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
