ACT ONE
FADE IN
EXT. STREETS - NIGHT
A sports car zips off the freeway ramp. The local roads
are empty at this hour and the car picks up speed again and
moves along.
SPORTS CAR
The driver of the car is middle-aged Sam Dennis, perhaps a
little too old to be jammed into and driving this minicar,
but matching his attempt at youthfulness...Dennis is well
dressed in the fashions of the day, his hair either a well
made toupee or an expensive cut. Dennis suddenly squints
against the glare of:
DENNIS' POINT OF VIEW - AN ONCOMING VEHICLE'S HIGH BEAMS
even brighter than normal, the lights coming directly at
him...becoming brighter...closer....
DENNIS
blows the horn, then instinctively yells out in anger and
fright as he yanks at the wheel and swerves the car out of
the way at the last moment....
SCENE
The oncoming sedan passes by the sports car, missing by
inches, the Dennis car almost losing control and then
regaining it, and continuing on....
DENNIS' CAR
Dennis lets out a breath of relief, still mumbling some
unreadable obscenities under his breath, but he drives with a
better grip on the wheel, still showing the signs of his
close call....
SEDAN
It swings around in a speed turn and takes off after the
Dennis sports car....
DENNIS CAR
Dennis suddenly looks up fearfully as he sees the bright
lights in his rearview mirror.
SCENE
The sedan bearing down on the Dennis car.
CLOSER ON SEDAN
looking normal in a quick glance, but then, on a closer
inspection, the windows are a little darker, the sound of
the engine is different, like a controlled roar, then:
INSERT - FRONT BUMPER
A hi-tech "cowcatcher" type bumper swivels up from its
hidden compartment on the car.
SEDAN
The cowcatcher out in front of the bumper, a lethal-looking
piece of equipment. It now looks like what it is, a Killer
Car.
NEW ANGLE
The Killer Car jams into the rear of the sports car,
remains bumper to bumper, then the sound of the car's
motor changes from its throbbing power to a high-pitched
whine as the twin blowers and a fuel booster take
over...the two cars remain locked together by the sheer
force of the Killer Car's power and momentum....
SERIES OF CUTS
A) Dennis, a terrified look on his face...He jams down on
the brake.
B) The two cars racing along the road, locked together, the
rear vehicle in control of both of them...Smoke pouring
from the rear wheels of the Dennis car as the brakes
lock, but do little to slow the progress...The Killer
Car is in complete control of the situation....
C) The Killer Car races to a turn in the road and suddenly
jams on his brakes and swerves off to the side....
ANGLE ON DENNIS CAR
as it is projected through the barriers and over the side
of the road, hurtling into space, a seemingly unending
drop, and then hitting and bursting into flame....
OMITTED
ROADSIDE - KILLER CAR
The whine of the engine decreases back into the lower tone
as the car pulls up to the side of the road...The window
rolls down....
INT. KILLER CAR
stripped to a shell...A heavily padded roll bar, netting
brackets the driver's seat, which is the semi-reclined
bucket seat, shoulder and lap straps with heavy double
buckles, and next to the driver is a booster fuel tank
containing ether (or whatever fuel would boost an engine's
speed) which the driver is now turning down...He pulls off
his helmet and looks down at the wreckage....
CLOSER ON DRIVER
We see the cold and disinterested eyes of a man we will
know only as Flood...He looks down at the Birninf burning
sports car with a bored, efficient look, it's obvious that
nothing could have lived through this wreck...He holds a
beat, then picks up a car phone, is about to put it to his
mouth, then takes out a clean handkerchief and wipes a
smudge of dirt from the mouthpiece...He punches in a
prerecorded phone number, speaks into the phone....
FLOOD
It's done...I'll be stopping by for
payment in the morning....
He hangs up the phone; pulls away....
TWO HOCKEY PLAYERS - STOCK
as they crash into each other and then splatter along the
boards.
MICHAEL (V.O.)
All right!!
The camera pulls back to:
INT. K.I.T.T.
a hockey game filling the screen of the monitor...K.I.T.T.
and Michael in a friendly argument....
K.I.T.T.
You call that all right? That
player on the bottom may never get
up....
MICHAEL
He'll get up...He's used to it....
K.I.T.T.
Why would a man want to get used to
that?
MICHAEL
This is the first hockey game you've
ever seen in your life.
K.I.T.T.
So? I have an infinite memory. I
can discuss the history of man...The
Stone Age...Creation itself if I
wish....
MICHAEL
Better not say that in Canada, Kitt.
K.I.T.T.
The similarity of hockey and a war
between various caveman tribes on a
frozen lake bears a very close
parallel.
MICHAEL
(with a laugh)
Kitt, you sure you're not becoming a
little bit of a snob....
DEVON (V.O.)
Snob, who are you calling a snob?
MONITOR
The hockey game fades out and the image of Devon appears on
the screen. Devon is somewhat more serious....
MICHAEL
Good morning, Devon....
INT. SEMI - INTERCUT AS NEEDED
DEVON
If I were a snob I wouldn't allow you
to watch sports contests on state-of-
the-art Foundation equipment.
(beat)
Good morning....
MICHAEL
I'm on my way in....
DEVON
Good, you've been a little hard to
reach lately...
(pointedly)
Last night for instance.
MICHAEL
(beat)
I guess I have a weakness for
dancers....
DEVON
(covering
a smile)
Dancers pirouette on their toes to
the strains of violins and flutes.
They do not gesture to the throbbing
beat of a bongo drum and saxophones....
MICHAEL
She's working her way through college.
Besides, every once and a while, I
have to get away from....
Realizing what he might have said, Michael flusters into
silence....
K.I.T.T.
Away from whom?
Michael, recovering....
MICHAEL
Just away from...period....
DEVON
Well consider the subject closed.
For now.
The monitor goes blank.
K.I.T.T.
(a touch
sensitive)
Michael, do you feel the need to get
away from me?
MICHAEL
(aware)
No, Kitt...The human condition...
'life.' You and me, pal, we're
partners.
K.I.T.T.
Thank you, Michael.
EXT. K.I.T.T.
as it picks up speed and moves to the meeting place....
CUT TO
EXT. HEADQUARTERS - SEMI
as the ramp drops and K.I.T.T. drives in.
DEVON (V.O.)
Two accidents that have a connection
might be a coincidence...Three in a
row leads me to believe a great deal
more....
INT. HEADQUARTERS - SEMI
Devon has folders, charts, photos all prepared for Michael.
Bonnie works on K.I.T.T. She is part of the conversation.
MICHAEL
What about the police?
BONNIE
The incidents occurred in three
different jurisdictions in two
different states...There's no reason
for them to make the connection....
MICHAEL
(to Devon)
But you made a connection....
DEVON
They all were quite well dressed.
Which is precisely the point. Were
all the victims successfully
involved in the garment industry...?
MICHAEL
Okay, that's the pattern. So what's
the motive?..Extortion?
DEVON
(nods)
You still have your street instincts
...I have some evidence and a great
deal more speculative information that
it's exactly that....
MICHAEL
Any speculation on who's behind it?
DEVON
D.G. Grebbs...Extremely well
organized and extremely deadly.
Devon hits a switch and:
MONITOR
The screen lights up with the face of D.G. Grebbs, forties,
hard looking, you would not buy a used car from him....
DEVON (V.O.)
He buys his muscle men at group
rates.
MICHAEL (V.O.)
Then he uses the garment industry to
clean up his money...A legitimate
cash flow....
SCENE
DEVON
At Harvard they call it vertical
integrity.
MICHAEL
On the street it's called a monopoly....
BONNIE
Total control through force. That's
Grebbs game.
Bonnie slams the hood....
BONNIE
Kitt has it all...including a list
of the businesses Grebbs already
has under control.
MICHAEL
Then I better make sure we really
have a murder.
Michael moves off....
SCREEN
The cold face of Grebbs....
MATCH CUT TO
CLOSEUP - GREBBS
smiling now as he turns to camera.
GREBBS
Another accident --
(smile)
You've really got it down, Flood....
The camera pulls back to:
INT. GREBBS' OFFICE - DAY
sitting above and looking down on the Fashion Mart...The
office is spacious, lavish, hi-tech, woman's fashion
sketches fill the walls...Grebbs sits under a sun lamp,
trying to put some color in his face.
He turns his head to get the heat at a different angle.
GREBBS
In New York anything darker than
pale was a tan...Out here you have
to cook for a few hours a day or you
look like an outpatient...you did a
good job...have a drink on it....
ANGLE
Flood sits across from him, a stack of money on the coffee
table in front of him...Flood is conservatively well
dressed, blue jacket, plain knit tie, button-down shirt...he
looks more like a wine taster than a killer, except for the
eyes, the bored noncommital attitude and the coldness of
them...when he speaks there is a trace of the European accent,
unidentifiable, but present.
CLOSER
He uses the eraser on a pencil to finger the money on the
table, finds it acceptable and places it gingerly in an
attache case...the henchman approaches with a drink, Flood
motions it away....
FLOOD
No thank you....
He removes a small bottle of brandy and a silver cup from
his case, pours his own drink....
FLOOD
To your health and your tan...
(sips)
You know where to reach me in the
future....
GREBBS
Hold on...I need you around now....
FLOOD
Sorry, I have to drive to New Orleans
...I have an appointment there, some
work....
GREBBS
I'll buy that job...put a number on
it....
FLOOD
There's no price on my reputation....
GREBBS
Then what will it cost me for a delay
...push it off for a week...I'll buy
the time for twenty grand...Call it
hold money for the next job...not
part of your fee.
Grebbs swings the sunlamp away from his face...The henchman
hands him some lotion and a towel...He uses both as he
talks....
FLOOD
(thoughtful
beat)
I can arrange that, but only for one
week....
GREBBS
That should be all I'll need to tie
it up...I got everything covered
from the trucking to the fabric
supply, and right down to the
buttons...All I need now is a few
successful fashion houses in the
sportswear business...they run the
biggest cash flow....
FLOOD
You seem to have it all under
control...You could be wasting your
money on me....
GREBBS
Money is easy...I raise the interest
on what they've been borrowing to
make their fall line...
(beat)
I'm also the largest factor in this
area....
FLOOD
Loan-shark....
GREBBS
Factor...It's legitimate...I even
pay some taxes....
Flood returns the silver cup to his attache case after
wiping it clean....
FLOOD
I'll be in contact with you...Every
hour should do it....
GREBBS
...I'm waiting to hear the come back
on a meeting with a man...named
O'Malley...O & M Fashions -- one of
the biggest...tie him up, I've got
everything I need....
Flood nods, moving off....
CUT TO
CLOSE ON SKID MARKS
The camera slowly pulling back to include Michael and
K.I.T.T. as they study them.
MICHAEL
What's taking so long Kitt?
The camera continues back to:
EXT. ROAD - DAY - SCENE OF DENNIS KILLING
As we hear and see the operation of K.I.T.T.'s computers,
then:
K.I.T.T.
It's definitely two different sets of
tires. The second set overlapping
the first...Sam Dennis was forced off
the road...I'm surprised the police
didn't spot this....
MICHAEL
They weren't looking for it...A
normal investigation would never
disclose it...
(beat)
Car that could cause this has to be
a custom job.
K.I.T.T.
Taking in the weight of the sports
car and the projection of it, over
the side, I would say it exceeded one
hundred miles per hour and had to
have at least 450 horsepower...It
overcame an excellent braking system
to shove the car off the cliff.
MICHAEL
Exactly. And this M.O. fits the
other 'accidents.' We have a series
of murders....
K.I.T.T.
Obviously, now what?
MICHAEL
You have all the information Devon
gave you?
K.I.T.T.
Rather extensive, I'm afraid...There's
hundreds of companies involved....
MICHAEL
Okay, eliminate the ones in business
over two years....
INTERCUT - MONITOR
as names and data flash across the screen and off:
MICHAEL
Now scratch out the ones with a
triple A Dun and Bradstreet...can't
touch people with money like that.
More data flashes.
MICHAEL
Now lose the ones in a stationary-
type clothing line...like winter
coats or formal wear....
K.I.T.T.
Slow down...We're losing our list....
MICHAEL
Good. How many left?
K.I.T.T.
Eighty one...Not counting jobbers.
MICHAEL
Lose them too. Just give me the
ones in the high risk fashions.
K.I.T.T.
That's sportswear....
MICHAEL
Just the hot ones....
K.I.T.T.
We're down to nine....
MICHAEL
Okay. Key their owners with the DMV
and cross check job accidents on
police band. Then give me the top
two. That'll make our potential
victims list....
MONITOR
The lights, the process...then a picture on the screen...A
name appears under TOM O'MALLEY, O & M FASHIONS...Then the
screen flashes again...the photo of two very attractive
women, arm in arm, comes. A print-out appears on the screen
under this...DEBRA SANDS, JOAN KEAHEY, DEBJO STYLES...Then
the picture flashes back and forth between the two choices
...Michael finally interrupts the process....
MICHAEL
(impatient)
Which one....
K.I.T.T.
They're both prime.
MICHAEL
Then I'll pick it....
K.I.T.T.
DebJo Fashions, of course....
MICHAEL
Of course....
Michael starts the car and drives away....
CUT TO
EXT. FASHION MART - DAY - ESTABLISH THE HUSTLE OF ACTIVITY,
THE FLASH OF COLORS AND STYLES
as we pan past the windows and racks of clothing...attractive
ladies catch Michael's eye....
EXT. DEBJO FASHIONS
Michael exits K.I.T.T., still looking at the ladies...speaks
to K.I.T.T.
MICHAEL
Be good....
K.I.T.T.
Be serious....
Michael passes a model and cameraman who are on the street
...He glances at her, then enters the DebJo showroom...
Camera stays with the Photographer....
ANGLE
He is slightly prissy, exacting in his need for perfection.
He struts...yelling at the model....
PHOTOGRAPHER
Move over...The left...left
darling...I need the contrast.
He turns and spots the gleaming black Trans Am....
PHOTOGRAPHER
That's it...It's 'Eureka Time'. Hop
up on the hood darling, and give me
legs and profile....
ON K.I.T.T.
bored and annoyed; the Model does as she's told...and sits
on the car.
INSERT - K.I.T.T.'S DASH
showing a response to this disturbance...K.I.T.T. clears
its throat.
EXT. K.I.T.T.
The Model turns to stare at the car....
MODEL
It's coughing....
PHOTOGRAPHER
So he has a cold...Hold it....
The camera flashes.
OMITTED
K.I.T.T.'S DASHBOARD
The series of lights moving a little quicker....
MODEL
She stretches a little more...The camera flashes again, then
the horn blows...The Model reacts, loses her poise and
slides off the car...She turns to peer in the car...
K.I.T.T.'s windows darken....
PHOTOGRAPHER
That's not holding it....
MODEL
Someone blew the horn....
PHOTOGRAPHER
Of course darling...Now get back up
on the hood...Play deaf...and
beautiful.
Her unsure look....
CUT TO
INT. DEBJO FASHIONS - DAY
A high style, fashion boutique-type operation...Michael
waits and glances around at both the activity and the array
of attractive females that pass under his gaze...Finally a
tall, extremely well dressed Debra Sands, approaches
him...Eyes him a beat before she speaks....
DEBRA
We're not open to the public.
MICHAEL
I'm not the public....
DEBRA
We only meet with salesmen first
thing in the morning and I know
you're not a buyer, so good-bye....
She heads towards the front door, motioning him to
follow...Michael delays her move, steps in front of her so
she has to stop.
MICHAEL
My name is Michael Knight. The only
thing I'm trying to sell you is some
help....
Debra shoots him an annoyed look.
DEBRA
I've heard that sales pitch
before...Okay, how are you going to
help me??..
MICHAEL
(gambling)
I can help you get Grebbs off your
back....
ON DEBRA
Her reaction....
DEBRA
I don't know what you're talking
about.
MICHAEL
(reading her
look)
I think you do...Grebbs is pushing
on you.
DEBRA
Who are you? What do you know about
my business with Grebbs?
MICHAEL
Money...You need it...He's got it...
But once he gets in, he'll never let
you out....
DEBRA
I don't know what you're talking
about....
MICHAEL
I think you do...
(beat)
You're trying to get out a fall line
...You'll need about fifty thousand
dollars to get your fabrics...You've
got hot designs and accounts receivable
to more than cover, but no cash...
Grebbs has that. He's trouble...I'm
not....
She hesitates, debating it.
ANGLE TO INCLUDE
a shorter, pert, loosely, but fashionable-garbed, Joan
Keahey, approaches Michael and Debra. She has a pencil
stuck behind her ear, a wrist pad full of pins, and some
sample fabrics draped over her arm...She has energy and a
bright smile.
JOAN
Debra, which one of these wools
falls over the hips better?
DEBRA
Not important right now...This is
Michael Knight in shining armor with
a leather jacket and a blank check --
or so he says.
JOAN
Slow down, Debra, you're talking East
Coast...I'm from the Midwest, remember?
MICHAEL
I can't give you a blank check, but
I can give you some straight talk...
You've got a going business...You
deal with Grebbs and you'll end up
with a skeleton. He'll pick you
apart piece by piece.
JOAN
I'm not sure what I'm supposed to
say....
MICHAEL
You're not supposed to say anything.
Think it over...Just don't take too
long.
He hands her his card...They read it....
JOAN
We'll have to talk about it.
MICHAEL
You know where to reach me...
(turning back)
Where's O & M Fashions?
JOAN
O'Malley?
MICHAEL
(nods)
He's in the same boat you are....
DEBRA
(smiles)
Maybe, but he's got a loaded paddle.
MICHAEL
On his puzzled look we:
CUT TO
A HAND GUN
looking like a cannon and pointed right at camera...The
camera pulling back to show O'Malley, a short, overweight,
and worried-looking human being, who covers his worries
with a pretty good set of balls...But the gun is an
unfamiliar instrument in his hand, although he waves it
bravely....
O'MALLEY
Get out of here...Go back to Grebbs
and tell him that I can take care of
myself and my business, and to stay
away from both of them....
The camera adjusts to include....
INT. O & M FASHIONS - DAY
In the b.g. we see a different kind of operation from the
DebJo...This one is set up for mass production...There's
movement and bolts of cloth piled high and being moved on
dollies from trucks, to the interior of the plant. Michael
faces O'Malley.
Behind O'Malley, we see another, older, more patient-looking
man, Lewis, who puts a restraining hand on O'Malley's
shoulder....
LEWIS
Relax, Tom...I know the Grebbs people,
he's not one of them...Besides the
gun's not loaded.
MICHAEL
Could you put the gun away...It's
those unloaded ones that do the
damage.
O'MALLEY
So he ain't Grebbs...So he ain't
Santa Claus either...He ain't one
of us...
(to Michael)
Get out of here...Take your
conversation back to the gutter.
LEWIS
Why not let him talk first?
O'MALLEY
Not to me....
O'Malley turns and stomps away from the two men...Michael
turns to the calmer Lewis....
MICHAEL
Bet he's got a lot of friends.
LEWIS
(slight smile,
nods)
I'm one of them. He's a good
man...forgets that he's sixty years
old, but we all like to do that....
MICHAEL
You have a place here too?
LEWIS
They're all mine at one time or
another...When cash gets a little
tough I front them money on their
accounts receivable....
MICHAEL
A factor...You're in competition
with Grebbs...could be dangerous.
LEWIS
(shrugs)
If I can keep people in business I
can deal with them again and
again...I'm a legitimate part of
this industry....
MICHAEL
(beat)
I believe you....
LEWIS
Then also believe that you should
wait a few days to talk to Tom
again....
He nods and moves off....
CUT TO
EXT. O & M SHOWROOM - K.I.T.T. AND MICHAEL
As he climbs in, starts the car.
K.I.T.T.
I'm glad we're leaving.
MICHAEL
We'll be back...Two down, seven to
go....
K.I.T.T.
Please could you park me in a lot
next time? Person isn't safe
around here....
Michael's look, he pulls out; camera pulls back to:
FLOOD
as he watches Michael pull away...Not that concerned, but
interested enough to note Michael and the look of the
car...The camera stays with Flood...He checks his watch
again....
FLOOD'S POINT OF VIEW - TOM O'MALLEY
exits the building from the loading door...Walks down the
few steps to the parking area and heads for his car....
FLOOD
He slips on his helmet...Races the engine, then drops the
car in gear....
FADE OUT
END OF ACT ONE
ACT TWO
FADE IN
EXT. STREETS - DAY
O'Malley passes, driving home in his sedan, his mind on his
wife and a cold martini. After a few beats, Flood drives
by in his Killer Car. The powerful V-8 growls beneath the
hood like a caged panther.
ANGLE IN O'MALLEY'S CAR - DAY
O'Malley looks up to his rearview for a moment, notes the
presence of the Killer Car behind him. At first he thinks
nothing of it, then decides to change lanes just in case
the hot rod wants to pass.
ANGLE IN FLOOD'S CAR - OVER FLOOD'S SHOULDERS
Fist clenched in a driving glove, Flood floats his machine
into the lane behind O'Malley, maintaining his tail.
EXT. A STREET CORNER - DAY - FOLLOWING CARS
O'Malley hangs a right turn. Flood lets his car linger
around the same corner but is soon back in place, stalking
his prey. They head into a more suburban/rural area.
INTERCUT - THE TWO DRIVERS
O'Malley grows more nervous. Glances from road to
rearview. Behind him, Flood pulls the cover off his ether
tank, checks his gauges. He tightens the chin strap on his
helmet.
EXT. HIGHWAY - DAY - ON A RAILROAD CROSSING
O'Malley's car approaches just as the lights and bells
start to signal an oncoming train. He starts to accelerate,
but sees the crossing arm descending and thinks better of
it.
THROUGH O'MALLEY'S WINDSHIELD
He whistles a nervous little tune. Nothing to worry about,
right? He glances up at the rearview as the Killer Car
fills the frame of his rear window. The crossing alarms
continue.
THE TRAIN
rumbles toward the crossing at a good pace.
INSERT - FLOOD'S BUMPER
His distinctive cowcatcher unfolds its ominous form from
under the idling engine.
INTERCUT - THE TWO DRIVERS
Flood drops his car into first gear with a surgeon's
touch. The engine roars as he lets out the clutch and
glides up to O'Malley's rear bumper. O'Malley rocks with
the impact as Flood hits him. He looks around, adrenaline
charging into his system. He stomps his brake pedal.
O'MALLEY
What the devil....
WIDE SHOT - THE TWO CARS
Flood's killer engine rises in pitch, roar becoming whine.
O'Malley's brakes lock, his wheels protesting as his rear
end starts to crumple under Flood's pressure. His car
moves forward, front bumper pressing the crossing arm,
bending, then breaking it.
THE TRAIN
continues its approach, oblivious.
OMITTED
INTERCUT - FLOOD AND O'MALLEY
Flood bears down, his face inscrutable behind his helmet/
mask. He reaches for the supercharger switch on his dash.
His engine screams up to high revs. O'Malley looks around,
panicked, sees the train. His car is now straddling the
tracks. Anger turns to fear and desperation.
O'MALLEY
Help! Stop!
He fumbles with his seat belt, trying to get free. It's
the last thing he ever sees.
VARIOUS ANGLES - THE CRASH
Flood backs clear just as the train rams into O'Malley's
sedan, crushing the driver's side and pushing the whole car
ahead of it down the tracks as tires blow, windows shatter
and pop out, and finally the gas tank booms!
FLOOD
watches, satisfied, then drops his car into reverse.
CUT TO
EXT. CITY STREETS - DAY - ON K.I.T.T.
cruising past.
K.I.T.T.'S VOICE
You'll love our next stop, Michael.
'Muriel's Menswear.'
ANGLE IN K.I.T.T. - INTERCUT MONITOR
Michael driving.
MICHAEL
Can't be worse than the first two.
I'm talking dead ends.
K.I.T.T.
You think they were tough? Muriel's
been fifty-two years in the garment
business. Born in Brooklyn in
'ought-nine.
MICHAEL
(smiles)
Wonder if she ever went to Ebbetts
Field.
Suddenly the monitor comes alive. K.I.T.T.'s tone changes
to one of urgency.
K.I.T.T.
Michael, one of our keyed license
plates just flashed on police band.
An automobile-train collision three
miles north of here.
Michael cranks the wheel and stomps on the gas, galvanized.
K.I.T.T.
I'm afraid it's Tom O'Malley.
EXT. STREET - DAY - K.I.T.T.
slides a 180 and screams away. They race up the highway
toward a section where the road drops under an overpass.
K.I.T.T.'S VOICE
A witness placed a second car leaving
the scene westbound. A red and white
custom sedan.
OVER MICHAEL'S SHOULDER (2ND UNIT)
Through the windshield ahead of him we see Flood's car
rumbling across the overpass above K.I.T.T. at a high speed.
MICHAEL
(pointing)
Like that one? I want him, Kitt.
Bad.
K.I.T.T.
He'll be hard to catch, Michael.
We'll have to plot a course doubling
back against traffic....
MICHAEL
Don't say it, do it.
EXT. STREETS - VARIOUS ANGLES - K.I.T.T.
screams through the corners, trying to get up to where
Flood was spotted.
MICHAEL'S VOICE
Did you get a make on the car?
K.I.T.T.'S VOICE
I'm afraid not. Contact was too
brief.
EXT. STREETS - DAY - FLOOD'S CAR
speeds up to make a stoplight; rockets through.
ANOTHER STREET - K.I.T.T.
races ahead, driving parallel to Flood. Michael looks down
a block to the right and spots the target car.
MICHAEL
One more block and we take him.
KILLER CAR
as Flood maneuvers it around a truck and fishtails a turn
into:
A CAR WASH
and jams on his brakes in front of the Attendant.
ATTENDANT
Whoa...you in a rush?
Flood has his helmet off, rolls down the window and hands
the Attendant a twenty dollar bill.
FLOOD
Not anymore. I'll take this through
myself....
ATTENDANT
That's against the rules....
Flood peels off another twenty. The Attendant, a much
happier person now, waves Flood through.
ATTENDANT
Be my guest...Use all the soap you
want....
Flood pulls into the washing apparatus....
CAR WASHING TUNNEL
As the first water hits the car, we see the bright red
paint running off the car to leave another color exposed.
EXT. NEARBY CORNER - DAY - K.I.T.T.
speeds through the traffic into the street where he spotted
the Killer Car and screeches to a halt. Michael gets out,
scans the street in both directions. Nothing but the normal
flow of traffic. He reacts, pissed.
MICHAEL
How could we lose him?
K.I.T.T.
My calculations placed our contact
point right at this corner....
MICHAEL
What'd he do...go airborne?
Pull back to reveal, behind them:
FLOOD
pulls his car out of the car wash tunnel. It's now
sparkling, completely returned to its original color --
beige. Move in to see Flood taking careful note of Michael
before he pulls away. Michael slams K.I.T.T.'s roof in
frustration.
CUT TO
EXT. FASHION MART AREA - DAY - TO ESTABLISH
its uniqueness.
LEWIS' VOICE
I told you, I'm not the type.
INT. MAIL AREA - DAY - LONG ANGLE
Michael walks with Lewis, pushing, persuading.
MICHAEL
I'm not buying, Lewis. O'Malley was
your friend.
LEWIS
Hell of a pinochle player. Every
day over lunch, for years we played.
MICHAEL
He's dead, Lewis. Your friend is
dead. Murdered. Help me do something
about it.
Lewis stops, studies Michael.
LEWIS
Don't know much about this business,
do you?
MICHAEL
Innocent people are dropping like
flies. How much do I need to know?
LEWIS
(shakes
his head)
Back on the Lower East Side of New
York, it used to happen a lot. I
buried some good friends.
MICHAEL
So you want to watch it happen all
over again? Grebbs decides the
trade is his backyard and everybody
rolls over....
LEWIS
(angering)
What can I do alone? You get a
crowd together, I might get brave.
I'm not young and I'm not a hero...
you are.
MICHAEL
You're not alone. Crowds always
start out with one or two people.
And believe me, if we get this ball
rolling, we'll attract plenty of
attention.
Lewis studies Michael a long beat. This is hard for him.
LEWIS
I'm listening. I'm crazy, but I'm
listening....
SMASH CUT TO
INT. DEBJO FASHIONS - DAY
busy and sexy as before. Models and seamstresses passing
through as Michael and Lewis have Debra and Joan cornered.
DEBRA
That's none of your business!
MICHAEL
Come on, you're not shy. How much
do you owe Grebbs?
JOAN
(softer)
Why do you want to know?
MICHAEL
'Cause Mr. Lewis here has agreed to
take over your factor. We want to
buy out Grebbs' debt.
The girls react, look at each other, nervous.
DEBRA
Obviously, you don't know Grebbs.
That's not smart business.
MICHAEL
For us, maybe. For you, it's
brilliant.
LEWIS
What's his rate? Twenty points?
Twenty-five? I'll take over your
whole figure at one point over prime
rate.
The girls are stunned.
DEBRA
Why are you doing this..? I couldn't
get a car loan that cheap....
LEWIS
I got my reasons.
MICHAEL
Grebbs killed Tom O'Malley this
morning.
JOAN
(disturbed)
I heard that was an accident.
MICHAEL
Right. Just like Sam Dennis was an
accident.
The girls eye each other again. Lewis reaches into a
satchel and produces a leather-bound book of bank drafts.
He tears one out.
LEWIS
Here's the draft. You can fill in
the amount. Add a little cushion if
you like.
DEBRA
The money's fine, but what's keeping
us from being Grebbs' next accident?
MICHAEL
I am.
He reaches into his pocket, pulls out a dollar, slaps it on
the desk.
MICHAEL
I now own one share of preferred
stock in DebJo Fashions.
JOAN
But we don't have any stock. This
is a partnership....
MICHAEL
(smiles)
Well when you do, I'm in on the
ground floor. For now, just figure
you've hired yourself a new head of
security.
(offers
a hand)
Partners?
The girls look at each other, then at Lewis, who smiles.
They smile, too. Debra shakes Michael's hand.
DEBRA
Partners.
CUT TO
EXT. FOUNDATION - NIGHT - TO ESTABLISH
There's a heated discussion in progress.
DEVON'S VOICE
Michael, I sent you there to stop
the deaths, not cause more.
INT. DEVON'S OFFICE - NIGHT
where Devon and Michael pace as they argue.
DEVON
Jeopardizing your own life is one
thing, but drawing in three innocent
people is quite another.
MICHAEL
Devon, I'll protect them.
DEVON
The way you protected Tom O'Malley?
This stings. Both men stop, cool off.
DEVON
Sorry.
MICHAEL
No, it's okay. You're right in a
way. But these garment people are
tight, close. I wasn't getting
anywhere ringing doorbells.
DEVON
So you went to the opposite extreme.
You might have checked with me first,
Michael.
MICHAEL
Right. And by the time we get through
discussing procedure, another one
bites the dust.
Now it's Devon's turn to be stung. Michael relents.
MICHAEL
Devon, you know I respect what you
do. But while I was spinning my
wheels out there, I saw another man
die. I had to do something.
DEVON
I suppose you've a plan behind all
this?
Michael, knowing Devon's on his side:
MICHAEL
I let Grebbs know he's got a new
competitor in the marketplace. One
who won't go belly up when he snaps
his fingers.
DEVON
And then....
MICHAEL
If I shake him hard enough, he'll make
me the next target for his mobile
assassin. Only I've got an ace in
the hole...named Kitt. Once I've
got his driver nailed and he's facing
a murder charge all alone, I've got
the feeling he'll turn on Grebbs and
supply all the ammunition we'll need.
Devon moves behind his desk, holds a beat....
DEVON
I know I don't need to tell you how
dangerous it is.
MICHAEL
No. You don't.
They shake hands. Michael starts out.
CUT TO
INT. GREBBS' OFFICE - DAY - CLOSE ON MONEY
Michael's hand plops a packet of bills onto Grebbs' desk
beside two other stacks piled high.
MICHAEL'S VOICE
...Twenty thousand. Cash. I want
your note from DebJo Fashions. I
just paid it off.
Widen to reveal:
GREBBS
seated behind his desk, looking through narrowed eyes at
the pile of money and Michael behind it.
GREBBS
Who are you, their guardian angel?
MICHAEL
That's right, as far as you're
concerned. The note?
Grebbs weighs Michael's intent, then stands and crosses to
a file cabinet.
GREBBS
Those girls must be doing better
than I thought. I'll have to look
into it.
MICHAEL
They're doing fine. They just found
a better way to deal than you.
Grebbs starts to simmer. He pulls a file from the cabinet,
turns to Michael.
GREBBS
That so....
MICHAEL
Yeah. That's so. In fact, you're
looking at the new partner in DebJo.
GREBBS
(smirks)
Don't tell me. You're into dresses.
MICHAEL
(unruffled)
I'm into money. And muscle, where
it's needed. Is that my note?
GREBBS
(slams
cabinet shut)
I've seen boys like you come and go
around here. It's a rough trade,
sportswear. The girls'll be back to
me.
He hands Michael a note from the file. Michael looks it
over, then starts tearing it up in little pieces, dropping
them around Grebbs' rug.
MICHAEL
They won't.
(as he tears)
And get ready to lose some more. I
plan to move on your other accounts,
too.
Grebbs' simmer reaches a boil. Coldly:
GREBBS
Get out of here before I make you
leave by the window.
MICHAEL
Pleasure doing business....
He turns and heads out the door. Hold on Grebbs' fury.
INT. FASHION MALL BUILDING - DAY
Michael exits Grebbs' office into the airy mall, pleased
with his meeting. As he walks, he raises his comlink.
MICHAEL
Kitt, monitor Grebbs' phones. I
want to know who he calls.
INTERCUT - K.I.T.T.'S DASH
K.I.T.T.
Very well, but, Michael, you have an
emergency call from Joan. She has to
see you.
Michael darkens.
MICHAEL
At Debjo?
K.I.T.T.
No, she was afraid to go there.
She's waiting on top of the fashion
mall parking structure.
Michael turns, sees the parking structure from where he
stands.
MICHAEL
I'm on the way ---
He takes off at a run.
EXT. PARKING STRUCTURE - GROUND LEVEL - DAY
Michael reaches the structure, spots an open elevator car
waiting. He ducks inside and punches "roof."
EXT. PARKING STRUCTURE ROOF - DAY - ON THE ELEVATOR DOORS
They open and Michael steps outside quickly, stops. Reacts
to:
WHAT HE SEES - NOTHING - BLUE SKY
The top level of the parking structure is almost empty of
cars. The elevator doors close behind him with a metallic
click. He whirls, punches the button, but the car's gone.
Turns back, puzzled. He starts to tense as he hears a low
rumble, growing into a roar. Suddenly:
THE KILLER CAR
bursts up from the level below, almost going airborne as it
screeches over the top of the driveway and onto the flat
roof. Flood is dimly visible through the darkened windows.
The car pauses, engine throbbing, taking Michael in the way
a bull takes in a matador.
MICHAEL
crouches, starts to sidestep, catlike. Into comlink:
MICHAEL
Kitt, get up here right away.
K.I.T.T.
parked in the street below, auto-starts and heads for the
parking structure.
ON ROOF - FULL SHOT
Suddenly the tires of the Killer Car screech and smoke into
motion as the car leaps for Michael. He looks around, sees
only a low parapet separating him from the long fall to the
pavement below. At the last second, he dives aside, the
car just missing him. As he rolls, Flood wheels his car
around for another pass.
IN KILLER CAR - ON FLOOD
emotionless, all business, shifting and spinning the wheel.
INT. PARKING STRUCTURE - DAY - K.I.T.T.
races, driverless, up the ramps, squealing round and round.
RESUME ON ROOF
Michael's sweating, eyes wide, as Flood begins another tire-
burning pass at him. He leaps aside again, but this time
Flood's fender catches his leg, spinning him around and
sending him tumbling awkwardly.
FLOOD
mechanically maneuvers for another pass. This time, he
flips the supercharger switch on the dash and his engine's
blowers whine.
FULL SHOT
Michael reaches his feet shakily, limping. He can't move
as fast. The Killer Car closes in like a hungry barracuda.
Michael tries to leap aside but can't do it. The car hits
him, sends him flying.
MICHAEL
hits the pavement, tries to rise, then falls back,
unconscious.
THE KILLER CAR
snarls into position to make one more pass, completing
the job. As Flood pops the clutch and the tires scream,
hurtling the car toward Michael's fallen form....
FREEZE FRAME
FADE OUT
END OF ACT TWO
ACT THREE
FADE IN
EXT. TOP OF PARKING STRUCTURE - DAY - CONTINUOUS ACTION
Michael stunned, semiconscious on one end of the structure,
Flood behind the wheel of the Killer Car on the other. He
drops the gear into low, arcs the engine.
ANGLE AT MOUTH OF ENTRANCE TO TOP
The whir of the turbines, and K.I.T.T. suddenly appears.
INTERCUT - FLOOD
He reacts, hits the gas.
INTERCUT - MICHAEL
Helpless.
ANGLE ON K.I.T.T.
The accelerator is floored.
WIDER ANGLE
The two cars race for Michael.
ANGLE FROM MICHAEL
K.I.T.T. reaches him just a split second before the Killer
Car does, skids in front of him, shielding him.
ANGLE ON FLOOD
He whips the wheel at the last second, just missing a
collision with K.I.T.T., then accelerates, disappearing
down the ramp.
ANGLE ON K.I.T.T. AND MICHAEL
K.I.T.T. activates his med-scan, producing appropriate
graphics on the monitor.
K.I.T.T.
Michael! Michael, can you hear me?
Michael stirs, tries to clear his head.
MICHAEL
(weak)
Kitt...?
K.I.T.T.
My preliminary med-scan doesn't
indicate any serious injury.
MICHAEL
Easy for you to say.
He struggles to his feet. The driver door pops open.
K.I.T.T.
I can call a paramedic unit.
MICHAEL
Thanks, pal. I'll take a rain check
for now. Where's the Killer Car?
K.I.T.T.
Long gone, I'm afraid.
Michael painfully climbs into K.I.T.T.
MICHAEL
Gone, but not forgotten. Not by a
long shot. C'mon, buddy, we've got
work to do.
They pull out, disappear down the ramp.
CUT TO
EXT. FOUNDATION - DAY - TO ESTABLISH
DEVON'S VOICE
Michael, how could you put yourself
in a spot like that?
INT. DEVON'S OFFICE - DAY
Bonnie escorts Michael in, still bruised and dirty. Devon
comes from behind his desk, concerned and upset.
MICHAEL
It wasn't easy, believe me. If it
wasn't for Kitt, I wouldn't be here
at all.
DEVON
Don't say I didn't warn you. I
didn't like this plan from the
beginning.
MICHAEL
Don't rub it in.
(to Bonnie)
He's rubbing it in.
BONNIE
It's his way of showing you he cares.
DEVON
I dislike being talked about in the
third person. And I don't need
someone to interpret my statements,
thank you.
(beat)
What happened?
MICHAEL
I went to meet Joan. She wasn't
there. The Killer Car was.
DEVON
I assume there's a reasonable
explanation why she wasn't.
MICHAEL
I already talked to her. She saw the
car turn into the parking structure.
She panicked and took off.
Devon paces.
DEVON
Michael, I don't have to tell you
what this means. By forcing Grebbs'
hand, we've entered into a war. Your
friends are vulnerable now. We have
an obligation to protect them.
MICHAEL
I guess you feel pretty strongly
about that.
DEVON
I couldn't feel more strongly.
Bonnie hides a smile; she knows where Michael is going with
this.
MICHAEL
Probably feel no sacrifice is too
great.
DEVON
None.
MICHAEL
Good, Bonnie?
She smiles, crosses to the door and opens it.
BONNIE
Okay, guys.
In comes a rack of clothes and other tools of the trade,
followed by Debra, Joan and Lewis. Ad-lib hellos. Devon
looks shocked.
BONNIE
The temporary home of Debjo Fashions.
Lewis crosses to Devon's desk.
LEWIS
Mind if I use your phone?
He begins dialing, absently fingers the material of Devon's
jacket.
LEWIS
Not bad for off-the-rack.
Off Devon's look:
CUT TO
INT. GREBBS' OFFICE - DAY
Grebbs paces, agitated. Flood, as usual, is perfectly
self-contained. Or appears to be.
GREBBS
I run a tight operation. Not like
some of these guys who move to Miami
and run a business on a phone under
a palm tree....
He stops, staring at Flood.
GREBBS
And now, all of a sudden, I'm not in
control any more. I got people
defying me. And you, the guy who
never misses -- suddenly, out of the
blue, you miss.
FLOOD
I hit him...He's hurt.
GREBBS
Not enough. You know what your
trouble is. You're too perfect.
Maybe if you used a dirty glass once
in a while, you wouldn't blow the
big ones.
Flood's eyes go cold. He rises, facing Grebbs.
FLOOD
You've said enough, Grebbs. Don't
press it.
GREBBS
You're not behind the wheel now.
Their eyes lock, then Grebbs moves away, point made.
GREBBS
Don't you see...you get a couple of
people who refuse to go along. If
they keep breathing, next thing you
know there's four or five of 'em,
then a dozen.
(faces Flood)
None of this would be happening if
it wasn't for that Knight character.
I want him gone, Flood.
He opens a desk drawer, pulls out a strongbox stacked with
money. He puts a stack on the desk.
GREBBS
I'll double your fee.
Flood looks at the money, at Grebbs, then opens his attache
case. He takes out the money Grebbs gave him, crosses to
the desk and puts it down.
FLOOD
Keep your bonus money. This isn't
business any more. It's personal.
This one's on me.
CUT TO
EXT. CITY STREET - DAY
K.I.T.T. passes.
INT. K.I.T.T. - DAY
Michael drives, Debra sits in the passenger seat. He
glances across at her.
MICHAEL
Feeling better?
DEBRA
I don't know. I guess so...
(beat)
You really didn't have to drive me
back.
MICHAEL
Call me paranoid. Right now I don't
want to take any chances.
(beat)
Any regrets?
DEBRA
You mean standing up to Grebbs? As
a matter of fact, yeah. I'm scared.
I don't like being scared.
MICHAEL
Nobody does.
DEBRA
No, but some people handle it better
than others. You for instance.
MICHAEL
(a smile)
An occupational hazard.
She studies him for a moment.
DEBRA
He's going to win, isn't he? Grebbs.
In the end, he'll win....
MICHAEL
Not if I can help it.
DEBRA
But what can you do? We're trapped.
He can just wait us out.
MICHAEL
Unless I miss my guess, waiting isn't
one of Grebbs' strengths. Besides,
I've got a little something in mind
to stir the pot.
EXT. FASION MART - DAY
K.I.T.T. pulls in and parks. Michael escorts Debra toward
the DebJo offices.
ANOTHER ANGLE
The Photographer spots K.I.T.T., grabs his model and hustles
her over.
PHOTOGRAPHER
It's back. Perfect. Black on
black, a single strand of pearls!
K.I.T.T.
Not you again.
MODEL
It talks!
PHOTOGRAPHER
Most drivers do. Who cares, I'm
doing print. I don't pay S.A.G. Now
just kind of drape yourself over the
fender.
She does.
K.I.T.T.
It's none of my business, but your
F-stop should be opened and your
shutter speed reduced.
She jumps off the car, looks into the window of the empty Trans
Am...Her reaction ---
MODEL
This is ridiculous!
PHOTOGRAPHER
No, he may have a point.
(adjusts
camera)
Would you say eight or eleven?
MODEL
You're talking to an empty car!!
K.I.T.T.
Given present light conditions,
eight.
PHOTOGRAPHER
Gotcha.
The Model hurries away.
PHOTOGRAPHER
Hey, come back here! So I was off
one F-stop. Is that any reason to
lose faith?
CUT TO
INT. DEBJO OFFICES - DAY
Michael helps Debra pack the last of the necessities. She
looks subdued, quiet.
MICHAEL
(re an
object)
Is this a 'take' or a 'leave?'
DEBRA
A 'take.'
He nods, puts it in box. Regards her for a moment.
MICHAEL
You okay?
DEBRA
Sure....
She isn't. He touches her shoulders, brings her to face
him.
MICHAEL
What is it?
DEBRA
I was just remembering when Joan and
I moved in...we had such high hopes
...we worked nights, weekends...
nothing was going to stop us...and
now I have this awful feeling I'll
never see this place again.
MICHAEL
You will. That's a promise.
DEBRA
You don't know Grebbs.
MICHAEL
You don't know me. I always keep a
promise.
He smiles, forces her to meet his eyes. She finally
smiles, a flicker of hope still there.
CUT TO
EXT. CITY STREET - DAY
The Killer Car drives up.
GREBBS' VOICE
I got some good news for you.
ANGLE IN CAR
Flood in on the cellular phone.
FLOOD
I'm listening.
INTERCUT - GREBBS IN HIS OFFICE
He's behind his desk on the phone. We see a person sitting
in the chair in front of the desk, facing him, but we can't
see who it is.
GREBBS
I pulled an old marker, from an old
friend...So I got inside information
now. From now on, we'll know every-
thing we need to know about Michael
Knight -- what he's planning, where
he is, where he'll be.
Over this, camera has moved to reveal the person across
from Grebbs. It's Joan.
FADE OUT
END OF ACT THREE
ACT FOUR
FADE IN
EXT. GARMENT DISTRICT - DAY - ESTABLISH
INT. O & M FASHIONS
Lewis is going through the bills and files of O'Malley's
operation...He stacks different bills in their appropriate
piles...Michael enters. Lewis looks up....
LEWIS
Just cleaning up some of the mess...
for Tom's wife...His kids are all
grown...They have a life...Ann is all
alone.
MICHAEL
We can't bring Tom back, but maybe
we owe her something more.
LEWIS
Like what? She's got enough money
from insurance.
MICHAEL
Like Grebbs' scalp....
LEWIS
(reacts)
This may be the west, but there's no
more cowboys and Indians....
MICHAEL
Why not?..We're a group of small
operators fighting the big, bad
wolf...The cattle baron...None of us
can do it alone...We need a group of
our own people...A posse....
LEWIS
That car must have hit you too hard
...How's your head?...
MICHAEL
I'm serious...How many owners around
here can you really trust?...
LEWIS
Tom's gone...Maybe six or seven
more....
MICHAEL
You do business with them?...
LEWIS
Used to...Grebbs has them now....
MICHAEL
Those are the ones I want...Can you
round them up....
LEWIS
You try and pull a meeting like that
and Grebbs will know about it before
everybody even sits down...I made my
move...I put my money where my mouth
is...Maybe it's time for me to shut
up....
MICHAEL
Sure, you can visit Tom O'Malley's
grave and lay some flowers on his
chest, or maybe teach his widow how
to play pinochle and sit around and
talk about good old Tom....
Lewis flares...He stands to face Michael....
LEWIS
And maybe you're not to big to be
sitting on the floor and looking up
at me....
Michael holds a beat....
MICHAEL
You're getting mad, Lewis. Now get
mad at the right guy. Get mad at
Grebbs....
ON LEWIS
His anger stays, but an awareness brings a half smile to
his face...He nods....
ON MICHAEL
Understanding the commitment, he nods back....
MATCH CUT TO
MICHAEL
as he speaks out....
MICHAEL
The word is 'enough'...You've given
enough...Taken enough...Enough of
the fear...Enough of having to
answer for your livelihood....
The camera widens to include:
INT. DEBJO FASHIONS
Michael is up in front of six businessmen...They listen to
him with an uncomfortable uncertainness...Glancing at Lewis
from time to time...But they listen...The showroom is
bare...Michael's voice echoes....
MICHAEL
You people worked too hard all your
life to give away what you've
attained....
There is a silence in the room, broken by one of the
businessmen...Call him, Joe.
JOE
Lewis, what is it with this guy? He
selling T-shirts with targets on back?
LEWIS
You ought to listen to him...I did...
You guys know I'm not the easiest
person in the world to con....
There is a slight rumble of nervous, knowing laughter....
JOE
So what do we do, buy guns? Circle
the wagons?
MICHAEL
You cut off Grebbs supply of money
...Kill his cash flow....
Another businessman, Phil, sounds off...The men are getting
more into the passion of the meeting....
PHIL
I've been poor before and I know
what broke is. Forget all the
poetry written about it...It's not
fun and I don't want to do it
again...
(beat)
I can't do it again....
That impassioned speech throws the room back in silence
again....
ON LEWIS
He stands and moves in front of the group....
LEWIS
(to Phil)
Why not?..When I met you, you were a
cutter on the third floor...I backed
you the first two years...cause you
were a good man and a hard worker...
Pay Grebbs off and I'll back you
again....
Lewis turns to Joe....
LEWIS
You, Joe, you were doing cuffs at a
denim factory twelve years ago...You
had guts and a talent...I bet on
it...I'll bet on it again....
The businessmen stare at Lewis in amazement....
JOE
You got any idea how much we owe
Grebbs?
LEWIS
To the penny...I've been around too
long not to know...
(beat)
I'm willing to back every man in
this room....
PHIL
(beat)
Then we really got nothing to lose.
You're the only one who can take a
bath....
LEWIS
I've been broke before, too...
(pause)
...wasn't so bad....
The men have to laugh...They stand and look at each other,
feeling better...Feeling more like the men they once were....
ON MICHAEL
He moves over to Lewis, whispers....
MICHAEL
Like it or not, Lewis, you're a
hero....
CUT TO
INT. GREBBS OFFICE
Grebbs and Joan sit across from each other. Flood and a
henchman are off to one side...Flood eyes Joan, disdainfully,
as she presses Grebbs for a little more of the action....
JOAN
They're down there at a meeting right
now...Michael Knight is trying to get
the whole group of them together...I
can give you every name....
GREBBS
Then do it....
JOAN
I will...but I have to know what's
going to happen on my end of it....
Grebbs flares....
GREBBS
I set you up with that Debra Sands,
didn't I? I helped make your line
the hottest in town...What else do
you want?
JOAN
I want to run O & M Fashions. I've
struggled for ten years, even put up
with Debra playing showroom chic
while I sweated it out in the back
rooms...
(beat)
I -- want O & M for me!
GREBBS
It's mine...It's why I pushed on it,
and that's why O'Malley and the others
are dead...You're a piece of equipment...
rented equipment...I turn you on and
off...I push the buttons...
(beat)
You got it?...
ON JOAN
She realizes that she's gone a little too far...She pales,
backs off in her attitude....
JOAN
It's not just for me...I can run it
successfully...You know I can....
GREBBS
The names....
ON FLOOD
He has a cold satisfied smile after watching Joan being
taken down.
JOAN
There's Lewis...The factor....
Flood pushes away from the window, interrupts....
FLOOD
The meeting could go on for hours.
You want Michael Knight or not?
Grebbs holds up his hand to silence Joan...Speaks to
Flood....
GREBBS
You know I do...Sure he's not too
tough for you?
FLOOD
I'll be taking him out personally....
Flood moves from the room....
CUT TO
EXT. DEBJO - ON K.I.T.T.
Michael exits the building, climbs into K.I.T.T.
K.I.T.T.
Well, Michael...You've done it....
MICHAEL
I planned on doing it....
K.I.T.T.
We better both get ourselves one of
those T-shirts with bull's-eyes on
them....
MICHAEL
You were listening in....
K.I.T.T.
If I'm going to be a target, I'd
like to know about it....
MICHAEL
At least you'll be a moving
target....
He revs the engine and pulls away....
EXT. ROAD - K.I.T.T.
Out of the city traffic and picking up more speed.
CUT TO
EXT. RURAL ROAD - DAY
The camera pans the peaceful scene and then slowly moves in
to:
BRUSH AREA
Just off the road where we see the deadly looking Killer
Car sitting concealed....
INT. KILLER CAR - FLOOD
patiently waiting.
FLOOD'S POINT OF VIEW - THE ROAD
K.I.T.T. cruises by.
Flood puts on his helmet, hits the starter...The powerful
engine roars into life....
K.I.T.T.
driving through the same open country....
OMITTED
INT. K.I.T.T. - MICHAEL
tense, eyes alert.
MICHAEL
Anything, yet?
As K.I.T.T. goes through the process, and:
INSERT - THE MONITOR
Empty road.
K.I.T.T.
Nothing out of the ordinary....
FLOOD CAR
as it pulls from its spot and onto the road...Picks up
speed as it comes after K.I.T.T.
OMITTED
K.I.T.T.
Michael glances in the rearview mirror...A car bearing down
from his rear....
MICHAEL
I think we have company....
K.I.T.T.
Affirmative, Michael....
ROAD
Flood is at the rear of K.I.T.T.
OMITTED
INT. K.I.T.T.
Michael is suddenly bounced backward in the car, as:
ROAD
Flood and the Killer Car jam into the rear of the Trans Am,
sending it forward and almost out of control....
FLOOD
hitting a duel blower switch on his dashboard...opening the
access fuel tank....
ANGLE ON ROAD
As the Killer Car speeds up even more and locks in on the
rear bumper of K.I.T.T.
LOW SHOT
as the two vehicles, locked front and rear, zoom by camera.
MICHAEL
fighting the wheel.
MICHAEL
I need everything you can give me....
DASHBOARD
As all of the lights speed up their series....
K.I.T.T.
We've got a sharp curve a thousand
meters ahead....
SERIES OF CUTS
A) Michael jams on his brakes, lurching forward from the
force. Smoke billows up from the rear tires as they
lock....
B) Flood is jammed forward in his car, then back in his
seat, as:
C) Michael releases the brake and hits the gas and pulls
away from Flood's car....
D) Flood speeds up and tries to close the gap...He's
losing ground.
E) Michael hits the brake again in a speed turn and
swivels K.I.T.T. around to face the oncoming Flood....
F) Flood sees the car headed right for him...He's not used
to being the target and panics...He edges over to one
side of the road....
G) At the last moment, Michael allows him to pass and then
swings another speed turn and tucks in behind the Flood
car....
H) Michael jams into the rear of Flood's car and picks up
even more speed.
FLOOD
Panic and fear fill his face as he sees the curve coming up
ahead of him....
MICHAEL
intent on his driving....
K.I.T.T.
Three hundred meters....
Michael continues to drive....
K.I.T.T.
He'll never make it past the curve
...You have to slow down....
THE CARS
still locked together and racing towards the turn...Then:
MICHAEL
hits the brakes and lets the Flood car loose....
FLOOD
jams on his own brakes and swivels the car around so that
it comes to a stop sideways on the brink of the turn and
only inches away from dropping off the mountain...He looks
over and sees nothing but space...Then turns in the other
direction and reacts again.
FLOOD'S POINT OF VIEW - MICHAEL
has moved K.I.T.T. up to the side door of Flood's car...He
gives it a slight bump...Flood's car is a little closer to
going over the edge...Flood can't get out the driver's door
and if he attempts to exit on the passenger's side, he's over
and out...Michael exits the Trans Am.
SCENE
He rips the helmet off Flood, to expose his terror-filled
face....
MICHAEL
Now you and me are going to talk
about a couple of murders and a man
by the name of Grebbs....
ON FLOOD
He looks over to Michael...Nods his surrender...Michael
into com-link.
MICHAEL
Kitt, pop in a cassette...
(to Flood)
Now, let's start with once upon a
time....
Flood's face....
CUT TO
EXT. GARMENT DISTRICT - DAY - ESTABLISHING
INT. GREBBS' OFFICE
Grebbs is nervous. Joan, still in the room, but sitting
silently. They react as the door bursts open....
ON DOOR
Michael stands there with a couple of uniformed cops....
ON GREBBS
His reaction. He senses the end of it...Holds his silence.
JOAN
She pales, then her street senses come alert.
JOAN
Michael, thank God you got here...
He's been holding me....
Michael simply stares at her...He holds up a cassette....
MICHAEL
That's not what Flood said....
Joan sags, defeated. The cops move forward....
MICHAEL
They both go....
As the cops cuff them....
CUT TO
EXT. GARMENT AREA - GREBBS' OFFICE BUILDING
as Grebbs is led from the building between the two cops....
FULLER ANGLE
There's a strange silence in the area as Grebbs looks
around and surveys his domain. Slowly, the sound of a man
clapping breaks the silence. It's joined by a second set
of hands, then a third.
THE GARMENT SHOP OWNERS
emerge from concealment, clapping, now cheering, raising
fists at Grebbs, as he's dragged away. Among them, Lewis,
feeling like the hero he is.
ON MICHAEL
taking it in. And feeling great about it.
FREEZE FRAME
FADE OUT
END OF ACT FOUR
TAG
FADE IN
EXT. GARMENT AREA - DAY - ESTABLISH
INT. DEBJO FASHIONS
Michael is finishing his fitting on a new jacket...He poses
for Debra and Lewis....
MICHAEL
Fits like a glove....
LEWIS
It's supposed to fit like a jacket....
DEBRA
I haven't heard that line since I
left New York....
LEWIS
It was time....
Michael steps from in front of the mirror, puts his hands
on Debra's shoulders....
MICHAEL
Thank you....
DEBRA
Thank me? You are crazy, Michael...If
it weren't for you, I'd be back
modeling rags on Eighth Avenue....
MICHAEL
And probably looking great doing it
...I'll be seeing you....
DEBRA
Not that fast....
She grabs Michael and gives him a lingering kiss....
DEBRA
Now, you can leave....
LEWIS
He'll be back....
Michael smiles at Lewis, gives him an affectionate hug...
Heads out....
EXT. DEBJO FASHIONS
Michael stops and smiles....
MICHAEL'S POINT OF VIEW - K.I.T.T.
Our model and Photographer are back at it...She is sprawled
on the hood...The camera snapping...Michael walks over,
just as the Model leaps off the car and kicks at one of the
tires...The door opens for Michael and as he enters, she
turns to him....
MODEL
Is that your car?
MICHAEL
You might say that....
MODEL
Well, you ought to teach it better
manners....
She walks away in a huff...The Photographer yelling after
her....
PHOTOGRAPHER
Darling, it's your best layout...This
one could make you...Come back....
Michael gets into the car....
INT. K.I.T.T.
MICHAEL
What did you say to her????
K.I.T.T.
I merely computed her exact weight
and advised her of it....
ON MICHAEL
his look.
FREEZE FRAME
FADE OUT
THE END
