ACT ONE
FADE IN
EXT. BRENTWOOD HILLS MOTOR COURT - NIGHT - HIGH WIDE ANGLE
Exquisite single-story bungalows, spaced a good distance
apart, sits on the sloping hillside of this motel complex.
As the camera slowly pans downs and to one of the bungalows,
we find a two-door sedan parked in front, a dim light
shining through the window, and we hear:
DAMON (V.O.)
It was billed as the greatest fight
of the decade -- and many think it
was....
INT. BUNGALOW - NIGHT - FIGHT ON TV SCREEN
(Videotape replay -- little or no sound) Both fighters,
bruised and bloody are in the middle of the ring. Keeler
tags Grant with a hard, jolting, straight left, and then
crosses with a crushing right hand...The punch nails Grant,
flush on the cheekbone, sending him crashing into the ropes.
Keeler goes in for the kill, blasting away with both hands.
Grant bobs -- lets go a wild overhand right. Grant slips
under it, lands a left, unloads a devastating right to
Keeler's temple. The blow jerks Keeler's head sideways...
his knees start to buckle...the bell sounds, ending the
round. The referee steps in between the two fighters. Over
the round we hear:
DAMON (O.S.)
Keeler, the champion -- Grant, the
contender -- went at each other round
after round...The fourteenth was the
most punishing three minutes of
boxing that this sports writer has
witnessed in a career that spans
over four decades -- neither fighter
giving quarter -- neither man
listening to the dictates if his body
that had to be saying, 'Stop...
stop.'
The TV screen now shows Doctor Jack Simmons (late forties,
dressed in a tuxedo) talking to the fight announcer at
ringside. Over the above:
DAMON (O.S.)
At the end of the fourteenth round,
fight Doctor Jack Simmons, commen-
tating at ringside, had the champion,
Keeler, convincingly ahead on points.
Angle adjusts and we see the elegant old sports writer,
Damon Leland (sixties) sitting on the far side of the room,
viewing the video replay of the fight, as he talks into his
tape recorder. Sitting next to him, an attractive woman in
her early thirties, Jean Tremount.
TIGHT ON DAMON
his eyes riveted to the TV screen.
DAMON
As you know, I am now deaf -- perhaps
too many years of the roar of the
crowd...Yet, this affliction lead
this sports writer to the discovery
of 'why' the champion, Keeler, hit
the canvas in the fifteenth round
and lost his title.
THE TV SCREEN
now shows Keeler's corner between the fourteenth and
fifteenth rounds. The corner man, working frantically on
Keeler, as he whispers something to his trainer, Spiderman
(early fifties). Over the above:
DAMON
I now can support that statement with
documented proof.
RESUME ANGLE - DAMON AND JEAN
Jean tenses as Damon continues:
DAMON
And I intend to use that proof to
stop the rematch between Grant and
Keeler.
Damon turns off his tape recorder, turns, facing Jean:
DAMON
That's basically how I'll start my
TV spot Sunday evening.
Damon reaches down, picks up a file (medical report) from
the coffee table in front of him, and glances at it.
DAMON
...And it will be your documents
that will get it done.
As they both rise, apprehension mirrors Jean's face.
JEAN
How can I be sure that I won't be
implicated?...
DAMON
My reputation...forty years I've
never revealed a source.
(sad smile)
I'm much too old to change....
Damon reaches into his jacket pocket, takes, from it, an
envelope that obviously has money in it, hands it to Jean.
DAMON
Thank you. You're doing the right
thing -- probably saving a man's
life.
Jean nods, takes a thin silk scarf from her handbag, places
it over her head. Both move towards the bungalow door.
EXT. BUNGALOW - NIGHT
The door to the bungalow opens, Jean exits, moves to her
car (her back to the camera's eye). As she starts to
enter, camera zooms back to:
INT. LATE-MODEL SEDAN - NIGHT
Parked alongside one of the other bungalows, within viewing
range of Damon's cabin. Two hard-looking men are in the
front seat. Behind the wheel, Blue Lightning (ex-fighter);
in the passenger's seat, Dino Benson (lean, stone cold).
Both men have their eyes riveted on Jean's car as it pulls
away.
INT. DAMON'S BUNGALOW - NIGHT
Damon, his back facing the bungalow's door, takes the phone
off its cradle. He then takes, from his pocket, a battery-
run electronic device, the size of a cigarette pack. On its
face are two raised dots -- one red, one green. He places
the device next to the phone's receiver, dials a number.
The red dot flashes once...twice...and then the green light
glows steadily. Damon now speaks into the phone.
DAMON
Devon, I know I'm being terribly
mysterious....
INT. FOUNDATION - NIGHT - INTERCUT AS NEEDED
Devon is sitting behind his desk, phone to his ear,
listening intently. We hear Damon's filtered voice come
through the receiver:
DAMON
(filtered
voice)
I must see you to explain it all in
detail, tomorrow....
INT. DAMON'S BUNGALOW - NIGHT - ANGLE FAVORING DOOR
The doorknob starts to turn as Damon continues speaking
into the phone.
DAMON
(into phone)
And, if you will get all information
possible on the death of a man named
Samuells -- Aireon, Massachusetts....
The door flies open and, with catlike moves, Benson enters
and starts to cross towards Damon.
DAMON
(into phone)
...Year -- 1978. I believe you'll find....
Benson reaches Damon -- delivers a killing karate chop to
the back of Damon's neck. The phone flies from his hand as
he crashes to the floor.
INT. FOUNDATION - NIGHT - ON DEVON
as he reacts to the sound he has heard over the phone...
hangs up and urgently dials.
DEVON
Kitt, where is Michael? I must
speak to him.
INT. DAMON'S BUNGALOW - NIGHT
Damon is crumpled up on the floor. Blue, on the far side
of the room, takes a small glass-shielded candle from his
pocket and lights it, as Benson crouched, leans into the
bungalow's fireplace and turns on the gas.
We hear the "zzzzzz" of gas escaping as Benson calls across
to Blue, who is placing the candle on a table:
BENSON
Put that candle up as high as you
can get it -- buy us some time to
get away from here.
As Blue stretches to place the candle on the top shelf of a
floor-to-ceiling bookcase:
CUT TO
EXT. APARTMENT TERRACE - NIGHT - ON MICHAEL
Michael, with an exasperated look on his face, is whispering
into his comlink. In the b.g., on the far side of the
terrace, is a beauty, seated at a table that has wine chil-
ling, candles glowing, and roses.
MICHAEL
Kitt, try to explain to him how much
this evening has set me back --
catered dinner -- wine -- and do you
have any idea what yellow roses cost.
K.I.T.T.
Michael, we are on twenty-four hour
call...And I find nothing important
about the price of roses.
MICHAEL
Of course not you never pay cash.
K.I.T.T.
Michael. You have certain obligations
I have certain obligations.
INT. K.I.T.T. - NIGHT - TIGHT ON SCREEN
Devon, tight-jawed, trying to control himself, barks out:
DEVON
Tell him that Damon Leland's life may
be in danger!
MICHAEL
(reacting)
I'm on my way....
CUT TO
INT. DAMON'S BUNGALOW - NIGHT
The zzzzzzing of the gas escaping is heard as we pan the
room, past Damon's body, up to the flickering candle.
EXT. BUNGALOW - NIGHT - BEAMS OF HEADLIGHTS
cut through the darkness as K.I.T.T. screeches to a stop.
K.I.T.T.'s door opens and, as Michael bolts out:
MICHAEL
Keep the scanners peeled! Give me a
readout.
NEW ANGLE ON MICHAEL
as he starts to move, cautiously, towards the bungalow.
Through his comlink:
K.I.T.T.
Michael, I detect one inert human
form -- barely discernable vital
signs -- yet I'm receiving two odors
on my olfactory scan.
Michael, reaching the door, starts to turn the doorknob.
K.I.T.T.
One, a perfume...The other...
(alarmed)
Michael duck....
MICHAEL
reacting to K.I.T.T.'s warning, leaps, head first, away from
the cabin -- hits the ground -- tumbles, as:
THE CABIN
explodes!!
DISSOLVE TO
INT. SEMI - DAY
Devon, RC3 and Michael are going over the series of events
involving Damon Leland. Bonnie is at the control panel.
MICHAEL
It was the furthest thing from an
accident...No one uses his fireplace
when it's eighty-five degrees outside
-- it was murder.
All eyes turn to Bonnie, as:
DEVON
Damon was talking to me...He was
working on a boxing story...it had
to do with the ex-champ, Keeler.
BONNIE
Kitt has broken down the components
of the smell he picked up on his
olfactory scan. A mixture of natural
gas and 'Joie de Vei.'
RC3
I didn't think that could cause an
explosion....
BONNIE
A timing device caused the explosion.
The Joie de Vei is a perfume.
DEVON
Explosive -- but not that uncommon....
MICHAEL
(nods,
agreeing)
I knew a lady who bathed in it. It
was like walking through a field of
violets.
RC3
I can think of worse things....
Devon shoots RC3 a look, then:
DEVON
Bonnie, Leland mentioned the death
of Samuells. What did you get on
the run down?
BONNIE
Very little...In 1978, two men by
the name of Samuells died in Aireon
Massachusetts. Simon P. -- seventy-
two years old...James T. -- thirty-
two...Both deaths are listed 'natural
causes.'
Michael, looking across at Devon:
MICHAEL
The fight, the death of Samuells and
Lelands could tie in together....
BONNIE
(reads)
Keeler, age thirty-six, pro eleven
years, forty-six wins, six losses,
thirty knockouts, turned pro in 1976,
managed by Lou Davis since 1978.
MICHAEL
'78...The year Keeler hooked up with
his manager, Lou Davis and the year
Samuells died....
RC3
What's Davis got to do with this?...
MICHAEL
Maybe nothing...or maybe forty mil-
lion reasons -- called 'dollars.'
It's what Keeler's rematch is worth.
RC3's reaction...Then:
CUT TO
EXT. TRAINING CAMP - DAY - ESTABLISH
INT. TRAINING CAMP - MOBILE BUILDING - ROYAL DAVIS
OFFICE - DAY
Davis, a good-looking, forties, well-dressed polished...He
paces nervously, checks his manicure, sprays his breath,
looks into one more mirror to unsure his collar lays
perfectly...Blue stands on the far side of the room,
watching, anticipating...Benson enters the room. Davis
turns on him immediately....
DAVIS
...You let a chick stroll away from
that cabin. You didn't see her face
...you don't know who she is...you
mess up and I can lose it all.
Benson, tight-eyed and deadly:
BENSON
Keep breaking my chops Davis, and
the first thing you lose is me.
This stops Davis in his tracks. Benson points to Blue....
BENSON
I'm not one of your 'ex-pugs,' Davis.
I'm a professional...
(beat)
I said I was reading the morning
papers -- all of them. No one has
stepped forward -- man or woman.
DAVIS
Not yet -- Time makes people run
scared and their mouth starts movin'!
BENSON
(shrugs,
casually)
If someone else has to be killed --
I'll get it done.
(beat)
And for you it only cost money.
On Benson's half smile:
CUT TO
INT. K.I.T.T. - DAY - ON MICHAEL - MOVING SHOT
behind the wheel, maneuvering the curves of a narrow moun-
tain road. A beat...Then:
K.I.T.T.
Michael, I feel I need more data for
my information bank.
MICHAEL
Buddy, there's not much to give --
except that, for weeks, Damon Leland
had been indicating in his sports
column that he was going to try and
stop the rematch between Keeler and
Grant.
K.I.T.T.
Did Leland have that kind of power?
MICHAEL
If he had proof that someone was
'dirty,' he could publicize it....
K.I.T.T.
Michael, sometimes I find your
colloquialisms colorful -- but
confusing. I assume 'dirty' doesn't
mean 'unwashed.'
MICHAEL
'Dirty,' means that, when Keeler
went down from a badly thrown left
hook in the fifteenth round, maybe
-- just maybe -- it wasn't all
sportsmanship and athletic ability.
K.I.T.T.
Can you prove that?
MICHAEL
Not yet, for now I think I'll just
squeeze and hope somebody yells.
K.I.T.T.
I'm afraid I do understand that
Michael....
Michael laughs.
EXT. MOUNTAIN ROAD - DAY - ON K.I.T.T.
slowing as he approaches a dirt road turnoff. Fronting
the turnoff is a huge sign that reads: "KEELER TRAINING
CAMP CLOSED TO PUBLIC -- AUTHORIZED PERSONNEL ONLY."
K.I.T.T. makes his turn onto the road and proceeds towards
the camp. A high chain link fence cordoning off the acreage
that comprises the training camp.
INT. K.I.T.T. - DAY - MOVING SHOT
Michael looks up at the top of the fence and then around to
see if there is a way to breach the security.
K.I.T.T.
They're checking press cards....
MICHAEL
Then we'll have to have one.
As they drive on Michael hits the proper buttons.
INSERT - K.I.T.T.'S PANEL
as it is activated and proceeds to execute a series of
codes to copy a press card....
EXT. TRAINING CAMP - PARKING LOT - DAY
A dirt area half-filled with press-tagged cars. Michael
parks, gets out, and walks towards the entrance and its
guard....
EXT. GUARD GATE - DAY
The Guard, an ex-pug in civilian clothes, steps out to
Michael, who hands him his press card...He reads it.
GUARD
(astonished)
The Tombstone Variety...never heard
of it....
MICHAEL
Forty bucks a year will make you a
subscriber...how about it?
GUARD
That's what the other eight sub-
scribers say?
MICHAEL
(on the
move)
To tell the truth they get it for
nothing.
Michael smiles, moves through the gate past the guards,
looks and starts up a tree-line path.
EXT. KEELER'S MOUNTAIN TRAINING CAMP - FULL SHOT
The area is crammed with people. Press photographers snap
away with their cameras as celebrites from the fight world
mingle with friends and family. Exotically clad waitresses
move among the visitors, passing out hors d'oeuvres and
soft drinks.
A huge tent, with side flaps removed, covers a ring and
workout area. Sparring partners bank away at heavy bags...
One shadow-boxes in the ring. Training camp personnel go
about their business. Angle adjusts to find:
DAVIS
surrounded by a circle of reporters, giving a press con-
ference. Off to one side, in a group of ten to twelve
people, are Doc Simmons, Jean Tremount, and a woman in her
early thirties who, we will learn later, is Mrs. Ruth Keeler.
Davis nods to his PR man, who spots out his well-used
speil, his arms waving, his eyes popping, his voice at
an emotional shout. As Michael approaches.
PR MAN
(overflowing
with energy)
They're gonna forget that Rumble in
the Jungle!..They're gonna forget
that Thriller in Manila!..That was
a prelim...When they're asked, 'What
was the greatest fight of this
century,' every fight fan in the
world is gonna shout, 'The battle in
Butte!..The battle in Butte!' When
they talk about the greatest fight
ever, there's gonna be just one
memory that stands alone -- the
memory of Keeler -- and Grant --
standin' toe to toe under that
northwestern sky!!!
Michael moves into Frame, joining the press as Reporter #1
shouts from the crowd to Davis....
REPORTER #1
What about it Davis? Why Butte?!
It's not exactly the fight capitol
of the world!
DAVIS
Because my heart is with the working
man. Those people that can't fly to
Vegas, Atlantic City or Tahoe to see
a championship fight....
REPORTER #2
(with a
chuckle)
Your heart may be with the working man,
but you held out for forty million
dollars for the TV rights.
DAVIS
(smiles)
I never said I was dumb. The working
man gets his fight, the promoter gets
his profit....
MICHAEL
How much slimmer would your profit
have been if Keeler hadn't gone
down in the fifteenth?!
Davis glares at Michael, then tries to joke his comment
off, with:
DAVIS
The Lord works in strange ways....
MICHAEL
Damon Leland wrote that Keeler's
over-used -- over fought -- and
over-aged -- and should think twice
about stepping into the ring again.
And, if Damon Leland was alive, I
gotta hunch Keeler wouldn't!
Davis glares at Michael.
DAVIS
But old men begrudge younger men
that can stand tall.
MICHAEL
The last time I saw Keeler he wasn't
standing tall! He was flat on his
face from a punch that, two years
ago, he would have laughed at!
Who's he standing tall for, Davis --
for himself -- or for your forty-
million dollar purse?!
Davis controls himself.
DAVIS
You think Keeler's over-used? Talk
to the expert. Talk to the man who
gave him his pre-training examination!
Doc Simmons!
All eyes turn to Doc Simmons. A beat...and then Simmons
takes a step forward.
SIMMONS
(smiles,
gestures)
Bo Keeler's a phenomenon...He's got
the heart and lungs of a nineteen
year old. I've never seen a more
magnificent example of clean living
in my entire career. If any of you
reporters would like a photostat of
his medical examination....
Simmons, indicating Jean Tremount.
SIMMONS
...feel free to call my secretary,
Miss Tremount....
Before anyone can respond, Davis, glaring at Michael:
DAVIS
Members of the press can pick up
their news kits on the way out!
Davis pushes his way through the crowd, heading back towards
his office area. Ad-lib murmurs from the crowd as they
start to disperse.
ON MICHAEL
his eyes tight as they trail after Davis. A beat...and
then Mrs. Ruth Keeler moves into frame, stares at Michael.
Michael's eyes turn to her. Another beat...and she asks:
MRS. KEELER
...Who and what are you?
MICHAEL
Nothing special, just a man who has a
lot of unanswered questions.
MRS. KEELER
I'm Ruth Keeler. And you're special
to me...You're the only one outside of
Leland who's sounded off like that.
MICHAEL
I still didn't get any answers.
MRS. KEELER
I don't think you expected any, but
I'd like you to ask those questions
to my husband.
Michael stares at her, stunned.
MICHAEL
Why help me?
MRS. KEELER
Because I'd also like those answers.
Meet me at the turnoff entrance to
the camp. My husband's doing road
work. I'll take you to him.
On this, Mrs. Keeler spins and walks away.
SERIES OF CAMEO SPOTS FEATURING WELL-KNOWN FIGHTERS
WIDER
The crowd continues to leave the camp. Michael's eyes
trail after Mrs. Keeler. At the point when she passes the
tent-covered training area, something catches Michael's
attention:
A COMPACT TV SURVEILLANCE CAMERA
fastened to one of the tent's poles, angled towards the
boxing ring.
RESUME ANGLE ON MICHAEL
as his eyes scan the area, noting two other surveillance
cameras. He then sees:
MICHAEL'S POINT OF VIEW - A MOON-FACED, EX-HEAVYWEIGHT
FIGHTER JERRY "RED"
"tapes" the hands of one of the sparring mates.
NEW ANGLE
as Michael crosses to the training area, then moves to
Jerry's side. Jerry gives the fighter a "tap" on his
hands, the fighter moves away. Jerry looks up at Michael.
JERRY
You need something, mister?
MICHAEL
Yeah -- an expert's opinion. You
were at the Grant-Keeler fight. Tell
me what you think happened in that
fifteenth round.
JERRY
...You tell me. I just tape hands and
mind my business....
MICHAEL
Keeler either totally ran out of gas
-- or he took a 'dive' for the big
money in the rematch.
Something catches Jerry's eye.
JERRY
Pal, that kinda talk can buy you
nothing but trouble. This broken
nose don't make me dumb.
MICHAEL
I remember when you fought...You
were never afraid....
JERRY
You saw me fight?
Michael nods....
JERRY
Then stop asking questions or I
could lose my only fan....
Jerry moves out as Michael's eyes catch:
NEW ANGLE
Davis, flanked by Benson, Blue and two other ex-pugs.
Davis issues a command.
DAVIS
Take him to his car...Make sure he
doesn't want to come back!
Benson remains at Davis' side as Blue and the two others
move forward.
ANGLE FAVORING MICHAEL
as Blue and the two pugs start to close in on Michael.
Michael raises his left hand up to his mouth as if to wipe
his upper lip. Into his comlink:
MICHAEL
Kitt, I think I'm about to get my
head handed to me.
K.I.T.T.
Apparently they didn't enjoy being
squeezed.
OMITTED
EXT. TENT - DAY
Two of the pugs have closed in on Michael. One makes his
move and Michael kicks out at the heavy bag. The bag swings
-- catches the pug flush in the gut -- sending him sprawling!
Michael backs out to an open grassy area as the other pugs
continue to close in. Blue circles Michael to cut off his
escape route. Michael's head spins, from in front of him,
to Blue, circling.
MICHAEL
Fellas, what happened to freedom of
the press??
SCENE
The answer is obvious, they make a move at Michael.
Michael plants his feet -- fakes a punch with his left at
the pug coming from the left -- throws a straight right,
shoulder high, at the pug on his right. He goes down, as:
MICHAEL
into comlink.
MICHAEL
Kitt, I can use your company.
K.I.T.T.
comes barreling out of the trees and into the clearing,
slows as he bores into the fray.
ANOTHER ANGLE
Blue leaps aside and spins to face K.I.T.T. K.I.T.T.'s
driver's door flies open, catching Blue flush -- like a
left hook to the solar plexus. Blue drops where he stands.
WIDER
and we see Michael duck under a wild right from one of the
pugs and then lands a left hook to the exposed rib.
MICHAEL
is in a "give and take" with one of the men. The first pug
down regains his feet and comes charging.
OMITTED
FULL SHOT - THE CAMP
Davis has called, "Hey, Rube," and the remainder of the
"camp people" are racing towards the clearing!
ON MICHAEL - INCLUDING K.I.T.T.
His eyes go wide as he sees the reinforcement charging
towards him.
MICHAEL
Kitt, I think we've overstayed our
welcome!
Michael bolts into K.I.T.T. -- K.I.T.T. spins his wheels
-- makes a "half donut" and is full bore, headed for the
trees, as we:
FADE OUT
END OF ACT ONE
ACT TWO
FADE IN
EXT. MOUNTAIN ROAD TURNOFF - DAY
Mrs. Keeler's car is parked adjacent to the sign that reads:
"KEELER TRAINING CAMP." K.I.T.T., with Mrs. Keeler in the
passenger's seat, is maneuvering back onto the dirt road as
we hear:
MRS. KEELER (V.O.)
...Make a right when you come to the
first junction...What kind of car is
this?...
INT. K.I.T.T. - DAY - MOVING SHOT
MICHAEL
It's an '86...I got an early
delivery....
K.I.T.T.
Really Michael....
MRS. KEELER
It talks...what'll they have in '87....
MICHAEL
Quieter cars.
MRS. KEELER
(points)
My husband does his work in the
viaduct....
This triggers off something in Michael's mind. His eyes
tighten with thought...then:
MICHAEL
...A fighter usually runs in the
morning.
MRS. KEELER
A lot of things have changed,
including schedules. If they
hadn't, I wouldn't be sitting in
this strange car with you.
Michael starts to say something. She stops him, with:
MRS. KEELER
Let me finish...I don't know who you
are -- I only know you asked the same
questions I've asked my husband. I'm
not getting any answers. I hope you
can.
They reach the junction. Michael spins the wheel, makes
the turn.
MICHAEL
Mrs. Keeler I don't understand the
rematch...Bo Keeler has always said
he fights for money...I know you
and Bo have a beautiful home and
well over two million dollars in
solid investments. So, why the
fight?
Tears start to well up in Mrs. Keeler's eyes. A beat...
then:
MRS. KEELER
There is no sane reason for him to
take any more punishment. I watch
him, every morning, getting out of
bed -- piece by piece -- every
muscle -- every joint -- in his body
aching. I hold back while he stands
under a scalding shower, trying to
numb the hurt. And when he comes
out, I ask, 'Why? Why are you doing
this to yourself?..We don't need any
more....'
The tears rolling down her cheeks stop her from continuing.
As she wipes them away:
MICHAEL
And he never gives you an answer.
MRS. KEELER
Oh, yes. Things like...'You
wouldn't understand...' And he's
right.
EXT. K.I.T.T. - DAY - MOVING SHOT
K.I.T.T. slows as the viaduct comes into view, edging the
roadway. Up ahead, we see a "bend." K.I.T.T. pulls over
and stops.
EXT. VIADUCT - DAY - ON KEELER AND SPIDERMAN
jogging in silence, rounding a long, sweeping curve in the
viaduct. Stay with this until the bend reaches a straight-
away and Keeler looks up and reacts.
NEW ANGLE
and we see Michael and Mrs. Keeler on the edge of the
viaduct, directly in front of the approaching Keeler and
Spiderman.
ANOTHER ANGLE
Keeler and Spiderman, reaching Michael and Mrs. Keeler, jog
in place for a beat...Keeler glares at his wife, and then
they take off again.
Michael looks across at Mrs. Keeler, then camera stays on
Michael as he jumps down into the viaduct, races to catch
up with Keeler and Spiderman. Reaching them:
SCENE
Spiderman drops a pace behind as the camera tracks.
KEELER
I don't know how you got my wife to
lead you here but I don't like it.
Now, what's your problem?
Michael's eyes tighten, lock on Keeler.
MICHAEL
Damon Leland's death. He came into
town to stop this rematch. Somebody
didn't want him to.
KEELER
So, what do I have to do with that?!
I'm up to here with you 'no-name'
press guys....
MICHAEL
My name is Michael Knight.
KEELER
So?
MICHAEL
So talk to me, Keeler. Aside from
money, tell me why you want to
subject yourself to the punishment
you're going to get from Grant.
KEELER
(beats)
I didn't get a shot at the title
'til I reached thirty. I fought in
every smoker and barn you ever heard
of. No ranked fighter would give me
a shot...I traveled too long a road
to give up the title after one loss.
Their jog in the viaduct has led them back to the outskirts
of the training camp. They stop. Michael, baiting him:
MICHAEL
No ranked fighter would give you a
shot until you signed with Davis
back in Massachusetts?
KEELER
You got it. Aireon. Massachusetts.
I was working a part-time job between
smokers....
ON SPIDERMAN
tensing.
SPIDERMAN
Champ, you'd better get back to camp
for a 'rub' before you begin to
tighten up.
BACK TO SCENE
Keeler moves to, and starts to climb up, a steel ladder
riveted to the side of the viaduct.
Keeler lets this sit for a quick beat...Then:
KEELER
Give Spider a number where you can
be reached. I'll see to it that
you can ask anything to anybody. I
got nothing to hide.
Keeler turns his back on Michael, starts to climb the
ladder. Michael hits him with:
MICHAEL
What's the name 'Samuells' mean to
you?
Keeler freezes, then answers:
KEELER
Zero....
ON SPIDERMAN
And we see panic in his eyes.
MATCH CUT TO
INT. DAVIS' TRAINING CAMP OFFICE - DAY - ON SPIDERMAN
The panic remains in his eyes as he states:
SPIDERMAN
When he asked about Samuells, I
started to shake. Davis, I can't
handle that kind of pressure.
WIDER
and we see that Spiderman is talking to Davis. Benson is
on the far side of the room.
SPIDERMAN
...If he starts comin' down on me,
I'm afraid I might say the wrong
thing...Just cut me loose -- let me
walk away and disappear.
Davis, holds a long silent beat....
DAVIS
You want out, you have it....
SPIDERMAN
(relieved)
Thanks Mr. Davis.
DAVIS
But only after you make a move for
me. Do it and you'll even walk
away with money in your pocket.
Spiderman stares at Davis, not wanting to hear what he has
to say.
CUT TO
INT. K.I.T.T. - DAY - MOVING SHOT
traveling the mountain road, leaving the camp area.
Michael asks:
MICHAEL
Pal, the security system at the
training camp has television
surveillance. I'd like to know if
they're 'taping.'
INSERT - K.I.T.T.'S PANEL
being activated. Then:
K.I.T.T.
The system does include that capability.
MICHAEL
Good. I want to tap in and record all
of Keeler's sparring sessions.
CUT TO
EXT. SEMI - DAY - ESTABLISH
INT. SEMI - DAY - ON MONITORING SCREEN
The screen shows Keeler in the ring with one of his
sparring partners. Keeler is wearing a full face/head
protector. The sparring partner is initiating the action;
Keeler, taking the defensive approach. (The sparring
partner does not throw a punch at Keeler that is higher
than chest level.) Time is sounded and we go:
WIDER
and find K.I.T.T. parked in the semi; Michael, Devon and RC3,
with their eyes glued to the screen. Bonnie is off to one
side.
DEVON
You're right, Michael...It's the same
in every one of the tapes...Keeler
keeps backing off.
MICHAEL
...And Keeler's the kind of fighter
that knows only one way -- keep coming
in -- keep attacking. He's changed
his training pattern and his style...
There's got to be a reason....
RC3
...It looks like the man is totally
out of sync.
MICHAEL
So was Spiderman when I asked about
Samuells...Bonnie, has any added
information come in on Samuells?
BONNIE
I rechecked the report...both men
named Samuells simply died of natural
causes.
Michael's eyes lock on Devon.
MICHAEL
Nothing is ever as simple as it
seems....
Devon, reading him, nods. Then:
DEVON
RC, check with the airlines...you're
flying to Aireon.
RC3
I like it...an investigating reporter
asking important questions.
MICHAEL
As long as you get some important
answers.
RC3 exits. Devon and Michael again turn their attention to
the monitoring screen.
MONITORING SCREEN
and again Keeler, with a sparring mate, on the defensive.
MICHAEL (O.S.)
There's got to be something here
that we're missing....
BACK TO SCENE
DEVON
Maybe we're making too much of it,
Michael. Perhaps Keeler feels
that's the only way he can beat
Grant.
Michael shakes his head "no."
MICHAEL
My hunch is that he doesn't have any
choice....
Michael is interrupted as K.I.T.T. comes through his
comlink, with:
K.I.T.T.
Michael, the number you gave
Spiderman has been dialed.
Michael bolts to K.I.T.T., leans in his window.
MICHAEL
Connect me.
CUT TO
INT. DAVIS' OFFICE - DAY - ANGLE FAVORING SPIDERMAN -
INTERCUT MICHAEL AS NEEDED
Spiderman, sweating, has the phone to his ear. Across from
him -- Davis, Blue and Benson.
SPIDERMAN
(into phone)
I gotta make this quick -- I don't
like what's goin' on. I'm willing to
tell you some things, but not here at
camp.
MICHAEL
(into phone)
Where?...
SPIDERMAN
(into phone)
Where you first saw us in the viaduct
...Follow the curve. It will take
you to the catch basin -- eight
o'clock tomorrow morning. I'll be
there.
Spiderman hangs up, looks across to Davis.
DAVIS
Relax...You're halfway there.
Spiderman nods, crosses the room, opens the door and exits.
The door closes behind him. Davis turns to Benson....
DAVIS
(to Benson)
...Kill them both.
On Benson's casual nod:
DISSOLVE TO
EXT. VIADUCT - DAY - ON K.I.T.T.
winding his way along the edge of the viaduct. A beat...
then move:
INT. K.I.T.T. - NIGHT - MOVING SHOT
Michael, eyes tight:
MICHAEL
Kitt, all systems on alert.
Spiderman's 'turned over' too easy.
K.I.T.T.
You do have an alternative, Michael.
Arrange for a new meeting place.
Michael shakes his head "no."
MICHAEL
If he's straight, I don't want to
give him time to change his mind.
EXT. TOP OF DAM - DAY
We find Spiderman in the shadows -- a man who doesn't want
to be here. Camera zooms to:
BENSON
on high ground, carrying a high-powered automatic rifle,
equipped with scope. He looks across to and signals:
BLUE
crouched, armed with the same type of weapon. Receiving
Benson's command, he starts his move to the opposite side of
the dam.
EXT. CATCH BASIN DAM - DAY
K.I.T.T. approaches the basin from the upstream side.
There is a small pond of water where the stream is dammed
on its way to the spill gate.
INT. K.I.T.T. - DAY
Michael sits at the wheel and waits for K.I.T.T. to complete
his scan of the area.
K.I.T.T.
Michael, I have no way of determining
what is on the other side of the dam.
It is too large and solid a structure.
I believe you should use extreme
caution.
MICHAEL
Thank you, buddy. I intend to do
just that.
He opens the door and steps out.
EXT. CATCH BASIN - DAY
Michael crosses the base of the dam and finds a series of
steel rungs, on its face, leading up to the top. He begins
to climb.
EXT. TOP OF DAM - DAY
Spiderman stands with his back protected by one of the huge
concrete pillars. Michael climbs onto the rim and looks
around.
SPIDERMAN
Over here....
Michael crosses to him. Their eyes lock.
MICHAEL
Let's get to it. You and I both know
Keeler's waltzing through his training
sessions. He either intends to make
the rematch short and sweet for Grant,
or there's something wrong with him.
Spiderman is shocked by the bluntness of the question and
is caught off guard.
SPIDERMAN
How did you find out?
CUT TO
BENSON
angling his rifle.
BENSON'S POINT OF VIEW THROUGH SCOPE
Michael and Spiderman appear in the scope. (No crosshairs.)
RESUME ANGLE - MICHAEL AND SPIDERMAN
Michael reacts and hits the deck as the sound of a shot is
heard. Spiderman's eyes go wide as he's hit...He crashes
to the cement next to Michael.
BLUE
sighting through his scope, firing round after round.
RESUME ANGLE - MICHAEL AND SPIDERMAN
Michael lies flat and pulls Spiderman towards him as shot
after shot ricochet off the cement. Michael yells into his
comlink.
MICHAEL
Kitt...we're in a crossfire! I'm
coming down...Give me a smoke
screen....
K.I.T.T.
Of course Michael....
INT. K.I.T.T. - DAY
Lights race across his panel.
EXT. K.I.T.T. - DAY
Smoke from K.I.T.T. starts to work its way up the dam.
EXT. TOP OF DAM - DAY
Bullets continue to cascade around Michael, as K.I.T.T.
comes through his comlink, with:
K.I.T.T.
Michael, you're up too high. The
smoke dissipates before it can reach
you....
MICHAEL
Then I'll come closer...buddy!
Michael reaches out for Spiderman and drags him towards the
edge of the structure. Reaching it, he cradles Spiderman
in his arms.
CLOSER ANGLE
and we can see that Spiderman's life is slipping away.
MICHAEL
Hang in...just hang in.
SPIDERMAN
(forcing
the words)
Davis sent them....
Another salvo of bullets explodes around them. Michael
takes a deep breath, then, taking Spiderman with him,
slides off the edge of the dam.
EXT. SIDE OF DAM - DAY - THE LONG SIDE
Michael, cradling Spiderman, makes the long slide down the
side of the concrete barrier and splashes into the pool of
water below. And into the safety of the smoke.
BLUE
Lowering his rifle, he can't see.
BLUE'S POINT OF VIEW - SCOPE SHOT
K.I.T.T.'s smoke has blocked the entire area.
BENSON
lowering his rifle, shaking his head.
EXT. BASE OF DAM - DAY
K.I.T.T. screeches into frame, Michael shoves Spiderman
inside.
INT. K.I.T.T.
as Michael tromps on the accelerator.
VIADUCT
K.I.T.T. speeds out of the smoke and to safety.
INT. K.I.T.T.
Michael turns to Spiderman....
MICHAEL
I'll have you in a hospital in
minutes.
CLOSER
as Spiderman speaks -- the words barely audible:
SPIDERMAN
...Tell the Champ he didn't snuff
Samuells.
MICHAEL
(stunned)
What?...
Spiderman starts to speak...his mouth quivers but no words
come. A beat...and then he dies.
TIGHT ON MICHAEL
K.I.T.T.'S VOICE
He's gone, Michael.
Michael's reaction....
FADE OUT
END OF ACT TWO
ACT THREE
FADE IN
EXT. FOUNDATION - DAY - ESTABLISH
Then move:
INT. FOUNDATION - DAY
and find Devon, Michael and RC3 in a war council. RC3 has
an astonished look on his face.
MICHAEL
Spiderman died saying Keeler didn't
kill Samuells.
RC3
It fits the facts I picked up...
Simon P., the old guy, died peacefully
in his sleep. James Samuells got
fired for drinking, went on a three-
day binge. Died in his bathtub...Hot
water -- blood alcohol over 1.4.
(shrugs)
He bought the farm.
A beat to let this settle in...Then:
Michael shakes his head "no."
MICHAEL
There has to be a string that ties
it all together. Or, why would
Damon Leland want us to check on
Samuells' death?!
Michael paces.
MICHAEL
Let's go back to square one. Damon
Leland was trying to stop the rematch.
He must have known something no one
else knew.
RC3
Could he have heard something in the
post-fight 'rumble'?
(correcting)
I don't mean 'heard' -- I know he
was deaf. But maybe he was given
some inside information.
ANGLE FAVORING MICHAEL - INCLUDING DEVON AND RC3
Michael's eyes tighten with thought. RC3 has triggered
something. Devon shakes his head "no."
DEVON
Damon wasn't at the fight. He
watched it in his home -- on
television.
MICHAEL
Maybe that's the point. Let's
watch the fight the way he watched
it.
(beat)
Without sound.
Devon and RC3 shoot a look at Michael and we:
CUT TO
INT. MASTER CONTROL ROOM - DAY
Devon, Michael, RC3 and Bonnie are watching the large
monitor. The last few seconds of the fourteenth round are
in progress -- without sound. Keeler lets go a wild,
overhand right. Grant slips under it, lands a left,
unloads a devastating right to Keeler's temple. The blow
jerks Keeler's head sideways...His knees start to buckle...
The bell sounds, ending the round. The referee steps in
between the two fighters.
The tape continues to play as Bonnie asks:
BONNIE
What are we looking for, Michael?
MICHAEL
I'll know in the next minute....
ANGLE FAVORING MONITORING SCREEN
as it shows Keeler's corner between the fourteenth and
fifteenth rounds -- the cornerman, working frantically on
Keeler, as he whispers something (inaudible) to his
trainer, Spiderman.
MICHAEL
Freeze on that, back it up and blow
it up -- then tell me what Keeler is
saying. Tell me what Leland heard.
As her fingers play across the keyboard:
RC3
(gestures)
You've lost me....
MICHAEL
Damon Leland could read lips.
ANGLE ON SCREEN
The picture on the screen enlarges, and we see Keeler
mouthing some words. A beat...and then hear the sound of
the computer typing out words. (Or electronic voice.)
BACK TO SCENE
Bonnie waits for the completion of the print-out, tears it
off, hands it to Michael. He reads it out loud.
MICHAEL
Spiderman -- I can't focus...My arms
are numb. I don't know if I can
lift them...I'll try...I'll try....
Devon and Michael exchange looks...Then, Devon glances at
the screen.
DEVON
Bonnie, give us a shot of Keeler's
eyes.
Bonnie activates the system, and an extreme closeup of
Keeler's eyes appears on the monitor.
MICHAEL
Look at his right eye. It's dilated
...possible concussion, brain injury.
RC3
Then how did he pass the pretraining
medical for the rematch?
On Michael's look:
CUT TO
EXT. POSH MIDVALLEY MEDICAL COMPLEX - DAY
comprised of single-story buildings of Spanish decor. Find
K.I.T.T. parked in the visitor's lot in front of one of the
buildings, then move:
INT. MEDICAL BUILDING - OFFICE - DAY
Jean Tremount is sitting at her desk. Michael stands
before her, scanning a copy of the medical report. There
is a nervousness playing behind her eyes as she watches him
flip through the pages.
JEAN
The boxing commission has copies of
all Keeler's medical reports.
MICHAEL
Like you said, 'copies'...I have to
verify them against the originals...
it's routine.
Michael looks at Jean, smiles as he charms her....
MICHAEL
Besides, if I wasn't sent here I'd
have never met you, you're a very
attractive woman, Jean....
Jean seems flustered but pleased.
JEAN
Thank you, Mr. Knight.
MICHAEL
You're a rare combination of both
looks and aroma...what scent is it
you're wearing?
JEAN
Joi Die Vei...it's all I ever
use....
ON MICHAEL
A knowing beat, then:
MICHAEL
And you were wearing it the night
you met with Leland and he was
killed.
Michael flips the file on the desk...the papers scatter to
the floor...Michael gets stronger.
MICHAEL
Now where's the brain scan on Keeler
...is that what you sold to Leland?
NEW ANGLE
Jean starts to panic....
JEAN
I don't know what you're talking
about...I don't know a Leland and if
you want a copy of the brain scan
you'll have to see Doctor Simmons....
MICHAEL
Or maybe you didn't sell anything...
maybe you were there to set up
Leland's murder....
JEAN
No...No...I didn't do that!
MICHAEL
Then why were you there?!
JEAN
(coming apart)
I can't live with it any longer...
(blurts it out)
I did sell Leland the brain scan!
She breaks.
MICHAEL
I'm not here to hurt you. Pull
yourself together. I'll take you
someplace where you'll be safe.
Davis is covering his tracks with
dead bodies.
As Michael leads her to the door:
OMITTED
EXT. MEDICAL COMPLEX PARKING LOT - DAY - ON DOCTOR JACK
SIMMONS
crossing the lot from the far side -- directly opposite the
spot where K.I.T.T. is parked. He stops in his tracks as
he sees:
SIMMONS' POINT OF VIEW - MICHAEL
helping Jean into K.I.T.T.'s passenger seat. As Michael
crosses to the driver's side:
RESUME ANGLE ON SIMMONS
Panic registers as he takes cover behind one of the parked
cars.
INT. K.I.T.T. - DAY - MOVING SHOT
As they pull out of the lot:
MICHAEL
Kitt, can we reestablish files that
have been erased from a disk?
K.I.T.T.
Michael, I appreciate the fact that
you think my capabilities are inex-
haustible, but, I do have my limits.
MICHAEL
I only asked.
JEAN
It talks.
MICHAEL
It still didn't tell me what I wanted
to hear....
On Jean's frightened and confused reaction. Then:
INT. SIMMONS' OFFICE - DAY
Simmons races from the reception area into his office and
freezes. Panic mirrors on his face as he stares down at:
KEELER'S FILE
strewn on the floor.
INT. DAVIS' OFFICE - DAY - INTERCUT AS NEEDED
Davis is sitting behind his desk, his eyes bulging, the
phone to his ear. Benson is across from him.
DAVIS
You told me you destroyed those files!
SIMMONS
(into phone)
I did! These are fraudulent! But
Jean typed up the original medical
report. I don't know what's going
on -- but you didn't pay me enough to
lose my license. I plan on covering
myself -- up -- down -- and sideways.
ON DAVIS
Davis slams down the phone.
DAVIS
I don't intend to go to jail.
(to Benson)
You've never been in so you don't
know what it's like...They take away
everything. Everybody dressed alike
and you eat out of tin plates. I've
got millions of dollars and I'm not
going to eat out of tin plates!!
He stares at Benson. Benson, with a half grin, shakes his
head "no."
BENSON
...I'll get to Michael Knight...he
may be a 'pro' but I know his next
step. For enough money, I'll get
your troubles washed away.
Davis holds a beat, then nods....
CUT TO
INT. SEMI - DAY
Michael, Devon, RC3 and Bonnie listen while Jean reveals
her self-imposed nightmare.
JEAN
Keeler's cat scan showed brain damage
-- neuropathy of the arms. Jack
called Davis and told him that, if
Keeler went in the ring again, he
could suffer a permanent paralysis
-- Davis bought him off.
MICHAEL
Does Simmons know that you're aware
of all this?
JEAN
I'm aware of everything that happens
to Jack...I've been a lot more than
his nurse for nine years.
DEVON
Why did you contact Damon Leland and
not the authorities?
JEAN
For the money. Jack will never leave
his wife. I told myself it would be
a down payment on a new life. I had
wasted all these years.
Bonnie, feeling empathy, intercedes.
BONNIE
Jean, that's enough for now. Come
with me -- freshen up and, if you
want to talk things out -- I'm here.
All wait for Jean and Bonnie to exit the room...Then:
RC3
Someone with as fine-tuned a body as
Keeler has to know if something is
wrong with him.
Michael nods, agreeing. He moves to the phone, picks up
the receiver from its cradle, dials a number.
INT. KEELER HOME - DAY - TIGHT ON MRS. KEELER - INTERCUT
MICHAEL AS NEEDED
Mrs. Keeler has the phone to her ear.
MRS. KEELER
(into phone)
No...Michael, Bo isn't home.
MICHAEL
The training camp is closed for the
day. I have to reach him....
MRS. KEELER
(into phone)
He left a little while ago. Said he
wanted to think...My guess is you'll
find him in the L.A. viaduct.
There's an access ramp at Fourth.
Camera pulls back and we see that Benson holds a gun on
her....
CUT TO
EXT. LOS ANGELES VIADUCT - DAY
The wide, concrete canyon, with a monolithic wall
protecting each bank, stands, waiting, as K.I.T.T. drives
down the access ramp and proceeds along the smooth bottom.
INT. K.I.T.T. - DAY - MOVING SHOT
Michael looks around and then asks:
MICHAEL
Kitt, scan ahead and see if you can
locate Keeler.
INSERT
Lights play on K.I.T.T.'s panel and, on the display screen,
we see a three-dimensional diagram of the viaduct, with a
red dot indicating a figure a mile ahead, around a bend.
K.I.T.T.
I have a jogger a mile ahead.
Michael's eyes look ahead as K.I.T.T. speeds on.
EXT. VIADUCT - DAY
K.I.T.T. winds around the bend and disappears. Camera stays
on a huge iron door off to the side of the bank. It swings
open and water begins to gush from the dark interior of its
tunnel.
EXT. BEND - DAY - LONG SHOT ON JOGGER
running, with a towel over his head. A beat...and K.I.T.T.
comes into frame. The jogger looks back over his shoulder.
CUT TO
CLOSE ON JOGGER
and see that it's Blue -- not Keeler. Blue starts to race
towards the side wall of the viaduct.
INT. K.I.T.T. - DAY - ANGLE THROUGH WINDOW - MOVING SHOT
Blue scurries up the cement wall to gain the top.
K.I.T.T.
Michael, why is he running away from
us?
Before Michael can answer:
CUT TO
EXT. VIADUCT - DAY - WIDE ANGLE
Suddenly the floodgates on both sides of the viaduct start
to open and the water bursts through, like torrents of
rain.
ANOTHER ANGLE - A SERIES OF FLOODGATES
opening, one after another -- the water erupting from
within, bursting into the air!!
ANGLE ON K.I.T.T.
caught in the center of this deluge of water!
INT. K.I.T.T. - DAY - MOVING SHOT
The windshield and windows are blurred -- sound of torrents
of water crashing K.I.T.T.'s outer frame resounds and
resounds!
K.I.T.T.
Michael, the flood control systems
are being purged!
Michael, white-knuckled, gripping the wheel:
MICHAEL
Give me everything you've got!
Michael is jolted back in his seat as K.I.T.T.'s engine
roars as he shifts to maximum power!
ANOTHER ANGLE - K.I.T.T.
A blur in this manmade hurricane. The storm of water is
relentless as it continues to crash down on K.I.T.T.!
INT. K.I.T.T. - DAY - MOVING SHOT
The incursion from the floodgates shaking K.I.T.T. like a
toy!
K.I.T.T.
Michael, I'm starting to lose
traction -- I don't know if I can
outrace it!
ON MICHAEL
speechless -- his eyes transfixed -- as the muffled roar of
the onrushing wall of water grows louder and louder.
FREEZE FRAME
FADE OUT
END OF ACT THREE
ACT FOUR
FADE IN
EXT. VIADUCT - DAY
K.I.T.T. -- sliding -- spinning -- screeching -- clears the
gauntlet of cascading water.
INT. K.I.T.T. - DAY - MOVING SHOT - ON MICHAEL
Michael's eyes dart from side to side, trying to find an
escape route...He sees it!
MICHAEL'S POINT OF VIEW
an incline leading to a huge flood control tunnel.
MICHAEL
Kitt -- the tunnel!
EXT. VIADUCT - DAY - ON K.I.T.T.
bolts into motion -- his projections come out as he
obtains the super speed.
INTERCUT - K.I.T.T. AND THE WALL OF WATER
that has built from the purging of the systems in its race
to the entrance of the tunnel. Then, at the moment that
the water is about to engulf K.I.T.T., he reaches the
incline and, in a blur, disappears into the mouth of the
tunnel.
INT. FLOOD CONTROL TUNNEL - DAY
K.I.T.T. pulls to a stop.
INT. K.I.T.T. - DAY
Michael exhales, and then looks forward.
MICHAEL
Buddy, let's see if there's a way
out of here.
INSERT
A three-dimensional diagram of the underground tunnels.
RESUME ANGLE - MICHAEL
Michael's eyes are locked on the screen.
MICHAEL
Compute the speed necessary to reach
that intersection at D9...Buddy, the
only way out -- is up. Go for it!
Michael is propelled back into the seat by the G-force
increase.
INT. K.I.T.T. - DAY - MICHAEL'S POINT OF VIEW
K.I.T.T.'s headlights play on the walls around them. Items
flash by at such a rate that they are nothing but blurs.
INT. TUNNEL - DAY - INTERSECTION
Light shining through a large grate plays down upon the
area.
INT. K.I.T.T. - DAY - ON MICHAEL
as he shouts:
MICHAEL
Turbo boost!!
INT. TUNNEL - DAY - ON K.I.T.T.
The super booster ignites, and the nose of K.I.T.T. climbs
upward!
EXT. CITY STREET - DAY - ON LARGE GRATE
The grate crashes into the air as K.I.T.T. erupts up out of
the flood control system and lands on the street. The
tires grab to slow the car.
INT. K.I.T.T. - DAY - MOVING SHOT
As Michael steadies the wheel, a sigh of relief. Then:
MICHAEL
Buddy, have you ever heard the poem,
'How do I love thee? Let me count
the ways.?'
K.I.T.T.
Michael, this is no time for senti-
mentality.
MICHAEL
Right. Get me to the Keeler home.
It was a setup and Mrs. Keeler
wouldn't have put us in the middle
unless she was in danger.
DIRECT CUT TO
INT. KEELER HOME - DAY - ON MRS. KEELER
bound and gagged, tied to a chair in her living room. Angle
adjusts and we find Benson at the window, peering out.
EXT. KEELER HOME - DAY
Establish this well-appointed home, with its gated front
and long driveway that leads to the entrance. A beat...and
then K.I.T.T. slows as it moves into frame. The front gate
is open. K.I.T.T. moves through.
INT. KEELER HOME - DAY - ON BENSON
at the window. His eyes tighten as he sees K.I.T.T. coming
through the gate. He pulls his automatic out and races
from the room.
INT. K.I.T.T. - DAY - MOVING SHOT
Lights play on K.I.T.T.'s panel as he winds his way towards
the entrance to the house.
INT. KEELER HOME - DAY - FOYER
Benson turns the entrance door knob, pulls the door a half-
inch ajar. He then steps back ten feet and sets himself --
both arms extendedm holding the automatic cocked and ready.
He waits and listens. He hears K.I.T.T.'s door open and
close. A long beat...and then the doorbell chimes.
BENSON
It's open...Come on in.
Benson waits. The doorbell chimes again.
BENSON
(louder)
It's open...Come on in.
The door opens and Benson fires at the empty doorway.
Suddenly, from behind Benson, Michael moves into frame.
His arms are extended -- his fists, gripped together.
MICHAEL
Thank you, but I'm already here.
On this, Michael swings his arms like a baseball bat. His
gripped fists hit the point of impact -- the back of
Benson's neck.
SCENE
Benson goes sprawling. The automatic goes flying. And
Michael is on him in a flash.
Benson is quick -- Michael is quicker! It's a "no holds
barred" brawl. They use karate and good old-fashioned New
York street fighting. At some point, Michael delivers a
"gentlemanly-like" foot kick to the side of Benson's jaw.
This ends it. Benson crumples in a heap.
Michael, standing over him:
MICHAEL
Not nice...but, what do you expect
from an amateur?!
MICHAEL
races from the foyer into the living room.
NEW ANGLE
as he reaches Mrs. Keeler. Michael starts to untie her:
MICHAEL
Are you all right?...
Mrs. Keeler nods "yes."
MICHAEL
Use these ropes to tie up Benson.
I'll send help. I have to talk to
your husband before the police come
in on this. Do you have any idea
where he might be?
MRS. KEELER
(nods "yes")
...His church. The place he goes
when he's troubled.
CUT TO
EXT. OLYMPIC ARENA - DAY
Establish this old green, wooden and plaster building in
downtown L.A. and find K.I.T.T. parked at the foot of a
ramp which leads to a huge, wooden delivery door.
INT. OLYMPIC ARENA - DAY - WIDE ANGLE FROM ABOVE
In this long shot, we see Keeler in the empty arena -- in
the center of its square ring -- shadow boxing with slow,
deliberate moves. A man alone with his thoughts and
memories. We can almost sense the cheers of the crowd as
we watch the graceful moves of this old champion in his
imaginary bout with a ghost from the past. (There is an
overhanging "mike" above the ring.)
At some point, Michael appears from one of the lower
levels; the champion, unaware, as Michael moves to ringside.
NEW ANGLE
As Michael reaches ringside, the champ becomes aware of his
presence. He stops, moves to the ropes, drapes his arms
over, stares down at Michael. Without hostility:
KEELER
You just keep coming, don't you?
MICHAEL
Like you...I don't know any other
way.
A sad smile...and then Keeler looks around the arena.
KEELER
I won my championship here.
MICHAEL
(nods)
I was at ringside.
Their eyes lock. A long beat...Then:
KEELER
I never thought Davis would kill
Damon Leland, or Spider.
MICHAEL
Or have his muscle man hold your wife
under the gun to get to me.
KEELER
Where is she? Is she all right?
MICHAEL
She's safe now, but you're not. You
know what could happen if you'd
stepped into that ring with Grant.
KEELER
I might have got lucky and knocked
him out in the first minute.
MICHAEL
And you might have got dead. I know
Davis is holding something about
Samuells over your head -- but, what
could be so heavy that you'd risk
your life for it?
KEELER
I murdered Samuells.
Michael reacts -- stunned.
KEELER
He came into a booze joint I was
working. He pushed, and I hit him.
His friends carried him out and I
became Davis' piece of meat --
trimmed, cleaned up and bought. He
covered it all.
MICHAEL
No, Keeler...we've checked into
Samuells' death. That's not the way
it came down.
K.I.T.T. comes through Michael's comlink:
K.I.T.T.
(overlapping)
Michael!..Michael!
MICHAEL
Not now, Kitt.
K.I.T.T.
Yes, Michael -- now! I think you
should know that you're being
monitored from the sound booth and
more people in the arena....
Michael and Keeler whip their heads in the direction of the
sound booth.
ANGLES
Davis' henchmen appear and start toward the ring.
MICHAEL
He climbs into the ring next to Keeler.
INT. SOUND BOOTH - DAY
Davis at the control panel as Michael's voice booms through
the speakers.
MICHAEL
(filtered
voice)
Davis, you're up there and I want
you to hear it all!!
RESUME ANGLE - THE RING
Michael is now in the center of the ring, next to Keeler,
directly under the "mike," eyes locked in the direction of
the sound booth.
MICHAEL
We can prove that Keeler had nothing
to do with Samuells' death. We have
proof that you bought Doc Simmons....
INT. SOUND BOOTH - DAY - ON DAVIS
starting to shake in rage.
MICHAEL
(filtered
voice)
And we'll nail you for the murders of
Damon Leland and Spiderman.
RESUME ANGLE - RING
Keeler makes a move to break from the ring. Michael grabs
him.
KEELER
(deadly)
I want him...I want Davis!
MICHAEL
Then let's see if he'll come down
and play.
Directing his voice to the sound booth:
MICHAEL
Davis, you're too soft to run and
too big to hide! We're going to
get you, Davis, and take all your
toys away -- your house...your
wardrobe....
INT. SOUND BOOTH - DAY
Davis, shaking with rage....
MICHAEL
(filtered
voice)
Everything! So let's end it right
here!!
DAVIS
(explodes)
Get them! Get them now!
INT. ARENA - DAY - ANGLE ON RING
Michael and Keeler stand back to back in the ring. Both
men react as they see:
WIDER ANGLE
Davis' men, led by Blue, spreading out, "circling the
wagons," racing to come at Michael and Keeler from every
possible angle.
RESUME ANGLE - MICHAEL AND KEELER
eyes darting from ramp to ramp as Davis' men near.
MICHAEL
Make sure you protect your head?...
KEELER
Yeah...and make sure you can fight
as well as you talk.
MICHAEL
I've got a great cornerman...
(into comlink)
Kitt!
As Davis' men start to make a move to climb into the ring:
EXT. OLYMPIC ARENA - DAY - ON K.I.T.T.
as his motor comes to life. The rear tires smoke as they
spin backwards. He spins into a 180, starts a sweeping
curve. Then, full bore, makes his run towards the ramp that
leads to the huge wooden door.
K.I.T.T.'s tires hit the ramp and he speeds towards the
arena.
INT. ARENA - DAY - RING
Blue and another pug have gained the ring. Keeler is
whaling away at Blue; Michael is getting none the best of
it. Davis' other four men are starting their climb into
the ring.
INT. ARENA - DAY - THE HUGE DOOR
it explodes with sound and splinters as K.I.T.T. comes
hurtling through!
THE RING
All men freeze -- stunned -- except:
MICHAEL
who uses the moment to let go a "haymaker" directly at his
opponent's chin.
K.I.T.T.
landing on the arena floor, does a 180 to cut off two
additional henchmen coming into the fight....
DAVIS
on an upper level -- bug-eyed -- frozen, for a beat...Then
he starts to run.
RING AREA - SERIES OF CUTS AND ANGLES - ON MICHAEL
as he looks up, sees Davis making his break. He vaults the
ropes and starts to race towards a cutoff path.
On Keeler finishing off Blue with a series of crushing
blows as another pug comes at him.
DAVIS
coming down a stairwell, reaching a lower level corridor.
MICHAEL
full out, rounding the corridor from the opposite direction.
CORRIDOR - EXIT DOOR
The escape route -- clean -- as Davis enters frame,
wobbling towards the door. His eyes go wide as Michael
comes hurtling into frame.
Michael catches Davis with a body block that sends him
smashing against the corridor wall. Davis crumples to the
floor.
Michael gains his feet, bolts to and over Davis. Davis,
between gulps of breath as he looks up at Michael:
DAVIS
Don't hit me!..Don't hit me!!
Please!!! I think I'm going to
have a heart attack!!
Michael, staring down at him, wanting to throw a punch --
but doesn't, as Davis continues:
DAVIS
It's true...I got a bad heart...I
could die.
MICHAEL
Do it, Davis -- and save the state a
ton of money.
Michael reaches down, grabs Davis by the front of his
shirt, pulls him to his feet, spins Davis and pushes him
towards the interior of the arena.
ON MICHAEL
knowing he shouldn't, but can't resist...he lets go a drop
kick and we know where it's going to land as we:
FREEZE FRAME
FADE OUT
END OF ACT FOUR
TAG
(TO FOLLOW)
OMITTED
