ACT ONE
FADE IN
EXT. NEW ORLEANS - DAY - HELICOPTER SHOT - STOCK
The high wail of a Dixieland clarinet. Swooping low over
the Pontchartrain Bridge and establishing New Orleans.
OMITTED
EXT. CATFISH'S DIXIELAND BAR - DAY
Sign establishes. 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
tailing this Willis character for
almost twenty-four hours now and all
you've got to show for it is a tour
of the city.
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.
MICHAEL
Known on the street as 'China White.'
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.
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! Notify Devon, then cut
Willis off.
Michael jumps out and races after Willis.
INSERT - K.I.T.T.'S PEDALS
to see the accelerator depress and light up.
BACK TO SCENE
as K.I.T.T. pulls out.
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.
And as he does:
TIGHT ON HIGHLY POLISHED BOX
as it falls to the sidewalk from Willis' pocket.
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, begins working to pry the
locks with a penknife.
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.
CLOSER - SERGEANT
as he spots the box near their feet, picks it up and opens
it.
INSERT - KEY
It's unusual, highly tooled and sophisticated.
FULLER ANGLE
The Sergeant takes it out. To Michael:
SERGEANT
This yours?
MICHAEL
His.
As the Sergeant returns the key to the box, puts it in his
pocket and begins patting Michael down:
POLICE OFFICER
(re heroin)
Sergeant, looks like heroin.
MICHAEL
It is heroin. I've been tailing him.
But the Sergeant pulls something out of Michael's jacket
pocket.
SERGEANT
You've been tailing something, 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, at the
same time toying thoughtfully with the key.
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
that heroin into my pocket while I was
busting him!
DEVON
Michael, please. I want to believe
you but we need proof...
(re key)
And at this moment, the Foundation
must concentrate all its efforts on
this key.
MICHAEL
Key? I'm suspended and you're
worried about a key they found on
Willis?
DEVON
(patient)
Michael, the police have requested
that I use all our resources to find
out just what this key unlocks. If
Lasalle has anything to do with it,
it has to be important.
MICHAEL
Devon, in case you've forgotten, I'm
one of those resources.
DEVON
Not under the present circumstances!
(softer)
Michael, the Foundation has people to
answer to. We're a visible organiza-
tion. If we let these charges against
you pass without an investigation, it
would be looked upon as a cover up.
MICHAEL
All right, investigate all you want,
just don't keep me from doing my job.
DEVON
(difficult
beat)
I'm sorry, but my decision is made.
MICHAEL
Well, I've got news for you, I've
made a decision, too. 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 starts out.
DEVON
Whatever you do, Michael...however
you do it...it will have to be
without Kitt.
MICHAEL
I figured. Anything else you'd like
to strip away while I'm still here?
(contrite)
I'm sorry, Devon, we've been friends
for a long time, I shouldn't have
said that.
DEVON
In your position I might have said
the same thing.
(forces smile)
Believe me, in a week or so we'll
all have a good laugh about this.
(smile fades)
But until that time, Michael...I'm
truly going to miss you.
They look at one another...then Michael leaves.
CUT TO
OMITTED
INT. FOUNDATION GARAGE - DAY - SHOOTING OUT DOOR
to see Michael approaching and entering.
ANGLE TO INCLUDE K.I.T.T.
parked in the service stall as Michael moves to him.
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
I know, 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 - STOCK
Dixieland jazz over.
INT. FRENCH QUARTER BAR - NIGHT - STOCK
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 look 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. With him is a
beautiful young woman named Linda. Both watch Michael's
action, Danton with interest, Linda without.
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
Look, you wanna drink or not?
LINDA'S VOICE
Sure he wants a drink.
Michael turns as Linda slides up.
LINDA
I don't think he's here for the
scenery.
She smiles. He relaxes some, returns it.
MICHAEL
A beer for me...a mint julep for
Blanche here.
Linda laughs.
LINDA
I love a man with a sense of humor.
Make mine a gin and tonic, Gino.
Gino pours Michael a beer and Linda a gin and tonic.
Michael holds the glass for a toast.
MICHAEL
To a long friendship.
LINDA
Even if it lasts all night.
Michael grins, and they drink. After which Linda moves in
for a kiss. Michael doesn't fight it. As Linda kisses
him with surprising passion:
CLOSE ON HER HAND
slipping over Michael's beer and dropping in a quick-
dissolving tablet.
FULLER ANGLE
They finally break, smiling, tasting the kiss. She touches
the rim of his glass, and they drink, Michael polishing off
his beer.
MICHAEL
You know, I've kissed a few ladies
in my life....
LINDA
(smiles)
Really? Could've fooled me. Tell
me all about it...lady by lady and
kiss by kiss....
MICHAEL
But you, you're the...the....
He's having trouble focusing; feeling a bit dizzy.
MICHAEL'S POINT OF VIEW - LINDA
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. She wears a simple, yet sexy white
summer dress.
LINDA
I thought you were dead.
MICHAEL
Who says 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 put something in my drink
last night.
LINDA
Now why would anyone want to do
that?
MICHAEL
You tell me.
LINDA
Boyd's waiting for you on the veranda.
(motions to
closet)
There's some clothes in that closet.
She leaves. On his reaction:
CUT TO
EXT. VERANDA - 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. He wears a casual but expensive
outfit.
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)
Willis? So what do you want from me?
MICHAEL
I want my suspension lifted and my
name cleared. I want you to talk to
him, tell him he made a big mistake.
LASALLE
But you and I are natural enemies.
As long as you're on suspension I
sleep better at night.
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 a twenty-three-year old computer expert, 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 my electronic wizard here,
I've recently gained access to the
Foundation's inner sanctum. We
actually use your 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 Foundation garage, 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 Foun-
dation.
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.
EXT. ROADSIDE - DAY - ON CHARLES
having landed in a soft area, unhurt, and dusting himself
off.
CUT TO
EXT. MANSION VERANDA - DAY - ON MICHAEL
as he studies a blueprint labeled, F.L.A.G. Garage.
OMITTED
ANOTHER ANGLE
Linda comes out the french doors with that same look, never
fully making eye contact with him.
LINDA
Danton's ready to take you to the
plane.
MICHAEL
What if I'm not ready to be taken?
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.
OMITTED
EXT. F.L.A.G. GARAGE AREA - DAY
A limo pulls up and Michael quickly crosses toward the
building. (Note: This limo should not have Louisiana
plates.)
CLOSE ON COMPUTER LOCK
as Michael punches in 2, 1, 6, 7 and the garage door opens.
INT. GARAGE - DAY
Caruso is singing, otherwise, K.I.T.T. is alone.
MICHAEL'S VOICE
Been taking voice lessons?
Caruso shuts off abruptly.
K.I.T.T.
Michael!
Michael slips in through the door.
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.
I don't understand.
MICHAEL
You said it, Kitt: we're partners.
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 a different area Bonnie suddenly appears.
BONNIE
Michael! Kitt, no ---
Michael hits a button and the garage doors slowly open.
Then he hits the throttle.
EXT. TWO LANE ROAD - DAY
K.I.T.T. flashes by, heading back for New Orleans.
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.
OMITTED
EXT. MANSION GATES - DAY
A high open wall surrounds the huge estate. The Trans Am
stops at the open 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?
Michael drives through the open gate. The Guard calls out,
still holding the phone:
GUARD
Hey, you, stop!
He hangs up the phone, starts after K.I.T.T.
K.I.T.T.
Michael, it is good to have you back.
Michael laughs.
ANGLE ON GUARDS
running after K.I.T.T.
ANGLE ON K.I.T.T.
Michael hits the throttle, then pushes Turbo Boost.
INTERCUT - GUARDS
They stare.
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 hedges 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. Michael
bows, smiling, then to K.I.T.T.:
MICHAEL
Guess they don't allow parking on
the grass, Kitt.
K.I.T.T.
Don't worry, I'll find a place for
myself, Michael.
LASALLE
A new business associate...
(smiling)
...who favors dramatic entrances.
K.I.T.T. goes off and Michael 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, arrivaderci, 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.
OMITTED
INT. MANSION - DAY
Lasalle counts out fifty thousand dollars in stacks of
hundred dollar bills onto a table. Michael watches.
MICHAEL
Thanks.
He picks up the bills and puts them in his pocket.
LASALLE
That's all?
MICHAEL
Did I forget something?
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 running 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.
ANOTHER ANGLE
Just as Michael is ready to leave, a pretty dark-haired girl
enters from the party outside. Her name is Carmen.
CARMEN
Hi.
MICHAEL
Hi.
CARMEN
Could you tell me where the salle de
bain is? That's French for bathroom.
MICHAEL
I figured.
He points down the hall. She smiles, starts down the hall,
aware he's watching her walk.
CARMEN
Don't run off.
MICHAEL
I wouldn't think of it.
As soon as she's gone, he darts 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/communications room 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
Thank you.
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 state of the
arts in digital communications. With
it I can detect and monitor and elec-
tronic transmission in the world.
(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)
And that one could be even bigger.
(beat)
Now, tell me what you know about the
Bohr-Fellows lock?
MICHAEL
It's the most impregnable lock ever
designed. Titanium alloy tumblers,
a coded magnetic key...
(the slightest
hesitation as
he begins
putting it
together)
...that's next to impossible to
duplicate.
LASALLE
Excellent. And I was this close to
getting my hands on one...until Willis
decided to moonlight a drug deal on
his own....
MICHAEL
And the rest is history.
LASALLE
History I intend to rewrite. I want
that key back, Michael...and we both
know who has it. 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.
MICHAEL
He'll die before parting with it,
Lasalle.
LASALLE
Yes...I imagine he will.
Lasalle grins, and ---
FADE OUT
END OF ACT TWO
ACT THREE
FADE IN
OMITTED
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.
OMITTED
INT. DEVON'S OFFICE - DAY
at his desk, trying to catch up on paperwork. He hears
someone on the veranda, glances up, reacts.
ANOTHER ANGLE
Michael enters through French doors. The two men stare at
one another.
DEVON
Michael! What are you doing?!
MICHAEL
It turns out we have some unfinished
business.
Devon rises, furious.
DEVON
The only 'unfinished business' we
have is your theft of Kitt -- That
and breaking into my office! I
demand an explanation.
MICHAEL
Sorry, Devon -- your days of
'demanding' are over. I don't do
your bidding anymore, I do my own.
Over this Michael sees Devon's foot moving surreptitiously
under the desk. He pulls the pistol from his belt, grabs
Devon and pulls him roughly away.
MICHAEL
Don't step on the alarm.
DEVON
I can't believe you're doing this!
Michael, for God's sake, stop this
insanity before you do something you
truly regret.
MICHAEL
Save the moral indignation. 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 key they
found on Willis.
DEVON
(deadly calm)
Michael, listen to me....
MICHAEL
(holds out hand)
The key, Devon. 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.
OMITTED
CUT TO
INT. COMMUNICATIONS ROOM - NIGHT
The box is placed on the table.
MICHAEL'S VOICE
If you don't mind, I think I'll turn
in. It's been a long day.
Lasalle opens the box, admires the key.
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 glances knowingly at the monitor screen, then:
MICHAEL
Yeah...it was. But I did it.
He turns and leaves. Hold on Lasalle, fingering the
titanium key, thoughtful.
CUT TO
EXT. MANSION - NIGHT
Later, quiet, only a few lights on. Honeysuckle in the air.
INT. MICHAEL'S ROOM - NIGHT
He is in the process of taking his jacket off, when 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.
LINDA
(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, genius,
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.
(beat)
I'd like to trust you, too. If only
you hadn't slipped whatever you did
into my drink....
LINDA
Boyd told me to.
MICHAEL
And like a good little girl you
always do what he says.
LINDA
You don't refuse Boyd.
(beat)
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
moved in 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.
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, which can
be opened by punching the code --
3-2-8-1. There, inside the Bohr
-Fellows wall depository, 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)
Biological 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
situation, 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, punches the code, 3281.
The huge vault door swings open revealing a cloudy cold
room with a tamper-proof Bohr-Fellows depository box in the
wall, along with several sophisticated gauges recording
temperature, earth movements, etc.
ANGLE IN COLD ROOM
Michael enters.
DEVON'S VOICE
Hello, Michael.
It's Devon, bundled up in a parka, emerging from the cold,
cloudy shadows of the room.
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. I see you also dis-
covered what the key unlocks.
DEVON
Just a short time ago. He's after
the Tri-Hydrosulfate-G.
Michael nods, moves to the depository box, fits the key
into the Bohr-Fellows lock.
DEVON
Any idea what he's going to do with it?
Turns the key:
MICHAEL
Ten to one sell it to the highest
bidder.
He opens the box, removes a canister smoking with frost.
Looks at it, reflecting on its horrifying capabilities.
DEVON
I know what you're thinking, Michael
-- what if he outsmarts us and gets
away with it?
MICHAEL
(looks at Devon)
I'd sure feel a lot safer if this
were filled with shaving cream.
DEVON
That makes two of us. Only Lasalle
wouldn't get thirty days for master-
minding the theft of a can of shaving
cream. But once he takes possession
of that Tri-Hydrosulfate-G, we're
talking about a life sentence.
MICHAEL
Just make sure you have the
authorities there to arrest him.
Wherever there is.
DEVON
We'll be able to track your
destination by monitoring Kitt's
homing signal.
They react to the O.S. voice:
GUARD'S VOICE
Take the labs. We'll check out the
cold storage vaults.
DEVON
Now go! And for heaven's sake,
Michael, do be careful with that.
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, waits for K.I.T.T. to start up. When he doesn't:
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-10 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? Let her come
with us, 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.
Lasalle watches her a beat and then follows.
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 off there, then take
a left onto the old River Road.
Follow it to the end.
MICHAEL
You're the boss.
LASALLE
And just so you don't forget that,
Michael...I've decided to take out
an insurance policy -- Linda and her
daughter.
MICHAEL
What are you getting at?
LASALLE
Call it the paranoia of a suspicious
mind...but if anything goes wrong...
if for some reason I don't get that
canister...Linda and her daughter
will die.
Michael thinks fast, then forces a small laugh:
MICHAEL
Hey, Boyd, she's your girl friend,
not mine. What do I care what
happens to her?
LASALLE
(looking
at Linda)
Somehow, Michael, I don't believe
you mean that. That's why I'm sure
you won't let anything go wrong.
Anything at all.
He clicks off. Michael weighs his words a beat, then
reaches for a dash button:
OMITTED
INSERT - HOMING BUTTON
as Michael presses it and the green light turns to red,
signaling it's off.
OMITTED
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...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 the armed Danton stand outside the helicopter. Michael
also sees a couple of Bayou boys, Cajun swamp boatmen
obviously moonlighting for Lasalle and armed with shotguns.
MICHAEL'S VOICE
Kitt, I think it's time we had a
little heart to heart.
BACK TO SCENE
MICHAEL
I wasn't suspended from the Foundation.
Devon and I planned this whole thing so
I could infiltrate Lasalle's operation,
put him away.
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 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.
K.I.T.T.
(slight beat)
Michael, I recall you turned off my
homing signal. I truly hope part of
your plan wasn't to have Devon monitor
our position.
MICHAEL
You got it, buddy. But after what
Lasalle said I couldn't risk Linda's
and her daughter's life.
K.I.T.T.
No, of course you couldn't, Michael.
EXT. CLEARING - DAY
K.I.T.T. pulls up near Lasalle and Linda.
INT. K.I.T.T. - DAY
MICHAEL
Well, at least we're partners again.
K.I.T.T.
Butch and Sundance.
OMITTED
EXT. CLEARING - DAY
Michael 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 expect to get about
ten million dollars for that
canister.
(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, appear
to 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
The canister.
Michael proffers it.
MICHAEL
All yours.
Beat, then Lasalle takes it. To Danton:
LASALLE
Kill him.
But as Danton's levelling his automatic:
ANGLE ON MICHAEL
diving behind some brush, turning a somersault, getting to
his feet and racing toward K.I.T.T. who has circled around
behind Lasalle. Danton fires several wild shots, then
Michael dives into K.I.T.T.
OMITTED
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.
INT. K.I.T.T. - DAY
MICHAEL
Kitt, microwave jam the copter and
bring her down.
OMITTED
EXT. HELICOPTER - DAY
as the helicopter begins to drop toward the ground out of
control.
INT. HELICOPTER - DAY
Danton struggles with the controls.
LASALLE
Pull up!
DANTON
I can't!
EXT. CLEARING - DAY
The helicopter lands. 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 doubles him up with a blow to the
midsection with the stock.
ANGLE TO INCLUDE LASALLE
getting out the other side and starting to run with the
canister.
MICHAEL
Kitt!
INSERT - K.I.T.T.'S PEDALS
to see the accelerator depress and light up.
BACK TO SCENE
as K.I.T.T. cuts Lasalle off, and Michael comes up behind
him, spinning him around and slamming him back against the
Trans Am.
MICHAEL
I'll take that, Lasalle...Kitt has
enough photographs of you with it to
put you away for a long time.
Michael takes the canister.
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
Bonnie gets out with Mary Beth. 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 Bonnie joins him.
MICHAEL
Thanks for finding her, Bonnie.
BONNIE
My pleasure. And I even forgive you
for not letting me in on your little
secret. Devon told me Kitt might've
sensed I was keeping something from
him.
MICHAEL
Where is Devon anyway?
BONNIE
Helping the authorities prepare
their case against Lasalle, Danton,
and all the others who worked for
him.
K.I.T.T.'s red scanner suddenly begins to flash.
K.I.T.T.
Oh, no.
Michael looks over.
MICHAEL'S POINT OF VIEW - THE ALLIGATOR
heading to visit with K.I.T.T.
BACK TO SCENE
MICHAEL
Kitt, the alligator only wants
to be friendly.
K.I.T.T.
Michael, it's not the alligator
I'm worried about.
They turn to look.
AND WHAT THEY SEE - CHUCK WALLYBURTON
coming from his official Fed car.
ANGLE TO INCLUDE OUR PEOPLE
BONNIE
Oh, I forgot to tell you -- Chuck
Wallyburton is handling the case
for the Feds.
Chuck spots Kitt, waves ---
CHARLES
Little Buddy...look who's here!
As all but K.I.T.T. enjoy the moment, we ---
FADE OUT
THE END
