ACT ONE
FADE IN
EXT. PENITENTIARY - DAY - ESTABLISHING
a large, fairly modern prison outside San Francisco. It's
early morning.
INT. ISOLATION WING - DAY - ON GUARD
as he makes his rounds, moving from one cell to another and
glancing inside. His name is Jim Carter. He's thirty-five,
big, not overly bright, but not stupid either. Since this
is the solitary confinement area, there aren't many prisoners
here, and it's relatively quiet.
CLOSER ANGLE
as Carter stops at the last cell, looks through the bars:
CARTER
Still with us, huh Jackson.
ANGLE TO INCLUDE C.J. JACKSON
He's a big man in his early forties. Black, nice looking,
but with a streak of cruelty and violence about him.
CARTER
What is it about solitary that keeps
you comin' back for more?
JACKSON
Your face, Carter. I always liked
horror movies.
He hit a nerve. Carter tries to laugh it off, but instead
slams the bars with his stick, looks at Jackson a dangerous
beat, and then continues to his guard post. Jackson
watches him as best he can, pleased with his own wit.
ANGLE ON GUARD POST
as Carter opens the iron bar door with his keys and steps
inside.
INT. GUARD POST - DAY
It's a good-sized room at the end of the corridor which
controls the various cell and corridor doors via a modern
electronic panel of switches and buttons.
Carter is about to sit at his desk when his eyes fall on a
new ghetto blaster resting on the workbench in front of
the control panel. He picks it up, examines it, turns it
on, selects a pop station, puts it back upright on the
bench, and sits at his desk. He's about to start on his
log when he picks up the phone instead and dials a number.
After several rings:
CARTER
Honey -- Jim. No, nothing's wrong,
but guess what happened to me this
morning.
As he speaks:
ANGLE TO INCLUDE TRANSISTOR RADIO
directly behind him. It begins to transform itself into a
robot. Slowly, step by step.
CARTER
You know how I always stop off for
coffee and doughnuts before comin'
to work? Well, I was just gettin'
back into my car when this lady
walks over...
(interrupted)
Just some lady, I don't remember
what she looked like. Anyway, she
gives me this radio....
CLOSE ON RADIO
It's beginning to look like a robot now.
CARTER V.O.
Yeah, just like that. No charge,
nothin'. Said it was a...prize, or
something like that.
(slight beat)
For buying the one millionth dough-
nut!
FULLER ANGLE
The radio continues transforming itself, and playing music
at the same time.
CARTER
Course I never saw her before!
(fights to
control temper)
Honey...let's talk about it when I
get home tonight.
CLOSER - RADIO
It's a robot now and begins its robotic walk closer to the
unsuspecting Carter.
FULLER ANGLE
CARTER
No, I won't stop off anywhere for a
beer. Yes, honey...love you, too.
He hangs up, shakes his head, sorry he ever called in the
first place, then becomes aware of something moving behind
him. He turns. Reacts.
WHAT HE SEES - THE ROBOT
lifts one of its arms, aims and a little puff of gas shoots
from its finger.
ANGLE TO INCLUDE CARTER
His face still expressing total shock, dismay, he now gets
a riff of the gas and begins to go under, finally falling
off his chair and onto the floor, unconscious.
CLOSER - ROBOT
as he turns his attention to the control panel, moves along
the workbench, and pushes the button to:
INT. ISOLATION WING - DAY - ON JACKSON'S CELL
as the door buzzes, then pops open with a click.
ANGLE ON JACKSON
reacting to the buzz, and even more to the click. He then
cautiously moves to the door, opens it, steps out and looks
around. Then reacts.
JACKSON'S POINT OF VIEW - CARTER
lying on the floor, unconscious.
BACK TO SCENE
Jackson moves cautiously toward the guard post.
INT. GUARD POST - DAY - ON ROBOT
as he presses the guard post door button, opening it. The
robot then sizzles, and melts down to a plastic pancake.
ANGLE ON JACKSON THROUGH BARS
He arrives at the guard post doors, opens it and enters.
He looks around, the taste of freedom burning in his eyes,
and he quickly bolts to the control board where he pushes
the buttons to open the door leading out of the room,
as well as the doors in the corridor leading away from
the cell area. He then makes a dash for it, first taking
Carter's weapon and keys.
INT. CORRIDOR - DAY - ON JACKSON
moving fast down the corridor. Suddenly:
ANGLE ON GUARD
appearing from around the corner. Quickly alerted, he
starts to draw his gun.
ANGLE TO INCLUDE JACKSON
The man is desperate and fast. Before the guard has his
weapon out of his holster, Jackson slugs him with the hand
clutching his gun, knocking him into the wall and uncon-
scious. Jackson turns the corner.
ANOTHER ANGLE
as Jackson races for a door leading to freedom.
ANGLE ON GUARD
coming to, but very drowsy, he manages to pull a nearby
alarm. It sounds.
ANGLE ON JACKSON
The alarm makes him nervous, agitated. He fumbles for the
right key, finally finds it, and runs out.
EXT. STREET OUTSIDE PRISON - DAY - ON JACKSON
The sound of the alarm is deafening. Jackson looks about to
get his bearings, then suddenly reacts:
JACKSON'S POINT OF VIEW - CAR
There's nothing special about it, except for the fact that
it's bright red, roaring toward him on the street, and
screeches to a stop. A Man's Voice from inside:
MAN'S VOICE
Get in!
The door clicks open. But Jackson doesn't understand so he
instinctively looks into the passenger window, only to
discover it's one-way glass.
MAN'S VOICE
I said, get in....
The window lowers halfway and Jackson sees there's absolutely
no one behind the wheel, or anywhere else for that matter.
MAN'S VOICE
Or would you rather go back to
prison?!
It doesn't take Jackson long to decide, he jumps in.
INT. DRONE CAR - DAY
MAN'S VOICE
Sit back, relax and leave the
driving to me.
The wheel turns away from the curb. The accelerator
depresses hard. Jackson is speechless.
EXT. STREET - DAY - ON DRONE CAR
as it peels an inch of rubber, rocketing from the curb, the
whine of its huge supercharged V-8 audible, even over the
piercing alarms.
ANGLE ON GUARD
coming from the prison, seeing the getaway car and firing
his shotgun at it.
ON DRONE CAR
two-wheeling a corner and disappearing.
EXT. MARINA AREA - DAY - ON K.I.T.T.
The Trans Am moves along the yacht harbor at a leisurely
pace.
MICHAEL'S VOICE
In an hour from now, Kitt, I'll be
sailing under the Golden Gate Bridge.
INT. K.I.T.T. - DAY
Michael is dressed for sailing, jeans, deck shoes, perhaps
a nylon jacket.
K.I.T.T.
If memory serves me right, Michael,
and I'm sure it does, the last time
you went sailing your boat sprung a
leak and the Coast Guard had to tow
you back to shore.
MICHAEL
It didn't 'spring a leak,' Kitt, it
started taking on water. And it
wasn't my fault the bilge pump broke
down.
K.I.T.T.
Blame it on whomever you want,
Michael, but the bottom line is, you
came back one hour later, soaking
wet.
MICHAEL
(patience is
being tried)
Kitt...I'm sure glad you weren't
around when Columbus set sail for
America.
ANGLE ON MONITOR
as Devon pops on from his office. Intercut as needed:
DEVON
Michael, according to your position,
you're only about ten minutes from
the Santa Clara Penitentiary.
MICHAEL
I'm only about two minutes from
renting a sailboat for the afternoon.
DEVON
Michael, this is top priority, a
prisoner by the name of C.J. Jackson
just escaped and I want you to aid the
police in any way possible.
MICHAEL
I'm getting the feeling this Jackson
isn't just another escaped convict.
DEVON
You're right...he touches the very
soul of the Foundation.
MICHAEL
Okay, we're on. Give me what you've
got.
EXT. MARINA AREA - DAY - ON K.I.T.T.
as the sleek body of the Trans Am surges to life, shooting
out of the Marina against the backdrop of the lazy
sailboats.
EXT. BOULEVARD - DAY - ON DRONE CAR
traveling at a legal rate of speed.
JACKSON'S VOICE
I don't suppose you have a change of
clothes on you....
INT. DRONE CAR - DAY
He's speaking to the invisible figure driving.
JACKSON
Maybe a hundred bucks you can lend
me...and, yeah, know what I'd really
like....
CUT TO
INT. HALSTON'S LAB - DAY
David Halston, thirty-five, good-looking, with an easy
charm and infectious almost boyish grin, sits at a control
panel watching Jackson on a monitor, and talking to him via
a sophisticated communication set up. The lab itself is
large, modern and we see two more red drone cars in the b.g.
JACKSON
(on monitor)
...A beautiful woman. You know any
beautiful women?
HALSTON
In due time, my friend.
INT. DRONE CAR - DAY
Jackson explodes, slams the back of the driver's seat with
his huge fist:
JACKSON
I'm not your friend! Whoever you
are, whatever you want to do for me,
that's your business. But if you're
expecting something in return, you
can forget it!
(slight beat)
Now, where are you taking me?!
HALSTON'S VOICE
In due time, my friend...in due time.
Jackson would throttle him if he could, but before he can
dwell on it he sees something across the street and up
ahead.
JACKSON'S POINT OF VIEW - POLICE CRUISER
heading toward them.
BACK TO SCENE
Jackson continues to look at the cruiser as they get nearer
to it. He tenses, readies for trouble.
EXT./INT. POLICE CRUISER - DAY
The police Officer spots the drone car, slides into a 180
and takes off after it. Over the radio we hear:
OFFICER'S VOICE
Seven Baker Adam responding to the
APB on the vehicle used in the
prison break. Heading south now on
Overland, one block east of Shoreline
Avenue. I'm in pursuit. Request
backup.
EXT./INT. DRONE CAR - DAY
Jackson watches the cruiser, gripping his stolen weapon.
JACKSON
Step on it...else there's going to
be one dead cop!
CUT TO
INT. HALSTON'S LAB - DAY
Halston, observing the scene on the monitor, pushes on
acceleration button.
INT. DRONE CAR - DAY
The accelerator depresses.
ON SPEEDOMETER
reaching one hundred.
EXT. BOULEVARD - DAY - ON CHASE
The drone car is much faster and starts pulling away.
CUT TO
EXT. CITY STREET - DAY - ON K.I.T.T.
racing by.
MICHAEL'S VOICE
Kitt, anything on the police
frequency?
K.I.T.T.
I just picked up a transmission now,
Michael. A police car is in pursuit
one point two miles due east of here.
INT. K.I.T.T. - DAY
Michael punches buttons:
MICHAEL
Let's see if we can pick them up on
your infrared tracking scope.
ANGLE TO INCLUDE MONITOR
as a hologram of intersecting streets appears, with two
moving and blipping dots representing drone car and the
cruiser.
MICHAEL
Bingo! Let's head 'em off at the
pass.
Michael takes a hard right.
EXT. STREET - DAY - ON K.I.T.T.
taking the corner on two wheels.
CUT TO
EXT. BOULEVARD - DAY - ON DRONE CAR
taking a hard left, cutting in front of oncoming traffic.
ON POLICE CRUISER
taking the same left, but not making it. Instead, he
crashes into a fire hydrant, sending water shooting high in
the air.
EXT. ALLEY - DAY - ON DRONE CAR
as it turns into the alley and comes to a stop.
HALSTON'S VOICE
Here's where we part company, my
friend.
JACKSON
(jams gun
under belt)
Thanks for the lift.
He starts to get out, but:
CUT TO
INTERCUT WITH HALSTON
HALSTON
Not so fast, my friend...the
adventure is just beginning.
INT. DRONE CAR - DAY
Jackson looks around, then reacts to what he sees.
JACKSON'S POINT OF VIEW - ROLLS ROYCE THROUGH WINDSHIELD
It's a classic, and pulls to a stop very nearby.
BACK TO SCENE
Jackson jumps out.
ANGLE ON ROLLS
as Jackson runs to it, opens the passenger door and starts to
get in. But what he sees behind the wheel causes him to stop.
JACKSON'S POINT OF VIEW - MARGO SHERIDAN
She's not quite thirty, classy and very beautiful. If
anyone belonged behind the wheel of a classic RR, it's
Margo. She smiles softly.
MARGO
We can save the introductions for
later. Get in.
ANGLE TO INCLUDE JACKSON
He nods, slides in. She takes off, and he never takes his
eyes off her.
EXT. SIDE STREET - DAY
The Rolls goes one way, the drone car the other.
EXT. STREET - DAY
as the drone car comes from the side street, the sun
bouncing off its darkened windows.
ANGLE TO INCLUDE K.I.T.T.
K.I.T.T.
Michael!
MICHAEL
Gotcha, pal.
Michael pushes Pursuit Mode and the chase is on.
VARIOUS ANGLES OF CHASE
using the picturesque streets of San Francisco as in Bullet.
The drone car, with nothing to lose, cuts in front of other
traffic, runs lights, goes on and off the sidewalk.
And then K.I.T.T. manages to come up alongside, and slams
into the front of the drone car forcing it to jump the curb
knock over a mailbox, and finally come to a stop after
hitting some immovable object. The driver's door pops open
from impact.
K.I.T.T. pulls up alongside and Michael jumps out.
K.I.T.T.
Be careful, Michael, they say he's
armed and dangerous.
MICHAEL
Read you, Kitt.
Michael approaches cautiously, then looks inside the open
door.
MICHAEL'S POINT OF VIEW - EMPTY INTERIOR
BACK TO SCENE
MICHAEL
Kitt...there's no one inside.
K.I.T.T.
Michael, that's impossible. A car
just doesn't drive by itself.
Michael looks at the Trans Am.
MICHAEL
Doesn't it, buddy? Tell me about it.
As Michael looks about, a police cruiser races up with
lights flashing. We also hear sirens getting closer.
EXT. PENITENTIARY - DAY - ESTABLISHING
DEVON'S VOICE
You say...your radio turned into a
robot.
INT. GUARD POST - DAY
Michael and Devon are with a very uncomfortable Carter.
CARTER
I know it sounds crazy, but that's
what happened. And then he shot this
little puff of smoke at me, and when
I came to Jackson was long gone.
DEVON
And...this...robot of yours?
Carter shows him the melted-down plastic pancake --
hesitantly.
CARTER
I think this is him -- it!
DEVON
I...see.
Carter wilts under Devon's look. Michael takes the pancake
from him.
MICHAEL
The woman who gave you the radio --
what did she look like?
CARTER
(describing
Margo)
Blonde hair...about this big...
pretty...
(smacks
forehead)
My wife!
DEVON
What about your wife?
CARTER
She didn't believe the story about
the radio in the first place, and
now when I tell her it turned into a
robot....
He looks to Michael for help.
MICHAEL
Yeah, well...lots of luck, pal.
Michael gives him a consoling smile, and starts out with
Devon.
INT. CORRIDOR - DAY
As they move away from the guard post:
DEVON
Michael, you really don't believe
that nonsense about a robot, do you?
MICHAEL
After seeing the way that car handled
by itself, anything's possible. We're
obviously dealing with someone who's
a genius at science.
(beat)
Too bad Bonnie's not around.
DEVON
Didn't I tell you?
MICHAEL
What?
DEVON
She is. She's taking advanced studies
at the University of San Francisco.
MICHAEL
Have you talked to her?
DEVON
Yes, and if you're thinking I might
have asked her to return to the
Foundation, her answer was no. A
very resounding 'no.'
ANOTHER ANGLE
as they turn the corner leading to the exit door.
MICHAEL
Devon...what does this Jackson have
to do with the 'soul of the Foundation'?
DEVON
Before Wilton Knight recruited you,
we had another young man in your
position. His name was Ken Franklyn.
He fit all the qualifications -- all
except one. He wasn't a police
officer.
MICHAEL
What's this got to do with Jackson?
DEVON
(difficult)
One night several years ago. I
remember it was raining, very unusual
for that time of year, but it was.
And Franklyn had been tailing Jackson,
who was suspected of taking part in a
major diamond theft, hoping to find
out what he was up to. Well, what
he was up to, Michael, was leading
Franklyn into a trap. Which he suc-
ceeded in doing.
MICHAEL
Jackson killed him.
DEVON
Yes...and to make certain he was
dead...he shot him five more times.
The guard we saw during the escape unlocks the door and
lets them out.
EXT. STREET OUTSIDE PRISON - DAY
Michael and Devon come out and move to Devon's limo.
K.I.T.T. is parked nearby.
DEVON
We all took the tragic loss very
hard...but Wilton Knight hardest of
all. He closed the Foundation, put
the entire F.L.A.G. Project on hold,
and didn't reactivate it until he
found you.
(opens the
back door
of the limo)
Now I'm sure you understand, Michael,
why returning Jackson to prison is
so important to us...Wilton Knight
won't rest easily until we do.
Nor will I.
MICHAEL
That makes three of us. My word on
it.
Michael looks at him a beat, then starts toward K.I.T.T.
Devon enters the limo.
EXT. ESTATE - DAY - ESTABLISHING
The Roll Royce is parked in front of this magnificent house
overlooking the bay.
INT. ESTATE DEN - DAY - ON DAVID HALSTON
looking toward the entrance to den.
HALSTON
Welcome, Mr. Jackson....
ANGLE TO INCLUDE JACKSON
We hardly recognize him in his new and expensive clothing:
Tailored pants, silk shirt. Still, he's cautious; gives
nothing, expects nothing. He enters the den to see Margo
draped on the divan, sipping champagne.
HALSTON
Sorry I couldn't be here when you
arrived, but I had a class. My
name's David Halston. Mind if I
call you C.J.?
JACKSON
That's my name.
HALSTON
Margo, fix C.J. a drink.
Jackson watches her get up, move to the sterling wine
bucket.
MARGO
Like champagne?
JACKSON
Sure, they used to serve it to me in
my cell.
She smiles, pours.
HALSTON
C.J., I'm sure you're wondering what
this is all about.
JACKSON
Wrong, David -- okay if I call you
David?
Halston picks up on the facetiousness, but smiles anyway, okays
it with a shrug.
JACKSON
I'm wondering what this is going to
cost me. What you want me to do for
it.
HALSTON
You'll find out...As for now, all I
can say is I'm going to make you a
very rich man. You asked for a change
of clothes, remember? Margo picked
those things out herself.
Jackson throws Margo an appreciative look.
HALSTON
You also wanted a little spending
money...
(tosses a
banded stack
of new bills
on the bar)
Well, I'm sure this will tide you
over for a day or so.
Margo serves him his champagne, never taking their eyes off
one another until:
JACKSON
(to Halston)
As long as we're being generous, I
remember asking for something else,
too.
HALSTON
That's right, you did.
(calls)
Babette.
ANGLE ON ENTRANCE
as Babette comes in. She's twenty-two, willowy, black, and
truly a work of art. She moves to Jackson.
HALSTON
This is C.J. Jackson...I'm sure you
two will find a lot to talk about.
Margo serves her champagne. Halston lifts his glass.
HALSTON
And now...to the beginning of
a...prosperous and beautiful
relationship.
And as they drink, Halston never taking his eyes off
Jackson, we ---
FADE OUT
END ACT ONE
ACT TWO
FADE IN
EXT. GOLDEN GATE BRIDGE - DAY
sweeping vistas of the bay and the city as K.I.T.T. passes
over the bridge, music over.
EXT. UNIVERSITY OF SAN FRANCISCO - DAY
K.I.T.T. turns in, glides past scores of students bustling
here and there, late for class.
K.I.T.T.'S VOICE
Michael, where are we going?
MICHAEL'S VOICE
To see an old friend.
ANGLE AT PARKING AREA
K.I.T.T. pulls in and parks and Michael climbs out with the
CPU.
K.I.T.T.
I thought this case was top priority.
MICHAEL
(climbing out)
It is. I'm hoping the old friend
can help.
K.I.T.T.
Anyone I know?
CUT TO
INT. COMPUTER RESEARCH AND DEVELOPMENT CENTER - DAY - CLOSE
ON A DARK-HAIRED YOUNG WOMAN
laboring over a massive bank of computers. She turns and
we recognize Bonnie.
MICHAEL'S VOICE
I need a student loan.
BONNIE
(working)
I think you're in the wrong department.
MICHAEL'S VOICE
I bet Devon you'd come back within a
year, and you didn't.
Bonnie slowly turns.
WIDER ANGLE
She stares at Michael but otherwise keeps her composure.
BONNIE
Broke again, huh?
MICHAEL
Some things never change.
He grins, she grins, and next they're hugging each other,
delighted.
BONNIE
What're you doing here? Let me look
at you. You're still tall.
They laugh.
MICHAEL
You're still beautiful.
Never one to take compliments well, she finds something to
busy herself with for a moment.
BONNIE
How's Devon?
MICHAEL
British as ever. He sends his love.
BONNIE
(a reaction)
Ah. Then he knows you're here.
(beat)
Michael, if this is something to do
with the Foundation, or a case, we've
been through all that.
MICHAEL
This is different.
BONNIE
They're all different. Michael, no.
MICHAEL
Bonnie, C.J. Jackson escaped from
prison. He had help.
BONNIE
I leave for Boston on Thursday.
MICHAEL
Someone went to a lot of trouble.
Designed a self-destruct device to
work it from the inside...a drone
car to work it from outside.
BONNIE
MIT is presenting two research
projects for funding. Only one will
be approved.
MICHAEL
This is the drone's CPU.
BONNIE
One's mine.
MICHAEL
Bonnie, I'm not here asking you to
sign up for another tour of duty.
No contracts, no promises, no
obligations.
He tosses the CPU. No choice, she catches it.
BONNIE
(re CPU)
You're trying to tempt me.
MICHAEL
How am I doing?
Beat.
BONNIE
No contracts, no promises, no
obligations?
Michael smiles.
CUT TO
INT. HALLWAY - DAY
Leaving, Michael and Bonnie almost bump into a handsome guy
who's engaged in animated conversation with three attractive,
energetic coeds. Bonnie reacts, a bit star struck herself.
BONNIE
I'm looking forward to your seminar.
MAN
(turning)
I'm looking forward to your attending
it.
Smiling, we see his face. It's Halston.
BONNIE
(to Michael)
That's Doctor Halston.
As they leave:
MICHAEL
Who's Doctor Halston?
BONNIE
Next year's number one candidate for
every award from the Nobel Prize
down. You don't know who David
Halston is?
MICHAEL
Shoot me.
CUT TO
EXT. UNIVERSITY OF SAN FRANCISCO PARKING AREA - DAY
K.I.T.T.'s scanner flashes excitedly.
K.I.T.T.
Bonnie!
REVERSE ANGLE
as Michael and Bonnie approach. Bonnie looks a bit like a
parent seeing a child after a long absence. She explodes
with happiness.
BONNIE
Kitt!
K.I.T.T.
Michael, why didn't you tell me?
MICHAEL
I wasn't sure she'd come, pal.
K.I.T.T.
(to Bonnie)
It hasn't been the same since you
left.
BONNIE
I've missed you, too.
The passenger door pops open for her.
BONNIE
Well, thank you, kind sir.
She slides in. Michael has to open his own door.
MICHAEL
I see who rates around here.
As he climbs in:
CUT TO
EXT. UNIVERSITY OF SAN FRANCISCO - DAY
K.I.T.T. pulls out the way he came in, makes a smart turn
and accelerates, obviously in high spirits.
BONNIE'S VOICE
I see April kept you in top shape.
K.I.T.T.'S VOICE
Yes, but now she's accepted an offer
with a French firm. It's hard to
find good help these days.
BONNIE'S VOICE
(scolding)
Kitt....
They laugh.
CUT TO
EXT. CHINATOWN - NIGHT
Several shots to establish the atmosphere, the color, the
unexpected contrast between traditional Chinese culture and
Americana 1984.
EXT. CHINA TRADER RESTAURANT - NIGHT
A hot spot wedged in between a Chinese laundry and a fast-
food takeout.
INT. CHINA TRADER KITCHEN - NIGHT
A beehive of activity on a busy night. The assistant chef,
Peter Wong, is preparing a spicy entree while listening to
a championship fight on a portable radio on the shelf above
the counter. The radio looks strangely familiar. A hip
young Chinese-American, Peter, moves with the flow of the
fight, feigning, wincing at the blows.
OWNER'S VOICE
Where's the Peking duck?!
WIDER ANGLE
The owner, Fong, charges in, a big man with a short temper.
PETER
Say what?
FONG
The Peking duck, you idiot!
PETER
Oh, that duck. Coming right up.
He crosses over to the ovens, Fong on his heels.
ANGLE ON RADIO
Its speakers begin to separate, turning into legs.
FONG'S VOICE
I thought you said you were a chef!
ANGLE AT OVENS
as Peter pulls out the duck.
PETER
I am a chef, a great chef. I'm a
little rusty, that's all.
FONG
All you do is bet sports and gamble.
PETER
I'm a great chef who bets sports and
gambles. Look out. This is hot.
ANGLE ON RADIO
It is now a robot. In one deft move it tips a bowl of
fiery red peppers into a large bowl of Fong's Delight
fried rice.
ANGLE ON PETER AND FONG
Peter puts the Peking duck on a plate.
FONG
If you lied to me I'll break every
bone in your skinny little body.
Where's the Fong Delight?
PETER
Fong Delight -- right. You'll get
raves on this.
FONG
I'd better, it's the specialty of
the house.
He leaves with the duck and the "hot" Fong's Delight.
Peter goes back to his cooking and listening to the fight
until he glances at the radio, and sees it's a robot. His
eyes grow wide:
PETER
Say what?
But as he stares at it he suddenly hears a strange
commotion coming from the dining room, coughing, choking,
screaming in Chinese. As he looks toward the dining room
entrance:
ANGLE TO INCLUDE FONG
storming in. He carries the Fong Delight bowl, now almost
empty, and is purple with rage.
FONG
You!
PETER
Me?
FONG
Out!
PETER
Out?
He throws the bowl of rice at Peter but Peter ducks.
PETER
What'd I do?! Don't come any closer,
I'm a black belt! I fought Bruce Lee
to a standstill! I ---
In one move Fong grabs him and bodily throws him out into
the alley.
FONG
If I ever see you again I'll slit
your throat!
He then spots the robot, shakes his head.
FONG
Toys, yet. A Chinese jerk!
He tosses it into the garbage can...and fails to see it
sizzling and melting down into a plastic pancake. Then
there's a curl of smoke, as a fire is about to begin.
EXT. ALLEY - NIGHT
Peter picks himself up from a collection of garbage cans,
wipes garbage off his person. He stands there in despair
when headlights suddenly wash the dark alley.
ANOTHER ANGLE
The white Rolls glides up and stops. The passenger door
opens.
WOMAN'S VOICE
Get in.
Suspicious, Peter stares inside, reacts at seeing the
beautiful woman behind the wheel smiling at him. It's Margo.
PETER
Me?
MARGO
You.
PETER
Why?
MARGO
Why not?
Peter hesitates, shrugs and carefully gets in.
ANGLE FROM DOWN ALLEY
The Rolls purrs by, turns and joins the flow of traffic.
CUT TO
INT. POLICE GARAGE/LAB - NIGHT
Shapely legs protrude from the open door of the drone car.
BONNIE'S VOICE
It's more sophisticated than I thought.
She comes out from underneath the dash with a miniature
semiconductor unit.
WIDER ANGLE
Michael watches from a distance, sipping a cup of takeout
coffee. A passing Cop glances at her appreciatively.
COP
(sotto voce)
Nice legs.
MICHAEL
You should see her in a bikini.
BONNIE
What?
MICHAEL
We were just admiring your...
expertise.
BONNIE
I'll bet.
She crosses to a computer work bench, adds the semiconductor
unit to the CPU. Michael joins her.
MICHAEL
What do you think?
BONNIE
I think whoever designed this is
someone to reckon with.
MICHAEL
So's Bonnie Barstow.
She tests the semiconductor unit on the computer.
BONNIE
I'm not a magician. I can't even
access the program on this unit.
MICHAEL
Tell me what you need.
BONNIE
Time. Time and state-of-the-art
diagnostic equipment.
MICHAEL
Kitt?
BONNIE
He's designed for function, not
diagnosis. I need the kind of
hardware the university has.
She sees the look in his eye.
BONNIE
Michael, no -- it's a strict rule.
University equipment for university
projects only.
MICHAEL
Devon knows the chancellor.
He heads for the phone.
BONNIE
One more thing, just for the record.
MICHAEL
(dialing)
Name it.
BONNIE
I do not wear bikinis.
Michael smiles.
CUT TO
EXT. MANSION - NIGHT
The Rolls winds up the street and pulls into the driveway,
Margo and Peter get out. He looks at the mansion, hesi-
tates before following, then hurries to catch up with Margo.
INT. MANSION - NIGHT
C.J. Jackson is sprawled on a suede modular sofa in a silk
bathrobe, watching satellite TV on a huge screen. The
black girl, Babette, crosses in from the kitchen with a big
sandwich, fries, and pickles. Jackson reacts, wary, as the
front door opens.
ANOTHER ANGLE
Margo enters, followed by Peter, who looks ready to bolt.
MARGO
Don't say 'boo,' he'll run.
As she crosses to Jackson, Peter slowly comes in, his eyes
devouring the setting, the luxury, the opulence.
JACKSON
I don't speak the language.
Margo pours herself a glass of champagne.
MARGO
(to Babette)
I trust you're satisfying his every
whim.
BABETTE
We haven't gotten to whims yet,
we're still working on the basics.
The man's got enough basics to wear
a girl out.
Margo laughs, pours a second glass and hands it to Peter.
MARGO
Peter, meet C.J. Jackson and
Babette. C.J., this is Peter Wong.
Peter is prepared to shake hands but Jackson makes no
gesture. Instead he sizes Peter up with his eyes.
JACKSON
You one of those martial arts dudes?
PETER
(flattered)
Me? No. Why, do I look like one?
JACKSON
No.
Peter looks disappointed.
ANGLE ON HALSTON
entering from the den. Greeting Peter warmly.
HALSTON
Hello, Peter. Welcome. I see you
already have some champagne.
PETER
Yes....
Halston pours himself a glass.
HALSTON
In that case...
(toasts)
To Peter Wong...and the unique
capabilities he brings to this
under taking.
PETER
I'm really not such a good chef.
Halston and Margo laugh, touching glasses with Peter.
HALSTON
So I hear, Peter. So I hear.
CUT TO
EXT. STREET - DAY
K.I.T.T. passes, heading for the University.
BONNIE'S VOICE
What about Jackson?
ANGLE IN K.I.T.T.
Michael drives, Bonnie sits in the passenger seat.
MICHAEL
What about him?
ANGLE IN REAR SEAT
In a loose canvas bag is the drone car's CPU and auxiliary
semiconductor units.
BACK TO MICHAEL AND BONNIE
BONNIE
Have the police turned up anything?
MICHAEL
Nothing useful. He was a loner...no
prison gang affiliations, no visitors,
no mail in over two years....
BONNIE
Strange.
MICHAEL
The only thing we know about Jackson
for sure is his area of expertise.
He's a 'box man.' Show him a safe
or a vault, and he'll get inside it.
Suddenly:
K.I.T.T.
Michael, what on earth is that?!
THEIR POINT OF VIEW - CABLE CAR
coming down the hill in their direction; passengers hanging
off the sides.
ANGLE AS NEEDED
MICHAEL
That's a cable car, pal. One of
San Francisco's oldest forms of
transportation.
K.I.T.T.
Well, it certainly leaves a lot to
be desired when it comes to aero-
dynamics...but at least it doesn't
eat hay and dirty the streets.
BONNIE
(laughs)
Same old Kitt.
K.I.T.T.
I surely hope so.
ANGLE IN BACKSEAT
The CPU as before, inanimate, almost innocent out of the
drone. Then we hear a familiar sizzling sound and see a
curl of smoke.
BACK TO MICHAEL AND BONNIE
Michael glances at Bonnie, smiles.
MICHAEL
Almost like old times, huh?
BONNIE
It brings back a lot of memories.
Remember the time you...do you smell
something?
MICHAEL
What?
K.I.T.T.'s red EMERGENCY light flashes.
K.I.T.T.
Michael, it's a bomb! Emergency
evacuation!
EXT. STREET - DAY
Michael pulls K.I.T.T. to the side of the road, tires smoking.
The doors automatically pop open and Michael and Bonnie
scramble out. As soon as they're clear the doors close.
ANOTHER ANGLE
Michael dives over Bonnie, covering her body with his.
ANGLE ON K.I.T.T.
The bomb explodes inside, powerful enough to destroy any
normal car. The force is so great it literally lifts
K.I.T.T. off the ground.
FREEZE FRAME
FADE OUT
END OF ACT TWO
ACT THREE
FADE IN
EXT. FISHERMAN'S WHARF - DAY
Michael, Devon and Bonnie, all somewhat tense, walk along
the fleet of fishing boats. K.I.T.T. is parked nearby.
It's early morning, long before the throngs of tourists.
DEVON
No identifying marks, Bonnie, I can't
believe you couldn't find something...
anything!
MICHAEL
Devon -- there was barely enough
left of that CPU for Bonnie to
examine under a microscope.
BONNIE
And if we hadn't got out of Kitt
when we did, there wouldn't be any-
thing left of us!
DEVON
I'm sorry, forgive me. I know how
difficult this must be for you...having
spent the last year in the sanctity
of the academic world....
BONNIE
(interrupting)
Forget it, Devon, I'm not buying.
MICHAEL
Bonnie, you said you found traces
of similar acid in both the CPU and
the melted-down radio....
DEVON
(clears throat
as a reminder)
Robot.
BONNIE
Yes. It's a hydrogen chloride base,
combined with a carbon-three ammino-
disulfate. Extremely volatile when
it comes in contact with oxygen.
Which is exactly what took place
after the units performed their
desired functions.
(glances
at watch)
Speaking of desired functions,
Doctor Halston's lecture is in
forty-five minutes and nothing
on this earth is going to keep
me from making it.
They realize it's hopeless trying to prevent her. Michael
puts his hands on her arms, a warm beat, sincere:
MICHAEL
Thanks, Bonnie. It was great seeing
you again.
He kisses her cheek; she has to push herself back or she
might cry, or worse, not leave at all.
BONNIE
You, too, Michael.
But Devon hasn't given up.
DEVON
I'm sure...Kitt would like to say
good-bye.
She glances over at K.I.T.T., tears in her eyes.
ANGLE ON K.I.T.T.
flashing his scanner in a fond farewell.
BACK TO SCENE
Bonnie is really about to cry now.
BONNIE
Devon...you are ruthless.
DEVON
Only when it comes to getting what
I want. Of course, Genghis Khan
probably said the same thing.
She can't resist, throws her arms around him, kisses
him, and hurries off to her car. They head back toward
K.I.T.T. Michael sees Devon's concern:
MICHAEL
Devon, look, I know you're disap-
pointed, but we're still going to
get this Jackson....
Interrupted by:
K.I.T.T.
Michael!
MICHAEL
What is it, Kitt?
K.I.T.T.
I've been monitoring the police
frequencies as you said -- and there
was a fire last night at Fong's
China Trader restaurant in Chinatown.
Arson is suspected after finding a
chunk of melted-down plastic
containing traces of acid.
Michael and Devon exchange looks, then Michael jumps behind
the wheel, and the Trans Am slices through the early morning
haze.
EXT. MANSION - POOLSIDE - DAY - ON MARGO
as she comes from the water and runs to a lounge next to the
lounging Jackson and the beautiful Babette. All in bathing
suits, except for Peter who is off to the nearby lanai,
animated and excited as he watches a boxing match on a
small TV.
MARGO
The water's great, you ought to try it.
JACKSON
(in a dark
mood)
I took a bath this morning.
CLOSE ON PETER
swinging like a boxer himself as he urges his fighter on:
PETER
A right...give him the right...that's
it, that's it! Not the left, another
right, another left, a right, a left,
that's it, you're killing the miserable
dog, one-two, one-two, the honorable
old combination, now send him off to
his ancestors. Pow!!
But we see by Peter's face that something has obviously
gone wrong! And that something is Peter's fighters hitting
the canvas. The Referee counts over the next action:
PETER
What?!!
(pushing his
face close to
the screen)
Get up! What are you doing on your
ugly face! It's supposed to be the
other way around! Get up...get
up...have you no honor?! Get up and
fight like a man!
REFEREE'S VOICE
Ten!
The crowd roars, and Peter punches the set off.
ANGLE TO INCLUDE THE OTHERS
as Peter joins them.
PETER
A sure thing! My bookie told me it
would be like stealing!
JACKSON
There's only one thing like
stealing, Peter...that's why it's
called stealing.
Peter points a finger at him angrily:
PETER
I just lost a thousand bucks and you
give me jailhouse philosophy!
But Jackson, moving like a feeding shark, grabs an arm,
Peter's, and brings him to his knees, then pushes in on him:
JACKSON
The last punk who pointed a finger
at me ended up in a wheelchair...and
I kinda liked him.
Peter looks at him a beat, sweating blood, then manages a
weak smile:
PETER
What's...a thousand bucks?
ANGLE TO INCLUDE HALSTON
coming from around the side of the house. He's dressed
somewhat professorish, carries a briefcase stuffed with
papers.
HALSTON
That's right, Peter...the price of a
weekend for two in Burbank.
(kisses Margo)
You turn sunbathing into an art form.
MARGO
Just for that I'll fix you a nice
cold drink.
She goes to the lanai. Jackson pushes Peter away, and
almost into the pool. Then he rises, like a mountain, and
confronts Halston.
JACKSON
It's time you and me talked. You
made a lot of promises. I want to
know when!
HALSTON
What if I'm not ready to tell you?
JACKSON
Then I'm ready to walk.
Halston studies him a beat but doesn't back down.
HALSTON
Well, in that case I have something
to show you.
They start for the house.
EXT. FONG'S CHINA TRADER RESTAURANT - DAY
K.I.T.T. pull up, Michael gets out and enters the restau-
rant.
INT. KITCHEN - DAY
A new chef prepares food. We hear voices approaching from
the dining room.
KIM'S VOICE
I told you, the fire did hardly any
damage at all.
Over this we see Michael enter the kitchen, with the hostess
Kim following. She points to small fire damage area:
KIM
See for yourself!
Michael looks it over.
MICHAEL
You're right, but in that case I'd
like to speak to Mr. Fong.
KIM
Mr. Fong's not here.
MICHAEL
Good, I'll wait.
KIM
You can't wait.
MICHAEL
(beat; smiles)
How much do you want to bet?
CUT TO
EXT. COMMERCIAL STREET - DAY - ON ROLLS ROYCE
pulling up to the curb and parking.
HALSTON'S VOICE
Gentlemen, if you look directly
across the street....
INT. ROLLS ROYCE - DAY
Halston's behind the wheel. Jackson next to him and Peter
in back.
HALSTON
You'll see our target.
THEIR POINT OF VIEW - FEDERAL RESERVE BANK
PETER
The Federal Reserve Bank?!
BACK TO SCENE
HALSTON
That's where the money is.
PETER
Are you crazy?! I'm a small-time
gambler, not a bank robber.
HALSTON
It's not you I'm interested in,
Peter....
PETER
Say what?
HALSTON
It's your great grandfather -- Lee
Ho Wong.
PETER
What's my great grandfather have to
do with this. He's been dead since
I was a kid.
HALSTON
True, but I happen to know he left
you a great legacy.
PETER
You call an abacus and a pair of
ivory chopsticks a great legacy?
HALSTON
Maps, Peter.
PETER
Maps?
HALSTON
The ones he made of the tunnels under
San Francisco. Tunnels that were
used to smuggle in other aliens like
himself. Your great grandfather was
a legend among his people, and now
with the help of those maps, which
I know you still have, Peter, he's
going to make his great grandson very
rich.
PETER
Hey, why not? I only got fifteen
bucks for the abacus and ivory
chopsticks.
HALSTON
And whoever called you a loser?
(grins, turns
to Jackson)
Now for your part in this.
JACKSON
I'm way ahead of you. You want me
to use one of those tunnels to reach
that bank, and then drill a hole into
the base of the vault big enough for
us to get inside.
HALSTON
And make a withdrawal of a hundred
million dollars in U.S. currency.
The best there is.
Peter whistles.
HALSTON
Well?
JACKSON
Oh, I can drill the hole all right...
but by the time we got inside every
cop in this city would be there to
welcome us.
HALSTON
The alarms.
JACKSON
You got it. Everything from sound
and vibration sensors to infrared
beams.
HALSTON
Alarms were meant to be neutralized
...as you know better than anyone.
JACKSON
Only if you know their exact locations,
design and tolerance levels.
HALSTON
Now I'm one step ahead of you. You
see that young lady standing on the
corner?
THEIR POINT OF VIEW - KELLY YOUNG
The girl we saw with Halston on campus. She's waiting
somewhat impatiently. Looking around but not seeing the
Rolls.
HALSTON'S VOICE
We're about to have lunch...and then
who knows what else.
BACK TO SCENE
PETER
I would skip the lunch.
JACKSON
Pretty, but I don't see the connec-
tion.
HALSTON
Her father just happened to design
and install the alarm system.
(grins)
See you gentlemen later.
He starts to get out:
PETER
Hey, how do we get home?
HALSTON
Take the Rolls...you might as well
get used to driving one.
EXT. STREET - DAY - ON HALSTON
getting out and going to meet Kelly, who sees him and
hurries to him. They embrace:
HALSTON
Sorry, I'm late, honey...got tied up
in some research.
Breaking from the embrace, Kelly spots:
ANGLE TO INCLUDE JACKSON THROUGH ROLLS WINDOW
as he drives away. Peter can also be seen in back.
KELLY
Associates of yours?
BACK TO SCENE
HALSTON
Yes...I guess you could call them
that.
He puts his arm around her and they head up the street.
EXT. FONG'S CHINA TRADER RESTAURANT - DAY
K.I.T.T. is still parked outside, when Fong drives up in
his chauffeured limo. Fong gets out carrying a briefcase,
closed, followed by the karate twins, two huge bodyguards,
with shaved heads. They enter the restaurant.
K.I.T.T. (V.O.)
Michael, I think Mr. Fong just
entered the restaurant.
INT. FONG'S KITCHEN - DAY
MICHAEL
(on comlink)
Thanks, pal, is he alone?
K.I.T.T. (V.O.)
(on comlink)
Only if you don't count King Kong and
Godzilla.
Michael reacts to Fong's entering with the karate twins.
He has his briefcase open showing it loaded with greens:
FONG
Twenty thousand from the Mah-Jongg
parlor...fifteen thousand from the
den of rarefied pleasures...and
another thirty thousand from the
little ladies who travel light.
Not bad for a Monday.
MICHAEL
Mr. Fong, I'm Michael Knight from
The Foundation for Law and Government....
Fong slams the briefcase shut! Screams:
FONG
(screams)
Get him, you twin idiots!
And Karate One literally springs off his feet, over the
chopping block and comes at Michael from above.
ANOTHER ANGLE
as Michael, taken a bit back by the results of his innocent
pronouncement of his occupation, catches Karate One before
he lands and tosses him over his shoulders into a crate of
hundred-year-old eggs.
When he turns, here comes Karate Two, and he has a
hatchet in his hand. Karate Two also springs, and just as
he's to come down on Michael, with the intentions of
parting his skull, we ---
FREEZE FRAME
FADE OUT
END OF ACT THREE
ACT FOUR
FADE IN
INT. FONG'S KITCHEN - DAY
picking up action as Karate Two's landing is deflected by
Michael's kick to the midsection. But Karate One, no
longer Mr. Nice Guy, is right on top of Michael again, this
time with a crate of bean sprouts.
VARIOUS ANGLES OF FIGHT
A real Chinese brouhaha, wrecking the kitchen, splattering
food everywhere, until finally:
EXT. ALLEY - DAY
There's a terrific commotion from the kitchen, the sounds
of grunts and groans mingled with things breaking. Then
suddenly the door to the alley splinters and Karate One comes
flying out in a heap, dazed.
ANOTHER ANGLE
Just as he's picking himself up Michael comes flying out
after him, is ready to deliver a final blow when Karate Two
dives after Michael, delivers a vicious blow to his ribs.
ANGLE ON MICHAEL
He reels back, hurt.
ANGLE ON FONG
He appears at the broken kitchen door.
FONG
(in Chinese)
You're ruining the place! Is this
what I pay you a thousand a month
for? Take care of him.
ANGLE ON KARATE ONE AND TWO
They collect themselves, begin to advance on Michael in a
pincer movement.
ANGLE FEATURING MICHAEL
He sizes up the situation, decides it's time to change
tactics.
MICHAEL
(comlink)
I'm outnumbered, pal. Let's even up
the odds.
EXT. FRONT OF RESTAURANT - DAY
K.I.T.T. parked at the curb.
K.I.T.T.'S VOICE
Right away, Michael.
INSERT - DASH
It comes alive. The shift moves into gear, the gas pedal
is depressed, and lights up.
WIDER ANGLE
K.I.T.T. pulls out. Several passersby stare, amazed.
ANGLE IN ALLEY
The Karate twins slowly advance on Michael. Attack
together knocking him over trashcans and flat on his back.
ANGLE AT MOUTH OF ALLEY
K.I.T.T. arcs around the corner, roars up behind them. They
react, unsure what to make of this.
K.I.T.T.
Michael, it's two against one. Have
they no sense of fair play?
MICHAEL
(slowly getting
to his feet)
I don't think so, buddy.
K.I.T.T.
(to Karate
twins)
All right, you two overgrown egg
rolls, take a hike.
They stare at K.I.T.T. but make no move to leave.
MICHAEL
I don't think they understand the
language.
K.I.T.T.
Very well.
(in Chinese)
Go back to where you came from or
I'll call the zoo and have you
locked up where you belong.
They react violently and attack K.I.T.T. with a series of
powerful Karate blows.
ANGLE ON FONG
He watches.
ANGLE ON K.I.T.T.
The Karate twins howl in pain, grabbing their hands and
feet.
ANGLE ON MICHAEL
He executes a perfect kick, the heel of his foot catching
first one and then the other. They go down in a heap.
WIDER ANGLE
Michael looks at Fong.
MICHAEL
You ready to talk?
FONG
(terrified)
Anything! Anything you want to know!
MICHAEL
I want to know about the fire last
night.
Fong stares at him.
FONG
Fire?! You want to know about the
fire? Why didn't you just ask?
MICHAEL
I tried to. You weren't listening.
FONG
He started it! That idiot chef of
mine.
MICHAEL
Mr. Fong -- was there a...robot
involved anywhere?
FONG
Yes! A robot! I fired my chef and
tossed his robot into the trash and
next thing I know my kitchen's on
fire. What's this world coming to?
MICHAEL
When I find out I'll let you know.
In the meantime, what's the chef's
name?
FONG
Wong. Peter Wong. He lives with
some girl on Bay Street, a place
called the Towers.
CUT TO
EXT. BAY STREET - DAY
K.I.T.T. drives toward the Tower Apartments.
MICHAEL'S VOICE
By the way, you sure got those
Karate Twins agitated.
K.I.T.T.
They developed a pronounced mean
streak, didn't they?
MICHAEL
You can say that again. What'd you
say?
K.I.T.T.
I simply told them I'd call the zoo
and have them locked up where they
belong.
K.I.T.T. pulls up and parks. Michael activates surveillance
mode.
MICHAEL
Keep your eyes open.
He climbs out, heads for apartments.
EXT. ALLEY BEHIND APARTMENT - DAY
Peter appears, eyes the surroundings. Unnoticed, he grabs
onto a fire escape ladder and climbs up.
EXT. APARTMENT - DAY
Michael reaches apartment C, knocks. Waits, impatient.
ANGLE ON PETER
He makes his way to the rear bedroom, pauses, listening.
ANGLE AT FRONT DOOR
Michael is ready to knock again.
GIRL'S VOICE
Who is it?
MICHAEL
Michael Knight. I'm looking for
Peter Wong.
GIRL'S VOICE
He's not here.
MICHAEL
Can I talk to you for a minute?
It's important.
There's a silence. Then the door slowly opens, revealing a
pretty Chinese girl named Fu Sing Wu.
FU SING
Yes?
MICHAEL
Do you know where he is?
FU SING
He hasn't been here for two days.
ANGLE AT REAR BEDROOM
Peter listens, frozen, then quietly lifts the window.
MICHAEL AND FU SING
She starts to close the door.
MICHAEL
Do you know where I could find him?
Where he hangs out? Who his friends
are?
ANGLE IN BEDROOM
Peter tiptoes in, silently rifles through papers in a
drawer.
FU SING'S VOICE
I don't know where he is. He comes,
he goes. He has his life, I have
mine.
ANGLE AT FRONT DOOR
MICHAEL
All right. Thanks for your time.
He turns to leave when the comlink beeps twice.
MICHAEL
(comlink)
Yeah, Kitt.
K.I.T.T.'S VOICE
Someone's leaving the apartment
through the rear bedroom window.
Fu Sing is closing the door when Michael turns, running,
pushes past her. She screams.
ANGLE AT FIRE ESCAPE
Peter reaches the fire escape, aa folder in his hand. He
starts climbing down, fast.
ANGLE AT BEDROOM WINDOW
Michael looks out, sees nothing.
MICHAEL
(comlink)
Kitt, meet me on the adjacent street.
He jumps out, runs for the fire escape.
ANGLE ON K.I.T.T.
He auto-activates, peels out.
ANGLE ON FIRE ESCAPE
Michael hurries down.
ANGLE ON CORNER
K.I.T.T. turns the corner, races up.
ANGLE ON MICHAEL
He hits the street, looks in all directions.
HIS POINT OF VIEW - THE NEIGHBORHOOD
goes about its business as if nothing's happened.
ANGLE ON MICHAEL
He jumps into K.I.T.T., punches buttons.
MICHAEL
Let's see if you can pick him up.
INTERCUT - MONITOR
Nothing.
BACK TO MICHAEL
frustrated at having come so close.
K.I.T.T.
I'm sorry, Michael.
MICHAEL
It's okay, pal. Can't win 'em all.
At least we know we're on the right
track.
He hits the accelerator and they leave.
CUT TO
EXT. INDUSTRIAL PARK AREA - DAY
A nice, clean building in a low-suspicion neighborhood.
PETER'S VOICE
I'm lucky to be here alive!
INT. HALSTON'S LAB - DAY
Halston guides Peter to a drafting table.
HALSTON
Did you get the maps?
PETER
Here.
He lays the folder on the table. Halston turns on a work
light, carefully removes the contents.
WIDER ANGLE
One wall is dominated by a bank of computers. Parked
nearby are the two red drone cars.
In an adjacent area is well-equipped tool shop. We see
C.J. Jackson at a high speed drill press, in the process of
constructing a space-age mobile drill unit.
HALSTON AND PETER
Peter paces with adrenalin as Halston carefully examines the
ancient maps.
PETER
After I got away from this guy
chasing me I called Fong. It cost
me a hundred to even get him on
the phone. Then it cost five more
to get him to tell me what happened!
HALSTON
(calm)
What happened, Peter?
PETER
What happened is this guy -- This
Michael Knight character -- he whips
Fong's two bodyguards to find out
where I live.
HALSTON
I'd say Fong needs new bodyguards.
PETER
These guys are black belt.
HALSTON
I'm impressed.
PETER
That's what I said. Know how he did
it? You're not gonna believe this.
HALSTON
Try me.
PETER
He's got this black T-top that
drives by itself and speaks Chinese.
Halston finally looks up from the maps.
HALSTON
Fong's been smoking too much opium.
PETER
I saw it! When I got away I saw it
come around the corner!
HALSTON
No driver?
PETER
No driver!
Halston looks engaged, intrigued.
HALSTON
A computerized car that speaks
languages? This I have to see.
PETER
You see it. Do whatever you want,
just count me out.
He starts out.
HALSTON
Where do you think you're going?
PETER
Home.
HALSTON
You don't have a home.
PETER
I don't care, as long as it's away
from here.
HALSTON
Peter.
He keeps walking.
HALSTON
Peter!
Despite himself Peter stops.
HALSTON
You can't leave now. We have the
maps. We have everything.
PETER
Everything but a car that drives by
itself and speaks Chinese.
HALSTON
I'll take care of it.
PETER
How?
HALSTON
Leave the 'how' to me. I've taken
care of everything else, haven't I?
CUT TO
EXT. NORTH BEACH AREA - DAY
Gaudy and bright, lots of foot traffic, lots of cars.
K.I.T.T. appears.
K.I.T.T.'S VOICE
This is certainly a perplexing case.
MICHAEL'S VOICE
You got that right, buddy.
ANGLE IN K.I.T.T.
Michael is behind the wheel.
MICHAEL
It's a study in contrasts -- what's
the common denominator between a
computerized drone car and an escaped
convict...a self-destruct CPU and a
two-dollar gambler from Chinatown?
K.I.T.T.
I wish I knew.
MICHAEL
We'll add you to the list.
The auto-com blinks.
K.I.T.T.
Devon's calling.
INTERCUT - MONITOR
Devon appears on the screen.
MICHAEL
Devon.
DEVON
Hello, Michael. I just received a
rather surprising call.
MICHAEL
Anyone I know?
DEVON
Peter Wong.
Michael reacts.
DEVON
He said he has some information for
you. He wants you to meet him at
midnight at Twin Peaks.
MICHAEL
That's it?
DEVON
I'm afraid so. Be careful, Michael.
It could be a trap.
MICHAEL
Gotcha.
WIDER ANGLE
K.I.T.T. burns a U, heads back in the opposite direction.
CUT TO
EXT. TWIN PEAKS - DAY
A beautiful view of San Francisco, the bay, the bridge and
Alcatraz. Peter Wong waits at the far end.
ANGLE ON ROAD UP
K.I.T.T. appears.
ANGLE AT TWIN PEAKS
K.I.T.T. approaches.
ANGLE IN K.I.T.T.
Michael sees Peter.
MICHAEL
There he is. Do you scan anyone
else? Any other cars?
K.I.T.T.
A white Rolls Royce is approaching.
MICHAEL'S POINT OF VIEW
The white Rolls appears, stops, and Peter gets in.
BACK TO MICHAEL
MICHAEL
Strange. I thought he wanted to
meet.
WIDER ANGLE
The Rolls drives away, K.I.T.T. following.
MICHAEL'S VOICE
I think Peter may be playing poker.
Let's force his hand, pal.
ANGLE ON ANOTHER ROAD
A drone car appears, accelerating.
ANGLE AT TWIN PEAKS
The Rolls passes, followed by K.I.T.T. Suddenly the drone
appears behind them.
K.I.T.T.
Michael! Behind us!
Michael reacts.
ANGLE ON DRONE
A miniature heat-seeking missile. The size of a bottle of
Soave Bolla protrudes from the grill.
INT. HALSTON'S LAB - DAY
Halston sits at his console watching the action on the
monitor. Then pushes the panel switches from "Standby" to
"Fire."
EXT. TWIN PEAKS - ON K.I.T.T.
Michael slams into gear in a desperate attempt to escape,
but it's too late.
ANGLE ON MISSILE
It fires.
ANGLE IN K.I.T.T.
K.I.T.T.
Forgive me!
K.I.T.T. activates "Eject Left."
UP ANGLE
Michael is ejected.
ANGLE ON K.I.T.T.
The missile rips up his exhaust system and explodes.
WIDER ANGLE
K.I.T.T. is lifted off the pavement in a fiery explosion.
ANGLE ON MICHAEL
He collects himself as the drone speeds away.
ANGLE FROM K.I.T.T.
He rolls to a stop on his side, twisted, badly damaged.
Michael runs to him.
MICHAEL
Kitt! Kitt, are you okay?
Silence.
FREEZE FRAME
FADE OUT
END OF ACT FOUR
ACT FIVE
FADE IN
EXT. TWIN PEAKS - DAY - ON K.I.T.T.
as he's being pulled up into the semi via an electric winch
being operated by Bonnie the mother hen protecting her
wounded chick. Michael and Devon are with her.
MICHAEL
Need any help?
BONNIE
(interrupting)
You've helped more than enough,
Michael Knight. If it weren't for
you he wouldn't be in this condition!
Devon looks at Michael, shakes his head:
DEVON
I think it's time we retired to a
cup of tea.
MICHAEL
I hear you, Devon.
They start for the semi.
INT. SEMI - REST AREA - DAY
Devon is pouring himself a cup of tea. Michael drinks a
soda.
DEVON
And now a drone car that fires heat-
seeking missiles. How does that fit
in with an animal like Jackson and a
petty gambler like Peter Wong.
Michael, this is driving me crazy.
MICHAEL
Kitt might've got the license number
of the Rolls, but it won't do us
much good until Bonnie gets him back
on his feet again.
DEVON
You said it was a classic model?
MICHAEL
A Silver Phantom...I'd say built
somewhere in the early Thirties.
DEVON
Then there can't be too many of them
around...let's see if we can find
the registered owner.
They head for the working area.
EXT. MANSION - DAY
The Rolls is nowhere in sight.
INT. MANSION DEN - DAY
Halston has the tunnel maps -- now marked for the theft --
spread across the desk. Jackson and Peter, who smokes a
cigar almost as big as himself, are studying them with him,
while Margo lounges nearby. Pointing it out:
HALSTON
This tunnel here runs almost
parallel to the bank vault. You
shouldn't have to cut through more
then twenty-five feet to reach it.
JACKSON
I noticed you didn't say we.
HALSTON
We all have our specialties, C.J. I
didn't say it would be easy.
JACKSON
It has to be easier than smelling
that cigar.
PETER
I'm just practicing for when I'm
rich.
Jackson shakes his head, then back to the maps.
JACKSON
Any ideas how we get down into the
tunnel?
HALSTON
Yeah...one.
Suddenly the doorbell. They react. Halston looks to Margo:
HALSTON
Whoever it is, get rid of him.
Margo leaves the den.
EXT. MANSION - DAY - ON MICHAEL AT THE DOOR
It opens. He can't help liking what he sees.
MARGO
Yes?
MICHAEL
Mrs. Sheridan?
MARGO
The ex Mrs. Sheridan.
MICHAEL
I'm Michael Knight from The Foundation
for Law and Government...okay if I
come in?
Before she can answer, he's already in.
INT. LIVING ROOM - DAY
Michael looks around, she looks at him, then closes the
front door.
MICHAEL
Hey, this is a nice pad you've got
here. Tasteful but with just the
right amount of pretentiousness.
MARGO
I feel better knowing you like it.
Now what can I do for you?
MICHAEL
Mrs. Sheridan...is it okay if I call
you Margo?
MARGO
For the short time you're going to
be here, why not?
MICHAEL
I believe you own a Silver Phantom,
1932 model.
INT. DEN - DAY
Halston listens at the closed door. Peter is nervous, but
Jackson holds his gun, and is ready to use it if he has to.
MARGO'S VOICE
That's right...or at least I did.
MICHAEL'S VOICE
Did?
INT. LIVING ROOM - DAY
MARGO
Yes, it was stolen from my garage
sometime last night.
MICHAEL
Did you report it to the police?
MARGO
(smiles)
No...I'm afraid I didn't.
MICHAEL
What's one Silver Phantom more or
less.
MARGO
Tell you the truth, it wasn't even
mine. It belonged to my ex. I just
hated to part with it, you know how
attached you become to those things.
So I just figured he paid someone
to come take it.
MICHAEL
Margo, I just talked to your ex --
he didn't.
MARGO
No.
MICHAEL
(throws up
his hands)
What can I say?
MARGO
Well, feel free to look in the
garage if you want.
But Michael's interest has turned to the den door.
MICHAEL
No, thanks...I'd prefer looking in
there.
INT. DEN - DAY
MARGO'S VOICE
In the den -- for my Silver Phantom?
Jackson sends a bullet sliding into the chamber.
MICHAEL'S VOICE
Or whoever's in there smoking a cigar.
Peter would gladly swallow it now.
INT. LIVING ROOM - DAY
Michael's already walking toward the den door, she hurries
after him:
MARGO
Mr. Knight...!
MICHAEL
Hey, come on, call me Michael.
He opens the door and enters with Margo.
INT. DEN - DAY
Michael looks around.
ANGLE TO INCLUDE HALSTON
standing looking out the French windows. He turns, the
smoking cigar in his hand. Except for Halston, there's no
one else in the room, and the maps etc. are gone. Michael
recognizes him:
MICHAEL
Doctor Halston...
(smiles)
I guess this is what's known as
private lessons.
But Halston doesn't seem to remember him:
HALSTON
I'm sorry....
MICHAEL
Michael Knight, a friend of Bonnie
Barstow's.
HALSTON
(brightens)
Oh, yes, you were with her the other
day.
MICHAEL
You don't know how much Bonnie
admires you. Says one day you'll
probably win a Nobel prize.
Halston forces a laugh.
HALSTON
I'll have to remember that come
grading time.
MICHAEL
Wait till I tell her I ran into you
here.
Halston and Margo exchange nervous glances as Michael
begins to casually look about. Then:
HALSTON
Mr. Knight, what's this all about?
Michael's at a door leading into a closet.
MICHAEL
It's about Margo's Silver Phantom....
He casually tries the door to find it locked, continues:
MICHAEL
Picking up a man named Peter Wong at
Twin Peaks earlier today.
INT. CLOSET - DAY
Peter is tense. Jackson is pressed against the door, gun
held high and ready.
INT. DEN - DAY
MARGO
I told you it was stolen. Maybe
this Peter Wong had something to do
with it.
Michael turns from the closet, smiles:
MICHAEL
That's possible.
MARGO
Now, if you don't mind....
MICHAEL
I know, time to hit the old books
again. Thanks for the help, Margo...
(to Halston)
And I'll give Bonnie your regards,
Doctor Halston.
HALSTON
Yes...you do that.
She starts to escort Michael to the door:
MICHAEL
Don't bother, I can find my way out.
MARGO
No bother, Mr. Knight...just making
sure you do.
She smiles and leads him into the living room, closing the
door after him. As Halston looks after him thoughtfully:
ANGLE TO INCLUDE CLOSET DOOR
opening. Jackson and Peter come out.
JACKSON
I should've wasted him while I had
the chance.
Halston looks at him.
HALSTON
Relax, C.J., I have a feeling you
might get another one.
SNAP CUT TO
INT. SEMI - DAY
K.I.T.T. is in the b.g., hood up, doors open, wires
hanging out. Bonnie is anxious to get back to work on him:
BONNIE
Michael, what more can I possibly
tell you about Doctor Halston?
MICHAEL
What's his connection with Margo?
BONNIE
You said she was beautiful, didn't
you? What more do you have to know?
MICHAEL
You're beautiful, and I don't see
him hanging around you.
BONNIE
Really, Michael...sometimes you're
strange.
He studies her a beat.
MICHAEL
Did he ever ask you out?
BONNIE
David?
MICHAEL
David?
BONNIE
(slightly
exasperated)
Oh, Michael.
She goes back to work.
MICHAEL
Well?
BONNIE
Well, it's none of your business.
But if you're really dying of
interest, I said no. It was hard,
but I told him I didn't mix pleasure
with advance theory Digital Equation.
MICHAEL
I sure hope not.
BONNIE
Actually, it wasn't really a date,
but an invitation to go sailing on
his yacht.
MICHAEL
His yacht?! He has a yacht and I
can't even rent a sailboat for a
couple of hours?
(beat)
This yacht? Where does he dock it?
She thinks:
BONNIE
The Golden Gate Marina.
MICHAEL
Thanks, Bonnie. And...
(re K.I.T.T.)
Try to take good care of him.
BONNIE
Michael...get out of here.
He grins and leaves. She shakes her head, but then smiles
to herself and goes back to work.
EXT. GOLDEN FOX CLUB - DAY
This is a downtown club, that also features entertainment.
In this case, as we read by the sign in front, CHERI! THE
GOLDEN FOX! There's also a large poster of Cheri doing her
thing.
INT. GOLDEN FOX CLUB - DAY - ON CHERI
as she does her version of the flashdance-strip. Sexy, but
all in good taste, of course. She's dynamite, turning the
small stage into great expectations. She's also just
rehearsing for that evening's performance, so she uses only
a record. The dinner room itself is almost dark, and we
can see chairs stacked upside down on the tables. After
several hot beats:
CAMERA PULLS BACK
and we see Halston and Bubba, a huge giant of a man who
both manages the club and keeps the peace, standing in a
back storage area that gives them a good view of Cheri, the
Golden Fox. And right now they're taking advantage of it,
until:
BUBBA
She's working her way through
college.
HALSTON
Let's hope she's going for a PhD.
(one last look,
then turns to
him)
Well...have you thought about it?
Bubba also turns away, thinks for a brief minute:
BUBBA
Where'd you want to put that hole
again?
Halston moves to a dark corner in which there is a sturdy
cabinet on wheels, stocked with plates, glasses, etc.
HALSTON
Right under this cabinet here. No
one'll ever know it's there.
BUBBA
(debates with
himself)
I don't know. If the boss finds
out....
HALSTON
How's he going to find out? You
said yourself he wouldn't be back
from his vacation for a couple of
weeks yet.
BUBBA
He won't. It's just....
HALSTON
(interrupting)
Bubba, I'm talking fifty grand.
Enough to put Golden Fox out there
through medical school.
BUBBA
(fishing)
I'd...be taking a big risk.
HALSTON
Fifty, Bubba, you can kick the tires
all you want, but that's all I'm
willing to pay.
Beat:
BUBBA
All right. But I don't want to know
what you're up to. As far as I'm
concerned you work for the department
of sewers.
HALSTON
Of course, Bubba...why else would I
want to go down there.
Halston smiles, and heads for the front door.
INT. CLUB AREA - DAY
as Halston passes the still dancing Cheri:
HALSTON
You'll be a great asset to the
medical profession.
Without losing a beat:
CHERI
Come again?
He just continues out. She shrugs and returns to her art.
EXT. GOLDEN GATE MARINA - FULL ANGLE - DAY - ON MICHAEL
as he moves toward Halston's forty-five footer, reaches the
dockside ladder and climbs aboard.
CLOSER MICHAEL
on deck. He looks about, then moves to the open cabin,
looks down into it, calls:
MICHAEL
Anyone aboard?
KELLY
That depends who anyone is.
He turns.
WHAT HE SEES
Kelly, who has come from the forward deck where she was
sunbathing in a hot suit.
MICHAEL
You'll more than do...but I was
hoping to find Doctor Halston.
KELLY
Tell you the truth, so was I. He
said we might go for a sail today,
but he must've got hung up in the
lab.
MICHAEL
That's David...all work and no play.
KELLY
I keep telling him if he doesn't
slow up he's going to burn himself
out...
(little
smile)
But that'll all change once we're
married.
MICHAEL
Married?
KELLY
Of course, he doesn't know about it
yet. You won't tell him...?
MICHAEL
(perish the
thought; shrug)
And spoil the surprise...?
KELLY
But I believe if you really want
something in life, you have to go
out and get it. 'Question not, but
live and labour till your goal be
won.' Adam Lindsay Gordon, 1833 to
1870.
MICHAEL
Don't tell me, you're one of David's
students!
KELLY
How'd you know?
MICHAEL
Just a wild guess.
KELLY
Well, I hate to disappoint you but
you're wrong. Actually, I'm a Lit
major. David and I just sort of
bumped into each other on campus,
and...well...for me it was love at
first sight. By the way, I'm Kelly
Wilson.
MICHAEL
Michael Knight.
KELLY
Are you one of David's associates?
MICHAEL
Not quite.
(slight beat)
Do you know many of his associates?
KELLY
No, but I did see a couple of them
the other afternoon when I met David
for lunch.
MICHAEL
Do you know their names?
KELLY
Nope, but I remember one was Oriental.
MICHAEL
Was the other black?
KELLY
Yes.
MICHAEL
Kelly, where'd you see them?
KELLY
Downtown somewhere. Hey, who are
you anyway, why all the questions?
MICHAEL
I'm just someone who wants to be
your friend.
KELLY
Well, I'm not sure I want you to be
my friend. Look, I'm wasting sun.
If you want I'll tell David you came
by to see him.
MICHAEL
Yeah, why don't you do that. You
can also tell him I'll probably be
by again...and again...and again.
(smiles)
Thanks, Kelly.
He leaves the boat. Kelly watches him, confused and a bit
troubled.
ANGLE ON DOCK
as Michael moves to his car:
CAMERA PULLS BACK, REVERSE ANGLE
to see Halston and Jackson seated behind the wheel of
Halston's car, which is expensive and a bit sporty. They
watch Michael.
ANGLE TO INCLUDE MICHAEL
as he starts to get into K.I.T.T. under their hard looks we:
FADE OUT
END OF ACT FIVE
ACT SIX
FADE IN
EXT. ROAD - DAY
The Foundation semi passes in light traffic, heading toward
the city.
INT. SEMI - DAY
Bonnie puts the finishing touches on K.I.T.T.'s new dash
while Michael and Devon talk in the front compartment.
MICHAEL
Devon, I'm telling you it's him ---
BONNIE
Doctor Halston is one of the most re-
spected men in the field of computer
technology today.
MICHAEL
Does that make him automatically
innocent?
(to Devon)
Devon, his girl friend described the
men Halston was with. One matched
C.J. Jackson and the other one,
Peter Wong.
DEVON
A good question, Michael. Do you
have a plan?
MICHAEL
Yeah. As soon as Kitt's ready, I'm
going into the lion's den.
BONNIE
(climbing out
of K.I.T.T.)
He's all yours.
ANOTHER ANGLE
Michael crosses to K.I.T.T., peers inside.
ANGLE TO INCLUDE NEW CONTROL PANEL
It's new, redesigned, bristles with added functions.
K.I.T.T.
Hello, Michael.
MICHAEL
Hey, pal. Looks like you got a
face-lift.
BONNIE
Show him, Kitt.
K.I.T.T. auto-activates, the control panel, a fairyland of
LED displays and functions.
MICHAEL
I'm impressed.
K.I.T.T.
Thank you.
MICHAEL
Bonnie, you are something else.
BONNIE
Just a few things I whipped up
between classes.
(smiles)
But don't get the wrong idea, I'm
still catching that plane to Boston
Thursday.
As Michael slides in:
MICHAEL
Didn't happen to whip up a manual
while you were at it?
BONNIE
Don't worry, I've programmed every
change into Kitt. He can teach you
function by function.
MICHAEL
I can't wait.
He fires K.I.T.T. up.
MICHAEL
Bonnie? Thanks.
DEVON
Stay in touch, Michael.
EXT. ROAD - DAY
As the semi rolls past, the tailgate lowers and K.I.T.T.
rolls out, hits the pavement and accelerates.
CUT TO
EXT. STREET TO MANSION - DAY
K.I.T.T. appears.
K.I.T.T.'S VOICE
...with dual capacitors and a forty
percent increase in output....
ANGLE IN K.I.T.T.
Driving, Michael's attention is elsewhere as he approaches
the mansion.
K.I.T.T.
Directly below is my new and improved
sonar tracking module. I'm really
quite pleased with it, Michael. It
boasts a new semiconductor which, if
I may say so, is competitive with
state-of-the-art...Michael, are you
listening to me?
MICHAEL
No.
K.I.T.T.
Perhaps something more visual is in
order. Press the Vertical Dynamics
button, Michael.
MICHAEL
(protesting)
Kitt....
K.I.T.T.
For me.
Michael presses it.
WIDER ANGLE
K.I.T.T.'s front wheels lift high off the pavement and he
accelerates, his chassis at a forty-five degree angle.
ANGLE IN K.I.T.T.
Michael reacts, impressed.
MICHAEL
Dynamic's the word, Kitt.
K.I.T.T.
Let's see a cable car do that.
Michael laughs.
INT. MANSION - DAY
Margo, in a bikini, crosses from the pool area to answer
the door.
ANGLE AT DOOR
She reaches it, peers through the peep hole. She opens the
door, smiles.
MARGO
Well, if it's not the man from the
department of missing cars.
MICHAEL
Hope I'm not disturbing you.
MARGO
Nothing disturbs me. What can I do
for you?
MICHAEL
Invite me in, offer me a cold beer
and listen to my proposition.
CUT TO
EXT. POOL AREA - DAY
Margo reclines on a chaise lounge, beautiful, composed, her
expression as neutral as a poker player. Michael sips a
cold beer as he talks.
MICHAEL
...So that's pretty much it. I'm
tired of the Foundation, tired of
long hours and low pay. I will say
one thing for the job though -- it's
opened my eyes to the finer things
in life. The things only money can
buy....
MARGO
Ah. I'm beginning to sense this is
more than just a rehearsal for your
resignation speech.
She crosses to a portable bar, fixes herself another
drink. Michael tries to evaluate her reaction.
MARGO
Another beer?
MICHAEL
No thanks.
MARGO
Go on.
MICHAEL
I don't know what you and Halston
are planning, but I know it's big.
I know you recruited Jackson and
Peter Wong.
She studies him briefly, crosses back to the lounge.
MARGO
I don't know what you're talking
about.
MICHAEL
I don't expect you to admit anything.
That's not why I'm here.
MARGO
Then suppose you tell me why you are
here. Just for fun.
MICHAEL
I want in. I want a piece of the
pie.
MARGO
Supposing there is a 'pie' in the
first place, what entitles you to a
piece? Past good deeds?
MICHAEL
I can sabotage my own investigation.
I can guarantee your success.
MARGO
Your 'investigation' is all supposi-
tion.
MICHAEL
Not all. I'm closer than you
think. As a matter of fact, I'm
right on your tail.
She studies him for a long moment. He hands her his card.
MICHAEL
Think about it. Talk to Halston. You
can reach me here.
He smiles, turns and leaves. She watches him, thoughtful.
CUT TO
EXT. GOLDEN FOX CLUB - DAY
It gives no hint of activities below. Halston's car
appears, pulls into the parking area behind the club.
Halston crosses to the rear door with a hand-carry cooler.
INT. TUNNEL - DAY - OPEN CLOSE ON THE HIGH-POWERED DRILL
as it chews a hole through the earth.
WIDER ANGLE
Jackson, wearing goggles and an air-screen mask, works the
machine, sweat pouring from his body.
ANOTHER ANGLE
Peter Wong shovels the dirt from the tunnel back into the
existing passage dug decades ago by his ancestors. It's
hot, gruelling work, and he approaches it without enthusiasm.
Jackson turns off the machine, glares at Peter.
JACKSON
I can't dig with all this dirt here.
PETER
I'm shovelling as fast as I can.
JACKSON
The way you shovel, I don't see how
your people ever got these tunnels
dug.
Peter throws down his shovel.
PETER
No more racial slurs! One more
racial slur and you can shovel your
own dirt!
Jackson glares at him. Peter picks up the shovel.
HALSTON'S VOICE
Break time.
ANOTHER ANGLE
Halston, looking dapper and well-rested, pops open the
chest, tosses them each a beer.
JACKSON
Well look who dropped by, Doctor
Feelgood.
HALSTON
How's it coming?
JACKSON
It's coming.
They consult the map.
JACKSON
We're about right here -- I'd say
about fifteen more feet.
Interrupted by the sound of a phone ringing. It's a
bizarre effect down here. The men look at one another.
HALSTON
It's got to be Margo.
He steps to a nearby equipment cart, picks up a modified
remote phone. It's eerie.
HALSTON
(phone)
Hello.
INTERCUT - MARGO AT MANSION
She's in the living room on the phone.
MARGO
(phone)
Where have you been? I've been
calling all over for you. That
Michael Knight came by about half an
hour ago. You won't believe what he
said.
HALSTON
Not on the phone. Meet me in front
of The Sea Turtle in fifteen
minutes -- and Margo, be careful.
Make sure you're not followed.
CUT TO
EXT. FISHERMAN'S WHARF - DAY
Halston and Margo stroll with the tourists, blending in.
HALSTON
What else?
MARGO
Isn't that enough?
HALSTON
Reconstruct the conversation in your
mind. I need specifics.
MARGO
My mind doesn't work that way --
David, he knows too much!
HALSTON
Too much for his own good. But
fortunately, not enough to hurt us.
Not yet.
(beat)
All right, here's what I want you to
do. Call him. Invite him over.
Negotiate. Make him think we're
going for it. By the time he
realizes he's been lead down the
garden path, we'll be finished.
(then)
You're sure you weren't followed?
MARGO
For the third time, no. David, he
knows who you are.
HALSTON
Margo, I'm way ahead of you. From
now on Doctor David Halston has
dropped out of sight.
Camera moves off them and up to a distant. Zoom in to
reveal Michael and K.I.T.T.
ANGLE IN K.I.T.T.
Michael watches them on K.I.T.T.'s monitor.
MICHAEL
(half to
himself)
I'd give anything to know what
they're saying.
K.I.T.T.
Are you disappointed in my new and
improved Directional Audibilizer?
MICHAEL
No. Just a little wishful thinking,
pal.
K.I.T.T.
Perhaps you'd like to use this time
to acquaint yourself with my new
Ultrasonic Destabilizer.
MICHAEL
Not now, Kitt.
He fires K.I.T.T. up, pulls out.
CUT TO
EXT. MANSION - STREET - NIGHT
K.I.T.T. is parked fifty yards away.
MARGO'S VOICE
I see you got my message.
ANGLE IN K.I.T.T.
His control panel is alive and functioning. On the monitor
we see Michael entering the mansion.
MICHAEL
I see you dressed for the occasion.
INT. MANSION - NIGHT
Michael follows her in. She is indeed dressed for the
occasion; a sheer gown with ample glimpses of her assets.
She smiles.
MARGO
I chose it with you in mind. Do you
like it?
MICHAEL
I'd say it does just what a beautiful
gown should do for a beautiful woman.
She laughs, charmed, leads him to the big sofa.
MARGO
You talk as good as you look.
That's a potent combination. Keep
it up and I may never let you leave.
She pours two drinks, hands him one, sitting close to him,
intimate. She clinks glasses with him.
MARGO
Propose a toast.
MICHAEL
To 'a piece of the pie.'
She smiles a bit stiffly, drinks. He takes one sip and
puts his down.
MARGO
Is that your way of saying let's get
down to business?
MICHAEL
It's my way of saying business
before pleasure.
MARGO
But not business to the exclusion of
pleasure?
MICHAEL
Never.
MARGO
(smiles)
Good. I'd hate to think our relation-
ship would end with negotiations.
MICHAEL
You talked it over with Halston.
MARGO
Yes.
MICHAEL
What's the decision?
MARGO
You don't believe in wasting time,
do you?
MICHAEL
I have a feeling there's not much to
waste.
She takes a sip of her drink, refusing to be pushed too
fast.
MARGO
We're...interested.
MICHAEL
Not good enough.
MARGO
All right, we're very interested.
MICHAEL
I need a decision tonight.
The phone rings. She looks grateful for the interruption.
MARGO
Excuse me.
She crosses to the phone at the far end of the room.
MICHAEL
(comlink)
Get this call, Kitt.
ANGLE IN K.I.T.T.
We see her answer it on the monitor. K.I.T.T.'s tape
recorder activates.
MARGO'S VOICE
Hello.
HALSTON'S VOICE
Is he there?
MARGO'S VOICE
Yes.
HALSTON'S VOICE
Good. Keep him there as long as you
can. I gave Kelly a little present
for her father this afternoon. It's
set to activate in fifteen minutes.
BACK TO MICHAEL
The comlink beeps twice.
MICHAEL
(comlink)
Yeah, Kitt.
K.I.T.T.'S VOICE
It's Halston. Unless I'm mistaken,
he's given one of those awful radios
to Kelly's father.
ANGLE ON MARGO
still on the phone, her back to Michael.
MARGO
(phone)
I will...yes...Thanks so much for
calling.
She hangs up, turns, smiling.
MARGO
Well now, where were we?
She reacts.
HER POINT OF VIEW - MICHAEL
is gone.
EXT. MANSION - STREET - NIGHT
Michael comes running out as K.I.T.T. races up, door flying
open. Michael jumps in and hits the accelerator.
MICHAEL'S VOICE
Access everything you've got on Kelly
Young.
K.I.T.T.'S VOICE
Would you care to be more specific?
MICHAEL'S VOICE
I need her address, pal. Fast.
CUT TO
INT. ARTHUR WILSON'S STUDY - NIGHT
He's a hard-working middle-aged executive. At the moment he's
hunched over his desk, catching up on last-minute reports,
soothed by strains of Montavani coming from a familiar
ghetto blaster playing on the shelf behind him.
KELLY'S VOICE
Don't work too late.
ANOTHER ANGLE
Kelly, dressed for bed, crosses to him, gives him a kiss on
the cheek.
ARTHUR
It seems that's all I do these days.
KELLY
If you can get away this weekend we
could go up to the cabin.
ARTHUR
I'll see. I'll try, honey, I promise.
Sleep tight.
KELLY
Good night.
She leaves, quietly closing the door behind her.
ANGLE ON RADIO
It activates, speakers turning into legs, arms unfolding
from the cassette. Within seconds it is fully transformed.
As it begins its methodical little walk toward Arthur:
FREEZE FRAME
FADE OUT
END OF ACT SIX
ACT SEVEN
FADE IN
INT. ARTHUR'S STUDY - NIGHT
Continue action; Arthur behind his desk, the robot approaching
him from behind.
ANGLE ON ROBOT
It raises its right arm, points toward Arthur and releases
the gas.
WIDER ANGLE
At this moment Arthur pauses, stretching. He inhales, moves
to rise from the desk, wavers, grabs onto the desk for support
and crashes to the floor.
INT. KELLY'S BEDROOM - NIGHT
Ready for bed, Kelly reacts to the muffled sound, pauses.
KELLY
Dad?
Silence. She debates investigating, decides it's nothing,
climbs into bed and turns out the light.
EXT. STREET - NIGHT
A car glides to a stop near the house. Lights off. The
door opens and the driver steps out, cautious, surveys the
neighborhood. It's Jackson. He checks his watch, moves
quickly toward the darkened house.
INT. STUDY - NIGHT
The robot walks stiffly to the alarm control panel, raises
its arm and disarms the system.
INT. HOUSE - NIGHT
Waiting, Jackson sees the red indicator light go off. He
slides a flat metal bar the size of a knife into the door
jam, works it softly.
INT. FRONT OF HOUSE - NIGHT
The front door swings open and Jackson enters, cat-like.
ANGLE IN STUDY
Jackson enters just as the robot is self-destructing. He
crosses to Arthur, unconscious on the floor, rifles his
pockets for keys. Finds them. He then crosses to a locked
file cabinet, tries keys until he finds the right one.
CUT TO
EXT. CITY STREETS - NIGHT
K.I.T.T. flashes by, speeds past the light traffic.
CUT TO
INT. STUDY - NIGHT
Jackson scans the files, finds what he's looking for,
spreads a sheaf of schematics on the floor. He takes a
Minox camera from a pocket and begins photographing each
page.
INTERCUT - KELLY
In bed but not asleep, something on her mind. She makes a
decision, gets up, puts on a bathrobe.
ANGLE IN STUDY
Jackson finishes his work, returns the file to the cabinet
when:
KELLY'S VOICE
We're going to do it. I don't care
if you're busy or not, we're going
to the cabin this weekend.
Jackson freezes.
KELLY'S VOICE
Pick a day, any day -- as long as
it's Saturday or Sunday.
Jackson slips over beside the door, ready if she enters.
KELLY'S VOICE
Dad?
Silence. Speckles of moisture pop up on Jackson's forehead.
KELLY'S VOICE
Dad, are you all right?
Silence. She opens the door, sees her father on the floor.
KELLY
Oh my God!
She rushes in. Jackson, half-hidden by the door, tries to
slip out unnoticed, but she sees the movement, turns and
screams.
EXT. HOUSE - NIGHT
K.I.T.T. slides to a stop in front, Michael leaping out.
He hears her scream.
MICHAEL
Kitt, cover the back!
K.I.T.T.
Right away, Michael.
Michael runs toward the front door. K.I.T.T. switches to
auto, peels away.
ANGLE IN STUDY
Jackson is binding Kelly's hands behind her back with lamp
cord, his free hand clasped over her mouth, when he hears
Michael burst in through the front door.
MICHAEL'S VOICE
Kelly?!
ANGLE IN LIVING ROOM
Michael pauses in the dark room, trying to orient himself.
MICHAEL
Kelly, where are you!
No answer. He sees light from the study wing of the house,
runs toward it.
ANGLE IN STUDY
Tight angle as Michael bursts in.
WIDER ANGLE
Jackson is off to the side of the door as before, his hand
over Kelly's mouth. As Michael comes in he releases Kelly
and in one movement pinions Michael's head in a choke hold,
enforced by his huge forearms.
DIFFERENT CLOSE ANGLES - THE STRUGGLE
Jackson's intention is clear; suffocate Michael to uncon-
sciousness and bring him to his knees. Michael, immobilized,
struggles in vain to free himself. His face reddens, his
eyes bulge under the lethal hold. Jackson's face reflects
the total committment to defeating him. Michael, feeling
consciousness slip away, jams his heel into Jackson's arch.
Jackson's concentration falters for just an instant, and
Michael slams his elbow into the big man's solar plexis.
Jackson's hold breaks.
ANOTHER ANGLE
Michael hits him with a solid right but Jackson doesn't
even blink. He hits Michael with a powerful one-two.
Michael staggers back. Jackson springs on him, bodily
lifts him off the floor and hurls him against the wall.
ANGLE ON MICHAEL
He hits the wall, stunned. He fights off the impact, ready
for the next assault.
WIDER ANGLE
Jackson's gone. Kelly, on the floor, is sobbing hysterically.
MICHAEL
(comlink)
Kitt, he's getting away! Cover the
back!
He bolts out.
INTERCUT - K.I.T.T.
All systems alive.
K.I.T.T.
It's covered, Michael.
ANGLE IN LIVING ROOM
Michael races out, prepared for anything. Silence. No sign
of Jackson. Michael runs to the front door.
EXT. HOUSE - NIGHT
Michael runs out, eyes sweeping the area. Nothing. He pauses,
breathless.
MICHAEL
(comlink)
Kitt, have you picked him up?
INTERCUT - K.I.T.T.
K.I.T.T.
Negative, Michael. He didn't come
this way.
BACK TO MICHAEL
He searches the dark street for any sign; there is none.
In the distance a dog barks. Michael slowly shakes his head,
starts back toward the house.
CUT TO
EXT. SEMI - NIGHT
in motion.
MICHAEL'S VOICE
Kelly's father designs safes --
safes and security systems!
INT. SEMI - NIGHT
Michael and Devon are absorbing the latest turn of events.
Devon's coat is off. His tie askew. Michael's neck is
swollen and bruised, his lip cut. The atmosphere is
charged.
DEVON
The circle tightens. If we can
determine which project file Jackson
took, we'll have their target.
MICHAEL
(frustrated)
He didn't take a file.
DEVON
Michael, you just said he did!
MICHAEL
Not physically -- I went over every-
thing with Arthur Wilson. Nothing's
missing.
(beat)
I think Jackson photographed what he
wanted.
Devon crosses away, frustrated.
DEVON
Then we're no closer than we were
before.
He turns. Michael can see the bitter disappointment in his
face.
MICHAEL
Maybe not...maybe so.
DEVON
I'm in no mood for riddles.
MICHAEL
We know Halston used his relationship
with Kelly, and now we know what for.
But that can be a two-way street.
DEVON
Meaning?
MICHAEL
She's spent time with him. She
knows him in ways no one else does.
Chances are she knows things he's
not even aware of.
Devon doesn't look encouraged.
DEVON
If you'll forgive me, Michael, that
hardly qualifies as a lead. Let's
face it, Halston's brilliant. He's
outsmarted us at every turn. He's
moving ahead as planned and we're
grasping at straws.
The two men regard each other for a moment.
MICHAEL
We're not through yet, Devon. Don't
count us out.
DEVON
(not mollified)
No. Of course not.
(beat)
If you'll excuse me, I think I'll
try and catch a few hours sleep.
Michael nods, watches Devon cross into the front compartment.
Hold on Michael, pained to see the toll taken on his friend.
CUT TO
EXT. GOLDEN FOX - DAY
Late morning, not open for business. Still, loud rock
music pounds inside.
INT. GOLDEN FOX - DAY
A beautiful, long-legged Girl in heels, shorts and tank top
is auditioning for Bubba. He sits at a nearby table
nursing a beer, bored.
BUBBA
More flash, more flash!
GIRL
(pleased)
'More cash?'
BUBBA
Turn down the music, you might
be able to hear me!
GIRL
What?
He waves her off, disgusted. She shrugs, continues dancing.
INT. TUNNEL - DAY
Jackson works the earth-cutting drill, sweating. Behind him
Peter Wong slugs away at shovelling out the dirt. Jackson
stops, wipes his brow, tired and hot. Peter seizes the
opportunity, stops shovelling.
PETER
Talk about manual labor...how'd you
like to do this for a living?
JACKSON
I'm doin' it.
PETER
Yeah, but it's only temporary.
How'd you like to spend the rest of
your life this way?
JACKSON
I'd kill somebody.
PETER
Yeah, well...I guess that's what
prison does to a man. How'd you
release tension in there? Sports?
JACKSON
I killed somebody.
CUT TO
EXT. PALACE OF FINE ARTS - DAY
Michael walks with Kelly, who's terribly upset. Parked
nearby we see K.I.T.T. and also a private security guard
leaning against his car and keeping an eye out on the girl.
KELLY
I don't know what you think David
is up to, but whatever it is you're
wrong. He had nothing to do with
what happened last night.
MICHAEL
I not only think he had something
to do with it, Kelly, I think he
planned it.
KELLY
David's a distinguished mathematician
not a thief!
MICHAEL
Then what's he doing running around
with someone like Jackson?
KELLY
Who says he is?
MICHAEL
You told me yourself -- on the boat
yesterday you said you saw two of
David's associates, remember? One
of them was Jackson, wasn't it?
The same man who attacked you last
night.
KELLY
(fighting
tears)
No, it wasn't.
He gently takes her shoulders:
MICHAEL
Kelly, you could've been killed.
Why are you protecting him?
KELLY
I'm not protecting him.
MICHAEL
Then what do you call this?
(beat)
Kelly, he doesn't deserve it.
KELLY
(beat)
He said he loved me.
MICHAEL
He was lying...he was just using you
to get those plans.
KELLY
No....
MICHAEL
Kelly, you know I'm telling the
truth. What reason would I have not
to?
Beat, then she breaks:
KELLY
Oh, Michael...I've been so stupid.
MICHAEL
(comforting her)
No...just very young and very human.
(beat)
Kelly, I need help. You're the only
person I can turn to. You know him,
his life-style, his patterns. To
pull off whatever he's planning, he
would've had to break those patterns.
Think. What's happened that's dif-
ferent? Unusual in any way? There's
got to be something.
KELLY
(thinks)
There was...one thing....
MICHAEL
What, tell me.
KELLY
Well...we were on our way to the boat
the other day...and he stopped at
this club downtown. It was out of our
way, that's what I couldn't understand.
MICHAEL
What did you do there?
KELLY
I didn't do anything, I waited for
him in the car. He went in...stayed
about a half hour, then came out.
MICHAEL
(urgent)
What's the club called?
KELLY
The Golden Fox.
EXT. GOLDEN FOX - NIGHT - TO ESTABLISH
Loud rock music on a crowded night.
INT. TUNNEL - NIGHT
Jackson is still doing the major work, while Peter stops to
take a breather.
PETER
My great grandfather spent half his
life in tunnels, and I end up doing
the same thing. Only in America.
JACKSON
Only there wasn't a hundred million
dollars waiting for him at the other
end.
PETER
You have a point, Jackson. You have
a point.
Peter observes him working a beat, and since Jackson
doesn't see him, decides to head back toward the club for a
little R and R. As he sneaks away he hears the music from
above, and becomes more animated, almost dancing.
ANGLE ON LADDER
as Peter starts up into the rear of the club.
INT./EXT. K.I.T.T. - NIGHT
pulling up in front of the Golden Fox Club. Michael looks
at Cheri's poster outside:
K.I.T.T.
Michael, why doesn't our work ever
take us to places like the ballet?
MICHAEL
We'll have to talk to Devon about
that, Kitt...but for now...I'll just
have to hang tough a little longer.
He gets out, hurries into the club.
INT. GOLDEN FOX CLUB - NIGHT - ON CHERI
still doing what she does best, only with a different
costume.
ANGLE ON MICHAEL
as he enters, takes a look or two at Cheri and is then met
by Bubba.
BUBBA
Table or bar?
MICHAEL
That depends. I'm supposed to meet
a friend of mine here, David Halston.
Michael catches the slightest twitch in Bubba's eye.
BUBBA
Never heard of him.
MICHAEL
Sure you have. He comes in here all
the time.
(begins to move
toward the rear)
About my height, curly hair, always
with a pretty lady.
But Bubba puts his beefy hand on Michael's shoulder preventing
him from going any farther.
BUBBA
I told you, I don't know him.
MICHAEL
Then maybe you know his two pals.
C.J. Jackson and Peter Wong.
BUBBA
Look, the bar's over there. You wanna
drink or not?
Michael reacts to what he sees.
MICHAEL'S POINT OF VIEW - PETER
Standing near the entrance to the backroom and watching
Cheri. As if feeling Michael's eyes, he looks over.
Reacts.
BACK TO SCENE
MICHAEL
Yeah...order me a beer, pal.
He shoves Bubba out of the way and takes off after Peter.
ANGLE TO INCLUDE PETER
disappearing, very quickly, into the back room.
ON MICHAEL
talking to comlink as he runs:
MICHAEL
Kitt, Peter Fong's heading for the
rear door!
INT./EXT. K.I.T.T. - NIGHT
starting up, pedals depressing, flashing, and peeling off.
INT. BACK ROOM - NIGHT
Michael bursts in. Looks about to find the room empty, the
cabinet over the hole, the rear door slightly open, so he
races for the alley.
EXT. ALLEY - NIGHT
Michael jumps out, looks about. K.I.T.T. is seen roaring
up at full throttle.
INT. TUNNEL - NIGHT - ON PETER
Breathless, just below the floor. He listens.
EXT. ALLEY - NIGHT
Michael runs back to K.I.T.T., looking in the dark accesses
of the alley.
MICHAEL
Anything, Kitt?
K.I.T.T.
Negative, Michael. If he's anywhere
around here he's beyond the range of
my scanner.
Michael searches the night. Frustration, anger.
MICHAEL
So close, buddy. I was so close!
As we ---
FADE OUT
END OF ACT SEVEN
ACT EIGHT
FADE IN
EXT. ROAD - NIGHT
K.I.T.T. rolls up the ramp into the semi.
INT. SEMI - NIGHT
Michael pulls K.I.T.T. to a stop, jumps out. Devon and
Bonnie cross to join him.
MICHAEL
(to Bonnie)
I thought you had a plane to catch.
BONNIE
I changed it to tomorrow. I couldn't
leave now.
MICHAEL
(to Devon)
Anything on Peter Wong?
DEVON
We accessed everything we could, from
county records to DMV. If there's a
clue in there, it's beyond me.
ANGLE AT COMPUTER
Devon punches in the program. Data appears.
MICHAEL
He's the key, Devon. The missing
link. If we can solve the riddle of
Peter Wong, this crazy jigsaw puzzle
will fall into place.
Michael scans the data, accesses more.
CUT TO
INT. VAULT - NIGHT
The drill completes a basketball-size circle. The steel
core is lowered and Peter Wong's head appears, struggling
up through the opening.
CUT TO
INT. SEMI - NIGHT
Michael is a ball of concentration over the computer.
Bonnie works on K.I.T.T. Devon paces, glances at his watch.
DEVON
It's almost dawn.
No one responds.
CUT TO
INT. VAULT - NIGHT
Peter Wong shines a flashlight.
HIS POINT OF VIEW - THE LIGHT
illuminates a wall-sized stack of currency.
ANGLE ON PETER
He stares, transfixed.
HALSTON'S VOICE
Hurry up!
He begins grabbing the bundles, passing them down the hole.
CUT TO
INT. SEMI - NIGHT
Studying more data, Michael pauses, thinking.
MICHAEL
Bonnie, access Kitt's Chinese-English
conversion.
DEVON
Do you have something?
MICHAEL
I don't know. Peter Wong's great
grandfather's immigration papers are
laced with Chinese word symbols.
The same one keeps appearing.
BONNIE
Ready.
Michael presses transmit.
ANGLE ON K.I.T.T.
The word symbol appears on the monitor, is instantly
replaced by the word "Mapmaker".
WIDER ANGLE
BONNIE
It means 'mapmaker.'
MICHAEL
(disappointed)
'Mapmaker.'
DEVON
Michael, I fail to see where this is
leading.
MICHAEL
Wait a minute -- the Chinese immi-
grants who first came to San Francisco
honeycombed the city with tunnels!
They created a whole underground to
smuggle in illegal immigrants!
DEVON
(realizes)
'Mapmaker.' Peter Wong's one legacy ---
MICHAEL
Not worth much in the work-a-day
world -- but then Doctor David
Halston came along.
BONNIE
What are you two talking about?
Michael crosses to K.I.T.T., slides in next to Bonnie,
punches buttons.
MICHAEL
Kitt, access everything you've got
on the Chinese tunnels underneath
the city.
INTERCUT - MONITOR
A complicated maze of tunnels appears.
MICHAEL
Now pinpoint the location of major
safes.
K.I.T.T.
How major is 'major'?
MICHAEL
Anything designed to safe keep over
a million dollars.
A dozen pulsating red dots overlay the tunnels. Michael
studies them.
MICHAEL
Bring the lower quadrant into
closeup.
The lower quadrant replaces the larger map. Michael fixes
on a particular dot closest to a tunnel.
MICHAEL
The dot center -- screen left --
what is it?
K.I.T.T.
The U.S. Federal Reserve Bank.
Michael stares at Bonnie.
MICHAEL
That's it. Look.
(re monitor)
One of the main tunnels passes
directly under the nightclub where I
saw Peter Wong.
BONNIE
What's it? Michael, what are you
talking about?
DEVON
Michael, the Federal Reserve is
impregnable.
MICHAEL
Was, Devon. Was.
Michael fires K.I.T.T. up. Bonnie climbs out.
EXT. ROAD - DAY (DAWN)
The ramp lowers and K.I.T.T. slides out, heading toward the
city.
CUT TO
EXT. SAN FRANCISCO - SUNRISE - STOCK
INT. TUNNEL - DAY
Three electric golf carts pass, each driven by one of the
men, each loaded with bundles of currency.
EXT. CITY STREET - DAY
K.I.T.T. races by, headed for the nightclub.
EXT. COMMERCIAL FISHING DOCKS - DAY
Quiet on early Sunday morning. This particular dock is the
property of Sheridan Enterprises, owned by Margo's husband.
A woman in a windbreaker appears by the packing sheds.
CLOSER ON WOMAN
It's Margo. She reacts to the muffled sound of an electric
horn. She glances around, making sure she's alone, unob-
served, then unlocks the packing shed door.
INT. PACKING SHED - DAY
She enters.
MARGO
David?
HALSTON'S VOICE
Margo, for chrissakes, open it!
She opens a huge door to an old ice-cooled refrigeration
unit and Halston, Jackson and Wong appear; each burdened
with bundles of currency. She screams with delight and
throws her arms around him.
HALSTON
Margo, not now!
CUT TO
EXT. FEDERAL RESERVE BANK - DAY
K.I.T.T. pulls to a stop in front.
ANGLE IN K.I.T.T.
Michael punches up X-ray mode.
MICHAEL
Let's see if we can get a peek
inside the main vault, Kitt.
The monitor is clouded by interference.
K.I.T.T.
I'm sorry, Michael, but it's lined
with lead. I can't penetrate it.
Frustrated, ready to leave, Michael has another thought.
MICHAEL
Wait a minute. Can you reach the
main Chinese tunnel from here?
K.I.T.T.
I can try.
INTERCUT - MONITOR
X-ray mode reveals the main tunnel. Michael studies it, in
particular, a smaller tunnel leading from it toward the bank.
MICHAEL
That smaller tunnel -- is it part of
the Chinese system?
K.I.T.T.
Not according to my data.
MICHAEL
Then that's it. They've come and
gone. The only question now is
where.
He hits the accelerator.
CUT TO
INT. PACKING SHED - DAY
They seal the bundles of currency in waterproof packages
and then place them in the bottom of frozen fish-shipping
containers.
CUT TO
EXT. GOLDEN FOX - DAY
K.I.T.T. pulls into the parking area, skids to a stop.
ANGLE IN K.I.T.T.
Michael looks for signs of activity, punches up K.I.T.T.'s
monitor.
MICHAEL
Anyone inside?
K.I.T.T.
No, Michael.
MICHAEL
How about the tunnel -- anything
there?
K.I.T.T.
I'm afraid not.
Michael shakes his head.
MICHAEL
It would take us hours to trace all
these tunnels one by one. Where
would they go? Where could they
off-load that much currency without
being seen?
(beat)
It's a long shot, Kitt, but I don't
know what else to do. Translate the
tunnels into streets, pinpoint the
specific addresses the tunnels pass
under and then access county records
and find who owns what.
K.I.T.T.
Right away, Michael.
K.I.T.T.'s computers whir.
K.I.T.T.
With my new microchip processor, I
can reduce the time required by over
forty percent.
MICHAEL
(preoccupied)
Good.
K.I.T.T.
You don't care.
MICHAEL
I care. I'll care more once we nail
Halston...if we nail him.
CUT TO
EXT. FISHING DOCKS - DAY
They transfer the containers of fish-covered currency from
the packing shed to a loading barge.
PETER
What kind of fish are these?
HALSTON
Who cares?
PETER
Boy do they smell.
JACKSON
(to Halston)
Let me take care of him. Drop him
with the anchor chain and let the
crabs pick him apart.
PETER
Okay, I'll shut up. Jeeze.
They begin loading the containers onto the barge. Halston
jumps aboard, crosses to the bridge and fires up the diesel
engines.
CUT TO
EXT. CITY STREET - DAY
Michael cruises as K.I.T.T. reels off the information.
K.I.T.T.'S VOICE
...Schaffer Pool Supplies, Selby
International, Sheridan Enterprises,
Southwest ---
ANGLE IN K.I.T.T.
Michael reacts.
MICHAEL
'Sheridan Enterprises' -- Kitt,
that's Margo's last name. Find out
if it's the same Sheridan.
K.I.T.T.'s computers flash.
K.I.T.T.
Affirmative, Michael.
MICHAEL
That's got to be it. Kitt, plot the
fastest route to Sheridan Enterprises.
He hits the accelerator.
CUT TO
EXT. FISHING DOCK - DAY
Jackson casts off and Halston puts the engine into gear.
It slowly pulls away from the dock.
EXT. ROAD TO DOCK - DAY
K.I.T.T. approaches, smashes through a locked security gate.
ANGLE IN K.I.T.T.
K.I.T.T.
Michael, look!
MICHAEL
I see it, Kitt. Can we make it?
K.I.T.T.
It's a long shot.
MICHAEL
Let's press our luck.
He presses Turbo Boost.
WIDER ANGLE
As K.I.T.T. races to the end of the dock, he is suddenly
airborne.
ANGLE ON BARGE
They react. Peter dives overboard. Jackson fires at
K.I.T.T. with his .45.
DIFFERENT ANGLES
K.I.T.T. lands on the barge, skids to a stop. Jackson
empties the .45 at Michael's image behind the windshield.
Behind him, Halston screams.
HALSTON
What's the matter with you?! Kill
him! Kill him!
MARGO
(half to
herself)
Maybe we should've given him a piece
of the pie....
ANOTHER ANGLE
Jackson fires his last round. Michael casually steps out.
MICHAEL
Sorry, doctor, but I think the Nobel
Prize will have to wait.
(to Jackson)
There's a cell in San Quentin with
your name on it.
Jackson charges him with all his fury.
ANGLE ON FIGHT
Michael and Jackson trade punches, Jackson more powerful,
but Michael more agile, half a beat faster.
ANGLE ON HALSTON AND MARGO
Halston spots a gaff, starts to reach for it.
K.I.T.T.
I wouldn't if I were you.
Halston freezes.
ANGLE ON FIGHT
Michael staggers Jackson with a right. Enraged, Jackson puts
everything behind one punch. Michael ducks. Jackson's momen-
tum carries him overboard.
K.I.T.T.
Very nice, Michael.
MICHAEL
Thanks, pal.
Michael crosses to the wheel, spins it.
MICHAEL
I think we got the catch of the
day. Let's head for home.
K.I.T.T.
Aye, aye, Captain.
LONG SHOT - THE BARGE
circles back, heading for the docks.
FADE OUT
END OF ACT EIGHT
TAG
FADE IN
EXT. UNIVERSITY OF SAN FRANCISCO - DAY
Michael says good-bye to Kelly.
KELLY
Dad wanted to thank you personally.
MICHAEL
Tell him you make an excellent
substitute.
She smiles, puts her arms around his neck and kisses him.
KELLY
Thanks again.
She runs off. Michael watches her, smiling.
K.I.T.T.
She seems like an awfully nice young
lady.
MICHAEL
(crossing
to K.I.T.T.)
You'll get no argument from me there.
He climbs in, starts K.I.T.T. up.
K.I.T.T.
I suppose Bonnie is safely on her
way to Boston.
MICHAEL
I was kind of hoping we could
persuade her to stick around.
K.I.T.T.
Me, too.
They pull out.
EXT. ROAD - DAY
The semi's ramp lowers and K.I.T.T. rolls up inside.
INT. SEMI - DAY
as Michael climbs out, reacts.
WIDER ANGLE
Bonnie stands with Devon. They're both smiling.
MICHAEL
Bonnie!
K.I.T.T.
Bonnie!
DEVON
I thought you'd be pleased.
BONNIE
I couldn't leave. I guess it's in
my blood.
MICHAEL
Welcome back.
She crosses to Michael. He opens his arms to hug her but
she's oblivious, slides into K.I.T.T. instead.
BONNIE
What's this?
She holds up a crumpled bag of potato chips. Michael
blinks, unprepared. Devon laughs.
FADE OUT
THE END
