ACT ONE
FADE IN
EXT. VENICE BOARDWALK AREA - DAY
The horde of Venice freaks and faddists are out in force:
roller skating, skate boarding, juggling chain saws, throwing
Frisbees, showing off and generally having a good time.
ANGLE ON K.I.T.T. - DAY
parked outside Rafferty's Bar, an outdoor cafe-style place
where a crowd has gathered to watch Cindy Morgan perform
the latest dance on a small raised stage. Cindy's a heart-
breaker with big baby blues and a lean dancer's body. The
crowd is cheering her on, dancing and clapping along with
the music.
MICHAEL'S VOICE
This is the life, huh, Kitt?
INT. K.I.T.T. - DAY
Michael is mainly interested in watching Cindy dance.
MICHAEL
Skating the day away, with free
entertainment to boot.
K.I.T.T.
Michael, before you trade me in for
a pair of skates, don't forget why
you're here...and it's not to watch
blondie up there doing the Venice
Beach Rain Dance.
MICHAEL
I haven't forgotten, pal...
(glances about)
I just hope he shows up.
Suddenly:
K.I.T.T.
Michael! What on earth is this?!
Michael looks to see:
MR. BODY
A hulking weight lifter with muscles from head to brain,
and he's carrying his weights toward K.I.T.T., where he
will proceed to put them down and go into his weight lifting
routines. Intercut as needed:
MICHAEL
Looks like the boardwalk Arnold
Schwarzenegger.
K.I.T.T.
Well, if that dumbbell drops one of
those dumbbells on my body he's going
to look like the boardwalk period!
But Michael has spotted something far more important:
MICHAEL
Kitt, that van over there.
ANGLE TO INCLUDE VAN
Although fairly ND it does have a somewhat unique design
painted on the side, or covering the back windows. It
pulls up to the rear of Rafferty's.
K.I.T.T.
It matches the one our informant
described, Michael.
MICHAEL
Scan what's inside.
INTERCUT WITH MONITOR
to show what K.I.T.T. scans inside the van:
K.I.T.T.
A half-dozen unmarked cartons.
Scanner pushes in to see:
MICHAEL
Looks like steel canisters.
K.I.T.T.
Filled with H2CL3. Hydro-Clorosulfate.
MICHAEL
Something tells me that isn't used
as an artificial sweetener.
K.I.T.T.
Not unlesss you want to go on one long
diet. But try poison gas...I'd say
enough to wipe out several armies.
Michael sees something else:
MICHAEL
And what do we have here?
WHAT MICHAEL SEES
a second van pulling up near the first. This one is smaller,
and a tall bearded man gets out. He's dressed in a ND
fatigue outfit.
K.I.T.T.'S VOICE
How about a boardwalk Fidel Castro.
BACK ON MICHAEL
watching every move via the monitor.
MICHAEL
There he is, Kitt.
WHAT MICHAEL SEES
Sonny Martin coming from the first van. He's a cross
between Troy Donahue and Charles Manson. An earring in one
ear, a lot of keys on his belt, and a silver mesh glove on
his right hand. Why? We'll find out later. The two men
shake hands.
K.I.T.T.
Fidel meets the chemical caterer.
Then they move to the rear of Sonny's van.
BACK ON MICHAEL
MICHAEL
No, Kitt, only the chemical caterer's
delivery boy.
INTERCUT TO SEE SONNY
opening the rear of the van, Fidel inspecting one of the
canisters, and then making a huge payment in cash from an
ND folder. (Note: This is all done in a safe area, and
with great caution. The fact that it appears to be happening
in such a public place is simply "hide in plain sight.")
K.I.T.T.
Michael, if Fidel drives off with those
chemicals there's no telling where
they'll end up.
MICHAEL
Gotcha, pal...time to break up the
party.
Michael starts him up, but K.I.T.T. looks to see that
Mr. Body is taking a breather on his hood...along with a
weight loaded barbell.
K.I.T.T.'S VOICE
(clears throat)
If you don't mind, Arnold, would you
please get both dumbbells off my hood.
Arnold lifts up to his full massive height, looks into the
darkened windows with a scowl.
ARNOLD
There's only one dumbbell on your
hood!
K.I.T.T.
Now there's only one dumbbell on my
hood, and would you kindly take it
off.
Arnold thinks a bit, then removes the barbell and pushes
in closer to the windows:
ARNOLD
Whoever you are in there...you must
be pretty big!
Arnold flexes and goes back to his lifting, as K.I.T.T.
peels off.
ANGLE ON VANS
Fidel's transferring the cartons into the van as Sonny
keeps an eye out -- mostly on Cindy, who's just finishing
her dance, and is now moving toward the rear of Rafferty's
where another dancer, Lori, is waiting to go on.
CLOSER ON CINDY AND LORI
as Cindy goes to her.
CINDY
Ready?
LORI
I'm so nervous, Cindy, I don't know
if I can get my legs to move.
CINDY
The way you look I don't think it'll
make any difference. Besides, once
the music starts you'll be fine.
They embrace for luck.
BACK ON SONNY
seeing K.I.T.T. bearing down on them. Reacts ---
SONNY
We've been made!
Fidel also reacts and slams the rear door of his van shut.
But before he can reach the front ---
ANGLE ON K.I.T.T.
screeching up. Michael jumps out, grabs Fidel and tosses
him head first into the passenger side window.
MICHAEL
Keep a window on him, partner!
And K.I.T.T. does, rolling it up just enough that the
struggling Fidel remains locked inside from the waist up.
VARIOUS ANGLES
as Michael confronts Sonny who is very close to his van.
As for Cindy and Lori they've seen the action, and are
frozen nearby. It all happens very quickly.
MICHAEL
Your delivery days are over.
SONNY
Hey, man, there ain't nothing but
souvenirs of Venice Beach in these
cartons. Look, I'll show you....
But instead he draws a small canister, much like a Mace
gun, from his pocket and aims it at Michael.
Michael ducks. Sonny fires, and Lori, now slightly separated
from Cindy, takes the full blast of the deadly gas. She
begins to cough, staggers and drops. As Michael goes to
help her ---
ANGLE ON SONNY
jumping into his van and peeling off, almost running over
several girls on roller skates.
ON MICHAEL
doing what he can to help her, but she's lost consciousness.
He picks her up in his arms, hurries toward K.I.T.T.
MICHAEL
Kitt, we've got to get her to a
hospital!
(desperately
wanting some
positive sign,
answer, anything)
Kitt!
K.I.T.T.
I'm...sorry, Michael...but it's too
late.
Michael is frozen in time, space.
MICHAEL
Too late?
K.I.T.T.
She's dead...there's nothing more
you or anyone else can do for her.
On Michael's look of anguish, sorrow, helplessness ---
CUT TO
EXT. FOUNDATION - DAY - ESTABLISHING
MICHAEL'S VOICE
She was only twenty years old Devon!
INT. DEVON'S OFFICE - DAY - MICHAEL AND DEVON
MICHAEL
Just came out here from St. Louis a
week ago.
DEVON
I know, Michael...and I'm terribly
sorry.
MICHAEL
We're all sorry...but she's dead.
DEVON
And what makes it worse -- all we
were able to get from the one you
picked up were his name, rank and
serial number. He belongs to a
quasi-military group dedicated to
overthrowing the Island of Mendominow
...a spot in the South Pacific barely
larger than...
(for lack of
something better)
Venice Beach.
MICHAEL
So after all this time, we're no
closer to this broker of poisons
than we were when we started.
DEVON
Not true. At least we know what one
of his people looks like.
ANGLE TO INCLUDE BONNIE
entering. She carries a photo of Sonny.
BONNIE
What he looks like, but not who he
is.
(re photo)
Kitt ran the photo he took of him
through his Image Data Bank, but
couldn't come up with a positive
identification.
MICHAEL
What about the license number on his
van?
BONNIE
We had a lot better luck with that.
It's registered to a delivery service
here in town. Marshall Bros. on First
and Laurel. The only thing is, it
appears to be a legitimate company.
As far as we know the van could've
been stolen from them.
MICHAEL
I've learned a long time ago every-
thing isn't what it appears. I'll
check it out.
He starts to leave.
DEVON
Michael, I know this case means a
lot to you, but may I be so bold as
to recommend caution over indiscretion.
MICHAEL
You can recommend anything you want.
But that poison gas was meant for me,
Devon, and the only rules I'm going
to play by are the rules of the jungle.
Slight beat and Michael continues out.
EXT. MARSHALL BROS. WAREHOUSE - DAY
A fairly large building on a downtown street of similar
buildings.
INT. WAREHOUSE STORAGE AREA - DAY
a large chemical bottle, filled with a bright liquid stands
on a table. From out of nowhere a Frisbee cuts through the
air and neatly slices off the top of it. This is not an
ordinary Frisbee...it continues on and sticks in a post
behind the bottle. A closer shot shows glistening razor
blades protruding from the sides.
ANGLE ON SONNY MARTIN AND ROSEMARY
Sonny wears his steel mesh glove to protect his throwing
hand. Rosemary has been standing next to Sonny watching
his Frisbee exhibition. Rosemary is pretty cute -- frizzed-
out hair, designer jeans and a bulky sweater. A beautiful
fresh orchid is pinned to her sweater.
SONNY
(readies another
toss)
If you think that was hot, watch this.
ROSEMARY
(unimpressed)
You must be a lot of fun on picnics,
Sonny.
Rosemary exits. Sonny scowls and throws another Frisbee at
what remains of the bottle.
EXT. ENTRANCE TO WAREHOUSE - DAY
as K.I.T.T. pulls in.
K.I.T.T. (V.O.)
Michael, I understand your anger, but
you really should try to relax. Your
stress level is alarming.
MICHAEL (V.O.)
Maybe I should take up weight lifting
like your friend at the beach.
ANGLE IN K.I.T.T.
Michael is behind the wheel, eyes scanning the warehouse as
they approach:
K.I.T.T.
Your attempt at humor is an excellent
idea, Michael. Laughter is a known
tension reliever. Perhaps I should
tell you some jokes.
MICHAEL
(a reaction)
You're going to tell jokes?
They stop in front of the warehouse.
K.I.T.T.
Why not? I've done a lot of research
on humor. For instance...
(flat, no
comic timing)
The other night I was parked in a
garage that was so small the mice
were hunchbacked.
No laugh from Michael.
K.I.T.T.
Michael, is my act dying?
MICHAEL
No, but it's not going to Vegas
either. Keep working on it, pal.
INT. WAREHOUSE RECEPTION AREA - DAY
Michael enters and approaches Rosemary, who is typing.
MICHAEL
I'm Michael Knight. I'd like to talk
to the person in charge of this place.
ROSEMARY
Sonny says I'm supposed to ask every-
body what company they work for....
MICHAEL
I doubt Sonny's heard of us. I'm with
a little nonprofit organization called
The Foundation for Law and Government.
ROSEMARY
(beat)
You're right -- I doubt Sonny's ever
heard of you.
Rosemary dials the telephone intercom.
ANGLE IN WAREHOUSE
Sonny is on the intercom phone.
SONNY
Law and Government?..I'm just
finishing something up. I'll be
right out.
Sonny hangs up quickly, then hurries to load a final box
marked, "DANGER: HAZARDOUS CHEMICALS" into his waiting
van. Then grabbing his Frisbee, he climbs into the drivers
seat and guns it.
ANGLE IN RECEPTION AREA
Rosemary hangs up....
ROSEMARY
He won't be long.
Michael reacts to the sound of the van's engine.
MICHAEL
(comlink)
Kitt, is that someone coming or going?
ROSEMARY
It's Rosemary, and why are you talking
to your arm?
K.I.T.T.
(comlink)
It's our van, Michael. Loaded and in
a hurry.
Michael sprints out into the warehouse area.
ROSEMARY
(calls after
him)
Come back anytime. You think it gets
lonely for that washing machine repair-
man....
INT. WAREHOUSE AREA - DAY
Michael dashes out into the warehouse, looking all around.
He turns a corner into an open area and reacts to:
MICHAEL'S POINT OF VIEW - SONNY'S VAN
Tires squealing, bearing down on him just a few feet away.
MICHAEL
dives and rolls, saved by his reflexes. The van misses him
by inches.
FULLER ANGLE
The van heads straight for a closed loading dock door and
smashes right through it.
EXT. WAREHOUSE - DAY - REVERSE ANGLE
Sonny's van smashes to freedom and races away.
INT. WAREHOUSE - DAY
Michael is on his feet and running. He calls via comlink:
MICHAEL
(comlink)
Kitt. Pick me up!
EXT. WAREHOUSE - FRONT ENTRANCE - DAY
Michael exits as K.I.T.T. roars up and pops the door open
for him.
MICHAEL
Let's get him buddy.
They blaze off.
ANGLE IN K.I.T.T.
Michael's intent, punching buttons.
MICHAEL
Get him on the scope, Kitt.
INTERCUT - MONITOR
as needed. Blips showing an urban street map, with blips
representing the van and K.I.T.T.
K.I.T.T.'S VOICE
He's got a three block lead, Michael.
MICHAEL
Three blocks...and closing.
He hits pursuit.
EXT. STREETS NEAR WAREHOUSE - DAY - VARIOUS ANGLES
Sonny's van two-wheels a corner and bumps over a curb in an
attempt to flee the fast-closing Trans Am. In desperation
Sonny cuts across the main road and shoots up a hilly canyon
with scattered residences. Other traffic forces K.I.T.T. to
slow for a moment before resuming the chase.
MICHAEL (V.O.)
Bad move, Sonny.
ANGLE ON THE VAN
as it reaches the crest of a hill, Sonny jumps from the
driver's door, pops it in neutral and gives it a shove back
down the hill toward Michael. He then races off into the
sparsely populated area.
ANGLE IN K.I.T.T.
K.I.T.T.
I think we've got him, Michael.
Michael realizes the truck is heading toward them.
MICHAEL
That might be open for discussion.
Michael slams K.I.T.T. into reverse.
EXT. CANYON STREET - DAY
We see the truck bearing down on K.I.T.T. Suddenly,
Michael swerves to the right and slides backwards out onto
the main road. The unmanned truck crosses the main road
and comes to rest against an embankment.
ANGLE IN K.I.T.T.
Michael is about to jump out when:
K.I.T.T.
Michael, there's no one in the truck!
MICHAEL
(punches
buttons)
Give me a scan of the area.
Intercut graphics on monitor.
K.I.T.T.
Nothing, Michael. He must have jumped
out at the top of the hill.
MICHAEL
Then let's get to the top of the hill.
He floors the accelerator.
EXT. CANYON STREET - TOP OF HILL - DAY
K.I.T.T. slides to a stop, Michael leaping out, checking
the area.
MICHAEL
You pick up anything?
K.I.T.T.
No, Michael. He's vanished.
MICHAEL
For the moment, Kitt. Only for the
moment.
He crosses back, slides into K.I.T.T. and barrels out.
EXT. RENARD'S ESTATE - DAY
A huge sprawling complex with tennis courts, a pool and
large greenhouse.
INT. GREENHOUSE - DAY
Paul Renard, owner of the estate, is talking on a cordless
phone. As he talks, he putters with his plants. Dressed
in summer beige, he is the very essence of fresh-scrubbed
class. Ava Bennett, a tall, shapely, exotic woman, is
seated on a nearby wrought iron settee, sipping French wine.
RENARD
(into phone)
Why is it I can always count on you
to fret over the most minute details?
INTERCUT - COLONEL FAISUR'S HEADQUARTERS
The Colonel is a swarthy, balding man who wears a military
uniform and dark sunglasses.
FAISUR
(into phone)
Because careless people in my position
don't survive very long.
RENARD
(phone)
Nor mine, Colonel. Let me assure
you, safe delivery of this shipment
is as important to me as it is to
you. There's nothing to worry about.
FAISUR
(phone)
That's what I told our President
before my military coup.
RENARD
(phone,
chuckles)
Touche. Have a good day, Colonel.
Renard hangs up.
AVA
A case of nerves?
RENARD
With good reason. For the Colonel,
failure means death.
Renard crosses to an orchid plant in full bloom.
RENARD
Odd, isn't it. That something so
frail, so beautiful, can mean so
much to a man like Faisur. A man so
dedicated to violence and destruction.
AVA
Frail is a peculiar way to describe
an orchid that can kill a man without
leaving a trace of its poison.
Renard removes a syringe from his jacket pocket and carefully
inserts the needle into the center of the orchid.
RENARD
Not too unlike some women I've known.
(feeling her
look)
Present company excluded of course.
Renard draws a mean purple liquid into the syringe.
ANOTHER ANGLE
Sonny Martin barges in, disheveled and hyper.
SONNY
We got trouble, Renard.
RENARD
We? What indiscretion have we
committed this time?
SONNY
There's a plainclothes cop named
Michael Knight snoopin' around. He
broke up a sale yesterday, and then
found the warehouse. I had to clear
out. It's a total loss, man. I even
had to ditch the truck.
RENARD
And what makes you think he's a cop?
SONNY
I was running stash when the other kids
my age were trading baseball cards. I
can smell 'em man. And this one says
he's from some law foundation.
RENARD
(a reaction)
The Foundation for Law and Government?
SONNY
Yeah. You know 'em?
RENARD
A former associate did. As he de-
scribed it, it was a rather unpleasant
experience. I hope you didn't leave
any clues.
SONNY
I didn't exactly have time to tidy up.
RENARD
That's too bad. Still, the loss of
a truck and one warehouse certainly
won't put us out of business.
SONNY
Yeah, well this guy might! What are
we gonna do about him?
RENARD
(to Ava)
Any suggestions?
AVA
One.
She takes the syringe from Renard.
AVA
Since Mr. Knight is so interested in
our business, he might like to
sample our latest product.
EXT. RAFFERTY'S BAR - DAY - ON K.I.T.T.
driving up.
K.I.T.T.'S VOICE
Michael, this Cindy, did she tell
Devon why she wanted to see you?
INT. K.I.T.T. - DAY
MICHAEL
No, but I guess it had something to
do with yesterday. She was right
there when it happened.
(parks)
Keep an eye out for flying
skateboards.
Michael gets out and moves toward the bar.
ANGLE ON K.I.T.T.
His scanner flashes:
K.I.T.T.
Oh, no....
ANGLE TO INCLUDE MR. BODY
coming up to him, loaded with his weights.
K.I.T.T.
Not Arnold again.
He dumps the weights, resting the largest barbell on
K.I.T.T.'s hood.
K.I.T.T.
Well, can't say I didn't warn you.
K.I.T.T. auto starts and backs up, causing the dumbbell to
roll off and fall on Arnold's foot. And causing Arnold to
do the weight lifter's flashdance. After which he pushes
his face in on K.I.T.T.'s darkened front window.
ARNOLD
All right, how much you weigh?!
K.I.T.T.
Thirty-two hundred pounds!
ARNOLD
Myyy -- you are a big guy!
Arnold grins and goes back to his weight lifting.
EXT. RAFFERTY'S BAR - DAY
Michael enters the patio and sits at a table near the stage
where Cindy is dancing. The waitress approaches on roller
skates.
JUDY
What'll it be?
MICHAEL
An orange juice.
JUDY
Sure you can handle it?
She smiles, skates away. Michael focuses his attention on
Cindy.
ANGLE ON WOMAN'S HANDS
as they empty a purple-filled syringe into a glass of
orange juice and stir it until the purple color
disappears. The hands carry the juice away on a tray.
ANGLE ON MICHAEL
as the hands appear and deliver the poison juice. Camera
pulls back to reveal Ava.
AVA
To your good health.
MICHAEL
What happened to your skates?
She doesn't reply, instead gives him a strange smile and
disappears. The song ends and Cindy crosses to Michael
over scattered applause.
CINDY
(re drink)
You're starting early.
MICHAEL
You ought to try it. It's rich in
vitamin C and...other things I can't
remember.
CINDY
Sold. I'll drink a toast to some
wonderful news.
She takes a long drink from Michael's glass.
MICHAEL
I could use some. Care to share it
with me?
CINDY
I've been invited to audition for
the lead in a show.
MICHAEL
Congratulations. Now what's up?
CINDY
Pardon?
MICHAEL
Devon said you wanted to talk to me.
CINDY
Sorry, wrong girl.
MICHAEL
You sure?
CINDY
Must've been some other Cindy. C'mon,
it's bad luck not to share a toast.
She hands him the glass. Though vaguely troubled, Michael
smiles, finishes off the rest of the orange juice.
MICHAEL
Break a leg.
Cindy laughs. Camera pushes in on the empty glass ---
FADE OUT
END OF ACT ONE
ACT TWO
FADE IN
EXT. MARSHALL BROS. WAREHOUSE - DAY
The police are closing it down, hauling out pieces of
equipment, office furniture, cases of chemicals, etc.
MICHAEL'S VOICE
And you're saying you had no idea
Sonny was selling poison chemicals?
INT. WAREHOUSE - DAY
Michael is walking with the distraught Rosemary from her
office to K.I.T.T. parked nearby, scanner flashing.
ROSEMARY
What do I look like, a chemist? I
can barely type!
(sees them
carrying out
her typewriter)
So much for job security.
MICHAEL
How long have you worked here?
ROSEMARY
Two weeks...
(sees them
taking out
her chair)
...next Friday.
MICHAEL
Any idea where I can find Sonny?
But she's watching them take out her filing cabinets ---
ROSEMARY
Why do I feel like I'm being evicted?
Michael takes her gently by the shoulders, turns her to him.
MICHAEL
Rosemary, a young girl is dead....
ROSEMARY
(interrupts)
I know that! But I don't know where
Sonny is.
MICHAEL
Did you ever go out with him?
ROSEMARY
For five-fifty an hour, you gotta be
kidding.
MICHAEL
But he asked you.
ROSEMARY
Twice last week. Monday and
Wednesday.
Michael has noticed the orchid pinned to her sweater:
MICHAEL
And he even brought you flowers.
(to her
curious look)
I've never known a pretty girl yet
who had to buy her own orchids.
ROSEMARY
(softer)
All right, he brought me flowers.
The creep. But I still don't know
where he is, that's the truth.
Michael studies her a beat, gives her a card:
MICHAEL
If you hear from him, will you give
me a call?
She glances at the number then at Michael ---
ROSEMARY
Even if it's only a postcard.
(slight beat)
Now can I go?
He nods.
ROSEMARY
Boy, are they going to be surprised
to see me back in the old unemployment
line. And after only nine days, too.
She sort of smiles at him, takes a last look at the office
she once had, and leaves the warehouse. Michael moves to
K.I.T.T.
MICHAEL
Anything hidden behind the walls,
buddy?
K.I.T.T.
Nothing a good exterminator couldn't
take care of, Michael.
MICHAEL
So it's right back to square one.
K.I.T.T.
There is something that's puzzling
me, though.
MICHAEL
What's that?
K.I.T.T.
Rosemary is likely to be the only
young lady in the unemployment line
wearing a priceless orchid.
MICHAEL
(impressed)
Sonny boy goes first class. Tell me
more.
Michael slides behind the wheel.
ANGLE TO INCLUDE MONITOR
showing a picturesque graphic of the orchid, as:
K.I.T.T.
It's a Hybrid Jantilius, an exception-
ally rare variety. In fact, according
to my research, there's only one
horticulturist in the country who has
had any success growing them.
MICHAEL
Where do I find him?
K.I.T.T.
Right here in Los Angeles, Michael...
a Mr. Paul Renard.
MICHAEL
Good work, pal...let's go smell the
orchids.
He peels out of the warehouse, making a screeching turn
onto the street.
EXT. FREEWAY - DAY - ON K.I.T.T.
moving fast in light traffic.
K.I.T.T.'S VOICE
Except for failure to pay a traffic
citation in '82, Paul Renard has a
clean slate, Michael....
INT. K.I.T.T. - DAY
Michael is feeling strange, his mind wandering, somewhat
dazed.
K.I.T.T.
Michael....
No response.
K.I.T.T.
Michael, are you all right?
MICHAEL
What?
K.I.T.T.
I asked if you were all right.
MICHAEL
(snaps out
of it)
Yes, I'm...fine, Kitt. Fine.
K.I.T.T.
Well, we'll see about that.
INTERCUT - MONITOR
as K.I.T.T. scans Michael's anatomical graph.
K.I.T.T.
Michael, I detect a slight chemical
imbalance in your metabolism.
MICHAEL
(forces laugh)
Hey, c'mon, no one's perfect.
K.I.T.T.
'No one's perfect.' I'll have to
remember that. In the meantime,
I'll see if I can isolate what's
causing the imbalance. It might
just be stress related.
MICHAEL
Not the old 'stress' line again.
C'mon, I thought your jokes were
going to cure all that.
K.I.T.T.
(troubled beat)
Jokes? Of course, jokes!
Michael settles back, he needs the rest, as K.I.T.T. gets
ready to "go on." His timing still leaves a lot to be
desired.
K.I.T.T.
I tell you, Michael, it's great to
be back on the Hollywood Freeway....
MICHAEL
How great is it?
EXT. FREEWAY - DAY - K.I.T.T.
K.I.T.T. (V.O.)
But seriously. I stopped for gas
the other day and the service was
so slow, by the time they filled me
up, my upholstery was out of style.
MICHAEL'S VOICE
Kitt...it's going to be a long ride.
The Trans Am speeds off into the distance.
EXT. RAFFERTY'S BAR - DAY - ON CINDY
practicing a dance routine on the stage. The bar's almost
empty at this hour. Judy is seen drying glasses nearby,
and watching the routine. Suddenly Cindy feels dizzy and
has to grab hold of something to keep from falling. Judy
hurries to her side.
JUDY
You all right?
CINDY
(recovering)
Yeah, I...guess I've just been
pushing myself a little too hard.
(smiles)
Don't worry...I'll be okay.
Judy nods, and goes back to the bar. Cindy begins to dance
again...this time slower and with more effort.
EXT. RENARD'S ESTATE - DAY - FAVORING GREENHOUSE
RENARD'S VOICE OVER
A secretary? Wearing one of my
prize orchids?
INT. GREENHOUSE - DAY
Michael and Renard are walking together. Renard occasion-
ally spraying his plants.
MICHAEL
As impossible as it seems -- yes.
It was a gift from her boss.
RENARD
She must be a whiz at shorthand.
MICHAEL
At least ten words a minute.
Renard glances across a plant at him.
RENARD
What...sort of business is her boss
in?
MICHAEL
Killing people.
(slight beat)
Ever hear of someone named Sonny
Martin?
RENARD
(thinks, shakes
his head)
No...can't say that I have.
He moves on, examining and spraying his plants.
MICHAEL
He's a great admirer of yours....
Renard looks at him again, this time even more quickly.
MICHAEL
I mean...your orchids.
Renard forces a smile.
RENARD
Well, the Jantilius is a rare
creature...Care to take a closer
look at it, Mr. Knight?
MICHAEL
Why not?
Renard leads him to the special section of rare orchids
above which we'll notice an Aztec mask hanging on the
wall. Michael takes a look at one flower in particular.
RENARD
So delicate...so lovely...it's hard
to believe it hides a deep dark secret.
MICHAEL
And what's that?
RENARD
If I told...it wouldn't be a secret
anymore, would it?
(smiles)
Well, what do you think?
MICHAEL
I have to admit I've never seen a
flower quite like it.
RENARD
And I dare say, within your lifetime,
you never will again.
Michael suddenly feels dizzy, but quickly steadies himself.
RENARD
You don't look well, Mr. Knight.
Perhaps you need some fresh air.
MICHAEL
It is...a little humid in here.
RENARD
To my Jantilius -- it's home.
Renard leads the way out. Once again we'll notice the
Aztec mask guarding the orchids.
EXT. GREENHOUSE - DAY
Michael and Renard move toward K.I.T.T. parked nearby.
Michael is steadier now.
MICHAEL
Mr. Renard -- if I wanted to buy one
of your rare orchids, where would I go?
RENARD
I'm afraid they're not for sale.
MICHAEL
Really?
(stops, looks
at him)
Then I wonder where Sonny Martin got
his?
Renard realizes he's made a slight error, quickly recovers.
RENARD
As you can see there are no armed
guards around...one doesn't expect
treachery in a greenhouse.
MICHAEL
Nor in a beach front bar...and when
it involves the death of a young girl,
that's treachery of the worst kind.
(slight smile)
I have a strong suspicion you and I
will meet again.
RENARD
Perhaps...but I wouldn't bet on it.
Each looks at the other; a silent challenge to be taken up
at a later time. Then Michael slides into K.I.T.T. and
drives off. Renard watches them disappear down the winding
road.
ANGLE TO INCLUDE SONNY
coming up from behind. Renard hears him, turns:
RENARD
Well, speak of the devil, and the
devil will appear.
SONNY
What's Knight doing here?
RENARD
Following up on a stolen orchid...
thanks to you.
(slight beat)
But don't worry, before the sun rises
again he'll have withered and died.
SONNY
That's easy for you to say, but until
then he could pop me, book me and
toss me in the can. You be
patient. I'm gonna kill him.
RENARD
If you can find him.
SONNY
Don't worry...I'll find him.
Sonny goes off the way he came.
EXT. K.I.T.T. - DAY
driving down a city street.
MICHAEL'S VOICE
Kitt, Renard's into this up to his
geraniums.
INT. K.I.T.T. - DAY
Michael is running downhill. K.I.T.T. is very worried.
K.I.T.T.
You could be right, Michael...but
right now I'm more concerned about
you.
Michael doesn't like his tone, looks to the monitor a beat,
before:
MICHAEL
Lay it on me, pal.
ANGLE TO INCLUDE MONITOR
A vivid graph of the situation.
K.I.T.T.
I just determined the source of your
chemical imbalance. It seems you
ingested a slow-acting but highly
toxic compound.
MICHAEL
Ingested?! All I've had today is
orange juice.
K.I.T.T.
(difficult)
Then...I'm afraid someone poisoned
that orange juice.
This is heavy news. Michael has to think about it a beat
or two.
MICHAEL
Poison? Kitt, are you telling me
I'm dying?
K.I.T.T.
I'm trying to isolate the toxin for
identification right now....
MICHAEL
That's not what I asked?! Am I
dying?!
K.I.T.T.
Michael -- death has many philosoph-
ical interpretations....
MICHAEL
Kitt!
K.I.T.T.
Yes...That's why you must get to a
hospital immediately.
But Michael suddenly remembers something. Softly to himself:
MICHAEL
The orange juice....
K.I.T.T.
Michael, are you listening to me? I
insist you drive directly to the
nearest emergency hospital....
Instead, Michael turns the wheel hard.
EXT./INT. K.I.T.T. - DAY
as the Trans Am does a screeching 180.
K.I.T.T.
Which I happen to know is in the
exact opposite direction!
MICHAEL
You're right, Kitt...but I happen to
know Cindy drank as much of that O.J.
as I did!
K.I.T.T.
What?
MICHAEL
You heard me, pal. If I'm checking
out...so is she!
The Trans Am seems to raise up on its rear tires as it
pushes for top speed, disappearing down the street.
EXT. RAFFERTY'S BAR - DAY
K.I.T.T. pulls up. Michael jumps out and races toward the
patio area.
ANGLE TO INCLUDE SEVERAL YOUNG PEOPLE
throwing Frisbees in the b.g.
ANGLE ON PATIO AREA
as Michael looks about, sees the dancer's platform empty,
no sign of Cindy, but spots Judy having just served a
drink. He moves to her.
MICHAEL
I'm looking for Cindy!
JUDY
The question is -- is Cindy looking
for you?
She moves back toward the bar. Michael catches up:
MICHAEL
You don't understand....
JUDY
(interrupts)
Sure I do. Next you'll be telling
me your eyes met across a crowded
bar and it was love at first sight.
You're not married, looking to
settle down, and can't live without
her.
She starts off again. This time he stops her ---
MICHAEL
No, there's a good chance she can't
live without me -- or someone else
who gets her right to a hospital.
JUDY
(beat)
What are you talking about?
MICHAEL
She accidentally drank some poison --
we both did, only I'm twice her size
which means it's working on her
twice as fast.
JUDY
(remembering)
She said she didn't feel well when
she left.
MICHAEL
Do you know if she went home?
JUDY
No, she said she had an audition
somewhere. The most important
audition of her life, and nothing
short of death was going to keep her
from it.
They can't help but react to the irony of this.
MICHAEL
Did she say where that audition was?
JUDY
No...
(fighting
tears)
That poor girl! Both of you!
MICHAEL
If you hear from her....
JUDY
(interrupting)
Don't worry. I'll see that she gets
to a hospital if I have to drag her
by her hair!
MICHAEL
(nods)
Now that's what I call friendship.
He smiles and hurries off, leaving Judy to break down in her
sorrow.
ANGLE ON MICHAEL
As he's leaving the patio area he talks to the comlink.
Intercut as needed:
MICHAEL
Kitt, I want you to check out every
important dance audition being held
in this city.
K.I.T.T.
Even as you speak, Michael.
As Michael continues toward the parking area ---
ANGLE ON THE FRISBEE THROWERS
and one in particular: It's Sonny Martin and his flying
Gilette Special. He eyes Michael, and readies to throw the
lethal Frisbee with his silver mesh-gloved hand. And just
as he's ready to let go:
ON MICHAEL
as he catches a glint of reflected light from one of the
blades, and instinctively hits the ground. The killer
Frisbee cuts through the air just inches from Michael's
head, sticking into the Rafferty's sign behind him.
VARIOUS ANGLES
as Michael gets to his feet and looks to see Sonny throwing
another one. He ducks, and the razor's edge nearly slices
off the top of a large cactus. Michael picks up a piece of
board and goes after Sonny with it.
SONNY'S POINT OF VIEW
as Michael charges. Sonny throws a final Frisbee. This
time, Michael catches it with the board.
BACK TO SCENE
as Sonny turns tail, jumps on his chopper and speeds off.
Michael talks to comlink. Intercut as needed.
MICHAEL
Kitt, pick me up!
K.I.T.T.
I'm on my way, Michael.
Self starting, pulling out, K.I.T.T. roars up and pops open
the driver's side of the door. Michael hops in and they
take off after Sonny, leaving behind a spray of sand.
VARIOUS ANGLES ON CHASE
as Sonny speeds down Venice streets with Michael and
K.I.T.T. gaining on him. Then Sonny makes a sharp turn
into an alley.
MICHAEL
Let's get this over with, pal.
Michael activates pursuit mode.
VARIOUS ANGLES ON K.I.T.T.
as the Trans Am speeds past the alley, around a corner and
pulls into the alley from the opposite end. And stops!
ON SONNY MARTIN
as he sees K.I.T.T. blocking his way, but is unable to
brake in time. Instead, he climbs right up on K.I.T.T.'s
hood, over the top and lands right inside a Dempsey
Dumpster. Bike and all.
FAVORING MICHAEL
calmly getting out and walking to the dumpster.
ANGLE TO INCLUDE SONNY
nestled in the debris, looking up helplessly:
MICHAEL
Let's haul him in, Kitt...before he
gives garbage a bad name.
Michael grins at Sonny, and we ---
FADE OUT
END OF ACT TWO
ACT THREE
FADE IN
EXT. CITY STREET - DAY - ON K.I.T.T.
moving fast.
K.I.T.T.'S VOICE
Ah, here's something, Michael.
There's an audition at the Los
Angeles Auditorium....
INT. K.I.T.T. - DAY
Michael, very tired, strained, glances at the monitor to
see various pieces of information. K.I.T.T.'s voice drops:
K.I.T.T.
Only...it's for dancing elephants.
MICHAEL
Not even close, but keep trying, pal.
K.I.T.T.
In the meantime, Devon's calling.
Michael pushes the button, tries being his old self:
MICHAEL
Yo, Devon!
INTERCUT WITH DEVON AS NEEDED
trying not to show his true feelings, his concern.
DEVON
Well, you're sounding chipper.
MICHAEL
Hey, I feel like a million bucks.
DEVON
So much for inflation.
(turns off
the ol' smile)
Kitt, anything on the poison yet?
K.I.T.T.
I'm still working on it, Devon.
It's even rarer than I imagined.
MICHAEL
But his jokes are improving.
DEVON
His -- jokes?
MICHAEL
It's a long story. What about Sonny
Martin?
DEVON
He's apparently got religion. He's
taken a vow of silence. Now -- until
Kitt isolates that poison -- I suggest
you drive yourself straight to the
hospital this very moment!
MICHAEL
Not until I find Cindy, Devon.
DEVON
Michael, that suggestion was not a
suggestion -- it was an order!
MICHAEL
Then it's an order I'm going to have
to refuse.
DEVON
Michael...!
But he's interrupted by K.I.T.T.:
K.I.T.T.
Eureka! There's an audition for a
new musical called Dance Mania, and
Cindy is trying out for the lead.
MICHAEL
Where's it being held?
K.I.T.T.
The bandstand at Venice Beach.
MICHAEL
Now I'm feeling better, Devon! Alert
the hospital, we're on our way!
He punches Devon off.
EXT. STREET - DAY - ON K.I.T.T.
and it's full throttle down the busy street.
EXT. VENICE BANDSTAND - DAY - ON CINDY
doing her dance in front of several producer/director types
seated on the empty stage behind her. Their looks tell us
they're very, very pleased with her performance. We'll
favor the director, a nice-looking man in his midthirties.
ANGLE ON K.I.T.T.
screeching up nearby. Michael gets out and runs toward the
bandstand. As he's about to run up the stairs, he's
suddenly stopped by a uniformed Security Guard ---
SECURITY GUARD
Unless you're wearing leotards under
there, beat it.
MICHAEL
I've got to get that girl to a
hospital.
SECURITY GUARD
You don't say. Funny, she looks
nice and healthy to me.
MICHAEL
Just shows you can't believe
everything you see.
He slides by him and continues up the stairs.
SECURITY GUARD
Hey!
He goes after him.
ANGLE ON CINDY
dancing, great, but suddenly overcome by dizziness. One
spin, two, and she collapses on the stage. The others
react, as Michael rushes to her. Weak ---
CINDY
Michael....
MICHAEL
Don't worry, I'm going to take care
of you.
He lifts her up, starts carrying her to K.I.T.T.
CINDY
They...liked me...I...know...they
did.
MICHAEL
Liked you? They loved you!
The slightest smile and she passes out in his arms.
ANGLE TO INCLUDE K.I.T.T.
pulling up, door popping open. Michael puts her inside,
and drives off in a spray of sand.
EXT. HOSPITAL - EMERGENCY ENTRANCE - DAY
Cindy is already on the gurney and being wheeled toward and
into the emergency room by an orderly. Devon approaches
Michael who is near K.I.T.T.
DEVON
You have your choice, Michael --
you can check in of your own free
will, or I can have two burly
orderlies assist you.
But before Michael can respond:
K.I.T.T.
Michael, I've isolated the poison!
MICHAEL
What is it, Kitt?
K.I.T.T.
A sophisticated derivative compound,
originating in the Orchidaceas
Bauhinia Veriegata.
MICHAEL
In plain English.
K.I.T.T.
The rare Jantilius orchid.
MICHAEL
So that's what Renard meant when he
said it hides a deep, dark secret.
The secret of death.
DEVON
If the poison comes from the orchid,
then there's a good chance the
orchid also produces the antidote.
K.I.T.T.
Exactly, Devon.
MICHAEL
Kitt, I think it's harvest time!
He slides into the Trans Am ---
DEVON
Michael...!
MICHAEL
Later, Devon!
And he drives off.
ANGLE ON DEVON
watching.
DEVON
How I pray...there is a later.
EXT. RENARD'S MANSION - DAY
Michael is running toward the greenhouse. Jennings, the
elderly gardener is running hard to keep up, and K.I.T.T. is
tagging behind.
JENNINGS
But I told you, Mr. Renard left a
short time ago in his private jet!
MICHAEL
Did he say where he was going?
JENNINGS
Not to me, he didn't. Although...I
did hear Miss Ava mention something
about Mexico. Where in Mexico?
Heaven only knows.
MICHAEL
Kitt, run a check on every private
jet requesting clearance to Mexico
in the last hour.
K.I.T.T.
I'm checking now, Michael...nothing.
MICHAEL
Check radio communications.
K.I.T.T.
Good idea. A Lear jet ran a weather
check for an area just across the
border.
MICHAEL
We're getting closer -- now let's
get those orchids!
They enter the greenhouse.
INT. GREENHOUSE - DAY - ON MICHAEL
racing toward the orchid area. He's hopeful, excited, and
then the look on his face tells it all.
K.I.T.T.
Michael, what is it?
MICHAEL
He beat us to them, Kitt....
ANGLE TO INCLUDE ORCHIDS
as Michael picks up some of the remains.
MICHAEL
Every last one of them burnt to a
crisp.
K.I.T.T.
And useless as an antidote.
Jennings glances up to the mask overhead:
JENNINGS
Guess old Tetzulla fell asleep on
duty.
MICHAEL
Tetzulla?
JENNINGS
Yes, the Aztec God of Fertility.
Mr. Renard hung it there to look
after his rare orchids.
MICHAEL
Kitt, what do you know about this
Tetzulla?
ANGLE TO INCLUDE MONITOR
serving up a colorful Aztec image.
K.I.T.T.
Besides being the Aztec God of
Fertility, Michael, he's also the
patron idol of the Mexican town of
Chalaxa.
MICHAEL
Is there a landing strip in Chalaxa?
ANGLE TO INCLUDE MONITOR GRAPHIC
of grid map with landing strip.
K.I.T.T.
Yes...a small one...but certainly
large enough for a private jet.
(beat)
Michael, if you're thinking what I'm
computing, I'm afraid it's a long
shot.
MICHAEL
Tell me about it...but right now
it's the only shot in town. Let's
swing on down Mexico way.
He gets into K.I.T.T., and they drive off, leaving a rather
confused gardener behind.
EXT. U.S. 101 - DAY
K.I.T.T. winds southward through the curves, the blue
Pacific off to the right.
MICHAEL'S VOICE
Stay on top of those doctors,
Devon. They've got to keep Cindy
alive 'til I get back.
INT. K.I.T.T. - MICHAEL - DAY - INTERCUT - DEVON
as they converse via the monitor.
DEVON
They're doing all they can. She's
on life support...
(beat; turning
suspicious)
What do you mean, 'til you get back?
You're supposed to be on your way here
with those orchids.
MICHAEL
The orchids were deep fried. I have
to make a little stop first.
DEVON
Where?
MICHAEL
Mexico.
DEVON
Mexico?! Are you out of your mind?
MICHAEL
No. I'm trying to save Cindy's life.
And my own.
DEVON
Michael you must come in for treatment.
MICHAEL
Devon, unless Bonnie's come up with an
antidote, my best chance is catching
up with Renard. If he's handling that
poison, you can bet he keeps the
antidote handy.
DEVON
I'm afraid the toxins are starting
to affect your mental processes.
(grasping)
Kitt, tell him it's senseless.
K.I.T.T.
Actually, I've already checked.
Michael's right. Mathematically
speaking, Mexico is our best hope.
Devon slumps, visibly concerned. But what can he say?
DEVON
If there's anything at all I can
do....
MICHAEL
I'll call. Thanks, Devon. Hasta la
vista.
DEVON
Vaya con Dios, Michael.
His worried face fades out.
EXT. MEXICAN HIGHWAY - DAY - K.I.T.T. - VARIOUS SHOTS
The black Trans Am twists through the Sequaro desert on an
asphalt ribbon much smaller and lonelier than the previous
highway. We know we're south of the border from the
scenery and the music: maybe the Grateful Dead's "Mexicali
Blues" or J.J. Cale's "Bringin' It Back From Mexico". As
the sound alike fades:
K.I.T.T.'S VOICE
Michael, your vital signs are
fluctuating like a roller coaster.
ANGLE IN K.I.T.T.
driving. Michael is sweating and pale. He's in bad shape.
MICHAEL
Is that supposed to cheer me up?
What happened to your jokes?
K.I.T.T.
Michael, my heart just isn't in it.
How can we joke at a time like this?
MICHAEL
Come on. Gimme a real belly laugh.
K.I.T.T.
Very well.
We hear an electronic snare drum roll that leads right into
the car's usual flat, dry delivery.
K.I.T.T.
When I was a kid....
MICHAEL
You were never a kid.
K.I.T.T.
Not now, Michael, I'm on a roll.
Now, when I was a kid we were so
poor we couldn't afford cheese to
bait the mousetrap.
MICHAEL
Another mouse joke?
K.I.T.T.
Please, no heckling...anyway, we had
to cut out a picture of cheese for
bait.
MICHAEL
So what happened?
K.I.T.T.
We caught a picture of a mouse!
Another rimshot. Michael groans loudly.
K.I.T.T.
(panicky)
Michael, what is it? Are you in
pain? Is it the poison?
MICHAEL
No, it's your jokes. They're
killing me.
He musters a smile as he settles back and lets K.I.T.T. do
the driving.
EXT. MAIN STREET - CHALAXA, MEXICO - DAY
This sleepy Mexican village is too sleepy: deserted,
actually. Michael and K.I.T.T. cruise in on a dirt road
flanked by adobe shops.
ANOTHER ANGLE - K.I.T.T.
parking in front of a rustic adobe cantina. Mexican music
filters from inside. Michael climbs out of the car and
starts inside.
K.I.T.T.
Michael, your pulse and blood pressure
are exceedingly high, do be careful
in there.
MICHAEL
Don't worry, Kitt, I won't drink the
water...or the orange juice.
He heads inside.
INT. CANTINA - DAY
The room is traditional Mexican: thick adobe walls, arches
and pillars, cool and dark. Music comes from a radio
behind the bar where a burly bartender keeps an eye on the
door. Several local males ply quiet conversation at the
center tables and if we look closely, we might pick out
two or three concealed weapons. We settle on Renard and
Ava, seated at a corner table with Colonel Faisur and an
elegant blonde, Marissa. The men are in dark suits, the
women dressed to the nines in contrast to their semisqualid
surroundings.
FAISUR
I trust the compound is totally
effective?
RENARD
(almost offended)
Colonel...have I ever let you down?
FAISUR
Not yet, and I wouldn't want this to
be the first time.
AVA
The synthetic poison is every bit as
strong as what we extract from the
orchids themselves.
RENARD
Which means one liquid ounce has the
killing power of twenty-five gallons
of cyanide. And best of all it's
untraceable.
(toasts)
A terrorist's dream.
The three toast, but their celebration is interrupted by:
MICHAEL
as he enters purposefully. The bar goes silent. Everyone
tenses as he strides to Renard's table.
MICHAEL
If you're toasting my demise, I'm
afraid you're a bit premature.
RENARD
(truly amazed)
Mr. Knight -- you are quite a
specimen. Your resistance level is
nothing short of amazing.
MICHAEL
Rage is a powerful medicine.
RENARD
But is it powerful enough?
(smiles)
Excuse me, I forgot to introduce
Colonel Faisur, his lady friend --
Marissa, and I believe you already
know Ava.
MICHAEL
Yes, I believe we met over a glass
of orange juice. What's a rotten
girl like you doing in a nice place
like this?
She smiles at him, not liking what he says, but there is
something about him she finds appealing.
MICHAEL
Now...the antidote, Renard.
Renard produces a small golden vial attached to a golden
chain around his neck.
RENARD
You must mean this.
MICHAEL
That's exactly what I mean.
Michael starts to make a grab for it, but Renard quickly
gets to his feet and crosses toward the bar. In his
condition Michael isn't fast enough or strong enough to
stop him. In fact, he loses his balance and must brace
himself against the table. Renard enjoys this moment, as
do the others.
RENARD
But why, why should I give it to you,
Knight...after going through all the
trouble of poisoning you in the first
place?
MICHAEL
Because beneath it all, Renard, you're
really a sweetheart of a guy.
Michael lunges for him. But Renard has only to sidestep
him, and Michael crashes against the bar. He struggles to
keep from slipping to the floor.
RENARD
No, beneath it all, I'm exactly what
I appear. A selfish man who doesn't
want to spend the rest of his life in
jail, for supplying something my cus-
tomers need. Isn't that the American
way?
Michael is having a difficult time focusing now.
MICHAEL
You're nothing but a merchant of
death, Renard...The antidote...Now!
With his last gasp of strength Michael lunges at Renard,
catching hold of him. But before he can really do anything
or get the antidote, one of the locals hits him from behind
with the butt of his gun. Michael drops.
RENARD
(to Faisur)
My apologies for the intrusion, Colonel.
But if you wanted confirmation of what
your new purchase can do to the popula-
tion of a city....
He sticks out a foot and rolls Michael over with it so that
he lies face up, pale, sweating, and motionless.
RENARD
(continuing)
...here's your proof.
Move into:
EXTREME CLOSE UP ON MICHAEL
his eyes fixed in the thousand-yard stare. Is he
alive...or dead?
FREEZE FRAME
AND
FADE OUT
END OF ACT THREE
ACT FOUR
FADE IN
INT. CANTINA BACK ROOM - DAY - MICHAEL'S POINT OF VIEW ON A
BARE BULB
going in and out of focus. Just as it settles down, Ava's
face leans into shot, silhouetted softly by the harsh light.
She reaches out with a dampened silk scarf. Angel or
apparition?
ANOTHER ANGLE
We see she's wiping the perspiration from Michael's brow.
He's sprawled on a cot, trying his hardest to open his eyes
and focus on her.
MICHAEL
Don't tell me -- I've died and gone
to that hot place below.
AVA
Don't rush it. You've so little time
left, why spend it on unpleasantries?
With that, she bends over and kisses him. After they break:
MICHAEL
Where's Renard?
AVA
Michael Knight...true to your reputa-
tion. Drawing your last breaths and
still fighting.
She kisses him again. Michael lets it happen. When they
break, he sits up, holds his head, steadying himself. Ava
unbuttons the top button on his shirt. Michael takes note
of:
A MEXICAN GUARD
toting a shotgun, blocking any exit by the door.
BACK TO SHOT
Ava notes Michael's reaction to the guard's presence,
undoes another button. He turns to her:
MICHAEL
Friend of yours? How about a little
privacy?
AVA
(smiling)
You don't strike me as the shy and
inhibited type.
MICHAEL
Just answer me one question. Why?
AVA
Because I want to make your last
moments memorable.
She kisses him again. Michael breaks away, laughing softly.
He stands and faces her, seated on the edge of the cot.
MICHAEL
That's not what I meant. I meant,
why put that poison on the inter-
national market. I'd like to know
what price you two put on millions
of deaths.
AVA
For starters -- millions of dollars.
But believe me, it's not the money.
MICHAEL
I know, it's what the money buys.
She starts toward him.
AVA
My only regret is we won't have time
to get to know each other...more
deeply.
MICHAEL
It's not the time, Ava, it's what
you do with it.
Just as they're about to kiss, Michael whirls and nails the
unsuspecting guard with a right hook. The guard falls to
the floor. Michael turns back to Ava, yanks the silk scarf
from her grasp and stuffs it into her mouth as a gag. As
he binds her hands with his belt:
MICHAEL
See how time flies when you're
having fun?
Binding completed, he tosses her onto the cot, kicks the
guard's shotgun away from the door and steps into the bar.
INT. CANTINA - BAR AREA - DAY
Michael sees another very large Guard sitting alone, eating,
his back to Michael. Michael looks around, grabs a beer
bottle off the bar, and heads for the behemoth's table.
CLOSER ANGLE
as Michael reaches over the Guard's shoulder and puts the
beer alongside his plate.
MICHAEL
Quiere cerveza?
GUARD
(turning to
thank him)
Ay...gracias....
But that's all he gets out as Michael rams another right
into his jaw, sending him sprawling out of his chair, out
cold.
MICHAEL
Con mucho gusto.
(to comlink)
Kitt, pick me up.
INT. K.I.T.T. - DAY
as engine, pedals, and shifter come to life.
EXT. CANTINA - DAY
Michael emerges and hops into K.I.T.T. as the car skids up
and pops a door. As they screech off:
K.I.T.T.'S VOICE
Michael, I'm so glad to see you.
ANGLE IN K.I.T.T.
driving. Michael's running on empty but his determination
is undaunted.
MICHAEL
Likewise, buddy. You better call
the Federales to clean this place up.
K.I.T.T.
Did you find the antidote?
MICHAEL
Yeah, but Renard has it. And I'm
guessing he's jetting back to L.A.
with it by now.
K.I.T.T.
You're right. They took off fourteen
minutes ago, headed northwest. I'm
afraid that plane was loaded with a
very nasty cargo.
MICHAEL
Like enough poison to wipe out a
small city.
(starts punching
buttons)
Okay, so they've got a head start.
K.I.T.T.
Head start?! Michael, even at my
top speed they'd beat us there by
half an hour. And they're too far
up to microwave jam.
Michael's fading, but he keeps hitting buttons.
MICHAEL
I know. But see if you can access
their navigation computer through
the Palomar uplink. Maybe you can
send them off course and cost them
some time.
K.I.T.T.'s monitors spring to life.
K.I.T.T.
Brilliant, Michael! I'll take it
from here. Consider them adjusted.
(motherly)
Now you just relax.
As Michael hits "pursuit" his seat reclines, laying him
back as the car rockets off.
EXT. MEXICAN HIGHWAY - DAY - ON K.I.T.T.
slicing through the reddening light of day's end.
EXT. RENARD'S PRIVATE JET IN FLIGHT - DAY - ESTABLISHING
bisecting a cloudless sky.
INT. JET - COCKPIT - DAY - THE INSTRUMENTS
start to go haywire. We see the compass move several
notches and the airspeed indicator fall. The pilot taps
the instrument glass, relaxes as they seem to return to
normal.
ANGLE IN PASSENGER COMPARTMENT
where Renard, Faisur, and Marissa are seated. She's now
sporting a dark fur coat. There's a stack of aluminum
secure-carriers behind them. Renard notices the pilot's
actions.
RENARD
Anything wrong up there?
The pilot signals "okay." Faisur takes Renard by the
shoulder.
FAISUR
Relax, my friend. You made a
fortune today.
RENARD
You're right. And the only man who
could have taken it from me is dead
now.
(to Marissa)
Marissa, some champagne, please.
MARISSA
Of course. It'll do us all good.
She starts to pour.
CUT TO
EXT. HIGHWAY - DAY - K.I.T.T.
roaring back toward the border and L.A.
ANGLE IN K.I.T.T.
Michael slumps in the driver's seat, eyes closed.
MICHAEL
(dreamily)
Kitt, how much longer do I have?
K.I.T.T.
Don't ask me that.
MICHAEL
An hour? Two?
K.I.T.T.
(a beat,
emotionally)
I'm surprised you're still with us,
Michael. You're living on sheer
willpower.
MICHAEL
(fading)
I'm tired, Kitt...tired of fighting
...I want to rest...rest....
K.I.T.T.
(desperately)
The will to live, Michael. It's all
you've got! Don't give up!
MICHAEL
(almost inaudible)
I just want...to sleep....
K.I.T.T.
(shouting)
Michael!
This jolts Michael ever so slightly. In a state of panic,
K.I.T.T. goes into his "act."
K.I.T.T.
A friend of mine flew to Las Vegas
yesterday, and boy are his arms
tired!
Michael shows no reaction.
K.I.T.T.
(without a
break)
Speaking of Vegas, you know the only
way to make any money there? When
you walk off the plane, walk into
the propeller!
K.I.T.T. adds a slide whistle sound effect. Michael groans.
CUT TO
EXT. RENARD'S JET IN FLIGHT - DAY
flying in front of a beautiful sunset.
INT. JET - PASSENGER COMPARTMENT - DAY
Renard is still fidgety, looking out the window, calls up
to the pilot.
RENARD
That body of water...I don't remember
it on the flight down.
FAISUR
So we're on a different flight path.
Calm down. You're getting too old
for this business.
RENARD
(looks out
again; it
dawns)
That's Lake Arrowhead! We're a
hundred miles off course!
(calls ahead
to pilot)
Get this jet turned around!
As the pilot nervously starts working the instruments:
FAISUR
Head winds, Renard, head winds. Next
thing you know, you'll be seeing
ghosts.
Renard settles back in his seat, troubled.
CUT TO
EXT. HIGHWAY - NIGHT - ON K.I.T.T.
tearing up a freeway that's distinctively American. L.A.
at last. And still we hear:
K.I.T.T.'S VOICE
And how 'bout those show girls in
Vegas....
ANGLE IN K.I.T.T.
Michael holding his own, thanks to K.I.T.T.'s bottomless
well of jokes, now with a running laugh track.
K.I.T.T.
...I saw one with beautiful blonde
hair all down her back. None on her
head, all down her back.
Move in on Michael who breaks into the slightest smile.
CUT TO
EXT. AIRPORT - NIGHT
The jet is just coming in for a landing now after its delay.
HIGH ANGLE ON THE RUNWAY - NIGHT
Screaming through the darkness onto the airport tarmac is
K.I.T.T., red scanner flashing in a simultaneous arrival.
MICHAEL'S VOICE
Is that them, Kitt? Did we make it?
ANGLE IN K.I.T.T.
K.I.T.T.
We surely did, Michael, and not a
moment to spare.
This information buoys Michael's energy.
MICHAEL
Then let's give them a reception
they'll never forget. Head on.
He floors the car.
INT. RENARD'S JET - NIGHT
Faisur and Marissa are collecting themselves for a quick
departure when Renard glances out the window.
RENARD
Oh, no...
(calls, angry)
Faisur! There's my ghost!
ANGLE THROUGH THE JET'S WINDSHIELD - WHAT HE SEES IS
K.I.T.T.
speeding toward them, head on.
ANGLE IN JET
Now it's Faisur's turn to be nervous. But Renard takes
command.
FAISUR
What do you suggest?
RENARD
(calls to
pilot)
Take off again! Now! We've got to
get airborne immediately.
ANGLE IN K.I.T.T. - MICHAEL'S POINT OF VIEW THROUGH THE
WINDSHIELD
we see the nose and lights of the Lear jet looming ever
larger and coming on fast.
K.I.T.T.
Michael! They're lifting off again.
MICHAEL
Not if we lift off first. Hang on!
He reaches for turbo boost. The force pushes him into his
seat.
EXT. RUNWAY - NIGHT - VARIOUS ANGLES - THE CRASH
K.I.T.T. leaves the ground just as the plane starts to lift
off. Michael's jump takes the car smack into the left wing
and fuel pontoon of the jet. They explode and burst into
flame. The jet wobbles weakly to a stop.
ANGLE IN K.I.T.T.
as it slams back to Earth. Michael groans at the jolt,
then pumps the wheel around to pick up his fleeing prey.
K.I.T.T.
Michael, what are you planning? You
hardly have the strength to stand up.
MICHAEL
Then it's time for another dose of
willpower, buddy.
He screeches to a stop near the burning plane.
EXT. RUNWAY - NIGHT - FULL ANGLE - THE JET
Renard, Faisur, and Marissa run pell-mell down the ramp of
the burning jet.
FAISUR AND K.I.T.T.
Faisur raises a small automatic pistol and pumps several
rounds into the Trans Am as Michael ducks to cover behind
the driver's door. The bullets spark harmlessly off
K.I.T.T.'s shell and windows. The sound of approaching
sirens can be heard in the b.g.
K.I.T.T.'S VOICE
Michael, the fire is reaching the
jet's main fuel tanks!
Michael stands up and shouts through the smoke and din:
MICHAEL
Get away! The plane's going to go
up!
WIDE SHOT - SLOW MOTION - THE JET
As Renard, Faisur, and Marissa flee across the tarmac the
Lear jet blows sky high in a ball of flame. They're thrown
to the ground by the force of the blast.
MOVING WITH MICHAEL
He races to his downed opponents.
MICHAEL
Kitt, are they all right?
K.I.T.T.
All vitals are strong, Michael.
Michael finds Renard.
TIGHT ON RENARD
lying on the ground. Michael kneels beside him, grabs the
antidote vial, and roughly rips the attached gold chain
from Renard's neck. Michael, who is now running solely on
willpower, slowly gets to his feet. Two policemen arrive
on the scene.
MICHAEL
(to cops)
Lock these two up and impound the
cargo on this jet. But don't handle
it -- it's deadly.
K.I.T.T.
Michael, we're running out of time!
MICHAEL
I'm all yours, Kitt.
Michael jumps into K.I.T.T. and speeds off.
EXT. HOSPITAL - NIGHT
as K.I.T.T. comes screeching up to the emergency room
entrance. Devon and Bonnie are there to help Michael out
of the car as two orderlies rush to their aid with a gurney.
MICHAEL
(gasping)
The antidote...Cindy?
DEVON
Inside! Hurry!
The orderlies wheel him off. Hold on Devon and Bonnie,
near tears of relief and worry.
SMASH CUT TO
INT. EMERGENCY ROOM - NIGHT
The doors fly open as Michael's wheeled in. His gurney is
placed next to another where he sees:
CINDY
pale, her condition critical. Through her fog she recog-
nizes Michael and catches the glint of hope in his eyes.
CINDY
(weakly)
Michael...are we going to die?
He reaches across and takes her hand.
MICHAEL
No. We're going to be fine.
WIDER ANGLE
The doctor has already prepared an injection, which he
gives to Cindy first. The monitors at her bedside suddenly
become active, indicating an immediate improvement. The
attending hospital staff let out a cheer! Camera finds:
MICHAEL
still holding her hand, smiling comfortably. On his
triumph:
FREEZE FRAME
AND
FADE OUT
END OF ACT FOUR
TAG
FADE IN
EXT. VENICE BEACH BANDSTAND - DAY
Up rock music plays as we find Cindy in the middle of her
final audition for Dance Mania. Michael stands with the
producer/director types who look on, perhaps making notes
or whispering to each other, their expressions inscrutable.
Devon and Bonnie also watch from where K.I.T.T. and Devon's
limo are parked.
VARIOUS ANGLES - CINDY
is putting on a wonderful display a la Flashdance. The
music climaxes and she collapses to a finishing move, then
springs to her feet enthusiastically. Out of breath, she
crosses to Bonnie and Devon.
BONNIE
Cindy, you were fantastic.
CINDY
I just hope the director thinks so.
She wipes her forehead with a towel, nervous. Michael
saunters up, looking serious.
CINDY
Well? Don't keep me in suspense.
MICHAEL
You're not what they had in mind.
Cindy sags. Another turn down.
CINDY
Oh well. At least they called me back.
MICHAEL
(breaking into
a grin)
You're better than what they had in
mind. The part's yours! Welcome to
Dance Mania!
Cindy's expression changes to one of ecstatic delight. She
throws her arms around Michael, who lifts her off the ground
in a big hug, spins her around.
BONNIE
We knew you could do it!
DEVON
This calls for a celebration. And I
have just the thing.
Devon opens the passenger door of his limo and pulls out an
iced champagne bucket. The bottle is wrapped in a white
napkin. Ad-lib oohs and aahs.
MICHAEL
Devon, how thoughtful. A good year?
DEVON
(mischievous)
Excellent year. 1984.
(off their
looks)
Squeezed this morning.
He pulls out the bottle. It's orange juice. Michael and
Cindy react, groan in unison.
ANGLE ON K.I.T.T.
His scanner flashing as he spots someone O.S. He sounds
his rimshot:
K.I.T.T.'S VOICE
Speaking of jokes....
ANGLE TO INCLUDE MR. BODY
again with his weights and heading for K.I.T.T.
K.I.T.T.
Did you hear the one about the weight
lifter who tried to press his own
weight, but burned himself with the
iron?
The others laugh, all except Arnold who remains dead
serious ---
ARNOLD
No, tell me about it.
Under the group's reaction we hear K.I.T.T.'s hokey rimshot,
slide whistle, and laugh track.
K.I.T.T.
Thank you! You're a beautiful audience.
FREEZE FRAME
FADE OUT
THE END
