ACT ONE
FADE IN
EXT. VENICE BOARDWALK AREA - DAY
The horde of Venice freaks and faddists are out in force:
roller skating, skate boarding, juggling chain saws, throwing
Frisbees, showing off and generally having a good time.
ANGLE ON MICHAEL
leaning against the railing outside Rafferty's Bar, a
cafe-style beach place, and taking in the scene. He's on
duty, so it's not all pleasure. But there is Cindy, a
heartbreaker with big baby blues and a lean dancer's
body. On her way to the stage she stops to say hello:
CINDY
Still here, huh?
MICHAEL
Hey, what better place to watch the
parade.
CINDY
(smiles)
Parade or circus?
MICHAEL
As long as there's music who cares?
CINDY
Tell me something, you ever just
relax, put on a pair of skates, ride
the boardwalk?
MICHAEL
If that's an invitation, I'll even
supply the ghetto-blaster.
CINDY
Well...you know where to find me.
Suddenly music from the small raised platform.
CINDY
Show time. Catch you later.
MICHAEL
You got a date.
She returns his smile and heads for the stage where she
begins her dance...and she's great. Michael watches her
for a few beats, impressed, then moves toward K.I.T.T.
parked across the boardwalk. He slides inside.
OMITTED
INT. K.I.T.T. - DAY
K.I.T.T.
Michael, before you trade me in for
a pair of skates, don't forget why
we're here.
MICHAEL
I haven't forgotten, pal...
(glances about)
I just hope he shows up.
Suddenly:
K.I.T.T.
Michael! What on earth is this?!
Michael looks to see:
MR. BODY
A hulking weight lifter with muscles from head to brain,
and he's carrying his weights toward K.I.T.T., where he
will proceed to put them down and go into his weight lifting
routines. Intercut as needed:
MICHAEL
Looks like the boardwalk Arnold
Schwarzenegger.
K.I.T.T.
Well, if that dumbbell drops one of
those dumbbells on my body he's going
to look like the boardwalk period!
But Michael has spotted something far more important:
MICHAEL
Kitt, that van over there.
ANGLE TO INCLUDE VAN
Although fairly ND it does have a somewhat unique design
painted on the side, or covering the back windows. It
pulls up to the rear of Rafferty's.
K.I.T.T.
It matches the one our informant
described, Michael.
MICHAEL
Scan what's inside.
INTERCUT WITH MONITOR
to show what K.I.T.T. scans inside the van:
K.I.T.T.
A half-dozen unmarked cartons.
Scanner pushes in to see:
MICHAEL
Looks like steel canisters.
K.I.T.T.
Filled with H2CL3SO4 Hydro-Clorosulfate.
MICHAEL
Something tells me that isn't used
as an artificial sweetener.
K.I.T.T.
Not unless you want to go on one long
diet. But try poison gas...I'd say
enough to wipe out several armies.
Michael sees something else:
MICHAEL
And look what we have here ---
WHAT MICHAEL SEES
a second van pulling up near the first. This one is smaller,
and a tall bearded man gets out. He's dressed in a ND
fatigue outfit.
MICHAEL'S VOICE
The boardwalk Fidel Castro.
BACK ON MICHAEL
watching every move via the monitor.
K.I.T.T.
Michael!
MICHAEL
I've got him, pal.
WHAT MICHAEL SEES
Sonny Martin coming from the first van. He's a cross
between Troy Donahue and Charles Manson. An earring in one
ear, a lot of keys on his belt, and a silver mesh glove on
his right hand. Why? We'll find out later. The two men
shake hands.
MICHAEL'S VOICE
If they're smart they'll count their
fingers.
Then they move to the rear of Sonny's van.
K.I.T.T.'S VOICE
You think he's our chemical caterer?
BACK ON MICHAEL
MICHAEL
No, Kitt, only the chemical caterer's
delivery boy.
INTERCUT TO SEE SONNY
opening the rear of the van, Fidel inspecting one of the
canisters, and then making a huge payment in cash from an
ND folder. (Note: This is all done in a safe area, and
with great caution. The fact that it appears to be happening
in such a public place is simply "hide in plain sight.")
K.I.T.T.
Michael, if he drives off with those
chemicals there's no telling where
on Earth they'll end up.
MICHAEL
Gotcha, pal...time to break up the
party.
Michael starts him up, but K.I.T.T. looks to see that
Mr. Body is taking a breather on his hood...along with a
weight loaded barbell.
K.I.T.T.'S VOICE
(clears throat)
If you don't mind, Arnold, would you
please get both dumbbells off my hood.
Arnold lifts up to his full massive height, looks into the
darkened windows with a scowl.
ARNOLD
There's only one dumbbell on your
hood!
K.I.T.T.
Now there's only one dumbbell on my
hood, and would you kindly take it
off.
Arnold thinks a bit, then removes the barbell and pushes
in closer to the windows:
ARNOLD
Whoever you are in there...you must
be pretty big!
Arnold flexes and goes back to his lifting, as K.I.T.T.
peels off.
ANGLE ON VANS
Fidel's transferring the cartons into the van as Sonny
keeps an eye out -- mostly on Cindy, who's just finishing
her dance, and is now moving toward the rear of Rafferty's
where another dancer, Lori, is waiting to go on.
CLOSER ON CINDY AND LORI
as Cindy goes to her.
CINDY
Ready?
LORI
I'm so nervous, Cindy, I don't know
if I can get my legs to move.
CINDY
The way you look I don't think it'll
make any difference. Besides, once
the music starts you'll be fine.
They embrace for luck.
BACK ON SONNY
seeing K.I.T.T. bearing down on them. Reacts ---
SONNY
We've been made!
Fidel also reacts and slams the rear door of his van shut.
But before he can reach the front ---
ANGLE ON K.I.T.T.
screeching up. Michael jumps out, grabs Fidel and tosses
him head first into the passenger side window.
MICHAEL
Keep a window on him, partner!
And K.I.T.T. does, rolling it up just enough that the
struggling Fidel remains locked inside from the waist up.
VARIOUS ANGLES
as Michael confronts Sonny who is very close to his van.
As for Cindy and Lori they've seen the action, and are
frozen nearby. It all happens very quickly.
MICHAEL
Your delivery days are over.
SONNY
Hey, man, there ain't nothing but
souvenirs of Venice Beach in these
cartons. Look, I'll show you....
But instead he draws a small canister, much like a Mace
gun, from his pocket and aims it at Michael.
Michael ducks. Sonny fires, and Lori, now slightly separated
from Cindy, takes the full blast of the deadly gas. She
begins to cough, staggers and drops. As Michael goes to
help her ---
ANGLE ON SONNY
jumping into his van and peeling off, almost running over
several girls on roller skates.
ON MICHAEL
doing what he can to help her, but she's lost consciousness.
He picks her up in his arms, hurries toward K.I.T.T.
MICHAEL
Kitt, we've got to get her to a
hospital!
(desperately
wanting some
positive sign,
answer, anything)
Kitt!
K.I.T.T.
I'm...sorry, Michael...but it's too
late.
Michael is frozen in time, space.
MICHAEL
Too late?
K.I.T.T.
She's dead...there's nothing more
you or anyone else can do for her.
On Michael's look of anguish, sorrow, helplessness ---
CUT TO
EXT. FOUNDATION - DAY - ESTABLISHING
MICHAEL'S VOICE
She was only twenty years old Devon!
INT. DEVON'S OFFICE - DAY - MICHAEL AND DEVON
MICHAEL
Just came out here from St. Louis a
week ago.
DEVON
I know, Michael...and I'm terribly
sorry.
MICHAEL
We're all sorry...but she's dead.
DEVON
And what makes it worse -- all we were
able to get from the one you picked
up were his name, rank and serial
number. He belongs to a quasi-military
group dedicated to overthrowing the
Island of Mendominow...a spot in the
South Pacific barely larger than...
(for lack of
something better)
Venice Beach.
MICHAEL
So after all this time, we're no
closer to this broker of poisons
than we were when we started.
DEVON
Not true. At least we know what one
of his people looks like.
ANGLE TO INCLUDE BONNIE
entering. She carries a photo of Sonny.
BONNIE
What he looks like, but not who he is.
(re photo)
Kitt ran the photo he took of him
through his Image Data Bank, but
couldn't come up with a positive
identification.
MICHAEL
What about the license number on his
van?
BONNIE
We had a lot better luck with that.
It's registered to a delivery service
here in town. Keller Bros. First
and Laurel. The only thing is, it
appears to be a legitimate company.
As far as we know the van could've
been stolen from them.
MICHAEL
I've learned a long time ago every-
thing isn't what it appears. I'll
check it out.
He starts to leave.
DEVON
Michael, I know this case means a
lot to you, but may I be so bold as
to recommend caution over indiscretion.
MICHAEL
You can recommend anything you want.
But that poison gas was meant for me,
Devon, and the only rules I'm going
to play by are the rules of the jungle.
Slight beat and Michael continues out.
EXT. KELLER BROS. WAREHOUSE - DAY
A fairly large building on a downtown street of similar
buildings.
INT. WAREHOUSE STORAGE AREA - DAY
a large chemical bottle, filled with a bright liquid stands
on a table. From out of nowhere a Frisbee cuts through the
air and neatly slices off the top of it. This is not an
ordinary Frisbee...it continues on and sticks in a post
behind the bottle. A closer shot shows glistening razor
blades protruding from the sides.
ANGLE ON SONNY MARTIN AND ROSEMARY
Sonny wears his steel mesh glove to protect his throwing
hand. Rosemary has been standing next to Sonny watching
his Frisbee exhibition. Rosemary is pretty cute -- frizzed-
out hair, designer jeans and a bulky sweater. A beautiful
fresh orchid is pinned to her sweater.
SONNY
(readies another
toss)
If you think that was hot, watch this.
ROSEMARY
(unimpressed)
You must be a lot of fun on picnics,
Sonny.
Rosemary exits. Sonny scowls and throws another Frisbee at
what remains of the bottle.
EXT. ENTRANCE TO WAREHOUSE - DAY
as K.I.T.T. pulls in.
K.I.T.T. (V.O.)
Michael, I understand your anger, but
you really should try to relax. Your
stress level is alarming.
MICHAEL (V.O.)
Maybe I should take up weight lifting
like your friend at the beach.
ANGLE IN K.I.T.T.
Michael is behind the wheel, eyes scanning the warehouse as
they approach:
K.I.T.T.
Your attempt at humor is an excellent
idea, Michael. Laughter is a known
tension reliever. Perhaps I should
tell you some jokes.
MICHAEL
(a reaction)
You're going to tell jokes?
They stop in front of the warehouse.
K.I.T.T.
Why not? I've done a lot of research
on humor. For instance...
(flat, no
comic timing)
The other night I was parked in a
garage that was so small the mice
were hunchbacked.
No laugh from Michael.
K.I.T.T.
Michael, is my act dying?
MICHAEL
No, but it's not going to Vegas
either. Keep working on it, pal --
but more important keep an eye
peeled.
Michael climbs out, heads for the warehouse door, tries it,
and finds it locked. Glancing about, he takes out a small
tool, and picks the lock.
INT. WAREHOUSE - DAY
Michael enters to find that the warehouse is separated into
two parts. This one is basically empty -- it's the part
behind the partition that he's interested in. But as he
starts for it ---
ANGLE TO INCLUDE ROSEMARY
coming from a small office.
ROSEMARY
How'd you get in here?
MICHAEL
That door.
ROSEMARY
I thought it was locked.
MICHAEL
(innocent
shrug)
Locked? Now why would it be locked
during business hours?
She looks at him, not quite sure he's for real.
ROSEMARY
It's a jungle out there.
Michael glances toward the street, then back ---
MICHAEL
Good reason.
(smiles)
I'm Michael Knight. I'd like to
talk to the person in charge of this
place.
ROSEMARY
Sonny says I'm supposed to ask every-
body what company they work for....
MICHAEL
I doubt Sonny's heard of us. I'm with
a little nonprofit organization called
The Foundation for Law and
Government.
ROSEMARY
Nonprofit? You're right -- I doubt
Sonny's ever heard of you.
Rosemary dials the nearby telephone intercom.
ANGLE IN WAREHOUSE
Sonny is on the intercom phone.
SONNY
Law and Government?..I'm just
finishing something up. I'll be
right out.
Sonny hangs up quickly, then hurries to load a final box
marked, "DANGER: HAZARDOUS CHEMICALS" into his waiting
van. Then grabbing his Frisbee, he climbs into the drivers'
seat and guns it.
ANGLE IN RECEPTION AREA
Rosemary hangs up....
ROSEMARY
He won't be long.
Michael reacts to the sound of the van's engine.
MICHAEL
(comlink)
Kitt, is that someone coming or going?
ROSEMARY
It's Rosemary, and why are you talking
to your arm?
K.I.T.T.
(comlink)
It's our van, Michael. Loaded and in
a hurry.
Michael sprints out into the warehouse area.
ROSEMARY
(calls after
him)
Come back anytime. You think it gets
lonely for that washing machine repair-
man....
INT. WAREHOUSE AREA - DAY
Michael dashes out into the warehouse, looking all around.
He turns a corner into an open area and reacts to:
MICHAEL'S POINT OF VIEW - SONNY'S VAN
Tires squealing, bearing down on him just a few feet away.
MICHAEL
dives and rolls, saved by his reflexes. The van misses him
by inches.
FULLER ANGLE
The van heads straight for a closed loading dock door and
smashes right through it.
EXT. WAREHOUSE - DAY - REVERSE ANGLE
Sonny's van smashes to freedom and races away.
INT. WAREHOUSE - DAY
Michael is on his feet and running. He calls via comlink:
MICHAEL
(comlink)
Kitt. Pick me up!
EXT. WAREHOUSE - FRONT ENTRANCE - DAY
Michael exits as K.I.T.T. roars up and pops the door open
for him.
MICHAEL
Let's catch him buddy.
They blaze off.
ANGLE IN K.I.T.T.
Michael's intent, punching buttons.
MICHAEL
Get him on the scope, Kitt, and scan
his cargo for me.
INTERCUT - MONITOR
as needed. Blips showing an urban street map, with blips
representing the van and K.I.T.T.
K.I.T.T.'S VOICE
He's got a three block lead. And
Michael, that van is totally loaded
with those horrible chemicals!
MICHAEL
Three blocks...and closing.
He hits pursuit.
EXT. STREETS NEAR WAREHOUSE - DAY - VARIOUS ANGLES
Sonny's van two-wheels a corner and bumps over a curb in an
attempt to flee the fast-closing Trans Am. In desperation
Sonny cuts across the main road and shoots up a side street
with scattered residences. Other traffic forces K.I.T.T. to
slow for a moment before resuming the chase.
K.I.T.T. (V.O.)
Don't push him too hard. That van's
a rolling time bomb.
ANGLE ON THE VAN
as it reaches an intersection, Sonny hops from the driver's
door and reaches behind the seat.
INSERT - SONNY'S HAND
pulls a soft drink from under the seat and places it on the
gas pedal, causing the engine to race. Next he reaches for
the gearshift.
BACK TO SHOT
Sonny jams the van's shifter into reverse and dives out of
the way as the van starts rumbling ominously backward
toward K.I.T.T.
ANGLE IN K.I.T.T.
K.I.T.T.
I think we've got him, Michael.
Michael realizes the truck is heading toward them.
MICHAEL
That might be open for discussion.
Michael cranks the wheel hard.
EXT. SIDE STREET - DAY
K.I.T.T. does a 90-degree skid and just evades the out-of-
control van.
MICHAEL
Kitt, what's he heading for?
K.I.T.T.
Open traffic...and there's a school
at the end of the road. Michael, if
those chemicals....
MICHAEL
Don't even say it, pal. Activate
microwave jam.
He spins the car around and takes off after the van.
WIDE SHOT - THE STREET
The van shoots past. Michael and K.I.T.T. follow, gaining.
ANGLE IN K.I.T.T.
K.I.T.T.
Michael, there's no one at the wheel!
MICHAEL
I figured as much. Draw a bead on
the van, buddy.
INTERCUT - MONITOR
as needed. K.I.T.T.'s graphics create a high-tech cross-
hairs which centers in on the van. When a flashing light
indicates "bull's-eye".
K.I.T.T.
I've got him.
MICHAEL
Fire jammer!
He punches a button.
INSERT - VAN TIRES
grinding to a stop as the engine dies. Freezing up.
WIDE SHOT - THE VAN
comes to a lurching stop just short of the intersection.
ANGLE IN K.I.T.T.
as Michael relaxes, heaving a sigh of relief.
MICHAEL
Any sign of our driver?
K.I.T.T.
I'm afraid not. He's long out of
range.
Michael nods.
MICHAEL
It's that kind of day. Have Devon
call the police to clean this up.
OMITTED
EXT. RENARD'S ESTATE - DAY
A huge sprawling complex with tennis courts, a pool and
large greenhouse.
INT. GREENHOUSE - DAY
Paul Renard, owner of the estate, is talking on a cordless
phone. As he talks, he putters with his plants. Dressed
in summer beige, he is the very essence of fresh-scrubbed
class. Ava Bennett, a tall, shapely, exotic woman, is
seated on a nearby wrought iron settee, sipping French wine.
RENARD
(into phone)
Why is it I can always count on you
to fret over the most minute details?
INTERCUT - COLONEL FAISUR'S HEADQUARTERS
The Colonel is a swarthy, balding man who wears a military
uniform and dark sunglasses.
FAISUR
(into phone)
Because careless people in my position
don't survive very long.
RENARD
(phone)
Nor mine, Colonel. Let me assure
you, safe delivery of this shipment
is as important to me as it is to
you. There's nothing to worry about.
FAISUR
(phone)
That's what I told our President
before my military coup.
RENARD
(phone,
chuckles)
Touche. Have a good day, Colonel.
Renard hangs up.
AVA
A case of nerves?
RENARD
With good reason. For the Colonel,
failure means death.
Renard crosses to an orchid plant in full bloom.
RENARD
Odd, isn't it. That something so
frail, so beautiful, can mean so
much to a man like Faisur. A man so
dedicated to violence and destruction.
AVA
Frail is a peculiar way to describe
an orchid that can kill a man without
leaving a trace of its poison.
Renard removes a syringe from his jacket pocket and carefully
inserts the needle into the center of the orchid.
RENARD
Not too unlike some women I've known.
(feeling her
look)
Present company excluded of course.
Renard draws a mean purple liquid into the syringe.
ANOTHER ANGLE
Sonny Martin barges in, disheveled and hyper.
SONNY
We got trouble, Renard.
RENARD
We? What indiscretion have we
committed this time?
SONNY
There's a plainclothes cop named
Michael Knight snoopin' around. He
broke up a sale yesterday, and then
found the warehouse. I had to clear
out. It's a total loss, man. I even
had to ditch the truck.
RENARD
And what makes you think he's a cop?
SONNY
I was running stash when the other kids
my age were trading baseball cards. I
can smell 'em man. And this one says
he's from some law foundation.
RENARD
(a reaction)
The Foundation for Law and Government?
SONNY
Yeah. You know 'em?
RENARD
A former associate did. As he de-
scribed it, it was a rather unpleasant
experience. I hope you didn't leave
any clues.
SONNY
I didn't exactly have time to tidy up.
RENARD
That's too bad. Still, the loss of
a truck and one warehouse certainly
won't put us out of business.
SONNY
Yeah, well this guy might! What are
we gonna do about him?
RENARD
(to Ava)
Any suggestions?
AVA
One.
She takes the syringe from Renard.
AVA
Since Mr. Knight is so interested in
our business, he might like to
sample our latest product.
EXT. RAFFERTY'S BAR - DAY - ON K.I.T.T.
driving up.
K.I.T.T.'S VOICE
I wonder what Cindy wants to see you
about.
INT. K.I.T.T. - DAY
MICHAEL
All I know is she told Devon it was
important.
Michael gets out and moves toward the bar.
ANGLE ON K.I.T.T.
His scanner flashes:
K.I.T.T.
Oh, no....
ANGLE TO INCLUDE MR. BODY
coming up to him, loaded with his weights.
K.I.T.T.
Not Arnold again.
He dumps the weights, resting the largest barbell on
K.I.T.T.'s hood.
K.I.T.T.
Well, can't say I didn't warn you.
K.I.T.T. auto starts and backs up, causing the dumbbell to
roll off and fall on Arnold's foot. And causing Arnold to
do the weight lifter's flashdance. After which he pushes
his face in on K.I.T.T.'s darkened front window.
ARNOLD
Think you're pretty smart, don't you?
K.I.T.T.
Well, I am a Knight Industries Two
Thousand, with a thousand mega-bits
of memory and a one nanosecond access
time.
Arnold looks at him a smug beat:
ARNOLD
I bet you wear contact lenses, too,
and eat quiche. Well, Mr. Brain,
let's see what you do with this.
And Arnold makes a fist that would go through steel...but
not through K.I.T.T.'s side window as he quickly finds out
when he attempts to slam through it. A long, long take,
before he gnashes his teeth, and then growls in pain.
K.I.T.T.
Arnold, we've really got to stop
meeting like this.
But Arnold is too busy biting his lip to pay any attention.
EXT. RAFFERTY'S BAR - DAY
Michael enters the patio and sits at a table near the stage
where Cindy is dancing. The waitress approaches, wearing
the Rafferty T-shirt.
JUDY
What'll it be?
MICHAEL
An orange juice.
JUDY
Sure you can handle it?
She smiles, goes off. Michael focuses his attention on
Cindy.
ANGLE ON WOMAN'S HANDS
as they empty a purple-filled syringe into a glass of
orange juice and stir it until the purple color
disappears. The hands carry the juice away on a tray.
ANGLE ON MICHAEL
as the hands appear and deliver the poison juice. Camera
pulls back to reveal Ava.
AVA
To your good health.
MICHAEL
(re lack of
T-shirt)
How come you're out of uniform?
She doesn't reply, instead gives him a strange smile and
disappears. The song ends and Cindy crosses to Michael
over scattered applause.
CINDY
(re drink)
You're starting early.
MICHAEL
You ought to try it. It's rich in
vitamin C and...other things I can't
remember.
CINDY
Sold. I'll drink a toast to some
wonderful news.
She takes a long drink from Michael's glass.
MICHAEL
I could use some. Care to share it
with me?
CINDY
I've been invited to audition for
the lead in a show.
MICHAEL
Congratulations. Now what's up?
CINDY
Pardon?
MICHAEL
Devon said you wanted to talk to me.
It was important.
CINDY
Sorry, wrong girl.
MICHAEL
You sure?
CINDY
Must've been some other Cindy.
As he thinks about this, vaguely troubled, Judy returns with
his orange juice.
JUDY
One O.J. straight up.
MICHAEL
I already got it. The hostess....
JUDY
(interrupting,
shrugs)
Looks like this one's on the house
then.
She smiles, goes off.
CINDY
C'mon it's bad luck not to share a
toast.
She tips her glass with his. Still troubled, he manages a
smile:
MICHAEL
Break a leg.
And they drink. Cindy polishing off the glass containing
the poison.
FADE OUT
END OF ACT ONE
ACT TWO
FADE IN
EXT. KELLER BROS. WAREHOUSE - DAY
The police are closing it down, hauling out pieces of
equipment, office furniture, cases of chemicals, etc.
MICHAEL'S VOICE
And you're saying you had no idea
Sonny was selling poison chemicals?
INT. WAREHOUSE - DAY
Michael is walking with the distraught Rosemary from her
office to K.I.T.T. parked nearby, scanner flashing.
ROSEMARY
What do I look like, a chemist? I
can barely type!
(sees them
carrying out
her typewriter)
So much for job security.
MICHAEL
How long have you worked here?
ROSEMARY
Two weeks...
(sees them
taking out
her chair)
...next Friday.
MICHAEL
Any idea where I can find Sonny?
But she's watching them take out her filing cabinets ---
ROSEMARY
Why do I feel like I'm being evicted?
Michael takes her gently by the shoulders, turns her to him.
MICHAEL
Rosemary, a young girl is dead....
ROSEMARY
(interrupts)
I know that! But I don't know where
Sonny is.
MICHAEL
Did you ever go out with him?
ROSEMARY
For five-fifty an hour, you gotta be
kidding.
MICHAEL
But he asked you.
ROSEMARY
Twice last week. Monday and
Wednesday.
Michael has noticed the orchid pinned to her sweater:
MICHAEL
And he even brought you flowers.
(to her
curious look)
I've never known a pretty girl yet
who had to buy her own orchids.
ROSEMARY
(softer)
All right, he brought me flowers.
The creep. But I still don't know
where he is, that's the truth.
Michael studies her a beat, gives her a card:
MICHAEL
If you hear from him, will you give
me a call?
She glances at the number then at Michael ---
ROSEMARY
Even if it's only a postcard.
(slight beat)
Now can I go?
He nods.
ROSEMARY
Boy, are they going to be surprised
to see me back in the old unemployment
line. And after only nine days, too.
She sort of smiles at him, takes a last look at the office
she once had, and leaves the warehouse. Michael moves to
K.I.T.T.
MICHAEL
Anything hidden behind the walls,
buddy?
K.I.T.T.
Nothing a good exterminator couldn't
take care of, Michael.
MICHAEL
So it's right back to square one.
K.I.T.T.
There is something that's puzzling
me, though.
MICHAEL
What's that?
K.I.T.T.
Rosemary is likely to be the only
young lady in the unemployment line
wearing a priceless orchid.
MICHAEL
(impressed)
Sonny boy goes first class. Tell me
more.
Michael slides behind the wheel.
ANGLE TO INCLUDE MONITOR
showing a picturesque graphic of the orchid, as:
K.I.T.T.
It's a Hybrid Jantilius, an exception-
ally rare variety. In fact, according
to my research, there's only one
horticulturist in the country who has
had any success growing them.
MICHAEL
Where do I find him?
K.I.T.T.
Right here in Los Angeles, Michael...
a Mr. Paul Renard.
MICHAEL
Good work, pal...let's go smell the
orchids.
He peels out of the warehouse, making a screeching turn
onto the street.
EXT. CITY STREET - DAY - ON K.I.T.T.
moving fast in light traffic.
K.I.T.T.'S VOICE
Except for failure to pay a traffic
citation in '82, Paul Renard has a
clean slate.
INT. K.I.T.T. - DAY
Michael seems preoccupied.
K.I.T.T.
And speaking of traffic....
MICHAEL
Not another joke, Kitt.
K.I.T.T.
Remember your stress, Michael.
(with a smile
in his voice)
Yes, it's great to be back on the
Hollywood Freeway....
MICHAEL
How great is it?
OMITTED
EXT. FREEWAY - DAY - K.I.T.T.
K.I.T.T. (V.O.)
But seriously. I stopped for gas
the other day and the service was
so slow, by the time they filled me
up, my upholstery was out of style.
MICHAEL'S VOICE
Kitt...it's going to be a long ride.
The Trans Am speeds off into the distance.
EXT. RAFFERTY'S BAR - DAY - ON CINDY
practicing a dance routine on the stage. The bar's almost
empty at this hour. Judy is seen drying glasses nearby,
and watching the routine. Suddenly Cindy feels dizzy and
has to grab hold of something to keep from falling. Judy
hurries to her side.
JUDY
You all right?
CINDY
(recovering)
Yeah, I...guess I've just been
pushing myself a little too hard.
(smiles)
Don't worry...I'll be okay.
Judy nods, and goes back to the bar. Cindy begins to dance
again...this time slower and with more effort.
EXT. RENARD'S ESTATE - DAY
As camera moves in on the greenhouse:
MICHAEL'S VOICE
Something wrong, Mr. Renard?
INT. GREENHOUSE - DAY - FAVORING RENARD
Who looks as if he's seen a ghost, and is certainly surprised
to see Michael alive and healthy.
RENARD
(forces smile)
No, no...you just...surprised me,
that's all. Now...you say you saw
a -- secretary -- wearing one of my
-- prize orchids?
To keep occupied Renard fusses with his flowers.
MICHAEL
As impossible as it seems -- yes.
It was a gift from her boss.
RENARD
She must be a whiz at shorthand.
MICHAEL
At least ten words a minute.
Renard glances across a plant at him.
RENARD
What...sort of business is her boss
in?
MICHAEL
Killing people.
(slight beat)
Ever hear of someone named Sonny
Martin?
RENARD
(thinks, shakes
his head)
No...can't say that I have.
He moves on, examining and spraying his plants.
MICHAEL
He's a great admirer of yours....
Renard looks at him again, this time even more quickly.
MICHAEL
I mean...your orchids.
Renard forces a smile.
RENARD
Well, the Jantilius is a rare
creature...Care to take a closer
look at it, Mr. Knight?
MICHAEL
Why not?
Renard leads him to the special section of rare orchids
above which we'll notice an Aztec mask hanging on the
wall. Michael takes a look at one flower in particular.
RENARD
So delicate...so lovely...it's hard
to believe it hides a deep dark secret.
MICHAEL
And what's that?
RENARD
If I told...it wouldn't be a secret
anymore, would it?
(smiles)
Well, what do you think?
MICHAEL
I have to admit I've never seen a
flower quite like it.
RENARD
Yes...in some ways...you're fortunate
to have seen it at all.
(smiles)
Now, if there is nothing more I can do
for you....
Renard leads the way out. Once again we'll notice the
Aztec mask guarding the orchids.
EXT. GREENHOUSE - DAY
Michael and Renard move toward K.I.T.T. parked nearby.
MICHAEL
Mr. Renard -- if I wanted to buy one
of your rare orchids, where would I go?
RENARD
I'm afraid they're not for sale.
MICHAEL
Really?
(stops, looks
at him)
Then I wonder where Sonny Martin got
his?
Renard realizes he's made a slight error, quickly recovers.
RENARD
As you can see there are no armed
guards around...one doesn't expect
treachery in a greenhouse.
MICHAEL
Nor in a beach front bar...and when
it involves the death of a young girl,
that's treachery of the worst kind.
(slight
smile)
I have a strong suspicion you and I
will meet again.
RENARD
Perhaps...but then who's to say for
sure.
Each looks at the other; a silent challenge to be taken up
at a later time. Then Michael slides into K.I.T.T. and
drives off. Renard watches them disappear down the winding
road.
ANGLE TO INCLUDE SONNY
coming up from behind. Renard hears him, turns:
RENARD
Well, speak of the devil, and the devil
will appear.
SONNY
What's Knight doing here?
RENARD
A better question -- what's he doing
anywhere?
SONNY
Yeah, I thought you were going to
take care of him.
RENARD
Something must've gone wrong. And now,
thanks to your generosity with my
orchids, he's breathing down my neck.
SONNY
Welcome to the club, but don't worry.
This time I'm going to handle it myself.
RENARD
How?
SONNY
The old-fashioned way...I'm just gonna
kill him.
Sonny goes off the way he came.
OMITTED
EXT. K.I.T.T. - DAY
driving toward Rafferty's.
MICHAEL'S VOICE
Kitt, Renard's into this up to his
geraniums.
INT. K.I.T.T. - DAY
K.I.T.T.
But how do we prove it, Michael?
MICHAEL
If I knew that I'd be here to take
Cindy for a slow walk on the beach,
instead of on the slight chance she
might've seen Renard with Sonny
Martin.
(parks)
Got that photo for me?
ANGLE ON DASH
as a photograph of Renard comes out. Michael takes it.
MICHAEL
Now that's what I call instant
service. Keep the old scanner peeled.
EXT. RAFFERTY'S - DAY
As Michael moves toward the entrance:
ANGLE ON THE FRISBEE THROWERS
and one in particular: It's Sonny Martin and his flying
Gilette Special. He eyes Michael, and readies to throw the
lethal Frisbee with his silver mesh-gloved hand. And just
as he's ready to let go:
ON MICHAEL
as he catches a glint of reflected light from one of the
blades, and instinctively hits the ground. The killer
Frisbee cuts through the air just inches from Michael's
head, sticking into the Rafferty's sign behind him.
VARIOUS ANGLES
as Michael gets to his feet and looks to see Sonny throwing
another one. He ducks, and the razor's edge nearly slices
off the top of a large cactus. Michael picks up a piece of
board and goes after Sonny with it.
SONNY'S POINT OF VIEW
as Michael charges. Sonny throws a final Frisbee. This
time, Michael catches it with the board.
BACK TO SCENE
as Sonny turns tail, jumps on his chopper and speeds off.
Michael talks to comlink. Intercut as needed.
MICHAEL
Kitt, pick me up!
K.I.T.T.
I'm on my way, Michael.
Self starting, pulling out, K.I.T.T. roars up and pops open
the driver's door. Michael hops in and they take off after
Sonny, leaving behind a spray of sand.
VARIOUS ANGLES ON CHASE
as Sonny speeds down Venice streets with Michael and
K.I.T.T. gaining on him. Then Sonny makes a sharp turn
into an alley.
MICHAEL
Let's get this over with, pal.
Michael activates pursuit mode.
VARIOUS ANGLES ON K.I.T.T.
as the Trans Am speeds past the alley, around a corner and
pulls into the alley from the opposite end. And stops!
ON SONNY MARTIN
as he sees K.I.T.T. blocking his way, but is unable to
brake in time. Instead, he climbs right up on K.I.T.T.'s
hood, over the top and lands right inside a Dempsey
Dumpster. Bike and all.
FAVORING MICHAEL
calmly getting out and walking to the dumpster.
ANGLE TO INCLUDE SONNY
nestled in the debris, looking up helplessly:
MICHAEL
Let's haul him in, Kitt...before he
gives garbage a bad name.
Michael grins at Sonny, and we ---
FADE OUT
END OF ACT TWO
ACT THREE
FADE IN
EXT. POLICE STATION - DAY - ESTABLISHING
MICHAEL
Take a good look at him, Sonny.
INT. INTERROGATION ROOM - DAY
Sonny is seated at a table looking at the photograph of
Renard. Michael and Devon are with him. He pushes the
photo away.
SONNY
All right, I saw him. Now what?
DEVON
(calmly, even
polite)
Now you can tell us all about
Mr. Renard. How long you've worked
for him, where he buys his chemicals,
who his customers are, how he manages
to operate his ghastly business with
such relative ease.
SONNY
You know something? You talk funny.
Michael almost leaps across the table at him.
MICHAEL
You know something, you've got a big
mouth. One I'm just itching to put
on the back side of your face.
DEVON
(as before)
Easy, Michael. I'm sure once
Mr. Martin fully realizes the gravity
of his situation he'll be more than
happy to cooperate with us.
SONNY
My situation?
MICHAEL
For openers, you're facing a murder
charge for killing that young girl.
SONNY
For openers -- try proving it.
MICHAEL
There were at least a dozen witnesses.
SONNY
I had a bad childhood. I'll find
religion and it'll be a few years
at the most.
DEVON
Eeaassyy, Michael.
(patient)
Now, Mr. Martin...why did you try to
kill Michael?
SONNY
Who tried to kill him? I just
wanted to give him a shave.
Devon explodes, reaching across the table and almost lifting
Sonny from his chair.
DEVON
Now you listen to me you little
twerp, I'm a man of considerable
patience, but when that patience
is exhausted, it's replaced by a
fury the likes of which you've never
seen. Now I'm going to ask you one
more time, and one more time only:
Why did you try to kill Michael?
Sonny is a believer:
SONNY
Because....
DEVON
Because why?!
SONNY
The poison didn't work.
Beat.
MICHAEL
What poison?
SONNY
The poison they put in your orange
juice.
FAVORING MICHAEL
as it begins to dawn. Devon, however, continues with Sonny.
DEVON
Who put it in his orange juice?
SONNY
I...I...don't know.
DEVON
I think you do.
Sonny breaks away, heads for the door.
SONNY
You can't do this to me! I got
rights! I want to see a lawyer!
He begins pounding on the door, and soon a police officer
enters.
SONNY
Get me out of here. I want to see
a lawyer! You gotta let me see a
lawyer!
DEVON
Take him away.
The police officer leads Sonny out.
MICHAEL
Devon, that orange juice. There
were two glasses...and Cindy got the
one with the poison in it.
On Devon's look, Michael hurries out.
OMITTED
EXT. RAFFERTY'S BAR - DAY
K.I.T.T. pulls up. Michael jumps out and races toward the
patio area.
OMITTED
ANGLE ON PATIO AREA
as Michael looks about, sees the dancer's platform empty,
no sign of Cindy, but spots Judy having just served a
drink. He moves to her.
MICHAEL
I'm looking for Cindy!
JUDY
The question is -- is Cindy looking
for you?
She moves back toward the bar. Michael catches up:
MICHAEL
You don't understand....
JUDY
(interrupts)
Sure I do. Next you'll be telling
me your eyes met across a crowded
bar and it was love at first sight.
You're not married, looking to settle
down, and can't live without her.
She starts off again. This time he stops her ---
MICHAEL
No, there's a good chance she can't
live without me -- or someone else
who gets her right to a hospital.
JUDY
(beat)
What are you talking about?
MICHAEL
She accidentally drank some poison.
JUDY
Oh, no. She said she didn't feel well
when she left.
MICHAEL
Do you know where she went?
JUDY
She had an audition.
MICHAEL
Where?
JUDY
The Bandstand on the beach.
MICHAEL
Thanks.
He hurries out.
OMITTED
EXT. VENICE BANDSTAND - DAY - ON CINDY
doing her dance in front of several producer/director types
seated on the empty stage behind her. Their looks tell us
they're very, very pleased with her performance. We'll
favor the director, a nice-looking man in his midthirties.
ANGLE ON K.I.T.T.
screeching up nearby. Michael gets out and runs toward the
bandstand. As he's about to run up the stairs, he's
suddenly stopped by a uniformed Security Guard ---
SECURITY GUARD
Unless you're wearing leotards under
there, beat it.
MICHAEL
I've got to get that girl to a
hospital.
SECURITY GUARD
You don't say. Funny, she looks
nice and healthy to me.
MICHAEL
Just shows you can't believe
everything you see.
He slides by him and continues up the stairs.
SECURITY GUARD
Hey!
He goes after him.
ANGLE ON CINDY
dancing, great, but suddenly overcome by dizziness. One
spin, two, and she collapses on the stage. The others
react, as Michael rushes to her. Weak ---
CINDY
Michael....
MICHAEL
Don't worry, I'm going to take care
of you.
He lifts her up, starts carrying her to K.I.T.T.
CINDY
They...liked me...I...know...they
did.
MICHAEL
Liked you? They loved you!
The slightest smile and she passes out in his arms.
ANGLE TO INCLUDE K.I.T.T.
pulling up, door popping open. Michael puts her inside,
slides behind the wheel.
INT. K.I.T.T. - DAY
as Michael slides in.
MICHAEL
Kitt, see if you can determine what
kind of poison she ingested.
K.I.T.T.
Right away, Michael.
ANGLE ON MONITOR
to see a picturesque graph of K.I.T.T. doing his thing.
EXT. K.I.T.T. - DAY
peeling off in a spray of sand.
EXT./INT. K.I.T.T. - DAY
racing to the hospital. Intercut as needed.
K.I.T.T.
Michael, I've isolated the poison!
MICHAEL
What is it, Kitt?
K.I.T.T.
A sophisticated derivative compound,
originating in the Orchidaceas
Bauhinia Veriegata.
MICHAEL
In plain English.
K.I.T.T.
The rare Jantilius orchid.
MICHAEL
So that's what Renard meant when he
said it hides a deep, dark secret.
The secret of death.
K.I.T.T.
Unfortunately, there's no known
antidote for it.
MICHAEL
Kitt, if the poison comes from the
orchid, then there's a good chance
the orchid also produces the antidote.
K.I.T.T.
That's right, Michael.
MICHAEL
Then as soon as we get her to the
hospital...it's harvest time.
EXT. STREET - DAY - ON K.I.T.T.
heading directly toward the hospital.
CUT TO
OMITTED
EXT. RENARD'S MANSION - DAY
Michael is running toward the greenhouse. Jennings, the
elderly gardener is running hard to keep up, and K.I.T.T. is
tagging behind.
JENNINGS
But I told you, Mr. Renard left a
short time ago in his private jet!
MICHAEL
Did he say where he was going?
JENNINGS
Not to me, he didn't. Although...I
did hear Miss Ava mention something
about Mexico. Where in Mexico? Heaven
only knows.
MICHAEL
Kitt, run a check on every private jet
requesting clearance to Mexico in the
last hour.
K.I.T.T.
I'm checking now, Michael...nothing.
MICHAEL
Check radio communications.
K.I.T.T.
Good idea. A Lear jet ran a weather
check for an area just across the
border.
MICHAEL
We're getting closer -- now let's
get those orchids!
They enter the greenhouse.
INT. GREENHOUSE - DAY - ON MICHAEL
racing toward the orchid area. He's hopeful, excited, and
then the look on his face tells it all.
K.I.T.T.
Michael, what is it?
MICHAEL
He beat us to them, Kitt....
ANGLE TO INCLUDE ORCHIDS
as Michael picks up some of the remains.
MICHAEL
Every last one of them burnt to a
crisp.
K.I.T.T.
And useless as an antidote.
Jennings glances up to the mask overhead:
JENNINGS
Guess old Tetzulla fell asleep on duty.
MICHAEL
Tetzulla?
JENNINGS
Yes, the Aztec God of Fertility.
Mr. Renard hung it there to look after
his rare orchids.
MICHAEL
Kitt, what do you know about this
Tetzulla?
ANGLE TO INCLUDE MONITOR
serving up a colorful Aztec image.
K.I.T.T.
Besides being the Aztec God of
Fertility, Michael, he's also the
patron God of the Mexican town of
Chalaxa.
MICHAEL
Is there a landing strip in Chalaxa?
ANGLE TO INCLUDE MONITOR GRAPHIC
of grid map with landing strip.
K.I.T.T.
Yes...a small one...but certainly
large enough for a private jet.
(beat)
Michael, if you're thinking what I'm
computing, I'm afraid it's a long shot.
MICHAEL
I hear you...but right now it's the
only shot in town. Let's swing on
down Mexico way.
He gets into K.I.T.T., and they drive off, leaving a rather
confused gardener behind.
EXT. U.S. 101 - DAY
K.I.T.T. winds southward through the curves, the blue
Pacific off to the right.
MICHAEL'S VOICE
Lay it on me, Devon.
INT. K.I.T.T. - DAY
Devon is on the monitor.
DEVON
The doctors have her on a life
support system, but I'm afraid it
doesn't look good, Michael.
MICHAEL
They've got to keep her alive 'til I
get back with that antidote.
DEVON
Believe me, they're doing all they
can....
MICHAEL
Then get them to do more! For me,
Devon, you've got to get them to do
more.
DEVON
(beat)
I'll stay on top of them, Michael.
I promise.
Devon goes off. Michael continues to drive, hard and
determined.
EXT. MEXICAN HIGHWAY - DAY - K.I.T.T. - VARIOUS SHOTS
The black Trans Am twists through the Sequaro desert on an
asphalt ribbon much smaller and lonelier than the previous
highway. We know we're south of the border from the
scenery and the music: maybe the Grateful Dead's "Mexicali
Blues" or J.J. Cale's "Bringin' It Back From Mexico". As
the sound alike fades:
K.I.T.T.'S VOICE
Michael, you know what I think you
could use right now?
ANGLE IN K.I.T.T.
driving.
MICHAEL
That antidote.
K.I.T.T.
Aside from that.
MICHAEL
Don't tell me -- a little stress
reliever.
K.I.T.T.
Very well, since you insist.
We hear an electronic snare drum roll that leads right into
the car's usual flat, dry delivery.
K.I.T.T.
When I was a kid....
MICHAEL
You were never a kid.
K.I.T.T.
Not now, Michael, I'm on a roll.
Now, when I was a kid we were so
poor we couldn't afford cheese to
bait the mousetrap.
MICHAEL
Another mouse joke?
K.I.T.T.
Please, no heckling...anyway, we had
to cut out a picture of cheese for
bait.
MICHAEL
So what happened?
K.I.T.T.
We caught a picture of a mouse!
Another rimshot. Michael groans loudly.
K.I.T.T.
(panicky)
Michael, what is it? Are you in pain?
MICHAEL
No, it's your jokes. They're
killing me.
He musters a smile and continues driving.
EXT. MAIN STREET - CHALAXA, MEXICO - DAY
This sleepy Mexican village is too sleepy: deserted,
actually.
ANOTHER ANGLE - CANTINA
Mexican music filters from inside.
INT. CANTINA - DAY
The room is traditional Mexican: thick adobe walls, arches
and pillars, cool and dark. Music comes from a radio
behind the bar where a burly bartender keeps an eye on the
door. Several local males ply quiet conversation at the
center tables and if we look closely, we might pick out
two or three concealed weapons. We settle on Renard and
Ava, seated at a corner table with Colonel Faisur and an
elegant blonde, Marissa. The men are in dark suits, the
women dressed to the nines in contrast to their semi-squalid
surroundings.
FAISUR
I trust the compound is totally
effective?
RENARD
(almost offended)
Colonel...have I ever let you down?
FAISUR
Not yet, and I wouldn't want this to
be the first time.
RENARD
Chalaxa is the perfect place for
milking the orchids and mass-
producing their venom. The local
authorities know the virtues of
looking the other way.
FAISUR
You're still not answering my
question. About the poison....
AVA
The synthesized poison is every bit as
strong as what we extract from the
orchids themselves.
RENARD
Which means one liquid ounce has the
killing power of twenty-five gallons
of cyanide. And best of all it's
untraceable.
(toasts)
A terrorist's dream.
The three toast and drink.
EXT. CANTINA - DAY - ON K.I.T.T.
pulling up. As Michael gets out ---
MICHAEL
All right, Kitt, you know the plan.
K.I.T.T.
We both know the plan, Michael...now
let's only hope they fall for it.
MICHAEL
As soon as I reach that door, pull
out all the stops.
Michael moves to the entrance of the cantina, motions to
K.I.T.T.
ANGLE ON K.I.T.T.'S MONITOR
as all hell breaks loose. I mean, it sounds like the
invasion of Normandy -- only with police sirens,
helicopters, riot wagons, even the mounted police, and all
compliments of K.I.T.T.'s polyphonic synthesizer.
INT. CANTINA - DAY
The gaiety and laughter suddenly stops as everyone reacts
to the invasion. Suddenly, Michael kicks the door open and
enters.
MICHAEL
All right, everyone stay where you are.
We've got the place surrounded, and by
orders of the Mexican and U.S. authori-
ties, you're all under arrest!
The locals, with the guns, obey. Even Renard and the
others seem fooled.
RENARD
You...are an amazing man, Knight.
MICHAEL
Just one who keeps his word, Renard
...like promising you we'd meet again.
He spots one of the locals trying to ease toward a door:
MICHAEL
Uh-uh, no one enters or leaves this
cantina!
The local quickly stops.
MICHAEL
Now, Renard, I want the antidote for
that poison. I'm sure you keep it
close by...maybe even on that gold
chain around your neck.
RENARD
You're right again, Knight.
Renard shows the golden vial attached to the chain. But as
Michael starts to move toward him:
ANGLE ON ENTRANCE
to see an American Tourista entering. He's had a bit too
much to drink, walks right up to where the music comes
from, and says:
TOURISTA
Playyy 'Melancholy Baby.'
Faisur quickly moves to the window and looks out.
FAISUR'S POINT OF VIEW - K.I.T.T.
sitting all by himself and giving out all these war sounds.
BACK TO SCENE
FAISUR
It's a trick! There's nothing out
there but a black car making noises!
RENARD
Take him!
The locals quickly spring. Michael gets in a few good
punches, but there are too many for him, and they soon have
him held tight, unable even to reach his comlink.
RENARD
Sorry I can't give you the antidote,
Knight...but so as not to disappoint
you completely...I'm going to give
you the poison.
He only has to look at Ava for her to move in and inject
Michael with the small syringe.
RENARD
And I assure you...that concentrated
injection will work much faster than
the one diluted in orange juice.
And as Michael starts to slump, we ---
OMITTED
FADE OUT
END OF ACT THREE
ACT FOUR
FADE IN
INT. CANTINA BACK ROOM - DAY - MICHAEL'S POINT OF VIEW ON A
BARE BULB
going in and out of focus. Just as it settles down, Ava's
face leans into shot, silhouetted softly by the harsh light.
She reaches out with a dampened silk scarf. Angel or
apparition?
ANOTHER ANGLE
We see she's wiping the perspiration from Michael's brow.
He's sprawled on a cot, trying his hardest to open his eyes
and focus on her.
MICHAEL
Don't tell me -- I've died and gone
to that hot place below.
AVA
Don't rush it. You've so little time
left, why spend it on unpleasantries?
With that, she bends over and kisses him. After they break:
MICHAEL
Where's Renard?
AVA
Michael Knight...true to your reputa-
tion. Drawing your last breaths and
still fighting.
She kisses him again. Michael lets it happen. When they
break, he sits up, holds his head, steadying himself. Ava
unbuttons the top button on his shirt. Michael takes note
of:
A MEXICAN GUARD
toting a shotgun, blocking any exit by the door.
BACK TO SHOT
Ava notes Michael's reaction to the guard's presence,
undoes another button. He turns to her.
MICHAEL
Friend of yours? How about a little
privacy?
AVA
(smiling)
You don't strike me as the shy and
inhibited type.
MICHAEL
Just answer me one question. Why?
AVA
Because I want to make your last
moments memorable.
She kisses him again. Michael breaks away, laughing softly.
He stands and faces her, seated on the edge of the cot.
MICHAEL
That's not what I meant. I meant,
why put that poison on the inter-
national market. I'd like to know
what price you two put on millions
of deaths.
AVA
For starters -- millions of dollars.
But believe me, it's not the money.
MICHAEL
I know, it's what the money buys.
She starts toward him.
AVA
My only regret is we won't have time
to get to know each other...more
deeply.
MICHAEL
It's not the time, Ava, it's what
you do with it.
Just as they're about to kiss, Michael whirls and nails the
unsuspecting guard with a right hook. The guard falls to
the floor. Michael turns back to Ava, yanks the silk scarf
from her grasp and stuffs it into her mouth as a gag. As
he binds her hands with the guard's belt:
MICHAEL
See how time flies when you're
having fun?
Binding completed, he tosses her onto the cot, kicks the
guard's shotgun away from the door and steps into the bar.
INT. CANTINA - BAR AREA - DAY
Michael sees another very large Guard sitting alone, eating,
his back to Michael. Michael looks around, grabs a beer
bottle off the bar, and heads for the behemoth's table.
CLOSER ANGLE
as Michael reaches over the Guard's shoulder and puts the
beer alongside his plate.
MICHAEL
Quiere cerveza?
GUARD
(turning to
thank him)
Ay...gracias....
But that's all he gets out as Michael rams another right
into his jaw, sending him sprawling out of his chair, out
cold.
MICHAEL
Con mucho gusto.
(to comlink)
Kitt, pick me up.
INT. K.I.T.T. - DAY
as engine, pedals, and shifter come to life.
EXT. CANTINA - DAY
Michael emerges and hops into K.I.T.T. as the car skids up
and pops a door. As they screech off:
K.I.T.T.'S VOICE
Michael, I'm so glad to see you.
ANGLE IN K.I.T.T.
driving. Michael's running on empty but his determination
is undaunted.
MICHAEL
Likewise, buddy. You better call
the Federales to clean this place up.
K.I.T.T.
Did you find the antidote?
MICHAEL
Yeah...and the poison.
K.I.T.T.
Michael, what do you mean?
MICHAEL
Scan my vitals and you'll see.
MONITOR
picturesque graph.
K.I.T.T.
Oh, no, Michael, they've injected you
with a lethal quantity.
MICHAEL
Tell me about it, pal. Renard still
has the antidote, and I'm guessing
he's jetting back to L.A. with it now.
K.I.T.T.
You're right. They took off fourteen
minutes ago, headed northwest. I'm
afraid that plane was loaded with a
very nasty cargo.
MICHAEL
Like enough poison to wipe out a
small city.
(starts punching
buttons)
Okay, so they've got a head start.
K.I.T.T.
Head start?! Michael, even at my
top speed they'd beat us there by
half an hour. And they're too far
up to microwave jam.
Michael's fading, but he keeps hitting buttons.
MICHAEL
I know. But see if you can access
the plane's navigation computer
through the Palomar uplink. If we
can scramble their compass and
airspeed indicator, maybe we can
send them off course and cost them
some time.
K.I.T.T.'s monitors spring to life.
K.I.T.T.
Brilliant, Michael! I'll take it
from here. Consider them adjusted.
(motherly)
Now you just relax.
As Michael hits "pursuit" and relaxes as the car rockets
off.
EXT. MEXICAN HIGHWAY - DAY - ON K.I.T.T.
slicing through the reddening light of day's end.
EXT. RENARD'S PRIVATE JET IN FLIGHT - DAY - ESTABLISHING
bisecting a cloudless sky.
INT. JET - COCKPIT - DAY - THE INSTRUMENTS
start to go haywire. We see the compass move several
notches and the airspeed indicator fall. The pilot taps
the instrument glass, relaxes as they seem to return to
normal.
ANGLE IN PASSENGER COMPARTMENT
where Renard, Faisur, and Marissa are seated. She's now
sporting a dark fur coat. There's a stack of aluminum
secure-carriers behind them. Renard notices the pilot's
actions.
RENARD
Anything wrong up there?
The pilot signals "okay." Faisur takes Renard by the
shoulder.
FAISUR
Relax, my friend. You made a fortune
today.
RENARD
You're right. And the only man who
could have taken it from me is dead now.
(to Marissa)
Marissa, some champagne, please.
MARISSA
Of course. It'll do us all good.
She starts to pour.
CUT TO
EXT. HIGHWAY - DAY - K.I.T.T.
roaring back toward the border and L.A.
ANGLE IN K.I.T.T.
Michael slumps in the driver's seat, eyes closed.
MICHAEL
(dreamily)
Kitt, how much longer do I have?
K.I.T.T.
Don't ask me that.
MICHAEL
An hour? Two?
K.I.T.T.
(a beat,
emotionally)
I'm surprised you're still with us,
Michael. You're living on sheer
willpower.
MICHAEL
(fading)
I'm tired, Kitt...tired of fighting
...I want to rest...rest....
K.I.T.T.
(desperately)
The will to live, Michael. It's all
you've got! Don't give up!
MICHAEL
(almost inaudible)
I just want...to sleep....
K.I.T.T.
(shouting)
Michael!
This jolts Michael ever so slightly. In a state of panic,
K.I.T.T. goes into his "act."
K.I.T.T.
A friend of mine flew to Las Vegas
yesterday, and boy are his arms tired!
Michael shows no reaction.
K.I.T.T.
(without a
break)
I know a man who made so much money
in Las Vegas, they're still looking
for his body.
K.I.T.T. adds a slide whistle sound effect. Michael groans.
CUT TO
EXT. RENARD'S JET IN FLIGHT - DAY
flying in front of a beautiful sunset.
INT. JET - PASSENGER COMPARTMENT - DAY
Renard is still fidgety, looking out the window, calls up
to the pilot.
RENARD
That body of water...I don't remember
it on the flight down.
FAISUR
So we're on a different flight path.
Calm down. You're getting too old
for this business.
RENARD
(looks out again;
it dawns)
That's Lake Arrowhead! We're a
hundred miles off course!
(calls ahead
to pilot)
Get this jet turned around!
As the pilot nervously starts working the instruments:
FAISUR
Head winds, Renard, head winds. Next
thing you know, you'll be seeing ghosts.
Renard settles back in his seat, troubled.
CUT TO
EXT. HIGHWAY - NIGHT - ON K.I.T.T.
tearing up a freeway that's distinctively American. L.A.
at last. And still we hear:
K.I.T.T.'S VOICE
And how 'bout those show girls in
Vegas....
ANGLE IN K.I.T.T.
Michael holding his own, thanks to K.I.T.T.'s bottomless
well of jokes, now with a running laugh track.
K.I.T.T.
...I saw one with beautiful blonde
hair all down her back. None on her
head, all down her back.
Move in on Michael who breaks into the slightest smile.
CUT TO
EXT. AIRPORT - NIGHT
The jet is just coming in for a landing now after its delay.
HIGH ANGLE ON THE RUNWAY - NIGHT
Screaming through the darkness onto the airport tarmac is
K.I.T.T., red scanner flashing in a simultaneous arrival.
MICHAEL'S VOICE
Is that them, Kitt? Did we make it?
ANGLE IN K.I.T.T.
K.I.T.T.
We surely did, Michael, and not a
moment to spare.
This information buoys Michael's energy.
MICHAEL
Then let's give them a reception
they'll never forget. Head on.
He floors the car.
INT. RENARD'S JET - NIGHT
Faisur and Marissa are collecting themselves for a quick
departure when Renard glances out the window.
RENARD
Oh, no...
(calls, angry)
Faisur! There's my ghost!
ANGLE THROUGH THE JET'S WINDSHIELD - WHAT HE SEES IS
K.I.T.T.
speeding toward them, head on.
ANGLE IN JET
Now it's Faisur's turn to be nervous. But Renard takes
command.
FAISUR
What do you suggest?
RENARD
(calls to
pilot)
Take off again! Now! We've got to
get airborne immediately.
ANGLE IN K.I.T.T. - MICHAEL'S POINT OF VIEW THROUGH THE
WINDSHIELD
we see the nose and lights of the Lear jet looming larger
than ever and coming on fast.
K.I.T.T.
Michael! They're lifting off again.
MICHAEL
Not if we can stop them.
INSERT - MICHAEL'S HANDS ON WHEEL
hitting the 'pursuit' trigger. The car's engine whines.
ANGLE IN K.I.T.T. - MICHAEL
is pushed back into his seat by the speed. He braces for
impact.
EXT. RUNWAY - NIGHT - VARIOUS ANGLES - THE CRASH
K.I.T.T. hits the plane just before it lifts off. Michael
takes the car smack into the left wing and fuel pontoon of
the jet. They explode and burst into flame. The jet
wobbles weakly to a stop.
ANGLE IN K.I.T.T.
Michael groans at the jolt, then pumps the wheel around to
pick up his fleeing prey.
K.I.T.T.
Michael, what are you planning? You
hardly have the strength to stand up.
MICHAEL
Then it's time for another dose of
willpower, buddy.
He screeches to a stop near the burning plane.
EXT. RUNWAY - NIGHT - FULL ANGLE - THE JET
The pilot, Renard, Faisur, and Marissa run pell-mell down
the ramp of the burning jet.
ON K.I.T.T. AND MICHAEL
Michael climbs from the driver's door, steadies himself
a beat, then starts for the jet.
K.I.T.T.'S VOICE
Michael, the fire is reaching the
jet's main fuel tanks!
Michael shouts through the smoke and din:
MICHAEL
Get away! The plane's going to go
up!
WIDE SHOT - SLOW MOTION - THE JET
As the pilot, Renard, Faisur, and Marissa flee across the
tarmac the Lear jet blows sky high in a ball of flame.
They're thrown to the ground by the force of the blast.
MOVING WITH MICHAEL
He races to his downed opponents.
MICHAEL
Kitt, are they all right?
K.I.T.T.
All vitals are strong, Michael.
Michael finds Renard.
TIGHT ON RENARD
lying on the ground. Michael kneels beside him, grabs the
antidote vial, and roughly rips the attached gold chain from
Renard's neck. Michael, who is now running solely on will-
power, slowly gets to his feet. Two policemen arrive on the
scene.
MICHAEL
(to cops)
Lock these two up and don't let
anybody near this jet.
K.I.T.T.
Michael, we're running out of time!
MICHAEL
I'm all yours, Kitt.
Michael jumps into K.I.T.T. and speeds off.
EXT. HOSPITAL - NIGHT
as K.I.T.T. comes screeching up to the emergency room
entrance. Devon and Bonnie are there to help Michael out
of the car as two orderlies rush to their aid with a gurney.
MICHAEL
(gasping)
The antidote...Cindy?
DEVON
Inside! Hurry!
The orderlies wheel him off. Hold on Devon and Bonnie,
near tears of relief and worry.
SMASH CUT TO
INT. EMERGENCY ROOM - NIGHT
The doors fly open as Michael's wheeled in. His gurney is
placed next to another where he sees:
CINDY
pale, her condition critical. Through her fog she recog-
nizes Michael and catches the glint of hope in his eyes.
CINDY
(weakly)
Michael...are we going to die?
He reaches across and takes her hand.
MICHAEL
No. We're going to be fine.
WIDER ANGLE
The doctor has already prepared an injection, which he
gives to Cindy first. The monitors at her bedside suddenly
become active, indicating an immediate improvement. The
attending hospital staff let out a cheer! Camera finds:
MICHAEL
still holding her hand, smiling comfortably. On his
triumph:
FREEZE FRAME
AND
FADE OUT
END OF ACT FOUR
TAG
FADE IN
EXT. VENICE BEACH BANDSTAND - DAY
Up rock music plays as we find Cindy in the middle of her
final audition for Dance Mania. Michael stands with the
producer/director types who look on, perhaps making notes
or whispering to each other, their expressions inscrutable.
Devon and Bonnie also watch from where K.I.T.T. and Devon's
limo are parked.
VARIOUS ANGLES - CINDY
is putting on a wonderful display a la Flashdance. The
music climaxes and she collapses to a finishing move, then
springs to her feet enthusiastically. Out of breath, she
crosses to Bonnie and Devon.
BONNIE
Cindy, you were fantastic.
CINDY
I just hope the director thinks so.
She wipes her forehead with a towel, nervous. Michael
saunters up, looking serious.
CINDY
Well? Don't keep me in suspense.
MICHAEL
You're not what they had in mind.
Cindy sags. Another turn down.
CINDY
Oh well. At least they called me back.
MICHAEL
(breaking into
a grin)
You're better than what they had in
mind. The part's yours! Welcome to
Dance Mania!
Cindy's expression changes to one of ecstatic delight. She
throws her arms around Michael, who lifts her off the ground
in a big hug, spins her around.
BONNIE
We knew you could do it!
DEVON
This calls for a celebration. And I
have just the thing.
Devon opens the passenger door of his limo and pulls out an
iced champagne bucket. The bottle is wrapped in a white
napkin. Ad-lib oohs and aahs.
MICHAEL
Devon, how thoughtful. A good year?
DEVON
(mischievous)
Excellent year. 1984.
(off their
looks)
Squeezed this morning.
He pulls out the bottle. It's orange juice. Michael and
Cindy react, groan in unison.
ANGLE ON K.I.T.T.
His scanner flashing as he spots someone O.S. He sounds
his rimshot:
K.I.T.T.'S VOICE
Speaking of jokes....
ANGLE TO INCLUDE MR. BODY
again with his weights and heading for K.I.T.T.
K.I.T.T.
Did you hear the one about the weight
lifter who tried to press his own
weight, but burned himself with the
iron?
The others laugh, all except Arnold who remains dead
serious ---
ARNOLD
No, tell me about it.
Under the group's reaction we hear K.I.T.T.'s hokey rimshot,
slide whistle, and laugh track.
K.I.T.T.
Thank you! You're a beautiful audience.
FREEZE FRAME
FADE OUT
THE END
