane picks up the phone, dials --- [CRANE] It's Crane. CRANE'S APARTMENT - INTERCUT - HARANA [HARANA] Well? [CRANE] He's nervous. But he'll be there tonight. She smiles, pleased by the message. CUT TO EXT. CRANE'S HIGH RISE - NIGHT K.I.T.T. pulls up with Michael, who steps out, dressed for the occasion in a tuxedo. CLOSER - K.I.T.T. AND MICHAEL [MICHAEL] (to K.I.T.T.) Stay close, buddy. [K.I.T.T.] Certainly, Michael. As Michael moves toward the entrance, Elizabeth appears at his side, takes his arm. [ELIZABETH] Hi. [MICHAEL] (stopping) Well, hi. [ELIZABETH] (rapid fire) You're going to Donald Crane's party, aren't you? Well, I noticed you don't have a date, and I always wanted to meet Harana and -- Would you mind? Michael eyes her appreciatively, offers his arm. [MICHAEL] Not at all. I'm Michael Knight. [ELIZABETH] Elizabeth Wesley. [MICHAEL] Shall we? They enter the high rise. INT. MAIN ROOM - ANGLE TO ENTRANCE A small dinner party with guests dressed similar to those at the previous party. One of them is Watkins. Michael and Elizabeth enter and are immediately joined by Crane, who is suspicious of them. [CRANE] This is a private party. Perhaps you got off the elevator on the wrong floor? [MICHAEL] One of your guests, Geoffrey Twilliger, asked me to sit in for him. Nasty case of the flu. [CRANE] Oh dear, poor Geoffrey. What do you do, Mr. -- ? [MICHAEL] Knight. I'm a freelance writer. I'm working on a series of articles for Psychic Review with an emphasis on para-ecclesiastical ascension to a higher plane. [CRANE] How fascinating. I'm Donald Crane. [MICHAEL] Pleasure. This is Elizabeth, my research assistant. Crane gestures, they enter. [CRANE] Please, enjoy --- Michael and Elizabeth cross toward the other guests. ANOTHER ANGLE - WATKINS as he spots Elizabeth; avoids her and crosses toward Crane. WATKINS AND CRANE [WATKINS] That girl -- that's Wesley's daughter. [CRANE] (blanches) Wesley's daughter?! [WATKINS] Yes. She's been hounding me for weeks. What's she doing here? [CRANE] Haven't the foggiest. [WATKINS] Who's the big guy with her? [CRANE] Quite obviously a phony. [WATKINS] (vehemently) Get them out of here! There is a sudden burst of applause and both men turn to see: HARANA'S ENTRANCE ON THE STAIRS Everybody in the room turns to face the gorgeous Voodoo Princess. She makes her regal entrance, immediately surrounded by admirers. MICHAEL AND ELIZABETH [MICHAEL] Let's go meet the guest of honor. Michael takes Elizabeth's reluctant hand and they move off toward Harana. ANGLE TO HARANA amid her coterie of admirers. Michael steps in, Elizabeth behind him. He extends his hand. [MICHAEL] Harana, I'm Michael Knight. This is Elizabeth Wesley. Harana smiles at Michael, liking what she sees. She takes his hand. [HARANA] A pleasure. (looks down at his hand; seductively) What extraordinary psychic energy, Mr. Knight. You'd make a very good subject for my special brand of magic.... [MICHAEL] I'd like to try it sometime. But right now I'm concerned about a friend of mine. Jeremy Towers. He was here last night, and --- Elizabeth has been kicking the back of Michael's leg for attention. Finally, with a wince, Michael turns. ANOTHER ANGLE On both sides of them are Jarrett, Max and a third man. Michael recognizes Max and Jarrett immediately. All three wear the clips on their left ears. Crane is nearby. [MICHAEL] (to Max) Haven't I met you fellows someplace before? [CRANE] Pardon me. But you're both uninvited guests and must leave immediately. [MICHAEL] We'll be happy to leave, but not until I've asked your friends some questions. [CRANE] (to Max) Help them to the door. ANGLES ON FIGHT Max relishes the idea and winds up to deck Michael, but Michael ducks and throws a punch into Max's middle. He catches a punch from Jarrett and lands a haymaker knocking Jarrett into the table of hors d'oeuvres. Then he turns to meet the charge of the third man. They wrestle to the floor. A crowd gathers. ANGLE TO ELIZABETH as the Servant comes up to her. He takes her arm and starts to move her toward the entrance. She looks back helplessly at: THE FIGHT Michael finishes off the third man and gets up off the floor. Max is coming at Michael again as: [MICHAEL] (to Crane) Everything they say about your parties is true. He turns and pastes Max one more time. [MICHAEL] (continuing) They're a real bash. Michael turns from Crane; scans the area --- [MICHAEL] Elizabeth? He realizes she's gone; turns and heads for the door. EXT. CRANE'S MANSION - NIGHT Michael comes out, enters K.I.T.T. and drives off. INT. K.I.T.T. - TRAVELLING [MICHAEL] A young woman left just before I did, pal. Did you see her? [K.I.T.T.] Yes. She drove off in a VW convertible. She's out of scanner range by now. She seemed quite upset. [MICHAEL] That makes two of us. [K.I.T.T.] I thought I detected a lack of hospi- tality in there. [MICHAEL] That's putting it mildly, buddy. But it had its rewards. Michael reaches into his pocket and comes up with an ear- clip he grabbed during the fight. [MICHAEL] (continuing) Let's see what Devon can tell us about these things. EXT. CITY STREET - K.I.T.T. - STOCK zooms past camera. INT. MAIN ROOM - NIGHT - FULL A servant is cleaning up the mess and the party has returned to normal. The guests surround Harana. We see Crane making his way back to Watkins. CLOSER - CRANE AND WATKINS Crane keeps a happy face to his guests, as: [WATKINS] Who was he? [CRANE] He called himself Michael Knight. He was asking Harana about Towers. Harana moves into shot. [CRANE] (continuing) Ah, Harana, darling. [HARANA] So many questions, so many lost souls seeking guidance. It saps my psychic energy.... [CRANE] You two whisk off someplace cozy while I man the barricades. (to Harana) Why don't you show Claude 'The Room of Dreams'? He winks at Watkins. Harana smiles, and Watkins smiles back. [WATKINS] Sounds promising. [HARANA] Come.... She moves off, Watkins following. CUT TO EXT. ANOTHER CITY STREET - NIGHT - PARKED SEMI - STOCK [MICHAEL'S VOICE] Both guys were wearing one behind their ear.... INT. SEMI - MICROSCOPE SHOT - THE CLIP A tiny grid of wires comes into focus. ON DEVON AND MICHAEL Devon is adjusting the focus on the microscope. Widen to include RC3 in b.g. as: [MICHAEL] (continuing) ...same as last night, only this time they didn't act like sleepwalkers and they didn't pack the same punch. [DEVON] (looking up) They appear to be receivers of some kind. See for yourself. (as Michael moves in) Given a certain frequency, they could create electrochemical responses in the brain. [RC3] People wear those for seasickness. My uncle used one to quit smoking. [DEVON] I have a suspicion, RC, that these stimulate an overproduction of the brain's neurotransmitters. [MICHAEL] Like endorphin...It kills pain. [DEVON] They could also produce a surge of Adrenalin and any number of other responses. [RC3] Which explains the way that guy threw you across the room last night. [MICHAEL] Devon, if these clips work the way you describe, wouldn't it take an outside source to activate them? [DEVON] Indeed. [MICHAEL] So if you fed whatever you've got on this thing into Kitt's CPU he could monitor that source. [DEVON] It could take some time. [MICHAEL] How about ten minutes? I've got to get back to that party. [DEVON] (teasing) Anything else? [MICHAEL] As a matter of fact, yes. I ran into a girl at the party but by the time the smoke cleared, she was gone. [RC3] Story of his life. [MICHAEL] That's enough, RC. (to Devon) Name's Elizabeth Wesley. See what you can find out about her. INT. THE ROOM OF DREAMS - NIGHT - HARANA AND WATKINS It is decorated exotically, like an Aubrey Beardsley drawing. It is semilit with candles and incense smoke lies heavily in the air. Harana and Watkins are seated face to face on a tasseled pillow. Harana's eyes are closed, her voice is honeyed and sensual, and Watkins has a condescending smile on his face. [HARANA] I see you on an expedition. [WATKINS] That's past history. Let's get to the present. You and me. [HARANA] No. What I see is yet to come. You are in a world of untold treasure. A world no one has touched in many centuries. The Lost City.... [WATKINS] Atlantis? [HARANA] I can lead you there because it is your destiny. [WATKINS] (chuckles) You have a map? Harana opens her eyes and stares levelly at him. [HARANA] There is no need for one. I see it very clearly. And so may you. With this.... She produces one of the ear clips and holds it out to Watkins. [HARANA] Just put it on your left ear and you will see what I see. [WATKINS] Anything you say.... He puts the clip on his left ear, amused. [WATKINS] (continuing) Now what? [HARANA] (smiles) Now I turn this.... She reaches for her brooch and turns the top of it. Watkins' eyes glaze over. Harana slaps Watkins sharply across the cheek, looking for a response. There is none. MAX AND JARRETT enter, eyes also glazed. They lead Watkins from the room. Harana smiles triumphantly. EXT. CITY STREET - NIGHT - K.I.T.T. - TRAVELING - STOCK INT. K.I.T.T. - NIGHT - MOVING (POOR MAN'S PROCESS) [MICHAEL] Okay, back to the party.... [K.I.T.T.] Michael, what makes you think you'll be any more welcome now than before? [MICHAEL] I'll worry about that when I get there. He presses a button on the dash. INSERT - SCREEN The ear clip appears as a three-dimensional hologram graphic. AS BEFORE [MICHAEL] Devon established the frequency and sync rate of the clip. Let me know if anything like it is activated within two miles of us. EXT. CRANE'S HIGH RISE - NIGHT - FULL Watkins exits along with Max and Jarrett. They enter a car, Jarrett behind the wheel, and pull away. A moment later, Elizabeth's VW pulls out of a parking place and follows. EXT. CITY STREET - NIGHT - K.I.T.T. - STOCK speeds toward the party. INT. K.I.T.T. - NIGHT - TRAVELLING (POOR MAN'S PROCESS) An electronic warning sounds. [K.I.T.T.] Michael...three of the clips have been activated and are within the two mile radius. [MICHAEL] Locate them on your grid map. GRID MAP GRAPHIC shows a pulsing light moving toward the industrial section. AS BEFORE [MICHAEL] They're all three in one vehicle. [K.I.T.T.] My monitors detect a four-cylinder, foreign vehicle following them.... [MICHAEL] So much for the party. Let's get on their tail. EXT. CITY STREET - NIGHT - K.I.T.T. - STOCK takes a sharp right and picks up speed. EXT. WATKINS' WAREHOUSE - NIGHT Jarrett's car pulls up. INSERT - AUTOMATIC DOOR OPENER as the button is depressed. THE VEHICLE ENTRANCE DOOR rolls aside, fully opening. RESUME JARRETT'S CAR He, Max and Watkins get out and enter the warehouse. A moment later, Elizabeth's car ghosts up beside the building. CLOSER - ELIZABETH as she cases the building, gathers up her courage and enters. INT. WAREHOUSE - NIGHT - ELIZABETH as she enters the cavernous interior. It is dark and spooky. From a distance, she hears the footsteps of Watkins, Max and Jarrett making their way to Watkins' office. She follows, and in her effort to see where they're going, knocks over an antique vase. ANOTHER AREA - ON WATKINS, MAX AND JARRETT as the three react to the sound. Max and Jarrett exchange a hard look and start back toward Elizabeth, Watkins following. ON ELIZABETH as the trio approaches her. She takes cover behind a crate. EXT. WAREHOUSE - K.I.T.T. pulls up. INT. K.I.T.T. [MICHAEL] That's an odd place to rendezvous after a party.... [K.I.T.T.] My scanners show four people in the building, three of them wearing the transmitters. The fourth is the girl who entered the party with you. [MICHAEL] Elizabeth? You're sure? [K.I.T.T.] Unless she has a twin with identical DNA structure. And Michael, her heart rate is above normal. She's frightened. INT. WAREHOUSE - NIGHT - ON ELIZABETH hardly daring to breathe. The three men are lurking on the other side of the crate. MAX looks down and sees: POINT OF VIEW - ELIZABETH'S PARTY SHOES are reflected in an antique mirror at one side of the crate. AS BEFORE The three move around the crate, discovering Elizabeth. She smiles bravely. [ELIZABETH] I know, I know. 'Break it, you've bought it.' Listen, Watkins, it doesn't do you any good to run away from me. I'll keep coming and --- Max and Jarrett grab her roughly. EXT. WAREHOUSE - K.I.T.T. Michael gets out, starts toward the building. INT. WAREHOUSE - ON MICHAEL as he enters the dark interior, via the vehicle entrance, pausing to get his bearings. He hears Elizabeth scream. [MICHAEL] (shouts) Elizabeth! He starts to run toward its source. Another scream is cut off, as: ELIZABETH has been gagged by Jarrett and is bound to a pillar. Jarrett hears Michael's approach and moves off into the shadows. Elizabeth is struggling, trying to talk through her gag. Intercutting: MICHAEL following these sounds, trying to locate her in the huge interior. INT. WATKINS' OFFICE - NIGHT Watkins removes a piece from an intricately carved artifact that looks like a Chinese puzzle. A tiny door snaps open, out of which recess he takes a small velvet bag, producing the key. He gives both to Max, who pockets them. They exit. MICHAEL finally locates Elizabeth a short distance away. He is moving toward her when Jarrett suddenly appears in the aisle ahead of him. He recognizes Jarrett's glazed look. [MICHAEL] Oh-oh...All pumped up again? Jarrett charges, grabbing Michael like a rag doll and throwing him onto a nearby crate, which breaks his fall. SHOT - MICHAEL picks up one of these and hurls it at Jarrett. The big man is still unfazed. Michael dodges his next charge and grabs a 2X4. SHOT - JARRETT He charges at Michael who sidesteps, swings the 2X4 and belts Jarrett over the head with it. The wood snaps and Jarrett shakes his head, unaffected. He is about to charge again when he sees: WATKINS AND MAX marching like automatons toward the exit, mission accomp- lished. Jarrett ignores Michael and falls into step with them. He and Max take off running and leave Watkins behind. MICHAEL moves quickly to Elizabeth, releasing the gag and the ropes, as: [MICHAEL] (into comlink) Kitt...I need you! EXT. WAREHOUSE - K.I.T.T. starts up, screeches toward the vehicle entrance, passing Max and Jarrett on their way towards the exit. INT. WAREHOUSE - K.I.T.T. careens through the aisles of crates, coming finally to: MICHAEL AND ELIZABETH who clamber into the car. Michael takes the wheel and turns toward the exit. INT. K.I.T.T. [K.I.T.T.] They're escaping, Michael. [MICHAEL] Keep the car on your scanners. Silent Mode. I want to shadow them, pal. [ELIZABETH] (confused but excited) This is your pal? EXT. WAREHOUSE - NIGHT as Max and Jarrett emerge on the run; get into Jarrett's car and drive off. INT. WAREHOUSE - NIGHT K.I.T.T. wheels around and heads for the entrance door. Michael reacts to something up ahead and slams on the brakes when he sees --- POINT OF VIEW THROUGH WINDSHIELD - WATKINS is standing in the entrance blocking their way. RESUME INSIDE K.I.T.T. [ELIZABETH] That's Watkins! That's the man I have to talk to! [MICHAEL] That makes two of us. They get out of K.I.T.T. THE SCENE as Michael and Elizabeth approach Watkins, who stands like a zombie in the doorway. [MICHAEL] Mr. Watkins --- Michael bites off the sentence when --- WATKINS slowly pulls a gun from inside his jacket. He holds it to the side, looking at it mysteriously. MICHAEL reacts; knows what's coming. [MICHAEL] Not again. No! Mr. Wa --- Michael's words are drowned out by a gunshot that echoes in the warehouse interior. WATKINS is on the ground, gun in his hand, dead. ON MICHAEL AND ELIZABETH as they react, horrified, aghast. Hold a beat, and: FREEZE FRAME FADE OUT END OF ACT TWO ACT THREE FADE IN INT. POLICE STATION - CORRIDOR - NIGHT as Michael and Elizabeth come out of the Lieutenant's office and walk down the corridor toward some vending machines. [ELIZABETH] Poor Mr. Watkins. It was all my fault. I kept after him and after him. But I had to know what happened to Dad. Michael puts his arm around her, comforting. [MICHAEL] (gently) Hey...You're making the same mistake I did, blaming yourself. He wasn't in control, any more than those other two guys. Maybe you'd better tell me how you got involved in the first place. [ELIZABETH] They were on an expedition together. My father, Watkins, and two other men. [MICHAEL] One of them being Jeremy Towers. [ELIZABETH] Yes. And a fourth. No one has been able or willing to tell me who that was. Towers said my father committed suicide, drowned in rapids deep in the jungle, his body never recovered. Dad wouldn't have done that, Michael. He had too much to live for. [MICHAEL] You're saying he was murdered. [ELIZABETH] (nods) Dad was certain they would find Tekatal's crown. The expedition was founded on his research. It was his dream to give it to the museum, but the others were against that. They found the crown, I just know it. Michael pops some change into one of the machines; hands her a coffee. [MICHAEL] And killed your father to keep it for themselves. Kitt, find out if Tequatl's crown turned up recently in any museum or private collection. [K.I.T.T.] I find the last major acquisition of that kind recorded in June of last year, Michael. The crown of Santa Isabella was donated to the Chicago Museum by a Mrs. Darla Blackman. [MICHAEL] (to Elizabeth) If your theory is correct, the fourth man has it all to himself now. [ELIZABETH] (determinedly) I'm going to find him. When I do, I'll find the crown, too, and fulfill Dad's dream. [MICHAEL] (smiles) Judging past performance, I've got a sneaking hunch you'll get your way. She turns into him and looks up. [ELIZABETH] Thank you for being my friend, Michael. She kisses him. Then Michael kisses her. On the break: [MICHAEL] To be on the safe side, you'd better plan on staying with me tonight. [ELIZABETH] (flirtatiously) How safe will that be? They hold a look and we: DISSOLVE TO EXT. CITY ROAD - DAY - THE SEMI - STOCK parked. [MICHAEL'S VOICE] Crane has to be the common denominator in this, Devon.... INT. SEMI - DAY - MICHAEL, ELIZABETH, RC3, AND DEVON enjoying an early morning cup of coffee. Devon works at the computer. [MICHAEL] It's more than coincidence that both Towers and Watkins died after one of his parties.... [RC3] And those two jokers who threw you around must have been his boys for sure. [MICHAEL] Right. Which brings us to Harana. If she's a voodoo princess for real, she's created a couple of zombies. We know they can't be for real.... [DEVON] Nor is Harana. I ran her profile through the physiognomy banks last night.... He punches buttons on the console. INSERT - THE MONITOR - INTERCUTTING shows Harana's likeness, then various police mug shots with appropriate legends beneath them. [DEVON] Her real name is Bonita Vance. She has a brilliantly inventive mind which she turned to crime. Mostly confidence schemes. Last year they arrested her in Miami for imperson- ating a North African empress. [RC3] Man, that lady doesn't shoot low. [MICHAEL] Any results on that ear clip? [DEVON] I'm afraid not. It's in the analyzer. I'll let you know as soon as some- thing comes through. [MICHAEL] Devon, I've got to see this thing through. Not just for myself.... He looks across at Elizabeth, and their attraction is not lost on Devon. [DEVON] Doctor Wesley intended Tequatl's crown for the city museum. I think that makes it Foundation business. [MICHAEL] Thank you, Devon. Now, it's time I had a heart-to-heart with Mr. Crane. He starts for K.I.T.T. CUT TO EXT. CRANE'S HIGH RISE - DAY - TO ESTABLISH INT. ROOM OF DREAMS - DAY - ON CRANE entering, carrying a briefcase. He looks across at Harana. [CRANE] It was just confirmed on the radio. Claude Watkins shot himself last night. [HARANA] Then it's time to settle our accounts. Crane hefts the briefcase with a smile, moves to place it on a low table. [CRANE] It's been a very fruitful collabora- tion, Harana. I detest the act of murder. Still do. Induced suicide is so much more civilized. He snaps open the briefcase in such a way the lid obscures its contents from Harana. INSERT - INTERIOR OF BRIEFCASE empty except for a pearl-handled nickel-plated .38. Crane's hand reaches for it, as: [CRANE'S VOICE] A million dollars was our arrangement, I believe.... BACK TO CRANE as he brings the gun up and levels it at Harana. [CRANE] ...which I've decided is too steep a price. Now if you'll hand over the two keys, I'll thank you to leave the premises. And take your Neanderthal bullies with you. Any tricks, and you'll have to explain to the police about Towers and Watkins. Crane puts out his other hand for the keys, but Harana simply smiles at him, and looking past him --- [HARANA] He's not aware of his destiny, gentlemen. [CRANE] (angrily) Don't test my patience, Harana! Max and Jarrett suddenly appear behind Crane and quickly disarm him. He struggles in their grip, as: [HARANA] You'll pay a heavy price for your greed, Donald. She produces one of the ear clips and moves toward him. EXT. CITY STREET - DAY - K.I.T.T. - STOCK moves past. INT. K.I.T.T. - DAY - MICHAEL is deep in thought. [K.I.T.T.] And when this is all over, she'll probably go back to St. Louis. [MICHAEL] Yeah, I suppose so. [K.I.T.T.] Is this what they call fate, Michael? [MICHAEL] Yeah, buddy. The downside of fate. INT. CRANE MANSION - THE MAIN ROOM - DAY Crane has a clip on his ear. He is glassy-eyed. Harana, Sebastian, Max and Jarrett follow him across the room to: ANOTHER ANGLE - A PAINTING Crane swings it aside to reveal a wall safe. INT. K.I.T.T. - ANGLE - MONITOR as Devon's image burns into view. [DEVON] Michael, I finally have some results on the ear clips. ON MICHAEL [MICHAEL] Great. What have you got? [DEVON] I've found they can be deactivated with a high-frequency tone, but --- [MICHAEL] Okay. Patch it through to Kitt. [DEVON] I'm still running a series of combi- nations through the banks. When I have it, you'll have it. [MICHAEL] Thanks. INT. MAIN ROOM - DAY - CRANE has the safe open. He removes a small red velvet bag and hands it to Harana. [HARANA] Take your car and go to 121 Wall Street. Enter the basement and there you will find.... INT. K.I.T.T. - TRAVELLING A warning beeper goes off from the dash. [K.I.T.T.] I'm reading three of those activated clips within a two-mile radius, Michael. [MICHAEL] Locate them on the grid. INSERT - STREET GRAPHIC Three flashing lights are clustered at the location of Crane's high-rise. AS BEFORE [MICHAEL] That's Crane's high-rise. Let's move it! [K.I.T.T.] Michael, it would be less than rational for you to go against three such anthropomorphic robots.... [MICHAEL] No choice. If the pattern holds and they leave the house, there's likely to be another murder. EXT. CRANE'S HIGH-RISE - DAY Crane exits the building; gets in his car and pulls away as K.I.T.T. approaches. INT. K.I.T.T. [MICHAEL] That was Donald Crane! [K.I.T.T.] He was 'under the influence,' Michael. [MICHAEL] Give me a reading in the house. [K.I.T.T.] Two of the activated clips remain there with a woman. [MICHAEL] Harana...She's the key. If I can get to her, maybe we can prevent more mayhem. K.I.T.T. pulls up near the front entrance. Michael gets out. INT. CRANE'S APARTMENT - MAIN ROOM - DAY as Michael comes through the door. The room is empty. He spots the open safe and moves toward it. [HARANA'S VOICE] You might at least have called first, Michael Knight. Michael swings around as Harana, Max and Jarrett appear nearby. Harana moves sultrily toward him. [MICHAEL] Just the lady I wanted to see. She runs her fingers lightly over Michael's face. [HARANA] Correct me if I'm wrong. It was not my charm that brought you back. [MICHAEL] You know it wasn't. [HARANA] Pity. [MICHAEL] Tell me about those ear clips, Harana. Donald Crane just left here hell-bent for something, and I'll lay money he was wearing one of them. [HARANA] Donald has an appointment with destiny. [MICHAEL] You mean an appointment with murder, don't you? Harana, stop him now, while there's still time. [HARANA] You force me to do something I know I'll regret. She steps back, nodding at Jarrett and Max, who move quickly toward Michael. [MICHAEL] My favorite tag team, Hulk Hogan and Sergeant Slaughter.... They're on him in a flash. Michael throws a punch at Jarrett that could drop a horse, but he is unfazed. Max comes up behind and wraps his arms around Michael, holding him power- less against Jarrett's knockout blow. EXT. MANSION - DAY - K.I.T.T. [K.I.T.T.] Michael...I'm reading diminished functions in your vital signs.... INT. MAIN ROOM - AS BEFORE Max and Jarrett watch as Harana, kneeling, attaches an ear clip to Michael. She turns the dial on her brooch, as: [K.I.T.T.] Donald Crane has gone out of the two- mile radius, but now I'm reading a third activated clip in the house.... Harana takes off the comlink and examines it curiously. [K.I.T.T.] Michael? She smiles, then puts it on the floor and Max stomps on it, smashing it. ON MICHAEL as he comes to. His eyes are blank. Harana comes in close, stroking him with her long fingernails. [HARANA] Such a shame, Michael. We would have had a glorious destiny together. FADE OUT END OF ACT THREE ACT FOUR FADE IN INT. CRANE'S APARTMENT - DAY Michael stands in the middle of the room. Harana walks around him, giving him orders. [HARANA] You will take your car and go to 121 Wall Street. Michael barely nods. [HARANA] There you will join Donald Crane in the basement and wait for further orders. Michael turns to leave. Harana looks regretfully after him, then turns abruptly to Max and Jarrett. [HARANA] We've earned a bonus. Take the cream of Crane's collection -- whatever we can carry. Then we go for the crown. EXT. DONALD CRANE'S MANSION - DAY Michael climbs into K.I.T.T. INT. K.I.T.T. - DAY as Michael starts the engine. [K.I.T.T.] Michael, I was worried sick. Michael does not respond...only drives away. EXT. DONALD CRANE'S MANSION - DAY Michael drives carefully out of the driveway onto the street. INT. K.I.T.T. - DAY Michael's eyes are fixed on the road ahead. He is a man with a mission. [K.I.T.T.] Where to, Michael? [MICHAEL] (stonily) 121 Wall Street, pal. [K.I.T.T.] We lost contact. Did something go wrong with the comlink? Nothing from Michael. [K.I.T.T.] I still read three activated clips. Michael... (beat) Michael, didn't you hear me? What's the matter. Why won't you answer me? INSERT - DASH K.I.T.T. scans all of Michael's vital signs, spots the ear clip. [K.I.T.T.] Michael! You've become one of them! RESUME SCENE - STOCK as Michael drives. Not reacting to K.I.T.T. EXT. CITY STREET - THE SEMI - STOCK parked. [K.I.T.T.] (urgently) Devon...come in.... INT. SEMI - DEVON crosses to the console. Behind him are RC3 and Elizabeth. [DEVON] Yes, Kitt, what is it? [K.I.T.T.] Michael has one of those clips on. [ELIZABETH] Is he all right? [K.I.T.T.] Well, physically, he's all there Elizabeth. But technically he's non compus mentis. [RC3] Hey, stop with technical! What's wrong with him? [DEVON] (concerned) Kitt means that Michael doesn't have all his mental faculties. Where are you headed Kitt? [K.I.T.T.] 121 Wall Street. I took the liberty of checking the location and that building is scheduled for demolition. [RC3] Holy --- RC3 starts to move toward his motorcycle. [DEVON] Where are you going? [RC3] Sorry, boss. I can't just sit here and listen when Michael's in that kind of trouble! He hops on the bike, donning the helmet. EXT. STREET - DAY as RC3 turns a corner on his bike and roars past camera. INT. SEMI - DEVON AND ELIZABETH Devon is still punching keys on the computer. [DEVON] What in heaven's name does he think he's going to do? [ELIZABETH] I don't know. But I feel a lot better knowing he's trying.... Devon turns his attention back to the computer; a few beats before --- [DEVON] Kitt, I've got a frequency for you. I was testing it now, but I guess we don't have time for the results. Hold on.... EXT. BUILDING - 121 WALL STREET - DAY - STOCK An abandoned building awaiting destruction. INT. SUBTERRANEAN GARAGE - DAY - CRANE Dark and musty. A sign reads "Keep out. This building is scheduled to be demolished. Trespassers will be prosecuted". Another sign reads, "High Explosives Present...Hard Hat Area. Hudson Demolition Company". We see many stanchions sup- porting the building. Crane, in trancelike state, is seated, awaiting his explosive demise. INT. K.I.T.T. - DAY - INTERCUTTING SEMI Devon is on the monitor. [DEVON] Set your electronic Field Disrupter at a frequency of sixty-four mega- hurtz. [K.I.T.T.] Done. [DEVON] Two nano second blasts followed by one long one...approximately 2.978 seconds. Elizabeth is wringing her hands. We hear the sound of two short blasts and one long one. Michael's head snaps back and his eyes close, when they open he is back to normal. Michael reacts to his new location. [MICHAEL] How'd we get here, buddy? [K.I.T.T.] A new kind of auto pilot. [DEVON] Michael, check your left ear. Michael pulls the clip off. [MICHAEL] Harana must have sent me on another of her murderous errands. He reacts; hits the brakes. K.I.T.T. screeches to a stop in the street outside the building. [MICHAEL] Scan the building. INTERCUT AS NEEDED - K.I.T.T.'S MONITOR - DONALD CRANE sitting calmly. Unaware he is about to die. [K.I.T.T.] There's one person inside.... [MICHAEL] Donald Crane, I'll bet. [K.I.T.T.] ...and a massive deployment of explosives. Michael, this building isn't scheduled for demolition today, but the system has just been primed. [MICHAEL] Locate the detonator and neutralize it, buddy. [K.I.T.T.] I can't. It's at a remote location. The countdown is already started and is irreversible from here! [MICHAEL] If Crane dies, so does Elizabeth's dream of vindicating her father.... [K.I.T.T.] We're going in? [MICHAEL] Yep. [K.I.T.T.] I was afraid of that. Forty seconds and counting, Michael. He tromps on the accelerator, and K.I.T.T. surges toward the garage entrance. OMITTED EXT. ABANDONED BUILDING as Michael drives K.I.T.T. directly toward the entrance to the underground garage. [K.I.T.T.'S VOICE] Here goes. EXT. BUILDING - DAY - STOCK (1985) as K.I.T.T. smashes through the door into the underground garage. INT. GARAGE - CRANE doesn't bat an eyelash as K.I.T.T. screeches to a stop. Michael gets out and runs to Crane. [MICHAEL] Come on. We have to get out of here. Crane looks glassily at him. [K.I.T.T.] Thirty seconds, Michael. EXT. BUILDING - DAY as RC3 approaches on his motorcycle, zips through the opening K.I.T.T. blasted in the fence earlier and roars toward the entrance to the garage. RESUME MICHAEL AND CRANE Michael is pulling him to his feet; reacts to the screech of tires and roar of an engine as: RC3 rockets into the garage on his motorcycle and screeches to a stop next to Crane and Michael. [MICHAEL] What are you doing here?! [RC3] Helping you. [MICHAEL] Let's get him in the car. This place is going up. [RC3] Or coming down, man. I'm not sure which. Michael and RC3 grab Crane and lead him to K.I.T.T. INSIDE K.I.T.T. as they put Crane in the back and Michael and RC3 get in. Michael looks back at Crane, who sits expressionless. [MICHAEL] Can you bring Crane out of that, pal? [K.I.T.T.] Devon has provided me with a decoder. It worked on you, and -- Ten seconds to go, Michael -- nine -- eight --- [MICHAEL] We better go. [RC3] I sure second that motion. Michael slams K.I.T.T. in gear and stomps on the accelerator. K.I.T.T. takes off like a rocket and heads for the entrance. INSIDE - ON ENTRANCE TO GARAGE - STOCK (1985) as K.I.T.T. rockets out of the building toward the street. [K.I.T.T.] Five -- four -- three --- RC3 suddenly reemerges. [RC3] Hey, wait a minute! My bike!! RC3 looks back in agony to see: EXT. ABANDONED BUILDING - 121 WALL STREET - DAY - STOCK Charges detonate; the sound of numerous explosions that rock the building. It crumbles into itself like a house of cards. Then a huge cloud of dust rises, billowing through the air. EXT. STREET - DAY as K.I.T.T., shrouded by dust and smoke from the explosion and demolition of the building screeches to a stop. INT. K.I.T.T. Smoke and dust from the explosion outside his windows. [RC3] All right, Kitt! [K.I.T.T.] No applause...just a wash and wax, please. [MICHAEL] Let's bring Mr. Crane back from Oz. The sound of two short blasts then one long blast. ON DANIEL as his eyes click open...he is back to himself. Daniel looks around. Sees the building, the look of the car and Michael staring at him. [CRANE] To quote Blanche DuBois, 'I've always depended on the kindness of strangers.' [MICHAEL] You're welcome. Just tell me where Tekatal's crown is. [CRANE] I'm afraid, I don't know what you're talking about. [MICHAEL] Can it, Crane. Harana just tried to kill you. You want her to have it? Daniel thinks a moment. He looks at the building, pulls the ear clip off his ear. [CRANE] The private vault company on South Ridge Drive. OUTSIDE K.I.T.T. as Michael peels out, through the hole in the fence and onto the street. STREET - DAY - K.I.T.T. - STOCK as K.I.T.T. blasts past camera. EXT. PRIVATE VAULT COMPANY - DAY K.I.T.T. screeches to a stop in front of the building. ANOTHER ANGLE Harana comes out of the building carrying the box that contains the crown and starts down the steps. Jarrett and Max wait at their car. [MICHAEL'S VOICE] There they are! Harana sees Michael and K.I.T.T. She turns the brooch pin and says something to Jarrett and Max, who head straight for K.I.T.T. [MICHAEL] Let's try that decoder again, pal. The sound of two short blasts and one long blast. ANGLE TO JARRETT AND MAX as the decoder works. They pass through that momentary confusion, then start toward K.I.T.T. again. AT K.I.T.T. [MICHAEL] (getting out, to Crane) Consider yourself in protective custody. Michael and RC3 close the doors. Daniel vainly tries to get out. THE FIGHT as Michael and RC3 meet Max and Jarrett head on. The clips being ineffective, the latter are no match for Michael and RC3. They are quickly put away. ON HARANA Seeing this, she runs for her car, climbs in, and starts the motor. MICHAEL runs to K.I.T.T. and gets in, gunning after Harana's car. ANGLE ON ACTION as K.I.T.T. catches up to Harana's car and pulls in front of it, forcing Harana to screech to a dead stop. ON HARANA'S CAR She is slumped defeatedly over the wheel as Michael gets out of K.I.T.T. and crosses. He opens the door and helps Harana out, taking the box from her. He opens it. OMITTED INSERT - THE BOX as the lid opens revealing the fabulous, jewel-encrusted crown. ON MICHAEL admiring the crown. [MICHAEL] Now I can understand what all the fuss was about. Sorry, Harana, but a stolen crown never made a man a king, nor a woman a princess.... [HARANA] Shakespeare? Richard Nixon? [MICHAEL] No -- Michael Knight. FADE OUT END OF ACT FOUR TAG FADE IN EXT. SEMI - STOCK parked. [RC3'S VOICE] I had to lay some bread on the demolition guys, but at least they found it in one piece.... INT. SEMI - CLOSE ON RC3'S BIKE in one piece, all right. But it is a horrendous specter of blackened, mangled metal, hardly recognizable. Widen to see a glum, but hopeful RC3 hunkered down beside it, with Michael and Elizabeth trying to cheer him up, as: [MICHAEL] You did say last week that the timing was giving you trouble. [RC3] Yeah, true. [MICHAEL] (brightly) Well, now you can fix it. [RC3] (unconvinced) Right. It'll take a little work, but she'll be good as new in no time. Devon enters, sees the bike. [DEVON] Great Scott. What's that? The others flash warnings. Devon takes a closer look. [DEVON] Oh, sorry. (grimly) That is what it is, isn't it? But cheer up, all of you. I've come from the museum, and they plan to feature Tekatal's crown in a special Mayan exhibit next month. (to Elizabeth) Your father would be very pleased, my dear. Elizabeth smiles and kisses Devon on the cheek. [ELIZABETH] Thank you so much, Devon. [MICHAEL] And proud...of his daughter. Elizabeth turns to Michael. [ELIZABETH] Oh, Michael. How can I ever thank you enough? [MICHAEL] Hey, this isn't good-bye, is it? [DEVON] (coughs) I've booked a flight for you, Elizabeth. As you asked. Michael looks at Devon, then at Elizabeth, disappointed. [DEVON] An early plane seemed a trifle premature. The police will have further questions, after all... and -- well, I thought -- (lamely) -- three days? [MICHAEL] (brightening) Why, Devon. I think that shows incredible insight. He takes Elizabeth's hand. She's smiling, too. [ELIZABETH] Yes, incredible. They embrace. The others share their happiness, as we: FREEZE FRAME FADE OUT THE END

{"show": "Knight Rider", "season": "s04", "episode": "e21", "title": "VOO DOO KNIGHT"}

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