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
