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.
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
Hi, honey...No, nothing's wrong...as
a matter of fact, guess what happened
to me this morning.
ANGLE TO INCLUDE TRANSISTOR RADIO
directly behind him. It begins to transform itself into a
robot. Slowly, step by step, the speakers unfolding into
legs, etc.
CARTER
You know how I always stop off for
coffee and doughnuts on the way in
-- Well, I'm just gettin' back into
my car when this woman walks over...
(interrupted)
Just some woman, 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. Said it was a
prize -- I'd just bought their one
millionth doughnut!
(beat)
Chocolate glaze, my usual -- what
difference does it make what kind of
doughnut it was?
FULLER ANGLE
The radio continues transforming itself, still playing
music.
CARTER
I wasn't flirting with her, I never
saw her before!
(fights to control
temper)
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 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. The robot lifts one of its arms,
aims, and a little puff of gas shoots from its finger.
Carter stares in disbelief. Now he feels the first effects
of the gas, struggles to his feet, trying to reach the
alarm. He stumbles and falls, losing consciousness.
CLOSER - ROBOT
It turns its 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 and electronically unlocks.
ANGLE ON JACKSON
He can't believe his eyes. He cautiously moves to the
door, opens it, steps out and looks:
JACKSON'S POINT OF VIEW - CARTER
lying on the floor, unconscious.
BACK TO SCENE
Jackson moves cautiously toward the guard post, wary.
INT. GUARD POST - DAY - ON ROBOT
It now presses the guard post door button, opening it. Now
an even stranger thing happens: function completed, the
robot begins to sizzle, slowly disintegrating. Within
seconds it melts down to a plastic pancake.
ANGLE ON JACKSON THROUGH BARS
He reaches the guard post door, opens it and enters. He
looks around, the taste of freedom burning in his eyes, and
he quickly bolts to the control board. He pushes the
buttons to open the door leading out of the room and the
doors in the corridor leading away from the cell area. He
then grabs Carter's weapon and keys and makes his dash for
freedom.
INT. CORRIDOR - DAY - ON JACKSON
moving catlike down the corridor. Suddenly:
ANOTHER ANGLE
A guard appears from around the corner. He sees Jackson,
grabs for his gun, but Jackson is too fast, slugs him with
the hand clutching his gun, knocking him into the wall and
unconscious. Jackson sprints around the corner.
INT. PRISON ENTRANCE - DAY
Jackson runs past clerks, trustees and prison personnel,
startling them, crashing through like a fullback.
EXT. STREET OUTSIDE PRISON - DAY - ON JACKSON
The alarm sounds. Deafening. Jackson races out, desperate.
ANOTHER ANGLE
A car suddenly crashes through the perimeter gates, speeds
toward him. It does a 180, screeches to a stop in front of
him.
MAN'S VOICE
Get in!
The door pops open, its interior otherwise shielded by
one-way glass.
MAN'S VOICE
I said get in!
He jumps in.
ANGLE IN DRONE CAR
Jackson is shocked to discover there is no one behind the
wheel. No one anywhere in the car.
MAN'S VOICE
Sit back, relax...and leave the
driving to us.
The wheel turns away from the curb. The accelerator
depresses hard. Jackson is speechless.
WIDER ANGLE
The drone peels an inch of rubber, rocketing toward the
gate. Two gate guards fire rifles at the car, but it
speeds past them, disappearing into the world outside.
CUT TO
EXT. MARINA AREA - DAY - ON K.I.T.T.
The Trans Am moves along the yacht harbor at a leisurely
pace.
MICHAEL'S VOICE
Just think of it, pal...an hour from
now 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.
MICHAEL
Challenging the winds, riding the high
seas.
K.I.T.T.
If memory serves me right, Captain
Bligh, 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 in. In case you
don't remember, Michael....
ANGLE TO INCLUDE MONITOR - BURN IN
to see Michael dressed as he was on that disastrous day
coming down the pier, presumably toward K.I.T.T., and
soaking wet.
MICHAEL
(quickly, bit
annoyed)
I remember, Kitt, I remember. But
it didn't 'spring a leak,' it started
taking on water. And it wasn't my
fault the bilge pump broke down.
K.I.T.T.
Blame whomever you like, Michael,
but the fact remains you came back
one hour later, soaking wet.
MICHAEL
(patience is
being tried)
I'm sure glad you weren't around
when Columbus sailed for America.
ANGLE ON MONITOR
as Devon pops in from his office. He looks concerned,
troubled. Intercut as needed:
K.I.T.T.'S VOICE
Devon's calling.
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. An adventure
I've been looking forward to for
about a month now.
(beat)
All right, what's up?
DEVON
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
From the look on your face I get the
feeling this Jackson isn't just
another escaped convict.
DEVON
Far from it, Michael. He touches
the very heart and soul of the
Foundation.
MICHAEL
Okay, we're on. You can fill me in
later. 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, blending in with traffic.
MAN'S VOICE
Feeling better?
ANGLE IN DRONE
Jackson, shielded from the outside eyes by the one-way
mirrored windows, looks a little more relaxed. Still he's
wary, suspicious, keeps the pistol firmly in his hand,
ready for anything.
JACKSON
I'll feel better when I'm safe...when
I'm safe and when I know who you are
and what you want.
INT. HUNTER'S POINT ELECTRONICS BUILDING
David Halston, thirty-five, good-looking with an easy charm
and infectious, almost boyish grin. He sits at a control
panel watching Jackson on a monitor and talking to him via
a sophisticated communication setup. We see more red
drone cars in the b.g. In back of him is Margo Sheridan,
twenty-eight, stunning, bright, and even though she's mas-
saging Halston's shoulders, we still get the feeling she's
in total charge of the situation. Also there, and very
visable in tank tops, are Turk and Clifton.
HALSTON
In due time, my friend.
ANGLE IN DRONE CAR
JACKSON
I don't have friends. I do business.
You want to do business with me, don't
call me 'friend' or 'brother.'
INT. HUNTER'S POINT ELECTRONICS BUILDING
HALSTON
As you wish, C.J.
(looks to Margo)
Looks like this one could be trouble.
MARGO
But that's part of the fun.
She smiles at him.
EXT. CITY STREET - DAY - ON K.I.T.T.
rounding a corner close by.
ANGLE IN K.I.T.T.
Michael punches buttons:
MICHAEL
Kitt, see if we can pick 'em up on
the infrared tracking scope.
ANGLE TO INCLUDE MONITOR
as a hologram of intersecting streets appears with one
moving dot representing the drone car.
MICHAEL
Good work, Kitt. Let's head 'em off
at the pass.
K.I.T.T.
Your Passive Laser Restraint System
on, Michael?
Michael takes a hard right.
EXT. STREET - DAY - ON K.I.T.T.
taking the corner on two wheels.
MICHAEL'S VOICE
Wouldn't drive without it, pal.
CUT TO
EXT. ALLEY - DAY - ON DRONE CAR
as it turns into the alley and comes to a stop.
HALSTON'S VOICE
And now for phase two.
Jackson leaps out, pistol in hand, ready to run for it. He
pauses seeing:
REVERSE ANGLE
A classic white Rolls Royce Silver Phantom pulls to a
stop. Its passenger door opens, revealing a stunning
young black woman behind the wheel. Her name is Babette.
BABETTE
Hi, sugar. I think you're going
my way.
Police sirens grow closer. He climbs in and the Rolls
purrs away, blending into traffic. The drone activates and
drives out the opposite way.
EXT. ANOTHER STREET - DAY
as the drone car appears, 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 Bullitt.
The drone car, with nothing to lose, cuts in front of other
traffic, runs lights, goes on and off the sidewalk.
VARIOUS ANGLES ON CAB
as it heads in opposite direction to K.I.T.T. and the drone.
INT. CAB
An elderly couple sits in the back. Married fifty years,
happy, she nonetheless is anxious as she looks out the
window.
HENRIETTA
(to Cabbie)
Young man, are you sure this is the
way to Fisherman's Wharf?
ALFRED
Relax, Henrietta, I'm sure he's just
taking a short cut. Sit back and
enjoy the sights.
CLOSER - COUPLE
as they see what's up ahead, explode with anxiety, hug one
another.
WHAT THEY SEE - K.I.T.T. AND THE DRONE
heading right for them, then splitting just in time.
BACK TO SCENE
The couple remains frozen in time and space. The cabby
thinks nothing of it.
EXT. STREET - DAY
Michael, using all his skills and K.I.T.T.'s, manages to
come up alongside and force the drone into a jolting stop.
The driver's door pops open from impact.
ANGLE ON K.I.T.T.
Michael jumps out.
K.I.T.T.
Be careful, Michael -- he's armed
and dangerous.
MICHAEL
I hear you.
Michael approaches cautiously, then looks inside the open
door.
MICHAEL'S POINT OF VIEW - EMPTY INTERIOR
BACK TO SCENE
He takes it in, amazed.
ANGLE TO INCLUDE HIDDEN CAMERA LENS
settling on Michael.
Move in on:
LENS
INT. HUNTER'S POINT ELECTRONICS BUILDING
Halston and Margo observe Michael on the monitor as he
looks over the car. Clifton and Turk nearby.
HALSTON
Any idea who he is?
MARGO
No such luck.
Halston looks at her, not liking her thoughts.
EXT. STREET - DAY - MICHAEL
at the drone.
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? Tell me all about it,
pal.
On Michael's look:
CUT TO
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.
MICHAEL
And then this 'robot' shot this little
puff of smoke. You tried to reach
the alarm but passed out.
CARTER
Dead to the world.
Devon removes the plastic pancake from his briefcase.
DEVON
And when you came to, this is all
that was left?
Carter reacts to the sight of the pancake, steps back
warily.
CARTER
Yeah...look, if you don't mind, I
don't want that thing anywhere near
me.
MICHAEL
Your description of the woman who
gave it to you was pretty vague.
CARTER
Hey, what can I say? I was more
interested in a free radio --
(then)
Check with the doughnut shop,
they've got to know her.
Michael takes the pancake from Devon, looks it over.
MICHAEL
The police already have.
CARTER
What'd they say?
MICHAEL
They don't give prizes and they
don't count doughnuts.
CARTER
(depressed)
My wife's never gonna believe this.
MICHAEL
She'll have lots of company.
Michael gives him a reassuring smile, but it doesn't help.
As he and Devon leave:
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? Yeah, I'm afraid I do.
He looks at the pancake again, feels its texture, thoughtful.
DEVON
Any ideas?
MICHAEL
Only one.
(to Devon's
look)
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 here.
MICHAEL
You're kidding! 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 polite but firm 'no.'
ANOTHER ANGLE
as they turn the corner leading to the exit door.
MICHAEL
This C.J. Jackson -- who is he?
What does he have to do with the
'heart and soul' of the Foundation?
DEVON
Before Wilton Knight recruited you,
we had another man in your position.
His name was Ken Franklyn. He fit all
the qualifications -- all except one.
He wasn't a police officer.
(difficult)
One night several years ago...I remem-
ber it was raining, very unusual for
the time of year...Franklyn had been
tailing Jackson. He was convinced
Jackson hadn't made him. He was
wrong.
MICHAEL
Jackson killed him.
DEVON
One bullet did it...but Jackson shot
him five more times.
A guard 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 we
found you.
(opens the
back door
of the limo)
He belongs behind bars, Michael.
Wilton Knight won't rest easily
until he is. Nor will I.
MICHAEL
That makes three of us, Devon. My
word on it.
Devon nods. The limo pulls away. On Michael's look of
determination:
CUT TO
EXT. ESTATE - DAY - ESTABLISHING
The Roll Royce is parked in front of this magnificent
house overlooking the bay.
EXT. SWIMMING POOL AREA - DAY - ON MARGO
looking toward the entrance from the house to the pool.
She is dressed casually, and yet to kill. A slight seduc-
tive smile, tilt of her champagne glass:
MARGO
Welcome, Mr. Jackson, I hope your
trip here wasn't too uncomfortable.
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. Babette has come from the house
with him, looking fantastic in a slinky, shimmering outfit.
JACKSON
I've been on worse trips in my life.
MARGO
I'm sure you have.
FULLER ANGLE TO INCLUDE HALSTON AND TWO GARGANTUAN YOUNG MEN
who, if they were dogs would heel at Margo's command. Now
they just observe her every move, looking upon Jackson as a
natural enemy they would gladly tear to pieces.
MARGO
My name's Margo...
(takes Halston's
arm)
This is David Halston, the genius
who engineered your escape....
Jackson glances at the watchdogs.
MARGO
Those two over there are Clifton and
Turk. But don't worry, I just let
them into my house when it rains.
Babette, why don't you get C.J. a
glass of champagne. You do like
champagne, don't you, C.J.?
JACKSON
I used to drink it all the time in
my cell.
Halston laughs, steps forward:
HALSTON
Those days are over, C.J. We've
given you your freedom, and soon
we're going to give you even more.
JACKSON
There is nothing more.
MARGO
Sure there is.
Margo moves away from Halston, which he's not too happy about,
and closer to Jackson.
MARGO
There's the money it takes for a man
like you to stay free. C.J., we're
going to guarantee your freedom by
making you very rich.
JACKSON
And what do I have to do for it?
HALSTON
Do for it?
JACKSON
You heard me! I spent half my life
behind bars, and if it's one thing I
learned -- no one gives anything for
nothing!
Tense beat, broken by:
MARGO
You're right, C.J., I do want
something from you...but I don't
intend on telling you what it is
until I'm ready.
(smiles)
Now you have two choices...you can
leave and try making it on your
own...or you can stay....
She places her hand on his chest, much to the dislike of
Clifton and Turk.
MARGO
And definitely make it with us.
C.J. doesn't answer, verbally.
MARGO
Good.
Babette gives him a glass of champagne. Margo backs off.
MARGO
Now that that's taken care of...
(lifts her
glass, to
C.J.)
To the beginning of a...prosperous
and beautiful relationship.
Jackson hesitates, then they all drink...except for Clifton
and Turk.
INT. CHINESE HERB SHOP - DAY
It's quiet, located off the boulevard. As camera pans to
the proprietor, a wizened old man named Ho Chin, we see an
assortment of "miraculous" herbs. The door chime rings.
Ho Chin looks up.
ANGLE TO INCLUDE THE TWINS
They enter. Clifton pauses just inside the door, pretending
interest in some ginseng root, etc. Turk crosses to Ho
Chin. They wear turtlenecks and conservative pants.
TURK
Are you Ho Chin?
HO CHIN
Yes. How may I be of service?
TURK
I hear you've got maps...old maps of
the tunnels your people dug under
the city years ago.
HO CHIN
(brightens)
Ah yes...are you from the University?
Turk exchanges a grin with Clifton -- the thought that
these two would be from the university! Then back to
Ho Chin.
TURK
Yeah, associate professors. Think I
could see 'em? Just for a minute?
HO CHIN
They are not for sale. They have been
in my family for many, many years.
TURK
I just want to peruse 'em for a
minute.
Another grin at Clifton.
Ho Chin debates it, finally turns and rummages in his
cluttered old desk.
HO CHIN
They are priceless.
TURK
So I hear.
He brings out a folder, carefully opens it. His smile
fades when he sees the look on Turk's face. Turk grabs him
and bodily lifts him from behind the desk. Holding him
out front he proceeds to use his head as a weapon, bringing
it down like a sledgehammer on Ho Chin's skull. (This
should be covered for the possibility of a cutaway.)
ANGLE ON CLIFTON
He continues browsing, keeping an eye on the street
outside. Over this we hear Ho Chin grunt in pain...then
silence. Now Turk comes to the front of the shop. The
folder in his hand.
TURK
Let's go.
Clifton picks up a big ginseng root and begins gnawing
it as they leave. Camera pans back to Ho Chin, crumpled
on the floor, dead.
FADE OUT
END OF ACT ONE
ACT TWO
FADE IN
EXT. GOLDEN GATE BRIDGE - DAY
sweeping vista of the bay and the city as K.I.T.T. passes
over the bridge, music over.
K.I.T.T.'S VOICE
Michael, where are we going?
MICHAEL'S VOICE
To see an old friend.
K.I.T.T.'S VOICE
I thought this case was top priority.
MICHAEL'S VOICE
It is. I'm hoping the old friend
can help.
CUT TO
EXT. CHINATOWN - DAY
Several shots to establish the atmosphere, the color, the
unexpected contrast between traditional Chinese culture and
Americana 1984.
EXT. CHINA TRADER RESTAURANT - DAY
A hot spot wedged in between a Chinese laundry and a
fast-food takeout.
INT. CHINA TRADER KITCHEN - DAY
A beehive of activity. 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. Across the kitchen are two huge
bodyguards with shaved heads, the Karate Twins. They devour
Chinese dumplings by the handful.
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 chicken, vegetables
and 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
Wong Delight!
FONG
Fong Delight! Anything made in my
kitchen bears my name, and my name's
Fong! Yours is Wong! Mine's Fong!
Out of my way.
He leaves with the duck and the Fong 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 food at Peter but Peter ducks. The
Karate Twins watch, eating.
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.
FONG
(to bodyguards)
You should've thrown him out! What
do I pay you for, to eat?!
EXT. ALLEY - DAY
Peter picks himself up from a collection of garbage cans,
wipes garbage off his person. He stands there in despair
when a car suddenly swings in.
ANOTHER ANGLE
The white Rolls glides up and stops. The passenger door
opens.
BABETTE'S VOICE
Hello, Peter. Need a lift?
Suspicious, Peter stares inside, reacts at seeing the
beautiful Babette.
PETER
Me?
BABETTE
You.
PETER
Why?
BABETTE
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
EXT. UNIVERSITY OF SAN FRANCISCO - DAY - TO ESTABLISH
with great vistas in b.g.
MICHAEL'S VOICE
I need a student loan.
INT. COMPUTER RESEARCH AND DEVLOPMENT CENTER - DAY - CLOSE
ON A DARK-HAIRED YOUNG WOMAN
laboring over a massive bank of computers. She turns and
we recognize Bonnie.
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, tries keeping her composure, but
then goes to him. He hugs her:
BONNIE
Michael!
MICHAEL
It's great to see you again, Bonnie.
Beat, then she backs off.
BONNIE
Broke again, huh?
MICHAEL
Some things never change.
He grins. She smiles.
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 the outside.
BONNIE
MIT is presenting two research projects
for funding. Only one will be
approved.
MICHAEL
This is the drone's computer processing
unit.
BONNIE
One, thanks to my mentor, is 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.
MICHAEL
We missed you, Bonnie. Oh, we missed
you!
CUT TO
EXT. MANSION - DAY
The Rolls winds up the street and pulls into the driveway,
Babette and Peter get out. He looks at the mansion,
hesitates before following, then hurries to catch up with
Babette.
INT. MANSION - LIVING ROOM - DAY
Halston is examining the maps just brought to him by Clifton
and Turk, who stand nearby. Margo is alongside Halston, and
Jackson is sprawled on a suede modular sofa in a silk robe,
eating a big sandwich and reading the sports page. He
occasionally glances at Halston.
HALSTON
(re map)
Perfect...these maps are just what
we need.
MARGO
You're sure the old man won't tell
anyone?
TURK
(grins)
Only his ancestors.
Margo rubs the backs of their necks:
MARGO
Good boys...now why don't you go
outside and chase some rabbits.
CLIFTON
But....
MARGO
(interrupting)
Don't worry, Clifton...we'll play
later.
She smiles. They grin and leave -- under Jackson's curious
gaze.
ANGLE ON ENTRANCE
as Babette comes in with Peter, who's ready to bolt.
(Note: Turk and Clifton have left via another door.)
BABETTE
Don't say 'boo,' he'll run.
Babette goes to Jackson, snuggles down next to him.
BABETTE
Miss me, baby?
JACKSON
You know it.
Margo approaches the confused and frightened Peter.
MARGO
Hello, Peter, I'm Margo, and that's
David Halston and C.J. Jackson.
Halston preoccupied with the maps, only nods. But Jackson
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, but quickly recovers:
PETER
Hey, look, what's this all about?
Halston puts down the maps, but Margo goes to soothe Peter's
frazzled nerves.
MARGO
Relax, Peter...we just want to make
use of your extraordinary talents.
PETER
(hesitant)
My talents?
HALSTON
As one of the best wire men in the
business.
PETER
That was in my past. I'm trying to
go clean now. I'm a chef.
Margo moves in on him.
MARGO
Peter...as a chef you couldn't heat
up a frozen egg roll.
(rests her arms
on his shoulders,
looks down into
his eyes)
So why don't you just be a good
little boy...and let Margo decide
what's best for you. Hmm?
He looks up into her eyes...and is totally lost.
CUT TO
INT. RESEARCH AND DEVELOPMENT CENTER - NIGHT - CLOSE ANGLE
ON COMPUTERS
working, operated by skillful hands.
WIDER ANGLE
Bonnie is at the console, totally absorbed. Michael is
nearby, eating takeout food, tired, bored, leaning on one
of the pieces of equipment.
BONNIE
(not looking
up)
That's a computer, not a sofa.
He reluctantly moves.
MICHAEL
I was wondering why it was so hard.
She throws him a look. He grins and with nothing else to
do he crosses behind her, glances over her shoulder as she
accesses the drone's CPU.
MICHAEL
How's it coming?
BONNIE
Put it this way. If it were a murder
mystery, Sherlock would call it a tough
case. Whoever created this little
monster knew what he was doing.
MAN'S VOICE
Don't you ever sleep?
They react, surprised.
ANOTHER ANGLE
The man entering, smiling, is none other than David Halston.
He's dressed in his university persona clothes, looks the
part thoroughly.
BONNIE
Doctor Halston...!
HALSTON
How many times do I have to tell you?
David. D-A-V-I-D.
She's obviously pleased to see him, holds him in high
regard. Halston smiles at Michael, extends his hand.
HALSTON
David Halston.
Michael shakes his hand. Halston betrays no sign of knowing
anything about him.
MICHAEL
Michael Knight.
BONNIE
I'm sorry, I should've...introduced
you. Michael's an old friend. We
used to work together.
HALSTON
Really? What kind of work do you do,
Michael?
MICHAEL
I'm with a nonprofit foundation.
BONNIE
Don't be so mysterious.
(to Halston)
He works for the Foundation for Law and
Government.
HALSTON
Sounds exciting.
MICHAEL
(not really
liking this guy)
A thrill a minute.
HALSTON
(forces a polite
smile, then to
Bonnie)
A project for class?
BONNIE
No. I hope you don't mind. It's some-
thing Michael wanted some help with.
HALSTON
I see.
(to Michael)
I'll make you deal. Since Bonnie's
helping you, you can help me.
MICHAEL
I'm kind of on a tight schedule.
HALSTON
Good, so am I. It won't take five
minutes.
CUT TO
OPPOSITE SIDE OF LAB - A FEW MOMENTS LATER
Michael is sitting in a chair as Halston affixes a belt-like
device around each wrist. Wires connect the wristbelts to
a device which transmits information to a large computer.
HALSTON
...There. All finished. How do you
feel?
MICHAEL
Like a guinea pig.
HALSTON
But, that's exactly what you are.
He smiles, takes a chair opposite Michael, facing him, and
slips identical wristbelts on himself over:
HALSTON
I'm doing a computerized project on
pain -- from inception to threshold.
(smiles)
Don't worry, you can abort any time
you choose by stepping on the button
next to your chair.
Michael checks, reassures himself the button is there.
HALSTON
And, if that's not enough, I'm wired
in just as you are. I will feel every-
thing you feel...and believe me, I'm
no masochist. Ready?
MICHAEL
What am I supposed to do?
Halston looks deeply into his eyes.
HALSTON
Feel the pain.
MICHAEL
Until?
HALSTON
Until one of us aborts.
Halston activates an electrical conductor with his foot. It
hums as electricity surges through it, low at first, then
rising in pitch as the charge increases.
MICHAEL
Why do I feel like this is a contest
of some sort?
HALSTON
Perhaps it's just your competitive
nature.
The smile never leaves Halston's face. Pain aside, Michael
feels increasingly uncomfortable.
DIFFERENT CLOSE ANGLES
The computer recording data...the hum rising in pitch...
Michael's face breaking out in perspiration. Michael was
right -- it is a contest. And, to his surprise, he
discovers he wants to win. Their eyes lock and hold,
Halston's smile never wavering.
CLOSE ON MICHAEL
The pitch continues to rise, the electricity screams in his
body, his mind, until a spark of sanity flashes before his
eyes: This is insane.
ANGLE ON FLOOR
He slams his foot down on the button.
WIDER ANGLE
The hum stops. Silence -- except for Halston's victorious
chuckle. Despite intentions otherwise, Michael finds himself
angry, his face bathed in sweat.
HALSTON
Stay where you are, I'll unstrap you.
As Halston unstraps himself, Michael studies him; curious,
suspicious. He begins unstrapping Michael.
MICHAEL
I notice you didn't even work up a
good sweat.
HALSTON
(smug)
I never do. You see, I didn't feel
any pain.
ANGLE ON MICHAEL
He comes out of his chair, grabs the wires from Halston's
wrist belts -- they were never connected.
MICHAEL
That's because you forgot to connect
these wires.
HALSTON
No...imagine that.
(smug smile)
Still, you're an excellent subject.
Michael, not liking this man one bit, watches him head
toward a rear door.
MICHAEL
Doctor Halston....
Halston stops.
MICHAEL
It would be a big mistake for you to
ever try something like that again.
They exchange looks, then Halston leaves.
ANGLE ON BONNIE
hard at work, oblivious to what's happened across the
room. Michael approaches, troubled by the encounter with
Halston.
BONNIE
Michael?
MICHAEL
Yeah.
BONNIE
Where's Doctor Halston?
MICHAEL
Your mentor?
BONNIE
That's right. You have no idea how
much he has helped me with my
project.
MICHAEL
Just a sweetheart of a guy. Anyway,
he said to tell you good night.
BONNIE
(re CPU)
I think I've got it. Finally.
INT. HALL OUTSIDE LAB - NIGHT
Halston appears, pauses, making sure he's alone. Then he
opens his briefcase and takes out a remote computerized
device the size of a pack of cigarettes. He switches it
on, presses several buttons.
ANGLE IN LAB
The drone's CPU emits a sizzling sound. Michael and Bonnie
react as it self-destructs before their eyes.
FADE OUT
END OF ACT TWO
ACT THREE
FADE IN
EXT. STREET - DAY
K.I.T.T. passes, heading toward the heart of the city.
DEVON'S VOICE
It what?
ANGLE IN K.I.T.T.
Michael behind the wheel, Devon on the monitor from the
semi.
MICHAEL
I'm telling you, Devon, it dis-
integrated. Right before our eyes.
DEVON
What do you make of it?
MICHAEL
Right now I don't know what to make
of a lot of things.
(beat)
Any leads on Jackson?
DEVON
Nothing, I'm afraid. In prison he
was a loner...no gang affiliations,
no visitors...no mail in over two
years.
MICHAEL
Then the only thing we know for sure
is he's a 'box man.'
DEVON
Apparently one of the best. Show
him a safe and he'll find a way in.
MICHAEL
Okay, Devon. You know how to find
me.
He punches Devon out, drives for a moment, thoughtful.
Then:
K.I.T.T.
Michael, I may have something.
MICHAEL
Go.
K.I.T.T.
I've been monitoring the police
frequency as you requested. There
was a fire yesterday at Fong's
China Trader restaurant. Arson
investigators traced it to a piece
of melted-down plastic containing
traces of acid identical to those
found in the radio at the prison.
MICHAEL
Good work, pal. Let's hit it.
He floors the accelerator.
ANGLE FROM STREET
K.I.T.T. flashes by, heading for Chinatown.
CUT TO
EXT. HUNTER'S POINT ELECTRONICS BUILDING - DAY
It's big, clean, upscale. And best of all, no immediate
neighbors. The white Rolls and another luxury sedan are
parked by the door.
INT. HUNTER'S POINT ELECTRONICS BUILDING - DAY
Halston is winding up a demonstration. Present are Margo,
the ever-present Turk and Clifton, Peter Wong and Jackson.
HALSTON
And now get ready for the pieces de
resistance....
MARGO
David, you're not at the University.
Get on with it.
He smiles, crosses to his computer control board, begins
punching in a program, as they put on their colorful
protective earmuffs.
HALSTON
Observe.
ANGLE ON DRONE CAR
It's parked at one end of the industrial site, pointing toward
a specially designed target enclosure.
INTERCUT - HALSTON
He works the computer.
OMITTED
INTERCUT MARGO AND GROUP
They watch.
ANGLE ON DRONE
From the hole in the grill a conical shape emerges. It's
a missile.
ANGLE ON HALSTON
He activates Fire Mode.
ANGLE ON MISSILE
It fires.
REVERSE ANGLE
The missile strikes a specially designed target enclosure,
which contains the explosion. Still the floor shakes from
the impact.
WIDER ANGLE
Peter Wong is incredulous. So is Jackson, but he hides it
on principle. Margo seems satisfied. They remove their
earmuffs.
MARGO
Excellent. Congratulations, David.
HALSTON
(crossing to them)
As you can see we are virtually
indestructible. Untouchable.
JACKSON
You said we'd also be rich.
HALSTON
(smiles)
I did, didn't I? And so we shall be.
(to twin)
Turk.
He doesn't move.
HALSTON
(piqued)
Margo, for God's sake.
She smiles, having made her point: He answers only to her.
She gestures and Turk moves to a monitor.
HALSTON
Gentlemen, I present to you the
object of this very special endeavor.
Turk activates the computer.
ANGLE ON SCREEN - BURN IN
The Federal Reserve Bank, several shots, and hold on front
of bank.
HALSTON
Thank you, Turk.
WIDER ANGLE
The lights come up. Peter Wong stares at Halston like he's
a madman.
PETER
That's the Federal Reserve!
HALSTON
So it is. The main vault contains
between fifteen and twenty million
dollars...depending on the day.
JACKSON
You're crazy. Nobody hits The
Federal Reserve. Nobody.
MARGO
I bet you said the same thing about
breaking out of solitary...until
yesterday.
Point made, Halston strolls, enjoying himself.
HALSTON
You, C.J., are the best box man in
the country. Believe me, I know. I
checked you out thoroughly. And
you, Peter, are the premier wire
man. You can handle the most
sophisticated security systems in
operation today.
PETER
Yeah, but I quit. I'm through,
remember? I don't do that anymore.
HALSTON
Didn't, Peter. Until someone
offered you twenty-five percent of
fifteen to twenty million dollars.
Peter's torn. All eyes go to him. Especially Jackson's.
JACKSON
You know what?
PETER
What?
JACKSON
You just came out of retirement.
Looking into Jackson's eyes, the message is clear.
PETER
Well, since you put it that way...
maybe just one more time. But I'll
need my stuff -- my equipment. I
built it myself.
MARGO
Where is it?
PETER
My apartment.
MARGO
How long will it take you to get it?
PETER
Half an hour -- an hour at the most.
MARGO
No, Peter, half hour at the most.
The slightest smile.
CUT TO
EXT. FONG'S CHINA TRADER - DAY
K.I.T.T. pulls up and parks. Michael slides out, crosses
into the restaurant.
INT. KITCHEN - DAY
Fong is counting money in a briefcase. His two bodyguards
eat.
FONG
Twenty thousand from the Mah-Jongg
parlor...fifteen from the den of
rarefied pleasures...seventy-five
hundred from the little ladies who
travel light. Not bad for a Monday.
Over this we see Michael enter in the b.g.
MICHAEL
Mr. Fong?
Fong looks up, eyes opened wide.
MICHAEL
Sorry to bust in on you like this....
Fong snaps the briefcase shut.
FONG
Who're you?
MICHAEL
Michael Knight from the Foundation
for Law and Government, and I have a
few questions....
FONG
(screams)
Get him!
Karate One springs off his feet, over the chopping block
and comes at Michael from above.
ANOTHER ANGLE
Michael, taken aback, catches Karate One before he lands
and tosses him over his shoulder into a crate of hundred-
year-old eggs.
When he turns, here comes Karate Two, and he has a hatchet
in his hand. As Karate Two springs:
OMITTED
EXT. FRONT OF FONG'S CHINA TRADER - DAY
as our cab pulls up and Alfred and Henrietta get out right
near K.I.T.T. She first.
HENRIETTA
There's something about Chinatown
that's so mysterious.
EXT. ALLEY BEHIND FONG'S - 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
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.
EXT. FRONT OF FONG'S - DAY
Alfred spreads a map of Chinatown on K.I.T.T.'s top.
ALFRED
All right, what should we see first?
EXT. ALLEY - DAY
He sizes up the advancing Karate Boys, decides it's time
to change tactics.
MICHAEL
(comlink)
I'm outnumbered, pal. Let's even up
the odds.
OMITTED
EXT. FRONT OF RESTAURANT - DAY
K.I.T.T. parked at the curb.
K.I.T.T.'S VOICE
Right away, Michael.
ALFRED AND HENRIETTA
reacting.
HENRIETTA
Alfred, what was that?
They look into the car.
INT. K.I.T.T. - DAY - FEATURE DASH
It comes alive. The shift moves into gear, the gas pedal
is depressed, lights up.
EXT. K.I.T.T. - DAY
It backs up to get out of space, with maps still on top.
ALFRED
There's no one driving that car,
Henrietta.
HENRIETTA
Our maps!
Alfred reaches for the maps, only to have K.I.T.T. shoot
forward on his way out. The maps fall off. Alfred and
Henrietta hug one another for dear life.
OMITTED
ANGLE IN ALLEY
The Karate Twins move about Michael. Attack together
knocking him over trash cans 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. They 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 closes the distance between them, eyes never leaving
Fong.
MICHAEL
I tried. You had other things on
your mind. For all I know, you're
in this up to your eyeballs.
(beat)
Tell me about the fire.
FONG
He started it! That idiot chef
and his radio!
MICHAEL
This radio -- did it look like a
robot?
FONG
Yes! How did you know? I toss it
in the trash and the next thing I
know my kitchen catches fire! My
kitchen is catches fire, and I
peek out to see my idiot chef being
picked up in a Silver Phantom car!
MICHAEL
This chef you mentioned -- what's
his name? How do I find him?
FONG
His name is Peter Wong. He lives
with some girl on Bay Street, a
place called The Ramparts.
CUT TO
INT. PETER WONG'S APARTMENT - DAY
Peter is searching a cabinet for his tools, while Su-Lin, a
lovely Oriental of twenty-two, attempts to discourage him.
SU-LIN
But why, Peter? You've managed to
stay out of trouble for over a year
now.
PETER
(glances back
to her)
Out of trouble and out of money.
(turns to her)
Su-Lin, I want to be able to buy you
presents. Nice clothes and jewelry.
All the pretty things you deserve.
SU-LIN
But all I want is you. Besides, you'll
be rich someday, I know you will.
PETER
How? By stuffing fortune cookies?
SU-LIN
You're a great chef. You created
Wong's Delight!
PETER
I created Wong's Delight working for
Fong. Which makes it Fong's Delight!
No, Su-Lin, the only way for me to
become rich is to do this one last
job.
SU-LIN
And if you get caught, and they send
you back to prison?
PETER
But I won't get caught. I promise
you, Su-Lin...no one's going to
separate us again.
He kisses her gently, then goes back to searching for his
tools.
EXT. PETER WONG'S APARTMENT - DAY - ON K.I.T.T.
rounding the corner and pulling up in front of the building.
MICHAEL
Here we are. By the way, you sure
got those Karate Twins agitated.
K.I.T.T.
They developed a pronounced mean
streak, didn't they?
MICHAEL
'Pronounced' is putting it mildly,
pal. Keep an eye peeled.
Michael smiles, gets out and starts toward the building.
INT. PETER WONG'S APARTMENT - DAY
Peter still searches, until finally ---
PETER
Here they are.
(looks proudly
at the tool
kit)
The tools of my trade.
(then seeing
Su-Lin's look)
For one last job, of course.
SU-LIN
Peter...!
PETER
I love you, too.
As he gives her another quick kiss, there's a knock at the
door. Both freeze.
SU-LIN
(softly)
Peter, I'm afraid.
PETER
Don't be. Remember...you haven't
seen me.
He goes into the bedroom.
ANGLE INTO BEDROOM
to see Peter starting to climb out the window.
BACK ON SU-LIN
Another knock on the door. She goes to it.
SU-LIN
Who is it?
Intercut with Michael:
MICHAEL
Michael Knight. I'm looking for
Peter Wong.
SU-LIN
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.
SU-LIN
Yes?
MICHAEL
Do you know where he is?
SU-LIN
He hasn't been here for...two days.
MICHAEL
(gently)
You're sure of that?
SU-LIN
(beat)
Yes.
The comlink beeps twice.
MICHAEL
(comlink)
Yeah, Kitt.
K.I.T.T.'S VOICE
Michael, someone's leaving the
apartment by way of the rear fire
escape!
Su-Lin starts to close the door, but Michael pushes past
her at the same time.
MICHAEL
(into comlink)
Meet me around the back.
INT./EXT. K.I.T.T. - DAY
Self starting and peeling out.
INT. SU-LIN'S APARTMENT - DAY
as Michael races to the bedroom window and crawls out.
VARIOUS ANGLES
to build an exciting chase as Michael hurries to catch up
to Peter.
ON PETER
running down the alley, and turning onto the street.
(Note: Let's try to match this somehow with our S.F.
footage.) Peter goes out of sight.
ON K.I.T.T.
pulling up to Michael. The door pops open and he slides in.
MICHAEL
Do you have him on your scanner,
Kitt?
K.I.T.T.
He was just picked up by that Silver
Wraith Fong told us about.
They go after the O.S. Peter Wong.
INT. PETER WONG'S APARTMENT - DAY
Su-Lin, very upset, is straightening up the mess Peter made
searching for his tools, when she hears a noise at the
front door. She turns, looks, too frightened to move.
ON DOOR
as it's suddenly kicked open...and Clifton and Turk
enter. Turk closes the door behind him.
ANGLE TO INCLUDE SU-LIN
trying to control her fears as they move toward her.
SU-LIN
Who are you? What do you want?
CLIFTON
It's not important who we are.
TURK
What we want...is your silence.
They grin. She starts to run...but not very far, before
Clifton grabs hold of her, and begins to crush her as he
did the herb merchant.
ON TURK
as Clifton squeezes the life from her.
FULLER ANGLE
Su-Lin falls lifeless to the floor. Clifton gives her one
last look ---
CLIFTON
Very wasteful.
And they hurry out.
(Now we pick up the chase in S.F.)
BACK TO SCENE
MICHAEL
That's the Silver Phantom Fong told
us about.
K.I.T.T.
Then there's a very good chance
that's Peter Wong.
ANGLE TO INCLUDE SILVER PHANTOM
driving off.
K.I.T.T.'S VOICE
Michael, aren't we going to apprehend
him?
OMITTED
ANGLE IN K.I.T.T.
MICHAEL
Not yet. I want to see where he's
going.
Michael pulls out to follow.
EXT. ANOTHER STREET - DAY
The Silver Phantom abruptly turns onto another street.
K.I.T.T. follows.
VARIOUS ANGLES
as the Silver Phantom picks up speed, and K.I.T.T. stays
with him. Over we begin to hear the sound of cable car
bells.
K.I.T.T.
Michael, what on earth are those
bells?
(slight beat)
In fact, what on earth is that thing
with people hanging out of it?!
MICHAEL
It's a cable car, pal.
K.I.T.T.
Well, right now it's in our way, and
there's no room to turbo boost over
it.
ANGLE ON CABLE CAR
passing right in front of K.I.T.T. And sure enough, there
are people hanging out the sides.
ON K.I.T.T.
as Michael skids to a stop, just inches from ramming into
the car.
FULLER ANGLE
as the cable car passes, and we see that the Silver Phantom
has disappeared.
ANGLE IN K.I.T.T.
Michael is searching for the Silver Phantom as he activates
surveillance mode.
MICHAEL
Let's see if we can pick 'em up.
OMITTED
INTERCUT - MONITOR
Nothing.
K.I.T.T.
I'm sorry, Michael.
MICHAEL
(beat)
It's okay, pal. Got a license for
me?
K.I.T.T.
166 UEA. British plates.
MICHAEL
That's all we need.
He throws K.I.T.T. into reverse, peels out.
FADE OUT
END OF ACT THREE
ACT FOUR
FADE IN
EXT. MANSION - DAY
The Silver Phantom 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
We gain access here...stay in the
main tunnel for four hundred and
eighty feet, which brings us
parallel to the main vault. You
shouldn't have to cut through more
than twenty-five feet to reach it.
JACKSON
That's solid rock.
HALSTON
The bigger the dream, C.J.
(then to Peter)
Do you really have to smoke that
thing?
PETER
I'm practicing for when I'm rich.
The doorbell rings. They react. Halston looks to Margo:
MARGO
Relax.
She crosses to the door.
ANGLE IN LIVING ROOM
Margo moves toward the front door. Clifton and Turk look in
from the pool area, but she waves them off with a gesture.
ANGLE AT DOOR
She opens it, surprised to see the man standing there.
It's Michael. She takes him in with her eyes.
MARGO
Yes?
MICHAEL
Are you Margo Sheridan?
MARGO
Possibly. Why?
MICHAEL
My name's Michael Knight. I'm with
the Foundation for Law and Government.
MARGO
I gave at the office.
MICHAEL
Do you own a Silver Phantom, license
number 166 UEA?
MARGO
Why?
MICHAEL
If you do, I'd like to talk to you
for a minute. May I come in?
Margo hesitates, a private smile playing at the corners of
her mouth.
MARGO
I'll hold you to your word. One
minute.
ANOTHER ANGLE
as Michael enters, eyes all over the house, absorbing
everything he can. Margo follows him in.
MICHAEL
Nice house. Just the right amount
of pretentiousness.
MARGO
I feel better knowing you like it.
Now what can I do for you?
INTERCUT - DEN
Halston listens at the door, concerned. Behind him,
Jackson pulls a .357 Magnum from his belt, ready.
ANGLE IN LIVING ROOM
Michael sees the brothers outside, staring at him, ready to
enter at a gesture from Margo.
MICHAEL
Your Silver Phantom.
MARGO
Ah, yes. Unfortunately, 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
I'm touched by your concern for my
personal property.
He drifts toward the closed den door.
MICHAEL
Hard to get these days.
MARGO
Silver Phantoms?
MICHAEL
Cuban cigars. That is what I smell,
isn't it? Or is it Jamaican?
For the briefest moment she's caught off guard. Michael
uses it:
MICHAEL
Mind if I use your bathroom?
Before she can respond he's at the den door, opening it.
MARGO
Mr. Knight!
ANGLE IN DEN
Except for a lone figure standing innocently at the French
windows, it's empty. The figure turns. It's Halston.
Michael regards him, a touch of mock surprise.
MICHAEL
Doctor Halston, what a surprise.
(smiles)
I guess this is what's known as
private lessons.
Halston isn't intimidated.
HALSTON
Margo and I are old friends.
Over this, Margo gestures to the brothers. They come in
immediately.
MARGO
Your minute's up.
MICHAEL
(to Halston)
Sorry if I disturbed you.
HALSTON
Not at all. And incidentally,
you're right. It is Cuban.
ANGLE FROM LIVING ROOM
Michael closes the door as the brothers reach Margo, pause,
looming behind her.
MICHAEL
(to brothers)
Sorry if I interrupted your tan.
(to Margo)
Don't tell me. It's time to hit the
old books again.
Margo laughs, charmed by his aplomb.
MARGO
How did you know?
MICHAEL
Sixth sense.
MARGO
I do hate to rush you, you've livened
up an otherwise dull afternoon.
Perhaps another time?
MICHAEL
It's a crazy world.
MARGO
Isn't it?
Her smile is suggestive. Michael holds her look, then
turns and leaves. Margo watches him go. When the front
door closes, Halston appears from the den, no longer so
self-contained.
HALSTON
What was all that about?! How did
he get here?
MARGO
(thoughtful)
How isn't important. I want him
killed, David...and I know just how
I want to do it....
CUT TO
EXT. STREET - DAY
The Foundation semi rolls by.
BONNIE'S VOICE
Michael, you're wrong!
INT. SEMI - DAY
Michael and Bonnie are in a heated debate, monitored by
Devon.
BONNIE
Is that why you asked me here? To
spy on Dr. Halston?
MICHAEL
Bonnie, like it or not, he's
involved!
BONNIE
You don't know that!
MICHAEL
Then what was he doing at Margo
Sheridan's house? Why was he hiding
in the den?
(beat)
Bonnie, do you know who Margo
Sheridan is? We checked her out.
She's a free-lance agent in the
international market. She walks
both sides of the street.
DEVON
He's right, Bonnie. She brokers
everything from illegal arms to
top-secret documents without regard
for the consequences. Her only
criterion is money.
Bonnie glances away, stung by the information, its
implications.
BONNIE
If you were talking about anyone
other than David Halston...he's not
some maverick scientist, he's
nationally known. He conceived the
Tri-S Satellite, and developed its
micro-computer. He lectures across
the country...And more important,
Michael -- he's been good to me.
She stops, shakes her head. Softly, gently:
MICHAEL
Bonnie, I know this isn't easy, but
remember what you said when I showed
you the drone car's CPU?
She meets his eyes, nods.
BONNIE
Okay...what do you want me to do?
Michael smiles.
MICHAEL
Right now, nothing. We just want to
know you're with us if we need you.
BONNIE
Was there ever any doubt?
DEVON
No...only a moment's hesitation.
The bond is reaffirmed. On their looks:
CUT TO
EXT. GOLDEN FOX CLUB - DAY
This is a downtown club that 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 AND GIRL DANCER
as they do their version of the flashdance-strip. Sexy, but
all in good taste, of course. They're dynamite, turning the
small stage into great expectations. They're also just
rehearsing for that evening's performance, so they use 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, JACKSON 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
They're working their way through
college.
HALSTON
Let's hope they're going for their PhD.
(one last look,
then turns to
Bubba, all
business)
Do we have a deal?
Bubba's a bit nervous, especially by the silent and brooding
Jackson.
BUBBA
If my boss finds out....
HALSTON
But your boss is out of the country,
remember?
BUBBA
Lemme get this straight. All you
want to do is use the basement to
explore some old Chinese tunnels,
right?
HALSTON
That's right. What could be simpler?
Or more profitable for you? Fifty
grand, Bubba. Enough to put those
foxes out there through medical school.
JACKSON
But not half enough to pay your medical
bills if you start jerking us around.
Bubba wilts under Jackson's glare.
BUBBA
You guys archeologists or something?
HALSTON
Yeah. Well, Bubba? Do we have a
deal or not?
Bubba looks at Jackson one last time.
BUBBA
When do I get the money?
HALSTON
Bubba, you just made a very wise
decision.
Halston smiles, pops open a briefcase filled with money.
HALSTON
(to Jackson)
Bring in the equipment.
INT. CLUB AREA - DAY
as Halston passes the still dancing girls.
HALSTON
You'll be great assets to the medical
profession.
Without losing a beat:
CHERI
Come again?
He just continues out. She shrugs and returns to her art.
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.
K.I.T.T.
With C.J. Jackson involved, what
could it be other than a bank
robbery?
MICHAEL
Good question. But somehow my gut
tells me it's something else.
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 message for you.
MICHAEL
Anyone I know?
DEVON
Margo Sheridan.
Michael reacts.
DEVON
She said you...'intrigue' her, and
she wants to get to know you better.
She suggeted a rendezvous at the
Twin Peaks area, and then an
'intimate afternoon' at her nearby
mountain retreat.
MICHAEL
Sounds interesting. Anything else?
DEVON
What more were you expecting? Be
careful, Michael. It could be a
trap.
MICHAEL
Margo?
(shrugs; grins)
Devon!
(grin fades)
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. A Caddy, Margo's car, waits at the far end.
ANGLE ON ROAD UP
K.I.T.T. appears.
ANGLE AT TWIN PEAKS
K.I.T.T. approaches.
ANGLE ON HIDDEN SIDE ROAD
The missile-armed drone lurks, waiting.
ANGLE IN HUNTER'S POINT ELECTRONICS BUILDING
Halston sits at his computer, flanked by monitors. We see
K.I.T.T. approaching.
ANGLE IN CADDY
Margo waits, watching K.I.T.T. approach. She's enjoying
herself thoroughly.
ANGLE IN K.I.T.T.
Michael sees the Caddy, looks around, wary.
MICHAEL
Scan that car, Kitt.
INTERCUT - MONITOR
K.I.T.T.
It's Margo, and she's alone.
WIDER ANGLE
K.I.T.T. is halfway to the waiting Caddy when:
ANGLE ON DRONE
It suddenly accelerates from it's hidden spot.
ANGLE IN K.I.T.T.
K.I.T.T.
Michael! To our left!
Michael reacts.
ANGLE ON DRONE
It heads directly for K.I.T.T.
ANGLE ON HALSTON
He activates a switch from "stand-by" to "fire."
ANGLE ON DRONE
The missile fires.
ANGLE IN K.I.T.T.
Michael hits Turbo Boost.
WIDER ANGLE
K.I.T.T. lifts into the air as the missile whistles beneath
him, exploding harmlessly into the hillside.
INTERCUT - MARGO
She reacts, angry, disappointed, but knowing there's more
to come.
ANGLE ON HALSTON
Frustrated, determined, he repositions the drone.
ANGLE IN K.I.T.T.
Michael twists the wheel, narrowly avoiding the pursuing
drone.
K.I.T.T.
He has another missile, Michael!
MICHAEL
I read you, buddy.
WIDER ANGLE
Michael takes a sharp turn.
ANGLE ON MISSILE
It fires.
ON HILLSIDE
another miss.
INTERCUT - MARGO
more frustration, growing anger.
ANGLE ON K.I.T.T.
as the drone angles in right behind him.
K.I.T.T.
Michael, he's too close. He's zeroing
in on my exhaust system.
MICHAEL
We're in this together, buddy. You
and me, all the way!
ANGLE ON MISSILE
It fires.
ANGLE IN K.I.T.T.
K.I.T.T.
Sorry, pal. Forgive me!
K.I.T.T. activates "Eject Left."
UP ANGLE
Michael is ejected. (Note: This is out of Margo's line of
sight making use of whatever is at location to keep Michael
covered.)
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.
ON MARGO
Satisfied Michael's dead, she follows the drone off.
ANGLE ON MICHAEL
He collects himself as the drone speeds away, followed by
the Rolls.
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? Kitt!
Silence.
FREEZE FRAME
FADE OUT
END OF ACT FOUR
ACT FIVE
FADE IN
EXT. TWIN PEAKS - DAY
K.I.T.T. is being pulled up into the Foundation semi via an
electric winch, operated by Bonnie. The more damage she
sees the worse she feels.
BONNIE
Oh, Kitt...he really did it to you
this time....
ANGLE ON DASH
A single light blinks, weakly.
K.I.T.T.
(slow,
distorted)
Bonnie...?
WIDER ANGLE
Bonnie reacts, crosses to the window.
BONNIE
Kitt? Did you say something?
K.I.T.T.
Bonnie...is that you?
BONNIE
It's me, Kitt. I'm here.
K.I.T.T.
I feel so...weak. Where are we?
Everything is so dark...is it night?
She tries not to show her distress.
BONNIE
Yes. Don't worry, I'll take care of
you.
K.I.T.T.
I don't know what I'd do without
you, Bonnie...I don't know...I
don't...I....
Silence. The light flutters, goes off. Bonnie returns to
her work, determined.
INT. SEMI - DAY
Michael and Devon, pacing. Michael is dishevelled, bruised
from the incident. He changes shirts over:
DEVON
Michael, you can't!
MICHAEL
(angry)
Why not? That house is the hub,
Devon. So's Margo. I'm tired of
being an Indian circling the fort
and getting shot at.
DEVON
What you intend to do is certainly
no solution. Quite the opposite.
All you'll succeed in doing is
presenting them with a better target!
MICHAEL
If that's what it takes, that's what
it takes.
He finishes dressing. Devon sighs, hopeless.
CUT TO
INT. SEMI - DAY - OPERATING TENT
Bonnie is inside K.I.T.T., who's only a little cleaner than
when he was hauled in. She's tense but determined.
BONNIE
Thank heavens your Self Diagnostic
Routine is still intact. Let's see
what the damage is.
Intercut Monitor:
to show graph of damage.
BONNIE
It's worse than I thought, you poor
thing...how could anyone do this to
you?!
(studies graph)
At least a dozen of your CPU
components are short-circuited...most
of your memory bank has been destroyed
...and your miniature relays have been
badly damaged.
(shakes her
head)
Well, I'm going to make you as good
as new, Kitt...No! I'm going to
make you better!
She gets out and starts to work.
CUT TO
INT. MANSION - DAY
Margo is lounging in something comfortable and sexy. The
twins are pumping iron, one spotting the other.
MARGO
Can't you exercise without all that
grunting?
The doorbell rings. She rises, crosses to the door.
ANGLE AT DOOR
She opens it, reacts, shocked.
ANOTHER ANGLE
There stands Michael, a dozen roses in one hand, a bottle
of Dom Perignon in the other. He smiles.
MICHAEL
Guess we got our wires crossed. I'd
have sworn you said Twin Peaks.
Margo struggles to regain her composure.
MARGO
Twin Peaks...yes...I'm sorry...did
you wait long?
MICHAEL
As it turned out, I had enough to
keep me busy. May I come in?
MARGO
Of course. By all means.
ANOTHER ANGLE
The twins are frozen in midworkout; staring at him.
MICHAEL
Hi, guys.
(to Margo)
I was hoping for a little more
privacy.
MARGO
(to twins)
Go chase a bone. And take those
weights with you.
They glare at Michael, pick up their weights and leave.
Michael smiles at Margo.
MICHAEL
Didn't catch you at a bad time, did
I?
MARGO
No...as a matter of fact, you
couldn't have picked a better time.
She takes the flowers, puts them on the table. Then the
champagne. Then, smiling seductively, she puts her arms
around him and kisses him.
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 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 in the first place.
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.
HALSTON
Good. I'd hate to think we did
everything right but dig fast
enough. Show me where we are.
They consult the map.
JACKSON
We're about right here -- I'd say
another fifteen or twenty feet.
HALSTON
Incidentally, if you were concerned
about Michael Knight, don't be. He
and that car of his met with an
unfortunate accident earlier this
afternoon. Now nothing stands in
our way...except fifteen feet of
dirt.
CUT TO
INT. MANSION - DAY
Pan up from the roses, now in a vase, to the bottle of
champagne, almost gone. Now a hand lifts it and we see
Michael and Margo on the sofa, close. Michael pours the
last of it into their glasses.
MARGO
So tell me, what do you do, Michael
Knight? Besides trace missing cars
and tempt lonely women?
MICHAEL
You strike me as anything but lonely.
She laughs, curls up closer to him, nibbles at his ear.
MARGO
If you mean Clifton and Turk you're
mistaken. They're overgrown children.
They'd be lost without me.
MICHAEL
What about David Halston? Would he
be lost without you, too?
MARGO
David? No, he's terribly self-
sufficient.
MICHAEL
And possessive.
MARGO
Why do you say that?
MICHAEL
I saw the way he looked at you.
MARGO
Probably because he saw the way I
looked at you.
She kisses him, pauses.
MARGO
Is something wrong?
MICHAEL
To tell you the truth, I feel a
little like the baby-sitter's
boyfriend -- you know, afraid the
kids'll pop in any minute.
She laughs, regards him for a moment.
MARGO
I have just the place in mind. It's
very private.
She kisses him, then rises, crossing toward the bedroom.
MARGO
Give me five minutes.
MICHAEL
I'm counting.
She smiles, disappears into the bedroom. As soon as the
door closes, Michael is on his feet.
ANOTHER ANGLE
He quickly checks the house, looking for the twins.
They're nowhere to be seen. He hears the shower go on in
Margo's bedroom suite. It's now or never. He quickly
crosses for the den.
ANGLE IN DEN
The door opens and he comes in, softly closing it behind
him. He goes to the computer desk, rifles through it.
Pauses, something catching his eye. He lifts it out.
CLOSE ON CPU
It's identical to the one he retrieved from the drone car.
He slips it into his pocket. Suddenly the sound of a door
opening.
WIDER ANGLE
Margo stands in the doorway, flanked by the twins.
MARGO
You were right. The kids did pop
in....
With that she steps aside and they charge in.
VARIOUS ANGLES - THE FIGHT
It starts in the den, spills back into the living room.
What the twins lack in speed they make up for in sheer size
and power. Michael uses every move he knows, from street
fighting to karate, several times narrowly avoiding being
crushed to death by huge arms. Margo urges them on, imperi-
ous and demanding. Michael ducks a punch, karate chops out
of a bear hug and runs for the front of the house.
EXT. FRONT OF HOUSE - DAY
Michael crashes through a bay window in slow motion, hits
the ground in a tuck-and-roll and comes up running.
CUT TO
EXT. STREET - NIGHT
The semi rolls by.
MICHAEL'S VOICE
This is it, Devon....
INT. SEMI - NIGHT
Michael and Devon in the front area. Michael is holding
the CPU. He's got another bruise or two but otherwise
looks all right.
MICHAEL
All we need to tie Halston to the
drone.
DEVON
If Bonnie can break it down to its
components, its programs.
BONNIE'S VOICE
I'll have to use the facilities at
the university.
WIDER ANGLE TO INCLUDE WORK AREA
or, rather, what we see of it; it's been screened off by a
white curtain, as in an operating room. The trac lights
above are bright and intense.
MICHAEL
I'll go with you.
BONNIE'S VOICE
Thanks, but I'd rather go alone.
MICHAEL
No way! It's too dangerous.
Bonnie pokes her head out.
BONNIE
I can take care of myself. Besides,
I'll be able to work a lot faster
without you there to get in my way.
Micro torque, please.
She disappears again behind curtain.
MICHAEL
What?
BONNIE'S VOICE
The micro-torque ratchet. It's next
to the exhaust alternators.
DEVON
(picks it up)
I believe this is the object in
question.
Her hand appears through curtain.
MICHAEL
Thanks.
He slaps it into Bonnie's outstretched hand. The hand
disappears.
INT. OPERATING TENT - NIGHT
Bonnie, dressed in white coat, works on K.I.T.T.'s dash
area. The hot bright lights coming through the open top.
(Note: We will not see any of K.I.T.T.'s new dash at
this point.)
BONNIE
There's a laser diode there in
the middle.
Intercut as needed.
MICHAEL
(searches
counter for)
Laser diode...laser....
(picks
it up)
This close enough?
Passes it through.
BONNIE
Thanks.
MICHAEL
Wouldn't it be easier if I just
came in there with you?
BONNIE
No.
MICHAEL
I'd scrub down. Honest. Devon
could certify me germ-free.
Silence. Devon smiles. Michael shrugs.
MICHAEL
Guess not.
(slight beat)
This is almost like old times.
BONNIE
Don't kid yourself.
DEVON
Bonnie, we are on a tight schedule.
How much longer?
BONNIE'S VOICE
He's finished, but I haven't checked
out all of his systems yet.
DEVON
In that case, I'll arrange for
transportation to the university.
Kitt's final checkout will have to
wait.
Bonnie steps out.
BONNIE
On one condition.
(to Michael)
No peeking.
MICHAEL
(an innocent
gesture)
Hey....
CUT TO
INT. UNIVERSITY LAB - NIGHT
Dark. Silent. Then a key in a door, it slowly opens and a
figure slips in. One bank of lights flicker on. We see
the figure is Bonnie. She has the CPU with her, crosses to
the bank of computers, and begins work.
CUT TO
INT. SEMI - NIGHT
Devon is on the phone. Michael is nearby watching him.
Both men terribly concerned about Bonnie.
DEVON
I'm sorry to hear that. Yes, thank
you for calling, Lieutenant.
He hangs up.
MICHAEL
Well?
DEVON
A girl by the name of Su-Lin was fished
out of the bay earlier this evening.
MICHAEL
Su-Lin? That's Peter Wong's girl
friend!
DEVON
That's right. The police believe she
was killed someplace else, but they
have no motive yet.
MICHAEL
Motive, Devon?! She was in love with
the wrong guy. Probably knew a little
too much.
DEVON
One thing for sure, these people are
playing for keeps.
MICHAEL
Two things for sure, Bonnie's been
gone over an hour already. An hour
and seventeen minutes to be exact.
ANGLE TO INCLUDE K.I.T.T.
He glistens under the hot lights immaculate, virginal.
Michael whistles, crosses to the driver's door.
DEVON
Remarkable.
MICHAEL
Kitt? Is that you?
K.I.T.T.
It's me, Michael.
ANGLE IN K.I.T.T.
as Michael slides in, looks over the instrument panel.
MICHAEL
Hey, pal. Looks like you got a
facelift.
K.I.T.T.
Bonnie added some new functions.
DEVON
She said she 'whipped up a few
things between classes.'
MICHAEL
Just the little chef. Let's take a
look.
He starts K.I.T.T. The instrument panel comes to life, a
fairyland of LED displays and functions.
MICHAEL
Wow.
K.I.T.T.
(modestly)
Thank you.
Michael examines the various buttons:
MICHAEL
Now if I only knew what some of these
things did.
K.I.T.T.
Only one way to find out, Michael...
but don't push Turbo Boost!
DEVON
I see he hasn't lost his sense of humor.
MICHAEL
All right...
(selects buttons)
I.G.P.
Pushes it.
INTERCUT - MONITOR
with various graphics to demonstrate:
K.I.T.T.
That stands for my new Three-
Dimensional Interactive Graphics
Plotter.
MICHAEL
You gotta be kidding.
K.I.T.T.
Let's say we run up against someone
wearing a disguise, and want to find
out who he really is. Like this man
here ---
The man really looks villainous, moustache, glasses, slick
hair, scar, the works.
DEVON
I hope you don't run up against him
in a dark alley.
K.I.T.T.
I'll simply break down his face with
my I.G.P....
We see this on monitor, then back on Michael and Devon.
K.I.T.T.
Then activate my Linear Predictive
Graphics Routine...And voila -- a
Three-D reconstruction of the real
face.
ANGLE ON MONITOR
It's Devon.
BACK TO SCENE
MICHAEL
You're right, Devon -- I wouldn't
want to run into him in an alley.
Let's see what else you've got,
buddy.
He begins pushing buttons as:
K.I.T.T.
That's my Thermo-Dynamic System.
MICHAEL
Sounds hot.
K.I.T.T.
That little flashing red light,
Michael, represents three thousand
degrees Fahrenheit. Enough to
expand and eventually melt steel.
Pressing another button:
MICHAEL
E.G.M.?
K.I.T.T.
Electrical Generating Mode.
Intercut monitor:
K.I.T.T.
Puts out enough current to power a
small city.
MICHAEL
Shocking.
K.I.T.T. gets carried away ---
K.I.T.T.
And then there's my new Polyphonics
Synthesizer, which allows me to
duplicate any sound on earth.
Various sounds: Explosions, jungle sounds, thunder,
lightning, traffic, etc., until:
MICHAEL
Whoa, pal, I'm convinced...now let's
go get Bonnie.
EXT. ROAD - NIGHT
As the semi rolls past, the tailgate lowers and K.I.T.T.
rolls out, hits the pavement and accelerates.
CUT TO
INT. UNIVERSITY LAB - NIGHT
It's dark except for a single bank of lights over the work
area, where Bonnie labors over the CPU.
DIFFERENT ANGLES
Using the big computer, she breaks the programs down, one
by one.
CLOSE ON BONNIE
She discovers something, reacts. A mixture of feelings.
ANGLE FROM PHONE
She rises, steps to it and dials a number.
BONNIE
(into phone)
Devon, it's me. Michael was right.
Halston might as well have autographed
the CPU. He used a microchip he
designed for the Tri-S -- it's not
even in production yet....
The line suddenly goes dead. Bonnie reacts.
WIDER ANGLE
Halston's finger is on the button. She screams but it's
choked off as his hand covers her mouth. On her face:
FADE OUT
END OF ACT FIVE
ACT SIX
FADE IN
EXT. GOLDEN FOX - NIGHT
The hot lights are flashing. We hear music from inside.
INT. GOLDEN FOX - NIGHT
The camera moves through the small crowd, holding several
exciting beats on the Golden Fox dancing on stage, then
continuing toward the rear and into the back room.
INT. BASEMENT - NIGHT
as the camera moves into the tunnel.
INT. TUNNEL - NIGHT - OPEN CLOSE ON THE HIGH-POWERED DRILL
Jackson continues out to cut through the earth as Peter
shovels. Then they both stop to take a very needed break.
PETER
My great grandfather spent half his
life in tunnels, and I end up doing
the same thing. Only in America.
Well, I quit!
He throws down the shovel.
JACKSON
Pick it up.
PETER
I'm a wire man, not a tunnel digger!
JACKSON
(fixes him
with a look)
You're either a tunnel digger...or a
grave digger, take your pick.
Beat, and Peter picks up his shovel.
JACKSON
Now shovel.
Jackson looks at him a hard beat and goes back to work.
Peter returns to his shoveling.
OMITTED
INT. COMPUTER RESEARCH AND DEVELOPMENT CENTER - NIGHT -
ON MICHAEL
as he looks about Bonnie's lab bench searching for some clue
to her disappearance.
ANGLE TO INCLUDE DEVON
hurrying in. Both men are terribly upset:
DEVON
The police have put out an APB for
her, and I've also notified campus
security to search the entire grounds.
MICHAEL
The CPU is also missing. Halston
must've surprised her while she
was talking to you, and kidnapped
her.
DEVON
I'm sure you're right, Michael. The
question is -- where did he take her?
MICHAEL
That's what I'm going to find out,
Devon. One way or another.
He hurries from the lab.
CUT TO
EXT. INDUSTRIAL SITE - NIGHT
It's deadly quiet.
INT. INDUSTRIAL SITE - NIGHT - ON BONNIE AND TURK
as he holds her tightly by the arm. She struggles:
BONNIE
Let go of me, you ugly anthropoid!
TURK
I've been called worse things...I
think.
ANGLE ON MARGO AND HALSTON
a short distance away. Halston prepares a sedative. Margo
wears a full length fur and diamonds, looking somewhat out
of place but still beautiful. Both Clifton and Turk are
also nicely dressed.
MARGO
What are you going to do with her?
HALSTON
This will put her out for a long
time.
He draws the liquid into the syringe.
MARGO
Not long enough.
HALSTON
I'm not going to kill her if that's
what you're getting at.
MARGO
If you haven't got the guts for it,
I'm sure one of my little playmates
would be more than glad to oblige.
HALSTON
Margo...I might be a lot of things,
but a murderer isn't one of them.
MARGO
David...as long as I'm in charge
here....
(gently strokes
Clifton's bulging
arm)
And I am in charge here...you are
exactly what I say you are.
(holds him
with a look)
Just make sure she doesn't get in
our way.
Beat, then he moves toward Bonnie with the syringe.
ANGLE TO INCLUDE BONNIE, TURK, OTHERS
Bonnie begins to struggle again. To Halston:
BONNIE
You can't do this to me. I always
looked up to you....
HALSTON
Hold her arm.
Turk tightens his hold to secure her arm.
BONNIE
Respected you, I never dreamed you
could be....
He gives her the shot.
BONNIE
Involved in something...
(feeling dizzy)
something...like this. How....
She begins to fall and Turk picks her up.
HALSTON
Put her on that cot over there.
Turk carries her unconscious form to a small cot. Margo
moves to David:
MARGO
I talked to my contact a little
while ago. I assured him nothing
would go wrong.
HALSTON
And nothing will.
MARGO
For your sake, David, I hope not.
(smiles)
Ready boys? I smell rain in the
air. Tonight you'll sleep inside.
They follow her out.
ANGLE ON HALSTON
watching them leave.
CUT TO
EXT. MANSION - DAY - ON K.I.T.T.
as he approaches the wrought iron gate. It's very early
morning, the house is still.
INT. K.I.T.T. - DAY
troubled:
K.I.T.T.
Do you really think those two
gorillas know where Bonnie is,
Michael?
MICHAEL
Yes...but knowing and telling are
two different things.
K.I.T.T.
I'm sure you'll figure out a way to
make them talk.
MICHAEL
Thanks for the vote of confidence,
pal.
He gets out.
EXT. MANSION - DAY - ON MICHAEL
as he looks about, trying to come up with a plan. Then his
eyes fall on the wrought iron fenced gate.
MICHAEL
Kitt, let's have that new voltage
induction coil of yours.
ANGLE ON INDUCTION COIL
as it comes shooting out, landing near Michael. It's a
thin, highly polished wire, with a small clamp on the end.
FULLER ANGLE
as Michael is about to clamp it onto the fence:
K.I.T.T.
Michael!
ON K.I.T.T.'S MONITOR
K.I.T.T.
My scanner tells me if you so much
as touch that fence it's going to
activate an alarm inside.
BACK TO SCENE
MICHAEL
I sure hope so.
He clamps it to the base of the fence.
CUT TO
INT. DEN - DAY - ON BANK OF MONITORS
as a red light mounted on top begins flashing, accompanied
by a buzzing sound.
FULLER ANGLE ON CLIFTON AND TURK
both are in exercising shorts, T-shirts and pressing
weights. They react to the alarm, hurry to view the
monitors.
INSERT - MONITORS
Several views of the grounds, but no sign of Michael or
K.I.T.T. One monitor, however, does have a flashing blip
on a grid, telling exactly where the break in security is.
FULLER ANGLE
CLIFTON
It's at the back fence. Probably
just a squirrel again, I'll go check
it out.
He leaves. Turk goes back to his pressing.
EXT. GROUNDS - DAY - ON CLIFTON
He's moving toward the fence, when he suddenly sees
something and stops.
WHAT HE SEES - MICHAEL
just inside the fence, and looking around. He sees Clifton.
FULLER ANGLE
as Michael runs for the fence, with Clifton not far behind.
ANGLE ON MICHAEL
grabbing hold of the top of the fence he swings across to
the other side. Into comlink:
MICHAEL
Kitt, time to try out your new
Electrical Generating Mode.
ON ELECTRICAL GENERATING MODE BUTTON
It lights up.
ON VOLTAGE GAUGE
to show amount of power being generated.
ON COIL WIRE
to hear the surge of electricity traveling toward the clamp.
ANGLE ON FENCE, CLIFTON, CLAMP
as Clifton reaches the fence, and puts his hand on the top
bar to jump over, only to have the sizzling, sparking
electricity secure his hand to the bar. He can't let go,
begins to vibrate as the controlled current courses through
his body.
MICHAEL
'Morning, Clifton...electrifying
day, don't you think?
Michael smiles; Clifton continues his vibrating dance.
CUT TO
INT. DEN - DAY
Turk, curious why his partner hasn't returned, glances at
the monitors again and goes to look for him.
EXT. GROUNDS - DAY - ON TURK
following the path Clifton traveled before, and stopping
dead in his tracks.
WHAT HE SEES - HIS BUDDY
dancing up and down, trying to speak, but unable to.
Michael is nowhere in sight.
BACK TO SCENE
Turk scratches his head and runs to Clifton's aid.
TURK
You got something in your shorts?
He takes Clifton's hand...and now he too is jumping up and
down as the current passes from the fence, through Clifton
and into Turk. Sort of a cross between the minuet and St.
Vitus dance.
ANGLE TO INCLUDE MICHAEL
appearing from behind a tree, as K.I.T.T. also drives up
from having taken cover a short distance away.
MICHAEL
Hey, that's pretty good. You guys
keep practicing and I might be able
to get you two weeks in Vegas.
(the jokes
are over)
Now I'm going to ask you one question
...one time...and you better come up
with the right answer. Where's Bonnie?
They make no attempt to answer.
MICHAEL
Suit yourself. Kitt, give them a
little more juice.
ON K.I.T.T.'S VOLTAGE GAUGE
going up and up.
BACK TO SCENE
Clifton and Turk are dancing all the faster now, showing
the effects of the increased voltage, and their hair is
even beginning to stand on end.
MICHAEL
Where's Bonnie?
No attempt to answer.
MICHAEL
Kitt.
ON VOLTAGE GAUGE
going higher.
BACK TO SCENE
MICHAEL
Where's Bonnie?
Their hair is straight on end now, their eyes bulging, and
their shorts are even beginning to smoke.
MICHAEL
Where's Bonnie?
ON CLIFTON AND TURK
with their last bit of effort, they both indicate they want
to talk by moving their mouths very quickly, shaking their
heads yes.
MICHAEL
Bring it down a little, Kitt.
ON VOLTAGE GAUGE
going down.
BACK TO SCENE
Their hair is going down, too, and they don't dance as
fast.
MICHAEL
Where's Bonnie?
CLIFTON
Atttaaaa theeee boooaaattt
yaaarrrddd.
MICHAEL
What boat yard?
TURK
Huuunnnttterrr'sss Ppppoooiinnttt.
MICHAEL
What building?
They don't answer.
MICHAEL
Kitt!
ON GAUGE
going up.
BACK TO SCENE
they quickly talk.
CLIFTON
Tthhee eellecttrronniccs builddinngg.
MICHAEL
Got that, Kitt?
K.I.T.T.
Yes, Michael, the electronics
building at Hunter's Point.
MICHAEL
Notify Devon to alert the authorities,
and have them send someone to pick
up the electric muscle heads here.
Accessories to kidnapping.
Michael heads back toward K.I.T.T.
ANGLE ON CLIFTON AND TURK
doing their dance.
CUT TO
EXT. INDUSTRIAL SITE - DAY
We pan the tops of the buildings to see a SWAT team in
position on the roofs.
Pan down to:
THE GROUND
to see police cars waiting to move in.
ANGLE ON MICHAEL
seated inside K.I.T.T. Devon stands next to him. (Note:
This is a big rescue operation, so precautions should be
taken according to police procedures, with regard to the
victim's safety.) Devon glances around:
DEVON
It's too quiet, Michael...I don't
like that.
MICHAEL
Your scanner still hasn't picked up
anything, buddy?
K.I.T.T.
I'm sorry, Michael, even with my new
A.T.X. Surveillance equipment, there's
just too much electrical interference
around here for me to tell if there's
anyone inside or not.
Michael looks the place over, then makes his decision:
MICHAEL
All right...let's take a first hand
look.
(punches the
right buttons)
Tell 'em we're going in, Devon.
DEVON
Good luck.
Devon moves off to the uniformed officer in charge.
INT. K.I.T.T.
MICHAEL
Ready, pal?
K.I.T.T.
Ready, Michael.
MICHAEL
Let's do it.
He drives to his position.
VARIOUS ANGLES
as Michael picks up speed and crashes through the large
doors.
INT. INDUSTRIAL SITE - DAY
as K.I.T.T. comes crashing in, and fishtails to a stop.
CLOSER ON MICHAEL
as he jumps from the car, spins around, covering every
section. The disappointment clearly seen in his face.
MICHAEL'S POINT OF VIEW - ROOM
It's empty. Even the equipment and the drone cars have
been moved out. And Bonnie is nowhere in sight.
BACK ON MICHAEL
a pained, disheartened expression, as we:
FADE OUT
END OF ACT SIX
ACT SEVEN
FADE IN
EXT. GOLDEN FOX - DAY
It's early evening, 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
Peter is working to neutralize one of the many alarms
seated into the wall of the vault. It's delicate, pain-
staking work, but Peter's a genius at it. Even Jackson
observes him with some admiration.
JACKSON
Where did you learn how to do that?
PETER
It's something you have to be born
with. Like having an ear for music.
JACKSON
Then I have to admit...you're Prince
and Rod Stewart rolled into one.
PETER
(smiles)
Coming from you, C.J., that's a real
compliment.
Then they both react to someone approaching.
ANGLE TO INCLUDE HALSTON
coming toward them carrying the unconscious Bonnie. She's
partially covered with a raincoat, her ankles and wrists
tied.
PETER
Now that's what I call room service.
Did you bring one for C.J.?
HALSTON
Don't get any ideas.
He places her on the ground.
JACKSON
What's this all about?
HALSTON
It's a long story. But don't worry,
by the time she comes to we'll be
far away from here. How's it coming?
PETER
I should have these alarms neutral-
ized in a couple of hours.
HALSTON
(to Jackson)
The vault?
JACKSON
By daybreak. Right on schedule.
HALSTON
Excellent. Then I better let you
get back to work.
He starts to leave.
JACKSON
What if she comes to before we
finish.
Halston stops, turns.
HALSTON
She won't...but if she does...
(glances
at her)
I'm sure you can handle it, C.J.
They exchange looks, and Halston continues out. Jackson
looks at Bonnie:
JACKSON
No sweat.
Peter looks at him, then continues on the alarms.
CUT TO
EXT. COUNTY PRISON - DAY - ESTABLISHING
K.I.T.T. is parked outside.
INT. CELL AREA - DAY - ON MICHAEL
as he moves to one of the cells, looks inside. He's
carrying a rod-like, space-age instrument, the "real" use
of which we will discover later.
MICHAEL
Feeding time.
ANGLE INTO CELL
where we see Clifton and Turk. They're not overjoyed at
seeing him, especially when they spot the instrument. In
fact, they become clearly nervous. What the hell is it?
MICHAEL
How are they treating you?
They all but growl. He begins using the instrument as a
pointer, emphasizing his words.
INTERCUT AS NEEDED
MICHAEL
Hey, come on, fellows, no hard
feelings.
Clifton and Turk are becoming "real" nervous about that
instrument.
MICHAEL
Look, I just wanted to see that you
were all right.
(taps the
instrument
against the
cell bars)
My motto is, let bygones be bygones,
win some, lose some, every dog has
its day...
(notices their
eyes are glued
to the
instrument)
Oh, this? Just a little pain
inducer.
TURK AND CLIFTON
Pain inducer?!
MICHAEL
State of the art. It's part of a
computerized program to test tolerance
levels. This little adjustment here
goes from -- drilling into the nerve
of a bad tooth to being burned at the
stake.
(points it
at Turk)
Which would you prefer?
Turk's mouth drops open.
MICHAEL
Well, then, why don't we just start
with the ol' drill-to-the-nerve-bit,
and work our way up the ladder.
As Michael starts to make the adjustment:
TURK
What-d-ya-wanna-know?!
MICHAEL
Why did you kill that old man in
Chinatown?
CLIFTON
We didn't kill anyone!
MICHAEL
The police found your fingerprints,
and someone ID'd you leaving his
herb shop.
No response.
MICHAEL
Okay, suit yourself, but let's
skip number one and go straight to --
(shudders)
Unlucky thirteen.
He makes the right adjustment, aims the instrument.
TURK
Margo told us to get his maps!
MICHAEL
What maps?!
CLIFTON
Of the Chinese tunnels!
MICHAEL
Why did she want maps of the Chinese
tunnels?
TURK
We don't know.
Michael points the instrument at Turk. He's petrified, but:
TURK
She didn't tell us!
CLIFTON
That's the truth!
They both stand with their fists clenched in front of them,
like small children waiting to be paddled, shaking, their faces
scrunched up, fearing the worst, when Michael suddenly
relaxes:
MICHAEL
Thanks, boys.
(starts to
leave, but
stops)
Oh, by the way --
(re instrument)
You ought to buy one of these styling
combs. Great for the hair.
And he runs it through his own hair, using it for what it
really is. Grins, and goes off, leaving Clifton and Turk
very, very angry.
OMITTED
EXT. MANSION - POOL AREA - DAY (DUSK)
Margo looks beautiful, having just taken her swim before
her evening cocktail. She wears an open swim top over her
bathing suit. Halston is with her, but we get the feeling
he'd rather be somewhere else. He's fully dressed.
MARGO
You assured me nothing would go
wrong!
HALSTON
I assured you you'd be able to make
delivery on schedule, and you will.
MARGO
And what about my little pets? They
were this far from being housebroken.
HALSTON
Clifton and Turk? You should've had
your lawyer bail them out.
MARGO
I tried, but they refused bail.
HALSTON
I can't understand why.
She stands near the edge of the pool. He goes to her.
HALSTON
Margo, they didn't know anything
about our plans. If they did, and
talked, the police would be here
right now. As for their other
talents...
(touches her
beautiful face)
I'm already housebroken.
MARGO
That's what's wrong with you, David
...you were born housebroken.
A slight push, and Halston is in the pool. Margo looks at
him disdainfully and heads for the house.
EXT. SEMI - NIGHT - MOVING
INT. SEMI - NIGHT
Michael and Devon are in front of the computer/monitor.
K.I.T.T. nearby.
DEVON
The Chinese immigrants who first
came to San Francisco honeycombed
the city with tunnels. They created
a whole underground to smuggle in
illegal immigrants!
MICHAEL
Kitt, access everything you've got
on the Chinese tunnels underneath
the city.
A complicated maze of tunnels suddenly appears:
K.I.T.T.
The Chinese tunnels, Michael.
MICHAEL
Now pinpoint the location of major
vaults.
K.I.T.T.
How major is 'major'?
MICHAEL
Anything designed to safe keep over a
million dollars.
K.I.T.T.
In this day of inflation that might
take some time.
MICHAEL
Time's what we're running short of,
Kitt, step on it.
INT. TUNNEL - NIGHT
Jackson has only one more hole to drill in the vault to
complete the entry circle, when he glances over at Bonnie:
JACKSON
Well, what do you know...the
sleeping princess is awake.
He puts down the drill and moves to her. As for Peter,
he's nearby studying the old maps with renewed interest.
ANGLE ON BONNIE
Tired, afraid, she instinctively withdraws as Jackson comes
closer.
JACKSON
Don't be afraid, I'm not going to
hurt you.
BONNIE
Then let me go!
JACKSON
(slight laugh)
Can't do that, but I can give you
something to drink.
BONNIE
(hard)
No, thanks.
JACKSON
Suit yourself.
ANGLE ON JACKSON
as he digs for a beer among the goodies brought down by
Halston. Finds one, pops it, but as he's about to drink he
sees something hidden behind the toolbox.
JACKSON
How long has this been here?
He reaches in...and pulls out a ghetto blaster. Peter
barely looks at it, so involved is he with the maps now.
PETER
Guess Halston wanted us to rock and
work.
JACKSON
Sure...after all the work's done.
He places it on a ledge, turns on some rock.
PETER
C.J...something's wrong here.
Jackson moves to where Peter's studying the maps.
JACKSON
What?
Over these next few speeches:
THE RADIO
turns into our old robot friend, still playing rock.
Intercut as needed, including Bonnie's reactions.
PETER
We've dug in the wrong direction.
JACKSON
What are you talking about?
PETER
See for yourself.
(pointing out)
Here's the club...Here's where we
started, but right about here Halston
told us to turn left...the bank is
over here to the right.
JACKSON
You crazy?!
The robot is turning toward them. The ledge is equal to
their height -- at least Peter's.
PETER
I'm down here in the tunnel with a
killer, digging in the wrong
direction, and you ask me if I'm
crazy?!!
(contrite)
Sorry, brother.
But Jackson is more interested in studying the maps, and
sees that Peter is right. He points behind him:
JACKSON
Then what's in that vault there?
They turn toward the vault...but spot the robot. React.
CLOSER - ROBOT
as a little puff of smoke shoots from his finger, at Peter,
and Peter goes out after the slightest struggle. Then the
robot turns toward Jackson. As for Bonnie, she's turned
away from the puff of smoke.
FAVORING JACKSON
who has already covered his nose and mouth with a rag, and
now attacks the robot.
VARIOUS ANGLES
as Jackson kicks it, knocks it down, and stomps the hell
out of it, until the robot's wires, and computer parts are
hanging out. It's dead. Exhausted, Jackson rests against
the wall, but for only a second, as:
HALSTON'S VOICE
I had a feeling it wouldn't be much
of a match.
Jackson spins, looks.
ANGLE TO INCLUDE HALSTON
having come from up the darkened tunnel...and holding a
gun. From the guts:
JACKSON
What's this all about?
HALSTON
About C.J.? It's about getting what
you want in life, what's rightfully
yours.
JACKSON
(points)
The bank vault is that way!!
HALSTON
Oh, I know that...but it's not money
I'm after. If it were, I could
simply peddle my inventions. No
...just as poor Peter over there
wanted his name on Fong's Delight
...the recognition that he created
it...I want the world to know that
I created what's in that vault over
there.
JACKSON
And what's that?
HALSTON
The Surveillance and Strike Satellite.
It was my conception...I designed it
...gave it life...and if our govern-
ment won't give me my due credit,
then I'm sure another government will.
No, it's not money I'm after, C.J...
but glory...and power.
Beat, and then Jackson sees his chance and goes for Halston's
gun. It was an ill-conceived move, as Halston drops him with
a single shot, then turns to Bonnie, who tries desperately
to control her fears.
BONNIE
You're insane.
HALSTON
Perhaps...and all the more reason
for you to behave yourself.
A little smile, even a bit sick, and then he picks up the
drill and continues where Jackson left off. On Bonnie's
terrified look, we ---
FADE OUT
END OF ACT SEVEN
ACT EIGHT
FADE IN
EXT. SEMI - DAY
It's early dawn as the semi moves down an almost deserted
highway.
K.I.T.T.'S VOICE
Sorry it took so long, Michael....
INT. SEMI - DAY
An exhausted Michael and Devon move quickly to the computer
monitor.
K.I.T.T.
Here are the locations of all the
major vaults.
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, which, however is
not pulsating.
MICHAEL
The dot center -- screen left --
why isn't it pulsating?
K.I.T.T.
That particular vault doesn't contain
money, Michael. It belongs to the
Megafax Research Center.
DEVON
Megafax Research?
MICHAEL
You familiar with it, Devon?
DEVON
It's a private firm with a number of
Defense Department contracts. In
fact, if I'm not mistaken, Doctor
Halston was in charge of one. The
Surveillance and Strike Satellite
Bonnie mentioned. Only....
MICHAEL
Only what?
DEVON
I seem to have read there was some
talk among the scientific community
that Megafax refused to give him
full credit for it.
MICHAEL
And now he wants it back. I knew it
wasn't money he was after. Kitt, if
Halston wanted the most direct under-
ground route into the Megafax vault,
where would he start digging?
ON MONITOR
as a pulsating route appears.
FULLER ANGLE
K.I.T.T.
Right beneath the Golden Fox Club,
Michael.
MICHAEL
It's a go, pal.
Michael fires up K.I.T.T.
EXT. ROAD - DAY (DAWN)
The ramp lowers and K.I.T.T. slides out, heading toward the
city.
INT. VAULT
as the plug drops out and Halston slides in, carrying a
satellite case with him.
ANGLE ON TRI S
It's no bigger than a basketball but state of the art in
computer satellite technology.
FULLER ANGLE
Before Halston scoops up the Tri S, he begins putting
plastic explosives about the vault itself, taken from
inside the carrying case.
CUT TO
EXT. CITY STREET - DAY
K.I.T.T. races by, headed for the Golden Fox.
EXT. GOLDEN FOX - DAY
Halston comes out with the satellite case, and holding the
gun on Bonnie, who still has her wrists tied.
ANGLE ON MARGO'S CAR
The Caddy pulls up, Margo behind the wheel, but just as
Halston starts for it he hears another car roaring toward
them. Looks.
WHAT HE SEES - K.I.T.T.
pulling up. Michael jumps out.
ANGLE TO INCLUDE HALSTON, BONNIE
BONNIE
Michael!
Michael instinctively starts toward her, until:
HALSTON
Stay where you are!
Michael freezes.
HALSTON
Get in.
Bonnie gets into the back of the Caddy.
HALSTON
If you try following us, she's
dead. Remember that!
MICHAEL
You hurt her...and there's no place
on this earth that I won't find you.
Think about that!
Beat, then Halston gets into the car.
INT. CADDY - DAY
MARGO
Did you destroy the plans for the
Tri-S?
HALSTON
The explosives are due to go off any
minute now. Once that vault blows
there won't be a blueprint left
anywhere.
She gives him a satisfied smile, and they pull out.
EXT. STREET - DAY - ON K.I.T.T.
as Michael gets inside.
MICHAEL
As soon as they get far enough ahead
we'll tail them on your Infrared
Tracking Scope.
K.I.T.T.
Michael, I'm truly worried about
Bonnie.
MICHAEL
I am, too, pal. But as long as she's
in that car we're not going to be too
far behind.
MICHAEL'S POINT OF VIEW - MARGO'S CAR
turning a corner.
BACK TO SCENE
MICHAEL
Let's roll.
Michael pulls out to follow.
EXT. CITY STREET - DAY
Margo's car races by. She looks into the rearview mirror,
but sees nothing.
MARGO
I'm telling you, he's following us.
HALSTON
Of course, he is.
MARGO
Then what do you intend to do about it?
HALSTON
Get him off our backs once and for all.
Halston grabs his briefcase, opens it to reveal his portable
computer terminal with a joy stick. He activates the console.
ANGLE IN K.I.T.T.
Michael behind the wheel. Margo's car seen on the monitor.
K.I.T.T.
Michael, behind us!
Michael looks, reacts.
WIDER ANGLE
Two red drone cars shoot out from a side street, pursuing
them.
ANGLE IN K.I.T.T.
Worried, Michael punches up capabilities.
MICHAEL
Is it armed?
K.I.T.T.
With those dreadful missiles, Michael.
MICHAEL
Let's see if we can't buy a little
time with your new Traffic Control
System.
Michael punches the TCS button.
ANGLE ON TRAFFIC LIGHT
It changes from red to green.
WIDER ANGLE
A flow of cars moves into the intersection.
ANGLE ON OUR CAB
driving toward the light.
INT. CAB - DAY
Alfred and Henrietta in back.
HENRIETTA
I can't remember when I've enjoyed
myself more, Alfred.
ALFRED
Me neither, Henri....
The cabby suddenly slams on the brakes to keep the cab from
plowing into the flow of cars. Henrietta and Alfred fly
forward. Suddenly they react again as:
THE DRONE CARS
whiz by and skid to a stop by a truck that is turning left
right into them. It's a real mess. Horns blaring.
INT. CAB - DAY
Henrietta and Alfred have had enough of good times.
HENRIETTA
Young man, take us to the airport!
ALFRED
We can send for our luggage!
ANGLE IN K.I.T.T.
Michael looks back with satisfaction, at the stalled
drones, then concentrates on tailing Margo via the monitor.
CUT TO
EXT. EMBARCADERO - DAY
Margo's car speeds toward one of the piers.
ANGLE IN K.I.T.T.
A good distance off.
MICHAEL
Kitt, scan those piers, maybe we can
get some idea where they're going.
ON MONITOR
as the various piers scan past, then hold on:
BLACK HELICOPTER
at the far end of Pier 44.
MICHAEL
That could be it, pal! See if you
can get a reading on that chopper.
ON MONITOR
as registration numbers and other bits of data flash by,
then hold on:
K.I.T.T.
It's owned by Hydra Enterprises...
suspected of being a front for the
terrorist wing of the Middle Eastern
Communist Alliance.
Michael punches up Devon.
MICHAEL
Devon, I could use some backup. I'm
at the Embarcadero.
K.I.T.T.
Michael!
HIS POINT OF VIEW AHEAD - A DRONE CAR
is racing straight for them.
BACK TO SCENE
K.I.T.T.
There's another one behind us!
HIS POINT OF VIEW BEHIND - THE SECOND DRONE CAR
is moving up for the kill.
WIDE ANGLE
The two drones speed toward K.I.T.T. from opposite ends.
ANGLE IN K.I.T.T.
Michael looks front, back.
MICHAEL
Kitt, monitor the firing mechanisms!
Tell me the instant they're activated!
K.I.T.T.
Michael, what on earth -- now!
Michael presses the Ski Mode button.
WIDE ANGLE - DIFFERENT SHOTS
K.I.T.T. rises on his two right wheels as the two missiles
are fired, one from each drone. They pass under K.I.T.T.'s
raised side and explode into the opposite drones in a ball
of fire and debris.
OMITTED
ANGLE IN MARGO'S CAR
She glances at Halston. Re K.I.T.T.'s demise:
MARGO
Did it work?
Halston is stunned.
HALSTON
I don't believe it.
Margo gets the message.
MARGO
You idiot!
She turns onto the pier, races for the chopper, ready to
lift off.
ANGLE IN K.I.T.T.
as Michael takes the same turn, skidding a good six feet to
the side before straightening out.
ON MARGO'S CAR
pulling to a stop. Margo and Halston get out and race for
the chopper.
ON K.I.T.T.
pulling right in front of them and cutting them off.
Michael jumps out.
VARIOUS ANGLES
as Halston levels his gun on Michael, only to have Michael
grab hold of his hand, crack it on his knee, forcing the
gun to fall out.
VARIOUS ANGLES - THE FIGHT
Both men land several solid punches. And in the struggle
Michael's comlink is ripped off and falls a short distance
behind Margo, who at this time is moving to retrieve
Halston's gun. Then Michael throws a solid right, decking
Halston for good, only to look up to see Margo holding the
gun on him:
MARGO
If I ever run for President, I'll be
sure to make you my running mate.
MICHAEL
It would be a first.
MARGO
Now, I'll take that case over there.
As she points to the satellite case which has stayed near
Michael during the fight, Michael glances over to see:
INSERT - COMLINK
lying behind Margo.
BACK TO SCENE
MICHAEL
Margo, you're not going to believe
this, but my partner is right behind
you.
MARGO
You're a man of many extraordinary
talents, Michael...but lying isn't
one of them. The case.
MICHAEL
All right, suit yourself. She's all
yours, Kitt.
TIGHT ON COMLINK
K.I.T.T.'S VOICE
Put down the gun....
FULLER ANGLE
K.I.T.T.
Margo. And I mean now!
She turns. Sees no one, turns back, but Michael is already
on top of her. Still, she struggles, and so close are they
to the edge of the dock that they both fall into the water.
ON POLICE CRUISERS
pulling up in b.g., officers jumping out. Two we'll race
toward the choppers, while one helps Bonnie from the car,
unties her wrists.
ANGLE INTO WATER
It's not much of a struggle anymore. Margo loses the gun,
and Michael grabs her from behind, incapacitating her.
MICHAEL
(calling loud)
Kitt, I could use a hand.
ANGLE ON K.I.T.T.
Bonnie slides in. He auto-starts and drives to the pier.
K.I.T.T.
Right away, Michael.
BONNIE
Two hands, in fact.
She pushes the button.
INSERT - GRAPPLING HOOK
It fires.
ANGLE IN WATER
Michael grabs onto it with one hand, the other with a good
grip.
MICHAEL
(comlink)
Okay, pal. Anchors away.
As K.I.T.T. begins to retrieve the cable, pulling Michael
toward shore.
FADE OUT
END OF ACT EIGHT
TAG
FADE IN
EXT. THE GOLDEN GATE MARINA - DAY
K.I.T.T. pulls up and Michael gets out, dressed and ready
to go sailing.
MICHAEL
Well, pal, it's off to the briny
deep, following the north star,
sailing o'er the waves.
K.I.T.T.
Really, Michael, I'm getting seasick
just listening to you.
But Michael sees something O.S.
MICHAEL
Oh, no.
MICHAEL'S POINT OF VIEW - DEVON'S LIMO
coming toward them.
ANGLE ON MICHAEL
MICHAEL
What does he want now?
Devon parks nearby and gets out the back. He, too, is
dressed for sailing. He moves to Michael.
DEVON
I thought you might need a first
mate, Michael?
MICHAEL
(sotto voce)
Like I need a hole in my hull.
(but to Devon)
Yo, Devon! Glad to have you aboard.
ANGLE ON BONNIE
also coming from the limo.
BONNIE
How about a second mate?
ANGLE TO INCLUDE MICHAEL
lighting up as Bonnie runs to him. He hugs her:
MICHAEL
You can sail with me anytime you
want.
BONNIE
For the entire cruise?
MICHAEL
Welcome back, Bonnie.
DEVON
Well, Captain, lead the way.
Michael does.
K.I.T.T
I can't look.
K.I.T.T. turns around.
ANGLE ON MICHAEL, DEVON AND BONNIE
arm-in-arm heading for Michael's rented sailer.
MICHAEL
Slip number 3 ...should be right
over....
They suddenly stop. Their faces drop.
WHAT THEY SEE
A mast sticking out of the water. The boat is obviously on
the bottom. A sign establishes slip number 3.
BACK TO SCENE
They exchange looks.
MICHAEL
Mates...what say we just go have
lunch?
BONNIE
Good idea....
As they head back to K.I.T.T.:
DEVON
I'll even buy!
ANGLE TO INCLUDE K.I.T.T.
turning to face them. His light flashing.
K.I.T.T.
Home, home from the sea!
And as they look to K.I.T.T., we:
FADE OUT
THE END
