ACT ONE
FADE IN
EXT. BAR - NIGHT - ESTABLISHING
We see a little night spot whose blemishes and rough edges
are somewhat concealed by the neon and the darkness. Music
and light spill from inside as the doors open and a laughing
couple exit conspiratorially, cuddling.
ANOTHER ANGLE
From the shadows outside emerges a man, better dressed than
the usual patrons, and carrying a briefcase. He looks
around suspiciously, heads for the front door.
K.I.T.T.'S VOICE
There he is, Michael.
INT. TRANS AM - NIGHT
Michael is slumped in the driver's seat, watching the above
on K.I.T.T.'s monitor.
MICHAEL
Okay, pal, let's pin him down.
WIDE SHOT - THE PARKING LOT
K.I.T.T.'s engine roars and the car screeches toward the
front of the bar. The well-dressed man freezes like a deer
in K.I.T.T.'s headlights as the Trans Am races right up to
the front wall of the bar. Just before K.I.T.T. plows
right through both the man and the wall he screeches to a
halt.
INSERT - THE MAN'S KNEES
are pinned neatly against the wall by the pointed front of
the Trans Am. The scanner flashes angrily.
FAVORING MICHAEL
He climbs from the car and grabs the briefcase from his
prey.
MICHAEL
I'll take that. Its owner will be
pleased to have it back.
MAN
Okay, okay, take it. Just back up
your car.
MICHAEL
Not until I get some answers.
ANOTHER ANGLE INCLUDING THE BAR ENTRANCE
as another patron exits and glances toward the confronta-
tion taking place. His name is Jake Simpson, a cruel,
kinetic individual with street-tough origins. He does a
double-take when he sees Michael and the man, then backs
into nearby shadows to watch. He looks as though he's
seen a ghost. And he has.
BACK TO SCENE - SIMPSON'S POINT OF VIEW - MICHAEL
Michael has a foot up on K.I.T.T.'s bumper. Simpson sees
Michael primarily from the back.
MICHAEL
Let's take it from the top.
MAN
I want a lawyer.
MICHAEL
I'm not a cop. My name's Michael
Knight.
K.I.T.T.'s engine revs menacingly. The man shudders.
MAN
Okay. You win. But call off your
car.
ON SIMPSON
He's seen enough. Turning quickly, he spots a phone booth
nearby and slips into it.
INT. MENDELSSON'S PENTHOUSE - NIGHT
An expensive, space-age telephone rings discreetly. This
is an unpretentious but elegant room, definitely masculine.
Remington prints and a weapons collection decorate the walls.
The phone is answered by:
MAX MENDELSSON
A tightly wound man with a cold, inscrutable expression.
He's dressed in a satin bathrobe and he's annoyed at having
been disturbed.
MAX
What is it?
INTERCUT MAX AND SIMPSON - PHONE CONVERSATION
SIMPSON
This is Simpson. You won't believe
this, but I just saw Michael Long.
MAX
Michael Long is dead.
SIMPSON
He's shaking down one of our runners
now. The face is different but the
build and the moves are the same.
And I'll never forget that voice.
Calls himself Michael Knight.
MAX
Michael Knight! Are you sure? Did
he see you?
SIMPSON
If he had, I wouldn't be talking to
you. Long spent six months under-
cover trying to crack us. We don't
know how much he knows. But he
knows me.
MAX
That was two years ago! Tanya shot
him, point blank. He's dead. They
buried him.
SIMPSON
He's as alive as you are.
(looking out
toward K.I.T.T.)
I gotta go. He's pulling out.
MAX
Follow him!
Simpson hangs up, steps out of the booth. Looking past him
we see Michael bundle his suspect into K.I.T.T., then pull
away. K.I.T.T.'s license plate -- K.N.I.G.H.T. -- is
clearly visible. Simpson hurries off.
INT. PENTHOUSE - NIGHT - ON MAX
He puts down his phone and stares out at the darkness.
MAX
Michael Long. Michael Knight. I
hope to God you are alive. And I
know how to make sure. I want the
pleasure of killing you twice.
EXT. A GRAVEYARD - NIGHT
A scimitar of moon slashes at wind-blown treetops and the
scream of a night bird pierces the chill air. Sound of
digging and scraping can be heard as two dark figures
engage in tense and secretive work over one of the graves.
ON THE FIGURES
One stands lookout while the other shovels dirt from a
newly opened grave. When the shovel strikes wood, they nod
to each other and begin pulling on two prepositioned ropes.
INTO THE GRAVE
The men strain at the ropes and a dirty, dark coffin rises
to ground level. Quickly the two gather their implements
and carry the box off into the darkness. The camera finds:
THE GRAVESTONE
As a sudden rain begins to pelt the marble marker a flash
of lightning illuminates it clearly. The markings read:
MICHAEL ARTHUR LONG
January 9, 1949
August 8, 1982
EXT. THE FOUNDATION - DAY - ESTABLISHING
washed by the rain and shining in the morning light.
DEVON'S VOICE
I appreciate your problem, Miss Adams.
INT. DEVON'S OFFICE - DAY
Morning sun dapples Devon's desk. He speaks across it to
an intense, attractive young woman who is clearly upset.
Her name is Gina Adams. On her lap is a Teddy bear.
DEVON
But our Foundation is usually
involved with matters of a more...
serious nature.
GINA
Mr. Miles, my work is serious. To
me, and to children everywhere.
Before Devon can reply, Michael and April pop in through
the door.
MICHAEL
Devon, did you swipe the sports
page...Oh, excuse me.
DEVON
Quite all right, Michael, we were
just finishing. Miss Adams, meet
April Curtis and Michael Knight,
my...assistants.
GINA
(bursts out)
Mr. Miles, if you don't help me, I
don't know where I'll go. The
security people were no help, and
the police didn't believe me, but
I'm a victim! I was told you helped
people in my position.
She gathers herself together and starts to leave.
MICHAEL
Whoa. What seems to be the problem?
DEVON
Miss Adams is a designer of chil-
dren's toys, Michael. The 'Carrot
Top' doll?
APRIL
Right. Those are really cute.
Gina shows them the Teddy bear.
GINA
This is my new toy for this season.
'Talking Teddy.' Watch.
She presses a button on the bear's back. In a cute, squeaky
voice, it says:
TALKING TEDDY
Hi! I'm Talking Teddy. What's your
name?
MICHAEL
Cute.
TALKING TEDDY
Hello Cute. How are you today?
MICHAEL
(surprised)
Oh, I get it. Uhh...fine. How are
you, Teddy?
TALKING TEDDY
Very well, thank you.
GINA
You see? It really talks. I
designed a microvoice module and
conversation computer. It says and
responds to over 1500 different
phrases. But my schematics were
stolen by one of our competitors.
DEVON
You suspect. There's no evidence.
MICHAEL
These toys are a hot market, Devon.
Items can come and go overnight. By
the time procedure gets followed the
toys could be on the shelves.
DEVON
True.
MICHAEL
I'm between assignments. It sounds
like a fairly simple matter if we
move fast.
DEVON
Very well. Just keep yourself
available.
GINA
Oh, thank you very much.
Michael shakes her hand as she prepares to leave. He takes
the bear from her and looks it over with admiration.
MICHAEL
I've got a friend who would love
this. I'll pick you up in, say, an
hour?
Gina nods. Ad-lib good-byes. Michael watches her go.
APRIL
Ahhh. Chivalry is not dead.
MICHAEL
Not by a long shot.
They crack up. Devon rolls his eyes.
CUT TO
EXT. CITY STREETS - DAY - ON K.I.T.T.
driving. Cruising.
K.I.T.T.'S VOICE
I'm afraid this notion of toys
confuses me, Michael.
INT. TRANS AM - ON MICHAEL
driving.
MICHAEL
Come on, Kitt. You've played video
games. And chess.
K.I.T.T.
Games of skill and mental acuity
make sense. They allow you to
sharpen your wits. Especially if
you play against me. But dolls?
Little rubber people? What does one
do with them?
MICHAEL
Well, you...you dress them up. And
feed them.
K.I.T.T.
Oh come now.
MICHAEL
No, seriously. Hey, some of them
talk. And move. Some of them even....
K.I.T.T.
Even what?
MICHAEL
Never mind. Here we are.
EXT. GINA'S APARTMENT BUILDING - DAY
Michael parks the car across the street from a modest
address. On our side, near K.I.T.T., is a used car lot,
with autos in various states of repair overflowing onto the
sidewalk. Michael hops out of the car and heads for Gina's.
MICHAEL
Be right back.
ANGLE ON K.I.T.T. AND THE CAR LOT
Looking past the Trans Am, we see a shifty salesman named
Dave Collins ushering a middle-aged couple out of his
office under a banner proclaiming his name and the greatest
used car bargains in the Western Hemisphere. He patters as
he leads them up to a rather rumpled not-so-late model car.
DAVE
I know you won't believe this but if
you'd been here yesterday I couldn't
have offered you this car. And if
you were here tomorrow, she'd be
gone. Just took her in trade from
my grandmother. Do you believe it?
Just got so she couldn't see the
road anymore, poor dear. Course,
she hasn't driven in a year anyway.
Here it is.
K.I.T.T.'s scanner flashes warily. The couple follow Dave
like sheep. He pats the fender of the car in question.
DAVE
Solid, through and through. Workman-
ship. This car will last you 100,000
miles easily. Our factory-trained
service specialists have been over
it with a fine-tooth comb.
(gestures to
K.I.T.T.)
Solid steel, too. Not like those
fibreglass wonders they're pumping
out now.
K.I.T.T.
I beg your pardon!
Dave whirls. The couple gawks.
DAVE
Who said that?
INSERT - K.I.T.T.'S SCANNER
It flashes and gives out its characteristic sound.
BACK TO SCENE
The used car in question suddenly begins to shake. One of
the tires blows. The muffler and tailpipe fall off. Smoke
puffs out from under the hood. Dave's jaw drops. The
couple stare at the car, then at Dave. Then they're gone
as fast as they can go. Dave stares at K.I.T.T., speechless.
INT. GINA'S LOFT - DAY
She opens the door and sees Michael standing in the hallway.
MICHAEL
Boo.
GINA
Come on in.
Michael enters and looks around the loft, whistles softly.
Panning:
THE LOFT
It's a combination design studio/apartment, lined wall-to-
wall with stuffed animals, dolls, and toys. A kid's
paradise. Or the refuge of a lady who never grew up.
MICHAEL
Wow. This is amazing. I feel like
I'm in a toy store.
GINA
(blushing)
Most people think I'm crazy.
MICHAEL
I love it.
GINA
Let me get my coat.
EXT. APARTMENT BUILDING - DAY
Michael is just letting Gina in the passenger side of
K.I.T.T. He crosses and enters the car himself.
GINA
Now it's my turn to be impressed.
This is some car.
They pull away.
INT. TRANS AM - ON GINA AND MICHAEL
driving. She's floored by the gadgetry.
MICHAEL
You have your toys, I have mine.
K.I.T.T.
I beg your pardon!
Gina reacts to the voice. Michael laughs.
MICHAEL
Sorry, Kitt. Meet Gina Adams.
K.I.T.T.
How do you do. Michael, I am not a
toy.
MICHAEL
(to Gina)
He's very sensitive.
(to K.I.T.T.)
Okay, buddy, plot us the best course
to the Triple-M toy plant.
GINA
(laughing)
And, I thought Talking Teddy was
special.
K.I.T.T.
It's not you, Miss Adams. I am a
little ahead of my time.
INT. DEVON'S OFFICE - DAY
Devon looks ashen as he listens to news over the telephone.
April is with him, looking on with concern.
DEVON
Yes, I see. Consider this an
emergency.
He hangs up.
APRIL
What is it?
DEVON
Last night the grave of Michael Long
was robbed.
APRIL
I don't understand.
DEVON
I'm afraid it can only mean that
someone now knows Michael Long never
really died. The body in Michael
Long's coffin was 'borrowed' by
Wilton Knight to protect Michael
Knight's true identity.
APRIL
But who would go to all that trouble?
Someone would have to want Michael
very badly....
The impact of her words sinks in.
DEVON
They killed Michael once. They'd do
it again. We've got to call him in.
EXT. TRIPLE-M TOY COMPANY - DAY
K.I.T.T. pulls up across from a large, ornate think-tank
type factory. Michael and Gina look out, appraising the
structure.
MICHAEL
That's a toy factory? Nice place to
work.
GINA
They try to put their people in the
right frame of mind. Are we really
going to do this in broad daylight?
MICHAEL
Saturday afternoon, they're closed.
Sleepiest time of the week. I know
from my days as a cop. Kitt, give
me a readout on the security systems.
He punches a few buttons.
INSERT - K.I.T.T.'S DASH AND MONITORS
as graphics pop up.
K.I.T.T.
The international alarms are simple,
Michael. I show only two guards,
and they appear to be playing cards
on the ground floor.
MICHAEL
That's it? Terrific.
GINA
This is amazing!
K.I.T.T.
Thank you, Miss Adams.
MICHAEL
Once we're inside, I'd guess we'll
be looking for a vault. What do you
see, pal?
INSERT - K.I.T.T.'S DASH
The graphics change. A flashing light indicates the vault.
K.I.T.T.
Not exactly a piece of cake,
Michael, but nothing we can't handle.
BACK TO SCENE
MICHAEL
Gina, I'll need you with me to show
me exactly what I'm looking for.
Are you ready?
GINA
I'm scared, but I'll do my best.
MICHAEL
Okay, let's go.
MOVING WITH MICHAEL AND GINA
as they exit the car and start into the perimeter of the
parking lot surrounding the building.
LONG SHOT - MICHAEL AND GINA - BINOCULAR MATTE
as they edge toward the building.
ANGLE ON A CAR
parked fairly far away, concealed, but with a view of
K.I.T.T. The driver lowers a pair of binoculars and we
recognize him as Jake Simpson. From within the car he
produces a wicked-looking weapon with a telescopic sight.
INT. TRANS AM
K.I.T.T.'s dash suddenly lights up with Devon's picture.
DEVON
Michael? Are you there? We have
reason to believe you may be in
grave danger. Please come in at
once.
K.I.T.T.'s dash lights up.
K.I.T.T.
I'll contact him right away Devon.
MICHAEL AND GINA
continuing a cautious approach to the factory.
MICHAEL
Once we're inside, I want you to
wait for....
A bullet explodes between them, splintering the concrete at
their feet. Michael reacts instinctively, grabbing Gina
and covering her with his body. There's no cover anywhere
near them.
MICHAEL
Kitt, where'd that come from?
K.I.T.T.
He's in a car, Michael.
MICHAEL
We've got no cover. We're sitting
ducks.
ON SIMPSON
as he prepares to squeeze off a second shot. Michael and
Gina are dead in his sights.
FREEZE FRAME
AND
FADE OUT
END OF ACT ONE
ACT TWO
FADE IN
EXT. PARKING LOT - ON MICHAEL AND GINA - CONTINUOUS ACTION
Michael covers Gina's body with his own as a second shot
spanks into the pavement next to them.
MICHAEL
Kitt, get down here and cover us!
INT. TRANS AM
The shifter moves, the pedals floor, lights blink.
FOLLOWING K.I.T.T.
the turbines roar and the car clears all obstacles in its
path, making a beeline for Michael and Gina.
ANOTHER ANGLE
The Trans Am reaches the prone couple just as another shot
rings out. The bullet smacks into K.I.T.T.'s surface
harmlessly.
ON SIMPSON'S CAR
as he pulls back in frustration, frowning at the sight of
K.I.T.T. mysteriously blocking his shot. He pulls in his
gun and peels away.
MICHAEL AND GINA
They stand, shaken, looking after the fleeing car.
MICHAEL
Are you all right?
GINA
I...I think so.
(she slumps
against him)
You saved my life.
Michael puts his arms around her, helps her into the car.
MICHAEL
Kitt is she all right?
K.I.T.T.
Pulse is returning to normal. Blood
pressure is coming down. She'll be
fine.
(then)
Michael, those bullets were very
unusual.
MICHAEL
They were plenty real enough to me.
K.I.T.T.
They were made from some kind of
unusual substance. I'm analyzing
the one that struck my door.
MICHAEL
Fill me in later, pal. Let's get
this lady home.
EXT. GINA'S APARTMENT BUILDING
K.I.T.T. drives up and Michael helps Gina out.
MICHAEL
Keep your eyes open, just in case,
Kitt.
K.I.T.T.
Certainly.
They head off for her apartment.
ANOTHER ANGLE - K.I.T.T. AND THE CAR LOT
Dave has another sucker in his clutches, this one a geeky
looking sixteen year old. He's pulling him toward the same
car he tried to sell before.
DAVE
I had two of these beauties and I
took one home for my own son. He's
just about your age and he'd been
saving for his first car and I just
knew this was the one he deserved.
Dave stops when he spots K.I.T.T. parked at the curb. The
kid looks on expectantly, but Dave suddenly changes his
pitch in midstream when K.I.T.T.'s scanner flashes.
DAVE
On the other hand, there's a car
over at the other end of the lot I
think you ought to see first.
He reverses field, the startled teenager in tow. Anything
to get away from K.I.T.T.
INT. GINA'S APARTMENT
as Michael and Gina enter from the hallway.
MICHAEL
Well, if there was any questions
about the...
(mock 'Devon')
'gravity of your problem,' I
guess it's been settled. Is this
thing big enough to kill for?
GINA
The Carrot Top doll grossed eighteen
million dollars last year.
MICHAEL
That's big enough. Look, I have to
go check in and let Devon know
what's happened. But I want you to
lock the door when I leave and not
let anyone in until I come back.
Okay?
GINA
I think I'll take a hot bath and
have a good cry.
MICHAEL
Good. We'll stop them, Gina. Count
on it.
He clasps her hand warmly, then edges out the door. She
closes it behind him, leans on it, and heaves a sigh. She
looks for all the world like a lady in love.
EXT. STREETS - DAY - ON K.I.T.T. AND THE SEMI
as K.I.T.T. slides up the ramp and enters.
INT. SEMI - FAVORING DEVON
as K.I.T.T.'s turbines whirr down and Michael climbs out.
DEVON
Where the devil have you been?
MICHAEL
Oh, just out and about, lolly gagging
and getting shot at.
Devon freezes.
MICHAEL
I'm fine, and so is Gina. You know,
the one whose problem wasn't
serious....
DEVON
Michael, sit down.
He indicates two chairs near the computer terminal. He and
Michael sit.
DEVON
I want you to take a vacation,
Michael.
MICHAEL
Devon, I'm on assignment.
DEVON
That's not a request. It's an order.
MICHAEL
Devon, I've never seen you so
serious. What's going on?
Devon sighs. He's been wrestling with how much to tell
Michael.
DEVON
When Wilton Knight saved your life,
he wanted the world to believe you
were dead. So he...provided a body
for the world to find.
MICHAEL
And Michael Long was buried, I know.
DEVON
There were people who wanted you
dead, Michael. At least one of
those people is still out there.
And last night, 'your' grave was
robbed.
MICHAEL
The only person Wilton was worried
about was Tanya Walker. And she's
dead. I saw her die.
DEVON
You're wrong. Tanya was not self-
employed.
This news stuns Michael.
MICHAEL
I spent six months shadowing that
woman.
DEVON
She worked for one of the world's
most powerful criminals. A man who
protected himself so carefully it's
not surprising you didn't get close
to him.
Devon punches up a graphic on the computer screen. We see
a vague picture of a man, then another. They look like the
ones of "Carlos," grainy and mysterious.
DEVON
His name is Max Mendelsson. He had
a half-dozen operatives just as
clever and elusive as Tanya Walker
in his employ. They've pirated
secrets from governments, companies,
and individuals the world over.
Wilton Knight was once their victim.
FLASHBACK - SUBLIMINAL CUTTING - (KNIGHT RIDER PILOT)
Tanya Walker shoots Michael Long in the face. He falls
back onto the hood of his car.
CLOSE ON MICHAEL
troubled by old memories that are being resurrected.
MICHAEL
Why didn't you tell me this before?
DEVON
I promised Wilton. He feared you'd
be obsessed with Mendelsson if you
knew he existed. Max was out of the
country anyway, beyond our grasp.
Michael stands and paces like a caged animal: angry,
confused, excited.
DEVON
Tanya was Mendelsson's lover. His
favorite. He knows Michael Long
nearly took her down.
MICHAEL
And he knows Michael Knight did.
DEVON
Michael, the vengeance of a man like
that....
MICHAEL
What about our vengeance? Wilton
Knight was your best friend. You
saw what they did to him.
Michael's struck a nerve.
DEVON
My vengeance is keeping you alive and
fighting. That's what Wilton wanted.
Michael starts for K.I.T.T.
MICHAEL
Devon, I've never run and hid from
anything in my life. I can't start
now.
DEVON
I feared you'd feel that way. I had
April make you this.
From his pocket he pulls a tiny gold medallion on a chain.
MICHAEL
Thanks, but I'm not into jewelry.
DEVON
It's a homing device. If for any
reason you are separated from Kitt,
switch it on. It overrides all his
programs and brings him straight to
you, wherever you are.
Michael takes it, climbs into K.I.T.T.
DEVON
Where are you going?
MICHAEL
To think. I'll check in later.
Michael slides the Trans Am down the ramp. Devon looks
after him with deep concern.
EXT. RURAL ROAD - DAY - ON K.I.T.T. DRIVING - STOCK
Michael tears up the curves, troubled by Devon's news.
INT. TRANS AM - ON MICHAEL
K.I.T.T.
Perhaps you'd better let me drive
for a while. Your pulse is racing
and....
MICHAEL
Kitt, you'd make a lousy mother.
Did you analyze those bullets.
K.I.T.T.
Yes Michael. The slugs were made of
a waxy substance containing morbadine.
quilizer.
MICHAEL
Really?! That's a lot of trouble
for a talking bear, eh Kitt? Now
give me everything you've got on Max
Mendelsson.
K.I.T.T.
Very well, but I'd like to say one
thing first. I know this is an
emotional issue for you, and I want
you to be very careful.
MICHAEL
Thanks, Kitt. I'm glad you care.
K.I.T.T.
I hate the idea of having to break
in another partner. I've just
gotten used to you.
They drive off into the night.
INT. MENDELSSON'S PENTHOUSE - DAY
A beautiful sunset shines through the floor-to-ceiling
windows. Max Mendelsson paces the floor in front of Jake
Simpson. Neither man is happy.
MAX
I didn't get where I am by tolerating
failure.
SIMPSON
And I didn't get where I am by offering
excuses. But I couldn't do anything
about the car.
MAX
What car?
SIMPSON
The car they drove up in. Black,
hard-top. Custom-made. Before I could
get off a clear shot it blocked my
line of fire.
MAX
I suppose it drove itself.
SIMPSON
I swear, that's exactly what it did.
No one was in it.
MAX
Simpson, I have executed men for
less impudence.
(suddenly it clicks)
Wait a minute! Of course. He built
a car.
SIMPSON
What?
MAX
Wilton Knight built a car. Don't you
see? Wilton Knight was the most
brilliant man of his time. He was a
positive genius not only at invention,
but at application of his ideas. If
he combined all of his genius in a
car....
SIMPSON
How am I gonna take out Knight if he's
got a car like that?
MAX
This requires a shift in our strategies.
We've got to learn more about it.
He moves to a bar tray and pours a couple of drinks.
Handing one to Simpson:
MAX
Finding out that Michael Long was
alive was one thing. Finding out
that he was Michael Knight was
almost too good to be true. But
this...this could make all of our
other projects seem paltry.
(then)
I want you to tell me everything
about this car. From the beginning.
As they settle down to confer:
CUT TO
INT. GINA'S APARTMENT - NIGHT
Gina moves to answer a knock at the door.
GINA
Michael?
MICHAEL
It's me.
She undoes the locks and lets him in. She wants to hug him
in relief but stops herself. They move to the couch.
GINA
I'm glad you're back. Michael I've
been thinking.
MICHAEL
That makes two of us.
GINA
I'm going to leave town for a while,
Michael. I...I need a vacation.
MICHAEL
You're giving up? Gina, you can't.
Not now.
GINA
Michael, I almost cost you your life
today. Nothing is worth that.
MICHAEL
You're wrong, Gina. A lot of things
are worth dying for. I know. These
people didn't just take a few months
work, they took a part of you. And
then tried to kill you.
GINA
Michael I'm scared.
He puts his arms around her.
MICHAEL
It's okay to be scared. But you
can't run away. You'll die that way
too. Slowly maybe, but just as surely.
He leans back on the couch, stares into the flames flickering
in the fireplace, moving into a reverie of his own.
MICHAEL
Gina, an old man rescued me once
when I was dying. I was a cop, and
I'd been shot. He brought me back
to life. And he taught me to fight,
to use my anger as a force for life,
not death. Funny thing was, as he
taught me to live, he was dying
himself. Dying because he was
choking on his own anger, against
the people who had robbed him of his
ideas, his dreams.
(to Gina)
I never want to see that happen to
anyone again. Especially not to you.
He touches her cheek. They linger on each other a long
beat, then Michael breaks it.
MICHAEL
I'm going back to the toy factory.
Tonight.
GINA
I'll go with you. You need me to....
He silences her with a finger to her lips.
MICHAEL
Don't argue with me. Give me your
Teddy bear and Kitt can scan the
schematics well enough to identify
them for me in the factory office.
GINA
But....
MICHAEL
You can help me by staying here safe
so I don't have to worry about you.
Okay?
She looks at him gratefully. She moves to the shelf and
takes down the Teddy bear.
GINA
When I left Wisconsin, my mom told
me to watch out for city boys. I
wish she could meet you.
He kisses her lightly, and leaves. When he's gone, she
moves to the telephone and dials a number. Her softness
gives way to a harsh, cold demeanor.
GINA
(into phone)
It's Adams. The toy factory. He'll
be there in half an hour. It was
almost too easy.
INT. MENDELSSON'S PENTHOUSE - NIGHT
Max is on the phone, and Simpson stands nearby. Max nods
to him, gives him a "thumbs up."
MAX
Excellent. Fine work.
INT. GINA'S APARTMENT - ON GINA
GINA
Make them wait until he's inside,
far away from his car. And don't
blow it this time!
She hangs up. Her look tells us she's not entirely happy
with what she's just done.
INT. TRANS AM - NIGHT - DRIVING
Michael is grim and determined. The Teddy bear sits on the
dash.
K.I.T.T.
Michael, I've analyzed the circuitry.
It'll be easy to identify.
MICHAEL
I don't think we're going to find
it, Kitt.
K.I.T.T.
I beg your pardon?
MICHAEL
Call it a hunch. I just want to see
if the vultures come out. Here we
are.
EXT. TOY FACTORY - NIGHT
It's brightly lit but looks quiet. K.I.T.T. glides
noiselessly along one of the walls.
K.I.T.T.'S VOICE
I think the roof is our best bet,
Michael. There are skylights that
aren't alarmed.
ON K.I.T.T. AND MICHAEL
He pops the sun roof and stands on the driver's seat.
MICHAEL
I'm in your hands buddy. Keep me
posted on anything that happens out
here. Okay. Let 'er rip.
K.I.T.T.
Bon Voyage.
And with a beep and a whoosh he's ejected up onto the roof
of the factory.
EXT. ROOFTOP - ON MICHAEL
He lands, catlike, and moves to an open skylight.
MICHAEL
Nice work, pal.
INT. HALLWAY - NIGHT
Michael drops from the ceiling into an N.D. hallway. He
gets his bearings and starts up the corridor.
MOVING WITH MICHAEL
He reaches a large pair of double doors and edges to get a
look inside.
IN THE ROOM - MICHAEL'S POINT OF VIEW - STOCK
Is a dazzling display of high-tech hardware: computer
banks, futuristic devices. No sign of toys or anything
like them.
CLOSE ON MICHAEL
puzzled. What kind of place is this? He moves on.
EXT. FACTORY - NIGHT - ON K.I.T.T.
A tow truck moves swiftly up to where K.I.T.T. is parked
and two dark figures with crowbars glide out toward the
Trans Am. One of the men slides under the front of the
car while the other attempts to jimmy the driver's door.
INT. TOYS OFFICES - NIGHT
Michael steals from the hallway into a nicely appointed
office. Weapons somewhat like the ones we saw in
Mendelsson's penthouse adorn the walls. Michael moves to a
desk, opens a drawer.
INSERT - THE DRAWER
Michael pulls out a schematic drawing of a futuristic
pistol of some kind. It's labelled "THE LASER 3."
ON MICHAEL
He pockets the drawing.
K.I.T.T.
(comlink)
Michael, we have a problem.
EXT. FACTORY - NIGHT - ON K.I.T.T.
K.I.T.T.'s assailants are struggling to get a tow hitch
onto the Trans Am, without success.
K.I.T.T.
Someone's trying to steal me.
INT. HALLWAY - NIGHT
Michael comes out of the office and is heading back to the
roof when the lights suddenly come on. He ducks into a
doorway on his right just as two armed men enter the
corridor from the far end. One of them is Simpson.
INT. STOREROOM - ON MICHAEL
He's in a warehouse-like room, packed with boxes and toys
everywhere. He nearly falls over a crate of toy trucks,
recovers, and addresses the comlink.
MICHAEL
I got a problem here too, pal.
They're onto me. I'm in the
storeroom. I need an alternate
exit. Any doors or windows?
INT. K.I.T.T. - ON DASH
The assailants are still working outside.
K.I.T.T.
No Michael. And watch out. There
are two of them and they're just
outside your door. They're armed.
ON MICHAEL AND THE DOOR
The knob is starting to turn. There's really no place to
hide, and no time. Off Michael's frozen face....
FREEZE FRAME
END OF ACT TWO
ACT THREE
FADE IN
INT. STOREROOM - NIGHT
Michael huddles against the wall away from the door, which
is just starting to open.
MICHAEL
Kitt, give me a diversion up here.
Anything! Quick!
INSERT - K.I.T.T.'S DASH
as appropriate lights blink on. He plays with the
electrical field in the storeroom.
INT. STOREROOM - ON THE DOOR
Simpson and another man enter, guns drawn, looking around
warily for Michael when:
IN THE STOREROOM - VARIOUS SHOTS
Suddenly, all over the room, the toys come to life. Little
mechanical soldiers start to walk; a robot starts moving
and tips over a box of balls which roll all over the floor;
several dancing monkeys start clanging toy cymbals; music
boxes fire up. As much mayhem as we can produce.
ANGLE ON THE GUNMEN
Simpson whirls away from the corner where Michael is hiding
and fires a shot into a toy car which has just rolled out
from behind a box. As he and his baffled partner move into
the room and start knocking over boxes looking for Michael,
he quietly slips behind them and out the door.
MOVING WITH MICHAEL
as he sprints down the corridor and stops at a window, he
calls K.I.T.T. on the comlink.
MICHAEL
Kitt, get under this window, fast.
I'm coming out!
EXT. PARKING LOT - ON K.I.T.T.
The Trans Am suddenly fires up, surprising the two marauders
who are still trying to force an entry.
K.I.T.T.
Sorry fellows. Got to go.
And it screeches to a spot beneath the window where Michael
can be seen leaning out. The sun roof pops open.
INT. CORRIDOR - NIGHT
Simpson and his henchman burst into the corridor and spot
Michael at the window.
SIMPSON
There he is!
ON MICHAEL
A shot rings out and a bullet digs into the plaster right
next to him. No time to think about it. He jumps.
VARIOUS ANGLES - OVERCRANKED - THE JUMP
Michael sails down out of the rampart window just as
K.I.T.T. positions himself underneath him. He lands gently
in the raised ejector seat. Simpson reaches the window,
leans out, fires after him.
EXT. TRANS AM
K.I.T.T. burns rubber and is out of the lot.
INT. TRANS AM
Michael is panting, out of breath.
MICHAEL
Nice work, pal.
K.I.T.T.
Did you find Gina's designs?
MICHAEL
In a manner of speaking. Let's go
see Devon.
EXT. CITY STREETS - K.I.T.T.
disappears into the night.
EXT. FOUNDATION - NIGHT - ESTABLISHING
Lights are on in a few windows.
INT. DEVON'S OFFICE - NIGHT
Devon is pacing before his desk. He turns when a rather
dishevelled Michael enters his office and slumps onto the
couch.
DEVON
Thank God! Are you all right?
MICHAEL
Yes, Devon. I'm fine.
DEVON
Michael, I've done some research on
Gina Adams and....
MICHAEL
She's a plant of Mendelsson's.
She's setting me up. He must own
that toy factory and it's a front
too.
DEVON
We suspect he launders funds through
it. But how do you know?
MICHAEL
I've suspected since we were first
fired on. That sniper wasn't
following us, he was there, set up
and waiting. And then Gina's toy
collection. Everything was new.
Nothing old fashioned, nothing from
her childhood. It was just too good
to be real. Like it was all bought
yesterday.
DEVON
If you suspected her all along, why
didn't you tell me.
(stands up,
furious)
How could you have taken such an
idiotic risk! And without back up!
Doesn't our work mean anything to
you?
Michael stands up.
MICHAEL
It means everything to me! Don't you
see? I recognized Mendelsson's M.O.
right away. He always uses a woman
to worm her way into the lives of the
men he wants to destroy. That's what
Gina was doing to me. That's what
Tanya Walker was so good at. That's
what she did to Wilton Knight.
DEVON
So you know about Tanya and Wilton.
What has that got to do with what
you did?
MICHAEL
You said yourself Mendelsson was
impossible to reach. She was my only
line to him. If I lost her, I'd
never find him.
DEVON
Why didn't you confide in me?
MICHAEL
Because you never would have
approved.
DEVON
That never stopped you before.
MICHAEL
Devon, we may not see eye to eye on
everything. But I respect you. And
I care about you. This was just one
I had to go alone for awhile.
Devon sighs. He sees the truth of Michael's words.
DEVON
What next. Does she know you're
onto her?
MICHAEL
I don't think so. Devon, I want to
persuade her to help us. I think we
can turn the tables on Max.
DEVON
No. It's much too risky.
MICHAEL
Devon, look.
He pulls the laser schematic from his jacket.
MICHAEL
Max must be in the country for
something to do with this. Kitt
analyzed the schematic and this is
no toy. This is the real thing. A
laser weapon. And that factory out
there is ready to go into production.
The toys are just for show.
DEVON
What if you fail? What if the girl
turns on you?
MICHAEL
If I fail, I fail. I've already
died once, Devon. I died trying to
bring this man to justice, even if I
didn't know it. It was a good cause.
And now I've got a second chance.
DEVON
I don't like it. I don't like it at
all.
MICHAEL
I don't either, but I like it better
than letting Mendelsson get away
again.
EXT. HIGH-RISE APARTMENT BUILDING - DAY - ESTABLISHING
flanked by a parking structure.
MAX'S VOICE
So the car moves on its own, thinks
for itself?
INT. MENDELSSON'S PENTHOUSE - DAY
There's a council of war going on. Mendelsson sits at a
massive teak desk. Before him are Simpson and Gina.
GINA
Apparently it can, but it's direction
does come from its driver.
MAX
Amazing. And he talks to it through
this wristwatch device?
GINA
A 'comlink' he calls it.
SIMPSON
You better make sure you've got
complete control of that car. I'm
telling you, it's indestructible.
My guys were in the best, and they
couldn't crack it.
MAX
Wilton Knight's dream, come to
fruition. Think of it! That car,
and Michael Knight's death, all in
one stroke.
GINA
You told me you wanted Michael
alive. You said you wanted
information from him.
Max gauges her remark carefully, trying to read her.
MAX
Did I? Killing Michael Long is the
icing on this cake, my dear. And
I'm going to give you the pleasure
of bringing him to me, since Simpson
here can't seem to do it.
Both Simpson and Gina squirm a little. Max moves close to
her.
MAX
When we're through with him, we'll
be on our way to the islands with
the laser components, Knight's car,
and our own private fantasies. That
is still what you want...isn't it?
GINA
Of course.
MAX
Good.
Off his satisfied look.
CUT TO
EXT. STREETS - DAY - ON K.I.T.T. DRIVING
Michael and K.I.T.T. are heading for Gina's, reviewing
their plans.
K.I.T.T.
I feel very vulnerable in this plan
of yours, Michael.
MICHAEL
We are vulnerable, buddy, but we
have no choice. Gina is our only
real connection to Max.
K.I.T.T.
I suppose. But this woman. Michael,
I don't see the logic of walking
right in and appealing to her. How
do you know she'll join us?
MICHAEL
I'm dealing with feelings here, Kitt.
Intuition. There's only so much
acting a person can do. That lady
kissed me, and there are some things
you just can't fake.
K.I.T.T.
When it comes to kissing, I'll just
have to take your word for it. But
it would be fun to try to gauge the
electrogalvanic skin responses
of....
MICHAEL
You're hopelessly romantic.
He pulls the Trans Am over.
EXT. GINA'S APARTMENT BUILDING - DAY
Once again K.I.T.T. is parked in front of Dave's Used Cars.
Michael gets out and heads for her building.
MICHAEL
Be ready when I call you.
ANOTHER ANGLE ON K.I.T.T. AND THE USED CARS
Dave appears, leading a new customer, like a spider with a
fly. This one's an attractive young female.
DAVE
A lady wants certain things in a
car. Comfort, reliability, ease of
handling. Now my wife, she wanted
me to bring this car home. Said it
was a car she wouldn't have to think
about.
He's leading her toward the same old lemon we've seen him
try to move before. Suddenly he spots K.I.T.T.
DAVE
Ahh...never mind....
GIRL
No, show me the one you're talking
about.
K.I.T.T.'s scanner flashes. Dave struggles with his
conscience.
DAVE
Oh, what's the use. You don't want
this car.
She's looking it over, likes what she sees.
GIRL
Oh, I don't know.
DAVE
Look, those are retreads, this is a
twenty-five dollar paint job we did
on it fast, the valves need grinding,
and we took the radiator out of an
old Wyllis.
GIRL
I'll take it.
DAVE
But let me show you another...you'll
what?
GIRL
I'll take it. I just completed
mechanic's training and I'm looking
for a fixer-upper. $300 cash.
DAVE
Sold.
They shake. Dave looks over at K.I.T.T., who flashes
happily. He flashes K.I.T.T. as "Okay" sign.
INSERT - K.I.T.T.'S DASH
K.I.T.T.
Honesty is the best policy.
INT. GINA'S APARTMENT
Gina's just let Michael in. She's a little flustered
because she wasn't expecting him.
GINA
When you didn't come back last night
I was so worried.
MICHAEL
Really? Why?
GINA
Well, because...I'm just glad you're
all right.
MICHAEL
Don't you care whether I got your
plans back?
GINA
Of course. Did you?
MICHAEL
There are no plans, are there,
Gina. There never were any.
She turns half away from him, hesitating. Michael is
measured, quiet.
GINA
What are you talking about?
MICHAEL
I'm talking about Max Mendelsson.
About you setting me up to be killed.
Gina faces him, torn. How much does he know?
GINA
When did you find out?
MICHAEL
You know, I was really getting to
like you. I can't help but wonder
how a person like you got wrapped up
with the likes of him.
She turns, strolls calmly toward a desk in the corner of her
room.
GINA
I don't know where you're from,
Michael. I was from a tiny town in
northern Wisconsin where a homecoming
queen's brightest prospect was marrying
the senior class president and settling
down on his farm.
MICHAEL
Is that so bad?
GINA
I watched my mother rot to death from
boredom. She was young and beautiful
once. So Max Mendelsson was my brass
ring. I grabbed it.
MICHAEL
Well, I guess sucking people's blood
with the likes of Mendelsson isn't
boring.
GINA
Michael, you make it sound so...so
Gothic. We steal ideas. We don't
'knock over banks' and 'blow people
away.' It's like a game.
MICHAEL
(heating up)
Right. All neat and clean. Never
get any dirt under your pretty
fingernails. Well let me tell you
something, lady. When you take away
someone's dream, someone's brainchild,
their hope, their work, you might as
well just take a gun and shoot them
in the head, just like one of your
coworkers did to me.
Gina reaches for the desk and opens a drawer. Michael
doesn't even move to stop her. She turns, holding a gun on
him.
GINA
I'm sorry it had to be this way.
SUBLIMINAL FLASHBACK - KNIGHT RIDER PILOT
Tanya Walker shoots Michael Long.
BACK TO SCENE - CLOSE ON MICHAEL
facing death for the second time.
MICHAEL
I came here to tell you it doesn't
have to be that way. To tell you
that you can leave it behind, starting
right here and now. Gina, I see
something in you I don't see in most
people. A softness, a tenderness.
You're a hell of an actress but you
didn't fool me. And you don't fool
me now.
GINA
I should kill you just for being so
cocksure of yourself.
MICHAEL
You don't understand, do you? Gina,
I've got an unbeatable combination.
I've already died once; this is
borrowed time for me. If it runs
out, it runs out. Plus, I believe
in what I'm doing. There's nothing
in the world I want more than seeing
Max Mendelsson behind bars.
(beat)
Put the gun down Gina. Help me.
Come with me.
She stands, unreadable for a moment. Then starts to crack
around the edges. She cocks the gun.
MICHAEL
Gina, I need you. I need you to
help me get him. I've already got
the Foundation checking into immunity
for you. It stops here, Gina. It
has to stop. Give me the gun.
He holds out his hand. Her hands start to shake. She
hands it to him, then breaks down and sobs. He puts the
gun down and holds her.
MICHAEL
It's all right now. It's all right.
Michael's comlink buzzes.
K.I.T.T.
(comlink)
Michael! Trouble!
ANOTHER ANGLE
Suddenly the door to Gina's apartment bursts open, kicked
in. All the locking mechanisms tear loose. Simpson enters
with an automatic weapon drawn. Behind him is Max.
MAX
Touching. Very touching. Gina
dear, you disappoint me.
Michael tries to reach Gina's gun. A quick blast from
Simpson obliterates the table where it lies.
Michael jumps back.
MAX
He's very good with that, don't you
agree? Mr. Long -- or is it Mr. Knight
now? Kindly order your car to stay put
or we shall execute Miss Adams here.
Go on.
Michael stares daggers at Mendelsson, but complies.
MICHAEL
(comlink)
Kitt, don't move. Don't budge.
INSERT - K.I.T.T.'S DASH
K.I.T.T.
Michael, your life is in danger. My
primary program....
BACK TO SCENE
MICHAEL
My life will be over if you try to
help.
MAX
Fascinating. Now throw me your
watch, please. Gently.
Michael removes his comlink, never taking his riveting
stare from Mendelsson. He throws him the watch.
MAX
Thank you.
Max pockets the comlink.
MAX
Now then, I will stay here and keep
Miss Adams covered. You are to
proceed outside with Simpson here
and direct your car as he tells
you. I'll be watching from the
window. Any deviations and the
woman dies, is that clear.
Mendelsson takes Simpson's weapon from him, keeps it trained
on Gina.
SIMPSON
Let's go.
He pushes Michael toward the door. Michael has no choice
but to comply.
EXT. STREET - DAY
Michael and Simpson emerge from the apartment building.
Simpson looks up at Gina's window. We see Mendelsson
peering out. The two men proceed over to K.I.T.T. Simpson
signals up the street and a large armored Brink's-style
truck pulls to the curb in front of the Trans Am.
ON K.I.T.T., MICHAEL AND SIMPSON
as Michael and K.I.T.T. try to figure out Max's moves.
K.I.T.T.
This is highly irregular, Michael.
MICHAEL
I know, Kitt, but we've got to do
what they say.
Two armed drivers lower a ramp from the back of the truck.
SIMPSON
The car goes in the truck.
Michael starts to climb into the Trans Am, but:
SIMPSON
Not you. Just the car.
Michael stops, looks at him. Then leans into K.I.T.T.
MICHAEL
You heard him, Kitt.
K.I.T.T.
I won't leave you here.
MICHAEL
It's okay, pal. Trust me. And make
it look good.
After a moment, the Trans Am starts up and pulls up the
ramp. Michael and Simpson follow it into the truck.
INT. TRUCK - MICHAEL, SIMPSON AND K.I.T.T.
Simpson gloats a little, enjoying the upper hand...finally.
SIMPSON
Now I want you to turn it off.
MICHAEL
What? It doesn't 'turn off.'
SIMPSON
Every computer has a master switch,
a circuit. Something. Take it
down. Turn it off. Deactivate it.
MICHAEL
Come on, you've got the car.
SIMPSON
Do what I say, or the girl dies.
Michael turns to the car, leans in through the driver's
window.
MICHAEL
You heard him, Kitt. Deactivate
yourself.
K.I.T.T.
You can't be serious, Michael.
Michael looks intently at the dash, then:
MICHAEL
(sotto)
Kitt, I know what I'm doing. We
need to buy some time.
(loud)
Now turn yourself 'off.'
A moment passes, then K.I.T.T.'s dash lights start to blink
out, one by one. The gauges go down to zero.
INSERT - K.I.T.T.'S TIRES
deflate themselves. Go completely flat.
INT. TRANS AM - MICHAEL AND THE DASH
Michael looks sad as the machine completes its "suicide."
K.I.T.T.'s voice winds down like a slowed down record.
K.I.T.T.
I guess this...is...good-bye...Michael.
And all is dark and still.
EXT. STREET
Michael and Simpson descend the ramp. The two men guards
quickly load the ramp into the truck and slam the heavy
armored doors shut. A wheel is spun and locks are put in
place. It's as though K.I.T.T. is sealed into a tomb.
They start up the truck and drive away.
ON SIMPSON AND MICHAEL
Simpson grins malevolently.
SIMPSON
Okay, pal. Let's find out how tough
you are without your car.
On Michael's dismay:
FREEZE FRAME
AND
FADE OUT
END OF ACT THREE
ACT FOUR
FADE IN
EXT. TOY FACTORY - DAY - ESTABLISHING
INT. FACTORY OFFICE
Michael and Gina are shoved roughly into the office Michael
raided the night before. Their hands are bound behind them.
All Gina's bravado is gone. She knows what a ferocious man
Mendelsson is and fears their fate. Michael is alert,
catlike, casing the place for any and every advantage.
Simpson prods them with his gun.
SIMPSON
On the couch. Sit.
GINA
What are you going to do with us?
SIMPSON
We're going to wait for
Mr. Mendelsson. What happens to
you will be up to him.
MICHAEL
What's he doing?
SIMPSON
None of your business.
Simpson settles into a corner of the room to wait.
CLOSER ON MICHAEL AND GINA
They talk quietly. She's really terrified.
GINA
I'm sorry, Michael, I really am.
MICHAEL
Tell me quickly, what's his plan
with the lasers.
GINA
I don't know much. Some components
were being brought in from overseas.
He was going to make the deal and
leave the country.
(near tears)
Michael, he hates you. And I've
seen what he can do to people he
hates.
MICHAEL
That helps me, Gina. People who
hate don't think clearly. I'll use
that against him.
EXT. STREETS - ON THE ARMORED TRUCK
The truck bearing K.I.T.T. cruises away.
INT. TRUCK
as we look past the two armed Drivers we can see the Trans
Am sitting behind them, deactivated.
DRIVER #1
Rich folks. Lotta trouble to go to
just to have your car moved.
DRIVER #2
Yeah. Glad we don't get paid to
figure them out. I'd starve.
INT. OFFICE - DAY
Mendelsson strides in, looking supremely confident. He has
a small suitcase under his arm, and he's glad to see his
two captives under control.
MAX
I trust you're enjoying my
hospitality.
(to Simpson)
His car is on the way to the harbor?
Simpson nods. Max moves to Gina, fondles her chin.
MAX
Ironic how quickly things change,
isn't it, my dear. I'd had such
sweet plans for you, such sweet
dreams. Now that's all they'll ever
be.
MICHAEL
Do you treat all your women this
well? No wonder everybody loves you.
Mendelsson bristles.
MAX
Her death will be painless. I'll
try to make yours painful. And
slow. Simpson!
Simpson moves to the couch.
MICHAEL
This is typical. Are you going to
let your boy here do what you can't
handle on your own?
Max looks down at Michael.
MAX
Do you know what's in this suitcase?
Laser crystal components which will
change the face of weaponry on this
planet. Their sale will make me
richer than most countries. And
only I could coordinate the necessary
elements.
MICHAEL
(sarcastic)
The great Max Mendelsson. He can
move the world, but he won't even
face one enemy like a man.
GINA
Michael, don't push him.
MAX
I know what you're trying to do,
Knight. But I'm not a primitive
like you. It won't work.
He turns to Simpson and takes his gun from him. He hands
Simpson the suitcase.
MAX
Bring the car. This won't take long.
INT. SEMI - DAY
Devon and April huddle over the computer terminal, doing
their best to raise Michael or K.I.T.T.
APRIL
Oh Devon, I can't raise either of
them. Not on any of their frequen-
cies.
DEVON
I don't understand. Even if Michael
is in trouble, Kitt should respond.
APRIL
Devon...they're alone out there.
And there's nothing we can do.
INT. OFFICE
Max holds the gun on Michael and Gina.
MICHAEL
I remember when Tanya turned on me
and shot me, unarmed. That was to
be expected from her. She was a
cheap, worthless, conniving leech.
I'm disappointed. Somehow, I
expected more of you, Max.
Michael looks around, spots two sets of Samurai swords in a
glass case.
MICHAEL
I'd have thought something like that
was a little more your style.
Max looks, sees what Michael's suggesting.
MICHAEL
Come on, Max. You collect weapons.
Let's see if you can use them.
MAX
I'll make you sorry you said that.
And he moves to the case and takes out the swords. Gina
whispers to Michael.
GINA
Michael, no. He's a life master of
Kenjitsu.
MICHAEL
I'm improvising, Gina. I need to
stall him.
Max returns, sets a pair of swords in front of Michael. He
then unsheaths his own and walks behind him.
MAX
One advantage to being exiled from
your own home country. You learn
skills from the rest of the world.
INSERT - MICHAEL'S HANDS
The tip of Max's sword cuts through Michael's bonds like so
much string. Michael is suddenly free.
BACK TO SCENE - ON MICHAEL
He whirls to face Max and takes up his own swords. Bows.
Michael assumes the correct fighting stance. (Max looks
surprised).
MICHAEL
It's been a while. But some things
you don't forget.
Just before the two clash, he reaches up to his neck.
INSERT - MICHAEL'S NECK
He reaches up and pinches the little medallion Devon gave
him. Suddenly Michael rears back out of shot.
BACK TO SCENE
A vicious swipe from Max's sword almost costs Michael his
head. Only his reflexes save him. The two begin to circle
in combat.
EXT. CITY STREETS - DAY
The truck bearing K.I.T.T. is moving through moderate
traffic.
INT. TRUCK - ON THE TRANS AM
Suddenly K.I.T.T.'s dash comes alive. Familiar whirring
sounds greet us as the various components reactivate.
ON K.I.T.T.'S TIRES
They reinflate quickly, pushing the car up.
ANGLE THROUGH THE CAB
The Drivers are apparently unaware of what's going on
behind them but K.I.T.T.'s scanner suddenly lights up and
can be seen right between them like a Cheshire Cat grin.
The turbines start to whine with their familiar high-pitched
sound.
EXT. STREETS - ON THE TRUCK (UNDERCRANK)
Right in the middle of an intersection, K.I.T.T. comes
bursting through the armored back doors of the Brink's
truck. The metal plates are twisted out of their sockets
as the full force of the Trans Am hits them and the black
car flies out into traffic and screeches away.
INT. TRUCK CAB
The two armed Drivers shake from the jolt of the car's
departure. They swing out of the cab and gape at the
fleeing car.
INT. PENTHOUSE - THE SWORDFIGHT - DAY
Michael circles the room, sidestepping Mendelsson's blows
parrying others, and even getting a few swings of his own.
But it's clear that Mendelsson is the veteran of this style
of combat and he's enjoying it as a cat-and-mouse game.
CLOSE ON A VASE OF FLOWERS
as the razor-sharp blade of Mendelsson's sword whistles
past Michael and lops off the blossoms neatly without
disturbing the stems. Mendelsson laughs.
WIDER SHOT - THE FIGHT - MOVING
Max's moves force the fight out of the office and into the
hallway. Michael is putting up a great fight. It looks
unconventional compared to Max's moves, but it's plenty
effective. He uses tables, chairs as obstacles...whatever
comes to hand.
EXT. STREETS - DAY
A policeman is directing traffic at an intersection. He
turns his back for a moment to signal to oncoming cars and
K.I.T.T. races behind him at awesome speed. He never even
notices.
INT. FACTORY - THE FIGHT - ON A STAIRWAY
Michael is now forcing the action, raining blows on
Mendelsson who parries them, seemingly enjoying the
competition. Michael forces Max to the top of a stairway
and the two battle their way down, fighting all the way.
EXT. STREETS - DAY - ON K.I.T.T.
K.I.T.T. races through the traffic, heading for Michael.
INT. FACTORY - WAREHOUSE AREA
Michael and Max have fought their way into a warehouse full
of crates, forklifts, and the like. Suddenly one of Max's
blows sends Michael's short sword flying. He's left with
one sword to Max's two. Max forces Michael to the foot of
a ladder. Michael quickly climbs it, grabs a rope hanging
from overhead and swings off it.
INSERT - THE LADDER
as Mendelsson's sword crashes down, splitting one of the
rungs.
INT. SEMI - DAY
April jumps as the radio-phone chatters to life. The
terminal displays a view of an empty driver's seat where
Michael would normally be sitting. As Devon looks on
eagerly.
APRIL
Kitt, where are you?
EXT. STREETS - DAY - INTERCUT
as K.I.T.T. screams through a turn and races onward.
K.I.T.T.'S VOICE
I'm in an emergency mode, April, and
heading for Michael. E.T.A. at the
homing transmitter ninety-four
seconds.
DEVON
Make it faster!
Amazingly, K.I.T.T. does speed up.
INT. THE WAREHOUSE - THE FIGHT
Michael and Max fight up and over a forklift. Michael
swings at Max who retreats, causing Michael's sword to
stick in a wooden crate. He struggles to free it. Max
sees his opportunity.
EXT. FACTORY - ON K.I.T.T.
reaching the factory and heading straight for the building.
INT. FACTORY - ON MAX AND MICHAEL
Michael releases his sword to duck out of the way of Max's
death blow. Max's long sword topples a pile of boxes.
Suddenly:
INT. FACTORY - ON K.I.T.T. - UNDERCRANK
K.I.T.T. explodes through the corrugated iron door of the
warehouse, sending crates and boxes flying in every
direction.
FAVORING MAX
Seeing the car has returned, he flings his sword at Michael
and runs for the exit.
ON MICHAEL AND K.I.T.T.
Michael is breathless.
MICHAEL
Good work, buddy. I knew you'd make
it.
GINA'S VOICE
Michael!
He turns to look. She comes rushing into the warehouse,
still bound.
MICHAEL
Come on. We've got to catch him.
Where would he go?
INT. TRANS AM - MOVING
Michael and Gina reach their seats and fire up K.I.T.T.
GINA
His penthouse. He has a chopper on
the roof.
MICHAEL
I hope we're in time. How far is it.
GINA
Only a few blocks.
K.I.T.T.'s tires squeal and he heads out of the factory.
INT. TRANS AM - ON K.I.T.T.'S DASH
Graphics show Max's car as a flashing light.
K.I.T.T.
He's in scanner range, Michael.
VARIOUS SHOTS - K.I.T.T. DRIVING
as Michael and Gina race in pursuit.
K.I.T.T.
He appears to have stopped. We must
be there.
EXT. HIGH RISE APARTMENT - DAY
where Max's penthouse is located. K.I.T.T. races up in
front. Max's car is in evidence.
CLOSER ON K.I.T.T.
Michael gets out, looks up at the building.
MICHAEL
Is the chopper on the roof?
K.I.T.T.
Yes, Michael.
GINA
We're too late.
MICHAEL
Not yet we're not. Kitt, pinpoint
his apartment.
EXT. - FOLLOWING K.I.T.T.
as Michael guns the Trans Am into a multi-level parking
structure next to Max's building.
INT. PARKING STRUCTURE
as K.I.T.T. spins up the ramps, heading for the top.
INT. MAX'S PENTHOUSE - DAY
Max scurries about his room, gathering a few valuables. He
has the suitcase full of components.
EXT. PARKING STRUCTURE - DAY
K.I.T.T. explodes onto the top level, directly across from
Max's apartment.
INT. TRANS AM
Michael pushes the turbo boost button.
MICHAEL
Okay, pal, let's gooo....
EXT. HIGH RISE (MINIATURE)
K.I.T.T. flies off the top of the parking structure and
sails through the air straight for the apartment building.
INT. PENTHOUSE (UNDERCRANK) - VARIOUS ANGLES
as K.I.T.T. smashes in through the windows, showering the
place with shards of glass and slamming furniture aside as
it plows into the room.
MENDELSSON
drops his suitcase and backs against the wall, stunned by
the sight of a car in his living room. Before he can
recover himself....
MICHAEL
is out of the car, leaps toward Mendelsson and decks him
with a stiff right hook. Max goes out like a light.
Michael picks up the suitcase.
WIDER ON K.I.T.T. AND GINA
as she joins Michael.
K.I.T.T.
Michael, I just have one question.
MICHAEL
What's that, Kitt?
K.I.T.T.
How am I going to get down from
here?
On Michael and Gina's laughter, we:
FREEZE FRAME
AND
FADE OUT
END OF ACT FOUR
TAG
FADE IN
INT. DEVON'S OFFICE - DAY
Michael, Devon, and April are lounging, celebrating
Michael's victory.
APRIL
I certainly feel safer knowing
Mendelsson is behind bars.
MICHAEL
You can me both, kiddo.
DEVON
The Defense Department was quite
pleased with the contents of that
suitcase. I'm glad it's in the
right hands.
MICHAEL
Look, the important thing was
getting the man.
(he rubs a slightly
sore right fist)
God, that felt wonderful.
ANOTHER ANGLE
Devon moves close to him. Softly:
DEVON
Michael, I was hoping that with
Mendelsson's capture I could give
you the option of perhaps returning
to life as Michael Long.
MICHAEL
I appreciate that Devon, I really
do. But you want to know
something? I wouldn't want to be
Michael Long again, even if I could.
I like Michael Knight. I like myself
now, as I am. And, I'm proud to have
Wilton Knight's name.
Devon is pleased.
MICHAEL
What about Simpson?
DEVON
Escaped, I'm afraid. But he'll turn
up.
MICHAEL
And Gina?
DEVON
She'll come to trial next month. I
think our people can arrange for
leniency in her case. She wanted me
to give you this.
He hands Michael the "Talking Teddy." Michael takes it,
presses its nose.
TALKING TEDDY
Hi. I'm Talking Teddy. What's your
name?
Michael smiles.
MICHAEL
I'm going to give this to Kitt.
He'll have someone to talk to when
I'm not around.
As they all crack up, we:
FREEZE FRAME
AND
FADE OUT
THE END
