ACT ONE
FADE IN
EXT. RURAL ROAD - DAY
as a limousine winds through the turns at normal speed, and
we are:
INSIDE THE LIMOUSINE - REAR SEAT
Where Devon Miles sits in quiet elegance. He looks at his
watch.
DEVON
We seem to be behind schedule.
Camera adjusts to show that Michael Knight is driving the
limo.
MICHAEL
Assuming the schedule is right...
(grimly)
I wouldn't count on it.
Devon looks around at the countryside.
DEVON
I really wish we were using the
Knight 2000 for this...errand.
MICHAEL
Yeah, I know...but you're a VIP,
Devon. Gotta show your staff in
style.
DEVON
Yes...but sometimes style can be
dangerous.
RESUME THE ROAD
as the limousine passes as intersecting road. One that
adjoins at a sharp angle affording concealment for a vehicle
that we glimpse waiting, and we are:
ON VEHICLE'S REAR TIRE
as it screeches, biting into the tarmac and rocketing out of
the shot, and we are:
ON THE VEHICLE
to reveal it is an orange coupe that accelerates onto the
main road in pursuit of the limousine, and we:
RESUME THE LIMOUSINE
as the coupe pops into view behind it and quickly closes
the gap between the two cars, and we are:
ON THE REARVIEW MIRROR OF LIMOUSINE
as the coupe explodes into view, filling the mirror edge
to edge, and we are:
ON THE DRIVER OF THE COUPE
Marc Redmond, thirties, square-jawed, in shape, his clothes
casual...his mood intense. This guy's serious. He slams
down on the accelerator.
INT. LIMO
Michael also accelerates instantly.
MICHAEL
Hang on, Devon.
Michael goes into a wild turn. Devon bounces around in the
rear seat.
DEVON
Hang on to what?
RESUME THE SCENE
as the two cars come through a turn at high speed. The coupe
drafting right behind the limousine, accelerates and begins
to pull abreast of the limousine on the driver's side, and
we are:
INSIDE THE LIMOUSINE
as Devon reacts to the coupe's advance; leans forward to
Michael.
DEVON
Michael, forgive my backseat driving
...but they're catching up to us!
MICHAEL
Good. That's the whole idea.
DEVON
That's the wrong idea.
MICHAEL
Not on this road! See that?
POINT OF VIEW THROUGH WINDSHIELD - ROAD
to see that it forks up ahead. The "Y" looms closer and
closer and we are:
ON BRAKE PEDAL OF LIMOUSINE
as Michael slams his foot down hard, and we:
RESUME THE TWO VEHICLES
as the limousine dives in a panic stop and the coupe rockets
past it into the left fork. Before coming to a full stop,
the limousine accelerates and swerves into the right fork
at high speed, and we are:
ON THE COUPE
as it screeches to a fast stop; swings around in a big "U"
that takes it from the left to right forks, and we are:
ON DEVON
as he glances out the back window of the limousine and sees
the coupe pop into view, gaining rapidly.
DEVON
Ah...Michael...we seem to be
experiencing deja vu here....
MICHAEL
Hang onto your socks!
Michael whips the steering wheel, and we:
RESUME THE SCENE
as the limousine swings around in a one-eighty slide that
puts it on a collision course with the coupe that approaches
at high speed, and we are:
ON DEVON
as he reacts to this maneuver. His cool, unruffled demeanor
giving way to genuine concern.
DEVON
Michael...
(beat)
Michael?
DEVON'S POINT OF VIEW THROUGH THE WINDSHIELD
as the coupe swerves to one side at the last possible
instant avoiding a head-on with the limousine.
DEVON (v.o.)
Michael!!!
The coupe spins off the road coming to an angled stop on
the slanted shoulder. The limousine rockets past, spins
around.
OMITTED
ON THE LIMO
as it leisurely drives back to the coupe. Michael parks,
grandly opens the door for Devon. At the same time, Redmond
extricates himself from the tilted coupe, approaches the
other two men. Good humor has replaced his former sober
mood.
DEVON
(adjusting
his tie)
Michael, you avoid vehicular on-
slaughts as deftly as you dodge the
Foundation paperwork.
MICHAEL
Could you rephrase that?
DEVON
Good job.
Redmond approaches, pleased.
REDMOND
Mr. Miles, you weren't pumpin' no
dry well.
(slamming
Michael)
This boy can rack a pinion with the
best of 'em.
Beat.
DEVON
Could you rephrase that?
THE SAME SCENE AS ABOVE
but on a television monitor. The three men approach the
Foundation semi.
Camera widens to reveal that we are parked nearby in K.I.T.T.
Bonnie has wires and circuits all over her lap. She is using
a joystick to control the picture on the screen.
BONNIE
Up...up...over. That's it...perfect.
Kitt, you can cover 180 degrees with
this new configuration.
K.I.T.T.
Wonderful.
BONNIE
Kitt, is something bothering you?
K.I.T.T.
No, no, what could bother me? I
mean, Michael risks life and limb in
an inferior assembly line clone....
CLOSE ON MICHAEL - ON MONITOR
Seeing he's on camera, he blows a kiss at Bonnie.
BONNIE
reacts...that is, she appears not to react....
K.I.T.T.
And meanwhile a state of the art,
top of the line machine sits here in
the shade, gathering dust....
BONNIE
If I didn't know better, I'd say you
were jealous.
K.I.T.T.
Really, Bonnie. Such a pretty
emotion is beneath me.
BONNIE
Okay. Let's try the closeup lens.
K.I.T.T.
Certainly. But aim it at something
besides that...that other car.
Bonnie reacts knowingly and we:
CUT TO
INT. FOUNDATION SEMI - DAY
Devon leads Michael and Redmond to the coffee machine, does
the pouring. Redmond takes in the scenery, impressed.
DEVON
Michael, next week, as a result of
years of delicate negotiations by our
government, the leaders of five
hostile, Third World nations will
meet in an attempt to resolve their
differences.
REDMOND
Burr in the saddle is, all five got
compadres sooner send 'em to boot
hill 'n let 'em palaver with the
peace pipe.
Devon looks at Redmond blankly. Michael leans close to
Devon.
MICHAEL
I think he means all five leaders
have people at home who'd like to
blow them away.
DEVON
(grateful)
Eloquently put. Yes, exactly the
situation. Consequently, Michael,
the heads of state will arrive
without fanfare at a remote airstrip
and....
Devon sits at the computer console, punches in commands.
DEVON
(continuing)
...be driven in separate vehicles to
a secure desert compound by....
ON A COMPUTER TV MONITOR
as it retrieves six faces in succession. Next to each, a
column of data is printed out at high speed.
DEVON (v.o.)
(continuing)
...this team of specially trained
chauffeur/bodyguards. Jason Keller,
M.W. Jacobs, Roberto Lopez, Joanna
Cory, Tip Maguire and Margot Wells.
INTERCUT - INT. SEMI - DAY
as Devon, Redmond and Michael study the images and data that
come up on the monitor.
DEVON
(continuing)
They've been hand-picked from an
international pool of...
(searches
for word)
...operatives.
REDMOND
(overlapping)
Action junkies...every one of 'em.
Only difference between 'em an
out-'n-out mercenary is they care
which side pays for their bacon.
DEVON
Fortunately ours. Supposedly,
they've all been cleared by Military
Intelligence. However....
Redmond points to the screen derisively.
REDMOND
Four kings and two queens...But
there's a joker in this hand o' stud.
MICHAEL
(aside to
Devon)
I think Mr. Redmond is trying to say,
one is an assassin.
DEVON
(nods;
grateful)
Ah! Fortunately, we don't know which
one.
MICHAEL
(impressed)
Slick. The assassin's got to have
someone on the inside. No other way
to get that close to the target.
DEVON
Precisely. That's why the job has
fallen to us. The government doesn't
know who of their own people they
can trust. Outside of we three,
needless to say.
MICHAEL
Why not just scrap the entire team
for a new one?
REDMOND
'Cause till Mr. Miles here smokes
out that maverick, there's no way to
guarantee a new bunch wouldn't be
rustled just the same.
DEVON
(before Michael
can speak)
I caught the drift of that one...This
will be a two-pronged attack, Michael.
We'll throw all of the Foundation's
facilities into a nonstop search for
the assassin's inside man....
MICHAEL
Uh-huh...and what's my end of the
prong?
DEVON
(a beat)
Ah...you? Well, to polish up their
skills for their assignment, the
members of the security team will
attend Mr. Redmond's Vanguard School.
REDMOND
(everyone's
heard of it)
We teach tactical and evasive driving
techniques. Along with....
MICHAEL
(finishing
sentence)
...advanced hand-to-hand and weapons
oriented combat skills.
REDMOND
You got it. Now, if you're as good
with your dukes as you are with
those wheels....
Redmond eyes Michael; lets the sentence trail off. We hold
a beat, and then we go to:
EXT. RURAL AREA - ROAD - DAY - WIDE
as we pan across and pick up the K-2000 as it straightens
out a series of turns in the twisting road, and we hear:
MICHAEL (v.o.)
You sure are quiet today.
K.I.T.T.
Oh?
INSIDE THE K-2000
as Michael nods emphatically.
MICHAEL
Perfect example of what I mean.
Anything wrong?
K.I.T.T.
(a beat)
Michael, I'm programmed to be used...
not...put up on blocks.
MICHAEL
Now, what's that mean?
K.I.T.T.
Michael, this mission is already in
my data banks. I happen to know
that you're going to spend most of
your time in...other vehicles.
MICHAEL
Uh...yeah...but I was going to tell
you, I want you to keep close watch
on everything that goes on at the
school.
K.I.T.T.
Surveillance mode again?
MICHAEL
Kitt...it's very important. I mean,
every assignment can't be an action-
packed ride.
K.I.T.T.
Don't remind me. I've never gotten
over those two weeks in that auto yard
posing as a wreck. I thought my plugs
would never fire again.
MICHAEL
Yeah, but laying back and waiting
paid off.
K.I.T.T.
Sure. But while you were laying
back, I was the one that Neanderthal
with the tattoos tried to turn into
a cube twice a day.
MICHAEL
The look on his face was worth it.
EXT. VANGUARD SCHOOL COMPLEX - DAY
as the K-2000 turns into the entrance and we hold on a sign
that proclaims...VANGUARD SCHOOL...and move into a
distinctive logo that combines elements from a car and a
machine gun into a powerful graphic, and we go to:
EXT. TEAM BUNGALOWS - DAY
as the K-2000 pulls to a stop in front of a row of motel-like
bungalows; each with its own entrance and parking spaces.
As Michael gets out he notices Margot Wells, an attractive
blonde with an appealing vulnerability, opening the trunk of
her car in the adjacent space. Both are startled by a loud
noise o.s. They react and we go to:
ANOTHER ANGLE - ADJACENT BUNGALOW
as the door explodes open and Jason Keller, who could be the
production prototype for the full-size John Matuzak doll,
tumbles through it; sails through the air and lands in a
heap on the ground. A beat later, Tip Maguire, five-six, a
wirey, tightly-wound, 142 pounds of piss and vinegar dives
through the open door after Keller, and we go to:
ANOTHER ANGLE - FAVORING KELLER
as he gets to his feet straightening his six-seven, 250-
pound frame to full height, just as Maguire slams head-first
into his midsection like a battering ram. Keller doubles
over but remains on his feet; grabs hold of Maguire and
flips him over his head into the air like a rag doll, and
we go to:
ANOTHER ANGLE - MAGUIRE
as he somersaults into the shot and lands on his feet. We
follow as he runs toward Keller who readies a fist and
throws a punch that would clearly separate Maguire's head
from his body. Maguire sucks; leaps into the air and
directs a windmill uppercut toward:
LOW ANGLE - KELLER'S FACE
as Maguire's fist bounces off Keller's jaw, and we:
RESUME THE SCENE
as Keller shakes it off and Maguire circles around and
leaps onto his back. Keller spins trying to throw Maguire
off. The two men go down in a punch-throwing heap, as
members of our security team collect around them. During
the fight we:
INTERCUT - VARIOUS SHOTS - TEAM MEMBERS
as they react to the action, and we also:
INTERCUT - LOPEZ
standing off to one side; silent, alone, his face expression-
less; and we go to:
ANOTHER ANGLE - COMBATANTS
as they roll on the ground. Maguire comes out on top astride
Keller's chest; pulls back a fist.
MAGUIRE
Remember this the next time you sit
on my bunk without asking!!!
Keller grabs Maguire's wrist and gets to his feet; Maguire
clinging to him like a chimpanzee.
KELLER
The next time I sit on your bunk...
you'll be in it!!!
The two men eye each other a beat before they smile and
crack up with laughter. Keller sets Maguire down.
KELLER
You little wimp! I didn't know you
were on this caper!
MAGUIRE
Would've turned it down if I knew
they were still piling it that high
in this business.
The two men laugh, and we go to:
ANOTHER ANGLE - TEAM - FAVORING MICHAEL
as he turns to Margot Wells next to him.
MICHAEL
If that's how they greet an old
friend, what do they do when they
meet an enemy?
MARGOT
(off group
laughter)
If we're careful, we'll never find
out.
(smiles)
Margot Wells....
MICHAEL
Michael Knight....
Cory, a dark-haired vivacious woman, and Jacobs, a natty,
European-type, offer their names and ad-lib greetings during
a round of handshakes, and react to a booming voice as
Keller and Maguire join them.
KELLER
Howdy! Keller. The free-lance
fightin' game's been kinda shakey.
Just keepin' our hand in.
MAGUIRE
Yeah, we get a little high-strung
sitting around.
Michael stretches to full height vibrating with as much
energy as he can muster...just another itchy action junkie.
MICHAEL
Know what you mean. That nervous
energy just keeps building.
KELLER
Now you know who to call when you
want to work it off.
Keller pops a playful punch into Michael's shoulder that
almost knocks him over. The group disperses toward the
bungalows in the b.g. and we go to:
ANOTHER ANGLE
as Michael and Margot cross to their cars.
MICHAEL
I think I'll pass. There are much
more interesting ways to burn off
excess energy.
Margot chuckles as she pulls a suitcase from the open trunk
and gestures to another that she leaves behind.
MARGOT
You can start with that if you like.
She walks a few steps to her bungalow and goes inside.
Michael grabs the handle of the suitcase; pauses; glances
around, and we are:
ON THE SUITCASE
as Michael pops the latches; rifles the contents and finds a
handgun beneath some clothing, and we go to:
ANOTHER ANGLE - FAVORING MARGOT
as, unseen by Michael, she watches from the doorway of her
bungalow; waits until he slams the trunk before revealing
her presence. As he hefts the suitcase toward her....
MICHAEL
I hate to be the one to break it to
you, but this isn't Club Med.
MARGOT
You mean, I won't need the perfume,
makeup, sexy gowns, string bikinis...?
MICHAEL
(shakes no)
Wrong kind of ammunition.
Michael's remark is buttoned by a burst from a machine gun
and we are:
ON A CAR WINDSHIELD
as the rounds glance off without damaging it, then stop.
REDMOND (v.o.)
You'll notice that ain't your
Sunday-go-to-meetin' ordinary
windshield....
EXT. VANGUARD SCHOOL TRACK - DAY
as Redmond, holding a smoking Uzi, talks to the security
team who wear identical driving suits and crash helmets that
have the school logo on the side and darkened visors. The
group stands in front of a line of cars at the base of an
observation tower in the center of the infield. One car for
each team member; no two alike in color or style; one a
limousine.
REDMOND
(continuing)
Fact is...nothin' 'bout these cars is
ordinary. They ain't indestructible,
but they can take a hit that'd send
a production line model, to car
heaven.
JACOBS
Any chance I could get one for my
live-in?
REDMOND
(off laughter)
If you don't mind her cruisin' your
home spread at 150 per....
MICHAEL
All these cars move that fast?
REDMOND
You bet. But it takes more'n speed
to beat a vehicle bushwhack. The
trick is to anticipate the desperado's
strategy and use it against him. So
you'll all be drivin' attack and target
vehicles durin' training.
ANOTHER ANGLE - TRACK
as the limousine comes through a turn at high speed pursued
by a white sedan, an orange coupe and a silver K car, and we
hear....
REDMOND (v.o.)
First group...Target, Cory. Attack
...Wells, Knight, Jacobs.
The cars blow past in a blur, and we are:
ON THE LIMOUSINE
as it accelerates too quickly and starts to turn sideways to
the track, and we:
INTERCUT - REDMOND IN OBSERVATION TOWER
as he reacts to Cory's side-slide.
REDMOND
Stay with it, Cory....
INSIDE THE LIMOUSINE
as Cory reacts to the voice that comes from within her
helmet; works the steering wheel to bring the car around.
REDMOND (v.o.)
(continuing;
filtered)
Don't hang back! More throttle!
Kick 'er into high gear!
RESUME THE TRACK - REDMOND'S POINT OF VIEW
as the limousine slowly starts to straighten out, but is
still somewhat sideways.
REDMOND (v.o.)
More! Really pop it!!
Cory tromps on the accelerator. The car turns back into the
groove; begins to pull away from the pursuit vehicles moving
onto a distant part of the track and out of view, and we go
to:
ANOTHER ANGLE - TRACK
as Michael's sedan followed closely by Jacobs' coupe and the
K car, begin to close the gap moving up on the limousine,
and we are:
ON MICHAEL
working the steering wheel, keeping the car in the groove.
He glances up to:
REARVIEW MIRROR - MICHAEL'S POINT OF VIEW
as Jacobs' coupe looms larger and is soon almost "kissing"
the rear bumper of the white sedan, and we are:
ON THE WHITE SEDAN AND ORANGE COUPE
moving as if glued together. The coupe drafting in the
sedan's slipstream. As they come out of a turn at top
speed, the coupe suddenly bumps the rear of the sedan
causing it to spin out of control, and we go to:
REDMOND'S POINT OF VIEW FROM TOWER
as the sedan comes spinning out of the turn and back into
view of the tower and we are:
ON REDMOND
as he reacts.
REDMOND
Jacobs! You crazy? This ain't
for real. Settle it down.
RESUME THE SEDAN
as it pinwheels across the track narrowly missing Margot's
speeding car that maneuvers around it and we go to:
MICHAEL'S POINT OF VIEW THROUGH WINDSHIELD
to see the retaining wall rushing toward camera and we are:
ON MICHAEL
as he reacts; whips the steering wheel, and we:
RESUME THE SEDAN
as it responds; changes direction at the last instant and
spins back across the track coming to a stop in the infield
area. Michael swings the car around, drives across the
infield at high speed and we go to:
ANOTHER AREA - INFIELD
as the limousine and two remaining attack vehicles comes in
off the track and stop near the base of the observation
tower. Jacobs gets out of his coupe and is startled by the
screech of tires as Michael's sedan nose dives to a stop
next to him. Michael gets out; crosses to him.
MICHAEL
Hey?! I thought we were supposed to
be on the same side out there?!!
JACOBS
(shrugs)
I'm sorry. The car got away from me.
MICHAEL
I'm not looking for an apology. I
just want to hear it won't happen
again.
JACOBS
Whatever it takes. I mean, I'm not
sure how it happened, but....
MICHAEL
(interrupts)
I'm sorry to hear that. Uncer-
tainty can be a fatal liability in
high stress situations.
Michael eyes him for a beat; turns and moves off and we go
to:
EXT. VANGUARD SCHOOL - NIGHT - TO ESTABLISH
INT. DINING AREA - SELF SERVICE AREA - NIGHT
as Michael puts food on a tray and Keller, next to him,
turns with a tray overflowing with food and we go to:
ANOTHER ANGLE - LOPEZ
eating alone. Keller passes on his way to a table in the
b.g. where the rest of the team is eating; pauses, gestures.
KELLER
Why don't you join the party?
Lopez glares at him and the tray of food with disgust; gets
up and leaves, and we go to:
ANOTHER ANGLE - TABLE
as Keller joins Cory, Maguire, Jacobs and Redmond and
settles in with the tray of food.
KELLER
What's with him anyway?
REDMOND
If you'd spent three years in
solitary in a Cuban hoosegow, you
wouldn't ask. Where's Wells?
CORY
Should be on her way. She said
something about a...phone call.
Redmond drains a cup of coffee and gets up.
REDMOND
I'd better round her up before
Bigfoot here eats everything in
sight.
As Redmond leaves, Michael arrives with his tray and joins
the group. Jacobs reacts; gets up and goes after Redmond.
JACOBS
Hey, I'll go with you.
Michael glances with amusement from his modestly filled tray
to the mountain of food that Keller is devouring next to
him, and we go to:
EXT. TEAM BUNGALOWS - NIGHT
as an unidentifiable figure moves in the shadows toward:
MICHAEL'S BUNGALOW
so identified by the slip-in name card on the door. The
figure pushes inside, and we are:
ON A BOMB AND DETONATOR
as the intruder slides it under Michael's bed and runs a
sensor wire up and underneath the mattress. We hold a beat
and then we:
FADE OUT
END OF ACT ONE
ACT TWO
FADE IN
EXT. VANGUARD PARKING LOT - NIGHT
Michael gets inside K.I.T.T.
MICHAEL
Hello, Kitt.
K.I.T.T.
Excuse me, have we met?
MICHAEL
Come on, Kitt, it hasn't been that
long.
K.I.T.T.
Only nine point four hours. How
would you like to sit here for nine
point four hours. Your only company
a few primitive assembly line
vehicles with an intelligence level
equal to the average clock radio....
MICHAEL
If you're through, I have an
important job for you.
K.I.T.T.
Well, that's more like it. What is
it? Pursuit driving? Demolition
and collision? Evasive ---
MICHAEL
I want you to go into surveillance
mode. Watch my room while I catch
some z's, okay?
K.I.T.T.
How exciting.
Lights on the dashboard go on. Michael gets out, heads for
his bungalow.
EXT. TEAM BUNGALOWS - NIGHT
as Michael approaches and crosses toward his bungalow.
OMITTED
INT. MICHAEL'S BUNGALOW - NIGHT
He flips on the light and crosses to his suitcase. Takes a
book from his suitcase and crosses to the bed...plumps up
the pillow against the headboard. Weary, Michael falls back
onto the bed. There is a muffled explosion and loud hissing
noise that startles Michael. He leaps off the bed, as the
room begins filling with smoke that billows from beneath the
bed, and we:
INTERCUT - THE BOMB
as it rapidly produces the expanding cloud of smoke, and we:
RESUME THE SCENE
as Michael, enveloped by the smoke that obliterates the room,
stumbles with his hand over his mouth and nose in search of
the door.
OMITTED
EXT. MICHAEL'S BUNGALOW - NIGHT
As Michael stumbles out the door in a cloud of smoke, a
figure moves swiftly out of the darkness and grabs him from
behind. Michael reacts instinctively; hip rolls his
attacker to the ground, and we go to:
ANOTHER ANGLE
as Michael, ready to throw a punch, finds himself face to
face with Redmond, who grins:
REDMOND
You are pretty good hand-to-hand.
Michael pulls the punch, turns and sees ---
HIS POINT OF VIEW - BUNGALOW AREA - NIGHT
All of the other trainees are staggering out of smoke-filled
bungalows. They cough their way towards Michael and
Redmond, ad-libbing angry complaints and queries.
ON A SMOKE BOMB
as Redmond pulls it from under his jacket, shows it to the
assembled group.
REDMOND
Just a little Halloween smoke...but
it coulda been dynamite, fulminate,
lay plas-teek, you name it. If I
was a for real bandido, I woulda
blown you all so far your families
woulda been black and blue.
There's laughter from the group...both sincere and
embarassed.
REDMOND
Remember...you gotta be 'on' every
minute of the day...not just when
the sun's shining. Now bunk down,
all of you.
They move away. Redmond catches Michael's arm, speaks in a
lowered voice.
REDMOND
Remember -- every minute of the
day. That goes double for you,
amigo...comprende?
MICHAEL
Comprende.
Redmond slaps him on the back, exits. Michael heads for his
bungalow.
INT. MICHAEL'S BUNGALOW - NIGHT
Michael comes in, opens the windows, uses a pillow as a fan
to get rid of the last wisps of smoke. His wrist comlink
buzzes.
MICHAEL
Yes, Kitt?
K.I.T.T.
Michael, I have to see you.
MICHAEL
Can't it wait? I'm zonked.
K.I.T.T.
Someone was in your bungalow tonight.
MICHAEL
I know. It was Redmond. A little
fun and games to ---
K.I.T.T.
(interrupting)
No, not Redmond.
MICHAEL
Who?!
K.I.T.T.
I don't know.
ON THE K-2000 - NIGHT
as we move in and hear....
MICHAEL
What do you mean, you don't know?
ON DASH CONTROL PANEL
as Michael depresses a button labelled...VIDEO TAPE...and
then another labelled...PLAY....
K.I.T.T.
(dismayed)
I was afraid you'd overreact like
this.
ON K.I.T.T.'S MONITOR SCREEN
as the video tape comes to life and a figure in a driving
suit and crash helmet, visor down, enters Michael's room.
K.I.T.T.
You see? It could be any one of
them. I'm sorry, Michael.
MICHAEL (v.o.)
Freeze that.
The image on the monitor stops suddenly, and we are:
INSIDE THE K-2000
as Michael, eyes riveted to the monitor, studies the image.
He reacts to something; looks closer.
MICHAEL
Give me a frame by frame review.
K.I.T.T.
Michael...I've already examined
every frame. That helmet visor
blocks out....
MICHAEL
(interrupting)
Do it, Kitt.
The image on the monitor reverses action. The helmeted
figure turns in ultra-slow motion bringing the Vanguard
School logo on the side of the helmet more into view.
MICHAEL
Hold it right...there!
The image freezes.
K.I.T.T.
I don't know what you expect to find.
MICHAEL
If you did, I wouldn't be doing this.
Would I? Zoom in.
(a beat)
More. Keep going.
The image continues zooming until the crash helmet fills the
screen.
K.I.T.T.
I tried that too. You still can't
make out the face.
MICHAEL
Forget the face. Zoom into the logo.
All the way in....
As the logo zooms to fill the screen....
K.I.T.T.
But Michael, all the helmets have
the same logo.
Michael leans to the monitor, and we are:
CLOSE ON THE MONITOR
as Michael's finger points to a distinctive vee-shaped
scratch that cuts through the logo decal.
MICHAEL
Not all of them have that!
ON A BULLHORN
REDMOND (v.o.)
(amplified)
In this scenario, I'm the target and
I've been shanghaied.
EXT. URBAN STREET - DAY
A row of three and four-story old brick structures. Redmond
stands on the roof of a building with the bullhorn.
Michael, alone in the street below, holds a coil of rope
with attached grappling hook...a handgun in a holster on his
hip.
REDMOND
(continuing;
amplified)
You've savvyed I'm bein' held in
this abandoned building. If you get
to me before any other bravo gets
to you, why, then, you win. Go!
Redmond moves out of view. Michael moves to a wall of the
building as he uncoils the rope; whirls the grappling hook
overhead and tosses it, and we are:
ON A BALCONY
as the hook drops into the shot and hooks on the edge. We
angle over to pick up Cory as she moves onto the balcony and
we go to:
ANOTHER ANGLE FAVORING MICHAEL
working his way up the rope toward the balcony. Cory leans
over the edge of the balcony. Michael reacts by running
along the wall. An action that gets him swinging like a
pendulum, and we are:
ON A WINDOW
as Michael swings into the shot on the rope and drops
through the open window into the building, and we go to:
INT. CORRIDOR - DAY
as Michael lands; glances about cautiously; moves toward a
staircase; pauses and turns in reaction to a noise behind
him, and we go to:
MICHAEL'S POINT OF VIEW - CORRIDOR - MOVING
as we pan across a doorway, a window at the end of the
corridor and come onto a large, covered trash pail, and we:
RESUME MICHAEL
as he moves cautiously to the trash pail; pulls the lid off
fast; pushes his weapon forward.
MICHAEL
You're dead!
CLOSE ON TRASH CAN - MICHAEL'S POINT OF VIEW
to see that it is empty. Michael replaces the lid, and we
move up and across an adjacent wall to a dumbwaiter door
that moves slightly, and we go to:
ANOTHER ANGLE - MICHAEL
as he quickly moves to the dumbwaiter; slams the door shut
and turns the latch handle. He moves around to see:
MICHAEL'S POINT OF VIEW - DUMBWAITER DOOR
to see Maguire's face through the circular glass viewing
port. He is curled up in the dumbwaiter.
MICHAEL
Gotcha!
Michael pushes the button next to the door. Maguire's face
drops out of sight, and we go to:
ANOTHER ANGLE - STAIRCASE
as Michael moves up cautiously; glances up to see:
MICHAEL'S POINT OF VIEW - A STACK OF WOODEN CRATES
on the landing above, as they rock and tumble down the stair-
case right at him, and we:
RESUME MICHAEL
trapped; the crates tumbling at him. He leaps up and grabs
an overhead pipe; swings himself out of the way as the
crates roar beneath him and smash into a wall with force,
and we are:
ON JACOBS
as he appears at the top of the stairs; looks down.
JACOBS
Knight? Hey? Hey you okay?
JACOBS' POINT OF VIEW OF THE SMASHED CRATES
No sign of Michael, and we:
RESUME THE SCENE - STAIRCASE
as Jacobs descends; looks puzzled, then whirls, startled as
Michael drops behind him; puts a gun to his forehead.
MICHAEL
You're the one that's dead, friend.
JACOBS
(gestures
to crates)
Hey, listen, they....
MICHAEL
(interrupts)
Got away from you. I know.
Michael eyes him a beat; climbs the stairs, and we go to:
ANOTHER ANGLE - CORRIDOR
As Michael enters from the staircase, a huge shadow moves
across the wall in front of him. He turns and ducks as
Keller dives, misses and smashes into the wall. Michael
takes off. Keller gets to his feet and pursues, and we go
to:
ANOTHER ANGLE - CORRIDOR - FIRE DOOR
that closes off the corridor. Michael arrives on the run;
yanks on the handle. It won't budge. Keller gains in the
b.g. Michael finally slides the door open about six inches;
barely slips through as Keller arrives. He works on the
door but it refuses to move, and we go to:
OPPOSITE SIDE OF FIRE DOOR
Michael watches as Keller forces an arm and shoulder through
the narrow opening, but his massive body won't make it.
MICHAEL
You're dead!
(to himself, as
he moves off)
Cholesterol strikes again....
ANOTHER ANGLE - CORRIDOR
as Michael moves past doorways, looking into rooms; pauses
when he sees....
MICHAEL'S POINT OF VIEW - REDMOND
as he sits in a chair reading a girlie magazine. He glances
up and smiles, and we:
RESUME THE SCENE
as Michael moves into the doorway; places a hand on the door
ready to slam it all the way open to be dure no one is
behind it, and we go to:
ANOTHER ANGLE - MARGOT
pressed against the wall. The door slams inches from where
she stands. It bounces back a few feet. Margot moves
behind it now; readies a handgun, and we go to:
ANOTHER ANGLE - FAVORING MICHAEL
as he enters and crosses toward Redmond. Margot steps in
behind him. Michael hears and whirls, and we are:
ON MARGOT'S HANDGUN
as she pulls the trigger and it fires, and we are:
CLOSE ON MICHAEL'S FACE
as he is hit square in the forehead by a dart with a rubber
suction cup, that sticks on impact, and we:
RESUME THE SCENE
as Margot moves forward.
MARGOT
You're dead, Mike.
Redmond joins them; takes one look at Michael and cracks up,
and we are:
ON A SINK FULL OF WATER
as Michael leans down to it and washes his face. We widen
out as he scrubs his forehead with a cloth.
MARGOT (v.o.)
(concerned)
It won't come off?
CLOSE ON A MIRROR OVER SINK
as Michael looks up and we see a perfect circle centered on
his forehead. He scrubs it again to no avail.
MICHAEL
Either that, or...
(scratches
at surface
of mirror)
There's a little red circle on this
mirror that moves....
INT. MICHAEL'S BUNGALOW - NIGHT
as Margot crosses to him.
MARGOT
Gosh, I'm sorry, Michael. Maybe I
can....
She pauses as Michael turns to her. She tries not to laugh
but can't hold back.
MARGOT
It's funny. It really is....
MICHAEL
Great. What's that old saying?
'Yesterday I couldn't spell Hare
Krishna, today I are one.'
Margot chuckles. Michael dries his face.
MARGOT
So, what's your excuse, anyway.
(off his look)
I mean for being in this business.
MICHAEL
Well, when I was a kid, I used to
dream about being a hostile Third
World leader. When that didn't work
out, I took the next closest thing.
MARGOT
Come on. Really....
MICHAEL
Really?
Margot nods.
MICHAEL
(deadly serious)
I was a cop. I got tired of being
shot at while I shouted halt and fired
warning shots. I wanted something
where the rules were the same for
both sides.
She studies him a beat. He pulls on a shirt. They hold a
look. He turns and leaves the bungalow and we go to:
EXT. COUNTRY/WESTERN BAR - NIGHT - TO ESTABLISH
INT. COUNTRY/WESTERN BAR - NIGHT
as music blasts and a figure in a wide-brimmed ten-gallon
hat moves through the crowd, back to camera, and we go to:
ANOTHER ANGLE - BOOTH - MICHAEL
as a shadow falls across the table.
VOICE
Hello, cowboy?
Michael glances up from his bowl of chili.
REVERSE ANGLE
revealing that Michael's visitor is a girl in a snug sequined
rodeo blouse, tight jeans and Stetson. She looks like the
girl in the Jordache commercials...however, it is....
MICHAEL
(astonished)
Bonnie?
BONNIE
(throaty)
This place ain't big enough for both
of us, fella. Let's mosey outside
and talk to our head honcho, okay?
Michael rises, taking the bowl of chili. He looks at her in
passing.
MICHAEL
Did you change your hair or
something?
She smiles.
ANOTHER ANGLE - BAR
as they push through the crowd passing a darkened corner of
the bar. A cowboy, back to camera, turns and we recognize
Lopez. He watches them exit, thoughtful.
CUT TO
EXT. HIGHWAY - NIGHT - STOCK
The Foundation semi zooms down the road.
INT. SEMI - NIGHT - TRAVELING
Bonnie and Michael come inside. Devon rises to greet
Michael.
DEVON
We had a devil of a time finding you
tonight, Michael. Is that Western
Country place the only nightspot in
this...
(generously)
...town?
MICHAEL
It's 'Country Western', and it is.
DEVON
No wonder Mr. Redmond talks like
that....
Devon peers into Michael's bowl of chili.
MICHAEL
It's chili. A gourmet like you
wouldn't be interested in ---
Before Michael can finish, Devon has appropriated the bowl
and spoon, tasted it, thoughtfully. A wine-connoisseur-type
look crosses his face. Bonnie, meanwhile has gone behind a
rack of equipment to change her clothes. Michael sneaks a
look there, but really can't see anything.
DEVON
Unassuming...and far too simple.
Cayenne is no substitute for cumin.
And all those beans...Ernest would
never approve.
MICHAEL
(turning back
to Devon)
Ernest?
DEVON
Hemingway. One time in Havana, he
and I...oh, well, enough reminiscing.
Let's get to the point.
Bonnie enters the shot, zipping up her Foundation overalls.
She punches up some data on the computer.
BONNIE
We've been cross-checking all of our
information...it hasn't been easy,
because we don't want to spook our
target....
DEVON
(pleased)
But we've done it! We've narrowed
down our search for the inside man.
Whoever planted that assassin in the
Vanguard School has been working out
of the State Department.
MICHAEL
State Department, huh...how many
employees do they have?
BONNIE
Eighty-four thousand.
MICHAEL
Well, that narrows it down...Are
you trying to tell me that you
haven't made any progress at your
end?
DEVON
Oh, well, you might say that....
MICHAEL
I just did.
DEVON
Michael, I'm sorry, but the ball is
still in your court. The Third
World leaders arrive in only two
days and you can ferret the assassin
out from a group of six far easier
than we can find his confidant in a
group of one hundred thousand.
MICHAEL
I thought it was eighty-four
thousand.
BONNIE
I forgot to count overseas personnel.
Michael sighs wearily, digs into his chili.
CUT TO
OMITTED
VERY CLOSE ON MICHAEL'S FACE
as he knocks down the visor of his crash helmet. He is
suddenly grabbed from behind in a choke hold, and we go to:
INT. VANGUARD SCHOOL GYM - DAY
revealing we are in a hand-to-hand combat class. Michael
reaches back over his head; grabs his opponent whose identity
is concealed by driving suit and visored helmet. Michael
expertly flips and rolls his adversary over his shoulder
onto the mat, and during the above we:
INTERCUT - REDMOND
observing this activity.
REDMOND
Way to go. Nice. Nice....
He turns his attention to other one-on-one teams working out
in the b.g. and we:
RESUME MICHAEL AND ADVERSARY
as they struggle to get the advantage. Another flip-roll
puts them face to face, and we go to:
MICHAEL'S POINT OF VIEW - ADVERSARY
to see the vee-shaped scratch in the logo on the helmet.
Michael flips up the visor revealing Margot to be the
inhabitant of the helmet. We hold a beat, and then we:
FADE OUT
END OF ACT TWO
ACT THREE
FADE IN
INT. VANGUARD SCHOOL GYM - DAY
as Michael flips Margot onto the mat; presses a hold. She
grimaces; twists around to him; tight-lipped, sotto....
MARGOT
Hey?! Hey, that hurts!
MICHAEL
It's supposed to. What were you
doing in my room last night?
MARGOT
Returning the favor....
He uses his leverage to turn and pin her. Now face-to-face.
MICHAEL
(shakes no;
smiles)
That'd be something I'd remember.
Believe me.
MARGOT
Come on. I wasn't here ten minutes,
you were rifling my suitcase.
MICHAEL
You're very observant.
MARGOT
The company emphasizes it.
MICHAEL
(skeptically)
CIA?
Margot nods.
MICHAEL
That .45 in your bag isn't exactly
standard issue.
Margot makes a quick move; gains the advantage; flips
Michael; comes out on top. Eyes him for....
MARGOT
Neither is the Knight Foundation.
They hold a look, and we go to:
EXT. COUNTRY/WESTERN BAR - NIGHT - TO ESTABLISH
INT. COUNTRY/WESTERN BAR - BOOTH - NIGHT
as we pan across the noisy crowd and pick up Michael and
Margot in a darkened corner.
MARGOT
You still don't believe what I told
you. Do you?
MICHAEL
I do, and I don't....
MARGOT
What's the problem?
MICHAEL
Some pieces that don't fit.
(off her look)
I'm on this case because a breech in
security forced the government to go
outside for an agent. They purposely
didn't assign someone to....
MARGOT
I wasn't assigned to it.
(off his look)
I was in Europe investigating one of
our operatives...someone we suspect
of being recruited by Third World
dissidents. His movements led me to
the case.
Michael digests her response; studies her a beat, before....
MICHAEL
Only European on the team is...Jacobs.
MARGOT
(nods)
But I have no proof, he's a terrorist
or an assassin.
MICHAEL
We may soon. I'm having him checked
out. What can you tell me about him?
MARGOT
Privately, he exhibits the typical
terrorist profile. Angry, zealous,
talks about a higher purpose; seems
to be in search of followers.
MICHAEL
Great. Maybe he was a Bible
salesman in a former life.
MARGOT
I said, I wasn't sure. But your
presence clearly threatens him. He
accused you of what we suspect of
him.
MICHAEL
An old technique. Hitler used it to
great advantage.
MARGOT
Look, we both came to the same con-
clusion. Why don't we just have
him picked up?
MICHAEL
Because if we're wrong, we'll blow
our cover and we'll never flush out
the assassin in time.
MARGOT
So what do you want to do?
MICHAEL
Depends. Does Jacobs trust you?
MARGOT
(nods)
I'm always up front with him. He
knows I'm here now.
MICHAEL
(muses)
Then, we'll work together and force
his hand.
MARGOT
Sorry, I can't take that chance.
MICHAEL
Why not. You took this one?
MARGOT
I had no choice.
(smiles)
How did you get onto me, anyway?
MICHAEL
(a wry smile)
Your perfume. I smelled it in my
room.
MARGOT
(a skeptical
pout)
Come on, Michael. I'm not the only
woman on this team.
MICHAEL
Ah, but how could you know I have
highly sensitive olefactory powers
able to distinguish between....
MARGOT
(laughs;
interrupts)
Sure, and next you'll promise to
tell me only if I work with you.
Right?
MICHAEL
(wry smile)
If that's what it takes....
Margot smiles; a sideways glance as she considers, before....
MARGOT
(nods)
Okay. As long as you understand
those long lashes, sensuous mouth
and highly sensitive olefactory
powers had nothing to do with my
decision.
Michael breaks into an easy chuckle. Margot leans closer
for....
MARGOT
(sensuously)
What do you want me to do?
They hold a look and we go to:
EXT. VANGUARD SCHOOL COMPLEX - NIGHT
INT. JACOBS' ROOM - NIGHT
as he responds to a knock; crosses to the door....
JACOBS
Yeah?
MARGOT (v.o.)
It's Margot.
Jacobs opens the door. Margot enters the room. As she does
she wags a finger at....
MICHAEL
around the corner. Now, he moves to the door, listens.
JACOBS' ROOM
JACOBS
What'd you find out?
MARGOT
He knows I checked out his room. He
has this idea about...an assassin.
JACOBS
Maybe we should introduce him to one?
MARGOT
(considers;
nods)
That's a very interesting idea.
(a look)
You know any?
JACOBS
(chuckles)
Tomorrow, during survival training.
We'll turn him into the perfect
example of how not to.
They hold a look, and we go to:
EXT. VANGUARD SCHOOL SURVIVAL COURSE - DAY
an area that combines high-swamp grasses, rocky high ground
and heavily treed forest. We pan across and pick up a four-
wheel drive off-road vehicle moving across this terrain, and
we hear:
REDMOND (v.o.)
You'll split into two-man teams.
One guard, one target. In this
scenario only the guard carries
hardware.
ANOTHER ANGLE - CLEARING
as the four-wheel drive vehicle pulls to a stop. Redmond and
the security team pile out, and gather around him.
REDMOND
Okay. Despite evasive tactics, the
V-A...the vehicle ambush, was
successful. You poor bozos are
slap-dang in the middle of nowhere.
Shooters converging. You remove the
target from the vehicle and burn
leather!
As Redmond turns to a rack of Uzis on the rear of the four-
wheel drive vehicle, we go to:
ANOTHER ANGLE - MICHAEL
as Margot moves in next to him; leans close for....
MARGOT
What do you say, pardner?
MICHAEL
That's what I was going to ask you.
Make any headway with....
He inclines his head slightly toward Jacobs who stands off
to the side. Margot nods. Redmond turns from the four-
wheel drive vehicle holding an Uzi.
REDMOND
Okay. First team.
MARGOT
Right here.
She and Michael step forward. Redmond tosses the Uzi to
Margot; points to Michael.
REDMOND
Bodyguard...target. Move out.
Margot and Michael move off at a jog into the high grass
that soon conceals them. Redmond leads the remainder of the
team toward high ground, and we go to:
ANOTHER ANGLE - FOUR-WHEEL DRIVE VEHICLE
as a hand pulls another Uzi from the rack, and we widen out
to include Jacobs who moves off into the swamp grass and we
go to:
EXT. SWAMP AREA - DAY
as Margot and Michael make their way through high grass.
MARGOT
He'll be out here somewhere. He's
going to try and kill you.
She hands Michael the Uzi.
MICHAEL
Be careful, okay?
Michael leads the way with the Uzi; pauses suddenly at a
sound. Uses a gesture to hold Margot back and advances
cautiously to investigate, and we go to:
ANOTHER ANGLE - SWAMP
as Michael appears from the tall grass; pauses with concern;
clicks on his wrist communicator.
MICHAEL
Kitt...they're playing for keeps.
Get into this sector and watch
everything that moves.
EXT. VANGUARD SCHOOL PARKING AREA - DAY - K-2000
as the grille illumination on the K-2000 comes to life. The
engine starts. The car roars out of the parking area.
ON THE DASH CONSOLE - VIDEO MONITOR
as a graphic; a representative map of the area appears. A
pinpoint of light that marks Michael's location flashes,
and we:
RESUME MICHAEL
as he moves through the grass; pauses in reaction to a sharp
noise behind him. He whirls and fires a burst from the Uzi,
and we are:
ON A POP-UP TARGET
as it is ventilated by the rounds, and we are:
ON MARGOT
as she reacts to the gunfire; frozen in position. Suddenly
an arm reaches out of the grass behind her and pulls her
back out of view, and we go to:
ANOTHER ANGLE - JACOBS AND MARGOT
as he eases his grip on her, and she settles.
JACOBS
Nice. Perfect set-up....
He moves off taking Margot with him, and we:
RESUME MICHAEL
as he begins to retrace his steps looking for Margot.
MICHAEL
Margot? Hey? Hey Margot?
He reacts to a woman's scream; takes off toward it and we
are:
ON JACOBS AND MARGOT
as she settles to the ground, Jacobs arranging her posture.
JACOBS
You're hurt. Call him.
Jacobs moves into the tall grass.
MARGOT
Michael? Michaeeelll?
RESUME MICHAEL
as he reacts; hurries toward the voice, and we are:
ON JACOBS
concealed in the grass nearby. Uzi raised; reacts to:
JACOBS' POINT OF VIEW - MICHAEL
as he pops in and out of view moving through the grass
toward Margot; spots her; takes a step forward; freezes when
he sees:
MICHAEL'S POINT OF VIEW - MARGOT
as she opens her eyes wide; fearfully; as a signal; gestures
with her head to the brush behind her, and we:
RESUME JACOBS
as he aims and fires, and we:
RESUME MICHAEL
as he reacts to Margot's warning; dives and rolls as the
rounds from the Uzi chop into the grass where he was
standing, and we go to:
ANOTHER ANGLE - MICHAEL
as his momentum carries him into dense brush. He smashes
into a concealed pop-up target that springs to life and
decks him, knocking the Uzi into the air, and we are:
ON THE UZI
as it sails through the air and lands in the water.
INTERCUT - THE K-2000
as it skids to a halt along a road that parallels the swamp
area.
OMITTED
BACK TO SCENE - WIDE
as Michael's hand gropes for the Uzi; Jacobs lunges into the
shot; snaps his Uzi to his shoulder and cranks off a burst,
and we are:
ON MICHAEL
as he rolls aside and the rounds pop into the dirt. Unhurt,
Michael quickly gets to his feet and runs concealed by the
high grass.
OMITTED
ATOP A RISE - ON JACOBS
as he scans the area from this vantage point, and we go to:
JACOBS' POINT OF VIEW - SWAMP AREA
as we pan across, and pick up a sudden movement in the tall
grass. We can't see Michael but the action of the grass
charts his course to a dense cluster of trees, and we:
RESUME JACOBS
as he reacts and notes Michael's destination. He moves off
toward it, and we go to:
REDMOND AND SECURITY TEAM
as Margot exits the tall grass on the run and hurries toward
them.
REDMOND
What are you doin' back here?
Where's your target?
MARGOT
In trouble. Someone's trying to
blow him away!
REDMOND
'Course they are! That's part of
the scenario.
MARGOT
No, no! I mean, really kill him!
(off Redmond's
reactions)
Jacobs! He's hunting him down.
Michael's unarmed!
Redmond and the group pile into the four-wheel drive
vehicle. It roars off into the tall grass, and we go to:
MICHAEL - HIDDEN IN FOILATE
He activates his wrist comlink.
MICHAEL
Kitt? Do you have me on your
scanners?
INTERCUT - INT. K.I.T.T.
A blinking dot indicates Michael on the map.
K.I.T.T.
Yes, Michael. But I'm not certain I
can reach you in this kind of terrain.
MICHAEL
Nobody's perfect...Look, somebody's
stalking me and I can't reconnoiter
without getting ventilated. Can you
tell me where he is?
K.I.T.T.'s scanner screen scrolls up, down, left...right.
Another dot appears.
K.I.T.T.
I believe so, Michael. There's
another person about eighty meters
southeast of your position.
MICHAEL
That's all I need to know. Don't
call me...I'll call you.
Michael switches off, begins to move stealthily through the
terrain.
OMITTED
JACOBS
as he follows the path of flattened grass Michael made as he
ran. We follow Jacobs as he emerges from the tall grass and
moves into a heavily treed area, and we are:
ON TREE LIMB
that Michael has arched back and down close to the ground.
He straddles it, heels dug into the ground keeping it from
springing forward...a catapult straining to release, and we:
RESUME THE SCENE
as Jacobs emerges from behind some heavy brush and Michael
rockets into the shot on the tree limb and smashes feet
first into Jacobs' chest like a battering ram. They go down
in a fist-swinging heap. As they roll over, Michael grabs
the Uzi's strap...pulls...this pulls Jacobs to his feet...
both men strain for control of the weapon...then....
INSERT - UZI STRAP
it snaps ---
THE SCENE
Michael falls head over heels. Jacobs stumbles back, gains
his balance. Aims...Michael, on the ground, knows it's over
-- then we hear the bursts of machine gun fire ---
CLOSE ON UZI MUZZLE
as 9mm bullets explode in flashes of death and ---
OMITTED
MICHAEL
reacts to not dying as ---
JACOBS
staggers as he takes several hits, his unfired weapon
dropping into the slime a moment before he does. A beat.
Stunned, Michael turns, sees ---
REDMOND AND MARGOT - ON CREST OF HILL
Redmond is as surprised as Michael. He stares at Margot,
who still holds her smoking Uzi, her face ashen.
CUT TO
INT. FOUNDATION - DAY - SEMI
Devon on the phone, listening, concerned.
DEVON
You're not hurt? Don't humor me,
Michael....
OMITTED
INTERCUT - MICHAEL IN REDMOND'S OFFICE - DAY
as he talks he is surrounded by Redmond and all the other team
members, sans Jacobs.
MICHAEL
I'm fine, Devon. And our first
hunch was the right one.
DEVON
Then it was Jacobs! Has he talked?
Who financed him? Did he....
MICHAEL
I know it'd be nice to pick his
brain, but he challenged an Uzi and
lost. I'm sorry.
DEVON
Not to worry, Michael. That's a
purely secondary consideration. My
congratulations.
MICHAEL
Thanks. See you later.
Michael hangs up. Redmond extends a hand. A round of
handshakes with team members ensues, and we go to:
ANOTHER ANGLE - FAVORING MARGOT
as Michael is about to shake her hand and she kisses him.
The group breaks into spontaneous cat-calls and wolf
whistles. We hold a beat, and go to:
EXT. VANGUARD SCHOOL PARKING AREA - DAY
as Michael approaches the K-2000 and gets inside, and we are:
ON THE K-2000
as Michael settles triumphantly behind the wheel.
MICHAEL
Well, Kitt, we did it again!
K.I.T.T.
Michael, you can't mean that this
mission is over.
MICHAEL
(reaching for
wheel)
Why not?
K.I.T.T.
Usually you take your luggage home.
MICHAEL
Ah...right...I was distracted by
uh....
K.I.T.T.
Let me guess. A young lady?
MICHAEL
(getting out)
Don't go away.
ON MICHAEL - OUTSIDE REDMOND'S OFFICE
strolling along happily, making the turn into the doorway --
then reacting as he sees ---
OMITTED
INT. REDMOND'S OFFICE - DAY - MICHAEL'S POINT OF VIEW
as a team member, in driving uniform and back turned to
Michael holds an Uzi on Redmond who is seated in a chair.
He is being gagged and tied up by the other members of the
team, also in driving uniforms, that initially create
anonymity. Suddenly the Uzi wielder sees him. It's ---
MARGOT
Freeze!
ON MICHAEL
belted hard by this revelation. He slowly raises his hands.
MICHAEL
You had plenty of shots at me. Why
didn't you take 'em?
MARGOT
Because whoever sent you would have
been all over this place. We couldn't
risk that.
MICHAEL
So, when I zeroed-in on Jacobs,
you...let me have him.
JACOBS' VOICE
Not exactly....
OMITTED
ANOTHER ANGLE - FAVORING JACOBS
who has moved up behind Michael with an Uzi. He is a
shocking sight. Covered with mud from the swamp and
theatrical blood from the exploding squibs that have torn
and blackened his uniform. Jacobs whaps Michael from
behind on the head. We hold a beat and then we:
FADE OUT
END OF ACT THREE
ACT FOUR
FADE IN
OMITTED
EXT. MOUNTAIN ROAD - DAY
Pullback from the K-2000. Michael is behind the wheel,
unconscious. We see that the car is at the edge of a
downward slope in the road...Margot beside it. She waves
someone o.s. into the shot -- like a parking attendant.
Jacobs drives up in a four-wheel drive vehicle.
JACOBS
Too bad. Guy wrapped up the big
case...and got totalled in an
accident on the way home.
MARGOT
Who said life was fair?
They share a smile. Responding to her signals, the
four-wheel kisses the 2000's bumper...that's all it takes.
ANOTHER ANGLE - K-2000
it starts to roll down the road...which ends abruptly ahead.
MARGOT AND JACOBS
watch this, turn. We see the rest of the assassination team
behind them.
MARGOT
Okay, let's go! Our sitting ducks
touch down in thirty minutes!
With Jacobs and Margot in the Jeep, and the others on foot,
they head towards their waiting vehicles. Peel out.
OMITTED
INSIDE THE K-2000 - ON MICHAEL
slumped in the front seat, as he comes to, sees ---
MICHAEL'S POINT OF VIEW THROUGH WINDSHIELD
they go off the road and down a dangerously steep hill.
RESUME THE K-2000
as it plummets down....
MICHAEL
Kitt!
K.I.T.T.
I see you're awake.
MICHAEL
(hitting switches)
Yeah, but are you? How'd you let
this happen?
K.I.T.T.
You left me in surveillance mode. I
assumed anything else would ruin our
undercover operation.
MICHAEL
Brilliant thinking...okay, just hit
the brakes!
K.I.T.T.
I am hitting the brakes.
EXT. CAR
Indeed, the wheels have locked...but they're still going down.
INT. K.I.T.T.
Michael looks ahead...and turns even more ashen because....
HIS POINT OF VIEW - THROUGH WINDSHIELD
There's good news and bad news. The good news is, this
forty-five degree slope is about to end. The bad news is,
it ends in a straight drop of about 1000 feet.
BACK TO SCENE
MICHAEL
Kitt, stop!
K.I.T.T.
I'm trying, Michael, but the law of
gravity takes precident. If you're
familiar with Newton's Laws of
Motion, then ---
Michael grabs the wheel, throws it over.
EXT. K.I.T.T.
The car spins around in a 180 degree turn....
MICHAEL'S HAND
hits "Rocket Boosters" ---
REAR OF K.I.T.T.
The rockets fire and ---
THE SCENE
The car comes to a dead stop...inches from oblivion.
INT. K.I.T.T.
Michael sighs with relief.
MICHAEL
That was...close.
K.I.T.T.
Yes...and also a brilliant
demonstration of Newton's third
law of motion.
MICHAEL
You can grade me later...let's get
out of here....
K.I.T.T.
May I suggest we take a horizontal
route?
MICHAEL
You got it.
THE SCENE
as the car heads sideways along the slope.
EXT. DESERT - DAY - WIDE - TO ESTABLISH
as we pan across an endless panorama of dunes that act as a
backdrop for a road that cuts through the sand in a straight
line from horizon to horizon, and we go to:
ANOTHER ANGLE - ROAD
as a line of vehicles comes over the horizon traveling at
high speed, and we are:
ON THE VEHICLES
to see there are six, four security team cars and two limos.
They roar past camera in a 100 mph blur and continue down the
center of the road. The sound of the vehicles segues to the
high-pitched whine of a jet aircraft, and we are:
ON A LEAR JET
as it streaks at low altitude over the desert floor and we
follow as it banks slightly and flies right over the line of
cars on the road below, and we are:
ON MARGOT
behind the wheel of her car; as she reacts to the sight of
the aircraft. She smiles.
MARGOT
Come to mama.
She tromps on the accelerator and we go to:
INT. K.I.T.T. - TRAVELING
MICHAEL
Kitt, patch me through to Devon. I
want to warn him.
K.I.T.T.
makes some interesting pops and beeps, then ---
K.I.T.T.
Sorry, Michael. I can't get through.
MICHAEL
Why? We must be in range of the
airfield ---
K.I.T.T.
We are. But the security
precautions for the Third World
leaders include jamming of all
uncoded transmissions.
MICHAEL
Can you break the code?
K.I.T.T.
Do we have an hour?
MICHAEL
(grimly)
We don't have five minutes.
OMITTED
EXT. DESERT AIRSTRIP - DAY - WIDE
as we pan across and pick up a limousine that approaches.
We follow it to a large white tent that stands off to one
side of the runway. Two MPs stand at the entrance. One of
them opens the door of the limousine that pulls to a stop.
Devon and another man, ostensibly a government official get
out, and react to:
THE LEAR JET
as it approaches overhead and makes a wide, swinging turn
that lines it up with the runway, and we go to:
ANOTHER ANGLE - JET
as it screeches past; touches down and we are:
ON THE DESERT ROAD
as the six vehicle caravan approaches at high speed, and we:
INTERCUT - THE K-2000
as it zooms across the desert floor, rooster tail of sand
flying into the air behind it, and we:
RESUME THE LEAR JET
as it taxis to a stop a short distance from the tent. The
door opens. The Third World leaders, attaches in hand,
deplane. They are greeted by Devon and the government
official who usher them toward the tent, and we:
RESUME THE K-2000
as it bounces from the sand onto the road; takes off at top
speed, and pan ahead to pick up the line of six vehicles
ahead of it, all now on the same course.
ON MICHAEL
as he sees them, tromps on the accelerator.
MICHAEL
We're not too late! There they are!
ON THE ROAD
as the K-2000 and the line of security vehicles come closer
and closer together.
ON MARGOT
in the tailing car, she reacts as she catches a glimpse of
K.I.T.T. in the rearview mirror. She grabs a radio mike.
MARGOT
Everyone, we're being pursued. I
don't know how, but it's Knight!
INTERCUT - OTHER VEHICLES
as they react, ad-lib remarks.
JACOBS
That's impossible.
MARGOT
Really? Well, 'impossible' is going
about ninety miles an hour.
JACOBS
Pull the limos over! We'll stop him
right here!
THE SCENE
as the two limos in the lead stop, swing around...block the
road. The drivers get out, aim Uzi's as the four pursuit
vehicles swerve around them, continue their race towards
murder.
MARGOT (v.o.)
Finish him and rendezvous with us
after the mission!
CUT TO
EXT. ROAD - ON K.I.T.T.
coming up from a dip in the road.
INT. K.I.T.T. - ON MICHAEL
reacting to ---
HIS POINT OF VIEW - LIMO ROADBLOCK
rising in view ahead, thirty feet of steel blocking the road
...boulders and rough terrain on either side preventing a
turn.
INTERCUT - THE DRIVERS
open fire with their Uzi's...
INTERCUT - THE KNIGHT 2000
as bullets ping off the alloy surface.
INT. K.I.T.T.
MICHAEL
Remember that limo I was driving?
The one you didn't like?
K.I.T.T.
What about it?
Michael reaches for the control marked "COLLISION SPEED".
MICHAEL
Your big chance is coming up.
OMITTED
THE SCENE (SLOW MOTION)
The two assassins suddenly realize Michael ain't stopping.
They run for cover. The two limousines go to car heaven as
the Knight 2000 crashes through them like a knife going
through butter.
CUT TO
OMITTED
EXT. KILLER'S CONVOY - DAY - HIGH ANGLE
The four armored pursuit vehicles tearing up the dust. We
hold...until slowly, surely...the Knight 2000 brings up the
rear.
INT. MARGOT'S CAR
double-taking at the black mirage in her rearview.
MARGOT
(into radio)
He...he's back...he's still there!
Ad-lib reactions of astonishment, then....
JACOBS
We're two minutes ahead of
schedule. Let's take him out. Go
-- nutcracker pattern -- now!
ROAD - HIGH ANGLE
as the four pursuit cars cwing out of the road in deft
coordinated turns...and then head from four points of the
compass towards you-know-who.
MICHAEL'S POINT OF VIEW THROUGH WINDSHIELD
as we pan across and pick up a car heading right at him, and
we continue panning...a 360 degree move that picks up
vehicles coming at him from every direction, and we are:
INSIDE THE K-2000
as Michael reacts to this development.
MICHAEL
Kitt, I think we're parked on ground
zero.
THE SCENE - WIDE - FROM ABOVE
to see the K-2000 is the bull's-eye for the four vehicles
converging at high speed.
K.I.T.T.
Michael, I thought you liked being
the center of attention.
OMITTED
INTERCUT - VARIOUS SHOTS - ADVANCING VEHICLES
closing in on the K-2000; seconds away from ramming it from
four directions simultaneously, and we are:
ON K-2000 PEDALS
as Michael's foot pops off the clutch; the other tromping
down on the accelerator, and we are:
ON THE K-2000
as it rockets forward like a dragster coming off the line
and we go to:
ANOTHER ANGLE - TWO ONCOMING VEHICLES
as the K-2000 scrapes paint as it pops through the rapidly
narrowing space between them, and we:
RESUME HIGH ANGLE
as the converging cars meet in a three-way head-on collison
and the K-2000 squirts out of the pile-up at the last
instant, and we:
INTERCUT - VARIOUS SHOTS - SLOW MOTIONS
as the momentum of the vehicles jam them into a comedic
fender-crunching pile-up, and we are:
ON MARGOT
as she reacts; slams her vehicle into reverse, and we:
RESUME THE SCENE
as the car backs out of the pile-up and takes off at high
speed across the desert. The K-2000 immediately pursues,
and we go to:
INT. LARGE TENT - DAY
as the Third World leaders are being welcomed by Devon and
the government official, and we go to:
EXT. LARGE TENT - DAY
as Margot's vehicle comes over a dune in the distance and
approaches at high speed...on a collision course with the
tent. The posted MP's react with alarm, and we are:
ON THE K-2000
as it appears from behind some dunes and accelerates on an
intercept course, and we:
RESUME INT. TENT
as the group reacts with uncertainty to the sounds of the
approaching vehicles. Devon crosses to the entrance and
peers outside, and we go to:
DEVON'S POINT OF VIEW - MARGOT'S CAR
as it comes right at him at top speed, and we are:
CLOSE ON DEVON
wide-eyed with alarm; can't believe it; dashes back into the
tent and we:
INTERCUT - MP'S
as they raise their weapons and crank off bursts at the
advancing car, and we are:
ON MARGOT'S CAR - VARIOUS SHOTS
as the rounds glance off the windshield and the car keeps
coming, and we:
RESUME THE SCENE
as Margot's car bears down on the tent and the K-2000 roars
into the shot and rams it. Margot's car careens out of
control, narrowly misses the tent and we go to:
ANOTHER ANGLE - FAVORING TENT
as Devon and leaders exit on the run, Margot's car careens
into view, smashes into the vacated tent and comes to a stop
as the canvas settles all around it. Margot climbs out of
the car, battling the canvas and is face-to-face with two
gun-toting Marines, and we are:
ON THE K-2000
as it pulls to a stop in front of the collapsed tent next to
Devon and group. The window lowers. Michael waves. Devon
sighs with relief. We hold a beat on their looks and then we:
FADE OUT
END OF ACT FOUR
TAG
FADE IN
EXT. AIRFIELD - DAY
A uniformed chauffeur, back to camera stands stiffly next to
a long, stretched limousine. Devon is surrounded by the
group of Third World leaders. A congenial, very up atmos-
phere is evident as they shake hands, ad-lib good-byes,
and we go to:
ANOTHER ANGLE - LIMOUSINE
as the chauffeur, identity still not revealed, opens the door
to the limo and the Third World leaders file in, and we go to:
ANOTHER ANGLE - CHAUFFEUR
as he closes the door, turns to camera revealing it is
Michael in the monkey suit. Devon crosses and joins him;
gives Michael a list on a file card.
DEVON
Your itenerary....
MICHAEL
What itenerary? I thought they were
going home?
DEVON
Their meetings went so well, they've
decided to stay. Do a little sight-
seeing as a group to reinforce the
feelings of comraderie in a lighter,
less formal atmosphere.
MICHAEL
(glancing
to list)
Look, when I agreed to do this it
was because we...
(pauses; groans)
Universal Studios Tour? Dodger
Stadium? Grauman's Chinese? Sea
World? The Wax Museum?
DEVON
(wistfully)
I know. The days when peace
treaties were signed on the decks of
battleships, are gone forever.
Michael eyes him; grins as they walk around the car to the
driver's door, and we are:
ON THE K-2000
as it pulls to a stop nearby, and we hear:
K.I.T.T.
Bonnie, why is Michael doing this?
INSIDE THE K-2000
Bonnie is behind the wheel.
K.I.T.T.
Didn't Devon say they caught that
insider at the State Department who
was working with the assassins?
BONNIE
Yeah, but there wasn't enough time
to clear and train another driver.
K.I.T.T.
I'm concerned about Michael.
BONNIE
Not that other car nonsense again?
K.I.T.T.
Of course not. It's just that lately
...he seems to be developing this big
car mentality.
Bonnie laughs, and we:
RESUME THE LIMOUSINE
as Michael opens the driver's door; about to enter. Devon
nods encouragingly.
DEVON
It could always be worse.
MICHAEL
True. At least I don't have to put
up with Disneyland.
DEVON
(a take)
Isn't that on there?
Michael shakes no apprehensively.
DEVON
Oh, they've just got to go to
Disneyland.
Michael scowls good-naturedly. Devon grins. We hold a beat
and then we:
FADE OUT
THE END
