ACT ONE
FADE IN
EXT. WALLED ESTATE IN HILLS - DAY - FULL SHOT - ESTABLISHING
a high-wall mansion-like estate in the hills above the city.
MICHAEL AND K.I.T.T.
parked inconspicuously nearby. Michael and plainclothes
federal agent Lew Jonas stand talking outside.
MICHAEL
Getting close, Lew. About time to
move in.
JONAS
My men are almost in position ---
He gestures to a ND sedan in the b.g. where three federal
agents are moving off toward the estate with shotguns.
JONAS
(continuing)
-- fifteen, twenty seconds.
MICHAEL
Good, cause I'm starving.
(off Jonas'
look)
Dinner's on you if we nail Becker
this time. Remember?
JONAS
Right. But that's me, not we who's
nailing him. You're here to monitor
that homing pulse. Nothing else.
This is ---
Michael interrupts; parrotting back what he's heard a dozen
times before.
MICHAEL
This is a federal operation.
Whatever happens, I stay out of it.
I know, Lew. I know.
JONAS
That's what you said the last time
but ---
MICHAEL
(smiles
knowingly)
Fifteen seconds are up, Lew. Good
luck.
Jonas nods; eyes Michael a beat; smiles and moves off after
his men. Michael turns and gets into K.I.T.T.
OMITTED
INSIDE K.I.T.T.
as Michael settles behind the wheel.
MICHAEL
Our friend Becker behaving himself,
pal?
INSERT - K.I.T.T.'S SCREEN - CLOSE
A bright, pulsing dot moves within one area of the floor
plan of the estate (which appears on K.I.T.T.'s screen).
K.I.T.T.
Yes and the pulsing dot indicates he
hasn't yet discovered the watchband
transmitter planted on him.
OMITTED
EXTREME CLOSEUP - BECKER'S WRISTWATCH AND BAND
Very expensive. As we begin to pull slowly back revealing
the arm adorned by the watch, filling an attache case
with money.
INT. ESTATE - FRONT FOYER - DAY
Where the owner of the wristwatch, and the money-stuffed
attache proves to be Ronald Becker, age forty-six.
Impeccably tanned, tailored and manicured, Becker's charm
resides in his rakish lack of polish. As he closes and
locks the attache case:
SCHNEIDER
carrying a single suitcase he enters the foyer through an
archway in b.g. He hands the suitcase to Becker who smiles
appreciatively.
BECKER
Thank you, Schneider.
(caustic)
As you by now have undoubtedly
guessed, I'm going somewhere.
With animal quickness Becker takes a silencer-affixed
handgun from the folds of the raincoat on the table; and
levels it at Schneider.
BECKER
And since I can't simply fire my old
partners, you are also going some-
where.
Becker fires; Schneider drops.
INCLUDING MARCUS
as he arrives in the archway. He regards the body poker-
faced. Becker hands him the gun.
BECKER
(indicates
body)
Send that out to be stuffed, or
something, will you?
Now, both men react to the electronic beeping of the
surveillance system. They look up toward:
TV SURVEILLANCE MONITOR (SHOWING EXT. - ESTATE - INNER
WALL AREA - GATE)
The TV screen shows four plainclothes Federal agents
breaking the front gate lock from within. Weapons out and
ready.
RESUME - BECKER AND MARCUS
BECKER
(smiles)
Feds are getting smarter these days,
Marcus. Take care of them.
Marcus nods and moves off quickly.
EXT. ESTATE - FRONT PATIO - DAY - FAVORING AGENTS
as they move toward the creek bed and into the patio area.
OMITTED
ANOTHER ANGLE - MARCUS
appears from the garage area with a semi-automatic and opens
fire.
RESUME THE AGENTS
caught in the gun fire, they're cut down in midpatio.
MICHAEL AND K.I.T.T.
are galvanized into action by the sound of the O.S.
shooting.
MICHAEL
Go, Kitt! Go!
K.I.T.T. and Michael beeline toward the outer wall of the
estate.
OMITTED
ON THE GATES
K.I.T.T. rockets between the gates left open by the agents
earlier.
OMITTED
REVERSE ANGLE
K.I.T.T. comes into the patio area and screeches to a stop
near Jonas' body.
OMITTED
INT. ESTATE - WINDOW - MARCUS
watching for a beat; then turns and heads back towards the
O.S. main area of the house.
EXT. ESTATE FRONT PATIO - DAY - MICHAEL
exits K.I.T.T.; crosses to Jonas' body; crouches examining
him.
MICHAEL
Lew! Lew?! Scan his vitals pal!
K.I.T.T.
I'm afraid he's gone, Michael. But
the other three are alive. I'll call
for assistance.
Michael remains crouched over his friend for a few anguished
beats. Then, he rushes for the front door of the house --
bursts it open with his shoulder; takes a step inside.
INT. ESTATE - FRONT FOYER
Michael stops short as he sees;
MICHAEL'S POINT OF VIEW - BECKER'S CLOTHING AND JEWELRY
on the floor at Michael's feet.
RESUME MICHAEL
Picks up Becker's wristwatch -- uses his wrist transceiver.
MICHAEL
Kitt...Are you monitoring Becker?
EXT. ESTATE FRONT PATIO - K.I.T.T. - INTERCUT
K.I.T.T.
His wristwatch indicates he's right
there with you, Michael.
MICHAEL
His watch is. But he isn't. We
lost him.
On Michael's frustrated reaction, we:
CUT TO
OMITTED
EXT. KNIGHT INDUSTRIES - DAY - FULL SHOT - ESTABLISHING
DEVON (V.O.)
Ronald Becker is quite probably the
most....
INT. DEVON'S OFFICE - DAY - MICHAEL, DEVON, BONNIE AND RC3
Devon is behind his desk; the others stand.
DEVON
...financially successful mobster in
U.S. history. Stock swindles,
international computer fraud....
MICHAEL
And murder -- Lew Jonas was the best.
Hard to believe he's gone. I'm going
to nail Becker if it's the last thing
I do!
Bonnie lays a comforting hand on Michael's shoulder.
BONNIE
Washington estimates Becker's
amassed a billion-dollar fortune.
RC3
Did you say 'billion'? That's with
a 'B,' as in....
DEVON
Yes. The man has swindled the life
savings of a great many people,
Reginald. The Foundation has decided
to act on behalf of those thousands
of hardworking citizens.
MICHAEL
Who'll have no chance at all of
getting back their money if Becker
makes it to South America.
DEVON
Naturally, even the smallest of
airfields is being covered; every
train and bus depot....
RC3
Bus depot? The man's loaded, he's
gonna take the bus?
MICHAEL
(to Devon)
There's got to be a place to start
looking for this guy...Business
associates, friends, girl friends....
BONNIE
All three describe a certain
Mrs. Claudia Torrell ---
CLOSE - CLAUDIA'S FACE
She's a physically stunning business person in early to
midthirties.
BONNIE'S VOICE
(continuing)
...Sportswoman, on the Best Dressed
List; designs and builds exotic
vehicles and races them.
During the above, we pull back outside Claudia's warehouse.
She is supervising mechanics who are working on a number
of Baja racers parked around her. In contrast to the
mechanics coveralls she's dressed in chic expensive
business clothes.
CUT TO
OMITTED
EXT. CLAUDIA'S WAREHOUSE - DAY
as Michael gets out of K.I.T.T.; spots Claudia and moves
toward her, passing ---
MARCUS
running a soft, polishing cloth over the finish of one
of the cars. He does a take as he recognizes Michael.
OMITTED
RESUME CLAUDIA
as Michael approaches and she reacts.
CLAUDIA
May I help you?
MICHAEL
You will if you'll get a message to
Ronald Becker for me.
CLAUDIA
Sorry. I have no idea where Ronnie
Becker might've gone.
MICHAEL
I'll pay a lot of money, Ms. Torrell.
(before she
can reply)
Not to see him: not even to talk to
him myself. I'll trust you to do that.
CLAUDIA
(dubious)
So nice to be trusted.
MICHAEL
I worked at one of the banks Mr. Becker
'cashed in on.' I made my own little
bundle while he was making his.
CLAUDIA
And now you just want me to thank
him for you.
MICHAEL
He's going to be setting up shop again.
I'm going to be working with him.
Tell him that for me.
ANGLE
Marcus catches Claudia's eye; covertly beckons her to join
him.
CLAUDIA
(dismissing
Michael)
Why don't you just -- Go into
business for yourself.
MICHAEL
I have. Any new computer system he
sets up, I can raid at will.
(as she pauses)
Tell him, he takes me in, or...I
take him off. Anywhere he goes.
She looks at him closely -- decides to handle Marcus first;
crosses and begins a brief, secretive discussion (MOS) with
Marcus. As she does so:
CLOSE - MICHAEL
surreptitiously speaking into his comlink.
MICHAEL
Kitt, try to get an ID on the guy
she's talking to, will you?
K.I.T.T.
I can't Michael. The angle puts him
out of my line of view.
Claudia finishes with Marcus and returns.
CLAUDIA
I might be able to deliver your
message but some things I'll have to
know first.
MICHAEL
Whatever it takes. Shoot.
CLAUDIA
Not now; we could be overheard.
Tonight; ten o'clock. Pull your
car in through those doors.
She indicates a set of doors further down the warehouse
wall. Michael eyes her, nods ---
CUT TO
OMITTED
EXT. PARK AND BRIDGE - DAY
as De Lorca's limousine pulls in from the street.
FAVORING BECKER
as he gets out of his car. He's nervous and glances
back to check the position of Hood #1 behind him, then
crosses toward:
OMITTED
DE LORCA'S LIMOUSINE
as the door opens and Roderigo De Lorca, fifty, studiously
suave, and decorator-designed emerges. Where Becker is
the gut-reacting privateer, De Lorca's frigidity is
polished to perfection. He moves off toward Becker's
position.
OMITTED
BECKER AND DE LORCA
as De Lorca arrives to stand alongside Becker.
DE LORCA
You're looking just wonderful, Becker.
BECKER
You said one million dollars cash.
It's in my car.
Becker nods to his Hood #1; De Lorca nods, in turn, to his
bodyguard/chauffeur who follows #1 off toward Becker's car.
Both wary of each other.
DE LORCA
(noting wariness)
We've been adversaries for a long time,
Becker. Now let us adjust to being
associated.
BECKER
I'll tell you what I'd like to adjust,
De Lorca. I'm paying you a million
dollars for a lousy one-way ticket to
South America. I'd like to adjust
the price.
DE LORCA
It's a bargain considering it's the
only ticket available. Every agent in
the country is looking for you. The
only way you'll get into Mexico, let
alone South America, is the way I've
arranged...
(beat)
...and you know it.
BECKER
Okay, what about citizenship papers,
passport, official ID -- That all
taken care of?
DE LORCA
(nods)
Awaiting your arrival. And you have
brought the documents transferring
your assets?
BECKER
I brought them --
(off De Lorca's
look)
-- I haven't signed them.
De Lorca studies Becker a beat; levels a cold, penetrating
look at him.
DE LORCA
Remember the million buys your freedom --
(warning)
-- The billions you'll be investing with
me will insure it.
(softens; smiles)
That and the special skills of
Miss Torrell. I'd expected she might
be with you.
ON BECKER
A smile.
BECKER
The lovely Miss Torrell is about to
skillfully eliminate a potential
troublemaker.
On De Lorca's reaction, we:
CUT TO
OMITTED
EXT. WAREHOUSE - NIGHT - MICHAEL AND K.I.T.T.
as they reach the entrance; and pull to a stop. Michael
eyes the place a beat...then:
MICHAEL
Scan the place, pal. I want to be
sure Miss Torrell hasn't brought
along backup.
K.I.T.T.
As a matter of fact, no one is here.
MICHAEL
Check the place out while we wait
for her.
INSIDE K.I.T.T.
as Michael and K.I.T.T. roll slowly into the ominously
darkened warehouse.
K.I.T.T.'S MONITOR - INTERCUT AS NEEDED
as K.I.T.T. sweep-scans the interior.
K.I.T.T.
I'm detecting tools and engine parts,
Michael. The kind used in constructing
automobiles.
Michael pulls K.I.T.T. to a stop. He gets out and crosses
between work benches and equipment; pauses at:
OMITTED
A TABLE
on which engineering drawings of Baja Buggies and engines
displayed. As Michael passes his comlink over them:
MICHAEL
Photograph these drawings.
EXT. WAREHOUSE - NIGHT
As a pickup truck comes around from the rear of the
warehouse. Marcus is the driver. Hood #1 stands in the
bed with a semi-automatic and opens fire on:
A ROW OF FIFTY-GALLON DRUMS
that are lined up along the exterior wall of the
warehouse. As the rounds puncture the drums and fuel pours
out onto the ground, we ---
RESUME MICHAEL
as he reacts to the gunfire.
MICHAEL
Not the greeting I expected. What's
going on?!
OMITTED
K.I.T.T.'S MONITOR - INTERCUT AS NEEDED
to see the molecular structure of gasoline develop across
the screen.
K.I.T.T.
The shots were fired outside. My
sensors are detecting volatile fumes.
OMITTED
CLOSE ON A ROAD FLARE
as Hood #1 strikes it on the steel bed of the pickup. It
"explodes" to life. He holds it high like a torch then
throws it.
THE FLARE
pinwheels through the air toward:
THE FUEL DRUMS
along the side of the warehouse. The flare lands in a
puddle of gasoline. In an instant the row of drums becomes
a blazing inferno. Marcus and Hood #1 take off in the
pickup.
RESUME MICHAEL
as he reacts to the whoosh; whirls to see:
MICHAEL'S POINT OF VIEW - WAREHOUSE DOORS
the flames leaping up and blocking the outside. The
entire opening a sheet of flame.
RESUME MICHAEL
The orange glow of the flames on his face; smoke starting
to billow around him.
MICHAEL
This whole place is going to go up.
OMITTED
FUEL DRUMS
engulfed by roaring flames some fuel drums start to
explode.
OMITTED
MICHAEL
trapped, as the flames build.
FADE OUT
END OF ACT ONE
ACT TWO
FADE IN
INT. WAREHOUSE - NIGHT - MICHAEL
About to be enveloped by the flames. K.I.T.T. screeches to
a stop next to him.
K.I.T.T.
Hurry, Michael before the building
explodes!
Michael jumps behind the wheel.
MICHAEL
Okay, buddy. Give me everything
you've got!
K.I.T.T.
That won't be possible. The intense
heat is affecting my power plant.
MICHAEL
Let's hope you've got enough left to
get us out of here!
Michael slams K.I.T.T. in gear and tromps on the accelerator.
K.I.T.T.'s engine hesitates; makes a sickly whine; finally
roars with authority.
EXT. WAREHOUSE DOORS - NIGHT
as K.I.T.T. explodes through the flames.
WIDE - THE SCENE
as the warehouse erupts in a massive explosion.
K.I.T.T.
screeches to a stop and a safe distance away.
MICHAEL
His tense reaction at what he's escaped.
CUT TO
INT. DEVON'S OFFICE - DAY - CLOSE ON COMPUTER DRAWINGS
to see a hard copy reproduction of the Baja Racer engineering
drawings K.I.T.T. photographed at the warehouse. We widen to
include Bonnie, Michael, Devon and RC3 who's working on his
motorcycle.
DEVON
Looks like a carefully constructed
train wreck.
RC3
Come on, Boss, stop putting down my
wheels.
MICHAEL
He meant these drawings, RC. Got 'em
before the place blew up. That's an
off-roader, Devon. Setup's perfect
for a Baja race.
DEVON
A...what kind of race?
RC3 crosses from his cycle and joins them.
RC3
The Baja Five Hundred; Baja One
Thousand...They're races run in open
country along Mexico's Baja
Peninsula.
Bonnie turns to her monitor; encodes; some scheduling data
appears.
BONNIE
Not at this time of year.
MICHAEL
Wait a minute...That warehouse was
full of Baja buggies this afternoon
but it was empty tonight. Where are
Claudia Torrell's cars if she's not
racing them?
(beat)
Bonnie, run a search for any other
race that requires Baja type equipment.
As Bonnie encodes at her computer.
BONNIE
Something tells me we'll be setting
up Kitt for a little off-road action.
Data prints out across the monitor. Bonnie shakes no.
BONNIE
I can't find any races that are sanc-
tioned but sometimes the Los Mil
Diablos is run this time of year.
MICHAEL
That's the thousand miler that starts
in the states and ends in Mexico.
RC3
Right, it was outlawed by both
countries, but these guys are
fanatics. They run it anyway if they
can find a sponsor.
MICHAEL
I'll bet they had no trouble finding
one this year --
(off reaction)
Becker -- can you think of a better
way to get across the border than an
off-road race designed to hide the
participants!
DEVON
Where's the starting line of the
Mil Diablos this year?
BONNIE
It's always a well kept secret. It
could be any one of a half dozen
towns along Route 107.
RC3
It could take days to check 'em all
out Michael.
MICHAEL
I don't care how many days it takes.
I owe it to Lew Jonas' wife and kids.
You start at one end and I'll start
at the other.
RC3 reacts, then smiles...He crosses to his cycle. Michael
crosses to K.I.T.T. and we:
CUT TO
OMITTED
THE HIGHWAY
as K.I.T.T. and RC3 on his cycle reach a point where the
road forks. They come to stops. Michael and RC3 exchange
a thumbs up, then zoom off on opposite forks.
CUT TO
OMITTED
EXT. CLAUDIA'S MOTOR HOME - DAY
as the same pickup we saw at the warehouse pulls to a stop.
Marcus still at the wheel; Claudia now in the passenger
seat next to him. As they exit the truck cab:
OMITTED
ANGLE - FAVORING BECKER
He emerges from the motor home. Claudia hurries toward him
arms outstretched and pulls him into an embrace.
CLAUDIA
Ronnie, I've been so worried.
He holds her off a beat; looks to Marcus for ---
BECKER
That troublemaker taken care of?
MARCUS
(nods)
Up in smoke.
His concern segues to a smile.
BECKER
Come on Claudia -- You look beautiful.
Nothing to worry about; De Lorca's
covered everything; he'll be waiting
for us across the border.
Arm in arm with her, he steers Claudia back toward the
motor home. As they go:
BECKER
If you don't like De Lorca's country,
I'll buy it and you can remodel.
CUT TO
OMITTED
EXT. SMALL TOWN - HIGHWAY - DAY
as Michael and K.I.T.T. blow through the sleepy town that
is clearly not the start point of the race. Pan K.I.T.T.
flashing by us and receding into distance.
INSIDE K.I.T.T. - DAY
as Michael drives.
MICHAEL
One town down, four to go. If we
don't hit it soon we may find
ourselves racing Becker to catch him.
K.I.T.T.
If you don't mind, I'd prefer cap-
turing Mr. Becker before the starter
drops his flag.
MICHAEL
Can't say I blame you. We'll be up
against some pretty stiff competition.
K.I.T.T.
Now just one moment, Michael ---
EXT. FARTHER ALONG HIGHWAY - DAY - MICHAEL AND K.I.T.T.
They continue zooming along.
CUT TO
OMITTED
EXT. LAS FLORES MAIN STREET - NIGHT - FULL SHOT -
ESTABLISHING
Too busy for this small, desert community. All manner of
people from everywhere -- some revving engines as they
cruise the street in 4x4 minis and vans, etc.
FOLLOWING MICHAEL AND K.I.T.T.
as they roll down this main street filled with off-roaders
and their fans.
K.I.T.T.
I believe we've found the starting
point.
INSIDE K.I.T.T.
MICHAEL
Yes. Going to be fun trying to find
Becker in this mob...Even Becker has
to eat.
Michael turns toward the Las Flores Cafe.
OMITTED
EXT. CLAUDIA'S MOTOR HOME - NIGHT - TO ESTABLISH
INT. CLAUDIA'S MOTOR HOME - NIGHT
Becker is studying some maps on the fold-out table. Claudia
and Marcus enter and join him.
MARCUS
Radios are set to the special
frequency, Mr. Becker. You'll be
able to talk to all our cars.
Becker nods curtly, swings a look to Claudia.
BECKER
I'm not in love with bouncing all
over the desert.
Claudia puts a comforting hand on his shoulder; starts
massaging his neck muscles, settling him down.
CLAUDIA
It's going to be okay, Ronnie. Maybe
you're hungry. You know how you get
jumpy when you don't eat.
BECKER
(eases; smiles,
nods)
We've been together too long, Claudia.
You know me better than I do.
(to Marcus)
Marcus? Get us something to eat.
Marcus nods and exits the motor home.
CUT TO
OMITTED
INT. LAS FLORES CAFE - NIGHT
Music blasts from a juke box, as Michael makes his way
through the crowd toward the counter and reacts to the
squeals of ---
THREE "PLAYMATES"
shooting a game of pool. A crowd of race drivers gathered
around observing the action. The gals wear tight tank tops
and shorts. Call them Bambi, Pastri and Candi.
CLOSE ON BAMBI
as she stretches across the table with her cue stick to
make a shot, thereby displaying her "ample." The moment
is appreciated by:
A GROUP OF DRIVERS
watching from the opposite side of the table, as Michael
joins them. They cheer and applaud as Bambi strokes the
ball and it drops into the pocket. She thinks they're
applauding the shot.
BAMBI
Gee guys thanks!
One driver peels a twenty-dollar bill from a roll.
DRIVER
Twenty bucks says you can't make
that shot again.
He swings a conspiratorial grin to his buddies who elbow
each other and ad-lib encouragement to the Playmate.
BAMBI
My mother taught me never to take
money from strangers.
PASTRI
Mine didn't. I'll do it!
CANDI
Wait a minute, what about me?
MICHAEL
Don't argue girls. I'm sure these
gentlemen will make sure you all
get a turn.
The drivers laugh and ad-lib total agreement. Michael
moves off as the Playmate leans across the table with her
cue stick; we go to:
OMITTED
ANOTHER ANGLE - COUNTER - MICHAEL
settles onto a stool. Waitress Ana Lucia Cortez, age
twenty-four approaches him. She is quite striking; quite a
pleasant person.
MICHAEL
Hi! Name's Michael Knight.
As she smiles and hands him a small hand-printed menu:
ANA LUCIA
Ana Lucia Cortez. What'll it be?
MICHAEL
(perusing menu)
This is one whale of a turnout for a
race that's held in secret.
ANA LUCIA
Just our usual Wednesday night
crowd. What do you do? You're no
driver; I know all the drivers.
Michael removes a photo from his pocket; shows it to Ana
Lucia.
MICHAEL
How about this driver? You know him?
INSERT - PHOTO - CLOSE
A photograph of Ronnie Becker.
ON ANA LUCIA
as she reacts to the photo. She recognizes Becker but
works to cover it; shakes no.
ANA LUCIA
Nope....
ON MICHAEL
as he senses she's covering.
MICHAEL
You sure? For a second there I
thought I saw a little light go on
behind those baby blues.
RESUME THE SCENE
ANA LUCIA
They're brown, and I've never seen
that guy. Look, I clock out in five
minutes. You eating or not?
MICHAEL
(considers
menu)
How's the seafood dinner?
ANA LUCIA
Awful.
MICHAEL
Oh. -- Well, then -- the porterhouse
sounds ---
ANA LUCIA
Like chewing on your shoes?
(already
writing)
Have the burger. It's our specialty.
MICHAEL
(bemused nod)
Why don't I have the burger?
ANA LUCIA
Good choice. I'll stick one in the
microwave for you.
She turns on a heel and moves off as Michael reacts.
MICHAEL
In the microwave?
He watches her go for a thoughtful beat; raises his comlink
for:
MICHAEL
Kitt? Have Bonnie run a check on an
Ana Lucia Cortez. She recognized
Becker's photo but for some reason
wouldn't let on.
K.I.T.T.
Right away, Michael.
Michael ponders this "mystery" and we:
CUT TO
EXT. LAS FLORES MAIN STREET - NIGHT - ON MARCUS
approaching the cafe. He does a double take upon noticing:
MARCUS' POINT OF VIEW - K.I.T.T.
is parked behind a truck next to the cafe. We zoom in on
the "Knight" license plate.
RESUME MARCUS
He can't believe it. Clearly shaken, he turns and hurries
off.
INT. LAS FLORES CAFE - NIGHT - MICHAEL
as Ana Lucia slides a dish with a burger on it in front of
Michael.
ANA LUCIA
Enjoy!
Michael lifts the top half of the bun to discover a
prune-like crust of meat. Ana Lucia grabs her purse and
donning her seater, turns to leave.
MICHAEL
(calls out)
Hey? Hey, Ana Lucia? This burger
looks like a shriveled fig.
ANA LUCIA
She pauses; turns back; grins sheepishly. He's right;
she's guilty.
ANA LUCIA
Listen, the seafood here is
wonderful; the steak is great. Come
back tomorrow. I'll make it up to
you.
MICHAEL
You can start now.
(waggles photo)
You sure you haven't seen this guy?
Ana nods emphatically.
MICHAEL
What about the sponsor for the
race? Any idea who put up the money?
She eyes him suspiciously for a beat. Then, deciding ---
ANA LUCIA
You're Highway Patrol. You're going
to try'n stop the race. That's why
you're asking these questions.
MICHAEL
You kidding? I'm racing tomorrow.
ANA LUCIA
Sure. Look, I've got a car entered,
and I've got to adjust the suspension
before start time, so ---
She turns to leave. He stops her.
MICHAEL
You want to be on that starting line
tomorrow? Take me to your suspension.
She eyes him for a beat, softens, then nods....
CUT TO
EXT. DESERT AND MOUNTAINS - PREDAWN - PANORAMA - STOCK
The false light of the crisp predawn hour.
INT. ANA LUCIA'S GARAGE - PREDAWN
Michael and Ana Lucia are dishevelled, grease-stained and
feeling fine over a job well done. Her Baja buggie has
been up on jacks, and she collects the last of the tools as
Michael lowers the buggie.
MICHAEL
I think we got 'er this time.
ANA LUCIA
Thanks, Michael. you know, I can't
believe we haven't run into each
other till now. Where else have you
competed?
MICHAEL
Was about to ask you the same thing.
How'd you happen to get into off-
roading, anyway?
ANA LUCIA
You're not Highway Patrol, and --
(examines
his hands)
-- mechanics' hands have callouses.
So, what are you?
MICHAEL
You're pretty sharp for a hash slinger
with a lead foot. You sure you ---
He stops -- she stops -- both realizing how they sound.
They begin to chuckle at themselves and each other, as:
MICHAEL
Y'know, we're about to quiz each other
into the ground here.
(beat)
You're a nice person, Ana Lucia. I
think.
ANA LUCIA
I kept you up all night.
MICHAEL
After the race I'll come back and
demand equal time.
ANA LUCIA
You won't have to demand.
They are both a bit smitten. If they start something, the
race will be finished before they are. So, Michael smiles
knowingly ---
MICHAEL
Good luck.
He turns and leaves and we:
CUT TO
EXT. EDGE OF TOWN - DAWN - MICHAEL
He walks toward camera, past the first couple of buildings
on the edge of town. He then turns into an alley-like
street between buildings; speaks into his comlink.
MICHAEL
Bonnie come up with anything yet
on Ana Lucia, pal?
K.I.T.T.
No, Michael. She's still working on it.
Michael considers this as he walks. A few beats before he
hears the roar of the car engine behind him. He turns to
see an ND sedan bearing down on him at ramming speed.
Hood #1 inside.
OMITTED
MICHAEL
dashes ahead of the car; reaches the end of the alley
barely in time to leap out of the way -- the vehicle goes
barreling past. As he gets to his feet ---
MARCUS' PICKUP
driven by Hood #2, Marcus seated next to him, comes zooming
across Michael's path. It almost clobbers Michael. He avoids
it by side-stepping into a doorway at the last instant. The
pickup smashes into some trash barrels in the alley.
CLOSE - MICHAEL
as he uses his comlink.
MICHAEL
(into
transceiver)
Got a problem, pal! Get over here
fast.
EXT. LAS FLORES MAIN STREET - DAWN - CLOSE ON K.I.T.T.
parked next to the Cafe. He self-starts; and we widen to
reveal a flatbed truck loaded with bales of hay has parked
right up against K.I.T.T.'s rear bumper locking him in his
parking spot.
K.I.T.T.
I have one too, Michael! I've been
boxed in!
K.I.T.T.'S SHIFTER
kicks into reverse.
K.I.T.T.'S REAR TIRE
burns against the ground.
K.I.T.T.'S REAR BUMPER
presses against the front of the truck. It moves back
six inches. K.I.T.T. rockets forward to go at it again
and we:
RESUME MICHAEL AND HOODS
Hoods #1 and #2 emerge from their vehicles and attack
Michael. He decks one of them; knocks the other back
against the ND sedan. But as Michael turns to deal with
Hood #1 who comes at him again ---
MARCUS
gets out of the pickup; moves in unseen behind Michael and
connects with a lug wrench across the back of Michael's
head. He drops, out cold. They load Michael into the
pickup and take off. During the above action, we ---
INTERCUT - K.I.T.T.
maneuvering to get free from between the trucks that pin
him.
K.I.T.T.
I'll be free any second!
K.I.T.T. rockets backward; pushes into the truck again and
again; shoves it back three feet; accelerates forward into
a sweeping spin that takes him into the middle of the
street.
K.I.T.T.
Michael? Keep talking. I have to
get a fix on your position. Michael?
There is no reply. K.I.T.T. screeches to a stop in the
street uncertain as to Michael's whereabouts.
CUT TO
EXT. THE WELL - DAWN - LONG SHOT
The pickup approaches from far b.g.; halts at the well
in f.g. Hood #1 hauls Michael roughly out of the bed.
Marcus moves aside some old wooden planks that cover the
opening in the ground. The two men dump Michael's uncon-
scious body down the well.
INT. BOTTOM OF WELL - MICHAEL
unconscious; possibly dead lying at the bottom of the old
well. Tilt upward, slowly upward, until we're looking at
the little round hole of light far away which is the top
of the well.
FADE OUT
END OF ACT TWO
ACT THREE
FADE IN
EXT. DESERT AND MOUNTAINS - DAY - TO ESTABLISH
EXT. STARTING LINE - DAY - STOCK
The bass rumble of the dozens of off-road racing car engines
warming up.
THE STARTER
raises the green flag high, then drops it.
VARIOUS SHOTS - PRINCIPAL RACE VEHICLES
as Becker and Claudia, Marcus, Ana Lucia, Hood #1, etc.
rocket over the starting line, in their cars, and we:
INTERCUT OTHER VEHICLES
as Los Mil Diablos begins. The collective roar of the
funcos is incredible. During this we:
OMITTED
INTERCUT - RC3
as he arrives on his motorcycle. He works his way between
the vehicles, campers, support trailers, etc. in search of
Michael and K.I.T.T.
QUICK SERIES OF ANGLES - STOCK
The various racing machine of the various classes
(including bikes, if desired) digging in and hauling ass.
THE PLAYMATES' CAR
Clearly a noncompetitive pink Eldorado or its ilk. It rolls
toward the starting line. The three gals are waving and
blowing kisses to the spectators. Pastri, the sexy black
gal, comes to life when she spots:
RC3
who's heading out of the area. He does a double take when
he sees her; almost crashes the cycle into a parked vehicle
as he waves back.
RC3
That's one little package -- no
man would take home to momma.
RC3 recovers; settles down the cycle and heads toward town.
THE RACE - ON CLAUDIA'S CAR - ESTABLISH BECKER
in second seat; Claudia driving.
INT. CLAUDIA'S CAR - BECKER AND CLAUDIA
Becker's nervous to the point of not wanting any part of
this. He holds on for dear life as Claudia puts pedal to
metal. They shout over the roar of the engine.
BECKER
Hey! Take it easy! You're supposed
to run at the rear of the pack!
CLAUDIA
Sorry! Not easy to do when you're
used to winning!
BECKER
I don't care! We can't take the
chance someone'll see us turn off
the course!
EXT. - RESUME CLAUDIA'S CAR
starting to drop back, passed by other cars.
ON MARCUS' FUNCO
Marcus driving. He glances to a machine gun in a rack next
to him.
OMITTED
BOTTOM OF WELL - MICHAEL
consciousness slowly filtering back. He stirs; his eyes
open; he begins orienting himself.
MICHAEL
Kitt? Kitt -- tune in buddy. I need
you.
EXT. LOS FLORES - STREET - DAY - INTERCUT - K.I.T.T.
as his scanner pulses faster when he picks up Michael's
signal.
K.I.T.T.
Michael, where are you?
MICHAEL
(peering around)
I don't know, but I hope I didn't
sign a lease.
K.I.T.T. auto starts and takes off down the street.
K.I.T.T.
Keep talking, Michael ---
INTERCUT - K.I.T.T.'S MONITOR - AS NEEDED
a schematic of the area; the well located by a flashing
blip.
K.I.T.T.
(continuing)
I'm homing on the signal from your
comlink.
MICHAEL
Make it fast. I'm in deep trouble.
And that's not just a figure of
speech.
K.I.T.T. is accelerating; well on his way out of town when:
RC3'S MOTORCYCLE
turns onto the main street weaving between the few local
vehicles left behind after the start of the race.
ON RC3
He does a take when he sees:
K.I.T.T.
driverless, no one behind the wheel, as he rockets down the
street far ahead of him.
RESUME - RC3
as he wheels his cycle around and takes off after K.I.T.T.
who is now a distant speck on the road leading out of town.
EXT. DESERT - DAY - WELL
The top of the well into which Michael was dumped is in
immediate f.g. As we pan across to pick up K.I.T.T.,
approaching rapidly.
K.I.T.T.
Are you all right?
INTERCUT - BOTTOM OF WELL - MICHAEL
He's now on his feet staring up at the circle of light far
above him.
MICHAEL
Fine but I wouldn't rule out brain
damage. You're going to need the
grappling hook for this one.
OMITTED
K.I.T.T.'S NOSE COWLING
as it pulls forward over the edge of the well and the
grappling hook lowers.
K.I.T.T.
On its way.
THE TOP OF THE WELL
as the hook lowers toward Michael.
MICHAEL
What about the race!
K.I.T.T.
I'm afraid it started several
minutes ago.
Michael puts a foot on the hook; grabs hold of the cable.
MICHAEL
Then hit the up button.
As Michael begins traveling upward:
EXT. THE RACE - FAVORING ANA LUCIA'S BAJA BUGGIE
Doing it solo, she's joyously ferocious behind the wheel.
Guns the buggie.
ON HOOD #1'S FUNCO
as he exchanges nods of mutual understanding with:
CLAUDIA'S CAR
in which we again see Becker and Claudia. He's not having
a good time.
FULL SHOT - STOCK
The rooster-tails abound; billows of dust already obscure
many of the myriad vehicles participating.
ANGLE - ANA LUCIA
driving. Taking the first bumps and jumps with the best
of them.
ON BROKEN CAR
The attrition has already begun. At least this one driving
team is already afoot.
CLAUDIA'S CAR
She maneuvers expertly; jumps her vehicle perfectly --
though another car following hers and taking the same line
noses in dangerously.
CUT TO
DESERT - WELL - DAY - MICHAEL AND K.I.T.T.
as Michael is hauled out of the well by K.I.T.T.'s
grappling hook.
RC3
arrives on his motorcycle; pulls to a stop next to
K.I.T.T.; crosses to the well; gives Michael a hand
climbing over the edge.
RC3
What've you been doing down there?
MICHAEL
Trying to climb out.
RC3
The race started already.
MICHAEL
I know. We've got some catching up to
do. Stay as close to me as you can.
Michael jumps in K.I.T.T. and takes off. RC3 jumps on his
motorcycle. It takes three or four kicks before the bike
starts and RC3 can follow.
OMITTED
EXT. ROAD - DAY - MICHAEL AND K.I.T.T.
moving fast.
CUT TO
EXT. THE RACE - DAY - FULL SHOT - STOCK
The cars still bunched tear up the terrain -- and the
terrain returns the favor.
CLAUDIA'S CAR
racing strongly; up among the first third. She's having a
great time; Becker's a little seasick by now.
START LINE
as K.I.T.T. rockets across onto the race course.
INTERCUT - SPECTACULAR SHOT - STOCK
A misjudgment, an unseen rock or a too-steep turn causes a
spectacular moment in sports (dictated by available stock).
ON ANA LUCIA'S BAJA BUGGIE
She comes to a fairly flat section (possibly a fire road,
as exists along the Baja 1000) -- and stands on it.
Competent and then some.
MARCUS' CAR
hits the same flat stretch.
ON CLAUDIA'S CAR
As it streaks past camera.
EXT. DESERT - DAY - K.I.T.T.
is catching up to the rear of the pack.
INSIDE K.I.T.T.
as Michael reacts to something he sees along the side of
the route up ahead.
MICHAEL
Looks like we've got a cheering
section, pal.
THE PLAYMATE RACING TEAM
Their car pulled onto the side of the route. The
Playmates in their tank tops and shorts baking in the sun.
They wave at Michael and K.I.T.T. as they approach.
BAMBI
Our air conditioning stopped working!
INTERCUT - MICHAEL
brings K.I.T.T. to a fast stop; lowers his window.
PASTRI
You've got to help us fix it?!!
(panic)
We're sweating!
MICHAEL
I can't stop now. But I'll send you
some help.
CANDI
Long as he's as cute as you!
Michael smiles forlornly, contemplating the possibilities.
He waves and pulls away.
MICHAEL
(to K.I.T.T.)
Shouldn't have trouble finding a
crack team of A/C engineers to make
this house call.
K.I.T.T.
I'll take care of it. Michael, I
must say I'm quite impressed with
your devotion to duty.
MICHAEL
Yeah, what a guy, huh?
Michael tromps on the accelerator, K.I.T.T. rockets forward
and we:
RACE STARTING LINE
as RC3 crosses it on his cycle and takes off on the course.
CUT TO
OMITTED
EXT. THE RACE - DAY - FAVORING CLAUDIA'S CAR
Becker is talking to someone via his radio.
CLOSE - BECKER IN CLAUDIA'S CAR
It's difficult to transmit because of the bumping and
bouncing around -- not to mention the dust.
BECKER
De Lorca?! De Lorca, can you hear me?!
EXT. DE LORCA'S VILLA - DAY - FULL SHOT - ESTABLISHING
Overlooking the Sea of Cortez, it looks like a private
version of the Beverly Hills Hotel.
DE LORCA'S VOICE
I hear you very well, Becker.
EXT. DE LORCA'S PATIO - DAY - DE LORCA
The man lives well: a large tray of fruit and hors
d'oeuvres on the patio table; a monogrammed robe on his
back; a bodyguard stands nearby. Becker is dust-clogged and
getting bounced around. De Lorca senses Becker's discom-
fort, and finds it amusing.
DE LORCA
You sound a bit dusty. You're off
and running, I take it...
(glances
at watch)
INTERCUT - BECKER
BECKER
(shouts
into mike)
On my way! You just be there for me.
DE LORCA
I'm here, Becker.
(shows concern)
You're alone?
Claudia leans over and shouts ---
CLAUDIA
Having a wonderful time; wish you
were here!
De Lorca smiles, clicks off.
CUT TO
EXT. DESERT - AT REAR OF RACING PACK - DAY - MICHAEL AND
K.I.T.T.
Having caught up to the rear of the pack, Michael and
K.I.T.T. now begin moving up through it.
INTERCUT - RC3
on his motorcycle, catching up to the rear of the pack;
passing cars; working his way forward.
ON ANA LUCIA'S BUGGIE
as she drives.
ON MICHAEL AND K.I.T.T.
as they come abreast of Ana Lucia's buggie. He gives her a
thumbs up.
ON ANA LUCIA CORTEZ
as she returns it; indicates all is A-okay in response to
his gestured query.
ON MARCUS' CAR
as it is passed by Michael and K.I.T.T. with ease.
CLOSE - MARCUS
really spooked at seeing Michael still again. Reaches
feverishly for his radio mike.
MARCUS
(shouts
into mike)
Mr. Becker, you're not going to
believe this...!
INTERCUT - CLAUDIA'S CAR
The car driven by Hood #1 running next to it as Becker
listens, and reacts to:
MARCUS
(continuing)
I just spotted Knight! He's in the
race!
Becker reacts, stunned; recovers; shouts into the mike.
BECKER
Get him Marcus! I don't care how!
But this time you get him!!
Marcus clicks off; and accelerates after Michael.
RESUME BECKER
as he gestures to Hood #1 to help Marcus with Michael.
OMITTED
FULL SHOT FROM ABOVE
Claudia's car continues on a straight line course;
Hood #1's car veers off and turns back into the dust cloud
created by the rest of the group.
ON MICHAEL AND K.I.T.T.
still racing well; moving steadily up among the leaders.
HIGH SHOT
as Marcus' car pulls up next to Michael from behind. And
the car driven by Hood #1 approaches from up front, and
swings around on the opposite side of K.I.T.T. The cars
now running three abreast, K.I.T.T. in the middle.
MICHAEL AND K.I.T.T.
Hood #1's car on Michael's side. Marcus on the passenger
side.
MICHAEL
Kitt, we're being boxed.
K.I.T.T.
I've been noticing that.
SPECTACULAR DUAL CRASH - STOCK
A couple of the off-roaders tangle and tumble spectacularly.
K.I.T.T.
Something tells me that's what they
have in mind for us.
RESUME MICHAEL AND K.I.T.T.
MICHAEL
Let's show 'em what we have in mind
for them!
Michael whips the wheel hard.
OMITTED
K.I.T.T.
swerves left into Hood #1's car. It goes out of control;
plows into a dune; flips into the air and tumbles end-over-
end into the river.
OMITTED
RESUME K.I.T.T. AND MARCUS' CAR
as Michael and K.I.T.T. sweep in a large arc to give them
maneuvering room. Marcus' car is on the inside of the
circle, allowing him to pull slightly ahead of Michael.
MARCUS
pulls the pin on a grenade.
ON ANA LUCIA'S BUGGIE
as she spots the action off to her left:
THE DOGFIGHT
As Marcus tosses the grenade in front of K.I.T.T., it
explodes causing Michael to stop. Marcus spins a one-
eighty and gets out of his car.
MARCUS
His machine-gun leveled, he fires at K.I.T.T. but ---
OMITTED
ANA LUCIA'S BAJA BUGGIE
enters frame and barrels through shot directly across
Marcus' line of fire in front of K.I.T.T.
OMITTED
ON ANA LUCIA
as her car gets laced with bullet holes, and goes out of
control in the uneven sand and silt, and flips, tumbling
end-over-end finally stopping upside down.
RESUME MARCUS
as he gets back into his car and speeds off into the
distance.
RC3
pulls up on his motorcycle as Michael exits K.I.T.T. They
rush to Ana Lucia's car to find her unconscious. As they
remove the debris which imprisons her:
MICHAEL
Kitt, give me a complete medical scan,
and notify the aid station.
CLOSE - K.I.T.T.'S SCREEN
as K.I.T.T. runs a medical tip-to-toe check on Ana Lucia.
INTERCUTS - MICHAEL AND ANA LUCIA - K.I.T.T.
K.I.T.T.
Her vital signs are stable. She has
a mild concussion, some bruises, no
broken bones.
(beat)
And inflamed tonsils.
MICHAEL
I'm going to stay here until the
guys from the aid station show up.
You get back to the race and keep
tabs on Becker and his bodyguard.
RC3
You got it, Michael. But how do I
let you know where I'm at when I
get there?
Michael removes his comlink; hands it to RC3.
MICHAEL
With this. Keep in touch.
RC3 smiles at this "upgrade in status;" straps on the
comlink; gets on his cycle and takes off across the desert.
FOLLOWING MICHAEL
He moves from Ana Lucia to check out the fog-bound hoods
and pick up their weapons. As he goes:
MICHAEL
Contact the local authorities to clean
up this mess, pal.
K.I.T.T.
My pleasure, Michael.
CUT TO
EXT. KNIGHT INDUSTRIES - DAY - ESTABLISHING
INT. DEVON'S OFFICE - DAY - DEVON AND BONNIE
Bonnie is at her console, encoding; coming up empty.
DEVON
Nothing yet?
BONNIE
(shakes no,
frustrated)
I've tried every cross-referencing
combination I can think of. Ana
Lucia Cortez doesn't exist.
DEVON
All the more reason to keep trying.
Michael's suspicions were obviously
correct. This woman has something
to hide.
Bonnie nods and gets back to work and we:
CUT TO
EXT. THE RACE - DAY - FULL SHOT - CLAUDIA'S CAR
The number of cars visible to each other has diminished
considerably. They're spread out far and wide, with a
trail of dust their only markers.
CLOSER ON CLAUDIA'S CAR
Becker, studying one of the maps, now taps Claudia; gets
her attention.
BECKER
This is perfect. We can turn off
the course here and go for the
border on that highway.
ANOTHER ANGLE - RIVER
as Claudia pulls to a stop and shares the map with him,
then gestures to the adjacent river.
CLAUDIA
We have to get across that river
first.
BECKER
This is an off-road vehicle, isn't
it?!
CLAUDIA
Off-road. Not underwater.
BECKER
Find a crossing and get me on
that highway!
Claudia, seeing the flash of anger, nods and drives off along
the river bed. We follow for a short distance, and go to:
ANOTHER ANGLE - RIVER
as Claudia's vehicle turns into the water and makes its
way to the opposite side.
OMITTED
EXT. DESERT - ALONG BORDER - DAY
as Michael helps the now conscious Ana Lucia.
ANA LUCIA
Forget the guys from the aid station.
I'm going back to that race.
MICHAEL
Without a car?
ANA LUCIA
(gestures to
K.I.T.T.)
We'll use your car.
MICHAEL
Not a chance. You need hospital
observation, young lady.
Ana Lucia eyes him a beat, nods, appearing to accept
Michael's decision. As she turns she suddenly draws
and levels an automatic at Michael who reacts with
surprise.
MICHAEL
What's this supposed to mean?
(confused)
Ana Lucia, there's more at stake
here than just finishing a race.
ANA LUCIA
There's more than a race to be
finished. I go in your car with
you --
(slight shrug)
-- Or I go in your car alone.
REACTION - MICHAEL
Confused, angry frustration.
FADE OUT
END OF ACT THREE
ACT FOUR
FADE IN
EXT. DESERT - ALONG BORDER - AS BEFORE - DAY
Michael and Ana Lucia are squared off just as they were
at end of Act Three. Now:
ANA LUCIA
Forgive the deception, Michael. My
real name is Ramirez. Lieutenant
Estrallita Ramirez, of the Mexican
Federal Police.
MICHAEL
No wonder Bonnie hasn't come up with
anything on Ana Lucia Cortez.
ANA LUCIA
(nods)
I've been after a certain Roderigo
De Lorca. We knew De Lorca put up
the money to sponsor Los Mil Diablos.
But I didn't know why till you showed
up asking about Becker.
MICHAEL
Then we're on the same side.
(indicates gun)
And I won't have to take that away
from you. You can holster it now.
Ana Lucia studies him a beat, hesitating.
MICHAEL
If I lose Becker because of this
delay, I'm going to be real mad.
He killed a friend of mine....
Ana Lucia eases; puts the gun away.
ANA LUCIA
Find the race, you find Becker.
As Michael and Ana Lucia enter K.I.T.T. to resume their
pursuit:
MICHAEL
Kitt? Plot us a straight line course
to catch up to the race.
K.I.T.T.
Right away.
ANA LUCIA
Her reaction to this conversation.
CUT TO
EXT. OPPOSITE SIDE OF RIVER - DAY - MARCUS' CAR
comes through the shallow water, leaves the river and
climbs the bank.
CUT TO
OMITTED
A DIRT ROAD
as Claudia's car barrels along; swings off onto the highway
and takes off at high speed.
ON CLAUDIA AND BECKER
as he grabs the mike and clicks it on.
EXT. DE LORCA'S VILLA - DAY - FULL SHOT - REESTABLISHING
DE LORCA'S VOICE
De Lorca here....
EXT. PATIO - DAY - DE LORCA
is on the radio phone, straining to hear. His bodyguard
stands nearby.
DE LORCA
Can you speak louder, please!
INTERCUT - CLAUDIA'S CAR
Becker on the mike.
BECKER
I said we crossed the border about
fifteen minutes ago!
DE LORCA
Ah! Congratulations to you both!
BECKER
I want to move out as soon as we get
there!
DE LORCA
(into phone)
No problem. Everything is waiting
for you and Ms. Torrell!
CUT TO
OMITTED
RC3
is following the river bed on his motorcycle. He pauses
when he sees:
THE TRACKS
He is following; turns off into the water.
RESUME RC3
as he swings his cycle away from the riverbank to get
running room; guns it and takes off at high speed across
the river.
OMITTED
EXT. THE RACE - DAY - LONG SHOT
The plumes of telltale dust.
ANGLE - K.I.T.T.
at the rear of the pack, barreling along close to the river.
INSIDE K.I.T.T.
Michael driving, Ana Lucia next to him. They react to the
chirp of the monitor and hear:
RC3
Michael, it's RC. Do you read.
MICHAEL
Loud and clear, RC. Talk to me.
INTERCUT - RC3
He's astride his cycle that's stopped in the middle of the
highway on the other side of the river.
RC3
I've got a fix on the bodyguard's car
for you.
MICHAEL
Way to go, RC! That means Becker has
to be close by. Give me his position.
RC3
I can't. The car left the course,
and crossed the river onto a highway.
But I don't know which way it went.
Michael pushes some buttons on his console.
MICHAEL
Okay, Kitt. It's up to you to find
Becker now.
INTERCUT - K.I.T.T.'S MONITOR (AS NEEDED)
as a search of the desert sweeps across and picks up a
pulsing blip on the highway.
K.I.T.T.
My scanner confirms one off-road
vehicle on the highway. It's
traveling south at very high speed.
MICHAEL
Let's get to that highway!
Michael stomps on the accelerator and whips the wheel.
OMITTED
K.I.T.T.
makes a sweeping turn and heads for ---
THE RIVER
as K.I.T.T. blasts across through the water and accelerates
up the bank.
ON THE HIGHWAY
as K.I.T.T. swings off the dirt road onto the blacktop and
takes off.
INSIDE K.I.T.T.
as Michael swings a look to Ana Lucia.
MICHAEL
Hang on! Okay, pal. Give me all
you've got.
Michael tromps on the accelerator.
K.I.T.T.
as he accelerates down the road.
RESUME INSIDE K.I.T.T.
as Michael and Ana Lucia are slammed back in their seats by
the acceleration. As they come out of it, Ana Lucia swings
an impressed look to Michael.
ANA LUCIA
Some set of wheels!
MICHAEL
You're not so bad yourself.
She laughs. Michael tromps on the accelerator.
OMITTED
THE HIGHWAY
as K.I.T.T. blasts past at high speed.
OMITTED
EXT. DE LORCA'S VILLA - DAY - REESTABLISHING
EXT. DE LORCA'S PATIO - DAY - BECKER AND DE LORCA
DE LORCA (V.O.)
Everything you'll need has been
arranged.
EXT. DE LORCA'S PATIO - DAY - DE LORCA AND BECKER
Becker has already showered and changed into something for
semitropical comfort. They are sharing a decanter of
something cooling. De Lorca presents the documents.
DE LORCA
Now as to the matter of these as yet
unsigned documents of yours....
CUT TO
EXT. HIGHWAY - DAY - K.I.T.T.
blasts toward and past camera.
INSIDE K.I.T.T.
K.I.T.T.
Michael? My scanners indicate that
same fellow who keeps trying to kill
you and destroy me is back again.
MICHAEL
Some guys don't know when to stop.
ATOP A KNOLL - MARCUS
is out of his car and overlooking the road on which
K.I.T.T. travels. Marcus levels his automatic rifle and
opens fire on K.I.T.T.
OMITTED
K.I.T.T.
K.I.T.T. continues straight ahead, as the rounds spark off
his shell and windshield.
RESUME MARCUS
firing continuously. He hears the roar of an engine; turns
to see:
RC3'S CYCLE
rockets into view over the knoll behind Marcus, coming
right at him.
MARCUS
whirls to fire at RC3. But RC3 is right on top of him. He
leaps off the bike, bulldogging Marcus to the ground,
knocking the weapon out of his hand.
THE SCENE
as RC3 puts Marcus away with a combination of punches; then,
clicks on the comlink.
RC3
I got him, Michael. It should be
clear sailing the rest of the way.
MICHAEL
Thanks RC!
Michael thumbs up from inside K.I.T.T. RC3 returns it.
K.I.T.T.
explodes down the highway in Super Pursuit Mode.
OMITTED
EXT. DE LORCA'S PATIO - DAY - BECKER AND DE LORCA
Becker on his feet and boiling; De Lorca still seated and
cucumber-cool. Standing in b.g. is De Lorca's bodyguard.
BECKER
Our deal was that I sign over my
assets when I'm safely in your country;
not before.
DE LORCA
My dear Becker. I am obviously changing
the deal. You sign or I go alone.
CLAUDIA (O.S.)
Why not compromise?
INCLUDING CLAUDIA
looking delicious, as she comes down a staircase onto the
patio, around the pool.
CLAUDIA
(to De Lorca)
He can sign half of it over now; the
other half when we get there.
DE LORCA
(beat;
reluctantly)
Agreed.
Becker broods -- eyes the bodyguard in b.g., nods and
crosses toward the documents on the patio table.
CUT TO
EXT. THE ESTATE - DAY
as K.I.T.T. roars off the highway and approaches.
EXT. A PLATEAU OUTSIDE DE LORCA'S ESTATE - DAY
as K.I.T.T. pulls to a stop next to the wall. Michael and
Ana Lucia get out and hurry across the grounds.
MICHAEL
I don't have my comlink, Kitt. Keep
your scanners peeled for anything
coming your way.
OMITTED
ANOTHER ANGLE - GROUNDS
as Michael and Ana Lucia make their way down the driveway.
Michael moves on ahead as they climb a hill that leads up
along the side of the house and behind it.
RESUME PATIO POOL AREA
as Becker finishes signing a ream of documents on the table.
Sets the pen aside; looks up to De Lorca and Claudia ---
BECKER
There.
De Lorca raises his hand. There's a gun in it.
DE LORCA
Here.
De Lorca fires; Becker falls. Claudia, totally unmoved by
the sight of a dead Becker, smiles at De Lorca, moves to
put her arm in his.
ANOTHER ANGLE - STAIRCASE
as De Lorca and Claudia ascend the steps.
CLAUDIA
Roderigo, darling, you were right
again. He never would've signed over
all of it.
DE LORCA
And half is quite sufficient indeed.
Without you, dearest Claudia, I'd
never have been able to pull it off.
As they reach the top of the steps, De Lorca casually levels
his gun at Claudia. She backs away, horrified, during:
DE LORCA
I don't know how in the world to
thank you properly.
CLAUDIA
Roderigo...But I've given up my
whole world for you!
DE LORCA
(hefts document)
No. You gave it up for a share of
this.
De Lorca about to shoot Claudia.
DE LORCA
And now pretty lady.
MICHAEL
Drop it, De Lorca!...
OMITTED
ANGLE - MICHAEL
on the balcony above. De Lorca whirls to fire at him. But
Michael is already leaping down onto De Lorca. Michael
slams into him.
FULL SHOT - MICHAEL AND DE LORCA
tumble down the staircase to the pool area. De Lorca's gun
skids somewhat toward Claudia. De Lorca slips away as
Michael scrambles to his feet to deal with the onrushing
bodyguard, who wields a knife.
ANA LUCIA
is now atop the balcony. She dives forward to land on
Claudia, who is bending down to retrieve De Lorca's gun. As
they grapple ---
THE SCENE
The bodyguard comes at Michael. Michael ducks under the
swipe of the blade; notices De Lorca sprinting away.
MICHAEL
(to himself)
I hope you're out there, buddy!
ANOTHER ANGLE
As the bodyguard comes at Michael again, Michael disarms
him with a karate move; connects with a devastating punch
and knocks the guy into the pool, then takes off after
De Lorca.
ANA LUCIA
kicks Claudia's gun away from a flawless spinning back
kick, and then decks Claudia with a karate blow.
DE LORCA
makes for the patio entrance which leads down to the O.S.
beach. It appears he might make it. But:
K.I.T.T.
roars into view and does a side slide that blocks his way.
De Lorca turns to run in the opposite direction and runs
right into Michael, who drops him with a roundhouse right.
EXT. DE LORCA'S PATIO
as Ana Lucia arrives, holding a gun on Claudia, who she
shoves forward toward De Lorca.
MICHAEL
Well, Becker's mine, for what he's
worth now --
(shoves
De Lorca
toward
Ana Lucia)
He's all yours ---
Michael and Ana Lucia both regard Claudia ---
MICHAEL
I'll flip you for this one.
FADE OUT
END OF ACT FOUR
TAG
FADE IN
INT. SEMI - DAY
And we pull back from the head lamp of RC3's dust-covered,
mud-caked motorcycle as he lovingly wipes it down.
Scouring the front fender, he winces as he extracts a piece
of cactus jammed in the fork.
RC3
Man, one thing for sure about the
desert -- the memories linger on.
Michael glides into the parking bay in K.I.T.T. RC3 puts a
little more oomph into his polishing, as Michael gets out
and joins him.
RC3
But this baby sure taught the Baja a
lesson.
Michael runs a finger along the dirty bumper.
MICHAEL
Not to mention bringing half of it
back with you.
RC3
There you guys go again. Putting
down my wheels.
K.I.T.T.
Don't look at me, RC. My vocal
board is sealed.
MICHAEL
Hey, just because that thing's been
on the road longer than Willie Nelson,
and looks it, doesn't mean ---
RC3
Now hold it! This is the second
time that 'thing' has matched Kitt
mile for mile! Through hundred
degree temperatures, rocks, deserts,
rivers. This is a solid machine!
K.I.T.T.
I agree, Michael. RC3's motorbike
can wear that dust with pride.
RC3
Wow, if this bike could talk, it'd
say all right, Kitt my man!
K.I.T.T. groans at RC3's slang, RC3 gives the bike an
affectionate pat on the gas tank. A number of parts,
headlight, fender, etc. come loose and crash to the floor.
RC3
(dismayed)
Oh, man....
K.I.T.T.
Don't lose heart, RC. I'm sure with
a few minor adjustments you'll be
back on the road again.
Michael picks up one of the parts from the floor.
MICHAEL
Yeah, a little bit on this road. A
little bit on that road ---
As RC3 wearily shrugs and smiles, and they both laugh
together.
FREEZE FRAME
FADE OUT
THE END
