ACT ONE
FADE IN
EXT. UNDERWATER - DEPTH FIFTY FEET - DAY (STOCK)
Camera prowls the peace and serenity of this underwater
paradise which makes up Descanto Bay. We see clumps of
coral, a turtle swimming with ease, a school of fish in
search of food.
Then abruptly the peace is shattered. Fish dart away in
all directions, the water becomes wild with movement, haze,
and bubbles. And then we see its source:
BOBBY SHELL (STOCK)
Twenty-two, good-looking, attired in red scuba gear -- he
is swimming at the edge of panic, pulling at each stroke,
kicking with every ounce of energy he can muster. His eyes
behind the face mask bulge with fear; but still he clutches
a small tiara encrusted with coral overgrowth.
An underwater spear flashes past his head and we adjust to
the source of Shell's fear.
TWO WET SUBMARINES (STOCK)
as they gain on Shell; mounted in prone positions are their
operators, Karl Roessler, thirty-five, a bulky diver
dressed in black scuba gear, and his thief-in-training, Axel
Wicks, also dressed in black scuba gear. Wicks fires a
second spear and it, too, barely misses Bobby.
NEW ANGLE (STOCK)
The wet submarines overtake Shell, hold a beat overhead,
and then the two attackers shut down and drop out of their
underwater vehicles to grab Shell.
Roessler grabs his arms, pinning him; the tiara drops to
the ocean floor. Wicks takes his air hose and crimps it.
Shell struggles. His regulator now useless, pops from his
mouth and panic consumes him. He's strong, he fights, but
to no avail...his body goes limp. His attackers release
him and Roessler retrieves the dropped tiara with his right
hand, which he sees is tattooed with a skull and crossbones,
and both remount their wet subs. Hold a beat as Roessler
and Wicks skim away into the haze of depth; see Bobby's
limp form begin to float upward, and:
CUT TO
EXT. MOUNTAIN ROAD LEADING DOWN TO PACIFIC BEACH - DAY -
K.I.T.T. - MOVING
It's bright, clear and the Trans Am moves with grace as it
maneuvers through the now flowing curves of this road which
is beginning to become more narrow and hazardous.
K.I.T.T.
Michael?
MICHAEL (V.O.)
Yeah, Kitt?
INT. K.I.T.T. - DAY - MICHAEL - MOVING
Michael driving, smoothly negotiating the curves.
K.I.T.T.
I detect the odor of fish.
MICHAEL
Good. That tells me your program
is programmed and your senses are
sensing.
A beep-beep-beep is heard and April Curtis comes up on the
video screen.
APRIL
Are you ready for the test, Michael?
MICHAEL
If Kitt's ready, I'm ready.
APRIL
Kitt?
K.I.T.T.
I'm glad you asked, April. In
light of the extensive micronetics
involved in the system interface,
not to mention ---
MICHAEL
(grins)
He's ready.
EXT. COASTAL ROAD - DESCANTO BAY - DAY - K.I.T.T.
as the Trans Am enters the coastal road from the mountain
intersections and roars straight for the pier.
K.I.T.T. (V.O.)
Michael, I would prefer speaking
for myself. In truth, there's a
primary aversion involved.
INT. K.I.T.T. - DAY - MOVING
MICHAEL
You hate the smell of fish.
K.I.T.T.
I dislike the smell of fish. I
hate the ocean.
MICHAEL
Think of it this way. April wants
you to swim and I'm here to take
the dive with you. Hang on to your
fenders, pal.
He hits the pursuit button.
OMITTED
EXT. ROAD TO PIER - DAY - K.I.T.T.
He rockets forward, screaming toward the pier entrance to
launch into the water from the end. A beat passes before:
K.I.T.T.
Michael! Abort the test! Abort!
My sensors detect human distress
at three o'clock.
THE BEACH
Bobby Shell, in his red wet suit, washing up onto the shore-
line at the edge of the calm Bay water.
K.I.T.T.
turns as Michael veers at the last minute from the entrance
to the pier, and slows the Trans Am through a series of
spin outs on the sand, ending near the beached Bobby.
Michael leaps out.
NEW ANGLE
Michael moves up to Bobby, turns him over on his back and
pulls off the mask.
MICHAEL
Give me his vitals, Kitt!
K.I.T.T.
His body chemistry is not within
human limits, Michael. I measure a
saturation of nitrogen gas in his
body tissues and fluids...three
point seven eight liters to be exact.
You don't suppose it's an alien....
Michael hurriedly drags Bobby to the passenger side, strips
off his tanks to the floorboard, and stuffs him into the
seat, as:
MICHAEL
He's a scuba diver, not an extra-
terrestrial. Nitrogen saturation
means he has the bends...Get me a
scan on the nearest hospital with a
decompression chamber.
The video flashes with K.I.T.T.'s search, as:
EXT. COASTAL ROAD - DAY
K.I.T.T. races around a curve, finds the narrow road
blocked by a four-wheel drive towing a boat.
INT. K.I.T.T. - DAY
MICHAEL
How is he, Kitt? Any better?
K.I.T.T.
His condition is deteriorating,
Michael.
Michael reaches for "Turbo Boost."
EXT. COAST ROAD - DAY - K.I.T.T.
The Trans Am flies over the car and boat, hits the open
road ahead of them -- tires screeching and smoking: fast.
ANGLE - DRIVER IN FOUR-WHEEL
wide-eyed.
INT. HOSPITAL - DAY - DOUBLE DOORS
They burst open. Bobby is on a gurney, attendants roll it
along as a pretty young nurse, whom we shall know as Tracy,
works at keeping him alive. Michael follows along, as:
TRACY
...you have no idea if there was
any stage decompression?
MICHAEL
You know everything I do. I just
found him on the beach....
TRACY
I knew something like this would
happen.
They turn into another corridor, still trucking with them
toward the decompression chamber room.
MICHAEL
You know him?
TRACY
(nods)
Bobby Shell...I went to high school
with his sister.
Tracy shakes her head, knowing the ordeal she now has to
face as they plow through the double doors to the room
labeled "Decompression Chamber." Hold as the doors flap
closed, and then:
CUT TO
EXT. HOSPITAL - DAY - K.I.T.T.
parked. We see a young male intern exit the hospital, just
finishing off a bag of potato chips. He crumples the bag
and tosses it on K.I.T.T.'s hood.
K.I.T.T.
No littering.
The intern stops in his tracks, looks around, confused,
and then grabs the sack and tosses it in a garbage can.
K.I.T.T.
A man of your age should know
better.
The intern jumps, looks around, and then hurriedly moves
away as we adjust to see a ND pickup pull up. A man of
sixty is driving, the passenger is Jennifer Shell, twenty-
five, fresh, attractive, and at the moment extremely
worried. She alights from the truck, thanks the driver
MOS and moves quickly into the hospital.
INT. CHAMBER ROOM - DAY - CLOSE ON MICHAEL
Adjust to see that Michael is outside the thick window of
the 8 x 10 chamber that houses both Bobby Shell, now
comatose on a bed, and Tracy, who is now attending to his
other medical needs, including IVs, dressings, etc.
The instruments indicate the chamber is at two atmospheres.
NEW ANGLE
Jennifer bursts into the room, moves to the window past
Michael. She looks inside.
JENNIFER
Oh, God...Tracy? Is he...?
Tracy looks up, her voice can be heard over a speaker
attached near the viewing window.
TRACY
Hi, Jenny...take it easy...I think
he'll be all right. We've got him
down to two atmospheres...It'll be
awhile before we get back to the
surface.
JENNIFER
The bends? Bobby? What happened?
TRACY
He came up too fast. You know Bobby,
always in a hurry....
JENNIFER
Accidents can happen to anyone,
Tracy.
This defensiveness catches Michael's curious attention.
MICHAEL
Hi, I'm Michael Knight. I brought
Bobby in. Is he a certified diver?
JENNIFER
He taught scuba at the Y for two
years. Why?
MICHAEL
It looks like he ignored the first
commandment. Never dive alone.
JENNIFER
Thanks for what you did...really.
For all I know you saved his life.
Let's just leave it at that, all
right?
MICHAEL
(beat, a
smile)
All right.
He leaves.
OMITTED
EXT. HOSPITAL - DAY
Michael crosses to K.I.T.T.
INT. K.I.T.T. - DAY
He climbs in, ready to leave when he notices Bobby's wet
suit top on the seat.
K.I.T.T.
You have no idea how unpleasant
that odor is, Michael.
MICHAEL
Allow me.
He picks it up, starts out, heading for the hospital.
Something drops from the patch pocket.
K.I.T.T.
You dropped something.
Michael picks it up, really paying no attention, glances at
it: it's an encrusted flat oval. Something about it is
unusual.
MICHAEL
(shrugs)
Guess Bobby collected shells.
K.I.T.T.
Judging from its surface density,
the object in question is not a
shell.
MICHAEL
Okay, smart guy, what is it?
K.I.T.T.
I believe you're familiar with the
procedure, Michael.
Michael places the object in a small compartment behind a
smoked-glass tray.
MICHAEL
It's a shell.
An electronic buzz commences, lasts for several seconds.
Then a multicolored spectrographic chart is produced in
hard copy.
MICHAEL
Clever.
K.I.T.T.
I thought so. Spectrographic analysis
determines it to be an element. Atomic
number seventy-nine, atomic weight one
ninety-six point nine sixty-seven.
Michael looks at the complex scientific chart.
MICHAEL
English, por favor.
K.I.T.T.
It is the element known as gold.
MICHAEL
(reacts)
Gold?
K.I.T.T.
You may examine the object in a more
presentable state now, Michael.
Michael removes the object from the door and we see it has
now been cleaned. It is a brilliant hand-hammered gold
coin.
MICHAEL
(low whistle)
Any idea how old it is?
K.I.T.T.
I can identify and authenticate all
forms of exchange dating back to the
time of the U.S. Constitution. My
data banks have nothing on it,
Michael. It's obviously quite old.
MICHAEL
And valuable?
K.I.T.T.
Possibly. Why?
MICHAEL
It might help explain why an
experienced scuba instructor went
diving solo.
Michael looks up to see Jennifer exit the hospital.
K.I.T.T.
I'm not sure I understand your
logic, Michael.
MICHAEL
Neither am I, Kitt. Neither am I....
Michael starts the car and drives to where Jennifer is. He
leans to speak to her through the passenger window.
MICHAEL
Need a lift?
She looks into the car and can't help but respond warmly to
his broad smile.
JENNIFER
Your timing is...amazing.
EXT. COAST HIGHWAY - DAY - K.I.T.T. - MOVING
MICHAEL (V.O.)
I found this in Bobby's wet suit.
Any idea where he got it?
INT. K.I.T.T. - DAY - MICHAEL AND JENNIFER - MOVING
Jennifer looks at the gold coins, intrigued, puzzled.
JENNIFER
No...is it gold?
MICHAEL
(nods)
It's gold. It's also very old. If
it's all right with you I'd like to
check it out.
JENNIFER
Why?
MICHAEL
Bobby's been hurt, Jennifer. Who
knows what really happened -- or why.
JENNIFER
Bobby had an accident. Why are you
suggesting he was doing something
wrong?
MICHAEL
I didn't say that.
JENNIFER
I don't know why people always think
the worst of him. He goes to South
Coast Junior College, he dives for
the fish and lobster we serve at the
restaurant, he's never been in any
real trouble....
MICHAEL
Hey...I have no case to make.
JENNIFER
Then why all the attention? What do
you want to help with?
Michael picks up Bobby's regulator from the floorboard. We
can see a double crimp in it.
MICHAEL
See this regulator hose...it's
crimped on both sides. No rock did
that, Jennifer. No piece of kelp.
I can't prove it, but my guess is it
was done by another diver.
Hold a beat on her reactions, and:
CUT TO
EXT. THREE SHELLS RESTAURANT - DAY
An ocean-front mom and pop-type restaurant. At the side we
can see a dive locker which holds dive gear and further down
at water's edge a tough-looking seaman, about thirty, trying
to snag a rubber Zodiac boat with an outboard motor in from
the surf. We shall know him as Paul Manley.
K.I.T.T. pulls in, stops. Push in as Jennifer starts to
alight from the car.
Manley pulls the boat up, waves.
MANLEY
I'll tie her up for you. How's
Bobby?
JENNIFER
They don't know yet. He's in the
decompression chamber at Cates
Memorial.
MANLEY
Anything I can do, just let me know.
She nods, waves. Redirects her attention to Michael.
JENNIFER
I'm sorry, I guess I haven't been
very grateful.
MICHAEL
It's not required.
JENNIFER
Speaking of lobster, I have one left
from Bobby's last dive...do you like
lobster?
MICHAEL
Is that an invitation?
She smiles, nods.
OMITTED
EXT. F.L.A.G. - DAY - ESTABLISHING
INT. F.L.A.G. - DEVON'S OFFICE - DAY - CLOSE ON DESK TOP
Devon is signing a stack of Foundation papers. During the
following, pull back to include Michael hovering over his
desk and April hovering over him.
APRIL
Michael, is this your way of saying
you aborted Kitt's amphibious test?!
MICHAEL
Yes. No. Just a minute, April.
(to Devon)
Devon, he's an experienced diver but
he dives solo, gets the bends...
(plops regulator
hose on desk and
papers)
And look at this regulator hose and
tell me that crimp is an accident.
DEVON
Michael, will you please remove this
thing? This is a desk, not a work-
bench.
He hands the regulator back as if it were diseased and then
picks up a document dirtied by it.
Devon rises, starts off. Michael stops him.
MICHAEL
Devon, listen to me...I think some-
one tried to murder Bobby Shell.
DEVON
If you're correct, Michael, then
it's a job for the police.
MICHAEL
Devon ---
APRIL
Michael ---
DEVON
Will you two please stop lobbying?
Michael, you apparently saved the
boy's life. That's wonderful. Now
let him live it.
MICHAEL
(shrugs)
You're the boss. Guess I'll just
have to take this back to his sister
without ever finding out where it
came from....
He plops the coin on Devon's papers.
DEVON
Michael! Get that....
He looks closer. Michael knows he's getting to Devon.
DEVON
(examines it)
Where did you find this?
MICHAEL
Bobby Shell's wet suit.
APRIL
(to Michael)
Do you always have an ace up your
sleeve?
Michael just smiles.
DEVON
Incredible...I'd have to authenti-
cate, but I believe this coin is
Aztec....
Michael takes it back.
MICHAEL
Too bad we can't investigate a
little, but I guess Kitt's test
comes first....
Devon grabs his hand, takes the coins, as:
DEVON
Don't be so hasty, Michael. We may
have something important here.
(to April)
Run down to Research...tell them I
want everything they have on Aztec
coins.
April burns as:
MICHAEL
Does this mean it's a Foundation
project?
APRIL
Devon, you're not thinking of
postponing the test? Not after all
our preparation ---
DEVON
(oblivious;
to Michael)
I'll get cracking on the research
and authentication immediately.
Devon gets a magnifying glass and becomes engrossed in the
coin. Michael looks at April with a grin.
MICHAEL
Don't be a sore loser.
CUT TO
EXT. THREE SHELLS RESTAURANT - NIGHT - ESTABLISHING
It is a bright moonlit night. K.I.T.T. is parked out front.
EXT. THREE SHELLS RESTAURANT - OUTSIDE PATIO - NIGHT
The patio overlooks Descanto Bay, the light from the Fin
Quest at anchor can be seen far out in the Bay. Michael
and Jennifer are at a table for two, candlelit, a giant
lobster on a center plate, wine.
MICHAEL
The coin has been authenticated as
Aztec...but exactly where it came
from, how Bobby got ahold of it I
don't know.
(beat)
Do you?
JENNIFER
No. This is as...confusing to me as
it is to you, believe me.
MICHAEL
Has Bobby's behavior been different
lately? His patterns, the people he
hangs around with?
JENNIFER
No. Not that I've noticed.
MICHAEL
What about the Bay? Is there any-
thing different going on out there?
JENNIFER
No, just...
(thinks)
Well, there's the Fin Quest. She's
at anchor in the Bay on a Project
Sea Life grant, reseeding the reef
with abalone. The guy who tied up
the inflatable is one of the crew,
Manley.
MICHAEL
Does Bobby know him very well?
JENNIFER
Just casually...He eats here
sometimes. He seems like a nice
guy. Michael, please...can we close
the subject for awhile? At least
during dinner?
MICHAEL
(smiles)
Sure. The lobster's incredible.
I'm spoiled for life.
She relaxes a bit now.
JENNIFER
What else? You've just dined at The
Three Shells.
MICHAEL
I count Bobby and Jennifer Shell.
Who's the third?
JENNIFER
My dad...he died three years ago.
It was his dream, the three of us
running this place...building it
into something really special...He
took care of all the business, I
cooked, Bobby dove....
She reaches for her wine, her hand trembles. It spills a
little. Michael puts his hand on hers.
MICHAEL
He'll be okay, Jennifer.
(beat)
But if I'm right, whatever he's
stumbled into won't go away. I want
to check it out. I'd like to think
we're on the same side.
He touches her glass. They both sip the wine, their eyes
on one another. She forces a smile and nods.
EXT. ABOARD THE FIN QUEST - DAY - WICKS
He moves on the deck as a shore launch moves alongside.
Manley is at the wheel. On the launch floor are about
twenty cannisters which we cannot yet make out. Wicks
helps him tie up. Manley climbs to Fin Quest's deck and
enters into a brief conversation. (MOS)
NEW ANGLE
Manley appears concerned as he points to the load and then
exits to the cabin. Wicks jumps into the launch and hefts
the first cannister to the deck. Push in to see the label:
"Depth Charge -- Explosives -- Danger".
INT. FIN QUEST CABIN - DAY - CLOSE ON TIARA
Drops of acid hit the coral encrusted tiara. Smoke bellows
up and we widen to see the man engrossed with his treasure
that was in Bobby's possession earlier. He is Zachary Sloate,
fifty, an intense man of unusual strength, academic intellect,
and a brain that has burned too long with a single, myopic
obsession. Near the table that he works on we see a box heaped
with coins, jewels, plateware -- all Spanish treasure from the
Aztecs. The door opens and Manley enters the cabin. Sloate
does not look up from his work as:
SLOATE
Did you get the equipment?
MANLEY
It's here.
(then)
Where's Karl?
SLOATE
He's keeping an eye on developments
at the hospital.
MANLEY
Look, when I signed on there wasn't
any talk of murder....
SLOATE
There was no choice, Manley. It was
either stop him or risk losing every-
thing.
(beat)
Relax. There's a good chance the
kid won't regain consciousness
before we can correct the Marquesa's
shift, get access to the main
chamber, and be gone.
MARINE OPERATOR'S VOICE
(over ship-
to-shore)
This is Marine Operator Sixty Five. I
have a call for the Fin Quest....
Manley goes to the ship-to-shore, picks up the mike.
INTERCUT - KARL AT HOSPITAL PHONE BOOTH
MANLEY
(over radio)
Go ahead, Karl.
KARL
He's still in decompression, but
he's recovering.
BACK TO SCENE
Manley lowers the radio mike.
MANLEY
What are you gonna do?
Sloate moves to the boxes of treasure, holds up a piece or
two.
SLOATE
You're the one who's put all of this
on the scales. At current bullion
prices we've got one point six
million in the hold right now. You
want to lose it all? You tell me.
Manley looks from Sloate to the treasure -- his greed is
too much. He can't say anything.
FADE OUT
END OF ACT ONE
ACT TWO
FADE IN
EXT. HIGHWAY - THE KNIGHT SEMI - DAY - STOCK - MOVING
K.I.T.T. moves into frame, the ramp extends from the semi
and K.I.T.T. enters.
INT. SEMI - DAY - MICHAEL
He exits K.I.T.T. Devon is in the lounge in the b.g. as
April moves up with her test kit and programs, begins to
work the overhead scientific device, during:
APRIL
I just got an update from the
Amphib system builder...It seems
they now have some questions about
the viability of the Third Stage
Aquatic Synthesizer.
K.I.T.T.
(worried)
What kind of questions, April?
MICHAEL
The sinking kind, Kitt.
Michael winks at April and crosses toward the lounge area.
She burns with a beat of good natured irritation.
K.I.T.T.
April, I hope this means the
scheduled tests have been cancelled.
She goes back to programming the overhead scientific device.
APRIL
Of course they have, Kitt. Your
best interests are always first with
me. You know that...don't you?
K.I.T.T.
I was just checking.
(suspicious)
What is it you're doing now, April?
APRIL
Relax, Kitt. This is a program with
a thousand years of Spanish and
Aztec history for your current...
(looks off
to Michael)
...mission...per Devon's request.
K.I.T.T.
Ah, yes. It's coming...Well, shiver
my timbers, if it isn't Long John
Silver...Interesting data. Very
interesting, April.
April smiles, relieved that the subject has been changed.
ANGLE - MICHAEL AND DEVON IN THE LOUNGE AREA
Several books are stacked around Devon as we pick up their
conversation, Devon placing down the coins.
DEVON
...and the coins are just the
beginning, Michael.
MICHAEL
You've found something to connect to
Bobby's attack?
DEVON
No. To the coin...Look here.
He turns on the CRT and a double blow-up of the coin
appears. One side bears an Aztec calendar, the other, a
likeness of Nacinda.
DEVON
Her name is Nacinda...the Aztec
Goddess of Forgiveness. Isn't she
magnificent, Michael?
MICHAEL
Yeah, terrific. But what's it got
to do with Bobby and the coins?
DEVON
On one hand, nothing. On the other,
everything. Maybe.
MICHAEL
Oh, that makes sense...I think.
Devon picks up a book labeled Nacinda -- Truth or Legend.
As he opens it for Michael, the cover page bears a
rendering of the statue. On the book's back cover flap we
may also notice a picture of the author, Professor Z. Sloate.
Their focus, however, is the statue.
DEVON
Bear with me, Michael. You see,
Nacinda is a fountain of historical
research. She was pillaged along with
her coins and treasure by Cortez in
1521 and loaded aboard The Marquesa
for delivery to the king of Spain.
Michael becomes interested in the book. He looks closer.
MICHAEL
(reading)
'Main stream academic research has
established the Marquesa as lost off
Cape Horn!'
(to Devon)
I don't get the connection to our
coins, Devon.
DEVON
Read further --
(points to
page)
Here. 'Research labeled as unorthodox,
unsupported, and unscientific argued
that the Marquesa was pirated and
sailed north from the port of Acapulco
instead of south around Cape Horn!'
(then)
It's a magnificent academic first
fight, Michael.
Michael thinks deeply for a beat and then snaps his fingers
with the connection.
MICHAEL
Devon, there's a boat anchored in
Descanto Bay, the Fin Quest. It's
supposedly working an abalone
seeding program for Project Sea
Life. What if it wasn't?
Devon picks up the book, looks at Nacinda.
DEVON
It could be making the archeological
find of the century...?
MICHAEL
It's worth checking out...if she's
down there with all that treasure,
Bobby Shell's 'accident' says
they're willing to kill for it.
On their reactions, we push in, hold on the sketch of
Nacinda, and:
MATCH CUT TO
OMITTED
INT. FIN QUEST CABIN - DAY - ON SKETCH OF NACINDA
During the following, pull back to see we have been looking
at the same book on the cabin table. Sloate and Manley are
present. Sloate is pulling into a sweater as:
MANLEY
Look, it shifted during the night.
You want to blame something, blame
the currents. The point is we
should be using sand pumps and
jacks. Not explosives.
Sloate shakes his head, starts out. Manley takes his arm.
Stops him.
MANLEY
(continuing)
The ship's unstable. It's too dangerous.
Sloate looks at Manley's hand on his arm. The look is
menacing enough for him to let go.
SLOATE
You're getting a triple share,
Manley. That should be incentive
enough for you to accept a small
additional risk, shouldn't it?
Sloate doesn't wait for an answer. He exits. Hold a beat
on Manley, unsure how far he can challenge this quietly
dangerous man. Then he follows to:
EXT. ABOARD THE FIN QUEST - DAY - SLOATE
As he emerges from the cabin, Manley behind him, he looks
to the launch occupied by two crewmen at a distance off to
starboard. Sloate waves and they watch as one of the
crewmen sets the charge and launches it.
EXT. UNDERWATER - DAY - THE MARQUESA - STOCK
The remains of a Spanish treasure ship. Above her the
charge floats down, finally exploding at thirty-five feet.
NEW ANGLE - THE MARQUESA - STOCK
She shifts and then an incredible rumble begins to erupt
and a major portion of the shelf upon which she rests
begins to break away and the Marquesa tumbles with it to a
deeper floor.
EXT. ABOARD THE FIN QUEST - DAY - FAVOR SLOATE AND MANLEY
as Wicks in the pilot area, peers into a sonar, fish-finder
scope.
WICKS
The shelf is cracking off. She's
gone with it down to the next level.
SLOATE
How deep.
WICKS
A good two hundred feet. We're
gonna need heavier cable. More
light...hydraulics.
Sloate turns to Manley.
SLOATE
Get it. You'll dive in the morning.
MANLEY
At that depth? We've just tripled the
risk. Look, let's just take what we
have....
SLOATE
What we have isn't what I came for,
Manley.
MANLEY
Sloate, you're talking two hundred
and sixty feet in the worst possible
conditions...for one lousy statue?
SLOATE
I wouldn't expect a man who derives
all of his pleasure from booze and
drugs and women to appreciate the
historical significance of Nacinda's
discovery. So I won't attempt to
explain. Just do what you've been
hired to do, Manley.
Sloate starts off.
MANLEY
I understand plenty. It's all those
prissy academic friends of yours you
want to show off to. That's your high.
Sloate turns.
SLOATE
My 'high' will be my vindication,
Manley.
MANLEY
You want it so bad you'll kill for
it?
SLOATE
Everything is a matter of necessity
and priority...Yours is to dive.
Karl will look after...the
necessities.
OMITTED
CUT TO
INT. HOSPITAL - DECOMPRESSION CHAMBER ROOM - DAY
Jennifer and Michael are present, watching as Tracy and an
attendant roll Bobby out. They move up to him.
JENNIFER
Bobby? Can you hear me?
Bobby's eyes blink open, his vision blurred as we adjust to
see the outlines of Jennifer and Michael over him. He is
delirious, semicomatose.
BOBBY
Jen...Help me....
He reaches up weakly with one hand.
JENNIFER
I'm here, Bobby. I'm here with you.
She takes his hand, touches his face.
BOBBY
Cah-deesh...cah-deesh....
MICHAEL
What's he saying?
JENNIFER
(shakes head)
I can't make it out.
Bobby slips into a deep sleep, Jennifer brushes his hair
back, concerned.
TRACY
I gotta get this guy to ICU, kids.
Tracy pushes Bobby out of the room. They follow to:
OMITTED
INT. HOSPITAL CORRIDOR - DAY
As they exit, we pan with Tracy as she rolls Bobby toward
ICU, and hold on a visitor with a bouquet of flowers --
Karl Roessler. His interest is Bobby.
OMITTED
EXT. HOSPITAL - DAY - MICHAEL
exits, crosses to K.I.T.T., enters.
OMITTED
INT. K.I.T.T. - DAY - MICHAEL
parked. As he enters, punches the computer console.
MICHAEL
I need some help, pal. Give me your
Linguistics Department.
K.I.T.T.
Try this...
(a la
Blackbeard)
Avast me hearties er I'll run ya
through.
MICHAEL
Wrong program, pal. It's a word
from Bobby's semiconscious vocabulary
I'd like you to clean up...'cah-deesh.'
K.I.T.T.
Sounds like a sneeze...I'll get
right to work on it...But, it may
take some time; the variations are
limitless.
MICHAEL
You're all I got, buddy.
A beep.
K.I.T.T.
Devon's on, Michael.
Michael starts up the car, pulls out, and brings Devon up
on the screen.
MICHAEL
Devon....
DEVON
Big news, my boy. It seems that
Project Sea Life has no contract
whatsoever with the Fin Quest...and
they have no reseeding projects in
the Descanto Bay area.
MICHAEL
Well, now. We're finally getting
somewhere.
DEVON
Michael...please don't do anything
rash.
MICHAEL
You know me, Devon.
He clicks off the video link, turns hard right, and we:
CUT TO
OMITTED
EXT. ABOARD THE FIN QUEST - DAY - MANLEY
He has a set of binocs to his eyes, watching as Michael
motors toward the Fin Quest in a rented skiff. Adjust as
Sloate moves up.
SLOATE
Get the cannisters covered.
Wicks and the crewmen move to pull a tarp over the depth
charges. Manley looks again as Michael gets closer.
MANLEY
I've seen that guy before...He was
with Bobby Shell's sister at the
restaurant...the one who found him
washed up on shore.
Sloate moves to the pilot cabin, gets a revolver. Manley
stops him; unsure. Sloate looks at the gun and then slips
it beneath a rag on a nearby bench, easily accessible.
SLOATE
Get rid of him.
NEW ANGLE
Michael pulls alongside in his launch, ties up, and Manley
approaches as he swings up to the deck.
MICHAEL
Permission to come aboard.
SLOATE
What can I do for you?
MICHAEL
Heard you were seeding abs out
here. I'm a diver. Need work.
(beat)
Here I am.
MANLEY
No help needed.
MICHAEL
My kinda help is hard to come by.
I know this area. Pinks, blacks...
I've taken them all off the reefs.
Michael walks further onto deck as we see Sloate casually
place his hand on the bench and drill Manley with his eyes.
MANLEY
Where'd you get certified?
MICHAEL
Special Forces.
(picks at
tarp)
How about it? I'll plant these
suckers all day long for bed, board,
and minor bucks.
Michael starts to lift the tarp. Sloate moves up and:
SLOATE
The man tried to be polite. You're
not wanted and it's time for you to
leave.
Michael takes in Sloate, Wicks, and the crew...shrugs.
MICHAEL
Since you put it that way...See you
around.
Sloate only nods. Then Michael crosses back to exit the
boat. He spots an encrusted coin in the deck -- registers it
and then hops in his rented boat and motors off. Hold a
beat on Sloate and Manley, reacting.
OMITTED
EXT. HIGHWAY - DAY - K.I.T.T. - MOVING
MICHAEL (V.O.)
Devon, that book, the one with the
picture of Nacinda?
INT. K.I.T.T. - MICHAEL - MOVING
Devon is on the video screen.
DEVON
What about it?
MICHAEL
The dust jacket. There's a picture
of the author, isn't there?
Devon holds up the flap picture of Sloate.
DEVON
Zachary Sloate. Why?
MICHAEL
That's him! He's aboard the Fin
Quest with that local diver, Manley.
DEVON
My God...Sloate was the leader of
that research minority I was talking
about. His obsession reached a
point where no one would publish his
articles...he eventually lost all
credibility in academic circles.
In the b.g. of Devon's office we see April enter, move up
near Devon.
MICHAEL
Can you get me a profile on him?
DEVON
If you want to know if he's dangerous,
the answer is yes. Sloate is rumored
to have killed some Indians in Baja
several years ago...tracking down the
Nacinda legend.
MICHAEL
Sounds like we've got just about
half the lid nailed down, doesn't it?
APRIL
Bobby Shell should be able to give
you the other half...He's not fully
conscious yet, but he is coming
along well enough that they've moved
him to a private room.
On Michael's reaction:
CUT TO
EXT. STREET - DAY - K.I.T.T.
accelerating.
EXT. HOSPITAL - DAY - ESTABLISHING
INT. HOSPITAL ROOM - DAY
darkened. The monitor beeps, Bobby's IV drips, otherwise
the room is quiet except for the patient's breathing.
The door opens quietly, a hand bearing the skull and
crossbones tattoo holds the edge and then we see the white-
coated figure of Karl Roessler enter the room and move
quietly toward the bed where he inserts a hypo filled with
red acid into the IV tube.
Pan down the tube as the red liquid moves closer and closer
to the arm; it sinks into the level below the sheet and
Roessler nods, pleased...and then he reacts to see the
sheet grow red with the wet. He grabs the tube, pulls.
It's loose. Not attached to the patient's arm. Then the
patient sits up. It's Michael. He takes the tube.
MICHAEL
End of the line, pal.
Roessler reacts, bangs the IV stand over the bed and takes
off. Michael dives off the bed, tackles him. Roessler
kicks loose and scrambles out the door.
OMITTED
INT. HOSPITAL CORRIDOR - DAY - ROESSLER
He enters the corridor from the room, Michael exits a beat
later and is blocked by a surprised candy-striper pushing a
cart. Michael has to maneuver past her, losing a couple of
beats and then he's back in the chase.
EXT. HOSPITAL - REAR - DAY - MICHAEL
He exits. Looks around. Doesn't see Roessler. Then he
reacts to two ambulances as they roar out of the ambulance
garage separately, Code Three. Adjust as Michael runs to
the garage, sees nothing.
MICHAEL
(comlink)
Kitt, meet me at the end of the
alley behind the hospital.
Michael takes off running.
OMITTED
EXT. HOSPITAL - FRONT SIDE - DAY - K.I.T.T.
The engine starts, he backs out and roars off, taking a
doctor and nurse walking past by complete surprise. Hold
on their reactions a beat, then to:
EXT. MOUTH OF ALLEY NEAR HOSPITAL - DAY - MICHAEL
running full tilt to see the two ambulances further down
the block turn in seperate directions. Adjust as K.I.T.T.
roars up, the door pops open and Michael crawls in.
MICHAEL
Kitt, which one of those ambulances
has only one person in it?
K.I.T.T.'s sensors light up, search scan beeps away a beat,
and:
K.I.T.T.
My sensors read three life forms in
the westbound vehicle...one in the
northbound.
MICHAEL
Go north, young man.
Pull back as K.I.T.T. screams out.
OMITTED
EXT. CITY STREET - THE PURSUIT - DAY - THE AMBULANCE
roars into the street, out and then K.I.T.T. enters,
following.
OMITTED
INT. K.I.T.T. - DAY - MICHAEL - POINT OF VIEW - AHEAD
The ambulance barely misses a telephone pole truck hauling
a high stack of poles. The truck stops, the whole inter-
section blocked.
K.I.T.T.
Turbo Boost will not propel us over
that obstacle, Michael.
MICHAEL
If we can't go over it, we'll go
under, buddy.
K.I.T.T.
My sensors calculate a one-fourth
inch clearance...the slightest bump
will take both my roof and your
head, Michael.
MICHAEL
Then pray for no bumps and hold on....
EXT. INTERSECTION #2 - DAY - K.I.T.T.
Approaching the truck trailer at high speed, K.I.T.T.
zooms under the trailer with only a whisper of clearance.
Intercut the reactions of: two Valley girls, their mouths
gape open at the black wonder.
OMITTED
EXT. OVERPASS - DAY - THE AMBULANCE
enters the street under the overpass. A truck lumbers in,
stops too late, and then spills over, sliding upside down
for one hundred feet before creaming into block wall
building. The ambulance explodes as:
K.I.T.T.
shuts down, stops, and Michael sees that it's too late to
do anything.
K.I.T.T.
Michael, I'm sure you realize that
this was not your fault.
MICHAEL
Right now it doesn't help much, Kitt.
Hold a beat on Michael's concern, and:
FADE OUT
END OF ACT TWO
ACT THREE
FADE IN
EXT. THE FIN QUEST - DAY - A LONG SHOT FEATURING THE BOAT
Wicks and the crewmen are preparing cable, lights,
hydraulic gear. At the stern of the deck, we see Manley
and Sloate in an animated conversation. Sloate is studying
a piece of treasure.
OMITTED
CLOSE ON SLOATE AND MANLEY
as Manley paces back and forth. Sloate barely glances up
at him.
MANLEY
I'm telling you, Karl bought it. He
took a run at the kid...they pulled
a switch. It was that so-called
diver.
Sloate doesn't look up. He nods slightly.
SLOATE
We'll have to speed up the dive.
MANLEY
Didn't you hear me? The kid is
alive. Karl's dead. It's over.
SLOATE
We're not sure he can talk. Or that
he'll say anything. We have time.
MANLEY
We're out of time and we're out of
luck. I'm pulling out of this. Now.
Sloate looks up at Manley, fixes him with a venomous stare.
SLOATE
You leave now and you'll leave with
exactly what you came with, Manley.
Nothing. And you'll spend the rest
of your life working for nickles and
dimes scrubbing boats and diving for
abalone.
(a beat)
Is that what you want?
Manley stares at Sloate. He doesn't respond. Sloate
smiles, nods.
SLOATE
Get ready to dive.
Sloate turns back to his work. Hold on Manley, and then:
CUT TO
INT. TRANS AM - DAY - MOVING
as Michael roars down the highway. He looks grim.
K.I.T.T.
Michael, you're awfully quiet.
No response.
K.I.T.T.
And upset.
MICHAEL
I'm thinking. And I'm not upset.
K.I.T.T.
Not true, Michael. Your pulse rate
is up, your blood pressure is
high...and you're gripping the
steering wheel with alarming
pressure.
Michael glances at his white-knuckled hands, loosens his
grip. Manages a little smile.
MICHAEL
Yeah. White knuckles give you away
every time.
K.I.T.T.
That accident...was not your fault.
MICHAEL
(with feeling)
Maybe not, but it didn't have to
happen. Just like Bobby's life
doesn't have to be in danger...if
only someone would listen. If
someone would talk.
K.I.T.T.
You mean Jennifer?
MICHAEL
For starters. I'm tired of being
calm and patient and understanding.
She has to know something, and I'm
going to get it out of her.
A beat, then K.I.T.T. speaks:
K.I.T.T.
Perhaps this will help.
MICHAEL
What?
K.I.T.T.
Your funny word. It's been most
difficult....
MICHAEL
Difficult? For you?
K.I.T.T.
Michael, a linguistics search based
on delirious ramblings isn't exactly
direct access...hmmmm...try this.
The word CADIZ comes up on the screen.
MICHAEL
Cadiz? What's it mean, Kitt?
K.I.T.T.
It's pronounced 'Cah-deez.' It's
the name of an ancient walled city.
Great treasure was kept there, and
periodically looted by the English.
MICHAEL
Treasure? You may have hit on
something...I'll try it out on
Jennifer.
K.I.T.T.
You have an attraction to her, don't
you?
MICHAEL
She has a pretty smile, Kitt...don't
you agree?
K.I.T.T.
Michael, silicon chip circuitry is
pretty to me. Two hundred miles on
a gallon of gas is pretty to me.
I'm not programmed to react to a
girl's smile. You, however, are
programmed to react to nothing else.
K.I.T.T.'s eye comes up on the screen, winks, and Michael
grins.
CUT TO
EXT. THREE SHELLS RESTAURANT - DAY - K.I.T.T.
pulls in, Michael alights, starts up to the door and reacts
to a "CLOSED" sign.
K.I.T.T.'s sensors flash on his hood.
K.I.T.T.
I read no life signs inside the
building, Michael.
Michael frowns and then looks toward the dive shack. The
door is open and the Zodiac boat is gone. Michael crosses,
looks out toward the Bay. The Zodiac bobs in the water
seventy-five yards off shore. Across the Bay, we should be
able to see the Fin Quest.
MICHAEL
The dive boat's out. But Jennifer
said Bobby did the diving....
Michael stands, thinking, then races to the dive shack,
grabs some scuba gear and runs for the beach.
CUT TO
EXT. BAY - DAY - ON THE FIN QUEST
where we see Manley in dive gear, preparing to go
overboard. He takes a line from a crane boom, slips over
the side of the boat. Sloate watches anxiously as Manley
disappears into the water.
ON MICHAEL
With the scuba equipment on, he's swimming strongly toward
the dive boat. He reaches it, glances inside then grabs
the anchor line and dives.
EXT. UNDERWATER - DAY - FOLLOWING MICHAEL
as he descends the ocean floor, following the anchor rope.
He reaches the bottom, glances around. Nothing.
ON MANLEY
As he reaches the Marquesa, finds the wooden box that
supposedly contains the Nacinda as he begins to secure the
line around it, we go back to:
MICHAEL
slowly moving along the floor of the Bay. Suddenly,
through the murkey half-light, he sees an area of
underwater light.
Curious, he swims toward the light, which becomes brighter
and brighter, until he breaks surface in:
OMITTED
INT. UNDERWATER CAVE - DAY
as Michael emerges from the water into a cave illuminated
by dozens of candles.
MICHAEL'S POINT OF VIEW - PANNING ON THE CAVE
About thrity feet wide, the cave has sheer granite walls.
The candles, and the pictures of the Beatles and other 60s
personalities give it a hippy touch. The pan ends on Jennifer,
in a bikini, her dive gear next to her. She stifles a
scream, then relaxes when Michael pulls off his mask.
JENNIFER
Michael! What are you doing here?
Michael's eyes move from Jennifer to a pile of treasure,
obviously from the Marquesa. He climbs out of the water.
MICHAEL
I was about to ask you the same
question.
CUT TO
EXT. FIN QUEST - DAY
as Manley breaks the surface, climbs on board the boat. He
takes off his mask, nods silently to Sloate. Off of his
delighted look, we go back to:
INT. UNDERWATER CAVE - DAY
as Michael confronts Jennifer.
MICHAEL
Look, Jennifer...I don't know what
your game is, but I'm getting tired
of playing it.
JENNIFER
I'm not playing any games, Michael.
Michael glances around the cave.
MICHAEL
Then how do you explain this place?
And that pirate's treasure you've
collected?
Jennifer shakes her head.
JENNIFER
I don't know anything about this. I
haven't been here for years.
MICHAEL
For years? What do you mean?
JENNIFER
When we were kids, Bobby and I found
this cave...it was our secret
place. Bobby named it Cadiz....
MICHAEL
Why didn't you tell me that at the
hospital?
JENNIFER
I didn't realize what Bobby was
saying. Not until I got home.
(beat)
I tried to find you....
Her voice trails off as she sees Michael's look. He's not
buying her story.
MICHAEL
And then you just decided to drop by
the old hideout to see what brother
Bobby was mumbling about, right?
JENNIFER
That's right. But, I never expected
to find...this.
Michael steps up to Jennifer. He's angry.
MICHAEL
Come on, Jennifer. You're not a kid
anymore. Neither's Bobby. And this
isn't a game -- Someone's more than
willing to kill people for this
treasure.
(beat)
They tried to kill Bobby again. At
the hospital.
JENNIFER
(terrified)
Oh, no....
MICHAEL
He's safe. But, this isn't over...
not until I can find out who's
behind this. And why....
JENNIFER
Michael, I don't know anything about
it. I swear....
Michael studies Jennifer closely.
MICHAEL
But Bobby does....
JENNIFER
No! Bobby wouldn't....
Michael takes Jennifer's shoulder, shakes her.
MICHAEL
(firmly)
Stop.
(more gently)
Quit trying to protect him. He's
into this, a lot further than he
should be. And it could kill him.
(beat)
I need your help. So does Bobby.
There are a lot of questions only he
can answer, and I think we should
make him do it. On his own for
once, huh?
Jennifer nods as a tear streaks down her face. Michael
smiles at her. Off his look:
CUT TO
EXT. BAY - DAY - ON THE FIN QUEST
as Manley and Sloate watch the crane cable whine upward.
Finally an ancient wooden box breaks the surface and swings
toward the boat, where Winks and the crewmen wrestle it
aboard. Sloate hurries over.
SLOATE
Carefully! Gently!
Winks and the crewmen lift the box onto the deck of the
boat. Sloate waves everyone away from the box, kneels next
to it with a crowbar and begins to pry the lid open.
CLOSE ON SLOATE
as the last nail is pulled free. He tosses the crowbar
aside, lifts the lid.
CLOSE ON THE BOX
filled with nothing but rocks.
BACK TO SLOATE
staring, frozen, at the box. Hold on his homicidal stare,
then:
SLOATE
That kid....
CUT TO
EXT. THREE SHELLS RESTAURANT - DAY
as Michael and Jennifer come up from the beach. They drop
their dive gear at the shack, continue toward the
restaurant.
JENNIFER
You're nearly blue...I'll run and
get some towels.
As Jennifer disappears inside, Michael moves over to:
THE TRANS AM
As Michael approaches:
K.I.T.T.
Michael, are you all right?
MICHAEL
Yeah...just a little cold, that's
all.
K.I.T.T.
A full ration of grog's what you
need.
MICHAEL
Grog?
K.I.T.T.
Aye...Grog. Rum to you landlubbers....
MICHAEL
You're back on that program again.
K.I.T.T.
More to the point, I suppose...April
phoned from the hospital. Bobby's
alert and able to talk.
MICHAEL
Good. I hope his memory's working,
too. I've got a lot of questions....
As Michael talks, Jennifer comes out of the restaurant,
crosses to Michael with a towel. She hands it to Michael.
MICHAEL
Good news. I just got a call....
JENNIFER
Call?
MICHAEL
(shrugging)
Car phone. One of my indulgences
...anyway, Bobby's awake. Doing
great.
JENNIFER
(excitedly)
That's fantastic! Can we go see him?
MICHAEL
The sooner the better.
JENNIFER
Right now. Let me get some clothes
for him. I'll take his car and meet
you there....
She turns to leave, stops, turns back to Michael. Gives
him a quick kiss and a big smile.
JENNIFER
Michael...thanks.
She turns and exits. Michael climbs into the Trans Am. As
he starts the car:
K.I.T.T.
Michael?
MICHAEL
Yeah, Kitt?
K.I.T.T.
You're right. She does have a nice
smile.
Michael grins, pulls out, as we:
CUT TO
INT. THREE SHELLS STORAGE AREA - DAY
Jennifer enters, fully dressed now, with a stack of Bobby's
pajamas, socks, underwear, and places them on a table. She
moves to the closet, opens it, and pulls Bobby's suitcase
down from the top shelf. Suddenly its weight catches, she
almost loses her balance and the suitcase crashes to the
floor. Jennifer looks, reacts, and we adjust to see that
it has broken open; its contents have spilled onto the
floor.
HER POINT OF VIEW - NACINDA
and a dozen other smaller golden pieces of treasure.
NEW ANGLE
She moves to pick it up, awed, frightened.
JENNIFER
Oh, Bobby.
A noise outside...her head snaps up.
JENNIFER
(continuing)
Michael...is that you?
She picks up Nacinda. Starts out. The door opens. She
stops in her tracks, fear floods her expression, as:
SLOATE
fills the door frame, his hand full of revolver.
SLOATE
That...is mine.
FADE OUT
END OF ACT THREE
ACT FOUR
FADE IN
EXT. HOSPITAL - DAY - ESTABLISHING
INT. HOSPITAL ROOM - DAY - DOOR
It opens, Michael steps inside as we adjust to see a nurse
hovering close to Bobby's bed. Bobby is smiling, enjoying
her attention.
MICHAEL
So, how's the patient?
The nurse turns to face Michael -- it's April.
APRIL
He's asked me out twice. Does
that answer your question?
MICHAEL
That'll do.
As she heads out of the room, she and Michael talk by the
door.
APRIL
Have fun. This guy's idea of a
straight answer is a right angle.
Unless you want to know about fast
cars, good burgers and what real
women should wear to the beach.
MICHAEL
Listen: Thanks. Didn't mean to
put you in the middle of all this.
APRIL
You kidding? This was a piece of
cake. Maybe we should trade jobs
for a while.
MICHAEL
And have me listen to Kitt complain
all the time? Forget it -- that's
hazardous duty.
She smiles and exits the room. Bobby smiles up at Michael.
BOBBY
Listen, man, I hear some thanks are
in order. Maybe lots of thanks.
MICHAEL
Not necessary. What is necessary is
some info. Like, who tried to kill
you?
BOBBY
Kill me? No, man, you got it wrong.
I had a crimp in my regulator or
something.
MICHAEL
Come on, Bobby.
BOBBY
What's this? You don't believe the
kid?
Michael sits right on the edge of the bed. Bobby sits up.
MICHAEL
Listen, Bobby, I know guys like you:
You've got smooth lines, and a lot
of easy good luck to go with that
great tan. But let me tell you
something, pal. Sooner or later,
that tan fades and the smooth lines
develop wrinkles and already that
luck is turning hard.
BOBBY
Listen, man...I'm tired, I gotta....
He reaches for the call switch. Michael grabs the line.
MICHAEL
Don't play your same tune, Bobby.
There are other people orbiting your
life, now it's time to start
thinking about them. You're not the
only person who knows about Cadiz.
A beat. The cool veneer starts to drop away.
BOBBY
How many people know, man? I mean,
Jennifer....
MICHAEL
Give it to me, Bobby.
A beat.
BOBBY
They were from the Fin Quest.
(beat)
I went out a week ago to poach some
of the abs they were supposed to be
seeding. I saw them diving an old
wreck. It was full of treasure. I
figured they didn't need it all.
MICHAEL
Then everything you took from the
wreck is at Cadiz?
Bobby looks at Michael. He sure wants to give him a line,
but...he shakes his head "no."
BOBBY
Cadiz was a transfer point. I took
a lot of it home.
MICHAEL
Like what?
BOBBY
Trinkets...and a beautiful gold
statue...real sweet. I took it out
of a box and switched it with some
rocks....
MICHAEL
Nacinda.
Michael moves out of the room quickly. Hold a beat on
Bobby, reacting.
CUT TO
EXT. THREE SHELLS RESTAURANT - DAY - K.I.T.T.
pulls in. Michael alights, runs to the door.
INT. THREE SHELLS STORAGE AREA - DAY
Empty. Ransacked. The empty suitcase is still on the floor,
as are the gold trinkets. Nacinda is gone. We hear O.S.
noise of the premises being entered, footsteps.
MICHAEL (O.S.)
Jennifer...where are you?
(beat)
Jennifer!
The footsteps come closer...Michael enters the room. Reacts.
Picks up a trinket and tosses it down, exiting quickly.
OMITTED
EXT. ABOARD THE FIN QUEST - DAY - MANLEY
He watches as the crewman engages the electric anchor winch
and it begins to clank upward.
INT. FIN QUEST CABIN - DAY - SLOATE AND JENNIFER
She is tied to a chair. Sloate runs his hands over Nacinda.
JENNIFER
What are you going to do?
SLOATE
I am going to show the world my find.
And they will finally know that my
theories are not fallacies, but fact.
JENNIFER
No, I mean...with me.
Sloate looks up at her.
SLOATE
Every great scientific endeavor
requires certain...sacrifices, I
very much regret to say.
As she reacts, Manley comes down into the cabin.
MANLEY
She's just about up, Sloate. We'll
be ready to go in a couple minutes.
Sloate nods. Before Manley can start back up:
JENNIFER
Paul....
He stops.
JENNIFER
Paul, listen. You and Bobby were
friends. We've all known each
other since we were kids. Don't you
remember that shell-doll you made
me? Paul? Please....
He can't look her in the eye.
PAUL
I'm sorry, Jennifer.
And he runs back up the stairs. Hold on her expression of
fear and panic, and:
OMITTED
EXT. THREE SHELLS RESTAURANT - DAY - MICHAEL
He runs out, enters K.I.T.T.
K.I.T.T.
What is it, Michael?
MICHAEL
Trouble, pal. Real trouble. Get
Devon for me.
INT. K.I.T.T. - DAY - MICHAEL - MOVING
Devon comes up on the screen, the other screen is "radaring."
MICHAEL
Devon, have you got the Coast Guard
enroute to the Fin Quest yet?
DEVON
They're still trying to locate a
federal judge to sign boarding
papers.
MICHAEL
We're out of time...I'll have to
board myself. Wish me luck.
DEVON
Michael, don't be foolish...Michael?!
Michael turns off the screen.
MICHAEL
Give me a reading on the Fin Quest's
location, Kitt....
EXT. COASTAL ROAD APPROACHING PIER - DAY - K.I.T.T. -
MOVING
K.I.T.T. (V.O.)
My sensors indicate the Fin Quest's
anchor is now being lifted.
INT. K.I.T.T. - DAY - MOVING
MICHAEL
All right, buddy, we have to go for
it...there's no choice.
K.I.T.T.
Michael, wasn't it you who said that
April was concerned that my third stage
aquatic synthesizer could fail?
MICHAEL
Cross your microchips they don't.
K.I.T.T.
Oh, my.
MICHAEL
Here we go, partner.
Michael hits the turbo boost.
EXT. END OF PIER - DAY - K.I.T.T.
as he rockets off the end of the pier, lands with a splash
and:
NEW ANGLE
K.I.T.T. emerges through the spray, cutting the surface
like a hydroplane.
INT. K.I.T.T. - DAY - MOVING ON WATER - MICHAEL
Spray hitting the windshield.
MICHAEL
How are you holding up, pal?
K.I.T.T.
Surprisingly well, Captain.
EXT. ABOARD THE FIN QUEST - DAY - MANLEY
He secures the anchor, waves to the pilot cabin, and Wicks
shoves the coal to the boat, moving out.
NEW ANGLE
Manley moves to the pilot cabin and then reacts.
MANLEY
What?
MANLEY'S POINT OF VIEW - K.I.T.T.
cutting through the water at full tilt, headed directly for
them.
BACK TO SCENE
Sloate emerges on deck.
MANLEY
(continuing)
I don't believe it.
SLOATE
Stop them...launch the depth charges
...Blow them out of the water!
Manley and the crewman hurry to the rear deck and begin to
load cannisters on the launcher.
SLOATE
(continuing;
to Wicks)
Full speed ahead!
Wicks opens up the Fin Quest.
EXT. DESCANTO BAY - DAY - K.I.T.T. AND FIN QUEST
as K.I.T.T. gains on the boat, as:
MANLEY
launches the first cannister.
NEW ANGLE
The charge hits near K.I.T.T., explodes.
INT. K.I.T.T. - DAY - MOVING ON WATER - MICHAEL
as the windshield is drowned in water from the charge.
K.I.T.T.
(with concern)
Depth charges, Michael.
MICHAEL
Let's try and work a zig-zag pattern
to their tail, buddy.
Michael slides the roof panel open.
K.I.T.T.
You're abandoning ship, Michael?
MICHAEL
Soon as you get me alongside.
EXT. DESCANTO BAY - DAY - VARIOUS ANGLES - K.I.T.T. AND
FIN QUEST
as more charges are launched, exploding near K.I.T.T. and
K.I.T.T. gains on them, finally getting closer, then
sweeping out in an arch and back, cutting past Fin Quest's
fantail, as:
INT. K.I.T.T. - DAY - MOVING ON WATER - MICHAEL
Michael nods, hits "EJECT" and catapults out of K.I.T.T.'s
roof.
EXT. ABOARD THE FIN QUEST - MICHAEL - MOVING
as he lands on deck taking out the crewman. Manley picks
up a club and swings at him as he ducks and Sloate runs
below.
NEW ANGLE
Michael ducks Manley's swing, double punches him and lays
him out...he starts toward the pilot cabin.
OMITTED
EXT. DESCANTO BAY - DAY - K.I.T.T. AND FIN QUEST
as K.I.T.T. moves alongside Fin Quest.
INT. FIN QUEST CABIN - DAY - ON DOOR
As it opens, Michael enters as we adjust to see that Sloate
has untied Jennifer and holds her in front of him, his gun
drawn.
SLOATE
That's far enough.
MICHAEL
Give it up, Sloate. It's over for
you.
SLOATE
It's over for her if you don't get
off this boat now.
Michael speaks low into his comlink.
MICHAEL
(comlink)
Kitt, knock out the starboard engine.
INTERCUT - K.I.T.T.
K.I.T.T. (V.O.)
Aye-aye.
On K.I.T.T.'s monitor screens, the microwave jammer goes to
work.
CLOSE ON STARBOARD ENGINE
as it sputters...then, with a poof of smoke, conks out.
BACK TO SCENE
Fin Quest suddenly veers left, throwing Sloate temporarily
off balance. Michael rushes him, knocks the gun from his
hand. Sloate takes a stool and slams it over Michael's
head, buckling his knees.
Sloate reaches for the gun, but Michael grabs his legs and
topples him. They struggle on the floor, trading punches,
until Michael lands one, two, three punches, and Sloate
collapses, all fight gone out of him.
NEW ANGLE
Jennifer rushes to Michael as he stands erect. He holds
her and speaks into his comlink.
MICHAEL
Good work, Kitt.
JENNIFER
The car?
MICHAEL
The car.
She talks into the comlink.
JENNIFER
You were wonderful...Kitt.
INTERCUT - K.I.T.T.
K.I.T.T.
Just call me the Scourge of the Seven
Seas, Jennifer.
Michael and Jennifer laugh.
MICHAEL
Steer for home, Scourge.
K.I.T.T.
Aye-aye, Captain.
EXT. DESCANTO BAY - DAY - K.I.T.T. AND FIN QUEST
K.I.T.T. turns for home, the Fin Quest follows. Pull back
to a high shot as the big boat follows the little car, and
we:
FREEZE FRAME
AND
FADE OUT
END OF ACT FOUR
TAG
FADE IN
OMITTED
EXT. THREE SHELLS RESTAURANT - DAY - K.I.T.T.
is parked out front.
INT. THREE SHELLS RESTAURANT - DAY - MICHAEL AND JENNIFER
walking towards the exit, together.
JENNIFER
Thanks for letting me on your team,
Michael. It was a very special
place to be.
He smiles, then looks beyond her to Bobby, who is hustling
around, setting up tables, working like a beaver.
MICHAEL
Look at that guy go.
Bobby looks up, smiles.
BOBBY
I got the great tan...and still have
the good luck...
(indicates
Jennifer)
I think I'll replace the smooth
lines with a little elbow grease.
MICHAEL
Sounds good, Bobby.
JENNIFER
You know something, Bobby, I think
you're looking more like Dad everyday.
Bobby shakes his head "no."
BOBBY
Not yet, Jen -- but I'll be working
on it.
He winks at Michael. They all smile.
EXT. THREE SHELLS RESTAURANT - DAY - MICHAEL
exits and steps near K.I.T.T. April is still working under
K.I.T.T.'s dash.
K.I.T.T.
Avast ye, April. Are you still
cleaning out the bilge-rats?
APRIL (V.O.)
Slow the nautical jargon, Kitt.
MICHAEL
Back to nursing Kitt, huh, April?
APRIL (V.O.)
Electronically speaking.
She finally pulls out an electronic circuit board and
stands up.
APRIL
I'm pulling his water wings. He's
lucky he didn't sink. You're both
lucky.
(to Kitt)
This synthesizer is faulty and there
will be no more aquatics until the
entire system is rebuilt...from
scratch.
She tucks the board under her arm, then climbs in the
passenger side as Michael moves in behind the wheel, during:
MICHAEL
Well, no more swimming, Kitt.
He starts the engine.
K.I.T.T.
Just when I was beginning to enjoy
the water, too.
(a beat;
ala Popeye)
I guess I yam what I yam.
APRIL
(warning)
Kitt....
Michael gives April a grin, pulls out as we pull to a high
shot of the Trans Am moving off.
FREEZE FRAME
AND
FADE OUT
THE END
