ACT ONE
FADE IN
EXT. MALIBU BEACH HOUSE - DAY - ESTABLISHING
K.I.T.T.'s parked in front. Push in and:
DISSOLVE TO
EXT. BEACH - DAY
The water's edge. A head bobs to the surface -- a diver.
ANOTHER ANGLE - THE DIVER
furtively checking the coast before coming out of the water.
ON TWO JOGGERS
as they near. The diver goes back underwater, then
resurfaces.
ANGLE - WATER
The worried diver, hand on spear gun leaves the surf and
approaches the house. She removes her gear and looks up at:
HER POINT OF VIEW - THE HOUSE
Push in and:
DISSOLVE TO
INT. BEDROOM - ON MICHAEL
standing in front of a full-length mirror, looking very
dapper in an elegant three-piece suit. At the moment, he's
struggling with the tie.
ANGLE - HALLWAY - CLOSE ON FEET
as they stealthily move to an open door, bare, still
glistening from the ocean water, silent on the carpet.
CLOSE - MARIE ELENA
as she looks into the room.
HER POINT OF VIEW - MICHAEL
yanks the tie apart and tries again. He glances up, sees her
in the mirror, startled.
MICHAEL
What are you doing?
NEW ANGLE
as Marie Elena enters the room.
MARIE ELENA
I need a towel.
MICHAEL
Help yourself.
She disappears into the bathroom for a moment.
MICHAEL
I told you not to go outside -- how
am I supposed to protect you if you
keep....
MARIE ELENA
(reentering)
I was underwater, Michael. No one
could see me.
She puts the towel around herself, as Michael gives up on
the tie.
MICHAEL
(frustrated)
Whatever happened to those neat
little clip-on numbers I wore when I
was a kid?
Marie Elena crosses to him, taking matters into her own
hands, quite literally, giving Michael a chance to study
her face closely. He teases her a little.
MICHAEL
I'd say you've had some practice at
this.
MARIE ELENA
Some.
MICHAEL
Recently?
She ignores him.
MICHAEL
You don't have to be so secretive ---
Still no answer.
MICHAEL
-- after all, we're living together.
MARIE ELENA
Working together.
MICHAEL
I was just trying to be friendly.
She smiles matter-of-factly, humoring him.
MARIE ELENA
After you prevent my father's
assassination, then I can tell you
all about me...and you can tell me
all about you, and we will have a
lovely time. There. How's that?
She stands back to admire her handiwork. Michael turns
back to the mirror, critical.
MICHAEL
I feel silly.
MARIE ELENA
Well, you look very handsome. All
the girls will love you madly.
She takes a fresh carnation from a vase, snaps off the
stem, and sniffs it.
MICHAEL
Jealous?
MARIE ELENA
(puts flower
in his lapel)
Of course not. Because at the end
of the evening, you will come home
to me. Right?
She exits and he turns back to his reflection.
MICHAEL
(to himself)
She's dangerous.
OMITTED
INT. LIVING ROOM
A look around the place -- it's no shack. Nice
furnishings, a wall of windows that open onto a deck
overlooking the Pacific. Marie Elena moves through the
living room and gazes out the window. A beat, then Michael
appears. He watches a moment as she stares at the sea.
Then he crosses to a table by the window, picking up a pair
of binoculars.
MARIE ELENA
Isn't it a shame...Devon went to all
the trouble to rent this place, and
we can't even enjoy it.
MICHAEL'S POINT OF VIEW
down the beach and set atop a bluff, an elegant home.
There seems to be some activity.
RESUME SCENE
MICHAEL
Looks like Rudy's guests are
starting to arrive.
He holds the binoculars out to her.
MICHAEL
Take a look?
Marie Elena's face hardens.
MARIE ELENA
No, thank you. If there wasn't a
chance I might be of some help, I
wouldn't even be this close to that
...assassin. Any guest of that
murdering son-of-....
She stops herself.
MICHAEL
Rudy del Fuego is a powerbroker not
a murderer.
MARIE ELENA
Well, maybe he's not going to pull
the trigger himself, but he's just
as guilty.
MICHAEL
(disgust)
Politics.
MARIE ELENA
This is more than just politics,
Michael. The President of San
Mirada is my father.
MICHAEL
I know. And I'll do everything I
can to help you.
He moves to the door as she picks up something from the
table.
MARIE ELENA
Michael...They won't let you in
without this.
Sheepishly, Michael takes the invitation from her.
MARIE ELENA
How did Devon get his hands on an
invitation, anyway?
MICHAEL
It's all a matter of knowing the
wrong people.
And he's gone.
CUT TO
EXT. COAST HIGHWAY - DAY - RUNBY
Hot music in b.g.
OMITTED
EXT. RUDOLPHO'S HOUSE
An assortment of expensive cars line the driveway. Good
jazz can be heard piped in on an expensive sound system
both inside and outside the house. K.I.T.T. is pulling up
near the front door. A red-jacketed valet parking
Attendant runs to open the car door. Michael opens the
window.
MICHAEL
I'll park it myself, thanks.
ATTENDANT
(offended)
Hey, it's okay -- I've driven one of
these before.
MICHAEL
It's been acting kinda funny lately
-- so if you'd just point out a good
spot....
The Attendant knows the perfect spot, but instead he shrugs
and points.
ATTENDANT
Whatever -- anywhere along there's
fine.
Michael follows his directions. As he pulls away, the
Attendant turns to a rather large, out-of-place fellow,
watching. His name's Ray -- and he's making sure no
uninvited guests crash the party.
ATTENDANT
Some people'll do anything to save a
buck.
(beat)
It's gonna cost him plenty.
INT. RUDOLPHO'S HOUSE
The party is in progress. The jazz is a touch louder, the
guests mingling and wandering indoors and out. Angle adjusts
to include the door as Michael enters. He's stopped briefly
by Jerry -- Ray's partner -- and produces the invitation.
Jerry nods and lets him pass through. Michael moves slowly
through the room, studying it.
NEW ANGLE - RUDY DEL FUEGO
stopping to shake a hand here, kiss a cheek there.
MARGO
Rudy!
RUDY
I'm so glad you made it, Margo -- I
thought you were out of town, Larry!
You son-of-a-gun -- how long has it
been? Did you see Tomas and Kiki,
huh? They're over by the bar...they
were asking about you....
Etc., etc. As he nears Michael, a short glance of non-
recognition, which Michael avoids by turning to a tray-
carrying waiter passing by with champagne glasses. He
grabs two of them and heads purposefully away from Rudy,
directly toward a lone young woman standing by the
fireplace. Her name is Micki, and if she weren't so lovely,
she might be thought a wallflower.
ANGLE - MICHAEL AND MICKI
as he reaches her, sticks one champagne glass in her hand,
and kisses her on the cheek.
MICHAEL
There you are, my love....
She stares at him, speechless, as he glances back and sees
Rudy once again occupied.
MICHAEL
Have a nice time ---
And he leaves her standing there, placing his own glass,
still full, on the passing tray of another waiter, and
moving away. Micki shrugs helplessly and takes a long sip
of the champagne.
EXT. RUDOLPHO'S HOUSE - ON K.I.T.T.
sitting nice as you please behind another car. Close behind
him, on his tail, the Attendant parks a car. He gets out,
checks the space between bumpers and, satisfied, moves away.
EXT. GARDEN
Michael wanders through -- waiters pass in and out of the
kitchen. Lining the hall are small groups deep in conver-
sation. He maneuvers his way through, passing two of the
men. One of them is kibbitzing, the other quieter fellow
reacts to the sniping quips, but remains silent.
MALE GUEST #1
It's all over for him....
Michael hesitates, pauses to study a painting on the wall.
MALE GUEST #1
(continuing)
I mean, the kind of money he spends
...on three flops in a row. He won't
direct another film for a long time.
(shrugs)
I always said the guy couldn't
direct traffic.
Disappointed, Michael moves on. A beautiful woman touches
his arm.
MARGO
Hello darling -- how have you been?
MICHAEL
(charming)
Hello -- fine. And you?
MARGO
It was Rio, wasn't it? Two years
ago last spring?
MICHAEL
Rio?
MARGO
You must try Rudy's hot tub, darling.
It'll bring back memories.
MICHAEL
(feigns
disappointment)
I'd love to...but I forgot my swim
suit.
She starts to laugh delightedly.
MARGO
Your swim suit...that's...
(beat;
realizing)
You're serious -- We didn't meet in
Rio, did we?
He shakes his head.
MARGO
Forgive me. I didn't recognize you
with your clothes on -- I mean --
never mind. Try the hot tub anyway.
And she flits away.
INT. HALLWAY - DAY
Michael moves to a door, starts to open it when he feels
a hand on his arm -- a big, rough hand.
JERRY'S VOICE
That's off limits, friend.
Angle adjusts to include the bodyguard. Jerry smiles, but
is firm.
MICHAEL
Someone said this was the bathroom.
JERRY
(shrugs)
'Someone' obviously made a mistake.
Try down there ---
He indicates a nearby door, three or four people outside.
MICHAEL
Sorry -- Hey! Rio...two years ago
last spring, wasn't it?
(beat)
No -- I guess he just looked like
you.
He moves to the end of the line -- keeping an eye on Jerry,
who's keeping an eye on him. Micki, the girl with the
champagne glass, moves in behind him. She's a little tipsy.
MICKI
Do I have to take a number or
something?
He turns to her. She reacts.
MICKI
Oh, it's you -- thanks...
(at his
blank look)
...for the champagne. Remember?
MICHAEL
Of course -- my pleasure.
MICKI
Actually, I'd already decided I'd
had more than enough -- but since
you delivered it so nicely....
She giggles. Two people come out of the bathroom together
...two more go in. Micki looks at Michael, wide-eyed, and
giggles again.
MICKI
I don't think I want to know ---
He laughs.
MICKI
What's your name, anyway?
MICHAEL
Michael....
MICKI
No kidding -- they ever call you
Mickey?
MICHAEL
Never.
MICKI
Good -- it could get confusing. I
mean, that's my name. Micki. With
an 'i'. It's a dumb name, but it's
the only one I got --
(a beat;
frowns)
-- I feel kinda funny. I think it
was that last glass of champagne.
MICHAEL
I'm sorry.
MICKI
It's okay -- I'm a big girl. I
think I'd better find a place to lie
down.
MICHAEL
(concerned)
Take it easy ---
She nods, looking a little green around the gills, and
wanders off.
MICHAEL'S POINT OF VIEW - JERRY
still guarding the door. Rudy moves out and confers with
Jerry, then heads upstairs. Jerry moves away, back to the
party.
RESUME MICHAEL
With Jerry no longer watch-dogging, Michael's free to move
on...right to the now-empty room.
INT. STUDY
Michael slips inside, shutting the door behind him. He
moves to the desk and goes through the drawers. A couple
of them are locked, the ones that aren't are uninteresting.
INT. MASTER SUITE
It's a large room, the king-sized bed is covered with all
manner of coats -- most of them furs. There's a partition
and a sitting area -- couch, easy chair, fireplace, small
liquor cabinet.
ANGLE - SITTING AREA
Rudy and his guest, David Burns, talk casually -- they
might as well be discussing the Dow Jones averages -- as
Rudy fixes a couple of drinks.
RUDY
You trust this man...this Frenchman?
BURNS
He's the best -- purely business.
No political or personal axes to
grind.
RUDY
Not like us, eh David?
BURNS
(shrugs)
That's your business. All I care
about is protecting my investments.
RUDY
You seem to be doing all right.
BURNS
It's all on credit. Nearly
everything I have went into San
Mirada's emerald mines -- on your
assurances that your friends would
remain in power there.
(beat)
We both have a great deal to lose,
my friend.
CUT TO
INT. STUDY - MICHAEL
taking photos with a cigarette lighter camera.
INSERT - APPOINTMENT BOOK
He flips the pages, copying Rudy's schedule...a set of
initials here, a flight number there, the name of a
restaurant, etc.
RESUME MICHAEL
He closes the appointment book and, slipping his notes into
his pocket, crosses quickly to the door.
INT. HALLWAY
as Michael closes the door behind him, checks around, then
casually blends back into the partygoers.
INT. MASTER SUITE - BURNS AND RUDY
moving toward the door.
RUDY
We'll go down now and enjoy the
party -- There's a young lady I want
you to meet....
He glances down, stopping, his face hardening.
ANGLE - BED
Micki's high-heeled foot protrudes from under the sable.
Rudy reaches down and pulls the coat back. Micki's eyes
fly open -- she smiles shakily.
MICKI
Hi -- I must've fallen asleep.
(sits up)
It's very comfortable -- a little
warm maybe....
They're not buying it and her smile disappears as we:
DISSOLVE TO
INT. DOWNSTAIRS
Michael tries an hors d'oeuvre, grimaces and puts it back.
He glances up to see:
POINT OF VIEW - STAIRS
Ray is carrying something down the stairs. Jerry and Rudy,
in conference, block the view as Ray disappears out the
door. Jerry stops to pick up a fallen object -- a woman's
shoe. Then he follows Ray out.
RESUME MICHAEL
worried.
POINT OF VIEW - RUDY
turns, puts on a smile, and moves back to the party.
RESUME MICHAEL
MICHAEL
(into watch)
Kitt -- go into surveillance mode,
and meet me at the door!
EXT. HOUSE
K.I.T.T.'s engine starts and the surveillance lights go
into action.
INSERT - DASHBOARD - STOCK
as the gears shift from "Park" to "Drive."
ANGLE - K.I.T.T.'S BUMPER
as it connects lightly with the rear bumper of the car in
front of him -- and keeps going!
INSERT - SERIES OF SHOTS
as each car's bumper connects with the one in front of it,
each with more force than the one before.
EXT. HOUSE - MICHAEL
exits, looks for K.I.T.T.
EXT. HOUSE - K.I.T.T.
has managed to push enough cars forward to clear a space
for himself. He reverses, then pulls around the car beside
him. He reverses up the driveway toward the house.
ANGLE ON ATTENDANT
watching, astonished, as the car speeds past him,
driverless. He looks around him, self-consciously, trying
to maintain composure.
ATTENDANT
Hey...What's going on...
(a beat)
I mean, am I on television, or what?
ANGLE - MICHAEL
as K.I.T.T. reaches him.
INT. K.I.T.T.
as he takes off.
K.I.T.T.
I would've been here sooner, but you
didn't tip the valet.
MICHAEL
A car just left here -- two guys.
K.I.T.T.
And a female in the backseat.
Apparently unconscious. They turned
right at the end of the driveway.
(disdainful)
A grey Seville.
INSERT
Michael punches up K.I.T.T.'s tracking screen. The figure
representing the Seville has a decent lead on them.
EXT. K.I.T.T.
turning onto the highway.
K.I.T.T.'S VOICE
Shall we overtake them?
MICHAEL'S VOICE
Not yet -- I want to see where
they're headed.
INT. SEVILLE - MICKI - HANDHELD
unconscious on the backseat. Camera adjusts to Jerry
(sitting shotgun) as he glances back at the girl.
VARIOUS SHOTS
The Seville speeding down the highway, K.I.T.T. a safe
distance behind.
INT. SEVILLE - MICKI
leaning against the right-hand door. Her eyes flutter open
and adjust to her surroundings. As it all comes back to
her, she shuts them again, taking a shaky breath.
RAY'S VOICE
Any ideas what to do with her?
JERRY'S VOICE
Let's keep it simple -- there's a
whole ocean out there. Might as
well use it.
Micki reaches for the door handle, but Ray sees her and
reaches into the back. Micki fights, grabbing his arm.
The car swerves. Jerry takes over, trying to subdue her,
but she bites and kicks and screams.
INT. K.I.T.T. - DAY
Michael sees the Seville swerve.
MICHAEL
Hey, what's going on?
K.I.T.T.
I would guess the female is now
conscious.
MICHAEL
Let's go.
ANGLE - K.I.T.T.
K.I.T.T. passes and pulls ahead of them.
THE SEVILLE
tries to go around Michael, but he weaves back and forth,
preventing it.
K.I.T.T.
turns sideways, doing a brodie, and blocking the Seville's
progress. The Seville tries to brake, skidding.
INT. SEVILLE - ON RAY AND JERRY
RAY
Who's that guy, anyway?
JERRY
Who cares -- we're gone!
ANGLE - MICKI
her hand on the door handle.
MICHAEL'S POINT OF VIEW
As the Seville hugs the shoulder of the road, the door
opens and a furry object rolls out, over the edge of the
bluff, and disappears.
MICHAEL
Kitt!
The Seville does a 180o and heads back down the highway.
K.I.T.T.
I'm afraid that was your unconscious
female.
Michael jumps out of the car as we:
FREEZE FRAME
FADE OUT
END OF ACT ONE
ACT TWO
FADE IN
EXT. CLIFF - DAY
Michael ties a rope around himself. The other end is
anchored to the front of K.I.T.T., who has his scanner
flashing. He glances over the edge of the cliff.
MICHAEL'S POINT OF VIEW - OVER THE EDGE
Micki's fur-encased frame lies on the sand below.
BACK TO SCENE
as Michael, worried, starts down the cliff.
ANOTHER ANGLE - MICHAEL
repelling down the cliff.
OMITTED
ON MICHAEL
as he reaches Micki and gently turns her over.
ANGLE ON MICKI
There is a trickle of blood coming from her right temple.
She's unconscious.
NEW ANGLE
MICHAEL
(relieved)
Good thing you had one too many.
(into watch)
Kitt.
K.I.T.T.'S VOICE
Yes, Michael.
Michael ties the rope around Micki and checks the tension.
MICHAEL
(into watch)
Go ahead and bring us up.
Michael and Micki begin to ascend. He places his body
cliffside to protect her.
ANGLE - K.I.T.T.
the steady whine of his electronic winch pulls in the rope.
OMITTED
ANOTHER ANGLE - MICHAEL AND MICKI
as they climb. They are almost at the top when they stop.
Michael struggles for footing. He can't find it.
MICHAEL
Kitt!!
INSERT - ON K.I.T.T.
Steam coming from the winch.
K.I.T.T.
Michael, the pulley is overheated --
I'm cooling it now.
ANGLE ON MICHAEL AND MICKI
as Michael grabs hold of a rock and pulls them to safety.
K.I.T.T. (v.o.)
It's ready now.
MICHAEL
(exhausted)
Terrific!
CUT TO
INT. BEACH HOUSE - NIGHT
Devon, Marie Elena, and Michael are in the living room.
DEVON
Temporary memory loss?! You mean
she's got amnesia?
MICHAEL
Not exactly. The doctor said some-
times a trauma can cause kind of a
psychological block. It's possible
she could remember certain things....
DEVON
I don't want her getting in the way
of your work.
MICHAEL
All I know is those two guys from
the party weren't exactly taking her
for a joyride.
MARIE ELENA
Yes, but what if she's a spy? What
makes you think she isn't secretly
working for Rudy?
She begins pacing nervously.
MICHAEL
Probably the fact that he tried to
have her killed.
(to Devon)
What I'd like to find out is why.
MARIE ELENA
I don't like this. We're playing
right into the hands of that jackal.
MICHAEL
Trust doesn't come easy for you,
does it.
MARIE ELENA
There is no time left for trust.
She gives him a harsh gaze.
CUT TO
INT. RUDOLPHO'S BEACH HOUSE - THE STUDY - NIGHT
Rudy and Burns are in a discussion. Jerry and Ray flank
Burns.
BURNS
But you didn't check to see if she
was dead?
JERRY
She went over...I saw it. When that
car got in the way, I figured the
best thing to do was get outta there
fast.
RUDY
The best thing is to finish the
job. This wouldn't have happened in
my country....
BURNS
(interrupts)
In your country, Rudy, they shoot
first and ask questions later.
(to Jerry
and Ray)
I want you to check the beach for
tire tracks, anything. And watch
her house -- if she's dead, bury
her. If she's alive, I want to know
who she talked to and what she said.
JERRY
Yes, sir.
RUDY
What about this man in the car --
this Knight? He may be her boy-
friend.
Jerry and Ray look at Burns. He nods.
BURNS
Find out.
The boys exit.
RUDY
Should we tell the Frenchman about
the girl?
BURNS
(laughs)
You don't notify professionals of
his sort...you simply hire and pay
them.
RUDY
(more secure)
In that case, I once again put my
trust in you, David Burns.
Rudy pours two shots of Chartreuse liqueur.
BURNS
Isn't it a little early for that?
RUDY
Too early -- to celebrate success
and friendship?
(indicates
glass)
Lovely color, isn't it. The color
of money.
BURNS
(toasting)
Yes, and emeralds.
DISSOLVE TO
INT. HOTEL ROOM - NIGHT
A handsome man is reaching into his coat pocket. He
removes a leather wallet as a bellman closes the drapes
and turns down the bed.
FRENCHMAN
Tres bien. That will be all.
Merci.
He hands him the tip, and the bellman leaves. The
Frenchman opens his suitcase, removes some clothes and
then the false bottom of the case.
ANGLE ON DISASSEMBLED GUN
as the Frenchman removes it. His hands are beautiful,
strong and steady as he assembles the gun.
CUT TO
EXT. BEACH - NIGHT
The same cliff area where the accident occurred. Jerry
and Ray, with a high-powered flashlight, shining it along
the rocks below.
JERRY
This is useless. We can't even get
down there.
RAY
So what do we do?
JERRY
We come back in the daylight with a
boat.
And they head to their car.
DISSOLVE TO
EXT. EQUESTRIAN SHOWGROUNDS
The Frenchman wanders through a group of horse trailers...
finds the correct one, unlocks the back, climbs in and hides
his case behind blankets and saddles.
INT. BEACH HOUSE - DAY
Just inside the sliding door, Marie Elena has set up her
own little "beach." A chaise lounge, suntan lotion, a
transistor radio at her side. She is stretched out on a
towel in a bathing suit, trying to absorb whatever rays she
can. Michael enters from upstairs, but doesn't announce
his presence until he's had a chance to look "things"
over. She looks up, sensing his presence.
MARIE ELENA
Is this safe enough?
Michael moves to the binoculars.
MICHAEL
Perfect.
(beat)
I'm sorry, but if we can see Rudy
through these, there's a chance he
could see you.
Marie Elena moves to him, looks through the glasses.
Michael sniffs appreciatively.
MARIE ELENA
Coconut oil...make you feel like
having a pina colada?
MICHAEL
Or something....
Micki appears in the doorway, wearing Michael's oversized
dress shirt, looking very vulnerable and sexy. She's
groggy, but aware enough to be worried.
MICKI
Excuse me, but where am I?
Michael rushes to her side and has her sit down. Marie
Elena follows him...more cautiously, putting on a beach
cover-up.
MICHAEL
(gently)
Good morning, Micki. I'm Michael,
remember?
MICKI
(confused)
Micki? Who's Micki?
There is a beat as Michael and Marie Elena look at each
other.
MICKI
Hey, what's going on here?
MICHAEL
There was an accident yesterday.
You have...a temporary memory loss.
MICKI
Then it wasn't a dream. Do I know
you?
MICHAEL
Michael Knight. We met yesterday
at a party.
MICKI
Look, I don't meet guys at parties
and go home with them...
(beat)
...I don't think.
Micki becomes more upset. She stands, looks outside, looks
in a mirror at herself.
MICHAEL
Do you remember anything at all?
MICKI
Not really -- nothing that make
sense.
(beat)
There was the ocean...and a man. No
-- two men. And I felt like I was
falling...
(beat)
I don't understand.
MARIE ELENA
We think they wanted to kill you.
The two men.
MICHAEL
(quickly)
But you're safe here...very safe.
I'm the one who found you.
MICKI
Why would anyone want to kill me?
MICHAEL
We were hoping you'd tell us.
They all sit looking at her...a light seems to go on in
Micki's eyes.
MICHAEL
Did you think of something?
MICKI
Well, kind of...I'm hungry.
Marie Elena shows her disappointment, as Michael tried to
cheer her up.
MICHAEL
Sure -- I'll order in whatever you
want. Burgers, fries, malts. You
like burritos?
MICKI
(looks sick)
It's not fair.
MICHAEL
What's that?
MICKI
How come I know I hate burritos and
I don't know my last name?
MICHAEL
Does Rudolpho del Fuego ring a
bell? Or San Mirada?
MICKI
If those are restaurants, I just
told you I don't like Mexican food.
Michael shakes his head. Tears well up in Micki's eyes.
Marie Elena takes pity on her.
MARIE ELENA
Don't worry, we'll help you remember
...Did you take a purse to the party?
MICKI
Sure, I mean, I must've...don't you
think? Maybe I dropped it.
MICHAEL
I'll go look on the beach.
(to Marie Elena)
If either of you need me -- you have
the comlink.
Micki stops Michael as he's leaving.
MICKI
Michael, thank you. Both of you.
MICHAEL
No problem. You're a nice lady.
MICKI
(thoughtful)
Am I?
(beat)
Somebody doesn't think so.
Michael and Marie Elena exchange a look and he leaves.
DISSOLVE TO
OMITTED
EXT. K.I.T.T. - DAY
as Michael drives.
ANGLE ON K.I.T.T.'S HOOD
shiny and sleek, reflecting the bright sun.
EXT. HIGHWAY - K.I.T.T. - DAY - DRIVEBY
Some hot music on the radio.
INT. K.I.T.T. - DAY
K.I.T.T.
Michael, there were a substantial
number of vehicles at the party last
night. Doing a comparative analysis
of license plates can be very involved
...sometimes as far back as the
factory where the car was made.
MICHAEL
Kind of like a family tree.
K.I.T.T.
I hate to break this to you, but
automobiles are not human...they
have no lineage or personality.
MICHAEL
I don't know why I keep forgetting
that.
K.I.T.T.
You've probably begun to form a
psychological attachment to me.
That would be a logical human
response.
MICHAEL
No, I think it was the '56 Chevy I
had when I was in high school. I
loved that car.
K.I.T.T.
Really.
Michael smiles at K.I.T.T.'s reaction.
ANGLE - K.I.T.T. - DAY
as the Trans Am parks at the cliff.
INT. K.I.T.T. - DAY
Michael presses a couple of buttons.
MICHAEL
Kitt -- go into surveillance mode.
Michael starts to get out of the car.
K.I.T.T.
Michael.
MICHAEL
Yes, Kitt.
K.I.T.T.
Could your 1956 Chevrolet go into
surveillance mode?
Michael smiles broadly.
MICHAEL
No, but we sure had some great times
cruising hamburger joints.
Michael gets out of the car quickly. For once he has the
last word.
EXT. CLIFF - DAY
Michael makes his way down the cliff again, all the while
looking for the purse.
ANGLE ON THE SHORE - JERRY AND RAY
pulling a Zodiac onto the sand. They turn and see Michael.
OMITTED
BACK TO MICHAEL
The sound of the waves breaking mutes the arrival of the
boat.
ANGLE ON K.I.T.T.
Surveillance lights flashing.
BACK TO MICHAEL
as he sees something. He detaches himself from the rope --
the rest of the climb down is easy. He reaches between
some rocks and comes up with an evening bag. His watch
beeps.
MICHAEL
Yes, Kitt.
K.I.T.T.
My sensors show that you have two
visitors.
Michael looks up and sees Jerry standing above him on the
rocks.
MICHAEL
Nice day for the beach.
WIDER
to see Ray to the side of him.
RAY
(closing in)
You always carry a purse when you go
to the beach?
MICHAEL
Yeah, it keeps my suntan lotion from
melting.
Michael backs toward the rocks, stopping at the sound of a
gun being cocked.
JERRY
Hold it.
Michael turns to face the gun...he stops, looks at the
purse.
MICHAEL
Sometimes it attracts the wrong type
of people.
(into watch)
Kitt.
EXT. CLIFF - DAY
K.I.T.T.'s engine roars into action.
INSERT - INT. K.I.T.T.
His dashboard flashes from "Park" to "Drive" -- "4-Wheel."
EXT. K.I.T.T. - DRIVERLESS
as he moves out along the edge of the cliff.
EXT. BEACH - JERRY, RAY AND MICHAEL
JERRY
Just give us the purse.
EXT. CLIFF
K.I.T.T. backs up.
INSERT - DASHBOARD
activates Turbo-Thrusters.
RESUME K.I.T.T.
He charges forward -- toward the cliff's edge!
FREEZE FRAME
END OF ACT TWO
ACT THREE
FADE IN
EXT. BEACH - DAY - MICHAEL, RAY AND JERRY
Ray steps forward, taking the purse.
MICHAEL
I didn't realize -- I mean, it
doesn't go with your outfit or
anything.
RAY
It's my mother's....
Suddenly there's a crunch. Ray and Jerry turn as K.I.T.T.
lands on the sand and heads toward them.
ANGLE - MICHAEL
He leaps onto Jerry's back, knocking the gun from his
hand. Jerry reaches for it, but Michael manages to knock
it away.
ANGLE - K.I.T.T.
spins around, spraying sand into Ray's face. He sputters
and takes off blindly toward the shore.
ANGLE - JERRY AND MICHAEL
tussle in the sand, each getting in their share of
punches. One knocks Michael down long enough for Jerry to
take off after his partner.
ANGLE - K.I.T.T.
pulls up by Michael, who climbs in. They pursue Jerry
along the shoreline, by passing him in favor of Ray.
CLOSE ON RAY
Cut off from the boat, he dodges the car, rolls in the
sand, and drops the purse.
JERRY
in the Zodiac, starting the engine, and pulling away from
shore.
JERRY
Ray! Move it -- let's get outta
here.
RAY
splashes into the tide as his partner pulls him onto the
boat.
INSERT - PURSE
lying in the sand.
INT. K.I.T.T.
as they follow the Zodiac along the shore.
EXT. BEACH - WIDE ANGLE - K.I.T.T.
driving down a road that parallels the beach.
ANGLE - K.I.T.T.
slides to a stop where the road ends.
INT. K.I.T.T.
K.I.T.T.
I'm afraid this is as far as we go,
Michael.
MICHAEL
That's okay -- let's go back and get
what we came here for.
(beat)
And don't worry, pal. I'll speak to
Bonnie about adding pontoons.
CUT TO
INT. BEACH HOUSE - CLOSE ON TABLE
The contents of the purse are scattered on the desk. A
key, mirror, lipstick, tissues.
MICKI'S VOICE
It doesn't make sense ---
Widen to reveal Michael seated at the table with her.
MICKI
Nobody goes out without a driver's
license...some kind of ID.
(beat)
What good is a key if I don't know
where it fits.
She turns the key over and over in her hand, misting up
again.
MICKI
(quietly)
I'm sorry -- it's just that I feel
so helpless. You're all I've got.
She stands and turns away, once again fighting the tears.
She catches a glimpse of her reflection in a mirror. Her
own face looking back at herself blankly.
MICKI
You know what's the scariest thing
of all?
(turns
to him)
The more time goes by, the more
scared I get that I'm never going to
remember....
Michael moves to her, takes her hands in his.
MICHAEL
I promise we'll find out who you are
-- Someone's bound to report your
disappearance.
MICKI
What if they don't ---
MICHAEL
Then they don't know what they're
missing.
She attempts a smile.
MICKI
You'd better get ready....
She turns back to her reflection, as Michael moves away.
Move in on Micki, looking...wondering.
INT. BEACH HOUSE HALLWAY
As Michael moves toward his room, the door to a bathroom
swings open and Marie Elena steps out, wrapped in a towel.
They startle each other.
MICHAEL
Excuse me....
MARIE ELENA
(shrugs;
carefully)
No problem. Actually, I wanted a
word with you in private, if you
don't mind.
MICHAEL
(smiles)
Why would I mind?
He opens the door to his room.
INT. MICHAEL'S BEDROOM
as he follows Marie Elena in. She broaches the subject a
little awkwardly.
MARIE ELENA
I'm getting worried, Michael.
MICHAEL
Join the club.
MARIE ELENA
I'm serious. My father arrives in
one hour, and we're no closer to
finding his...murderer.
MICHAEL
We don't have a whole lot to work
with, Marie Elena.
MARIE ELENA
It's this thing with Micki -- I
mean, she's a very nice person, I
know. But so much time spent....
MICHAEL
Micki's memory could be the clue.
MARIE ELENA
What if it's not? If you spend all
your time on her, it might be too
late to help my father --
(beat;
takes
his hand)
I'm sorry. But you're our only hope
right now. We need you...I need you.
The doorbell rings. Michael is saved by the bell.
MICHAEL
Round three.
INT. HOUSE - ON FRONT DOOR
as Michael opens it. Bonnie stands, grinning, Devon at her
side. Michael sighs, frustrated.
MICHAEL
Hey, the more the merrier.
BONNIE
It's nice to see you, too, Michael.
She breezes past him, checking out the room.
BONNIE
Terrific place, Michael. How many
bedrooms?
MICHAEL
Too many.
DEVON
(concerned)
You look upset.
BONNIE
(hears)
Upset? With two beautiful women and
a Malibu beach house ---
MICHAEL
Exactly. So where did I go wrong?
CUT TO
ANGLE - TABLE
Three pictures laid out.
DEVON'S VOICE
Out of the seven possible assassins;
my sources show movement in three
areas.
ANGLE TO INCLUDE MICHAEL, DEVON, BONNIE AND MICKI
MICHAEL
(to Micki)
Recognize any of them?
Micki shakes her head, disappointed, then brightens a bit.
MICKI
But this one kinda looks like Al
Pacino, don't you think?
(at their
look)
Sorry.
She moves off, back to the purse.
DEVON
(to Michael)
This is Carlos -- somehow I don't
think they'd hire him for a
Latin-American hit. The Frenchman
is a definite possibility. Romeo
and Juliet....
MICHAEL
There's only one picture...are they
a team?
DEVON
'They' are the same person. No one
knows whether the actual assassin is
a man or woman.
MICKI
The Frenchman?
They turn to her.
MICKI
There was something about a
Frenchman.
MICHAEL
Are you sure?
MICKI
(excited)
Yes. These two guys were talking
about a Frenchman.
DEVON
What exactly did they say?
Micki looks at him blankly. That's all she knows. She
looks back at the key in her hand.
MICHAEL
That's good, Micki. Really. It
saves a lot of work. We just have
to find the Frenchman's aliases.
Marie Elena enters the room, dressed and ready to go. They
ad-lib greetings, except Micki, who's thinking hard.
Suddenly:
MICKI
(screams)
Joe Palmer!
(at their
looks)
I remembered. I'm engaged to him.
BONNIE
You're engaged to the Frenchman?
MICKI
No -- Joe Palmer's my fiancee...
(concentrating;
then)
We have to find Joe. He'll know who
I am.
Before anyone can respond, K.I.T.T. buzzes Michael on the
comlink.
MICHAEL
(into watch)
What is it Kitt?
EXT. TRANS AM
Its scanner is flashing.
K.I.T.T.
I'm beginning to detect some
activity at Rudy del Fuego's house.
BACK TO SCENE
MICHAEL
Be right there, buddy.
MICKI
What about me?
MICHAEL
Bonnie will show you how to use the
comlink.
And he's gone. Marie Elena looks at Micki.
MARIE ELENA
(gently)
I'm sorry, Micki. Please try to
understand -- this is so important.
Micki stands, finally angry.
MICKI
I understand! Okay?! I understand
that you have a father -- and a home
-- and you know someone loves you!
I understand perfectly!
OMITTED
CUT TO
EXT. PACIFIC COAST HIGHWAY - DAY
Michael and K.I.T.T. travel down the highway.
INT. CAR
K.I.T.T.
Michael, what is the purpose of this
maneuver?
MICHAEL
Instinct.
K.I.T.T.
You know I can't compute instinct.
Is there anything I can do?
MICHAEL
(smiles)
Promise to cruise a hamburger joint
with me someday.
K.I.T.T.
If we must.
CUT TO
EXT. RUDOLPHO'S HOUSE - DAY
Burns pulls up and gets out of his car, looks at the taxi
in front. He starts to the house, passing a cab driver
carrying a suitcase. Burns rushes forward.
NEW ANGLE
As Rudy comes out of the door, briefcase in hand.
RUDY
(composed)
What luck, David. Another few minutes
and we would have missed each other.
DAVID
(angry)
Where the hell do you think you're
going? You're supposed to make the
drop.
RUDY
You'll have to do it for me. I have
a plane to catch -- it's important
that I'm in San Mirada when the news
of the assassination comes...you
understand....
Burns is thrown by this change of attitude.
DAVID
What about the girl?
RUDY
Calm down, my friend. If she told
anyone, we'd know it by now. After
all, she knew where I lived --
Besides, you said your Frenchman was
the best. I trust your judgment.
By the way, how is he?
DAVID
I...don't know where he's staying.
We agreed no contact in the final
forty-eight hours. I won't even see
him when I drop off the money.
The cab horn honks insistently.
RUDY
That's very clever --
(pats his shoulder)
-- so, David. Next time we meet,
things will be...as we planned.
He moves to the door. Burns roughly grabs his arm. Rudy
looks at it disdainfully.
BURNS
Rudy, I can't allow this....
RUDY
Funny thing about power, David. It
has a subtle way of shifting.
(removes his grip)
You need me now.
(shrugs)
The ball is in motion -- and it's
out of our hands.
And he exits, leaving Burns behind, staring.
DISSOLVE TO
OMITTED
EXT. PACIFIC COAST HIGHWAY - BURN'S CAR - DRIVEBY
travelling down the highway.
OMITTED
EXT. PACIFIC COAST HIGHWAY - K.I.T.T.
travelling.
K.I.T.T.'S VOICE
They're now three-quarters of a mile
up and turning left.
MICHAEL'S VOICE
Great -- as long as they don't know
where we are. What about the taxicab?
INT. K.I.T.T.
K.I.T.T.
The driver informed his dispatcher
that he was headed for the airport
-- International Terminal.
MICHAEL
Devon should be picking up Marie
Elena's father by now. Notify him
and ask him to have Customs detain
Rudy.
K.I.T.T.
Good thinking, Michael. Customs can
be dreadful -- Some of my parts were
imported from....
MICHAEL
(interrupts)
Later, Kitt.
INT. BEACH HOUSE
Micki is on the phone, three or four different white pages
opened up in front of her. The TV is on in the b.g.
MICKI
(into
phone;
hopeful)
Hi, Joe? This is Micki....
ANGLE - FEATURING TELEVISION
Micki ignores it. A soap opera with a woman talking on the
phone -- it is Micki. A reflection of a real woman pre-
tending to be someone else when she doesn't even know
who she is.
MICKI
Y'know...Micki.
(beat)
You don't know...
(beat)
...This is Joe Palmer, isn't it?
(dejected)
Oh -- I'm sorry if I bothered you.
Have a nice day.
She hangs up, crosses the name out of the book.
EXT. PARKING LOT - DAY - DIPSY DUMPSTER
Jerry, a quick look around, and he sets the pouch into the
dumpster, gets in the car and drives away.
NEW ANGLE - K.I.T.T.
well-concealed.
INT. K.I.T.T.
Michael watching.
MICHAEL
Take it easy, pal...I think we've
just hit the jackpot.
K.I.T.T.
Well, while we wait for the pay-off,
I've had some results on the
Frenchman's aliases.
INSERT - SCREEN
A list of names appears...mostly French, but a couple of
Spanish and Italian.
K.I.T.T.
There are twelve that we know of. I
still haven't determined which is
his real name.
MICHAEL
That's okay -- he probably doesn't
remember himself.
(studies
the list)
That's great, Kitt.
K.I.T.T.'S VOICE
Merci, beaucoup.
MICHAEL'S VOICE
How many languages do you speak now?
K.I.T.T.'S VOICE
Should I count the archaic tongues?
INT. BEACH HOUSE - DAY
Micki on the phone, becoming more overwrought and anxious.
The soap opera is still b.g.
MICKI
(into
phone)
...no, officer. I don't want to
report a missing person -- I want to
know if someone else did.
(beat)
I know where she is -- look, all I
want to know is if someone reported
a missing Micki!
(beat)
This is not a joke! It's not even a
little bit funny...
(beat)
Never mind....
She hangs up and, finally, begins to cry.
EXT. PARKING LOT - DAY
The Frenchman's car is parked around the corner, away from
where a bum is sifting through a garbage dumpster.
INT. TRANS AM
Michael is looking at the bum, squinting his eyes, trying
to get a closer look.
MICHAEL
Kitt, do you see what I see?
INSERT - VIDEO MONITOR
K.I.T.T.
If you're referring to that derelict
seventy meters in front of us, yes.
MICHAEL (v.o.)
Let's go in for a closer look.
K.I.T.T.
Michael, why should that common bum
be of any concern to us?
ANGLE - BUM
Tighten on bum until we're very close on his hands, then:
CUT TO
INSERT - K.I.T.T.'S VIDEO MONITOR
and we see that the bum is wearing a slim, expensive gold
watch.
ANGLE - MICHAEL
MICHAEL
Because your average 'common bum'
doesn't wear a Swiss watch.
ANGLE - BUM
as he removes a parcel from the dumpster, he turns and
faces the camera and we see that indeed the bum is the
Frenchman.
ANGLE - MICHAEL
as he watches the bum move off.
K.I.T.T.
Shall we, as you say, 'take him'?
MICHAEL
Let's just follow him. I don't want
to blow it until we're sure.
And they pull out, a safe distance behind.
CUT TO
INT. BEACH HOUSE - DAY - MICKI
pacing back and forth.
CLOSER - MICKI
She tries to sit down, to calm herself.
INSERT - HER HAND
It holds the key from the purse, feeling it, turning it
over, waiting for it to tell her something.
VOICE (o.s.)
(filtered)
...and next week, I'm going to be
Mrs. Joe Palmer....
CLOSE ON MICKI
Her head snaps up.
ANGLE - TELEVISION
The soap opera. Two women arguing -- Micki recognizes
herself.
CLOSE - MICKI
MICKI
(softly)
That's me....
Frozen to her chair for a moment.
QUICK INTERCUTS
with the television. The two actresses continue their
bitter scene.
ACTRESS
(on TV)
I hope he makes you as miserable as
he made me.
MICKI
(on TV)
Joe loves me...and I love him...he's
a different man with me...in every
way.
MICKI
(watching)
I'm an actress! Of course!
ACTRESS
(on TV)
You wouldn't know what to do with a
real man!
Micki, the Actress, gasps, and slaps the woman's face.
CLOSE ON MICKI
watching, reacts startled, then relieved.
MICKI
A pretty good actress....
She jumps up, excited, and exits. A beat, she runs back in
and finds the comlink, knocking things onto the floor in
the process. She pushes the button.
MICKI
(pacing)
Come on, Michael.
(a beat)
Forget it. I'll take care of myself!
And she exits.
EXT. BARBARY HOTEL - DAY
K.I.T.T. pulls up and Michael rushes into the hotel.
INT. HOTEL LOBBY - DAY
Michael goes to the desk...it's unattended. He checks the
registry.
INSERT - REGISTRY
Michael's finger follows the names...stops on "Philipe
Gerard...room 411."
RESUME SCENE
Michael hits the desk bell and after a beat, a sour-faced
clerk appears. Michael gives him a sheepish smile.
MICHAEL
Sorry to bother you...locked my keys
in my room...always happens when I'm
in a hurry...It's 411.
The clerk gives him a quick once-over, then gets the key.
MICHAEL
Thanks.
Michael takes the key and moves off.
INT. HOTEL HALLWAY - DAY
Michael steps from the elevator and strides down the hall.
He finds 411, checks to see if anyone's watching and puts
the key in the door.
INT. HOTEL ROOM
The Frenchman is preparing for his task when he hears the
door knob being turned. He reacts with a start.
ANGLE - DOOR
It opens slightly but is still fastened by the chain latch.
ANGLE - MICHAEL
He sees a figure move in the room, but he can't get in. He
begins shaking the door, trying to break the lock.
ANGLE - THE FRENCHMAN
moves onto the patio.
OMITTED
ANGLE - MICHAEL
as he breaks into the hotel room, runs to the window and
looks out.
MICHAEL'S POINT OF VIEW
Looking down, he sees no sign of the Frenchman.
ANGLE - MICHAEL
on his look of disappointment:
OMITTED
FREEZE FRAME
END OF ACT THREE
ACT FOUR
FADE IN
EXT. BARBARY HOTEL - DAY
Michael returns to K.I.T.T. and gets in.
INT. K.I.T.T. - DAY
A steady beep appears on K.I.T.T.'s screen.
MICHAEL
(dejected)
Lost him.
K.I.T.T.
And he is one of the world's best.
MICHAEL
(indicates
screen)
What's that?
K.I.T.T.
The comlink...Micki depressed the
switch.
MICHAEL
Patch me through.
K.I.T.T.
She is already gone...but I have a
message for you.
INSERT - MICHAEL
punches in a code. We hear the whine of a tape rewinding.
BACK TO SCENE
MICHAEL
Okay. Let's hear it.
The tape clicks in. Micki's voice, filled with joy and
excitement.
MICKI (v.o.)
Michael -- It's me...Micki
Bradburn. See I remembered
everything. I'm going home....
Click.
MICHAEL
Kitt ---
K.I.T.T.
I've anticipated your next request
Michael. There's a Micki-with-an-
'I' Bradburn living in Santa Monica.
MICHAEL
Let's go.
EXT. BARBARY HOTEL - DAY
as the Trans Am speeds out of the driveway.
WIDE - SANTA MONICA - DAY - ESTABLISHING - STOCK
Push and:
DISSOLVE TO
EXT. DOOR STOOP
Micki moves to a door, stops and stares. Her hands shake
as she tries to get the key in the lock. A deep breath, a
silent prayer, and she turns the key. It unlocks.
INT. APARTMENT
as the door swings slowly open and Micki stands there,
staring in. She wraps her arms around herself and moves in
slowly, as though afraid it will all vanish into smoke.
CLOSE ON MICKI
laughing and crying at once.
MICKI
(softly)
Welcome home....
Her voice is cut off as a hand claps over her mouth,
muffling her scream.
CUT TO
OMITTED
EXT. K.I.T.T. - DRIVE BY - STOCK
hurrying to Santa Monica.
INT. MICKI'S APARTMENT - DAY
Ray has forced Micki to sit in a chair while he makes a
phone call.
RAY
(into phone)
Sure, I can keep her here until the
action dies down...then we can tie
up the loose ends.
Micki reacts. Ray hangs up the phone.
MICKI
Look, I don't remember anything. I
got amnesia when I fell off the
cliff...see.
(shows the
bump on
her head)
Really, don't hurt me.
RAY
Amnesia? You been watching too many
soap operas.
Micki smiles weakly at the irony.
CUT TO
OMITTED
EXT. EQUESTRIAN SHOWGROUNDS - DAY
A limousine pulls up. Casafranca, Marie Elena and Devon
get out. They are heavily guarded as they walk to their
box seats.
CUT TO
EXT. CITY STREETS - DAY
as K.I.T.T. rounds a corner...fast.
INT. K.I.T.T. - DAY
Michael finds a parking spot.
K.I.T.T.
This is as close as I can get you.
I suggest you take it from here.
MICHAEL
Sometimes I wonder if you're my
wheels or I'm your feet.
K.I.T.T.
A rhetorical question that neither
of us will ever figure out.
MICHAEL
That's comforting.
MICHAEL'S POINT OF VIEW - THE SEVILLE
BACK TO SCENE
MICHAEL
I hope I'm not too late.
CUT TO
INT. MICKI'S APARTMENT - DAY
Micki sits quietly waiting, watched by Ray.
MICKI'S POINT OF VIEW - THROUGH WINDOW
She sees Michael's face...over Ray's shoulder.
RESUME SCENE
as Micki almost gives him away, but catches herself...the
actress in her takes over.
MICKI
Have we met? I mean, I'm sure I'd
remember except for this little
problem with my memory. Can I get
you something to drink?
Ray doesn't answer -- He looks at her oddly. Michael
slowly works the window up. A slight creak, which Micki
covers with a coughing attack.
RAY
You're the one who needs a drink.
ANGLE - MICHAEL
climbs through the window then moves quickly, tackling Ray,
who falls into Micki...knocking her over.
ANOTHER ANGLE - THE MEN
grappling on the floor.
ANGLE - MICKI
scared...backs away and watches as:
ANOTHER ANGLE - THE FIGHT
Michael finishes Ray off with a straight right to the chin.
ANGLE - MICHAEL
as he helps Micki to her feet...she's okay, just shaken
up. She clings to him....
MICKI
We'd better get outta here. He's
called for reinforcements.
CUT TO
EXT. EQUESTRIAN GROUNDS - DAY
We move in on Devon and Marie Elena. She has her arm
linked with that of another man. Striking, in a conserva-
tive suit. This is Eduardo Casafranca, her father. There
are others -- security, aides and advisors from both
countries, all dressed like the CIA, surrounding their box
seats.
DEVON
(to the
President)
I understand this is your favorite
sport, sir.
CASAFRANCA
Actually, Marie Elena's mother
always loved horses. I feel it's
important for my country to be
represented in such international
events. It will make my people very
proud and happy.
MARIE ELENA
(final plea)
Well, it would make me very happy if
you would turn around right now and
get back on the plane.
Casafranca shares a look with Devon -- "Women!"
CASAFRANCA
And what would I say when I got to
San Mirada, daughter?
(a sigh)
No -- to become a coward is as
hateful as becoming a dictator. Yes?
MARIE ELENA
I wish you didn't make so much sense.
(beat)
Father?
CASAFRANCA
Yes, dear?
MARIE ELENA
I'm very proud of you.
CASAFRANCA
I'm a stubborn old man.
MARIE ELENA
You're my president.
Casafranca touches his daughter's face.
CASAFRANCA
Is this a pep talk before my speech?
MARIE ELENA
(slyly)
Maybe.
CUT TO
EXT. STREET - DAY
Michael and Micki are driving in the Trans Am.
INT. K.I.T.T. - DAY
MICHAEL
Do you remember anything else?
MICKI
I'm starting to remember the party.
MICHAEL
Good.
MICKI
You were so sweet when you gave me
that glass of champagne.
(beat)
And so handsome...I mean, it's not
like you're not handsome now, but I
guess a woman just feels more secure
about noticing those kind of things
when she knows who she is.
Michael gives her a look.
MICHAEL
Did you remember why those guys
tried to kill you?
MICKI
No...well, sort of.
(searching)
It must've had something to do with
what I heard about that French guy.
MICHAEL
What else did you hear?
MICKI
Something to do with people watching.
(beat)
A pedestrian show?
MICHAEL
The Equestrian show? Kitt?
K.I.T.T.
Yes, Michael?
Micki reacts, checks the backseat.
MICHAEL
The Equestrian grounds?
K.I.T.T.
According to my calculations,
they're twenty miles from here,
mostly city streets.
Micki scrunches down in her seat a little, suspiciously
looking at Michael.
MICHAEL
Go for it!
MICKI
(small)
Excuse me, who are you talking to?
Michael does a 180 and accelerates.
EXT. EQUESTRIAN SHOWGROUNDS - FAR END OF FIELD - DAY
The show is in progress. The Frenchman drives up next to
his horse trailer. He gets out, moves into the trailer and
opens his case.
ANGLE - OTHER SIDE OF FIELD
where Devon, Casafranca and Marie Elena sit in box seats,
oblivious -- having a great time.
BACK TO K.I.T.T. - STOCK
speeding down a city street.
MICHAEL'S VOICE
Did you reach Devon yet?
K.I.T.T.'S VOICE
There's a great deal of activity on
the communication system there --
I'm working on it.
MICKI'S VOICE
(nervous)
Michael, I don't understand.
OMITTED
RESUME - THE FRENCHMAN
taking out the pieces of the gun. He checks the view.
BACK TO CASAFRANCA
enjoying himself. Marie Elena exchanges worried looks with
Devon.
K.I.T.T. - STOCK
careening around a corner and speeding past a sign.
INSERT - SIGN
which reads: INTERNATIONAL EQUESTRIAN GROUNDS
CLOSE - THE FRENCHMAN
settling.
CLOSE - THE PRESIDENT
smiling, oblivious.
WIDE - K.I.T.T.
drives directly onto the field.
QUICK INTERCUTS - THE FRENCHMAN AND K.I.T.T.
aiming -- drive -- a race to the finish.
ANGLE - K.I.T.T.
as he bursts onto the field.
ON CASAFRANCA
as he and his security react to the commotion...pandemonium.
They circle him.
ON THE FRENCHMAN
makes a decision...takes one shot and runs.
ON K.I.T.T.
moving across the field -- the bullet pings off his
windshield.
OMITTED
INSERT - K.I.T.T.'S SCREEN
as it shows the trajectory of the bullet.
K.I.T.T.'S VOICE
The gunshot came from the twenty-
seventh quadrant on my screen.
RESUME SCENE
as K.I.T.T. heads in the direction of the Frenchman.
ANGLE ON THE FRENCHMAN
as he runs to his car...too late, K.I.T.T. cuts him off.
ANOTHER ANGLE - THE FRENCHMAN
makes a running jump onto the back of the riderless
horse...They take off across the field.
INT. K.I.T.T. - DAY
after the Frenchman.
MICKI
Michael, please be careful.
MICHAEL
Don't worry, you're completely safe
in this car.
MICKI
I meant the horses...don't scare the
horses.
Her own eyes are wide with fright.
WIDER
as the Frenchman jumps a fence, a beat, then K.I.T.T. jumps
the same fence.
BACK TO THE FRENCHMAN
dead ahead -- security vehicles, surrounded by security
officers. He turns the horse around...heading back across
the field.
ANGLE - K.I.T.T.
doing a 180 and following.
THE HORSE
jumps the fence again.
ANGLE - MICHAEL
as he shrugs...enough already.
ANGLE - K.I.T.T.
going through the fence.
ANOTHER ANGLE - THE FRENCHMAN
taking his horse through the water hazard.
ON K.I.T.T.
right behind him, also going through the water hazard.
ANGLE ON THE FRENCHMAN
looking behind him, trying to get away. He rides down a
dirt path leading to:
ANGLE - THE TUNNEL
The horse gallops, K.I.T.T. close behind as they head for
the stables.
ANOTHER ANGLE - THE STABLES
as the horse rides full out. The Frenchman turns right...
after a beat K.I.T.T. follows.
MICHAEL'S POINT OF VIEW - THE STABLES
a long row of empty stables...The Frenchman has disappeared.
INT. K.I.T.T. - DAY
MICHAEL
Have you got him on the screen?
K.I.T.T.
Your guess is as good as mine.
INSERT - SCREEN
several horses in various quadrants of the screen.
RESUME SCENE
as Michael puts the car in reverse and pulls back out into
the main path:
MICKI
(looking at
screen)
Is that one of those new video games?
EXT. STABLES - DAY
as K.I.T.T. cruises looking for the Frenchman.
ANGLE ON K.I.T.T.
as the Frenchman and his horse appear from one of the
aisles and jump over the Trans Am.
WIDER
as K.I.T.T. spins around and follows the Frenchman to an
open field.
INT. K.I.T.T. - DAY
Michael reaches under the dash, pulling out a rope.
OMITTED
EXT. K.I.T.T. - DAY
K.I.T.T. is keeping up with the horse. They are a steady
distance apart.
ANGLE - MICHAEL
as he crawls from the sunroof, twirls the rope over his
head and lassos the Frenchman.
ANGLE - THE FRENCHMAN
being pulled from his horse onto the ground.
K.I.T.T.
stops just like a champion bulldogger.
ON MICHAEL
jumps off the roof, goes to the Frenchman, and hog-ties him.
ANOTHER ANGLE - MICKI
running up to Michael.
MICKI
Michael, are you all right?
MICHAEL
(nods)
You?
MICKI
(indignant)
Yes -- but don't ever do that to me
again -- I've had a very bad week.
On his reaction we:
FREEZE FRAME
FADE OUT
END OF ACT FOUR
TAG
FADE IN
EXT. BEACH HOUSE - DAY
K.I.T.T. pulls in the driveway.
INT. K.I.T.T. - DAY
Michael takes a bunch of flowers off the seat and starts to
get out of the car.
K.I.T.T.
Michael.
MICHAEL
Yes, Kitt.
K.I.T.T.
How much longer will we be staying
here?
MICHAEL
Two more days. Why?
K.I.T.T.
The sea air is very bad for my
circuitry.
MICHAEL
Well, it's good for my...lungs. See
you in two days.
K.I.T.T.
Michael. You don't have enough
flowers.
Michael doesn't understand.
K.I.T.T.
My sensors show Marie Elena already
has a visitor. I believe it's Micki.
MICHAEL
Thanks, buddy.
Michael does a "Why Me?" look and exits the car. As he
walks to the door he separates the flowers into two
bunches. Rings the doorbell.
REVERSE ANGLE - MARIE ELENA AND MICKI
answer the door. Michael hands them each their flowers.
They ad-lib their thanks and kiss him on opposite cheeks.
MICHAEL
So, you guys wanna go...cruise a
hamburger joint?
FREEZE FRAME
FADE OUT
THE END
