ACT ONE
FADE IN
EXT. PARAGUAYAN CONSULATE - DAY - ESTABLISHING SHOT
An extended, isolated, walled compound set on a hill,
looking a little like a fortress with its high walls,
guarded gates, consular flag flying. At this distance, we
probably will not be able to make out the nationality of
the colors.
INT. LIVING ROOM - THE CONSULATE
Three men who are watching a television screen, each with
his own interest and fascination.
The first is Antoun, fortyish, cadaver-thin, pockmarked,
ill-suited in American garb. He might look less sinister
in a burnoosem but nothing would help the garish twitch at
his lower lip which gives him a perpetual, humorless grin.
The second man is August Hollenbeck, fifties, a suit-and-
tie American scientist, a little sweaty, the latter helped
along by what is on the television screen, afflicting him
with a growing unease and distaste.
The third man, Simon Carascas, is the presence -- head man
at the consulate, big, bluff, open shirt and gold chain.
Outgoing, gregarious, which means -- as he pulls his dagger
out of your back, he hopes you don't take it personally.
ANGLE - THE TELEVISION SCREEN - STOCK
A biological laboratory where cute, inoffensive monkeys are
enjoying themselves, peering at us with trusting eyes.
CARASCAS
This experiment has also been filmed
with guinea pigs and dogs.
A mechanical claw makes a slow approach to a beaker filled
with a cloudy substance, and opens it.
CARASCAS' VOICE
Monkeys, as you know, are primates
and react more like human beings.
ANGLE - THE THREE MEN
watching in fascination, Antoun with greedy anticipation;
Hollenback, uneasy, Carascas, casual, indifferent.
CARASCAS
Once released, the bacteria travel
by air. Watch the time -- in seconds.
One...two...three...Yes, Antoun
they're already in extreme pain,
look.
HOLLENBECK
That's enough. Shut it off, Simon.
We're all familiar with the horrible
death it causes. Let's get this
over with.
ANGLE - THE TV SCREEN
The monkeys are stretched out, motionless.
ANGLE - THE THREE MEN
Carascas nods a signal, and Vascone, a consulate guard
comes into shot to switch off the TV set. He is a big man,
with a kind of feral strength, and a useful capacity for
carrying out orders. Antoun is still staring at the
darkened TV screen, running something over in his head.
ANTOUN
I like it. The Hammer-of-the-Desert
will take it.
Carascas nods. Hollenbeck wipes his face nervously, moves
quickly to the door, Vascone on his tail. Carascas and
Antoun stare after him; a beat, then follow.
EXT. CONSULATE COURTYARD
Hollenbeck is ushered to his waiting car by Vascone. We
stay on Carascas and Antoun who hang back.
CARASCAS
You know the price.
ANTOUN
One million dollars.
CARASCAS
In advance. Ten times that much on
delivery.
Antoun nods in the b.g., Hollenbeck gets behind the wheel
of his car. Vascone slams the door shut behind him.
ANTOUN
When?
CARASCAS
It will go out on the next shipment.
Hollenbeck's car approaches the consulate gates. They open.
ANTOUN
And that man -- your partner -- he
seemed to be in a hurry to leave.
Will he give us any trouble?
Hollenbeck's car moves through the gates. Another car
pulls out from behind the building. Two men with automatic
weapons appear and get in the back. Vascone gets in beside
the driver, and the car moves after Hollenbeck's car.
CARASCAS
Don't concern yourself about him.
EXT. A ROAD - IN THE HILLS
K.I.T.T., alone on the road, curving up into the hills.
ANOTHER ANGLE - K.I.T.T.
approaches an abandoned gravel pit, a series of declivities
gouged into the hills, dirt roads leading in and out, and
here and there the remains of work shacks.
INSIDE K.I.T.T. - TRAVELING
MICHAEL
Why would Hollenbeck pick this prime
vacation spot for our rendezvous?
K.I.T.T.'S MONITOR - INTERCUT AS NEEDED
to see Devon in his Foundation office.
DEVON
As a safety precaution, Michael. If
his customers discover he's had a
change of heart and offered to help
us, his life would be in jeopardy.
MICHAEL
He should have thought of that
before he sold them the canister.
DEVON
I agree. But the fact remains, a
lethal bacteria developed with a
Foundation grant has fallen into the
wrong hands, and the responsibility
is mine.
MICHAEL
Devon, there's no way you could have
known Hollenbeck's experiments would
accidentally produce a weapon.
DEVON
But they did, Michael, and I won't
have a moment's peace until you and
Kitt retrieve that canister.
MICHAEL
You can count on us, Devon.
DEVON
I am, Michael. And be careful.
Michael clicks off and pushes some buttons on his console.
MICHAEL
Give me an area scan, pal. I want
to know if Hollenbeck's here yet.
K.I.T.T.'S MONITOR - INTERCUT AS NEEDED
as a schematic of the area develops and we see a moving
blip on a road that leads to the gravel pits.
K.I.T.T.
A car is approaching, Michael. Two
people in front.
MICHAEL
That's it. He said his daughter
would be driving.
EXT. APPROACH TO GRAVEL PITS
Hollenbeck's car moves up the dirt road leading to the
abandoned pits. Behind the wheel is Gaye Hollenbeck, early
twenties, slim and good-looking. On the passenger side is
her father, August Hollenbeck. A second car, following
Hollenbeck, appears on the road. Inside are Vascone and the
other three men. Automatic weapons suddenly thrust out the
windows.
RESUME INSIDE K.I.T.T.
K.I.T.T.
I'm picking up another car with four
men inside.
The automatic weapons open fire.
MICHAEL
Hollenbeck's in trouble, pal!
Michael stomps on the accelerator. K.I.T.T. takes off,
whipping into motion with a squeal of tires.
HOLLENBACK'S CAR
Bullets shatter the rear window. Gaye and Hollenbeck are
startled, fearful. Gaye steps on the gas. Vascone's car
accelerates in pursuit.
K.I.T.T.
speeding along the makeshift road in pursuit of the two
vehicles as Vascone's men continue to fire at Hollenbeck's
car.
RESUME INSIDE K.I.T.T.
K.I.T.T.
Shall I microlock their brakes,
Michael?
MICHAEL
No. The cars are too close together.
We're going to have to do some open
field blocking. Turbo boost, pal.
Michael pushes some buttons on his console.
K.I.T.T.
accelerates and launches into the air.
MICHAEL
is slammed back into the seat.
WIDE ANGLE - THE ROAD
Vascone's car running parallel to Hollenbeck's. K.I.T.T.
drops into frame, lands between the two cars, taking a
burst of gun fire. The disabled Hollenbeck car glances off
a road bank, comes to rest. Vascone has had enough, and
roars off.
INSIDE K.I.T.T.
K.I.T.T.
We can catch that vehicle easily,
Michael.
MICHAEL
Scan the Hollenbeck's vital signs
first, pal.
K.I.T.T.'S MONITOR - INTERCUT AS NEEDED
as a vital sign scan of Gaye and Hollenbeck appears.
K.I.T.T.
Hollenbeck has been wounded, Michael.
Pulse very faint. Blood pressure
sixty over thirty and falling. His
daughter appears uninjured.
MICHAEL
Forget the shooters and call the
paramedics, pal.
ANGLE - THE HOLLENBECK CAR
Vascone's car vanishes in the distance as Michael pulls up
in K.I.T.T., is quickly out to help Gaye. She looks
tearfully at Michael as she holds her seriously hurt father.
INT. FOUNDATION - CLOSE ON TELEVISION MONITOR
The screen shows a picture of Carascas.
DEVON'S VOICE
Simon Carascas, head man at the
consulate. Over the years he has
been trading hi-tech contraband to
proscribed countries. The little
Hollenbeck has told us from his hos-
pital bed confirms what we suspected
-- Carascas has the missing canister
of genetic material ---
ANOTHER ANGLE - DEVON, MICHAEL, BONNIE
listening intently to Devon's words. RC3 enters as the
slide changes to a picture of the consulate compound.
DEVON
-- somewhere on these premises.
RC3
Why not blow in there with a S.W.A.T.
team and search the place from top
to bottom? I mean, it used to happen
in my old neighborhood all the time.
DEVON
Unfortunately, this isn't your old
neighborhood, RC. It's a foreign
consulate, and therefore illegal for
anyone to set foot on the premises
without permission.
RC3
Who said anything about asking
permission?
Michael smiles and advances the slide through a series of
shots of the consulate interior.
MICHAEL
The place is a nest of surveillance
cameras monitored by armed security
personnel RC -- an army of 'em. An
intruder wouldn't stand a chance.
DEVON
But your instincts are correct,
Reginald. While you've been on the
road, Michael, Bonnie and I have
formulated a plan to covertly
infiltrate the consulate. It must
be done before the canister leaves
via diplomatic courier which would
make it untouchable.
MICHAEL
We've never been up against anything
like this before. No way Kitt and I
can handle it alone. We're all
going into the field to get it back.
RC3
Hey, I'm ready. There's gotta be a
way to get to that Carascas dude.
MICHAEL
Two of them -- his passion for
classic cars and -- beautiful women.
He swings a look to Bonnie who steps forward holding up a
slinky, revealing evening dress.
BONNIE
I think this will work.
MICHAEL
(appreciateively)
It would work for me.
Bonnie smiles demurely. Devon advances the slide.
DEVON
No, the canister is being kept in a
consulate vault located in the same
underground area where Carascas
keeps his classic cars.
RC3 glances to K.I.T.T., starts putting it together.
RC3
I think I know where you're coming
from, boss -- we're adding to the
man's collection, right?
BONNIE
Right on, RC. And I'll need your
help to create Kitt's new identity.
She holds up a baseball-sized plastic sphere.
BONNIE
This is the key to it -- a super-
cooled plastic that can be instantly
liquified.
She sets the sphere down; activates a remote-control device.
CLOSE ON THE SPHERE
as the ball glows as if illuminated from within, then melts
and runs onto the table revealing a cube concealed inside.
RESUME THE SCENE
RC3
Outta sight. This is gonna be a
piece of cake.
MICHAEL
Not exactly. Hollenbeck is being
moved to a better-equipped hospital
to insure he stays alive to testify.
DEVON
However we've learned Carascas is
bringing in a contract killer to
make sure he never does.
MICHAEL
Kitt and I will be riding shotgun
between hospitals while you two make
a shell to turn him into an exotic
antique.
K.I.T.T.'s scanner suddenly pulses faster.
K.I.T.T.
I've never thought of myself in quite
that way, Michael.
MICHAEL
You'll get used to it, pal. We all
get there sooner or later.
Michael swings a look to Devon who forces a smile, then ---
DEVON
Yes, provided our switch is success-
ful.
Camera pans with his look to a gleaming, shiny metallic
canister, cylindrical in shape, set on a table near the
monitor.
INT. VAULT ROOM - THE CONSULATE - DAY - CLOSE ON A MATCHING
CANISTER
Pull back as Vascone carefully lifts it into a packing crate
as Carascas watches.
CARASCAS
Careful.
VASCONE
It won't break.
CARASCAS
I know. I'll still be glad when it
goes out.
VASCONE
(shrugs)
Nine hours.
A buzzer sounds. They trade looks in reaction.
CARASCAS
He's here.
Vascone closes the packing crate, and the two start quickly
out. Carascas waits as Vascone closes the security door,
locks the electronic controls, then both move away.
THE BASEMENT SHOWROOM
Six classic cars in prime condition. Pascal, like the
cars, an antique -- white-moustached, is polishing one of
the cars, slowly and methodically, encumbered by his age.
PASCAL
You enjoy this don't you? Yes, yes,
I can always tell. You brighten and
come alive at my touch, instantly, and
in a way that tells me ---
He pauses, sensing a presence and looks up from his work to
see:
NEW ANGLE - FEATURING CARASCAS AND VASCONE
Carascas glaring at the old man and pointing obsessively
to a speck of dust on the car's fender.
CARASCAS
What is that, Pascal? You can see
it, can't you?
Pascal nods, chastised. Too frightened to answer.
CARASCAS
Then it shouldn't be there, should
it?
(beat; silence)
Should it?!
PASCAL
(timidly)
No, Mr. Carascas.
CARASCAS
If you spent less time talking to the
cars and more caring for them, you'd
notice these things yourself.
Carascas leads the way to the stairs, going up to the main
level. The old man looks after them fearfully, addresses
himself to the speck of dust and blows it off the fender.
MAIN ROOM - THE CONSULATE
Two guards stand by while a third man paces nervously,
radiating the energy and containment of a caged tiger. His
name is Lupo.
CARASCAS
Ah, Lupo -- been a long time.
LUPO
You only call when you have a problem,
Simon. I keep telling you, my wife
is a gourmet cook. Any evening, eh?
CARASCAS
A little celebration perhaps ---
Carascas gives Lupo an envelope. He checks the cash inside
and removes a small photo of Hollenbeck.
CARASCAS
This will not be easy. The man is
well guarded.
LUPO
If it were easy, you wouldn't have to
pay me one hundred thousand dollars
to eliminate him.
Carascas smiles thinly.
EXT. CONSULATE GATES - DAY
An old Chevy convertible drives up the gates. Behind the
wheel is RC3, dressed as a "sharp dude." The Guard at the
gate stares at him coldly. RC3 honks his horn impatiently.
GUARD
What do you want?
RC3
C'mon, man, the car. I'm making a
delivery. Can't you see?
The Guard scowls dubiously.
RC3
Look, man, it's your hide if I don't
make it. I mean, Mr. 'C' ain't
gonna like losing this baby. You
better call him 'n check me out.
You dig?
The Guard is thoroughly confused, hesitates. RC3 nods him
encouragingly toward the gate phone.
INT. MAIN ROOM - THE CONSULATE - ANGLE FEATURES THE PHONE
as it rings. Carascas, close by, picks it up, not pleased
by the intrusion.
CARASCAS
What is it?
(beat, puzzled,
softens)
I'll be right there.
He hangs up; swings a look to Lupo for ---
CARASCAS
You're usual guarantee is something
should go wrong?
LUPO
I've already arranged for back up.
His name is Hajeck. Johnny Hajeck.
Carascas nods and starts for the door leaving the two men
behind.
EXT. CONSULATE GATES
RC3 and the Guard at the gate. RC3 has gotten out of the
car, watches as the Guard goes back to meet Carascas,
approaching.
ANGLE AT GATE
Carascas turns from the Guard, looks at the Chevy with
disdain. RC3 moves up fast, talks through the gate.
RC3
Hey, man, you think I'm trying to
hustle this ragtop? No way! I'm
here to put you onto this.
He holds some Polaroid prints up against the gate. Carascas
scowls, shakes his head. RC3 holds up another and then a
third. It electrifies Carascas. He moves quickly to the
gate, takes the picture, looks at it closely.
INSERT - POLAROID SHOT
A picture of a 1955 Lynx Imperial Racer.
BACK TO SCENE
as Carascas looks up from the Polaroid, coolly suspicious.
CARASCAS
How did you know I was interested in
antique cars?
RC3
It's my business to know. It's not
exactly a secret that Simon Carascas
has been after a '55 Lynx 'Imp' for
years.
CARASCAS
(correcting)
Lynx Imperial, and I don't believe
you have it. Only two were ever
made. Neither has ever been in
this country.
RC3
(holding up
the print)
Where do you think I took this? In
China?
(beat)
Of course, if you ain't interested ---
He starts to move away.
CARASCAS
Wait! Where can I see the car?
RC3
Deal first. Like what's my end?
CARASCAS
Ten percent of the selling price.
RC3
Twelve -- and stay near the phone,
my man. I'll be in touch.
He hops into the car, turns the key, and roars off.
EXT. AMBULANCE ENTRANCE - CITY HOSPITAL - DAY
Normal activity for this time of day. An Ambulance standing
by. Some hospital personnel visible. K.I.T.T. pulls to a
stop within close range, Michael at the wheel.
MICHAEL
I want a surveillance scan of anyone
or anything near that ambulance, pal.
K.I.T.T.
All systems activated, Michael.
(beat)
There they are.
HOSPITAL ENTRANCE - POINT OF VIEW - A GURNEY
is rolled by two orderlies toward the ambulance. Gaye
hovers over Hollenbeck, who has an IV plugged into him, the
plastic sack carried high by one of the orderlies.
THE AMBULANCE DRIVER
gets out, moves around and opens the rear door. It's Lupo
in hospital whites. He signs a clipboard held out by an
orderly.
LUPO
Give you the old John Hancock, there.
(beat)
In we go, folks ---
As the orderlies shove the auto-collapse gurney into the
ambulance, Gaye following after it, we:
RESUME INSIDE K.I.T.T.
K.I.T.T.
My scan is picking something up,
Michael.
K.I.T.T.'S MONITOR - INTERCUT AS NEEDED
to see a graphic of Lupo and a military .45 in shoulder
holster clearly delineated behind his uniform jacket.
MICHAEL
Yeah, unless a forty-five is standard
paramedic issue these days, we've got
a problem, pal.
RESUME THE SCENE
as the orderlies move off, Lupo closes and locks the door
of the ambulance. He's moving around to the driver's side
to get behind the wheel.
K.I.T.T.
A big one, Michael. That man just
locked Hollenbeck and his daughter
inside the ambulance. What are we
going to do?
MICHAEL
More like what you're going to do.
Don't fail me now, pal.
Michael pushes some buttons on his console.
LUPO
reaches for the door handle and we:
FREEZE FRAME
FADE OUT
END OF ACT ONE
ACT TWO
FADE IN
EXT. HOSPITAL STREET - DAY - CONTINUOUS
as Lupo's fingers come to rest on the ambulance's door
handle, the engine suddenly starts. It takes off leaving a
surprised, baffled Lupo standing in the middle of the
street, grabbing at air.
INSIDE K.I.T.T.
as Michael reacts, pleased at the result.
MICHAEL
Nice work, pal. Guess he'll have to
catch the next bus.
K.I.T.T.
I'm afraid he's decided not to wait,
Michael. Look ---
LUPO
is dashing toward a car parked across the street. As he
pulls open the door and jumps in next to his associate
who's behind the wheel.
LUPO
Move! Move! We've got to catch
that ambulance!
The car rockets down the street after the ambulance.
RESUME INSIDE K.I.T.T.
MICHAEL
Okay, pal, park the ambulance
someplace safe. And we'll take him.
K.I.T.T.
Very good, Michael, but you realize
I can't do that and microlock at the
same time.
MICHAEL
No problem. There's more than one
way to bring those guys down.
Michael stomps on the accelerator.
THE SCENE
as K.I.T.T. pulls abreast of Lupo's car. Lupo leans out the
window and opens fire with the .45 The rounds spark off the
window next to Michael's head. Lupo reacts, baffled, and
watches as K.I.T.T. accelerates past Lupo's car and does a
tire screeching ninety right in front of it.
INSIDE LUPO'S CAR
The driver slams on the brakes. He and Lupo cover their
faces, realizing they have no chance of stopping.
THE SCENE
as Lupo's car plows into K.I.T.T. at high speed. Lupo's
hood wrinkles and pops open. The entire front end
accordions, tires askew and flattened. K.I.T.T., of course,
not a scratch.
ANOTHER ANGLE - LUPO'S CAR
The driver kayoed by the crash. Lupo scrambles out.
Michael gets out of K.I.T.T. and goes after him. He
catches up and grabs Lupo's shoulder using his momentum to
spin him into a devastating right. Lupo drops and stays
where he falls.
MICHAEL
Bring the ambulance around, pal.
K.I.T.T.
I was anticipating you might say
that.
As Michael turns, the ambulance pulls to a stop next to
him.
ANOTHER ANGLE - AMBULANCE
Michael pulls open the door and leans in.
MICHAEL
You two okay?
Gaye is dazed, baffled, nods before ---
GAYE
I'm confused and frightened,
Michael. A runaway ambulance,
people shooting -- when is it all
going to stop?
MICHAEL
Soon, that's a promise.
(glances
to Lupo)
And I think I know exactly what my
next move is going to be.
He crosses to K.I.T.T., pulls the door open and leans in
for:
MICHAEL
Get me Devon, Buddy. Something he
has to check out for me first.
CUT TO
EXT. A PASADENA STREET - DAY
tree-lined, well-kept, expensive houses on both sides. A
Mercedes 600 bearing the consulate crest and flags waving
stops at the curb. Driving is Vascone. Carascas in back
with Franco.
NEW ANGLE
RC3 approaches in his ragtop, pulls up in front of the
Mercedes. RC3 gets out as do Carascas and his mechanic.
Vascone remains in the car. RC3 looks suspiciously at
Franco.
RC3
You're supposed to be alone, man.
CARASCAS
Franco is my mechanic. An expert.
If this is a hoax, you'll pay for it.
RC3
This ain't no scam. Hey, man, you
need a little security, take him
along. No problem.
He indicates for Carascas to precede him to the house.
EXT. AT FRONT ENTRANCE OF HOUSE
as RC3, Carascas and Franco approach. RC3 rings the
doorbell. The door opens, and Bonnie appears wearing the
dress seen earlier. A chic, class act, a vogue jet setter.
RC3
This is the man I told you about.
CARASCAS
Simon Carascas.
BONNIE
Contessa Alisha Craven-Hall.
Please, this way.
She turns and leads the way toward the garage.
INT. GARAGE - DAY
as the group approaches a car under wraps. We sense the
tension, excitement building in Carascas, a long time
craving finally fulfilled. And in Bonnie and RC3 for other
reasons.
BONNIE
I can't tell you how pleased I was
to find a man who shares at least --
one of my passions.
CARASCAS
We'll soon find out if you share one
of mine, Contessa -- I am obsessed
with authenticity. Franco ---
ANOTHER ANGLE - THE CAR
as Franco steps forward, hesitates a beat, then pulls off
the cover revealing the Lynx in all its pristine beauty,
gleaming and polished. Carascas catches his breath as
Franco opens the doors, the hood. He motions Carascas over.
CLOSER ANGLE - CARASCAS AND FRANCO
FRANCO
(sotto;
an aside)
It's genuine. See this little
nick. The Baron himself put it
there on one of those tight curves
at Le Mans.
CARASCAS
(tense;
containing
excitement)
You're sure.
FRANCO
I was there, on his crew.
Carascas turns and crosses to Bonnie.
CARASCAS
Incredible. May I ask how you come
to have this car?
BONNIE
The Baron had it flown here -- for
our anniversary.
CARASCAS
You were married to him?
BONNIE
Not exactly. The word isn't in his
vocabulary. Nor mine for that
matter.
Bonnie baits him with an alluring smile. Carascas lets his
eyes take her in.
CARASCAS
How much are you asking -- for the
car?
BONNIE
Two-fifty, firm.
CARASCAS
It's not worth a penny over two
hundred thousand.
Bonnie moves closer establishing eye contact -- seductively.
BONNIE
But you're buying it from me.
CARASCAS
(muses,
envisioning)
True, a car's value can often be
increased by the reputation of the
owner -- Hitler, the Beatles, a
contessa, perhaps.
BONNIE
In this case, would that criteria be
satisfied if the owner were to --
deliver it personally, for example.
CARASCAS
More than satisfied, Contessa. I
have no doubt of it.
BONNIE
Good.
(beat;
adds)
Oh, don't feel defeated -- I always
get my price.
Carascas nods and smiles in anticipation. Bonnie returns
his look, a fetching smile before:
BONNIE
Cash.
INT. HOSPITAL ROOM - DAY
Gaye is looking down at her father. He is comfortable and
asleep. Angle widens to include Michael, behind her. She
turns to him.
GAYE
You know, it all started out with
what sounded like harmless business
transactions.
MICHAEL
That's how these people work, Gaye.
They lead you into quicksand.
Before you know it you're in so deep
there's no way out.
GAYE
(nods,
sadly)
He thought sharing his knowledge
might serve the cause of world
peace. I sensed he was in trouble.
At first he was evasive, then
frightened and angry when I
questioned him. There was nothing I
could do. I just ---
The phone rings. Michael picks it up.
MICHAEL
Hello?
INTERCUT - DEVON
on the phone in the Foundation.
DEVON
Two things, Michael. First,
Carascas went for the Lynx.
MICHAEL
Way to go, Bonnie and RC. Is Kitt
ready?
Devon glances off to ---
A 1955 LYNX IMPERIAL
RC3 putting the finishing touches on it.
RESUME THE SCENE
DEVON
Indeed, Kitt has been transformed
into as exotic an antique as I've
ever seen. Second, I checked out
that 'ambulance driver' as you
requested. He's a contract killer
named Lupo.
MICHAEL
What about a backup shooter. Anything
on that?
DEVON
Yes, your suspicions were correct.
He's already engaged one, a fellow
named Johnny Hajeck. The police
just picked him up at our request.
He'll cause you no trouble.
MICHAEL
Carascas is no fool, Devon. Soon as
I make my move he's going to have me
checked out.
DEVON
You're fully covered. I've just
completed work on your police
dossier.
ON COMPUTER MONITOR
to see the name John Hajeck atop a lengthy rap sheet and
two numbered mug shots of Hajeck. Devon encodes at the
keyboard and the photos are replaced by mug shots of
Michael.
DEVON
The next move is yours, Michael.
Make it well and carefully.
Michael hangs up; turns to Gaye for ---
MICHAEL
Gaye, we'll need you in this.
GAYE
Whatever I can do, Michael.
Anything.
MICHAEL
You know there are risks.
GAYE
Michael, this is the man who
destroyed my father. And is trying
to kill us.
Michael smiles at her resolve and courage.
EXT. ROAD - DAY
leading up to the consulate in b.g. The Mercedes has to
stop for a branch that lays across the road. Vascone, leaves
the engine running, gets out to move the branch. Carascas
watches from in the backseat.
INSIDE THE MERCEDES
Carascas is startled as a door opens, and Michael slides in
beside him, reaches over, presses the control, and:
THE DOOR LOCKS
operate automatically, locking all the doors.
BACK TO SCENE
Michael turns to the startled Carascas.
MICHAEL
Lupo's been busted.
CARASCAS
I don't know what you're talking
about or even who you are. Now get
out.
MICHAEL
(shakes no)
The name is Hajeck Johnny Hajeck.
Carascas reacts to the name -- a beat, cautiously.
CARASCAS
Lupo's backup man. Yes, he
mentioned you.
VASCONE
returns to the car; tries to get back in, finds it locked.
He flares when he spots Michael with Carascas.
RESUME MICHAEL AND CARASCAS
who holds up a hand, quieting Vascone.
MICHAEL
It's going to cost you an extra
fifty thousand to waste Hollenbeck.
CARASCAS
(considers,
nods)
Deal. But that buys me an observer
-- right there next to you when you
make the hit.
MICHAEL
(nods)
Eight-thirty. Have your man at the
hospital with fifty thousand. I'll
come here to collect the balance
after it goes down.
Carascas nods tersely. Michael activates the door lock to
open. He exits one rear door and heads off down the road
as Vascone yanks open the other and leans in to Carascas.
VASCONE
You okay?
CARASCAS
Yes, no thanks to you.
(beat)
He says he's Johnny Hajek. Check
him out. If he's okay, I'll fill
you in on what happens next.
(a beat)
Either way I don't want to be
bothered by him again. You
understand?
Vascone nods. He'll be happy to take care of Johnny Hajek.
EXT. CONSULATE GATES - NIGHT
Out of the darkness comes RC's ragtop pulling a flatbed
trailer carrying the Lynx. Driving is RC3, flashily
dressed and, beside him, a classy, sexy Bonnie. RC taps
the horn.
RC3
Open the gates, my man.
They were expected. The gates open, and they move on
through.
EXT. CONSULATE COURTYARD
RC3 pulls to a stop, at the door of the consulate. Gets
out of the Chevy, goes to Bonnie's side and escorts her
out. The consulate door is opened by a uniformed guard.
He bows slightly to Bonnie and admits her. The guard
hands RC3 an envelope, and closes the door. RC3 goes
back to his car and begins disconnecting the trailer.
INT. MAIN ROOM - CONSULATE
The table is set for an elegant dinner for two,
candlelight and wine. Bonnie is ushered in, left alone.
She looks around, crosses to the "entertainment console",
finds a radio station with soft music. Then crosses to a
sideboard, pours a couple of martinis from a decanter.
Carascas enters. Bonnie turns, hands him a glass.
BONNIE
I took the liberty ---
Carascas takes a sip; sets the glass down and gently pulls
Bonnie into a light embrace, studying her face.
CARASCAS
Another one of my passions --
(off her
look)
Assertive women of considerable
beauty.
She fingers the open collar of his shirt, seductively ---
BONNIE
Armani -- hand sewn, pure silk. I
like powerful men with taste. Very
elegant.
CARASCAS
Very perceptive.
As she undoes one of the buttons on his shirt, and sniffles.
BONNIE
The Baron wore them exclusively --
until he started spending time with
me. I'm afraid you'll have to remove
it, Simon.
CARASCAS
(lasciviously)
Oh, I was planning to ---
BONNIE
The sooner the better, hurry.
He hastily undoes a few more buttons and Bonnie sniffles
again.
CARASCAS
Of course. I have no objection to
dispensing with the preliminaries,
Contessa, if you don't.
BONNIE
We'll have to dispense with the
evening if you don't do it quickly.
(massive
sneeze)
I'm allergic to silk.
He looks at her a little chagrined.
CARASCAS
Well we wouldn't want an intimate
moment shattered by one of those
sneezes. Would we? I'll be right
back.
He goes out of the room. Bonnie quickly extracts a small
electronic box and screwdriver from her purse.
ON THE ENTERTAINMENT CENTER
as she begins to attach the device to the back wiring of
the stereo-TV complex, working coolly and efficiently.
INT. BASEMENT SHOWROOM - NIGHT
as the Lynx is parked between two of the classic cars.
INSIDE THE LYNX
Pascal is behind the wheel. He shuts off the engine. Sits
awestruck for a moment, runs his fingertips across the dash
down onto one of the leather seats.
PASCAL
You're more beautiful than I ever
imagined. A dream come true. I
will care for you like no other
person could -- I promise.
He gets out closes the door after him. A beat before:
A PANEL ON THE LYNX'S DASH
slides aside revealing K.I.T.T.'s monitor and voice module.
The words COMMUNICATIONS OVER-RIDE LINK appear. Followed by
the word ACTIVATE that flashes.
ON THE LYNX
as Pascal runs his fingertips over the gleaming finish
camera follows and picks up a metallic rod that telescopes
from the tailpipe area toward a complex electrical
connection on a wall.
PASCAL
does a take noticing it; stares at the rod puzzled.
Touches it gingerly. It keeps telescoping toward the
connection.
PASCAL
I don't know what you got there.
Nothing in the specifications about
one of those.
(beat;
ponders)
Maybe Mr. Carascas would know.
Pascal reaches for a wall phone; pauses when he hears. A
voice comes from the Lynx -- K.I.T.T.'s voice.
K.I.T.T.
Excuse me?
PASCAL
Who said that?
K.I.T.T.
I did.
PASCAL
(startled)
You talk? But how? None of the
others have ever ---
K.I.T.T.
(interrupting)
There's no cause for alarm. A voice
module is one of my special features.
That connector which is going to make
your life a lot easier, is another.
PASCAL
What do you mean by that?
K.I.T.T.
It will provide power to my on-board
battery charger. I'm sure you're
aware of how batteries in antique
cars tend to run down. When they're
stored.
PASCAL
I sure am. Mr. Carascas gets very
angry with me when one of his cars
won't start.
Pascal watches fascinated as ---
THE CONNECTOR ROD
reaches the electrical connection on the wall and plugs in.
K.I.T.T.
Well you won't have to worry about
that with me.
Pascal nods. Good.
INT. MAIN ROOM
Bonnie has attached the device to the stereo-TV. A
pinpoint of light goes. The connection is completed. She
puts the screwdriver into her purse, picks up her drink. A
beat later Carascas re-enters, wearing a different shirt.
CARASCAS
Better?
BONNIE
Much. You know, you've handled this
much more good naturedly than the
Baron. He really couldn't ---
CARASCAS
(interrupting)
Please, I can't let this go on
another minute.
(off
her look)
Do you really think you're fooling
me?
Bonnie fights a massive Adrenalin surge; keeps her cool.
BONNIE
What do you mean, Simon?
CARASCAS
You're not who you say you are --
(skeptically)
-- Contessa Alisha Craven-Hall.
BONNIE
Your obsession for authenticity is
blinding you to the facts. I
brought you the car didn't I?
CARASCAS
Yes, but I checked out the Baron.
His last girl friend was a blonde --
a world class skier from Northern
Italy.
BONNIE
Oh, Gabriella -- 'like making love
to a snowdrift', is how the Baron
put it. A beast of a girl. That's
why he gave me the Lynx.
CARASCAS
(considers;
threateningly)
I don't like being deceived. It
makes me into a hostile person.
BONNIE
I assure you I haven't misrepresented
myself.
CARASCAS
I'll be the judge of that.
He eyes her a beat, then moves in and runs his fingertips
over her face. Bonnie eyes him seductively, covering her
disgust.
EXT. A STREET DOWN THE HILL FROM THE CONSULATE - NIGHT
RC3's ragtop parked just off the main street. He looks up
at the sound of a vehicle.
THE MERCEDES 600
approaches, its flag removed. Vascone driving alone. RC3
watches it pass, starts up and follows in his ragtop.
EXT. HOSPITAL - NIGHT
as we pan across the facade and down to pick up the Mercedes
as it pulls into the parking lot. Vascone gets out and
crosses toward another car. Two thugs get out and join him.
As they briefly converse MOS.
INTERCUT - RC3
as he pulls to a stop in his ragtop and observes the
meeting.
RC3
(to himself)
Oh, oh, Michael my man. Something
tells me Mr. 'C' is setting you up
for major double-cross.
Lupo moves off alone. The two thugs vanish in the darkness.
EXT. HOSPITAL - NIGHT
as Vascone comes around a corner passing some shrubbery along
the side of the building. Michael steps out behind him.
Jabs a forefinger into his back.
MICHAEL
Hold still. Real still.
Michael frisks Vascone. Removes a gun; jams it in his
waistband.
MICHAEL
You won't need this.
VASCONE
Okay, okay, go easy. Carascas -- he
wants me to be a witness.
MICHAEL
I know. I wouldn't have it any
other way.
Michael pulls an envelope from Vascone's inner pocket and
checks it for cash. Satisfied ---
MICHAEL
(nodding a
direction)
Thanks. Now move!
With Michael close behind him, Vascone walks in the indicated
direction around the side of the hospital.
BACK OF HOSPITAL - FEATURING A FIRE ESCAPE
Michael prods Vascone to the fire escape, Vascone starts up
the fire escape, Michael following.
ANGLE - THE FIRE ESCAPE - VARIOUS SHOTS
The ascent, to the second or third floor. To a hospital
window. Michael plays it to the hilt, cautioning Vascone out
of sight of the window, then sidling up himself to look in.
INT. HOSPITAL ROOM - NIGHT - ON HOLLENBECK
in bed, bandaged but awake and looking off. Pan to Gaye
beside the bed, also looking off. Pan with their look to
two uniformed "policemen", on guard near the door. A deep
sense of tension pervades.
BACK ON THE FIRE ESCAPE
Michael fits a silencer to his gun, carefully slips the gun
barrel through the slightly open window and aims. Vascone
watches tensely.
THE HOSPITAL ROOM - SHOOTING PAST MICHAEL
Michael fires. We hear the pop-pop of the silencer, and
see the two cops fall. Now Michael shoves the window open,
steps inside.
THE HOSPITAL ROOM
Michael turns on Gaye. He pulls the trigger. Gaye falls
to the floor. Michael looks back over his shoulder.
POINT OF VIEW SHOT - THE FIRE ESCAPE
Vascone peering through the window.
BACK ON SCENE
Michael fires the remainder of the clip into Hollenbeck.
He stares for a moment, then turns and goes back out onto:
THE FIRE ESCAPE
Vascone stares at him with grudging admiration. Michael pops
another clip into his gun, gestures for Vascone to precede
him down.
MICHAEL
To your car.
They start down, and we go to:
INT. HOSPITAL ROOM
Four unmoving "bodies" as the door opens and Devon enters.
DEVON
All right, everybody.
The cops get up off the floor, Gaye picks herself up,
Hollenbeck opens his eyes. Gaye hugs her father as Devon
watches.
DEVON
You did well. Very well.
He nods at the two "cops", and they follow him out of the
room.
EXT. A SECLUDED AREA - HOSPITAL PARKING LOT
As Vascone and Michael approach the Mercedes 600.
THE TWO THUGS
waiting in the darkness guns drawn. We hold a beat and we:
FREEZE FRAME
FADE OUT
END OF ACT TWO
ACT THREE
FADE IN
EXT. HOSPITAL PARKING LOT - CONTINUOUS
The two thugs waiting for Michael and Vascone as they
approach the Mercedes.
ON RC3
He gauges the situation, reaches for the light switch with
one hand, grabs a tire iron in the other, ready for action
if necessary.
ANGLE - FEATURING VASCONE AND MICHAEL
approaching the Mercedes. Suddenly, from adjacent
shrubbery, RC3's headlights flash twice. Michael rushes,
grabs Vascone, uses him as a shield just as the two thugs
spring.
VASCONE
(shouts)
Don't shoot! Go! Get out of here!
The two thugs take off into the darkness. Michael grins at
Vascone.
MICHAEL
I'll bet Carascas is going to be
thrilled with the way you handled
this. I can't wait to see his face
when he finds out he's still a
hundred thousand in the hole.
He prods Vascone toward the passenger door of the Mercedes.
MICHAEL
Open it and get in ---
Vascone slides across the front seat to the wheel. Michael
gets in next to him. The engine starts and the car takes
off out of the parking lot.
INSIDE RC3'S RAGTOP
RC3, watching the action, relieved at the outcome.
RC3
(to himself)
Nice work, Michael, my man.
INT. MAIN ROOM - THE CONSULATE - NIGHT
The music is playing. Carascas takes a wineglass from
Bonnie's hand, sets it aside and kisses her, deeply.
CLOSER - BONNIE
repelled by him but faking it. Opens an eye, glances
expectantly, anxiously to the entertainment center. The
music continues to play. Her gaze swings to her watch, as
Carascas breaks the kiss, leans his face back from hers.
CARASCAS
Well, if that's an allergic reaction
I'm more than happy to have been the
cause of it.
BONNIE
They say continuous exposure can
build an immunity to even the most
virulent strains.
CARASCAS
I'm sure you'll still be pleased to
know, my sleeping quarters are done
entirely in satin, Contessa.
She forces a smile. He moves in for the kill, and we are:
ON THE DASH OF THE LYNX
As the panel slides back, we hear the same music Bonnie and
Carascas are listening to. K.I.T.T.'s monitor comes to
life. The words "NEWS BROADCAST, TRANSMIT" appear.
ON THE LYNX
as we move across the gleaming surface onto the rod
telescoped out from beneath and follow it to the wall
connector.
RESUME BONNIE AND CARASCAS
He is leading her ostensibly to his bedroom when he pauses
and reacts as the music cuts off and we hear ---
ANNOUNCER'S VOICE
We interrupt this program for a
special bulletin. Mass murder at
Southside Hospital this evening.
Police report four people shot to
death in gangland style. The
victims include two police officers,
a visitor and a patient who had been
hospitalized by an earlier attempt
on his life by gunmen. Stay turned
to this station for more on our next
newsbreak.
As the music resumes, Carascas brushes past Bonnie
impatiently, switches off the radio, punches on the TV set.
ON THE DASH OF THE LYNX
to see the graphics change to Devon at a TV news desk.
DEVON
-- no further details yet. We do
know four people were killed.
INT. MAIN ROOM
Carascas at the TV set, Bonnie watching as Devon continues.
DEVON
We've learned that the patient was
research scientist August Hollenbeck
and the woman his daughter.
Hollenbeck had been involved in
another shooting just two days ago.
It is not known yet whether the two
incidents were related. However ---
Carascas listens intently, and we:
CUT TO
INT. HOSPITAL ROOM - NIGHT
Gaye is on the phone, Hollenbeck reading.
GAYE
It's closed? Are there any vending
machines in the building? Just
outside?
She hangs up; crosses to the bed.
GAYE
Daddy, I'm starving. I'm going to
run downstairs and get a sandwich.
You'll be okay?
He nods. She leaves the room and we go to:
EXT. HOSPITAL - NIGHT
as a car comes from the parking lot.
INSIDE THE CAR
We recognize the two thugs who ran from Michael and Vascone
earlier. Call the one in the passenger's seat Jorge.
JORGE
We're gonna be in deep with Carascas
for this one.
The driver nods, tight-lipped. Jorge does a take when he
sees Gaye outside. He points incredulously.
JORGE
Hey, hey, it's her! She's supposed
to be dead! This could square it
for us. Let's take her.
THE SCENE
Gaye at a row of vending machines along the wall of the
hospital. The car screeches to a stop next to her. Jorge
leaps out and brutally grabs Gaye and drags her into the
car.
JORGE
Go, go. Haul it outta here!
The car takes off into the darkness and we:
RESUME BONNIE AND CARASCAS
still watching TV as:
DEVON
(continuing)
The gunman apparently entered the
room through the fire escape, and
fled the same way, making good his
escape. Witnesses say ---
A signal buzzer sounds. Carascas punches off the TV set,
picks up an extension line.
CARASCAS
Yeah? -- I'll be right out.
He glances to Bonnie, gestures to the bedroom beyond.
CARASCAS
Make yourself comfortable. I won't
be long.
He strides out.
INT. ENTRANCE HALL
Carascas joins Michael, Vascone and three or four consulate
guards. Michael, holding a gun on Vascone.
MICHAEL
Nice try, Carascas. But your
shooters blew it. My money. Now.
CARASCAS
You would have done the same in my
position. No? That's how the game
is played.
MICHAEL
But you lost. Lucky you did. My
people would be all over you. And
they don't miss.
Carascas slaps an envelope in Michael's hand.
CARASCAS
Paid in full. Now get out of here.
MICHAEL
Not a chance. Too much heat on the
street tonight. Do you know a safer
place to spend it, than a diplomati-
cally immune consulate?
CARASCAS
Be my guest. But I'll have to ask
for your weapon.
(opens jacket)
I don't carry one.
Michael hands over the gun. Carascas smiles.
CARASCAS
Show him to the guest room.
The guards escort Michael through a doorway into:
A CORRIDOR
Luxurious like the rest of the residence. All but one of
the guards drop off into a control room. Michael glances
to see:
MICHAEL'S POINT OF VIEW - THE GUARD ROOM
dominated by a bank of TV screens, the security center of
the compound.
INT. GUARD ROOM
A guard is staring up at a monitor which shows Michael
being escorted down the corridor.
INT. CORRIDOR
Michael and the guard come around a turn in the corridor
and approach the door to the guest room. Michael looks up
to:
A TV SURVEILLANCE CAMERA
mounted near the ceiling, pointing at the door.
INT. GUEST ROOM
The door opens, Michael enters. The door closes behind
him. He looks around. The room is well-appointed, bed,
desk, etc. And ---
ANOTHER TV CAMERA
taking in the whole room.
INT. GUARD ROOM
The guard watching the monitor showing Michael in the guest
room.
RESUME MICHAEL
as he discreetly raises his comlink.
MICHAEL
Kitt?
DASH OF LYNX - INTERCUT AS NEEDED
as the panel slides aside and K.I.T.T.'s voice box comes to
life, as does his monitor, where we see Michael in the room.
K.I.T.T.
Yes, Michael?
MICHAEL
Are you picking me up?
K.I.T.T.
And watching you. I'm patched into
the surveillance system as well.
MICHAEL
Any problems?
K.I.T.T.
No, Michael. As a matter of fact, I
found myself in some interesting
company. I mean, suddenly it
occurred to me, being a classic
means being part of history. It
means that having reached a certain
plateau, one enjoys a status that
few ---
MICHAEL
(interrupting)
Okay, okay, I hear you, pal. Just
remember beauty is only skin deep.
K.I.T.T.
And can melt away at the flick of a
switch. It's not necessary to
remind me.
MICHAEL
Good. It's time for Hajeck's
favorite pastime. Put me on a
five-minute loop.
K.I.T.T.
Rolling tape now, Michael.
Michael crosses to a table; pulls a deck of cards from his
pocket and begins laying out the cards.
DASH OF LYNX
We see Michael playing solitaire on K.I.T.T.'s monitor.
INT. GUEST ROOM - THE CONSULATE - NIGHT
Michael is sitting on the bed playing solitaire.
K.I.T.T.
Okay, Michael, I've got enough.
MICHAEL
What about the corridors?
K.I.T.T.
I prerecorded them earlier.
They'll appear empty on all the
surveillance monitors.
MICHAEL
Start feeding both into the surveil-
lance system. I'm getting out of
here.
Michael opens the door, peers out, then slips out of the
room. We hold a beat, establishing it is empty but ---
INT. GUARD ROOM
The guard is watching a monitor that shows Michael still
playing solitaire.
THE CORRIDOR
as Michael moves toward ---
A STAIRWAY LEADING DOWN TO THE BASEMENT
Michael approaches the stairs, starts down, passing a TV
camera.
ON MONITOR IN GUARD ROOM
The same staircase, but empty, no sign of Michael.
INT. BASEMENT SHOWROOM
as Michael comes down the stairs and moves between the
classic cars laid out in all their beauty. He pauses, just
a moment of uncertainty.
MICHAEL
Kitt?
K.I.T.T.
Over here, Michael.
Michael crosses quickly to the Lynx.
NEW ANGLE - MICHAEL AND THE LYNX
Michael looks at the Lynx for a beat ---
MICHAEL
Time for the canister, pal.
CLOSE - THE LYNX
A compartment opens, and the dummy canister is revealed.
BACK TO SCENE
Michael takes the canister out.
MICHAEL
Stay tuned. I'm going to need your
help on this one.
He heads for the vault.
INT. ENTRANCE HALL
Carascas and Vascone are in conversation when the door is
flung open, and Gaye, stunned, unsettled, face tear-
streaked, is forcibly brought in by the two thugs. Vascone
blanches, in total shock.
CARASCAS
Who is she?
VASCONE
Hollenbeck's daughter.
CARASCAS
I thought she was dead?!
VASCONE
She was. I saw the hit go down. I
saw it!!
CARASCAS
Get Hajek!
Vascone heads out with a pair of guards.
INT. VAULT DOOR
Michael is looking at the intricate electronic lock. He
carries the dummy canister. He raises his comlink.
MICHAEL
The lock, Kitt.
THE DASH OF THE LYNX
as K.I.T.T.'s monitor comes alive with a schematic X-ray of
the lock mechanism. The combination dial starts twirling.
Various numbers and letters print out across the screen.
RESUME MICHAEL
at the vault as the dial continues to spin.
K.I.T.T.'S VOICE
This is a tough one, Michael. It
will take me at least -- ten seconds.
MICHAEL
Make 'em count.
We hear electronic clicks a few beats before the lock
pops. Michael opens the door and goes into the vault.
INT. CONTROL ROOM
The guards on duty look startled as Carascas and Vascone,
dashing down the corridor, burst in to check the monitors.
Both relieved when they see ---
THEIR POINT OF VIEW ON MONITOR
that shows Michael playing solitaire.
INT. VAULT
Michael is looking around, his eyes finally coming to rest
on the crate we had seen earlier. He opens the crate, sees:
INSERT - THE CRATE
with the canister inside.
INT. CORRIDOR AT GUEST ROOM
Carascas, Vascone and guards. One of the guards opens the
door.
INT. GUEST ROOM
They blow into the room and find it empty.
VASCONE
He's not here! How the ---
CARASCAS
The vault!! Check the vault!!
They dash out of the room.
INT. VAULT
Michael carefully lifts out the real canister.
K.I.T.T.
Hurry, Michael! They've discovered
you're not in the guest room!
Michael picks up the tempo, replaces the canister in the
crate with the false one, closes the crate.
INT. VAULT STAIRWAY
Michael emerges with the real canister and dashes up the
stairs to:
BASEMENT SHOWROOM - THE LYNX
as Michael approaches with the canister. The compartment in
the Lynx opens.
K.I.T.T.
Michael, my sensors tell me they're
coming!
MICHAEL
I'll take my chances. Long as they
don't have this.
He stashes the canister away. We watch the compartment
close. Michael then moves away from the Lynx into the
open. Vascone and the guards appear, stop on seeing Michael,
level guns at him.
CARASCAS
What are you doing down here?!
MICHAEL
Admiring your fleet of classics.
I'll bet you have no idea what
you've got here.
CARASCAS
You're slick, whoever you are.
Michael puts his hands up. They approach slowly and take
him prisoner.
INT. MAIN ROOM
Bonnie is collecting her wrap, her purse as Carascas stands
at the open door, scowling.
CARASCAS
Please leave.
BONNIE
(wryly)
I hope it's nothing I said.
CARASCAS
Just get out!
Bonnie slides past him out the door.
INT. ENTRANCE HALL
Bonnie heads for the front door, when:
GAYE'S VOICE
Bonnie!
Bonnie turns, startled.
NEW ANGLE - TO INCLUDE GAYE
being held by the two thugs in a corner alcove near the
door to the main room.
BONNIE
I'm afraid you've mistaken me for
someone else.
Bonnie shoots a glance to Gaye to clue her in. Carascas
catches it, looks from one to the other.
CARASCAS
Bonnie -- Well, 'Contessa,' now
that's more like it. Take them both!
The guards move in and around Bonnie and Gaye and we:
FREEZE FRAME
FADE OUT
END OF ACT THREE
ACT FOUR
FADE IN
EXT. LOADING AREA - REAR OF CONSULATE - DAY
The Mercedes 600, flags flying. The packing crate
containing the canister is being loaded into the trunk by
Vascone and two guards. Carascas watches, then looks toward
the house.
ANOTHER ANGLE
as Bonnie and Gaye are hustled into the back seat. Vascone
closes the door on them. Behind the wheel is a consulate
guard driver.
CARASCAS
(nods at the
back seat)
If what they say about the
Hammer-of-the-Desert is true, these
ladies will be very appreciated.
VASCONE
What about 'Hajeck?'
CARASCAS
We'll deal with him when I get
back.
(off a thought)
He's a phony, she's a phony, bad
things come in threes. Check out
that car. Strip it.
Vascone nods his understanding. Carascas gets into the
front seat beside the driver, and the Mercedes moves off.
Vascone watches it go, moves purposefully back towards the
house.
INT. HOLDING ROOM - DAY
a prison cell, windowless, bars on the heavy front door for
observation from outside. Michael is alone peering through
the bars, then turns away to conceal his comlink.
MICHAEL
Kitt?
DASH OF THE LYNX - INTERCUT AS NEEDED
As the panel slides back, K.I.T.T.'s voice module comes to
life and monitor clicks on.
K.I.T.T.
Are you all right, Michael?
MICHAEL
If you consider being locked in a
filthy six by six locked room okay,
I'm fine.
K.I.T.T.
How can I help you, Michael?
MICHAEL
Keep your scanners peeled. I want
to know if Carascas leaves the
premises.
A grid map develops on the monitor. A pulsing blip moves
away from the consulate.
K.I.T.T.
He's already left, Michael. He took
Bonnie and Gaye with him.
MICHAEL
Stay on him, pal, and I've got
another lock for you.
Michael passes his comlink over the lock. An analytical
schematic appears on K.I.T.T.'s monitor, replacing the map.
K.I.T.T.
We've been up against this type
before, Michael. I already have the
data stored.
(beat)
That should do it.
The lock emits metallic clicking sounds and pops open.
MICHAEL
It sure did. Be right there.
Michael opens the barred door; about to slip out into the
corridor; pauses in reaction to ---
K.I.T.T.
Hold it, Michael.
INT. BASEMENT SHOWROOM - DAY
as Vascone and Pascal approach the Lynx.
K.I.T.T.
(continuing)
Vascone is coming.
VASCONE
(to Pascal)
Get the tools. We're taking this
baby down to the frame.
Pascal looks at him, displeased, then crosses to a wheeled
tool chest. Vascone tries to open the door of the Lynx;
can't budge it.
VASCONE
The keys. Come on, open it.
PASCAL
It's not locked. The keys are
inside.
Vascone tries the door again, nothing. He scowls, goes to
the tool chest, removes a large pry bar and goes to work on
the door.
RESUME MICHAEL IN THE HOLDING CELL
MICHAEL
(comlink)
What's going on, pal?
INTERCUT DASH OF LYNX
K.I.T.T.'s monitor and voice module visible.
K.I.T.T.
They're trying to dismantle me,
Michael.
MICHAEL
(smiles)
You mean, your outer shell. The
Lynx.
K.I.T.T.
Yes, I'm afraid I've started
thinking of it as a part of me.
MICHAEL
Well, it's time for the butterfly to
shed its cocoon, pal. We've got to
get out of here. Ready?
K.I.T.T.
Ready, Michael.
Michael pulls a small remote control device from his pocket.
(The one Bonnie used earlier to transform the sphere) and
depresses the button.
INT. BASEMENT SHOWROOM - DAY
Vascone stymied by his inability to pry open the door of
the Lynx, angrily tosses the pry bar aside. Glares at Pascal ---
VASCONE
Get me the oxy-acetylene torch. One
way or another, this body's coming
apart.
But a sudden flash of light comes from the Lynx before
Pascal can respond. He and Vascone are startled, spooked;
shrink back and watch in amazement as:
THE LYNX
glows from within, a searing, electric red that pulses in
waves, the surface of the vehicle suddenly becoming
dripping wet, as a liquid cascades off onto the floor.
CLOSE ON BODY OF LYNX - VARIOUS SHOTS
as they soften, melt and liquify, running down like watery
molten wax -- revealing K.I.T.T.'s shiny black surface
beneath.
INTERCUT MICHAEL
MICHAEL
(comlink)
On your cue, buddy.
K.I.T.T.
Vascone's more than distracted,
Michael.
MICHAEL
On my way.
RESUME THE SCENE
as the last of the Lynx "melts" away and cascades onto the
floor leaving a "water dotted" K.I.T.T. amidst the other
classic vehicles. Michael enters from behind Vascone, who
is frozen, aghast at the spectacle he's just seen.
ANOTHER ANGLE
as Vascone senses, whirls pulling his gun. Michael knocks
it aside as it fires once. Then puts Vascone away with a
karate combination. Vascone goes down into a puddle of the
liquified Lynx body.
MICHAEL
You've just been slimed, pal.
Vascone stays down. Michael grabs Vascone's gun and levels
it at Pascal not knowing if the old guy has a gun or is one
of Carascas' men.
K.I.T.T.
No, he's on our side, Michael.
MICHAEL
Thanks, pal. Next, Carascas.
K.I.T.T.
He's still within scanner range,
Michael.
As Michael pulls open K.I.T.T.'s door and gets behind the
wheel.
MICHAEL
Good work, buddy. Super Pursuit
Mode, hit it.
Michael pushes some buttons on his console.
K.I.T.T. - SEQUENCE OF SHOTS
as he transforms from regular to Super Pursuit Mode, fins,
air scoops, spoilers, nose cowling deploying.
INT. BASEMENT SHOWROOM - DAY
Pascal watches in awe as K.I.T.T. transforms and then
rockets away.
PASCAL
Wow! That's what I call a classic!
INT. THE RAMP - DAY
as K.I.T.T. burns rubber heading up the ramp. Uniformed
guards scatter at his approach.
EXT. COMPOUND GROUNDS - DAY
as K.I.T.T. comes up off the ramp, scattering more guards
and blasts through the gates and takes off.
INSIDE K.I.T.T.
MICHAEL
Give me directional scan on the
Mercedes, pal.
Bloopings and beepings.
K.I.T.T.
I've got it, Michael. Carascas is
heading for the harbor area.
MICHAEL
Figures. He's probably going to
deliver that canister in person --
play it safe and get out while he
can.
EXT. THE MERCEDES - DAY
The Mercedes 600 crossing into the harbor area.
INSIDE THE MERCEDES
Bonnie and Gaye in the back seat.
GAYE
I'm sorry, Bonnie. I was upset. I
wasn't thinking. I ---
BONNIE
You couldn't help it.
(sotto)
Michael will find us, somehow. He
will.
INSIDE K.I.T.T. - TRAVELING
Michael focusing on the road ahead.
K.I.T.T.
My sensors tell me they're at the
waterfront.
MICHAEL
Probably for a boat stashed somewhere
for a quick getaway.
K.I.T.T.
blows past camera in Super Pursuit Mode.
EXT. WATERFRONT WHARF - DAY
as the Mercedes pulls to a stop next to a "cigarette" -- a
super fast speedboat. Carascas gets out quickly, crosses
to the trunk and carefully takes out the crate with the
canister. The driver forces the two women out of the car
at gunpoint and directs them toward the boat.
EXT. SERIES OF ANGLES - DAY
K.I.T.T. barreling along in super pursuit mode entering the
waterfront area.
ON THE WHARF
Carascas gets down into the speedboat; reaches back for the
crate with the canister. The driver forces Bonnie and Gaye
towards the wharf edge, and down into the boat.
K.I.T.T.
explodes onto the street, rockets down toward the wharf.
CARASCAS AND THE DRIVER
react to K.I.T.T.'s approach on the wharf. The women are
already on the boat. Carascas hits the ignition. The
engine starts to turn over.
THE DRIVER
still on the wharf. He whirls, automatic weapon in hand
and cranks off a burst. Behind him, we hear the engine of
the speedboat roar to life.
K.I.T.T.
rockets onto the wharf toward him in Super Pursuit Mode,
rounds sparking off his shell.
INSIDE K.I.T.T.
the rounds sparking off the windshield in front of Michael.
K.I.T.T.
My scanners indicate Carascas has
just started the engine, Michael!
MICHAEL
Microlock it and hit the EBS, pal!
The shooter's yours. Carascas is
mine.
K.I.T.T.
as he deploys braking fins and roof flap and screeches to a
fast EBS stop. Michael leaps out and heads for the
speedboat. K.I.T.T. takes off after:
THE DRIVER
boxing him in with sudden bursts of speed, forcing him back
until he screams, drops his gun and falls off the wharf
into the water.
CARASCAS - IN THE BOAT
trying to restart the stalled engine, then freezes, holding
Bonnie and Gaye as shields as Michael levels Vascone's gun
at him.
MICHAEL
Let's talk trade off!
CARASCAS
No deal.
(gun on
the gals)
I'm holding all the cards.
Michael aims his gun at the crate that contains the canister.
MICHAEL
(shakes no)
I put a bullet in that canister --
we're all dead.
CARASCAS
(considers)
What do you want?
MICHAEL
The women for your freedom.
CARASCAS
And I take the canister.
MICHAEL
You got it.
CARASCAS
Deal.
Carascas releases the two women. Bonnie climbs up onto the
wharf, helps Gaye up. Both run for safety to Michael.
MICHAEL
Bon voyage.
Carascas gives it the gas, the speedboat roars away from
the wharf.
ANOTHER ANGLE - INCLUDE K.I.T.T.
as Michael and Bonnie start to laugh as they watch Carascas
roar off.
GAYE
What's so funny? He's got the
canister!
MICHAEL
He sure does. I'd give anything to
be there when the Hammer-of-the-
Desert opens it.
BONNIE
Yeah, but Carascas will wish he
wasn't.
GAYE
What are you two talking about?
MICHAEL
I switched canisters. He's got a
phony.
GAYE
(brightening)
You mean, it's empty?
MICHAEL
Not exactly ---
BONNIE
What did you fill it with anyway?
MICHAEL
Oh, nothing special -- I'm sure the
Hammer has camel pens full of it.
Gaye joins in the laughter and we:
FREEZE FRAME
END OF ACT FOUR
TAG TO FOLLOW
