ACT ONE
FADE IN
EXT. NEW ORLEANS - DAY - HELICOPTER SHOT
The high wail of a Dixieland clarinet. Swooping low over
the Pontchartrain Bridge and heading into the French Quarter.
EXT. FRENCH QUARTER - DAY - ESTABLISHING
Dixieland continues over. Even during the day it's party
time.
EXT. CATFISH'S DIXIELAND BAR - DAY
In the heart of the French Quarter. One can only imagine
what's going on inside at this moment. But the music's hot,
and it floats clear out onto the street.
ANGLE ON K.I.T.T.
parked at a safe stakeout distance from the entrance.
DEVON'S VOICE
Maybe we're just wasting time.
INT. K.I.T.T. - DAY
Devon's on the monitor from his Foundation office.
MICHAEL
If you've gotta waste time, Devon,
there's no better place to do it
than New Orleans.
DEVON
I'm sure you're right, but you've been
staking out this Willis character for
almost twenty-four hours now and all
you've got to show for it is a tour
of the French Quarters.
MICHAEL
He likes to enjoy himself, no question
about that. But if we want to put
Lasalle out of business we've got to
squeeze his key people -- people like
Willis.
DEVON
All right, Michael. Keep me posted.
Devon disappears from the screen.
K.I.T.T.
To tell you the truth, Michael, it's
not the waiting that bothers me.
It's the Dixieland jazz that goes
with it. If I hear 'When The Saints
Go Marching In' one more time....
But Michael spots something O.S., interrupts:
MICHAEL
Kitt...there he is.
MICHAEL'S POINT OF VIEW THROUGH WINDSHIELD - WILLIS
coming from Catfish's Bar and moving toward a fast sports
car parked at the curb. He's thirty, wears designer jeans
and shirt. Nice looking in a rough sort of way. He
carries an overnight bag. The lovely young lady clinging
to his arm is Ginger, twenty-five, blonde, a woman who's
seen both ends of Bourbon Street.
K.I.T.T.'S VOICE
Michael, he didn't have that case when
he went in.
BACK TO SCENE
MICHAEL
You got that right. Let's take a peek
inside.
He presses the X-ray mode.
INTERCUT - MONITOR
as a computer-generated image moves through the case and
focuses on a plastic container filled with white powder.
K.I.T.T.
A kilo of pure heroin, Michael.
Known on the street as 'China White.'
MICHAEL
(punches
buttons)
Let's get Devon.
ANGLE TO INCLUDE WILLIS THROUGH WINDSHIELD
shooting from behind as Michael sees Willis kiss Ginger
good-bye.
K.I.T.T.
I didn't think Lasalle was involved
with drugs.
Willis starts toward the driver's side.
MICHAEL
Why not, he's into everything else.
(to Devon)
We're on.
ANGLE ON WILLIS
As he starts to open the car door something suddenly
catches his eye.
WILLIS' POINT OF VIEW - K.I.T.T.
Michael behind the wheel.
BACK TO WILLIS
He debates, then suddenly takes off on foot.
ANGLE ON MICHAEL
MICHAEL
He made us!
(to Devon)
Devon, notify the cops. Kitt, cut
him off at the intersecting street.
Michael jumps out and races after Willis.
VARIOUS ANGLES OF CHASE
Willis is big, agile and fast, making use of sidewalk
artifacts -- trash cans, bicycles, vendors racks, etc. --
to keep Michael off balance.
ANGLE AT CORNER
Willis is about to cross the street when K.I.T.T. suddenly
pulls up and cuts him off. Willis turns to run the other
way when Michael manages to tackle him and bring him down.
ANGLES ON FIGHT
Willis catches Michael in the midsection with his foot,
sending him sprawling on his back. Michael quickly springs
to his feet, drops the charging Willis with a right, and as
police sirens are heard arriving he lifts Willis up, pins
his arms around his back and slams him against the brick
wall.
ANGLE ON POLICE CARS
screaming up, lights flashing. Several police officers
jump out, revolvers drawn.
SERGEANT
Police officer! Hands up against the
wall! Legs spread.
Willis obeys with the help of another armed officer. A
third officer takes the case, opens it.
SERGEANT
That goes for you, too!
MICHAEL
Officer, my name's Michael Knight,
I'm with the Foundation for Law and
Government ---
SERGEANT
You heard me. Spread 'em!
Michael obeys. The Sergeant begins patting him down.
POLICE OFFICER
(re heroin)
Sergeant, looks like heroin.
MICHAEL
It is heroin. I've been staking him
out.
But the Sergeant pulls something out of Michael's jacket
pocket.
SERGEANT
You've been staking something out,
that's for sure.
He shows Michael a small plastic bag of heroin. Michael
looks at it in total shock and disbelief.
SERGEANT
You're under arrest.
CUT TO
EXT. FOUNDATION - DAY - ESTABLISHING
MICHAEL'S VOICE
Suspension?!
INT. DEVON'S OFFICE - DAY
Devon is near his desk, looking terribly distressed.
DEVON
I'm sorry, but until this mess is
straightened out I have no other
choice.
MICHAEL
(hot)
But I was framed! He must've slipped
it into my pocket while we were
fighting!
DEVON
Michael, please. I believe you.
MICHAEL
Then why the suspension?
DEVON
Because the bylaws of the Foundation
demand it. You were a police officer.
You know the procedure in cases like
this.
MICHAEL
But we're a private organization.
You're under no civil service mandate
to put me on suspension.
DEVON
Michael, the Foundation has people to
answer to. We're a visible organization.
If we let something like this pass
without an investigation, it would be
looked upon as a cover up.
MICHAEL
All right, investigate all you want,
but just don't keep me from doing my
job.
DEVON
(difficult
beat)
I'm sorry, but my decision is made.
A tense moment.
MICHAEL
And what am I supposed to do in the
meantime, go fishing?
DEVON
As I recall you still have this year's
vacation coming.
MICHAEL
(ironic laugh)
As I recall I still have last year's
vacation coming. But if you think I'm
taking it, you're out of your mind.
I've been framed and there's just
one person who can clear me.
He grabs his stuff, starts for the door.
DEVON
Willis is sticking to his story.
MICHAEL
I'm not talking about Willis. I'm
talking about his boss -- Lasalle.
DEVON
(concerned)
Michael, the Foundation cannot operate
above the law.
MICHAEL
But I'm no longer with the Foundation,
remember...I'm on suspension.
A last look at Devon and he leaves.
CUT TO
EXT. THE FOUNDATION - DAY
K.I.T.T. is parked in the driveway with his scanner swinging
back and forth in rhythm to Caruso's "Il Travatore". Michael
comes out. K.I.T.T. turns off the music.
K.I.T.T.
Well, Michael, I'm glad you got that
little matter straightened out.
MICHAEL
The only thing I got was a suspension.
K.I.T.T.
A suspension? But how can that be?
MICHAEL
It's a long story and I don't want
to bore you with it.
(difficult
beat)
I'm leaving, Kitt.
K.I.T.T.
Where are we going?
MICHAEL
Not we. I'm going alone.
K.I.T.T.
Alone? But Michael, we're a team.
MICHAEL
You belong to the Foundation, Kitt.
K.I.T.T.
But, Michael, without you....
MICHAEL
Believe me, pal, I feel the same way.
It's not over yet. Not by a long shot.
(beat)
Until then, take care.
He grabs a casual jacket from the backseat, starts down the
long driveway.
K.I.T.T.'s red scanner light slows and then stops.
CUT TO
EXT. FRENCH QUARTER - NIGHT - ESTABLISHING
Dixieland jazz over.
INT. CATFISH'S BAR - NIGHT
Tastefully crude, smoky and colorful, with foggy mirrors and
ceiling fans. The funky piano man, sleeves pulled up, nurses
a shot as he plays his music.
ANGLE ON MICHAEL
having just entered and stepping up to the bar. He hasn't
shaved and his clothes looks as if he's slept in them. He's
also had a few drinks, although he's far from drunk. Gino,
the bruising bartender, spots him, shakes his head, and
comes up to him.
GINO
You again. You're worse than a bad
dream.
MICHAEL
All you gotta do is tell me where I
can find Lasalle and I'll be glad to
take my business down the street.
ANGLE TO INCLUDE DANTON
seated in a nearby booth. Huge and black with muscles
bulging inside his three-piece suit. Carmen, dark-skinned
and sultry, sits next to him. Both watch Michael's action
with interest.
GINO
I told you, I don't know what Lasalle
you're talking about.
MICHAEL
How many Lasalle's own a big chunk of
the French Quarter, including this
joint?
GINO
For your information, this joint is
owned by the Dixieland Investment
Corporation.
MICHAEL
Yeah, and Lasalle is the Dixieland
Investment Corporation.
GINO
Look, you wanna drink or not?
CARMEN'S VOICE
Sure he wants a drink, Gino.
Michael turns as Carmen slides up.
CARMEN
Isn't that right?
She smiles. He relaxes some, returns it.
MICHAEL
Yeah...and buy one for my sister
here, too.
Carmen laughs, sidles up next to him.
CARMEN
I love a man with a sense of humor.
MICHAEL
That's me, a laugh a minute.
Gino pours two shots. Michael holds the glass for a toast.
MICHAEL
To us.
CARMEN
Even if it takes all night.
Michael grins, and they drink. After which Carmen moves in
for a kiss. Michael doesn't fight it. As Carmen kisses
him with surprising passion:
CLOSE ON HER HAND
slipping over Michael's drink and dropping in a quick-
dissolving tablet.
FULLER ANGLE
They finally break, smiling, tasting the kiss. He touches
the rim of her glass, and they polish off what's left.
MICHAEL
You know, I've kissed a few ladies
in my life...but you're the....
CARMEN
Yes?
MICHAEL
You're the....
He's having trouble focusing; feeling a bit dizzy.
MICHAEL'S POINT OF VIEW - CARMEN
out of focus, getting fuzzier, spinning.
BACK TO MICHAEL
He tries to speak, can't, slowly slips to the floor.
MICHAEL'S POINT OF VIEW - BAR LIGHTS ON CEILING
out of focus, spinning into:
DISSOLVE TO
INT. MICHAEL'S ROOM - DAY
Soft focus of sunlight playing on crystals. We tilt off
the chandelier tinkling in the breeze down to the morning
sun shining through the eight-foot beveled glass windows
and backlighting Linda, early twenties, in a simple, yet
sexy white summer dress. She's a beautiful woman.
LINDA
I thought you were dead.
MICHAEL
Not so sure I'm not.
It's an elegant room filled with tasteful antiques and
classical paintings. Michael sits up painfully.
MICHAEL
If I didn't know better I'd think
somebody punched my lights out last
night.
LINDA
Now why would anyone want to do
that?
MICHAEL
You tell me.
LINDA
I'm afraid you'll have to find out
for yourself.
(motions toward
the window)
Lasalle's waiting for you on the
lanai.
She leaves. On his reaction:
CUT TO
EXT. LANAI - DAY
Boyd Lasalle, a powerful, handsome man in his early fifties,
is having coffee and reading a newspaper. Linda is seated
next to him having juice. Danton, always formally dressed,
sits on the balcony railing nearby, a faithful and fierce
watchdog. Lasalle glances up to see the freshly shaved
Michael heading their way.
LASALLE
You must be Michael Knight.
MICHAEL
How'd you guess?
LASALLE
I'm Boyd Lasalle, and this is Linda.
MICHAEL
We almost met earlier.
Michael and Linda exchange looks until:
LASALLE
Darling....
Knowing what's coming, she gets up:
LINDA
I know. Business.
One last look at Michael and she goes toward the house.
Michael watches her; she moves like a thoroughbred.
LASALLE
Now, I understand you've been looking
all over New Orleans for me. Why?
MICHAEL
Because one of your errand boys framed
me, that's why.
LASALLE
(shrugs)
So? What do you want from me?
MICHAEL
I want my suspension lifted and my name
cleared.
LASALLE
You and I are natural enemies. As long
as you're on suspension I sleep better
at night.
(a smile)
So does Linda.
MICHAEL
I'm not going to be on suspension
forever.
LASALLE
No, you aren't. As a matter of
fact, your status at the Foundation
has taken another turn for the worse.
MICHAEL
What are you talking about?
Over this Edwin Poole, twenty-three, thin, long hair, John
Lennon glasses, crosses from the house carrying what appears
to be a briefcase. He places it on the table.
LASALLE
Thanks to the electronic wizardry of
Mr. Poole here, I've recently gained
access to the Foundation's inner
sanctum. We actually use your own
surveillance equipment to spy on you.
Poole smiles and opens the top of the briefcase to reveal
a state-of-the-art portable TV monitor.
LASALLE
Watch.
He motions to Poole to turn it on. Michael reacts to what
he sees on the screen.
ANGLE TO INCLUDE SCREEN
A freeze frame of Devon talking to Bonnie in his office.
There's a time and date readout at the top of the screen.
LASALLE
As you can see, this was recorded
just over an hour ago.
INSERT - SCREEN
as seen on the monitor. Both Bonnie and Devon are terribly
upset.
BONNIE
But Devon, you can't just fire him!
INTERCUT AS NEEDED
with Michael's reactions.
DEVON
It's the board's decision, Bonnie,
not mine.
BONNIE
But why? He was supposed to be
suspended pending the results of the
investigation!
DEVON
The consensus was that Michael has
been compromised. I'm sorry. I
argued against it. I did everything
I could.
BONNIE
(beat)
Have you told him?
DEVON
I'm trying to locate him now.
BONNIE
But what are we going to do?
DEVON
Do? We're going to replace him.
BONNIE
Just like that?
DEVON
We've no other choice. Bonnie, I'm
going to miss him, too...but the
integrity of the Foundation is more
important that any one man -- including
Michael Knight.
LASALLE
Seen enough?
Michael glances at him, stunned. He nods. Poole turns it
off.
LASALLE
I can imagine how difficult this is
for you. Fortunately I think some
good can come out of it after all.
MICHAEL
(beat)
I can't imagine what.
LASALLE
I can use a man of your talent.
Michael regards him with contempt.
MICHAEL
What do you think I am, for sale to
the highest bidder? No questions
asked?
LASALLE
You haven't heard my offer yet.
MICHAEL
Save your breath.
Angry, he starts away.
LASALLE
Then what are you going to do for a
living? With your present security
rating you couldn't get a job as a
rent-a-cop.
No response.
LASALLE
I'm willing to pay you fifty thousand
dollars for an hour's work.
Despite himself Michael pauses.
MICHAEL
(beat)
What kind of work?
LASALLE
Stealing something I want very much.
(motions
to screen)
Come here. I'll show you.
Michael crosses back. Poole presses another of the remote
buttons. Michael reacts to what he sees.
MICHAEL'S POINT OF VIEW - K.I.T.T.
inside the semi being worked on by Bonnie.
LASALLE'S VOICE
The Knight Industry Two Thousand.
ANGLE TO INCLUDE MICHAEL AND LASALLE
Michael reacts.
LASALLE
Or as you so fondly call it...Kitt.
Lasalle looks to Michael and smiles.
FREEZE FRAME
END OF ACT ONE
ACT TWO
FADE IN
EXT. ROAD - DAY - FAVORING K.I.T.T.
as he races behind two trucks running alongside each other,
then lifts up on two wheels and skiis right between them.
ANGLE ON TRUCK DRIVER THROUGH WINDSHIELD
reacting.
K.I.T.T.'S VOICE
No, Charles, Ski Mode is used only in
emergency situations....
INT. K.I.T.T. - DAY
Charles, thirty, looking every bit an FBI agent, sits
behind the wheel, eating up every moment of his adventure.
CHARLES
Just checking out the equipment,
little buddy.
K.I.T.T.
(appalled)
Little...buddy?
CHARLES
And, by the way, you can call me
Chuck.
K.I.T.T.
I can, yes, but why would I want to?
CHARLES
Well, if I'm going to be your new
partner....
K.I.T.T.
(interrupting)
Unless I'm mistaken, Chuck, at this
point you're simply one of many
candidates being considered for the
job.
CHARLES
That's true, but when Chuck Wallyburton
goes after something, he usually gets it.
ANGLE TO INCLUDE MONITOR
as Devon appears, sitting behind his desk.
DEVON
Well, I see you and Kitt are getting
to know each other, Charles.
K.I.T.T.
You can call him Chuck, Devon.
Devon raises his eyebrows.
CHARLES
We're getting along just fine. And
I must say, this is some organization
you run, Dev. Just give me the word
and it's good-bye Feds, hello F.L.A.G.
DEVON
Yes...well...you realize we're still
in the process of interviewing
possible replacements....
CHARLES
Like I always say, why shop for
ground round when you've got top
sirloin right on your plate.
DEVON
That's...what you always say, is it?
CHARLES
And what does this little button
do?
CLOSE ON BUTTON
as Charles reads:
CHARLES
Eject...left.
FULLER ANGLE
K.I.T.T.
(pregnant pause)
Why don't you check it out Chuck?
Devon raises his eyebrows.
CHARLES
Now you're talking, little buddy.
He pushes eject button.
EXT. ROAD - DAY
as Chuck is ejected skyward.
INT. K.I.T.T. - DAY
Devon has mixed feelings.
DEVON
Kitt, I didn't see that.
CUT TO
EXT. MANSION LANAI - DAY - TIGHT ON MINIATURIZED HIGH-TECH
TOOL KIT
WIDER ANGLE
Poole is standing next to Michael. Michael checks out the
mini-torch, a grappling hook, a tensile line, wrenches,
screwdrivers, diamond wire and blades over:
POOLE
I don't plan to stay here forever.
MICHAEL
Good.
POOLE
Lasalle made me a principal. I get
a percentage now. Do you?
MICHAEL
Nope. Just a hired gun.
POOLE
Pretty soon I'll have enough saved
to start my own computer company and
finance rock concerts.
He laughs, takes an apple from the fruit bowl and takes a
large bite, enjoying himself immensely. Then he notices
something inside.
POOLE
Want a piece of advice, Mr. Hired
Gun? The next person you see, don't.
He leaves, munching the apple. The French doors behind
Michael open. He turns.
ANOTHER ANGLE
Linda comes out with that same look, never fully making
eye contact with him.
LINDA
They're ready for you.
MICHAEL
What if I'm not ready for them?
LINDA
Are you asking a question or making
conversation?
MICHAEL
Maybe a little of each. Is that
allowed?
LINDA
If it makes you feel better.
She turns to go back in but Michael lightly catches her arm.
MICHAEL
What is it with you? Do you have
contempt for everyone, or am I
special?
She looks at him fully for the first time, a long enigmatic
look, then turns and walks inside without replying.
CUT TO
EXT. TWO-LANE - DAY - HELICOPTER SHOT
The Foundation semi rolls along the two-lane road.
INT. HELICOPTER - DAY
Michael studies it, looks at Danton and nods.
EXT. TWO-LANE - DAY
As the semi cruises along the helicopter drops down toward
it.
EXT. HELICOPTER - DAY
Michael climbs out and onto the skids.
EXT. HIGHWAY - DAY
the chopper drops down to within feet of the truck.
Michael drops.
ANGLE ON SEMI
Buffeted by the wind, Michael creeps back to the center of
the roof to a series of flush-mounted panels, reaches into
the tool kit, removes a security screwdriver and begins
removing screws.
ANGLE ON CHOPPER
It lifts away, disappearing over distant hills.
ANGLE ON MICHAEL
Panel off, he disarms the security system by cutting the
positive lead.
INT. SEMI - DAY
Caruso is singing again. The motion of the highway makes
it appear as though K.I.T.T. is swaying to the music.
MICHAEL'S VOICE
Been taking voice lessons?
Caruso shuts off abruptly.
K.I.T.T.
Michael!
Michael lowers himself down on the thin tensile line.
K.I.T.T.
I thought I'd never see you again!
MICHAEL
Hey, pal, you can't get rid of me
that easy.
K.I.T.T.
You've talked with Devon. It was a
misunderstanding. Everything will
be the way it was.
MICHAEL
No, Kitt, it'll never be the way it
was.
Stunned.
K.I.T.T.
Then why did you come back?
MICHAEL
To get you.
K.I.T.T.
(after a beat)
I don't understand.
MICHAEL
You said it, Kitt: we're partners.
K.I.T.T.
In a few days I'll be 'partners' with
someone else. Bonnie's going to
reprogram me as soon as they decide
on...
(with difficulty)
...your replacement.
(with despair)
Michael, you should see them. One
even tried to put out a cigarette in
my chemical analyzer.
MICHAEL
Bonnie can't wipe out what we've
been through together with a new
program. Nobody can. We're a
team....
He presses his hand on the pressure plate but the door
doesn't open.
K.I.T.T.
Michael, this is all very confusing.
MICHAEL
(reaching for
the driver's door)
Come on, Kitt, we've got things to
do. Places to go.
K.I.T.T.
I am the property of The Foundation
for Law and Government.
MICHAEL
Kitt, open the door. Let me in....
He tries again: nothing.
MICHAEL
This is it, pal. I won't ask again.
He tries again. Intercut Michael's face, his fingers,
K.I.T.T.'s dash...and then the sensors keyed to his touch
flash. He opens the door and jumps in.
MICHAEL
All right, Kitt! Butch and Sundance,
back in the saddle! Rock-n-roll!
K.I.T.T.
Michael, if you'd only try to
appreciate 'Il Travotore.'
From the front compartment, Bonnie suddenly appears.
BONNIE
Michael! Kitt, no ---
Michael hits the throttle.
EXT. TWO LANE - DAY
The semi rolls along. The ramp lowers and the Trans Am
wheels backward down the ramp, does a one-eighty then takes
off up the road.
INT. TRANS AM - DAY
Michael smiling, taking it all in.
MICHAEL
It feels great. Come on, admit it.
K.I.T.T.
There is an undeniable nostalgia.
Unfortunately it's clouded by your
recent behavior.
MICHAEL
My recent behavior's history. We've
got a whole life ahead of us.
K.I.T.T.
It would seem as fugitives.
EXT. LAKE PONCHARTRAIN - DAY
The Trans Am moves along the lake toward a Tara-like
mansion in the distance.
EXT. MANSION GATES - DAY
A high wall surrounds the huge estate. The Trans Am stops
at the gate guarded by two burly security officers.
MICHAEL
Michael Knight.
GUARD
(very polite)
I don't see your name on the guest
list, Mr. Knight. Are you here for
the birthday party?
MICHAEL
What birthday party? I work for
Lasalle.
GUARD
(tense)
Please wait here.
He goes back to the security office, picks up the phone,
glancing suspiciously at Michael.
MICHAEL
Are you thinking what I'm thinking?
K.I.T.T.
Quite possibly.
MICHAEL
Shall we? Just for old time's
sake?
K.I.T.T.
Michael, it is good to have you back.
Michael laughs, throws K.I.T.T. into reverse and backs up.
ANGLE ON GUARDS
They react, surprised.
ANGLE ON K.I.T.T.
Michael hits the throttle, then pushes Turbo Boost.
INTERCUT - GUARDS
They stare. One grabs his weapon and fires.
ANGLE FROM GATE
The Trans Am arcs up and heads toward the manicured hedges.
ANGLE FROM MANSION GROUNDS
A Dixieland band, dozens of guests, vats of jumbalaya,
crawfish pies and file-gumbo.
The pool and lawns are crowded with party-goers, and
there's more than an ample supply of beautiful young women.
ANGLE ON LASALLE AND LINDA
Lasalle is holding court with influential guests. Linda is
breathtaking. At the whine of a turbine approaching they
turn.
WHAT THEY SEE - K.I.T.T.
He soars over the gate, hits the pavement and slides to a
dramatic stop. The door pops open and Michael steps out.
The jaded crowd applauds, assuming it's part of the
festivities.
LASALLE
A new business associate...
(smiling)
...who favors dramatic entrances.
Michael mock bows, smiling, approaches Lasalle. He catches
Linda's eye. This time there's another brief, mysterious
contact before she turns away. Lasalle shakes Michael's
hand. The ever present Danton materializes from the crowd,
watching Michael.
LASALLE
Congratulations.
MICHAEL
As agreed.
LASALLE
As agreed, yes. But considering we
live in a time where agreements are
broken as often as honored, I'm
impressed.
MICHAEL
The price was right.
LASALLE
Is that a hint?
MICHAEL
No. I'd like my money.
Lasalle seems to enjoy Michael's brashness, guides him
toward the house, away from the guests. Michael glances
across at Linda, sees her react to something off. He looks.
HIS POINT OF VIEW - A LIMO
It glides through, darkened windows concealing who or what
is inside. It continues past, disappears toward the rear
of the estate.
ANGLE ON LINDA
She immediately excuses herself, hurries off in the
direction of the limo.
ANGLE ON K.I.T.T.
on the lawn near a clump of trees, away from the party.
K.I.T.T.
Oh my....
REVERSE ANGLE
A huge alligator lumbers out of the trees, coming toward
K.I.T.T.
K.I.T.T.
Scat! Scedaddle!
The alligator continues to come closer.
K.I.T.T.
Adios, adevecche, ciao, Sayonara,
aloha, bug off!
The alligator is nose-to-nose with K.I.T.T.
K.I.T.T.
I support endangered species, but
this is ridiculous.
ANGLE INSIDE K.I.T.T.
He auto-starts, shifts into reverse and backs up.
ANGLE ON ALLIGATOR
He comes forward again. His jaw opens revealing rows of
huge teeth.
K.I.T.T.
This calls for extreme measures.
K.I.T.T.'s hood pops open, jaw-like and huge. The
alligator thinks it over does an about-face and heads back
toward the trees, out-jawed.
K.I.T.T.
Thank goodness.
INT. MANSION - DAY
Lasalle counts out fifty thousand dollars in stacks of
hundred dollar bills onto a table. Michael watches. So
does Danton, expressionless.
MICHAEL
Thanks.
He picks up the bills and puts them in his pocket.
LASALLE
That's all?
MICHAEL
Did I forget something?
Danton's buzzer sounds. He and Lasalle have instant eye
contact, as if they know what this is about. Danton leaves
immediately, heading outside. Lasalle looks agitated,
impatient.
LASALLE
Let's not play games. Without you
the car is virtually useless. You
know that and I know that. It's a
means to an end. What will it cost
me?
MICHAEL
What do you want done?
LASALLE
Something dangerous.
MICHAEL
I figured.
Interrupted by Danton rushing back in, concerned. He pulls
Lasalle aside, whispers something in his ear.
LASALLE
Excuse me. I won't be a minute.
He hurries out with Danton. Michael watches them go
outside, cross quickly toward the rear of the mansion -- the
direction the limo went. He pauses, then slips out.
EXT. REAR AREA OF MANSION - DAY
Michael appears, cautious. He hears a woman scream, men's
voices. He pushes through trees and undergrowth.
HIS POINT OF VIEW - LINDA
Danton and another security guard are dragging her away
from the limo kicking and screaming. Lasalle watches,
grim. The darkened window electrically rises, a child's
face glimpsed briefly before it's obscured. The limo pulls
out.
ANGLE ON LINDA
She's hysterical, kicking and biting. In the fury the
locket she wears is ripped off, forgotten in the dirt.
Danton looks to Lasalle.
LASALLE
Go ahead.
Danton pulls a syringe out of a case in his pocket. Linda
screams. The other guard holds her down while Danton
injects her with a powerful tranquilizer.
ANGLE ON MICHAEL
He watches, hating the helplessness he feels.
ANGLE ON LINDA
She goes limp, and Danton and the guard carry her off,
followed by Lasalle.
ANOTHER ANGLE
Michael appears from the trees, moves to where the locket
fell. He finds it, picks it up and opens it.
INSERT - LOCKET
Inside is a picture of a beautiful little girl, the same
little girl who was in the limo.
CUT TO
INT. MANSION - DAY
The doors to the study open, Danton coming out.
DANTON
He'll see you now.
REVERSE ANGLE
Michael pacing, restless, crosses to enter the study.
INT. STUDY/COMMUNICATIONS ROOM - DAY
Michael enters, followed by Danton who secures the door
behind them. Lasalle watches Michael's reaction to the
room; it looks like a cross between a state-of-the-art
telecommunications center and the war room at the Pentagon.
Every electronic surveillance device known to man. A
variety of images flicker across a dozen TV monitors.
MICHAEL
Now I'm impressed.
LASALLE
I'll tell Poole.
Whether it's the incident at the limo with Linda or not,
Lasalle seems more abrupt, less willing to spend time being
charming.
LASALLE
Shall we get down to business?
MICHAEL
I already got down to mine.
He pats the pocket with the 50,000, smiles.
LASALLE
That's nothing -- six months if you're
not too extravagant. I'm prepared to
make you a wealthy man.
MICHAEL
Care to be more specific?
LASALLE
Five times that. Two hundred and fifty
thousand cash.
MICHAEL
Who do I have to kill?
He smiles. They don't.
MICHAEL
That was a joke.
Lasalle smiles thinly, crosses to the array of electronic
wizardry.
LASALLE
What you see here is the result of
genius. Poole has created a system
that enables us to piggyback any
satellite transmission in the world
-- from prime time TV to the most
sophisticated surveillance systems
known to man.
(points to
underwater
diving
sequence)
A treasure hunt off the coast of
Haiti. A gamble, but if we hit the
jackpot is enormous.
(points to
another monitor)
One of my couriers in Paris is late.
Lasalle opens a drawer and takes out a slim brass box. He
opens it to reveal a single, highly machined key.
LASALLE
Ever seen anything like this before?
Michael lifts it from the case, examines it.
MICHAEL
Titanium.
LASALLE
Very good.
MICHAEL
Specially designed for the Bohr-
Fellows platinum tumbler locks
at missile silos...top security
federal installations.
LASALLE
Excellent. Next question. What's
missing?
MICHAEL
It's twin?
Lasalle nods.
LASALLE
One of these keys is as useless as
half a combination. I want you to
get its twin for me...and 'neutralize'
the man who has it.
MICHAEL
And who's that?
LASALLE
Danton?
Danton types in an access code on the computer. The
underwater diving sequence is replaced by:
ANGLE ON MONITOR
The Foundation office with Devon busy at his desk.
FADE OUT
END OF ACT TWO
ACT THREE
FADE IN
EXT. ROAD - DAY
The Trans Am takes the curves effortlessly.
INT. TRANS AM - DAY
Michael is behind the wheel.
K.I.T.T.
When this is over, and you come to
your senses, I think...
(breaks
off)
Michael, unless I'm mistaken, we're
heading toward the Foundation.
MICHAEL
Don't get all carried away. It's
not exactly what you think.
He looks grim, determined.
CUT TO
EXT. WOODED/GRASSY AREA NEAR FOUNDATION - DAY
Michael swings in, pulls K.I.T.T. to a stop.
K.I.T.T.
Why are we stopping here when the
Foundation is only fifty yards away?
Michael climbs out, secures a hi-tech equipment case to
his belt.
MICHAEL
That's the point. Kitt, I want you
to shut down all functions.
K.I.T.T.
Would you please tell me exactly what
is going on here?
MICHAEL
I said shut down all functions. Now.
K.I.T.T.
Michael, I must insist on ---
MICHAEL
I'll override you manually if you
don't shut down!
K.I.T.T.
Your vital signs indicate you're
experiencing a great deal of stress
and ---
Michael punches Manual Override.
K.I.T.T.
And...and an unusual....
Silence.
INT. LASALLE'S COMMUNICATIONS CENTER - DAY
On the largest wall screen monitor, a telephoto shot of
Michael as he prepares for his mission. Among other pieces
of equipment is a pistol.
WIDER ANGLE
LaSalle is watching the big screen. Poole's at the control
panel and Danton, as usual, is waiting in the shadows. The
door behind them opens and Linda enters. She looks pale,
angry but fragile.
LINDA
I've got to talk to you....
LASALLE
I'm busy.
Danton moves to restrain her if necessary.
LINDA
(to Danton)
Don't touch me. Don't you ever
touch me again.
(to Lasalle)
What's going on here? Why are my
things being packed? Why are you
being so damn secretive!
LASALLE
(to Danton)
Given her sensitivities, Danton, I'm
sure she'll leave voluntarily.
He turns his back on her, attention on the monitors.
Danton waits. Furious, impotent, she turns and leaves.
CUT TO
EXT. FOUNDATION PERIMETER - DAY
Michael appears, slips in and deactivates the perimeter
surveillance system.
ANGLE ON INNER WALL
A grappling hook arcs through the air, hooks onto the
wall...and Michael appears, pulls himself up, vaults over
onto the grounds.
INT. FOUNDATION RECEPTION AREA - DAY
Bonnie and a technician move through the hall looking at their
clipboards as they talk. After they pass, camera pans to
Michael as he slips in through French doors. He moves
stealthily across to another room, disappears.
INT. DEVON'S OFFICE - DAY
at his desk, trying to catch up on paperwork. He hears the
door open.
DEVON
Bonnie?
Silence. He glances up, reacts.
ANOTHER ANGLE
Michael enters. The two men stare at one another.
DEVON
What...are you doing here?
MICHAEL
It turns out we have some unfinished
business.
Devon rises, furious.
DEVON
You took Kitt -- stole him before
Bonnie could reprogram him!
MICHAEL
Don't look so shocked. What did you
expect me to do, wander away and
live happily ever after as a private
security guard somewhere? You
fired the wrong guy.
DEVON
Get out of here.
Michael sees Devon's foot moving surreptitiously under the
desk. He pulls the pistol from his belt, points it at
Devon.
MICHAEL
Don't step on the alarm. Move away
from the desk.
Trapped, Devon does.
DEVON
I can't believe you're doing this,
Michael.
MICHAEL
Save the moral indignation, Devon.
I've had enough to last a lifetime.
Open the safe.
DEVON
Why?
MICHAEL
Open it!
Devon moves to the wall, removes a book which reveals a
hidden wall safe. He punches the digital combination,
opens it.
DEVON
What is it you want? Money?
MICHAEL
The key.
Devon reacts, horrified. Tries to cover.
DEVON
What key?
MICHAEL
(angry)
Don't press your luck. The titanium
key. Now.
DEVON
(deadly calm)
Michael, listen to me. That key was
given to me as a sacred trust.
MICHAEL
It's not sacred anymore. Its twin is
already in someone else's possession.
He wants to make it a matching pair.
(holds out hand)
The key. Now.
No choice, Devon reaches into the safe.
ANGLE IN SAFE
Secreted there is a small revolver. Devon surreptitiously
reaches for it.
WIDER ANGLE
as he turns, concealing the revolver:
INTERCUT MONITOR IN LASALLE'S COMMUNICATION ROOM
Lasalle, Poole and Danton watch as Devon spins around, the
pistol in his hand. Michael reacts, fires his revolver
before Devon can get off a shot. Devon stumbles, collapses,
mortally wounded. Michael steps over his body and reaches
into the safe.
ANGLE ON LASALLE
He looks at Poole, pleased.
LASALLE
Phase two is complete.
CUT TO
EXT. MANSION - NIGHT
K.I.T.T. arcs up the long driveway, pulls to a stop.
ANGLE ON UPSTAIRS BALCONY
French doors open and Linda moves out, watching Michael.
ANGLE ON MICHAEL
He climbs out, starts for the house.
ANGLE ON K.I.T.T.
The alligator appears.
K.I.T.T.
Not you again. Go. Do something
creative, become a handbag, a pair of
shoes.
CUT TO
INT. COMMUNICATIONS ROOM - NIGHT
A single brass box. The identical box is placed next to it.
MICHAEL'S VOICE
If you don't mind, I think I'll turn
in. It's been a long day.
Lasalle opens the boxes, admires the matching keys.
LASALLE
Good idea. We complete the third
and final phase tomorrow. Be ready
to leave at seven AM.
MICHAEL
Mind telling me what the 'third and
final phase' is?
LASALLE
From now on, information will be on a
need-to-know basis.
MICHAEL
I need to know.
LASALLE
You do, but not tonight.
Michael starts out.
LASALLE
Was it difficult for you?
MICHAEL
What?
LASALLE
Dealing with Devon Miles.
Michael pauses, looks at him.
MICHAEL
If I know you, you saw it all on
your private little system here.
LASALLE
That's not what I asked.
MICHAEL
(beat)
Yeah, it was.
LASALLE
I wasn't sure you could do it.
MICHAEL
Neither was I.
He turns and leaves. Hold on Lasalle, fingering the two
titanium keys, thoughtful.
CUT TO
EXT. MANSION - NIGHT
Later, quiet, only a few lights on. Honeysuckle in the air.
INT. MICHAEL'S ROOM - NIGHT
He takes off his shirt, undressing for a shower. He hears
something outside, a sound. He crosses cautiously to the
French doors, opens them.
ANGLE FROM BALCONY
as Michael comes out. At first he doesn't see anything.
Then he does.
ANOTHER ANGLE
Linda is barely visible, half-hidden by potted palms a few
yards away.
LINDA
Don't say anything, you're on the
surveillance system. I have to talk
to you.
(beat)
Someone...left something in my
bedroom. If it was you, show me.
Do something to let me know.
Michael yawns and stretches, pretends to look out into the
Bayou night. He unobtrusively speaks into the comlink.
MICHAEL
(comlink)
Kitt, I want you to knock out the
system monitoring my room.
INTERCUT - K.I.T.T.
His systems come to life.
K.I.T.T.
Michael, this is a very sophisticated
operation. The old saying 'easier
said than done' comes to mind.
MICHAEL'S VOICE
Buzz me twice when it's okay.
Graphics appear on K.I.T.T.'s monitor.
ANGLE IN COMMUNICATIONS ROOM
Danton is monitoring security. One of the monitors shows
Michael's room, Michael at the balcony as before. Suddenly
a soccer game appears on all the screens. Danton reacts,
punches buttons to no avail.
ANGLE ON BALCONY
Michael's comlink buzzes twice.
MICHAEL
(comlink)
Thanks, pal.
(to Linda)
It's safe now.
CARMEN
(cautious)
Are you sure?
Michael nods, crosses to meet her as she approaches.
LINDA
I want to believe you, but I can't
take any chances. What did you
leave in my room?
MICHAEL
A birthday card with something
inside.
LINDA
What was inside?
He touches the locket which is back around her neck.
MICHAEL
This.
For a moment it looks as if she will cry. He wonders if
he's ever seen such beautiful eyes, such pain, an anguish
that goes right to her heart.
CUT TO
ANGLE IN COMMUNICATIONS ROOM
Frustrated, Danton picks up a phone and buzzes Poole.
DANTON
(phone)
You'd better get down here, Poole, all
I can see is soccer.
(beat)
Soccer -- you know, where you hit
the ball with your head.
He hangs up.
CUT TO
ANGLE IN MICHAEL'S ROOM
Linda moves absently around the room, too frazzled to sit.
Michael watches her, waits.
LINDA
(finally)
Who are you?
MICHAEL
Someone you can trust.
LINDA
That doesn't tell me who you are.
MICHAEL
If you can trust me, who I am
shouldn't matter.
LINDA
He's sick. You know that, don't you?
Michael refrains from answering.
LINDA
I didn't. When I met him I thought
he was...different. A savior. I
guess if you're looking for a savior
you'll see one whether he's there or
not.
MICHAEL
Who's the little girl? Your
daughter?
LINDA
Mary Beth was three when I met
Boyd. I was divorced, working in
one of his clubs on Bourbon Street,
trying to support us...keep Mary
Beth in preschool...Boyd told me
he'd take care of everything if I
lived with him. I should've said no,
I wanted to, but I didn't.
(beat)
Then, when I tried to leave, it was
too late.
MICHAEL
What happened at the limousine?
LINDA
He'd promised I could see her on my
birthday. Then when she came I
found out he'd told them no more
than ten minutes -- he thought it
might be 'too upsetting.' I guess I
just...went a little crazy.
MICHAEL
So to make sure you never leave him,
he's keeping Mary Beth prisoner.
LINDA
Yes.
MICHAEL
Do you know where?
LINDA
Somewhere outside the city. He'd
never tell me.
MICHAEL
Maybe I can trace it through the
limousine's license.
The comlink buzzes.
MICHAEL
(comlink)
Yeah.
K.I.T.T.'S VOICE
They're working on the system. I
can't hold the override more than
another ten or fifteen seconds.
MICHAEL
(comlink)
Thanks, pal.
LINDA
What was that?!
MICHAEL
A friend. Quick.
He hustles her out the French doors.
ANGLE IN COMMUNICATIONS ROOM
Poole, at the controls, brings the signals back. Michael's
room is empty. At the balcony Michael yawns, stretches,
comes back inside as if nothing's on his mind but a good
night's sleep.
EXT. MANSION - NIGHT
From out on the grounds a figure turns, leaving. It's
Lasalle. What he's seen, or hasn't, isn't clear.
CUT TO
EXT. MANSION - DAY
It's early. Lasalle and Danton accompany Michael to
K.I.T.T. Lasalle hands Michael the twin keys on a chain.
LASALLE
Good luck.
MICHAEL
Yeah. I'd feel a lot better if I
knew where I was going...exactly
what I'm supposed to do.
LASALLE
When the time is right, you'll know.
Beat. Michael climbs into K.I.T.T., pulls out. Lasalle
watches him leave.
CUT TO
EXT. TWO-LANE ROAD - DAY
K.I.T.T. glides by.
ANGLE IN K.I.T.T.
Michael is behind the wheel.
K.I.T.T.
Well, Butch, where now?
MICHAEL
Kitt, I meant that as an example of
friendship. Partnership. We're not
outlaws.
K.I.T.T.
What would you call us? Models of
civic responsibility.
MICHAEL
(beat)
I wouldn't go that far.
K.I.T.T.
I thought not. In fact....
INT. COMMUNICATIONS CENTER - DAY
Poole presses Audio Override as Lasalle watches.
K.I.T.T.'S VOICE
How very odd....
INTERCUT - MICHAEL AND K.I.T.T.
LASALLE'S VOICE
(overriding
K.I.T.T.)
Michael, can you hear me?
His voice is coming from K.I.T.T.'s speaker box, which
flashes as if K.I.T.T. is talking.
MICHAEL
(surprised)
Lasalle?
LASALLE
(microphone)
Listen carefully. You are fifteen
point three miles from Fire Mountain
Chemical Facility. After penetrating
security, proceed to Delta Level
refrigerated storage vault. There
you'll find our target object -- a
canister of Tri-Hydrosulfate-G.
You'll receive additional instructions
when needed.
Lasalle clicks off...and K.I.T.T. reappears.
K.I.T.T.
(outraged)
How dare that person override me!?!
MICHAEL
Kitt, what's Tri-Hydrosulfate-G?
K.I.T.T.
Coming right up.
INTERCUT - MONITOR
Holographic models of four separate molecules combining
into a single, snake-like chain rotating on the screen.
K.I.T.T.
Tri-Hydrosulfate-G is an experimental
genetically engineered amino acid
being tested as a bacteriological
agent. It is quantumly more powerful
than anything that is presently in
use.
MICHAEL
(tightening)
Germ warfare?
K.I.T.T.
To say the least. If one litre were
accidentally released into the atmos-
phere, no living organism within a
thousand square miles would survive.
MICHAEL
(after a
beat)
You have a site map of the Fire
Mountain facility?
No response from K.I.T.T.
MICHAEL
Kitt?
K.I.T.T.
Michael, given the severity of the
object involved here, I can no
longer support your actions.
MICHAEL
I'll manual override.
K.I.T.T.
What you do is sadly beyond my control.
But I cannot and will not aid in
anything that could jeopardize a
human life.
MICHAEL
Last chance, Kitt.
No response. After a beat Michael programs a manual Map
Search into the system.
INTERCUT - MONITOR
Maps flash by. Michael presses Freeze. Hold on a map of
Fire Mountain Facility. Michael studies it, then presses
Pursuit.
EXT. TWO-LANE ROAD - DAY
The Trans Am leaps up the road.
INT. TRANS AM - DAY
Michael behind the wheel.
EXT. FIRE MOUNTAIN - DAY
As the Trans Am approaches the security fence it suddenly
accelerates, smashing through it.
ANGLE AT SECURITY STATION
A Guard on routine duty looks up and reacts, stunned. He
grabs a phone.
GUARD
Someone just busted through the
north fence, get on over here!
ANOTHER ANGLE
The Trans Am heads directly for the chemical facility.
ANGLE IN K.I.T.T.
Michael grips the wheel.
MICHAEL
Kitt, we're about to hit three feet
of reinforced concrete wall. I'll
abort if you say you can't do it.
Silence from K.I.T.T.
WIDER ANGLE
The Trans Am hurtles toward the wall and slams directly into
it, concrete and steel girders flying in all directions.
INT. FACILITY - DAY
K.I.T.T. comes to a stop across from a large security vault
labeled DELTA LEVEL CHEMICAL STORAGE. Michael climbs out
of the Trans Am, a little shaken, fits both keys in the huge
Bohr/Fellows lock. The vault door swings open revealing a
cloudy cold room with three dozen canisters suspended in
earthquake-proof holders.
ANGLE IN COLD ROOM
Michael enters.
DEVON'S VOICE
Hello, Michael.
It's Devon, bundled up in a parka, emerging from between
the canisters.
FREEZE FRAME
END OF ACT THREE
ACT FOUR
FADE IN
INT. COLD ROOM - DAY
With various alarms sounding over, Devon embraces Michael:
DEVON
Good to see you, Michael.
MICHAEL
Me too, Devon. Listen we don't have
much time -- Lasalle's after the Tri-
Hydrosulfate-G.
DEVON
I figured as much. Any idea what
he's going to do with it?
MICHAEL
Ten to one sell it to the highest
bidder.
DEVON
Fortunately, I've arranged for a
dummy canister ---
He starts to hand the canister to Michael.
MICHAEL
Devon, no -- I've got to deliver the
real thing. Lasalle's ruthless. If
he has some way of testing it and
finds out I've double-crossed him ---
DEVON
And what do we risk if he outsmarts
all of us and gets away with the Tri-
Hydrosulfate-G?
MICHAEL
That's just something I can't let
happen.
They react to the O.S. voice:
GUARD #1'S VOICE
(amplified)
Take the labs. We'll check out the
cold storage vaults.
MICHAEL
We've only got a few seconds.
Devon debates the slightest beat, then gets the real canister,
which is cold and smoking.
DEVON
For heaven's sake, Michael, do be
careful with this.
MICHAEL
Any leads on Linda's daughter?
DEVON
Not yet, but Bonnie's doing every-
thing she can to find her.
Michael nods and hurries out.
ANGLE DOWN CORRIDOR
Several security guards are racing toward them carrying
automatic weapons. One of them spots Michael ---
GUARD
You! Don't move!
ANGLE TO INCLUDE MICHAEL
leaping into K.I.T.T. He puts the canister on the passenger
seat.
MICHAEL
Kitt, this is no time to hold a
grudge!
(starts him
manually)
All right, we'll talk about it later.
Michael hits the throttle.
ANGLE TO INCLUDE SECURITY GUARDS
firing. The bullets bounce off K.I.T.T. as he blasts through
hole.
EXT. CHEMICAL FACILITY - DAY
The Trans Am emerges from the building, races toward the
hole in the fence as automatic weapon fire ricochets off.
CUT TO
EXT. TWO-LANE HIGHWAY - DAY - ON K.I.T.T.
moving fast down the highway.
INT. TRANS AM - DAY
As Michael glances over at the canister a red light near
the speaker begins to flash.
LASALLE'S VOICE
(over speaker)
Well done, Michael.
MICHAEL
(eyeing canister
nervously)
Where do I get rid of this thing?
INT. COMMUNICATIONS CENTER - DAY
Lasalle is on a panel microphone, tracking K.I.T.T. via a
monitor screen. Poole is nearby.
LASALLE
I can see where you might be a little
nervous. Continue on I-5 for another
thirty minutes at your present speed.
INTERCUT AS NEEDED
Michael nods.
MICHAEL
You got it.
(to K.I.T.T.)
You heard the man.
K.I.T.T. remains silent.
ANGLE IN COMMUNICATIONS CENTER
Lasalle takes a last look at K.I.T.T. on monitoring screen,
then turns to Linda.
LASALLE
Ready for our little trip?
LINDA
Where are we going? Boyd please...
what about Mary Beth? She won't
be any trouble, I promise.
LASALLE
Oh, it's not Mary Beth I'm worried
about. It's you, Linda...you and
Michael Knight...and your little
rendezvous behind my back.
Danton enters the room.
DANTON
The chopper's ready, sir.
LASALLE
Then let's get started.
LINDA
I'm not going, Boyd -- no! You
can't make me!
LASALLE
Danton.
Danton grabs Linda by the arm and all but drags her out.
EXT. TWO-LANE HIGHWAY - DAY - ON K.I.T.T.
moving fast.
EXT. HELICOPTER - DAY - IN FLIGHT
INT. HELICOPTER - DAY
Danton at the controls. Lasalle takes the microphone.
LASALLE
Michael...Boyd.
INT. K.I.T.T. - DAY
MICHAEL
I hear you.
Intercut as needed:
LASALLE
You should be approaching Laffite
Crossing. Turn there, then take a
left onto the old River Road.
Follow it to the end.
MICHAEL
The end? What's there?
LASALLE
There is there, Michael. Just do as
I say.
He clicks off.
INT. HELICOPTER - DAY
Lasalle looks to Linda.
LASALLE
You'll see, once this is all taken
care of, it's going to be like old
times.
LINDA
I despise you.
Lasalle smiles softly, which is ever more threatening.
LASALLE
Of course you do...but that's what
makes it exciting.
DANTON
What about Knight?
Lasalle never takes his eyes off Linda.
LASALLE
Unless you want to take him along
with us, kill him.
EXT. HELICOPTER - DAY
peeling off over the rugged Bayou terrain.
EXT. OLD RIVER ROAD - DAY - ON K.I.T.T.
His wheels bounding along a road that's little more than a
dirt path, overgrown with swamp vegetation. He splashes
through a deep puddle.
INT. K.I.T.T. - DAY
Michael has his hands full controlling the wheel.
MICHAEL
They call this a road...even an
alligator would have a hard time
around here.
(smiles)
Sorry, Kitt.
(then suddenly
sees something
up ahead)
Well, what do you know.
MICHAEL'S POINT OF VIEW THROUGH WINDSHIELD - DISTANT
CLEARING
It's actually been hacked out of the swamp. Linda, Lasalle
and Danton stand outside the helicopter. Michael also sees
a handful of Bayou boys, Cajun swamp boatmen obviously
moonlighting for Lasalle and armed with rifles, shotguns.
MICHAEL (V.O.)
Kitt...I think it's time you and I
had a little heart to heart.
INT. K.I.T.T. - DAY
Michael still has a good distance to go to reach the
clearing.
MICHAEL
I really didn't get suspended. Devon
and I set this whole thing up so I
could go undercover and infiltrate
Lasalle's organization.
Silence.
MICHAEL
Kitt, I'm telling the truth! Talk
to me!
K.I.T.T.
What about the heroin the police
found in your jacket?
MICHAEL
I put it there myself. It was all
part of the plan.
K.I.T.T.
But Michael, if that's true why
didn't you let me in on it?
MICHAEL
We were afraid Lasalle might've
tapped into you, too. We couldn't
tell anyone. Not even Bonnie.
EXT. CLEARING - DAY
As Michael drives toward Lasalle and the others the Bayou
boys begin to close in on K.I.T.T.
K.I.T.T.'S VOICE
You underestimate me, Michael, you
really do.
ANGLE IN K.I.T.T.
MICHAEL
Sorry, pal.
(beat)
Partners?
K.I.T.T.
(slight beat)
Butch and Sundance.
Michael grins.
WIDER ANGLE
Michael pulls up near Lasalle and Linda and gets out.
LASALLE
There's not much time. Where's the
canister?
MICHAEL
(holding it)
Right here.
(then)
On one condition, Lasalle.
LASALLE
What's that?
MICHAEL
You let Linda go.
LASALLE
(beat)
You ask too much.
MICHAEL
(re canister)
I've got the ace in the hole.
LASALLE
I could kill you now and just take
it away from you.
MICHAEL
In that case I better just open it
up right here.
He makes a motion as if to release the valve. The Bayou
boys back off some. Quickly.
LASALLE
No. Wait. I love Linda...but I
expect to get about ten million
dollars for that canister...and I
love money more.
(beat)
You have a deal.
MICHAEL
(to Linda)
Get into the car, Linda.
She hurries over and gets in.
MICHAEL
Get her out of here, Kitt.
K.I.T.T.
But Michael...!
MICHAEL
You heard me.
Hearing K.I.T.T. talk, the Bayou boys back up more, discuss
with themselves if they really heard what they heard. In
Cajun.
K.I.T.T.
But what about you?
MICHAEL
I can take care of myself, now go.
As K.I.T.T. starts to move off, the Bayou boys do the same
thing, heading back for the swamps.
LASALLE
Where are you going?!
BAYOU BOY
No one said anything about poison
gas and a talking car.
MICHAEL
Just can't get good help anymore.
LASALLE
All right...The canister.
Lasalle holds out his hand, Danton levels his automatic
weapon.
MICHAEL
Sure...here.
He holds it out, but instead of handing it to Lasalle:
MICHAEL
Kitt!
ANGLE TO INCLUDE K.I.T.T.
having circled around behind Lasalle.
MICHAEL
Catch!
Michael tosses the canister high in the air.
K.I.T.T.
as the roof slides open and the canister falls right into
the driver's seat.
BACK TO SCENE
Using the diversion of the canister, Michael now makes a
dash to catch up to K.I.T.T.
LASALLE
Stop him!
Danton fires several rounds from his powerful automatic,
causing Michael to dive behind some brush, turn a somersault,
get to his feet, race to K.I.T.T., and jump in.
INT. K.I.T.T. - DAY
MICHAEL
That's the old team work, pal.
K.I.T.T.
Michael, look.
MICHAEL'S POINT OF VIEW - LASALLE AND DANTON
getting into the helicopter, and starting to lift off.
BACK TO SCENE
as Michael starts after it.
EXT. CLEARING - DAY
The helicopter's about ten feet off the ground now, and
rising when K.I.T.T. passes under it.
INT. K.I.T.T. - DAY
MICHAEL
Let's go fishing, Kitt.
He presses the grappling hook button.
EXT. K.I.T.T. - DAY
as the grappling hook shoots out and catches onto one of
the helicopter's runners.
K.I.T.T.'S VOICE
You caught something, Michael.
MICHAEL
Let's reel it in.
INT. HELICOPTER - DAY
Danton struggles with the controls.
LASALLE
Pull up!
DANTON
I can't!
EXT. CLEARING - DAY
As K.I.T.T. reels the helicopter back to earth, Michael runs
to meet Danton coming out with his weapon.
MICHAEL AND DANTON
Michael grabs hold of the weapon, using it to throw Danton
off balance, and then knocks him cold with the stock.
ANGLE TO INCLUDE LASALLE
getting out the other side and starting to run, only to
have Michael level the weapon on him:
MICHAEL
That's far enough, Lasalle...you're
out of business.
Lasalle looks at him a beat, then slowly starts to raise
his hands.
FADE OUT
END OF ACT FOUR
TAG
FADE IN
EXT. MANSION GROUNDS - DAY
Michael is with Linda. K.I.T.T. is nearby.
MICHAEL
All your things packed?
LINDA
Yes...by evening this will only be a
bad dream...thanks to you.
MICHAEL
I couldn't have done it by myself.
K.I.T.T.
And I hope you remember that,
Michael.
MICHAEL
Kitt, I promise I'll never keep
anything from you again.
K.I.T.T.
Well, I certainly hope not.
Linda sees Devon's limo pulling up. She tenses:
LINDA
Michael....
He puts his arm around her comfortingly.
ANGLE ON LIMO
Devon gets out first, then helps Bonnie...who has Mary Beth
with her. The child runs to her mother:
MARY BETH
Mommie, Mommie....
ANGLE TO INCLUDE LINDA
as she hurries to her daughter, embraces her, picks her up.
LINDA
Mary Beth...sweetheart...oh, my
darling, we're never going to be
away from each other again.
She swings her around in her arms.
ANGLE ON MICHAEL
as Devon and Bonnie join him.
MICHAEL
Thanks for finding her, Bonnie.
BONNIE
Maybe next time you go undercover,
you'll have a little more faith and
bring me in on it.
DEVON
I tried to explain if we told her,
Kitt might've sensed she was keeping
something from him....
K.I.T.T.
That's right, blame me.
His scanner suddenly begins to flash quickly:
K.I.T.T.
Michael!
They look at him.
MICHAEL
Kitt, what is it?
K.I.T.T.
It's not what it is, Michael...it's
what it isn't...like a nice handbag!
They turn to look.
AND WHAT THEY SEE - K.I.T.T.'S OLD FRIEND THE ALLIGATOR
coming to join them.
BACK TO SCENE
as all but K.I.T.T. enjoy the moment, we ---
FADE OUT
THE END
