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