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