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