ACT ONE
FADE IN
EXT. DOWNTOWN LOS ANGELES - NIGHT - AERIAL VIEW
A hot rock beat as we sweep the electric streets and
skyscrapers in search of....
DOWNTOWN STREET - NIGHT
deserted at this wee hour but lit up bright as day. The
static hum of the flourescent streetlights gives way to the
throaty roar of a pair of race tuned automobile engines.
ANGLE ON THE CORNER - THE RACERS
Rumbling out of the shadows between the buildings, looking
like a couple of space-age ground attack vehicles come two
fantastic automobiles. One is a thigh-high silver Porsche
935, a racing model with full ground skirts and tires like
the business end of a steamroller. The other is like
nothing we've ever seen before (except for K.I.T.T.).
ANGLE ON THE VECTOR TWINTURBO W-2
This is a one-of-a-kind car, a futuristic blending of
automotive and aerospace engineering. 2000 candlepower
heli-arc headlights stab the night and the 600 horsepower
Can-Am engine whines as though annoyed at having to stand
still. The light green gull-wing doors open upward
mysteriously, eerily, and out climbs Mark Tanner;
late thirties, dressed with a seemingly careless designer
chic that says money, lots of it. At the passenger side, he
gives a chivalrous hand to Stacy Courtney, a natural beauty
in her early twenties, dressed in casual designer blouse and
expensive jeans. They exchange smiles, their faces close
together, before crossing to join:
WIDER ANGLE
Standing by the Porsche is Jack Lehigh, thirty, its
driver/owner, a broker who's trying to hide the feeling
he's outclassed. A third car, sporty but not extravagant,
has pulled onto the scene bearing Tom Bloodworth, 245
pounds of ex-linebacker who serves as Tanner's aide and
bodyguard. Lehigh looks at the Vector, shakes his head:
LEHIGH
So this is the Vector...I was beginning
to think it only existed in your dreams.
TANNER
(good-natured)
You'll see it's for real soon enough.
But if you still have any doubts --
maybe we should up the stakes.
LEHIGH
Fifty grand's enough. I hate to see
a grown man cry.
Tanner laughs. Lehigh heads for his Porsche. Tanner puts
his arm around Stacy.
TANNER
3.8 miles. Think you can occupy your-
self for about a minute and a half?
STACY
Only if you promise to come back in
one piece.
TANNER
You're looking at the man with a
thousand lives.
STACY
Just so you save one of them for me.
TANNER
I'll do better than that. I'll save
'em all.
He kisses her, heads for the Vector.
ANGLE IN PORSCHE
Lehigh works his fingers nervously on the wheel as he revs
his engine and slides his shift into first. He looks over at:
TANNER IN THE VECTOR
Sitting semi-prone in the cockpit, Tanner calmly flips
toggle switches and checks digital readouts on water
temperature, oil pressure, etc., like a pilot readying for
takeoff.
WIDER ANGLE
Stacy crosses between the cars. Squinting in the head-
light's glare, she holds a silk scarf high over her head.
The engines whine, the drivers nod ready and she whips it
down.
LOW ANGLE - THE CARS
starting, scream in high torque as the clutches are released
and the racing rubber grabs the pavement. The Vector gains
an early lead, hitting 100 mph in seconds as the Porsche
wobbles momentarily before gaining purchase. They whip
past camera and out of sight. Stacy and Bloodworth watch
the cars disappear into red pinpricks of taillight in
seconds. Stacy's awed.
STACY
I get chills just watching!
BLOODWORTH
Mark wouldn't have it any other way.
CUT TO
VARIOUS ANGLES - THE BANZAI RUN
Incredible action as the Vector hits the first turn,
hugging the corner with fluid grace. The Porsche sits
right on its tail, taking advantage of its draft. They
blaze out of sight, over the freeways and under the
skyline.
OVER TANNER'S SHOULDER - HIS POINT OF VIEW - THE STREETLIGHTS
AND BUILDINGS
flip past like flash cards at this speed. He pilots the car
perfectly through a right-hand corner, the speeds dipping to
110, then racing up again.
ANGLE ON THE L.A. MUSIC CENTER
The two cars rip around the high end of the stately buildings,
past the fountains and sculpture and back toward their
destination.
STACY AND BLOODWORTH
staring into the night as the headlights of the runners
reappear. Stacy stands at the edge of the street, jumps
excitedly when she sees them approaching.
STACY
Come on, Mark! Come on!
LOW ANGLE - A POTHOLE AND THE VECTOR
The Vector hits a rough patch of pavement and the back
wheels momentarily leave the ground. That moment is enough
to send the engine whining up to red-line plus and Tanner
loses control.
CLOSE ON STACY
Her excitement turns to horror as she sees the Vector
careening out of line and closer to her. There's no time
to react before:
SLOW MOTION - THE ACCIDENT
The Vector barely clips Stacy but at this speed, that's
enough to send her flying like a broken doll onto the
sidewalk. Tanner recovers control, grazes light standard,
and brakes the car to a stop a hundred yards down the
street.
ANOTHER ANGLE
Bloodworth races to Stacy, starts checking for a pulse.
Tanner and Lehigh pull back into the shot. Tanner comes
from the Vector, shaken, Lehigh, right behind him.
TANNER
What happened?!
(to Bloodworth)
Why'd you let her stand in the
street!
BLOODWORTH
I didn't let her do anything.
LEHIGH
Is she alive? Oh my God, what if
she dies...?
BLOODWORTH
I feel a pulse, but it's weak.
LEHIGH
Somebody's gotta call an ambulance!
Lehigh looks like he's about to unravel. Tanner grabs his
arm.
TANNER
Jack, I'll take care of it. Go
home, get drunk -- I don't care,
just get out of here. And keep your
mouth shut. This didn't happen.
Tonight didn't happen.
He pushes Lehigh toward the Porsche, then turns to
Bloodworth, who's still with Stacy.
TANNER
Call an ambulance. Just make sure
you're nowhere near here when it
comes.
Without waiting for a reply he climbs into the Vector, hits
the gas. In an instant he's gone.
CUT TO
EXT. HIGHWAY - DAY - ON K.I.T.T.
sleek lines blending in with the countryside.
K.I.T.T.'S VOICE
According to Coach Berchuk, his Lions
should have no problem with the
Wranglers on Sunday.
ANGLE IN K.I.T.T.
Michael watches as the morning sports pages flip across the
monitor.
MICHAEL
That's why I'm picking the Wranglers
to win. Every time Berchuk toots his
horn the team loses.
K.I.T.T.
Twenty-two men in mock war regalia
knocking each other down for posses-
sion of an air-filled bladder made of
a pig's skin. Chased by more men
dressed as zebras blowing whistles.
Some human institutions confuse me
but football is a total mystery.
MICHAEL
(a smile)
Wish I could help you out, Kitt.
It's a little like rhubarb -- either
you like it or you don't.
K.I.T.T.
Michael, if you're going to use a
multi-million dollar system to read a
twenty-five cent paper, you could at
least read the front page. Be well
informed.
MICHAEL
Okay, wise guy. Lay a little world,
national, and local on me.
K.I.T.T.
That's more like it.
Dozens of pages flip past. We settle on the front page.
K.I.T.T.
Allow me. 'In Washington today, a
nuclear freeze bill goes before
Congress in --- '
MICHAEL
(interrupting)
Kitt! The lower left corner -- blow
it up.
A portion of the page grows larger, revealing a picture of
Stacy with her name and a caption.
Michael reacts, worst fears confirmed.
MICHAEL
Stacy....
K.I.T.T.
Someone you know, Michael?
Without answering, he stomps on the brakes, spins the wheel.
WIDER ANGLE
Kitt spins a 180 and heads back the way he came,
accelerating.
CUT TO
EXT. CENTRAL RECEIVING HOSPITAL - DAY - ESTABLISHING
A modern big-city hospital.
INT. HOSPITAL CORRIDOR - DAY - MOVING WITH MICHAEL
He nods his thanks to a nurse who points him down the hall.
He moves quickly down to a window in the hall set next to
double doors marked: "Intensive care". He looks through
the window.
ANGLE TO INCLUDE INTENSIVE CARE
Lying in bed attached to life-support machines, is Stacy,
her fragile beauty shining even in this condition. Seated
on the far side of her bed, holding her hand, is her father,
Jim Courtney, a career cop around forty-five. He has a face
that's world-weary but not cynical; right now it's grey,
showing the ravages of his all-night vigil.
Michael's face clouds with concern, worry. These are
people he cares about deeply.
A nurse appears, puts a hand on Courtney's shoulder. It
takes him a moment to react to her presence, then he looks
up at her, nods, and rises slowly, crossing toward the door.
ANGLE IN HALLWAY
Michael waits, ambivalent, as Courtney emerges.
MICHAEL
Sergeant Courtney?
COURTNEY
Lieutenant.
He otherwise ignores Michael, pauses to pick up a personal
item or two left outside.
MICHAEL
How...is she?
COURTNEY
Why?
MICHAEL
I'm a friend. An old friend....
Courtney looks at him, a cop's glint in his eye.
COURTNEY
Yeah? I don't remember your face.
What's your name?
MICHAEL
Knight. Michael Knight.
COURTNEY
(beat)
You know anything about what happened
last night?
MICHAEL
I wish I did.
Courtney studies him a moment, then starts down the corridor.
MICHAEL
I'd like to help.
COURTNEY
I don't need any.
Courtney doesn't even look back. Hold on Michael, troubled.
CUT TO
EXT. CITY STREET - DAY
K.I.T.T. flashes by.
DEVON'S VOICE
Michael, I expected you over an hour
ago.
ANGLE IN K.I.T.T.
Michael is intent behind the wheel.
MICHAEL
Whatever it is will have to wait.
DEVON
(a reaction)
I beg your pardon.
MICHAEL
Sorry, Devon, I'm a little on edge.
Remember Jim Courtney?
DEVON
Courtney...Your partner when you
were on the police force.
MICHAEL
When you're a rookie you don't have
a partner. You have a second
father. That's what Jim was -- that
and more.
DEVON
What happened?
MICHAEL
His daughter Stacy was in an
accident last night. Hit and run.
DEVON
I'm sorry to hear that, Michael, but
I fail to see how that postpones our
work.
MICHAEL
(sharp)
Whoever did it left her lying alone
on the street. I'm going to find
out who it was and make sure he gets
what he deserves. God knows Stacy
didn't.
DEVON
Michael, don't let your emotions
overrule your judgment.
MICHAEL
Meaning?
DEVON
If Courtney discovers your real
identity, it could compromise our
work.
MICHAEL
Gotcha. I'll stay in touch.
Devon fades. Michael pushes buttons.
MICHAEL
Kitt, access the police report on
Stacy's accident. Dig deep, pal.
Dig deep.
K.I.T.T.
Right away, Michael.
CUT TO
TIGHT ANGLE - A GROUP OF BEAUTIFUL WOMEN
bouncing up and down in a strenuous synchronized aerobic
workout. Pull back slowly to reveal they're dancing on the
sidelines of:
EXT. FOOTBALL FIELD - STADIUM - DAY
These are the Kittens, cheerleaders for the L.A. Lions
football team. Dressed in short t-shirts with Lions logos
or leotards and shorts, they're really tight and very sexy.
Behind them we see a group of football players in light
pads working pass patterns.
MARK TANNER
who, we will learn, owns the Lions. He's wearing a satin
team jacket and moving to Steve Young, his quarterback,
just coming off the field. Tanner looks stressed but in
control.
TANNER
You looked like ten million bucks
today. Considering I paid twenty,
I'm halfway in the black already.
(pats him
on back)
Go take a shower.
Young picks up one of the cheerleaders.
YOUNG
Okay if I take one of these with me?
TANNER
Take two, they're small.
The girl squeals in mock protest. Tanner's eye catches
something.
ANGLE TO INCLUDE DIANE LANDREAUX
coming onto the field from the clubhouse area. One of the
cheerleaders, showing up late for practice, she's
twenty-two, pretty, with long hair cascading down a
dancer's body. She's also Stacy's roommate, best friend,
and very disturbed by what's happened.
TANNER
Diane...!
She pauses. He crosses to join her.
TANNER
How is she? Any change?
DIANE
No. She's still critical.
TANNER
What happened? Who was she with?
What was she doing down there in the
first place?
Diane looks confused, almost speechless.
DIANE
I don't know what you mean. She was
with you last night.
TANNER
Yeah, until about ten, ten fifteen.
Didn't she tell you?
DIANE
What?
TANNER
I got an emergency call from Dallas
last night. We hadn't even ordered.
I told her I'd send her home in a cab
but she said she'd call you. I told
her to sign for dinner and not to get
into too much mischief. I fly in
this morning and her picture's in the
paper! Now come on, Diane -- you've
got to know something.
Diane takes it in, baffled, perplexed.
DIANE
She didn't call me. I didn't even
know you'd gone to Dallas until now.
Tanner sighs, shakes his head; a man with heavy burdens.
He puts a paternal arm around Diane. They walk slowly.
TANNER
The thought of losing her...I've
been going crazy.
(beat)
I feel like a coward saying this,
but I'm afraid to even visit the
hospital. If those damn reporters
find out....
He doesn't finish. She looks at him, sympathetic.
DIANE
Don't feel like a coward. You're
not being fair to yourself.
TANNER
Thanks, Diane. Believe it or not,
that helps.
DIANE
There's nothing you can do. And
it's not just your wife, Mr. Tanner,
it's Stacy's father, too. If he
ever found out she was dating a
married man....
TANNER
(sighs)
I guess you're right.
(pauses, takes
her hands)
At times like this it's hard to
think clearly.
DIANE
That's what friends are for.
TANNER
There's enough confusion and pain as
it is. Maybe everyone's better off
if it's our secret -- yours, mine and
Stacy's.
Diane nods. Tanner smiles, a sad but heroic figure.
CUT TO
EXT. DOWNTOWN STREET CORNER - DAY
the one where the accident occurred. K.I.T.T. glides into
shot.
K.I.T.T.
This is the corner, Michael. The
police report indicates a thorough
search of the area.
WITH MICHAEL
He climbs from the car to examine the long skid marks on
the pavement.
MICHAEL
The police have a lot on their side,
Kitt, but we've got a secret weapon.
You. I want pictures of this.
(squats)
Tires were really wide. T/A 50's at
the least. Four sets. Two cars....
INSERT - K.I.T.T.'S MONITOR - TREADMARK
Then molecular matrix.
K.I.T.T.
And made of very expensive, cold-rolled
rubber. Used in formula one racing
and discarded after each performance.
BACK TO SHOT
Michael follows the skid marks, to the light post which the
Vector clipped.
MICHAEL
Yeah...well this is no race track.
K.I.T.T.
Obviously not. Could it be we're
dealing with some high class type of
drag racers?
MICHAEL
You got it, pal. They're called
Banzai runners. It's a speed kick
for the man who has everything.
Michael sees something, produces a small vial from his
pocket. Scrapes a tiny chip of paint from the post.
Michael moves back to K.I.T.T.
MICHAEL
Here's something the police might've
missed. I need an analysis of this
paint chip.
He climbs into K.I.T.T. and places the vial in the analyzer.
K.I.T.T.
It's exotic and highly unusual,
Michael. It may take a while.
MICHAEL
If these guys use racing tires,
chances are they also use racing
fuel. Get me a list of outlets
handling nitro-methane.
K.I.T.T.
Right away.
The computers whir.
K.I.T.T.
There's only one in this area,
Michael.
MICHAEL
One'll do just fine, buddy.
He fires K.I.T.T. up, pulls out.
CUT TO
EXT. "BEYOND THE LIMIT" RACING SHOP - DAY
A formidable brick building sporting the company's logo and
a sign reading, "BY APPOINTMENT ONLY" and "NO TRESPASSING".
And a larger sign: "CLOSED." K.I.T.T. pulls around the
corner, slides up to a stop.
ANGLE IN K.I.T.T.
Michael scopes it out.
MICHAEL
Not a very friendly looking place.
K.I.T.T.
There's barbed wire around the entire
back perimeter.
Michael climbs out.
MICHAEL
Keep an eye open.
ANOTHER ANGLE
Michael climbs up a tree, swings up and over the barbwire
topping. Jumps down into the yard. He's crossing to
examine a covered race car when:
TWO DOBERMANS
snarling and gnashing gallop toward him.
CLOSE ON MICHAEL
Eyes go wide, all reflexes go to "flight." In a second,
he's back on the fence, climbing up, the dogs at his
heels.
MICHAEL
(comlink)
Kitt, crank up your synthesizer and
get over here! Give me the king of the
jungle.
INCLUDE K.I.T.T.
as he screeches up to the fence, emitting jungle bird
sounds. This infuriates the dogs more. One leaps, nearly
catching Michael's foot. The sound from K.I.T.T. changes
to chattering monkeys.
MICHAEL
Kitt!
K.I.T.T.
Michael, I'm building to it.
The dogs leap again and a lion's roar bursts forth from
K.I.T.T. The dogs immediately back off, cringing.
Whimpering, they run off into the back of the yard, before
the roaring stops.
K.I.T.T.
How was that?
MICHAEL
much relieved, hops back down into the yard again.
MICHAEL
(comlink)
Thanks, pal. You may have a future
in Tarzan films.
K.I.T.T.
Unfortunately, Michael, I don't
think it fooled the person behind you.
Michael turns to see:
INCLUDE NIKKI LA DONNA
A pretty but unmistakably tough lady in her midthirties,
cocking a .410 shotgun and pointing it right at Michael.
On Michael's reaction:
FADE OUT
END OF ACT ONE
ACT TWO
FADE IN
EXT. BEYOND THE LIMIT RACING - YARD - DAY - CONTINUOUS
ACTION
Michael holds his hands out in front of him. LaDonna
doens't lower the shotgun.
MICHAEL
Easy...If I knew someone was
home I would have knocked.
LA DONNA
Three hundred a week those flesh-
eaters cost me. What'd you do to
them?
MICHAEL
Hey, dig a moat and buy alligators.
Name's Michael Knight. This is the
place to buy racing nitro, isn't it?
LaDonna glances over at K.I.T.T., snickers:
LA DONNA
If that's the windup you drive, try
filling up at a toy store.
But when she looks back, Michael's heading inside. LaDonna
moves after him.
LA DONNA
Hey!
INT. RACING SHOP - DAY
An immaculate high-priced shop filled with exotic foreign
cars, in different states of repair. Michael whistles
appreciatively at the collection. Leans over a massive
engine on a hoist.
MICHAEL
Nice rebuild. About four hundred
fifty horses?
LA DONNA
Five hundred. What do you want?
Michael moves by a jacked-up Ferrari. Notices on the
fender a distinctive medallion with a logo featuring the
letter "E".
MICHAEL
You work on Banzai runners?
La Donna studies him a beat.
LA DONNA
You got the wrong shop, Stretch.
Michael continues his casual investigation.
MICHAEL
Hey, you're talking to me now. Like
the Boss says, cars like this were
born to run.
Michael lifts the tarp back, on a low-slung Porsche. On
the car's fender is the same medallion. The same "E" logo.
LA DONNA
Hands off!
Michael drops the tarp back down.
MICHAEL
What's the "E" stand for?
LaDonna raises the gun again.
LA DONNA
It stands for either you walk out of
here on your own power, or someone
wheels you out.
Michael takes one long last casual glance, spots a back
door, then back to LaDonna:
MICHAEL
With such natural charm, you must do
great business.
Then smiles and saunters out. La Donna watches him go,
puzzled and disturbed.
EXT. STREET - DAY - ON K.I.T.T. - MOVING
K.I.T.T.'S VOICE
How are these, Michael?
ANGLE IN K.I.T.T. - FAVORING MONITOR - MOVING
The letter "E" in several different sizes, colors, and type-
faces flashes by. As one resembling the logo appears:
MICHAEL
Good. A little taller, with
dark flames coming off the back.
The letter gets closer and closer to the right logo.
MICHAEL
Hold it. Now put a circle around it.
That's it. Can you trace it?
K.I.T.T.
Most logos are copyrighted, but it
will take a little time, even for me.
MICHAEL
Well, don't strain yourself. Two
or three minutes will be fine.
K.I.T.T.
How sporting of you, Michael.
INT. MARK TANNER'S OFFICE - DAY
High overlooking L.A. Lions stadium. Luxurious room
sporting trophies, plaques, photos, etc. Tanner stands by
a map on a wall, running a blue marker over a route, as he
consults various other maps on a table. Enjoying himself.
Abruptly, the door opens and Jack Lehigh bolts in. Tie
askew, unshaven, and determined to see him. He is followed
by Tanner's sumptuous secretary, Marie. She tries to usher
him back out.
MARIE
I'm sorry, Mr. Tanner, he....
Tanner signals for his secretary to leave.
TANNER
It's all right, Marie, I'm never too
busy for family or friends.
As Marie leaves, closing the door:
TANNER
Jack, you look like death warmed
over. Sit down, take a load off.
Lehigh does not sit.
LEHIGH
I wish it were easy. I can't stop
thinking about that girl.
TANNER
Well I've got something to take your
mind off it. Come here.
(indicating
maps)
What do you think about an L.A. to
Vegas Super Banzai, I figure we can
get the four best drivers....
LEHIGH
What are you crazy! Someone may
already be on to us. I just got a
call from Beyond The Limit. Nikki
says this guy in a black T-top...
a Michael....
TANNER
Knight! I got the same call. The
big difference is I'm not panicking.
I've got our alibi covered.
LEHIGH
Mark, Stacey's on the critical
list. If she dies we're accessories
to murder. We've got to do the
right thing before it's too late!
TANNER
Calm down.
LEHIGH
Tell that to Stacy's father. Why
didn't you tell me he was a cop?!
Tanner looks at Lehigh, sees the desperation in his eyes.
TANNER
Jack...I have to buy other people,
but I count on friends like you.
Lehigh's not buying this. Shakes his head "no".
LEHIGH
It's just....
TANNER
(interrupting)
...It's just that it's gonna blow
over in a couple of weeks! Stacy's
gonna get well and she'll say
anything I tell her to. All
confessing's gonna do is drastically
lower both our lifestyles. Now am I
right?
LEHIGH
(beat)
Yeah...I guess so.
TANNER
(starts moving
him to the door)
Good...Go to the club. Have a
sauna. Relax. Everything is gonna
work out.
Lehigh nods as Tanner lets him out. Tanner moves back into
the room, back to the map. Though now too preoccupied to
enjoy it. From an inner doorway, Bloodworth appears.
BLOODWORTH
He's gonna crack, sooner or later.
Tanner looks at him. Deeply disturbed, not wanting to hear
those words.
TANNER
I was praying it wouldn't come to
this.
As he and Bloodworth share a glance.
EXT. PLAYING FIELD - DAY
The Kittens, including Diane, doing their kicks to great
music. Working out a flashy routine. Camera pans wide
toward:
ANGLE ON K.I.T.T. - MOVING
through a stadium tunnel, and onto the service vehicle
track.
K.I.T.T.
Michael, did you know that on third
down, seventy-five percent of the
time, the defensive team will blitz.
MICHAEL
That's why they invented the trap
play. Glad to see you're starting
to appreciate the game, buddy.
Michael pulls the car to a stop. Getting out.
K.I.T.T.
Yes. I place its complexity
somewhere above checkers and below
World War II.
Michael looks back with a wry smile, then moves off.
ANGLE FOLLOWING MICHAEL
moving towards the cheerleaders, who have finished their
routine and are dispersing. Several move by Michael. He
draws some smiles and returns some as well. He zeroes in on
Diane, who is stretching her long, beautiful legs.
MICHAEL
Diane?
Diane looks up. Michael continues.
MICHAEL
I'm Michael Knight...friend of
Stacy's.
Diane's face turns tense. Expecting the worst.
DIANE
Oh, no, don't tell me she's....
MICHAEL
(gently)
No, I didn't mean to frighten you.
She's still holding her own.
Diane's relieved, but still emotional.
DIANE
Stacy's a fighter. She won't let
go. I know it...It's just so
horrible what happened.
MICHAEL
(slight beat)
What did happen, Diane...did you
know where she was going last night.
Diane continues stretching, nervously. Michael sees this.
DIANE
No...she never told me.
ANOTHER ANGLE - BLOODWORTH
across the field, looking over at Michael with Diane. The
black T-top nearby. Disturbed, he moves over to Tanner who
is talking with an N.D. coach. Whispers to him.
BACK TO SCENE
MICHAEL
(gently)
...I'm just trying to help find
whoever ran down Stacy. You want
that too, don't you?
DIANE
(looks at him)
Of course.
MICHAEL
Then give me a hand. Was she seeing
someone?
Diane looks really nervous now. Before she can speak,
Tanner approaches, calling:
TANNER
Everything all right, Diane?
DIANE
Sure. This is Michael Knight. He's
a friend of Stacy's.
Recognizing the name, Tanner hesitates a beat.
TANNER
Terrible tragedy.
MICHAEL
Did you know Stacy?
TANNER
(nods)
I met her once or twice. Enough to
know how lovely she is. I hope to
heaven she's going to be all right.
(slight beat;
smiles)
You finished for the day, Diane?
DIANE
Yes, Mr. Tanner...I thought I'd stop
by the hospital.
TANNER
Good girl.
With that, Diane grabs her gym bag and moves off, giving
Michael a look, but not wanting to commit much more.
Tanner turns to Michael.
TANNER
No, Mr. Knight. I'm going to have
to ask you to leave. I've got my
Lions charging out and practices are
closed to the public. You understand,
don't you?
MICHAEL
Of course.
He starts to K.I.T.T., Tanner following admiring K.I.T.T.'s
sleek lines.
TANNER
That's some wild bucket you're
driving. Is it fast?
MICHAEL
(slight smile)
When I need it to be. Why?
TANNER
I'm just a man who appreciates fast
cars and fast women. Although with
a car at least you can sell it when
you're tired of it.
He laughs at his own joke. Michael smiles. Gets into
K.I.T.T. Tanner waves as Michael drives off. We hold on
his look.
EXT. STADIUM STREET - ANGLE IN K.I.T.T.
in motion. As they pull out of the stadium onto the
surface streets.
MICHAEL
So that's Mark Tanner -- living
proof that money doesn't buy class.
K.I.T.T.
Michael, I've just completed the
trace on your logo. It's registered
to an elite club called Edge.
Incorporated.
MICHAEL
Sounds like a bunch of Yahoos, who
like to push it to the limit.
K.I.T.T.
Those aren't exactly the words of
their charter, but that is the
general idea. You might be
interested in knowing who their
president is.
MICHAEL
Don't tell me...Mark Tanner.
K.I.T.T.
How did you guess?
MICHAEL
I didn't...Let's see if you can get
a list of the members and their
cars, pal.
K.I.T.T.
Right away...Michael, are we
speeding?
MICHAEL
No...why?
The sound of a police siren is heard. As Michael reacts.
INCLUDE POLICE CAR
moving up behind them. Over its PA we hear:
COURTNEY'S VOICE
Pull over.
As Michael brakes:
EXT. STREET - DAY
K.I.T.T. parks roadside, the police car right behind it.
Courtney moves to K.I.T.T.'s driver's door.
COURTNEY
Out of the car.
Michael steps out.
MICHAEL
I didn't know police lieutenants
worked traffic detail.
COURTNEY
There's obviously a lot about the
police you don't know. Primarily,
we don't like amateurs mucking up
our investigation, by wearing out
the leads. Get the picture?
MICHAEL
Got it.
COURTNEY
Good. Because the next time I hear
you've been asking questions, I'm
going to consider slapping you with
an obstruction charge. So unless
you like contemplating your navel
for thirty day stretches, stay out
of my face.
MICHAEL
Just remember we're on the same side.
COURTNEY
Oh yeah?...What side is that? If
anyone ever smelled hinky, it's you,
Mr. Michael Knight. I checked you
out. Up to two years ago, you
didn't exist. Now do me a favor,
disappear again.
Courtney gives him a hard look, then starts off. Michael
calls to him.
MICHAEL
How's Stacy doing?
COURTNEY
The same.
MICHAEL
Alright if I keep a good thought for
her?
COURTNEY
Sure. She needs all she can get.
Then he gets into his car and drives off. Michael gets
back into K.I.T.T., pulling away.
ANGLE IN K.I.T.T.
in motion.
MICHAEL
Buddy, I'm starting to worry, about
Jim. He's wound pretty tight.
K.I.T.T.
Maybe this will help...I've just
been going over the members in Edge
Incorporated with Devon. One of
them, a Jack Lehigh, owns a silver
racing Porsche. The original tires
for that particular model....
INTERCUT - MONITOR - MICHAEL
We see graphics of tires, then treadmarks.
K.I.T.T.
...match trademarks found at the
accident site.
MICHAEL
Where can we find this Jack Lehigh?
K.I.T.T.
He's a stockbroker, but when Devon
called, he was informed that Mr. Lehigh
had gone to see his mechanic.
MICHAEL
His red-haired mechanic?
K.I.T.T.
Yes. I was certain you wouldn't
forget her.
MICHAEL
Not a chance. Time to rock and roll.
With that, Michael steers the car into a quick 180 turn,
zooming off the other way.
INT. BEYOND THE LIMIT - GARAGE - DAY
Courtney inside with Nikki LaDonna. As she looks over his
car, Lehigh fidgets.
LA DONNA
I can sell it for you...no questions
asked...but you're not gonna get
what it's worth.
LEHIGH
I don't care, Nikki. Look I'll give
you a good cut off the top. Take
whatever you can get.
LA DONNA
You're not talking sell. You're
talking vanish, aren't you?
LEHIGH
That's the bottom line.
Their heads turn as the sound of a car, pulling up to the
open garage door is heard.
CAMERA ANGLE
to include K.I.T.T. parking.
LA DONNA
Here comes Stretch again.
LEHIGH
Who is he?
LA DONNA
That Knight character. I called you
about.
As Lehigh reacts, Michael steps out of K.I.T.T. and into
the garage. He spots the silver Porsche, Lehigh near it.
MICHAEL
Mr. Lehigh?
That's all Lehigh needs to hear. He rushes quickly toward
the back door and out. Michael moves after him, talking
into his comlink.
MICHAEL
Kitt. Go round the back. He's
getting away.
ANGLE IN K.I.T.T.
A lighted gas pedal, accelerating. K.I.T.T. pulls out.
EXT. BEYOND THE LIMIT - SIDE STREET - DAY
Bloodworth, in an idling sports car, waiting on the
deserted street.
LEHIGH
rushing out of the back alley. And onto the street.
Pursued by Michael, followed by Nikki La Donna. The
cound of a revving engine is heard. Michael screams.
MICHAEL
Look out!
Lehigh turns. His face freezes. A mask of terror as
Bloodworth's car hurtles down on him. Running him over.
MICHAEL
reacting. La Donna, too, as K.I.T.T. screeches up.
Michael turns to La Donna.
MICHAEL
Call an ambulance, quick.
Then, getting into K.I.T.T.:
MICHAEL
I want him, pal!
ANGLE IN K.I.T.T.
as they zoom away.
MICHAEL
What do you see?
ON MONITOR - MAP DISPLAY
with blinking light.
K.I.T.T.
I have him, Michael. He's heading
for open traffic.
MICHAEL
Not if we can help it!
EXT. STREETS - DAY - VARIOUS ANGLES OF CHASE
ANGLE IN SPORTS CAR
Bloodworth is driving for his life and he knows it. Skids
a turn into:
EXT. ALLEY - DAY
The sports car screeches into an alley behind a water
bottling plant. A worker who is directing a truck loaded
with bottles leaps aside as the sports car whizzes past. He
shakes his fist, continuing his direction.
ANGLE IN K.I.T.T.
in hot pursuit. Michael rips into the alley and sees the
load of bottles closing off his path. He reaches for Turbo
Boost.
MICHAEL
Can we clear it, buddy?
K.I.T.T.
I don't think so, Michael. We're too
close.
MICHAEL
Nothing ventured nothing gained.
Michael hits the button.
VARIOUS ANGLES - UNDERCRANK - THE CRASH
K.I.T.T. goes airborne and crashes into the load of bottles.
It's spectacular. Glass and gallons on water burst in
every direction. K.I.T.T. comes to ground on the other
side in a shimmering field of debris.
ANGLE ON MICHAEL
grimacing in frustration.
MICHAEL
Oh, no....
WHAT HE SEES
Facing K.I.T.T. is a vertical army of water trucks.
K.I.T.T. zigs into their midst, but there's no sign of
Bloodworth. Finally Michael brings K.I.T.T. to a halt.
ANGLE IN K.I.T.T. - MICHAEL
falls back against the headrest, disappointed and
frustrated.
K.I.T.T.
Could this be considered 'fumbling
the ball.'
MICHAEL
In the end zone, buddy. But game's
not over yet, pal.
On his burn:
FREEZE FRAME
FADE OUT
END OF ACT TWO
ACT THREE
FADE IN
EXT. HOSPITAL - DAY - ESTABLISHING
INT. STACY'S ROOM - DAY
Stacy is in a deep sleep. Courtney stands over her. There
are tears in his eyes. Then he bends over, kisses her
forehead and leaves the room.
INT. CORRIDOR - DAY
Start on Courtney coming out, then something catches his
eye that causes him to tense up.
ANGLE TO INCLUDE MICHAEL
heading his way.
MICHAEL
Any improvement?
COURTNEY
(impersonally)
A little.
MICHAEL
Even a little's encouraging.
Beat, then Courtney unloads:
COURTNEY
You wouldn't listen to me, would
you? You couldn't keep your nose
out of this!
MICHAEL
If you're talking about Lehigh....
COURTNEY
You bet that's who I'm talking
about! I was this far from picking
him up, only I would've got him to
talk, not let him get killed!
(pointing his
finger at him)
You just cost me my number one
suspect, Knight!
MICHAEL
Lehigh didn't run down Stacy.
COURTNEY
You don't know that for sure!
MICHAEL
The car he raced was silver. The
one that hit Stacy was pale green.
That much I do know.
COURTNEY
All right, so if he didn't do it
himself at least I could've got him
to tell me who did.
MICHAEL
No way, Jim. You were two steps
behind, and Lehigh was a dead man
from the minute he entered that
garage. Now maybe it's time we
started working together.
COURTNEY
(incredulous)
You and me.
MICHAEL
That's right. This isn't the Old
West, even sheriffs had their
deputies. We could pool our
information, back each other up.
COURTNEY
Like partners, huh?
MICHAEL
Yeah...like partners.
Courtney studies him a beat, trying to figure him out.
COURTNEY
Forget it...I work alone.
He starts off.
MICHAEL
Jim....
Courtney turns:
COURTNEY
What now?
Michael looks at him a long beat, very tempted to confess,
but:
MICHAEL
You're right...forget it.
Beat, then Courtney heads out. Michael stands watching him.
EXT. CANYON STREET - DAY
Tanner is driving Diane home in his expensive open conver-
tible. She's silent, troubled. He's also got something on
his mind. Glances over at her:
TANNER
Thinking about Stacy, huh?
DIANE
(nods)
Yeah...I really miss her. She was
always so much fun.
TANNER
I know what you mean. But she'll be
well soon, you'll see.
(silence, then)
Diane...that Michael Knight hasn't
been around again, has he?
DIANE
No...why?
TANNER
Just curious. He's been asking a
lot of questions of my friends
lately, poking his nose in my
business, and that's one thing I
won't tolerate.
(beat)
There's something else I won't
tolerate, Diane....
She looks at him curiously.
TANNER
Disloyalty.
(pleasant)
I expect my friends, my players, all
the people who work for me to be a
hundred and ten percent loyal, all
the time. You can understand that,
can't you?
DIANE
(a bit
uncomfortable)
Yes....
TANNER
That's my girl. And that's why if
this Knight does come to see you,
about anything, you're going to send
him away, and then call me.
(turns to her,
pleasant)
Right?
DIANE
(begins
feeling
a chill)
If that's what you want....
Tanner pulls in front of her house, looks to her, smiles:
TANNER
I'm glad we had a chance to talk.
Have a good evening, Diane.
DIANE
(slight beat)
Thanks for the lift.
She gets out and hurries toward the house. Tanner watches
her enter and then drives off.
INT. DIANE'S LIVING ROOM - DAY
It's simply furnished, funky and fun. Diane enters, closes
the door, turns, and reacts with a start.
ANGLE TO INCLUDE MICHAEL
standing at the window, having just seen Tanner drive off.
DIANE
How did you get in here?
MICHAEL
You left your patio door open.
Trusting, but not very smart.
(re window)
Does Tanner drive all his kittens
home?
DIANE
If it's any of your business, my
car's in the shop. He offered to
give me a lift.
MICHAEL
That's what I call being good to
your local cheerleader.
DIANE
Look, what do you want?
MICHAEL
I want to know who Stacy had a date
with that night.
DIANE
I'm her roommate, not her shadow.
MICHAEL
You're also her best friend.
DIANE
I don't know.
She turns to go into another room, Michael takes her arm
gently:
MICHAEL
Diane, Stacy's in a coma. There's a
chance she'll never come out of it.
DIANE
(pulls away,
close to
breaking)
Don't you think I know that? Don't
you think I care?
MICHAEL
If you care, then tell me.
DIANE
I can't.
MICHAEL
Why not? Diane, who are you afraid
of?
She looks at him, and he sees the fear in her eyes. Then
he glances toward the window where he saw Tanner, and it
dawns on him:
MICHAEL
Tanner! That's it, isn't it? Stacy
was dating Mark Tanner!
DIANE
Yes! But he had nothing to do with
her accident.
MICHAEL
What makes you so sure?
DIANE
Because the police said it happened
around midnight. Stacy and Mark were
having dinner earlier when Mark was
called out of town.
MICHAEL
And what happened to Stacy.
DIANE
He sent her home, only she never got
here.
MICHAEL
Tanner told you all this?
DIANE
Yes.
MICHAEL
That helps a lot. Thanks Diane.
He leaves. Hold for a beat on her torn look.
EXT. STREET - DAY - ON K.I.T.T.
churning up the pavement.
K.I.T.T.'S VOICE
Michael, the airport logs confirm
Tanner's alibi.
ANGLE INTO K.I.T.T.
MICHAEL
So his plane took off and landed.
That doesn't mean he was on it. By
the way, did you ever get an analysis
of that paint chip from the accident
site?
K.I.T.T.
It just came in, Michael. It's a
special high-lead racing paint from
a factory in Italy. They make a car
called the Vector. It's pretty
terrifying.
MICHAEL
Show me what you've got.
INSERT - K.I.T.T.'S MONITOR
a dazzling 3-D image of the Vector appears. Michael
whistles softly.
K.I.T.T.'S VOICE
A double turbo 600 horse engine. Can-
Am aluminum-titainium body. Zero to
sixty in 3.5 seconds. Top speed 200
plus. Totally illegal to drive in
this country by all civilized standards.
BACK TO SHOT
MICHAEL
No one ever accused these guys of
being civilized. Any chance Tanner
owns one?
K.I.T.T.
With his money anything is possible,
although I can't find a registration
to prove it.
MICHAEL
Then maybe we'll have to prove it
another way.
He makes a sharp turn.
EXT. STREET - DAY - ON K.I.T.T.
peeling a 180 and racing off the other direction.
EXT. FOOTBALL STADIUM - DAY - ON SIGN
bearing an L.A. Lions logo, reading: "CLOSED WORKOUT. NO
ADMITTANCE".
ANGLE ON K.I.T.T.
pulling up. Michael sees the signs, notes all the gates
are barred.
MICHAEL
Kitt, see if you can find a way in.
INSERT - K.I.T.T.'S MONITOR
We see various locked gates flashing by, then hold on an
open drive-in gate.
BACK TO SCENE
K.I.T.T.
Michael, there is one open gate,
but....
MICHAEL
Let's go for it, Kitt....
K.I.T.T.
Only....
MICHAEL
Kitt, if you don't mind!
K.I.T.T.
Whatever you say, Michael.
K.I.T.T. heads for a side gate.
ANGLE ON GATE
as K.I.T.T. is about to move through it.
K.I.T.T.
Why do I feel like I'm entering the
jaws of a lion?
EXT. STADIUM FIELD - DAY - ON K.I.T.T.
as he comes onto the field...and finds himself smack in the
middle of a scrimmage game.
K.I.T.T.
Now I know.
VARIOUS ANGLES
the ball is snapped. Steve Young receives it and throws a
long pass.
IN K.I.T.T.
trying to avoid the charging players he accidentally catches
the football through his open sunroof.
K.I.T.T.'S POINT OF VIEW - THE DEFENSIVE LINE
as then some, charging him.
K.I.T.T.'S VOICE
Michael, why are all those helmeted
behemoths charging me?!
INTERCUT AS NEEDED - TO INCLUDE TANNER
who watches from the sideline, along with the Kittens.
MICHAEL
'Cause you got the ball, buddy.
K.I.T.T.
Not anymore!
ANGLE TO INCLUDE DASH
as the eject button lights up, and the football is ejected
from the passenger seat.
ON FOOTBALL
flying high in the air, then landing in the arms of a well-
known player.
K.I.T.T.
Let him worry about it.
VARIOUS ANGLES
As K.I.T.T. drives through the on-field mayhem, the new
receiver is hit from behind. The ball flies from his hands
and before it can hit the ground, Michael steers the Trans
Am under it again, catching it in the sunroof.
K.I.T.T.
Michael, I really don't enjoy this
game.
MICHAEL
It's not a game, pal. It's showtime!
And I want to make sure the spotlight
is on us.
ANGLE ON TANNER
His interest and his blood pressure rising as he watches
the Trans Am.
WHAT FOLLOWS
is probably a first, as Michael drives through two teams,
crisscrossing the field, reversing, running various
patterns, and finally crossing the goal line.
ANGLE IN K.I.T.T.
as Michael pulls to a stop.
MICHAEL
You're another Marcus Allen, buddy.
K.I.T.T.
I suppose that's meant to be a
compliment.
MICHAEL
Strictly MVP time, Kitt.
Michael gets out and the Kittens crowd around, one putting
her arms around his neck.
KITTEN ONE
Fantastic! I've never seen moves
like that before!
MICHAEL
You should see me on my pass plays.
KITTEN ONE
I'm pretty aggressive on offense
myself.
She looks at him, into him. He returns the look until:
K.I.T.T.
Michael, somehow this doesn't sound
like football talk to me.
Michael is about to respond when:
ANGLE TO INCLUDE TANNER
joining Michael. The Kittens will drift off.
TANNER
It seems there's no limit to this
car's ability.
MICHAEL
(pats K.I.T.T.'s
fender)
You got that right. And if it was
any faster it would need wings. Of
course, if you don't believe me....
TANNER
Are you suggesting a race, Knight?
MICHAEL
If you've got the wheels to make it
interesting.
TANNER
Oh, I've got the wheels all right.
Question is...do you have the guts?
MICHAEL
Just name the time and place.
TANNER
Midnight. The corner of Temple and
Third. And...what say we run for
pink slips?
MICHAEL
(nods)
Banzai.
Michael slides into K.I.T.T. and peels out.
EXT. DOWNTOWN STREETS - NIGHT
We're back in the area where we first saw the racers.
K.I.T.T. pulls around a corner like a prowling black shark.
ANGLE INTO K.I.T.T. - ON MICHAEL
K.I.T.T.
Michael, I just don't see a man like
Tanner bringing out the guilty car
for a race.
MICHAEL
Frankly, I don't either, but it is
worth a shot.
K.I.T.T.
And if the shot misses?
MICHAEL
Then it's onto Plan B.
K.I.T.T.
And what, may I ask, is Plan B?
MICHAEL
Here they come, Kitt.
WIDE ON THE STREET
A low slung Lamborghini Countach pulls around the corner
followed by a large truck. The Countach is an evil-looking
racing machine. It pulls up next to Michael and disgorges
Tanner, who strolls over to K.I.T.T. Bloodworth climbs
from the nearby truck.
TANNER
All right if my man holds the pinks?
MICHAEL
If it makes him happy.
He reaches in his pocket, hands Tanner K.I.T.T.'s title.
Tanner passes them to Bloodworth.
TANNER
(to Michael)
Ready?
MICHAEL
Let's burn!
Tanner climbs into his car.
CLOSE ON THE CARS
as they explode off the pavement.
VARIOUS ANGLES - RACE
over the city course.
FIRST CORNER
The cars skid around it in four-wheel drift as though
bolted together.
TANNER
glances sidelong at K.I.T.T. This is a challenge like he's
never known.
ANGLE IN K.I.T.T.
The speedometer is clicking up so fast we can't read it.
Past 150.
BRIGHT STREET
The cars rocket through the glass, concrete and electricity.
They turn a final corner for home.
ANGLE IN K.I.T.T.
K.I.T.T.
Michael, we could've taken him by
now. What are you doing?
MICHAEL
Plan B, Kitt. Plan B.
He's slowing noticeably as:
THE FINISH LINE
The two cars slam past Bloodworth, the Countach with a half
length lead. They slow, turn and drive back to the starting
point.
ANGLE IN K.I.T.T.
K.I.T.T.
Michael...you...you lost me!
MICHAEL
That...is...Plan B!
Michael's out of the car to meet:
TANNER AND BLOODWORTH
Bloodworth prepares to pull K.I.T.T. into the waiting truck.
TANNER
Looks like your machine just got
its wings clipped.
MICHAEL
Just take good care of it.
TANNER
Maybe. Maybe I'll scrap it for
parts.
INSERT - VOICE BOX
K.I.T.T. gulps.
BACK TO SHOT
Michael puts a hand on K.I.T.T.'s fender.
MICHAEL
So long, old friend.
CLOSE ON K.I.T.T.'S SCANNER
moving slower, slower, then going out, as Michael
disappears into the night.
FREEZE FRAME
FADE OUT
END OF ACT THREE
ACT FOUR
FADE IN
EXT. FOUNDATION - DAY - ESTABLISHING
The morning calm is shattered by the tense sound of:
BONNIE'S VOICE
Michael, how could you have done this.
INT. DEVON'S OFFICE - DAY
Michael is pacing while Bonnie labors over the computer and
a small radio-like device which emits intermittent static.
Devon looks on from his desk. It's been a tough night.
MICHAEL
It was the only way.
BONNIE
Losing him in a race?
DEVON
Really, Michael, you overstepped
your bounds. Losing Kitt is...
(can't find
a word bad
enough)
...unforgivable.
MICHAEL
For the last time, I didn't lose
him. I figured his homing signal
would lead us to where Tanner's
keeping the Vector. How was I
supposed to know the tracking device
wouldn't work?
BONNIE
It does work! But there's so much
interference, I can't tell what's
coming from Kitt and what isn't.
(beat)
This is really awful. Poor Kitt.
MICHAEL
Okay, look. What direction is the
primary signal coming from?
BONNIE
It's hard to say. Considering
reflection...
(beat)
I can't even hazard a guess.
MICHAEL
Bonnie, I love having you back.
You're great at your job. But every
minute we argue is a minute we don't
find Kitt. Look, maybe the
interference is from power lines or
something we could get past. So
throw that scientist's caution aside
and give me a direction!
BONNIE
Okay! Okay.
(consults the
device)
South.
MICHAEL
Let's go. Bring that thing with
you. Devon, give me your keys.
Devon fishes them out of his pocket, hands them to
Michael. Bonnie picks up her portable receiver.
DEVON
This had better work, Michael.
MICHAEL
We'll make it work.
And they're gone.
CUT TO
EXT. STADIUM - DAY - ESTABLISHING
Deserted at this hour.
INT. KITTENS LOCKER ROOM - DAY
Diane, fearful, is quickly emptying her locker and stuffing
her belongings into a small shoulder bag. Just as she
finishes and slams the locker:
TANNER'S VOICE
Here awfully early, Diane.
She jumps a little, turns to see:
ANGLE TO INCLUDE TANNER
leaning in the room's doorway.
She tries to hide what she's doing as he moves closer to
her.
DIANE
I...I just needed a couple things.
He opens her locker, sees it's cleaned out. He looks in
her gym bag, then searches her with a look she can't meet.
TANNER
Diane, I'm disappointed in you.
DIANE
I'm going home. Back to my folks.
TANNER
When I hired you you said this was
your chance of a lifetime. National
exposure, TV. It'd take a lot to
make you leave.
He's pressing. She's more and more nervous.
TANNER
It's Michael Knight, isn't it.
What'd he tell you?
DIANE
Nothing.
TANNER
Then he did come see you.
DIANE
No...I mean, I didn't tell him
anything!
TANNER
Diane, I'm sorry. I can't let you
go just now.
She tries to dart past him to the door but he's too quick,
too powerful. She struggles in his grip, starts to scream,
but he clamps a hand over her mouth.
EXT. CITY STREET - DAY
Devon's Mercedes flashes by, Michael driving, Bonnie in the
passenger seat.
ANGLE IN MERCEDES
Bonnie is monitoring the computer in her lap. Michael
looks tense, keeps glancing at her.
MICHAEL
Talk to me.
BONNIE
(frowns)
The signal's stronger now, but it's
in multiples.
MICHAEL
Bonnie, spare me the technical
analysis. I need a direction. Left
or right?
BONNIE
Left.
ANGLE ON THE STREET
Approaching a cross street, the Mercedes cuts a left.
CUT TO
INT. STADIUM - UNDERGROUND GARAGE
We're close on a large drill, boring into a hard surface
but not making any progress. Pull back to reveal it's held
by Bloodworth, doing his best to get into K.I.T.T., who's
parked in a well-stocked indoor garage/lube bay. Next to
K.I.T.T. under a tight-fitting nylon cover is a low
silhouette we recognize as belonging to the Vector.
ANOTHER ANGLE
Bloodworth holds up the drill to examine the bit. It's
badly bent. He shakes his head, turns when he hears a door
opening. Through the door comes Diane, shoved in roughly
ahead of Tanner, who closes it behind him.
BLOODWORTH
(re K.I.T.T.)
Forget about pulling the engine on
this car, boss. I can't even get
under the hood...
(reacts to
Diane's
presence)
What's she doing here?
TANNER
She knows.
Bloodworth reacts. Off Diane's fearful look:
CUT TO
EXT. STREETS NEAR STADIUM - DAY
The Mercedes cruises through light traffic. Bonnie's
tracking device is now emitting a strong regular beep.
BONNIE
Michael, the signal's almost at full
strength. We're getting close.
MICHAEL
(it dawns)
Lion's Stadium is only a couple of
blocks from here. That's it!
He floors the car, cutting through traffic and around a
corner.
ANGLE IN MERCEDES
They speed along, excitement replacing the previous tension.
BONNIE
That makes sense. If Kitt's under
all that concrete, it'd explain the
interference.
MICHAEL
How close can that thing pinpoint him?
BONNIE
Not very close. That place is big.
He could be anywhere.
MICHAEL
And we may not have much time.
(beat;
something
dawns)
Wait a minute!
He picks up the car phone, dials as he drives. Waits a beat.
MICHAEL
Yeah, Jim Courtney please. Patch me
through. It's an emergency.
EXT. STREET - DAY - ANGLE ON COURTNEY'S CRUISER
in motion.
ANGLE IN CRUISER - INTERCUT MICHAEL
Courtney picks up his radio mike.
COURTNEY
Yeah, this is Courtney.
MICHAEL
Jim, it's Michael Knight. I don't
have time to explain, but if you
want the man who ran down Stacy,
meet me at the stadium. Right now.
COURTNEY'S VOICE
I'm on my way.
Michael hangs up, impatient.
EXT. STREET - DAY - COURTNEY'S CRUISER
spins a turn, burns rubber.
INT. STADIUM - GARAGE - DAY
Bloodworth finishes tying a frightened Diane to a chair.
DIANE
Please don't hurt me!
Tanner's been poring over some maps at a workbench. He
moves to join them.
TANNER
Believe me, Diane, I wish there was
another way.
Hold on their looks.
EXT. STADIUM - PARKING LOT - DAY
The Mercedes is parked inconspicuously and Courtney's
cruiser screeches up to it. Michael and Courtney are both
out of their cars quickly to confer.
ANGLE ON THE TWO MEN
COURTNEY
Okay, Bright Eyes. What've you got?
MICHAEL
The man who ran down Stacy was Mark
Tanner.
COURTNEY
(incredulous)
Mark Tanner? The owner of the Lions?
MICHAEL
That's the one. We can tie him to
it if we can find the car he drove,
and it's somewhere under that
stadium. No one knows the inside of
this place like you.
COURTNEY
Let's go.
They dash into the structure.
INT. GARAGE - DAY
Tanner turns away from a set of maps to where Bloodworth
stands guard over Diane. He's more up now, thinking he
sees a way out of all this.
TANNER
Get her ready to move.
BLOODWORTH
What's the plan?
TANNER
I think it'd be a lot better for
both of us, friend, if you didn't
know.
Bloodworth starts to untie Diane from the chair.
INT. STADIUM CORRIDORS - DAY
Michael and Courtney run down a hall to an old door that's
been long closed. Courtney tries to open it. Michael
pitches in.
MICHAEL
What's behind here?
COURTNEY
Maintenance stairway. It'll get us
to any level.
As they pound away, Courtney pauses.
COURTNEY
Wait a second. How'd you know I
could find my way around here with
my eyes closed? Only a few people
knew this was on my beat. My wife,
my watch commander, and my late
partner, Michael Long.
MICHAEL
You want to talk about it or you
want to find that car?
The door gives under Michael's shoulder and they disappear
through it.
ANGLE IN ANOTHER CORRIDOR
as Michael and Courtney burst out and stop to catch their
breaths.
MICHAEL
Where to from here?
COURTNEY
I know of two rooms big enough, but
I can't say which one.
MICHAEL
Just a minute!
(to comlink)
Kitt? Can you read me?
K.I.T.T.'S VOICE
(heavy static)
Michael, is that you?
INT. GARAGE - DAY
Tanner's uncovering the Vector as Bloodworth finishes
untying Diane.
ANGLE IN K.I.T.T. - INTERCUT MICHAEL AS NEEDED
The dash lights up. Softly:
K.I.T.T.
Michael, thank God you're here.
They've got Diane. Hurry!
MICHAEL
Buddy, where are you?
K.I.T.T.
I'm not sure. It's a low room.
There's some heavy electrical
conduit running through here.
BACK TO MICHAEL AND COURTNEY
MICHAEL
That help you any?
COURTNEY
You know it. Come on.
They dash off.
INT. GARAGE - DAY
Bloodworth is pulling the struggling Diane into the Vector,
his hand over her mouth.
TANNER
Strap her in the car. I'll take it
from here.
INT. STADIUM - BASEMENT CORRIDOR
Michael and Courtney race down the corridor. Courtney
points.
COURTNEY
That's the door.
MICHAEL
You take low, I'll take high.
COURTNEY
You got it, Mike.
They charge toward the door, kicking it in on the run.
INT. GARAGE - ANGLE ON DOOR
It explodes open. Michael and Courtney burst in.
FULLER ANGLE
Tanner's climbing into the Vector beside Diane. Bloodworth
is near them. He turns on the partners instinctively, and
charges.
MICHAEL
(to Courtney)
High and low!
Together they clothesline Bloodworth, who crumbles. As
Courtney goes to cuff him:
ANGLE ON GARAGE DOOR
opening, and the Vector peeling out into a tunnel.
MICHAEL
hops into K.I.T.T.
ANGLE IN K.I.T.T.
as the dash comes to life.
K.I.T.T.
Glad to have you back in the driver's
seat, Michael.
MICHAEL
That makes two of us. Let's go get
'em.
They screech out in pursuit.
EXT. STADIUM - PARKING LOT - DAY
The Vector shoots out of an underground parking tunnel,
slams onto the pavement and burns off. Seconds later,
K.I.T.T. rockets out after them.
VARIOUS ANGLES OF CHASE
through the city streets surrounding the stadium. The
Vector hauls for all its worth but can't shake the Trans Am.
ANGLE IN K.I.T.T.
K.I.T.T.
Shall I try to jam his ignition,
Michael?
MICHAEL
Too risky at this speed, pal. We
can't have him rolling that thing
with Diane in there.
CUT TO
EXT. TWO-LANE ROAD - DAY
deserted until the Vector flies onto it. K.I.T.T. is only
seconds behind.
VARIOUS ANGLES OF CHASE
along this road.
ANGLE IN K.I.T.T.
MICHAEL
Kitt, give me a readout of what's
ahead.
INSERT - MONITOR
A computer-graphics map shows the road with two fast-moving
blips indicating the cars.
K.I.T.T.
Michael, this road ends in a washout
in less than two miles.
BACK TO SHOT
MICHAEL
They'll never be able to stop in
time.
ANGLE IN VECTOR
Tanner sees they're running out of road. He hits his
brakes and the car starts to skid out of control. Diane is
terrified.
ANGLE IN K.I.T.T.
MICHAEL
He's losing it, Kitt. We've got to
stop them. Here goes.
He reaches for turbo boost.
VARIOUS ANGLES - THE JUMP
K.I.T.T. goes up like a Saturn rocket. He's up, up, and
over the Vector on the final straightaway.
ANGLE ON K.I.T.T.
He slams back to Earth in front of the skidding Vector!
As they start past the signs indicating the end of the
road, Michael applies the brakes slowing K.I.T.T. down. The
cars bump once, then again.
ANGLE ON K.I.T.T.'S TIRES
His superior brakes grabbing the pavement, slowing both cars.
ANGLE IN THE VECTOR
Tanner fights for control of his car. Only K.I.T.T. stands
between him and a splintering crash.
ANGLE IN K.I.T.T. - THROUGH THE WINDSHIELD
The end of the road coming perilously close, followed by a
deep drop-off.
ANGLE ON THE MONITORS
registering the upcoming disaster.
MICHAEL
sweating bullets.
MICHAEL
More braking force! Give it all
you've got!
K.I.T.T.
Michael, I'm at capacity now! Anymore
and my brakes will give out, and we'll
go over with them.
ANGLE ON THE CARS
Bumpers kissing, glued together, bumper to bumper, still
hurtling forward, smoking, screeching, tearing up the
highway.
ANOTHER ANGLE
Finally, they slow sown to a dangerous but controlled stop,
inches away from the drop-off.
ANGLE IN K.I.T.T.
MICHAEL
I knew you could do it, pal.
K.I.T.T.
I appreciate your confidence.
He's out of the car in a flash.
FOLLOWING MICHAEL
He races back to the Vector, pulls Tanner out. Leaning
inside.
MICHAEL
You all right, Diane?
DIANE
I am now.
Michael turns to Tanner. Pulling Tanner's face to within
inches of his own.
MICHAEL
The clock just ran out, Tanner. You
lose.
FREEZE FRAME
FADE OUT
END OF ACT FOUR
TAG
FADE IN
EXT. FOOTBALL STADIUM - DAY
Michael walks with Courtney and Stacy, who's in a wheelchair
pushed by her father. Except for this, she shows no sign of
the accident. The Lions work out in the b.g.
MICHAEL
Your father tells me you'll be
dancing again soon.
STACY
Yes...the Ballet Academy even agreed
to hold my scholarship for me.
COURTNEY
She's gonna be a superstar, just
wait and see.
Michael smiles his approval. They stop. Courtney looks at
him.
COURTNEY
Thanks for your help.
MICHAEL
My pleasure.
COURTNEY
Oh, by the way, I've got a little
present for you.
MICHAEL
Hey, come on, no need....
COURTNEY
No, it used to belong to a friend of
mine.
Courtney produces a small box which Michael opens, revealing
a police badge. Beneath it is a name tag reading:
"M. Long."
COURTNEY
A cop by the name of Michael Long.
(beat)
See you around.
Courtney goes off, pushing Stacy. Michael looks at the
badge a tender beat, then moves to Devon and Bonnie,
standing next to K.I.T.T. He starts climbing in.
DEVON
Michael, what's this I hear about
Kitt playing football?
MICHAEL
I tell you, Devon, he's the next
O.J. Let's show 'em, Kitt.
(calls over)
Steve, let's go for a Hail Mary!
Steve Young waves the football.
YOUNG
One Hail Mary coming up.
BONNIE
Michael, if you hurt him....
But K.I.T.T.'s already down the field.
VARIOUS ANGLES
as Young passes.
MICHAEL
Here it comes, buddy.
K.I.T.T.
It's all mine, Michael.
K.I.T.T. makes a fantastic catch through the sun roof.
MICHAEL
Touchdown! Now let's get the extra
point!
K.I.T.T.
Michael, you can't be serious...you
wouldn't really...Michaelllll!!!
MICHAEL
(hitting
Turbo-Boost)
Banzai!!!
ON K.I.T.T.
lifting off, higher and higher, and just as he crosses the
center of the goal posts for an extra point we:
FREEZE FRAME
AND
FADE OUT
THE END
