ACT ONE
FADE IN
EXT. BAR - DAY - ESTABLISHING
We see a little urban watering hole that has seen better
days. Music splashes from the inside as patrons enter and
exit through the front doors.
CLOSER ANGLE - THE ENTRANCE
as a Man, better dressed than the bar's regular denizens
emerges from the entrance carrying a briefcase. He looks
around furtively, then starts away from the place.
K.I.T.T.'S VOICE
There he is, Michael.
INT. TRANS AM - DAY
Michael slouches in the driver's seat, watching the above
on K.I.T.T.'s monitors.
MICHAEL
Okay, pal, let's nail him.
WIDE SHOT - PARKING LOT
K.I.T.T.'s engine roars and the Trans Am springs to life,
screeching toward the man, who freezes momentarily, then
starts to run.
MOVING SHOT - MICHAEL AND K.I.T.T.
Michael stands up through the open sun roof as K.I.T.T.
pulls up next to the fleeing suspect. Michael leaps from
the car and "bulldogs" the Man to the ground before he even
reaches the edge of the lot.
MICHAEL AND THE MAN
The Man struggles but Michael is more powerful and has him
firmly in hand. He pulls the Man to his feet, takes the
briefcase from him, spins him around and places his hands
inside K.I.T.T.'s open driver's window.
INSERT - K.I.T.T.'S WINDOW
as the glass powers up and catches the Man's wrists holding
them tight. Better than handcuffs.
EXT. PARKING LOT - DAY - ON JAKE SIMPSON
Near the entrance of the bar, we see a well-built, kinetic
individual watching the confrontation between Michael and
the Man. He frowns, then his eyes go wide at what he
sees. He steps into a place of concealment in a phone
booth and continues to watch. He looks as though he's seen
a ghost. And he has.
BACK TO SCENE
Michael's triumph is complete despite the Man's futile
struggles.
MICHAEL
Thank you, Kitt. Dial the police.
MAN
You're in a lot of trouble, pal.
Michael pops the locks on the briefcase and we see that it
is filled with cash.
MICHAEL
No, 'pal,' I think you're the one
who's in trouble.
ON SIMPSON
He's seen enough. He drops a coin in the phone and dials.
INT. ZACHARY'S PENTHOUSE - DAY
An expensive, space-age telephone rings discreetly in an
unpretentious but elegant room decorated in an Oriental
motif. The surroundings are masculine, almost Spartan, but
very handsome. Zen-style painting/prints adorn the walls.
A pair of Samurai swords are in evidence in a glass case.
The phone is answered by:
CAMERON ZACHARY
A tightly wound man with a cold, inscrutable expression.
He's dressed in a silk bathrobe and he's annoyed at having
been disturbed.
CAMERON
What is it?
INTERCUT - CAMERON AND SIMPSON - PHONE CONVERSATION
SIMPSON
You won't believe this, but I just
saw Michael Long.
CAMERON
(gasping)
Michael Long? The cop?
SIMPSON
I swear, it's him.
CAMERON
That's impossible. He's been dead
two years. Tanya killed him.
SIMPSON
He's shaking down one of our runners
right now.
CAMERON
You're mistaken. It just can't be.
SIMPSON
Look, the face is different. Surgery
or something. But the moves, the walk,
the build are the same. And the voice.
I couldn't mistake the voice. It's
him, Cameron.
Simpson looks out toward K.I.T.T., sees that a police car
has arrived.
SIMPSON
Listen, the police just pulled up.
He's giving them Brummel.
CAMERON
All right. Follow him. Check him
out and get back to me.
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 notes it and hurries off.
INT. PENTHOUSE - ON CAMERON
He hangs up, obviously stirred up by Simpson's news, he
thinks hard for a moment, then picks up the phone again and
dials.
CAMERON
I have a little job for you tonight.
A dirty one, I'm afraid.
CUT TO
EXT. 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 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.
One shines a flashlight onto the box while the other starts
to pry open the lid. The camera pans from them up to:
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.
MICHAEL'S VOICE
Miss Adams, we appreciate your
problem.
INT. DEVON'S OFFICE - DAY
Morning sun dapples the room. Michael lounges in a chair
near an intense, attractive young woman who is clearly
upset. Her name is Gina Adams. On her lap is a Teddy
bear. Devon is just entering from the door and he moves to
his desk during:
GINA
I know. Don't tell me. Toys just
aren't a serious matter. Dolls,
Teddy bears, phooey. That's just
what the police said.
MICHAEL
Frankly, Miss Adams, you're right.
That's just what I was going to say.
He spots Devon and rises eagerly.
MICHAEL
Devon, what did the police get out
of Brummel?
DEVON
(ignoring
Michael)
Hello, I'm Devon Miles. Sorry to
have kept you waiting. You're the
one whose designs have been stolen.
GINA
That's right. Mr. Knight here
doesn't seem to think that's too
important. That's why I bought this
along.
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,
Triple-M-Toys.
MICHAEL
You suspect. There's no evidence.
DEVON
Toys are a hot market, Michael.
Items can come and go overnight. By
the time procedure is followed,
Talking Teddy could be on the
shelves.
MICHAEL
What about the Brummel case?
DEVON
Consider this as your new assignment.
You have carte blanche, as usual.
Gina shakes Devon's hand briskly.
GINA
Thank you, Mr. Miles. You've made
the children of America very happy.
(to Michael)
Can I fill you in on the details?
MICHAEL
A little later this afternoon....
GINA
Great.
She plops Talking Teddy into Michael's hands.
GINA
You can borrow him. Maybe he'll
help you lighten up a little.
Gina turns and leaves happily. Michael looks daggers at
the little bear, then at Devon, who shrugs innocently.
EXT. CITY STREETS - ON K.I.T.T. - DAY
cruising.
K.I.T.T.'S VOICE
I'm sorry, Michael. I have nothing
to say.
INT. TRANS AM - ON MICHAEL
Talking Teddy sits on the passenger seat, and Michael is
trying to introduce K.I.T.T. to the bear.
MICHAEL
Kitt, you always have something to
say. Come on, talk to it.
K.I.T.T.
Computers are serious tools, Michael.
MICHAEL
Oh yeah? How about video games and
computer chess?
K.I.T.T.
Sharpening one's mental acuity and
coordination are one thing. Talking
bears are quite another.
Michael pushes Talking Teddy's nose.
TALKING TEDDY
Hi, I'm Talking Teddy. Is the
weather nice today?
INSERT - K.I.T.T.'S DASH
The car is silent. Aloof, if a car could be aloof.
BACK TO SCENE
MICHAEL
Spoilsport. Never mind. We're here.
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
You won't believe this but yesterday
I couldn't have offered you this car.
Just took her in trade from my own
grandmother. 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
What workmanship! This car will
last 100,000 miles easy. 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. HALLWAY - GINA'S BUILDING - DAY
Michael knocks on the front door of Gina's loft. In a
moment the door opens. From behind it emerges a hand
puppet of a giraffe.
PUPPET
(Gina's voice
down low)
Can Mikey Knight come out and play?
Michael smiles and plays along.
MICHAEL
Not until he finishes his chores.
Gina opens the door and lets him in.
INT. GINA'S LOFT - DAY
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.
Gina is grabbing a coat and putting it on during:
GINA
Don't tell me. You feel like you're
in a toy store.
MICHAEL
Actually, I love it. This is great.
GINA
Just not your idea of work, though,
right? Did you know my Carrot Top
doll grossed eighteen million dollars
last year? C'mon. Let's go.
MICHAEL
Hold it. You were going to fill me
in on Triple-M Toys.
GINA
It's Saturday. They're closed today.
If we go now, no one'll be there and
we can get my schematics back.
Michael smiles at her enthusiasm and naivete. They head
outside.
OMITTED
INT. TRANS AM - ON GINA AND MICHAEL
driving. She's floored by K.I.T.T.
GINA
I feel like Luke Skywalker.
MICHAEL
You have your toys, I have mine.
K.I.T.T.
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
Thank you for alerting us.
He hangs up.
APRIL
What is it?
DEVON
Last night, someone robbed Michael
Long's grave.
APRIL
I didn't know there was one.
DEVON
We planted a body there to protect
Michael's identity.
APRIL
You mean someone's found out who he
really is? Who would go to all that
trouble?
DEVON
Only one person I can think of. The
same person who had him killed before.
Cameron Zachary.
The impact of his words sink 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.
MICHAEL
Well, it looks quiet enough. 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 internal alarms are simple,
Michael. I show only two guards,
and they appear to be playing cards
on the ground floor.
GINA
Awesome. He's amazing.
MICHAEL
Okay, Gina, where would your stolen
plans be kept?
GINA
Research and development. They
probably have a vault.
MICHAEL
Kitt?
INSERT - K.I.T.T.'S DASH
The graphics change. A flashing light indicates the vault.
K.I.T.T.
On the second floor. Not exactly a
piece of cake, Michael, but nothing
we can't handle.
BACK TO SCENE
MICHAEL
I'll be back as soon as I can.
GINA
Hey, you need me to show you what
you're looking for.
MICHAEL
No way....
K.I.T.T.
She's right, Michael.
Michael sighs.
MICHAEL
Okay. But, this is going to be quick
and clean.
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.
OMITTED
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 except
for the parking lot stanchions.
MICHAEL
Kitt, get down here and cover us!
A second shot spanks into the pavement.
OMITTED
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.
SIMPSON
fires again.
BACK TO K.I.T.T.
The Trans Am reaches the prone couple just as Simpson's
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
Michael rolls and crouches, and looks after Simpson's car.
Gina lies prone on the pavement.
MICHAEL
Gina, are you all right?
He shakes her. She doesn't move.
MICHAEL
Gina!
On his fearful reaction, we:
FREEZE FRAME
AND
FADE OUT
END OF ACT ONE
ACT TWO
FADE IN
EXT. PARKING LOT - ON MICHAEL AND GINA
K.I.T.T. stands next to them as Michael tries to shake Gina
back to life.
MICHAEL
Gina! Kitt, is she alive?
Before K.I.T.T. can answer, Gina's eyes flutter open. She
grabs Michael's arm, disoriented.
GINA
What happened? Is he gone? Is it
all right?
MICHAEL
It's all right, he's gone. Are you
okay?
GINA
Oh, don't tell me I fainted....
MICHAEL
You fainted.
K.I.T.T.
Her pulse is returning to normal,
Michael. Vitals looks fine.
GINA
You saved my life. You shielded me
with....
MICHAEL
What about that sniper, Kitt?
K.I.T.T.
He's out of range to the north.
Michael, those bullets were very
unusual. I'm analyzing the one
that struck my door.
MICHAEL
Fill me in later, pal. Let's get
this lady home.
He helps Gina into the car.
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 LOFT
as Michael and Gina enter from the hallway. She's carrying
Talking Teddy. She's still shaken, but her spunk is
returning.
MICHAEL
I guess I was out of line when I
doubted you about toys being serious
business.
GINA
They were shooting at us. I can't
believe they were really shooting
at us. Those Triple-M guys are a
bunch of wimps.
(beat)
Well, I guess it's back to the
drawing board for me.
MICHAEL
Wait a minute. You want to back
out now? No way.
GINA
Hey, I like my skin too much.
MICHAEL
Come on, you dragged me into this
thing. I admit I wasn't crazy about
it, but once I start a job, I finish
it.
GINA
You're serious, aren't you?
Michael takes Talking Teddy from her, holds it up.
MICHAEL
(high, squeaky
voice)
You bet, lady.
They share a laugh.
MICHAEL
I've got to go check in with Devon,
then I'll be back. Meanwhile, do me
a favor and keep yourself locked in
here, okay?
GINA
No problem. I think I'll take a
good, hot bath.
Michael smiles, clasps her hand warmly and leaves. She
locks the door and leans on it, smiling enigmatically.
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
Getting shot at.
Devon freezes.
MICHAEL
I'm fine, and so is Gina. But I think
you owe me some answers.
DEVON
Such as?
MICHAEL
I finally catch Bob Brummel with
protection money in his dirty little
hands. We turn him over to CID for
interrogation, and you suddenly send
me out on a case chasing talking
Teddy bears. Something's fishy here.
DEVON
Michael, sit down.
He indicates two chairs near the computer terminal, and they
sit.
DEVON
You're right. I sent you with
Miss Adams to divert you. To get
you out of the way. I can see that
didn't work.
MICHAEL
Divert me from what?
DEVON
Two years ago, when we rescued Michael
Long in the desert, there were people
who wanted him dead. That's why we
turned him into Michael Knight.
MICHAEL
Those people are dead. I watched
Tanya Walker die.
DEVON
Tanya had a boss, Michael. A very big
boss. His name is Cameron Zachary.
Look.
Devon punches up some pictures on the computer screen.
INSERT - COMPUTER SCREEN
We see a vague picture of a man, then another. They look
like the ones of "Carlos," grainy and mysterious.
DEVON'S VOICE
His name is Cameron Zachary. He has 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
There was no point. Cameron was out of
the country. But, the man you arrested
yesterday was bailed out of jail by a
lawyer with ties to Zachary. And last
night, Michael Long's grave was robbed.
(beat)
He's back, Michael. Zachary is back.
Michael stands and paces like a caged animal: angry, con-
fused, excited. Conversation heats up as:
DEVON
Tanya was Zachary's lover, and he
knows you caused her death.
MICHAEL
Maybe, but revenge can't be his only
reason for being here, if he's as big
as you say. He must be up to some-
thing else. Something big.
DEVON
Someone took a shot at you today.
That's all I need to know. This
man's vengeance could be....
MICHAEL
What about our vengeance? Wilton
Knight was your best friend. You saw
what they did to him.
DEVON
My vengeance is keeping you alive and
fighting. That's what Wilton would
have wanted. And, if that means
laying low to fight another day, so
be it. At least until we find out
more of what Zachary is up to.
Michael stops, searches Devon's face.
MICHAEL
I've never run and hid from anything
in my life, Devon. I can't start
now.
DEVON
Michael....
MICHAEL
And, if I suddenly go underground,
we'll never find Cameron. We've got to
let him show his hand. Am I right?
Devon's look tells us he knows Michael is right. He reaches
into his pocket and pulls out a small medallion on a gold
chain.
DEVON
Very well. But do me a favor and
wear this. It's something April's
been developing: a homing device.
It's not perfected yet, but if you
get separated from Kitt for any
reason, press it. It overrides all
his programs and brings him straight
to you.
Michael takes it from Devon. There's a moment of real
mutual concern.
DEVON
I don't approve, Michael. But, as
always, you have my full backing.
They shake hands warmly.
CUT TO
EXT. RURAL ROAD - DAY - ON K.I.T.T. DRIVING - STOCK
Michael is tearing 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.
MICHAEL
So is my mind, buddy.
K.I.T.T.
By the way, I completed analysis on
the sniper's bullets, and I must say
I'm puzzled.
MICHAEL
Lay it on me.
K.I.T.T.
They were made of a waxy substance
containing a very exotic tranquilizer
called morbadine. The Defense Depart-
ment is still experimenting with it
and it isn't available commercially.
MICHAEL
Sounds like Cameron Zachary all right.
(beat)
But, that means he wanted me alive....
K.I.T.T.
Michael?
MICHAEL
Yeah, Kitt?
K.I.T.T.
I want you alive, too.
Michael smiles. They drive off.
INT. ZACHARY'S PENTHOUSE - DAY
A beautiful sunset shines through the floor-to-ceiling
windows. Cameron Zachary paces the floor in front of an
edgy Jake Simpson. Cameron is cool, unreadable.
CAMERON
Go on.
SIMPSON
I had them, but all of a sudden my
line of fire was blocked by this car.
CAMERON
What car?
SIMPSON
His car. It's some kind of custom,
futuristic thing. It moved between
me and Knight.
CAMERON
(intrigued)
You mean someone else was with
them? Who drove it?
SIMPSON
That's just it. No one. It drove
itself.
CAMERON
(it clicks)
My God! He built a car. Wilton
Knight built a car. That must be it.
Cameron grows more and more excited.
CAMERON
Wilton Knight was like an Einstein
who could apply his ideas to everyday
life. Simpson, if he built a car, I
can guarantee it would make all our
other projects pale by comparison. We
must shift our strategies. Transfer
our attentions.
SIMPSON
But the laser...the South Africans
are bringing in the crystals today.
You've spent three years....
CAMERON
(flares)
Don't argue with me! Stall them.
We must have that car. And Knight.
Do you understand?
Simpson nods.
EXT. GINA'S APARTMENT BUILDING - NIGHT
Michael is just pulling up.
K.I.T.T.'S VOICE
I wish you could fill me in on this
plan a little better, Michael.
Michael gets out.
MICHAEL
I will, pal, but I'm still feeling
for it. Keep your eyes open.
And he heads upstairs.
INT. GINA'S APARTMENT - NIGHT
As she moves to answer his knock at the door.
GINA
Michael?
MICHAEL
It's me.
She undoes the locks and lets him in. She starts as if to
hug him, but then stops herself. They move to the couch.
MICHAEL
No puppets this time?
GINA
I guess I feel a little less playful.
What have you been up to?
MICHAEL
Well, Devon wasn't too happy about
our afternoon, but I wouldn't let
him pull me off your case.
GINA
You're a real bulldog, aren't you?
MICHAEL
Comes with the job, I guess.
GINA
How'd you get into this line of work?
MICHAEL
It's a long story. Gina, I'm going
back to the toy factory tonight,
alone. I need you to fill me in on
exactly what I'm looking for.
GINA
Michael, I don't want that respons-
ibility. This afternoon really
scared me.
MICHAEL
Look, no one's twisting my arm. I'd
also like to know whatever you can tell
me about Triple-M that might help.
She starts to object again, but he stops her with a hand on
her arm.
MICHAEL
I was the one who thought this wasn't
important, remember? But, I don't
scare easily and there are some things
I won't put up with. One of those is
seeing people I like get hurt.
We see something go out of Gina. Michael has touched her.
MICHAEL
Tell you what. Just give me Talking
Teddy. Kitt can scan his schematics
well enough to identify them for me
in the factory. You just sit tight
here until I get back.
She looks at him gratefully, moves to a 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 more efficient demeanor.
GINA
(into phone)
It's Adams. The toy factory. He'll
be there in half an hour.
INT. ZACHARY'S PENTHOUSE - NIGHT
Cameron is on the phone, and Simpson stands nearby. Cameron
nods to him, gives him a "thumbs up."
CAMERON
Can we count on him being away from
the car?
INT. GINA'S APARTMENT - ON GINA
GINA
Just wait until he gets inside. You
shouldn't have any problems.
She hangs up. Her look tells us she's not entirely happy
with what she's just done.
INT. TRANS AM - NIGHT - DRIVING
Michael looks determined. The Teddy bear sits on the dash.
MICHAEL
Kitt, have you analyzed the bear's
circuitry?
(beat)
Kitt?
K.I.T.T.
Yes. Michael, computers can save
lives, enhance communication. Why
waste this fine technology on a mere
toy?
MICHAEL
'Cause, it's fun, buddy.
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 ND 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.
INT. 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 - FAVORING K.I.T.T.
Near where the Trans Am is parked, we see one of the large
super-tow trucks used to haul semitractors when they break
down. It sports quadruple tires and an oversized winch.
Quickly and silently, three figures steal out of it and head
toward K.I.T.T.
INT. FACTORY - MOVING WITH MICHAEL
As he enters the outer office of the factory's executive
suite. There's a receptionist's desk with a computer
terminal, phones, etc. Michael whispers to his comlink:
MICHAEL
Kitt, I'm in the offices. Can you
tell me what's in the president's
suite?
INSERT - K.I.T.T.'S MONITORS
Graphics flash, and we see a solarized picture of an armed
Simpson and another ND gunman flanking the doorway through
which Michael was about to enter.
K.I.T.T.
Don't go in there, Michael. It's a
trap. And, I have a problem. Someone
is trying to steal me.
OMITTED
EXT. FACTORY - NIGHT - ON K.I.T.T.
K.I.T.T.'s assailants from the tow truck are hurrying to
place their hitch assembly under the Trans Am's front end.
INT. RECEPTIONIST'S AREA - ON MICHAEL
MICHAEL
Can you handle it?
K.I.T.T.
So far, but they're very professional.
MICHAEL
Do what you have to do. Look, there's
a computer in here. Can you tap it
and drain it for me?
K.I.T.T.
Consider it done.
MICHAEL
I'm gone.
He starts out the door.
INT. OFFICE - NIGHT - ON SIMPSON AND THE GUNMAN
As we saw them on the monitor, waiting, guns drawn.
SIMPSON
He's not biting. Let's go.
They open the door just in time to see Michael fleeing.
Immediately, they race after him.
INT. HALLWAY - NIGHT
Michael hurries down the hall and is heading back to the
roof when the lights suddenly come on. He ducks into a
doorway on his right just as the two armed men enter the
corridor from the far end.
INT. STOREROOM - ON MICHAEL
He's in a warehouse-like room, packed with boxes and toys
everywhere. He steps behind a crate of toy trucks, and
addresses the comlink.
MICHAEL
They're onto me, Kitt. 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.
I'm afraid not, Michael. You appear
to be cornered.
INT. STOREROOM - 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.
partially trussed, the Trans Am suddenly fires up,
surprising the three marauders, who step back.
K.I.T.T.
Sorry fellows. Got to go.
K.I.T.T.'s wheels spin in reverse, throwing smoke. The
towing winch strains and grinds and the cables snap.
K.I.T.T. races off.
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 Zachary's. She's
setting me up. He must own that toy
factory and it's a front too.
DEVON
We think 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 Zachary'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
What has that got to do with what you
did?
MICHAEL
I only knew Wilton Knight for a few
days, but that old man taught me a
hell of a lot about fighting. About
using your fear and anger to spur you
on instead of being crippled by them.
This cools Devon somewhat.
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. I just had to go
this one alone for a while.
Devon accepts 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 Cameron.
DEVON
No. It's too risky.
MICHAEL
Devon, look what Kitt found.
He moves to the computer terminal, punches a few buttons.
Into the comlink:
MICHAEL
Show him, Kitt.
INSERT - COMPUTER SCREEN
Onto the screen pops an amazing 3-D moving graphic of a
futuristic weapon. A legend identifies it as: "A.P.B.A.
LASER 30X."
MICHAEL
This is Cameron's big project. Kitt's
been over this, and it's a laser
handgun. It's no toy. And, believe
me, that factory is geared up for
production. The toys are just there
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. 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 Zachary get away again.
EXT. HIGH-RISE APARTMENT BUILDING - DAY - ESTABLISHING
flanked by a parking structure.
CAMERON'S VOICE
So the car moves on its own, thinks
for itself?
INT. ZACHARY'S PENTHOUSE - DAY
There's a council of war going on. Zachary 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.
CAMERON
Amazing. And he talks to it through
this wristwatch device?
GINA
A 'comlink' he calls it.
SIMPSON
Cameron, my guys were the best and they
couldn't crack that car. Is this
really worth jeopardizing the
laser? Let's not lose perspective
here.
CAMERON
You don't understand, do you? I'll
wager we can't begin to imagine that
car's capabilities. To get it --
with Michael Knight's death in the
bargain -- I'd sacrifice anything.
GINA
I thought you wanted Michael alive.
You said you wanted information from
him.
Cameron gauges her remark carefully, trying to read her,
moving closer to her.
CAMERON
Did I? Killing Michael Long is the
icing on the cake, my dear. 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. You'd
like that, wouldn't you?
GINA
(recovering)
Of course.
CAMERON
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 Cameron.
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.
K.I.T.T.
I wish I could be programmed to have
this 'intuition.'
MICHAEL
You hopeless romantic, you.
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 woman 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 Cameron Zachary.
About you setting me up to be killed.
Gina faces him, torn. How much does he know?
GINA
What are you talking about?
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 was born in the middle of Wisconsin.
I was the middle one of three children.
We lived in the middle of a middle-sized
town. In a middle-class neighborhood.
Everything in my life was middle,
middle, middle!
MICHAEL
Is that so bad?
GINA
It was for me. I wanted a chance to
live on the edge. So, when Cameron
found me in modeling school, he was
my brass ring. And, I grabbed it.
MICHAEL
Well, I guess sucking people's blood
with a guy like Zachary isn't boring.
GINA
You make it sound so Gothic! We steal
ideas, Michael. It's all a big,
complicated game. Corporations do it.
Governments do it. We just think of
ourselves as free-lancers.
MICHAEL
(heating up)
Is that what Cameron told you? All neat
and clean? Never get any dirt under
your fingernails. Well, listen, lady.
Do you know how many people he's
killed? How many lives he's destroyed?
Murder means nothing to him. I know.
And, if you don't get away from him,
pretty soon, murder won't mean anything
to you.
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 don't have any choice, Michael.
SUBLIMINAL FLASHBACK - KNIGHT RIDER PILOT
Tanya Walker shoots Michael Long.
BACK TO SCENE - CLOSE ON MICHAEL
facing death for the second time.
MICHAEL
Yes you do! You can leave this
behind, starting here and now. Gina,
I see something in you I don't see in
most people. A softness, a tender-
ness. 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
A day ago, I met a toymaker with
fire in her eyes who wanted me to
come out and play. That person was
real, Gina. You may have been
acting but she came from inside
you. She is you.
(beat)
Let her out, Gina. Come out and
play. 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 Cameron. 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.
Their embrace is interrupted by the ringing of the
telephone. Gina picks it up.
GINA
Hello?
Her face goes ashen. She holds the phone out to Michael.
GINA
It's Cameron. He wants you.
Michael is startled, but he takes the phone.
INT. ZACHARY'S PENTHOUSE - DAY
Cameron leans on his desk as he plays his trump card.
CAMERON
Mr. Knight. Or, should I say,
Mr. Long.
INTERCUT THE FOLLOWING - TELEPHONE CONVERSATION
MICHAEL
What do you want?
CAMERON
Very nice work on Miss Adams. I
enjoyed listening to your dramatic
appeal to her. You'll find there's
a bug under her phone.
Michael looks. It's true.
CAMERON
Listen closely. Does the address
410 Chesapeake Road mean anything to
you?
Michael pales.
MICHAEL
My uncle lives there.
CAMERON
I know. How about the Burnley
School?
MICHAEL
(getting paler)
My niece...my niece goes there.
CAMERON
How about badge number 41675?
MICHAEL
Charlie Hart. My old police sergeant.
So, you know me. What do you want?
CAMERON
I want you. And, I want your car.
And, if I don't get what I want, I'm
going to go through the people you
love, one by one, until I do.
Gina watches as Michael wrestles with this dilemma. He's
caught, and he knows it. He covers the phone and gestures to
her to run.
MICHAEL
(sotto)
Go. Get away from here. Go to the
Foundation. You'll be safe there.
She starts to object.
MICHAEL
Just go!
After a beat, she leaves. Michael returns to the phone.
CAMERON
Exit the building. Mr. Simpson will
be waiting for you. He'll tell you
what you are to do.
Cameron hangs up the phone. Hold on Michael's despair.
OMITTED
EXT. GINA'S BUILDING - DAY
Michael emerges onto the street, where he's met by Simpson.
SIMPSON
Let's go. Over to the car.
ON K.I.T.T.
as Michael and Simpson walk up to the car. Simpson signals
up the street.
K.I.T.T.
This is highly irregular, Michael.
MICHAEL
I know, Kitt, but we've got to do
what they say.
THE STREET - WIDE SHOT
as a large, five ton truck pulls up in front of K.I.T.T.
Two ND drivers emerge and open the back. A ramp is lowered
in front of the Trans Am.
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
I don't think you really want to
argue.
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
quickly load the ramp into the truck and slam the heavy
doors shut. 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 is shoved roughly into the office he raided the
night before. Sitting, bound on the couch, is Gina. All
her bravado is gone. She's terrified. Michael is alert,
catlike, casing the place for any advantage. Simpson prods
Michael with a gun.
SIMPSON
On the couch. Sit.
GINA
What are you going to do with us?
SIMPSON
We're going to wait for Mr. Zachary.
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. They caught me
right outside the building.
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 FIVE-TON 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.
INT. OFFICE - DAY
Zachary strides in, looking supremely confident. He has
a small suitcase under his arm, and he's glad to see his
two captives under control.
CAMERON
I trust you're enjoying my hospitality.
(to Simpson)
His car is on the way to the harbor?
Simpson nods. Cameron moves to Gina, fondles her chin.
CAMERON
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. You
certainly did well by Tanya Walker.
Zachary bristles.
CAMERON
I'm going to make sure I hurt you as
much as you hurt Tanya. Simpson!
Simpson moves to join them.
MICHAEL
This is typical. You're going to
let your boy here handle what you
can't do on your own.
Cameron brandishes his suitcase. He looks down at Michael.
CAMERON
Do you know what's in this suitcase?
Laser crystal components from South
Africa. Among the rarest in the
world. They'll be joined with micro-
chips from Japan and a titanium
housing from Canada to make the
world's first laser handgun. The
sale of it will make me richer than
most countries. And, only I could
coordinate the necessary elements.
MICHAEL
(sarcastic)
The great Cameron Zachary. It's
even the kind of weapon you'd like.
Where the victim never even has a
chance.
GINA
Michael, don't push him.
CAMERON
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.
CAMERON
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
Cameron 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, Cameron.
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.
Cameron looks, sees what Michael's suggesting.
MICHAEL
Come on, Cameron. You collect these
things. Let's see if you can use them.
CAMERON
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 time.
Cameron returns, sets a pair of swords in front of Michael. He
then unsheaths his own and walks behind him.
CAMERON
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 Cameron's sword cuts through Michael's bonds like
so much string. Michael is suddenly free.
BACK TO SCENE - ON MICHAEL
He whirls to face Cameron and takes up his own swords. Bows.
Michael assumes the correct fighting stance. Cameron 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 Cameron'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 Drivers shake from the jolt of the car's departure.
They swing out of the cab and gape at the fleeing car.
OMITTED
CLOSE ON A VASE OF FLOWERS
as the razor-sharp blade of Zachary's sword whistles
past Michael and lops off the blossoms neatly without
disturbing the stems. Zachary laughs.
WIDER SHOT - THE FIGHT - MOVING
Cameron'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 Cameron'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 forces Cameron 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 Cameron fight their way into a warehouse full
of crates, forklifts, and the like. Suddenly one of
Cameron's blows sends Michael's short sword flying. He's
left with one sword to Cameron's two. Cameron 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 Zachary'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 Cameron fight up and over a forklift. Michael
swings at Cameron who retreats, causing Michael's sword to
stick in a wooden crate. He struggles to free it. Cameron
sees his opportunity.
EXT. FACTORY - ON K.I.T.T.
reaching the factory and heading straight for the building.
INT. FACTORY - ON CAMERON AND MICHAEL
Michael releases his sword to duck out of the way of Cameron's
death blow. Cameron'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 CAMERON
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. He climbs into the car.
MICHAEL
Good work, buddy. I knew you'd make
it.
GINA'S VOICE
Michael!
Before he can leave, Gina rushes into the warehouse, her
hands still bound. Michael helps her into the car.
MICHAEL
Come on. We've got to catch him.
Where would he go?
INT. TRANS AM - MOVING
As K.I.T.T. bursts from the factory.
GINA
His penthouse. He keeps a chopper
on the roof.
MICHAEL
I hope we're in time. How far is it?
GINA
Only a few blocks.
INSERT - K.I.T.T.'S DASH
Graphics show Cameron'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 Cameron's penthouse is located. K.I.T.T. races up in
front. Cameron's car is in evidence.
CLOSER ON K.I.T.T.
Michael gets out, looks up at the building.
MICHAEL
Is the chopper still here?
K.I.T.T.
Yes, Michael, but it's running.
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 Cameron's building.
INT. PARKING STRUCTURE
as K.I.T.T. spins up the ramps, heading for the top.
INT. CAMERON'S PENTHOUSE - DAY
Cameron 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
Cameron's apartment.
INT. TRANS AM
Michael pushes the turbo boost button.
MICHAEL
Okay, pal, let's gooo....
EXT. HIGH-RISE
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.
ZACHARY
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 Zachary and decks him
with a stiff right hook. Cameron 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
OMITTED
EXT. GINA'S APARTMENT BUILDING - DAY - ESTABLISHING
K.I.T.T. is parked outside behind a police car.
INT. GINA'S APARTMENT - DAY
Michael waits with Gina as she packs a few things.
GINA
It's going to be strange starting
over after I testify. New identity
and all.
MICHAEL
Take it from me, it's not so bad.
You get used to it.
GINA
I guess with Cameron out of the way,
you could go back to being the other
Michael.
MICHAEL
I wouldn't want to be Michael Long
again, even if I could, Gina. I
like Michael Knight. I like myself
now, as I am. And, I'm proud to
have the name of the man who saved
my life.
GINA
I hope I like myself as well.
MICHAEL
You will.
She closes her suitcase.
EXT. GINA'S APARTMENT - DAY
Michael escorts Gina to the waiting police car. Before
she gets in, she turns to him.
GINA
I want you to have something.
From among her things, she produces Talking Teddy, and
hands him to Michael. Michael presses the bear's nose one
more time.
TALKING TEDDY
Hi, I'm Talking Teddy. What's your
name?
GINA
I don't know, yet. I'll tell you
after the trial.
Michael and Gina share a laugh. He kisses her good-bye and
watches her drive away.
INT. TRANS AM - DAY
Michael climbs in and puts Talking Teddy on the seat.
MICHAEL
Kitt, I'd like you to meet our new
partner.
HIGH SHOT - TRANS AM PULLING AWAY
K.I.T.T.'S VOICE
You know how I feel about that
little monstrosity.
TALKING TEDDY
Hi! I'm Talking Teddy. What's your
name?
As the car shrinks in the distance, we hear Michael's
laughter:
FREEZE FRAME
AND
FADE OUT
THE END
