ACT ONE
FADE IN
EXT. STREAM/CANYON AREA - DAY
Dappled sunlight shimmers down through the trees. A small
stream chatters between banks covered with ferns. Over the
forest sounds we hear the click and whir of a motor-drive
camera and the voice of a young woman.
ALI'S VOICE
Come on, give me something.
THOMAS' VOICE
(whispering)
Shhh...they can hear you.
The camera pans to find Thomas Raymond, fifties, grey hair,
dressed in a T-shirt with rock 'n' roll graphics and khaki
shorts. He wears a grim expression, stands on the bank
casting a fly rod. With him is his daughter, Ali, twenty-
two, a free-spirited photographer. She moves around him,
snapping pictures.
ALI
Smile. According to Who's Who,
Thomas Raymond loves fishing.
THOMAS
I hate fishing.
His line jumps with a bite. He starts to reel it in and
turns to Ali, brightening into a wonderfully natural smile.
THOMAS
It's catching fish I love.
She clicks away.
THOMAS
Satisfied?
ALI
(with a
laugh)
No. I ran out of film.
Thomas laughs too, pulls her in close, kisses her forehead
tenderly. Camera pans up to find:
THE CANYON BLUFFS
Two motorbikes pull up close to the edge. Atop them, two
powerful-looking men, both wearing strange, Oriental hawk-
faced masks. They dismount, look below, exchange a glance,
then head down a steep and narrow canyon path on foot.
EXT. CANYON ROAD - DAY - K.I.T.T.
streaking over the blacktop in the same wooded area.
K.I.T.T.'S VOICE
Geo-physicist, chemist, musician,
jeweler...Thomas Raymond is quite a
Renaissance man. You could look a
touch impressed, Michael.
ANGLE IN K.I.T.T.
MICHAEL
Sorry, pal, I just can't figure why
Devon wants me to meet him.
K.I.T.T.
Considering Doctor Raymond's been
totally reclusive since retiring
last year, I'd say meeting him
anywhere is a great honor.
MICHAEL
Ahhh...mild case of hero-worship
here?
K.I.T.T.
Well...isn't there anyone you've
ever admired for well-rounded
accomplishment?
MICHAEL
Just last week...remember Belinda?
K.I.T.T.
(dryly)
Yes...very accomplished.
MICHAEL
Not to mention well-rounded.
The sound of a woman's scream interrupts their banter.
Michael reacts, hits buttons.
MICHAEL
What was that?
K.I.T.T.
Sounded like a woman screaming,
Michael.
MICHAEL
Kitt, scan the area.
K.I.T.T.
(alarmed)
There seems to be a struggle on
Doctor Raymond's property.
MICHAEL
(accelerating)
Let's move.
EXT. CANYON/STREAM - DAY - ALI
screaming, watching in horror, as the two hawk-faced men
charge after Thomas Raymond. He tries to elude them, but
they are on to him too soon. Thomas struggles free for a
beat and yells to Ali:
THOMAS
Ali, for heaven's sake, run!
ALI
But....
THOMAS
Run! Now!
Frightened, Ali runs off. While Hawk Man #1 restrains
Raymond, Hawk Man #2 produces a knife, uses it to swiftly
pry out a black crystal that is enjeweled in Raymond's belt
buckle.
EXT. END OF CANYON ROAD - ANGLE ON K.I.T.T.
Michael speeds to the end of the road. Ali, in a Volkswagen,
tears past him, away from the scene.
MICHAEL
Get a picture of that car, Kitt.
Michael drives down into the stream bed.
FOLLOWING MICHAEL
as he hops out after the second attacker, whose bike is
starting up the steep path. Michael grabs hold of him, but
the man ferociously gives him a karate chop to the neck.
Michael goes down, but takes the man's mask off as he
falls. The man races up the path, gets on his bike and both
hawks take off.
MICHAEL
(into comlink)
Give me a hard copy of Hawk Man, Kitt.
ANGLE IN K.I.T.T.
to see a photograph of a menacing Oriental (Hakito) coming
from the hard copy dispenser.
ANGLE ON MICHAEL
getting to his feet, starting after.
MICHAEL
Can we go after 'em?
K.I.T.T.
Not up that narrow path, Michael.
Besides, they're long gone.
Michael winces in frustration as he runs back to the fallen
body by the stream, begins examining it. Then he calls to
K.I.T.T.
MICHAEL
Kitt, is this Doctor Raymond?
K.I.T.T.
Yes, it is.
MICHAEL
I'm afraid he's dead, pal. Sorry.
ANGLE ON K.I.T.T.'S SCANNER
slowing, absorbing the loss.
CUT TO
EXT. HIGHWAY - DAY - SEMI
in motion, as K.I.T.T. slides up the ramp and inside.
DEVON'S VOICE
I feel responsible, Michael. If we
only had got there sooner.
ANGLE IN SEMI - MICHAEL AND DEVON
Michael steps away from K.I.T.T. holding the hawk mask.
MICHAEL
Devon, you just got the call an hour
before.
DEVON
I know, but when you lose a man of
Thomas Raymond's stature....
Devon shakes his head thoughtfully.
MICHAEL
(re mask)
You said you recognized this mask?
DEVON
Yes, it's an antique. Once used by
elite Samurai mercenaries called
Takishi -- 'The Hammer Hawk.' Only
they've been extinct for three
hundred years.
MICHAEL
Well, I think they just opened a new
franchise in L.A., 'cause those guys
in the canyon definitely had the
right stuff.
(to K.I.T.T.)
Anything on Hawk Face's photo?
INTERCUT - K.I.T.T.'S MONITOR
showing the glaring Takishi.
K.I.T.T.
Still trying, Michael. But I did
identify the car leaving the
canyon. It's registered to Ali
Raymond.
DEVON
Doctor Raymond's daughter?
K.I.T.T.
Yes. I also have her address.
MICHAEL
Then let's go talk to her.
DEVON
Before you hit the road, there's some-
one new among us I'd like you to meet.
MICHAEL
(glances about)
New among us?
DEVON
Yes, a very bright young student, a
Knight Industries Fellow. Our Board
of Directors feels he might be one
of us someday.
With that, an explosion is heard from the coffee room of
the semi. He and Michael quickly head that way.
INT. SEMI - COFFEE ROOM - DAY
Bonnie is there picking up the scattered pieces of a
porcelain teapot. With her is Elliott Sykes. Elliott is
dressed like your quintessential nerd: white shirt with
top button buttoned. Pocket filled with pens. Calculator
on his belt and glasses which are currently steamed over in
the smoky room. Elliott wipes them on his shirt, shaking
his head sheepishly. Devon looks at the mess, reacting.
DEVON
My mother's Wedgewood service?
BONNIE
(tentatively)
Elliott was showing me how...to brew
tea by computer.
Elliott looks up at Devon, putting his glasses back on.
ELLIOTT
Sorry...Normally, it's mega-efficient.
Precise tea steeping time is broken
down into minute fractions.
MICHAEL
Just like the teapot.
Elliott looks at Michael for a beat. Then cracks up in a
distinctive asthmatic, nervous laugh.
ELLIOTT
...Just like the teapot. That's
funny.
DEVON
(dry anger)
Hilarious.
Bonnie and Michael exchange a glance.
BONNIE
Michael Knight, allow me to introduce
Elliott Sykes.
Elliott puts out his hand, shakes Michael's enthusiastically.
ELLIOTT
That's Elliott with two l's and two
t's. Like in latitudinal.
Another exchange of glances with Bonnie.
MICHAEL
Nice...to meet you.
Quickly, Michael turns to Devon for help, explanation, some-
thing.
MICHAEL
Devon....
DEVON
(interrupting)
In spite of Elliott's obvious -- youth
-- he happens to be an authority in
Doctor Raymond's Field of electro-
magnetic radiation, and I'm positive
he'll prove a great help to us.
Michael, still not convinced, studies Elliott a beat:
MICHAEL
Right.
Elliott grins.
MICHAEL
Welcome aboard.
ELLIOTT
Wherever I can help.
Beat. Michael nods, looks back at Devon before exiting, who
is picking up the pieces of his Wedgewood service.
MICHAEL
Smile, one day he may be one of us.
Off Devon's reaction, we:
CUT TO
EXT. SEMI - DAY
as the ramp goes down and K.I.T.T. rolls out and off.
OMITTED
EXT. ALI'S PHOTOGRAPHY STUDIO - DAY
K.I.T.T. drives toward a two-story city structure.
K.I.T.T. (V.O.)
Michael, this Elliott Sykes has
quite an impressive academic record.
INT. K.I.T.T. - DAY
MICHAEL
You don't say.
K.I.T.T.
Yes, I do. He was the youngest
student ever to enter Cal Tech,
graduating Magna Cum Laude, at the
age of fifteen. Not to mention
earning a Phi Beta Kappa Key along
the way.
MICHAEL
You're right. Impressive.
K.I.T.T.
But there is one piece of information
that keeps appearing, Michael, that
I don't quite understand.
MICHAEL
What's that, pal?
K.I.T.T.
It says he's also a 'nerd.' What
does that mean?
Michael smiles, pulling up in front of Ali's building.
MICHAEL
Well...it's kind of a term of
affection.
K.I.T.T.
Sounds more like an affliction.
Michael gets out.
EXT. K.I.T.T.
MICHAEL
You know...you just might have a
point.
Michael starts up the stairs to:
INT. ALI'S STUDIO - DAY - ALI
hanging photos on a drying line. She turns as the bell
tinkles, to see Michael.
ALI
Can I help you?
MICHAEL
(gently)
I hope so. I'm Michael Knight from
The Foundation.
(off her
reaction)
I was coming to see your father
yesterday....
FAVOR ALI
An emotional flush crosses her face, then she turns
to her work. Michael watches her back.
MICHAEL
Keeping busy helps. I know.
She turns, but keeps busy.
MICHAEL
When my dad died, I went and shot
hoops for five hours, right through
the night.
Ali's trembling fingers drop a print. Her defenses go down
with it. She sighs.
ALI
For me it was the morning. I went
out on my boat with my camera.
There's a family of whales I've been
trying to shoot all week, but the
father never let me get close enough.
Just too protective.
(indicates
the prints)
Well, this morning I got those.
FAVOR PHOTOS
Michael checks out the photos on the line. They show
closeups of a family of whales on the ocean. He turns back
to Ali with a comforting smile.
MICHAEL
I think your father would have been
proud of them.
Ali forces a smile back, turns.
ALI
When the men attacked, he told me to
run. I feel like such a coward.
MICHAEL
It's okay. He was just being protec-
tive like your whale. He didn't want
you hurt.
ALI
You're making me feel a lot better.
MICHAEL
(smiles)
I'm glad.
(beat)
Your father wanted The Foundation's
help. Do you know why?
ALI
(shakes her
head no)
Only that something was really
troubling him ever since this woman
dropped by to see him last week.
MICHAEL
Old romance?
ALI
I didn't recognize her.
MICHAEL
Do you have any idea what your
father was working on?
ALI
(sad smile)
Who knows? He was always very
secretive about his job. Besides,
all he was really concentrating on
now...was his fly-casting, or playing
the electric guitar....
K.I.T.T.'s Voice is heard over the comlink. Ali reacts.
K.I.T.T.'S VOICE
Michael, I've just identified Hawk
Face. He's custodian of a temple
downtown.
MICHAEL
I'm on my way, Kitt.
ALI
(re comlink)
Standard Foundation equipment?
MICHAEL
(smiles)
It comes with the job. Ali, will
you be all right by yourself?
ALI
Sure. I've got my work, remember?
MICHAEL
I'll keep in touch.
Ali nods and Michael leaves.
OMITTED
EXT. VANESSA SUTTON'S HOUSE - DAY - ESTABLISHING SHOT
an upscale, secluded house, in the hills.
EXT. POOL AREA - TIGHT ON THE BLACK CRYSTAL
in the hand of Mac Gifford, thirty-five, a handsome karate
master with chiselled muscles and features.
GIFFORD
Here's your black crystal.
He flips it in his hand, tosses it to:
VANESSA SUTTON
twenty-seven, sexy, in a short dress. She sits at a
poolside table working at an electronic device. She
catches the stone.
GIFFORD
Got it off Raymond's belt, just like
you said.
VANESSA
Perfect. That puts us right on
schedule.
GIFFORD
As long as it doesn't put us in jail.
VANESSA
You have to have more faith in
modern science, Mac. This little
work of art is going to make both of
us very rich.
As she inserts the crystal into the device, he watches,
appreciating the curve of her legs.
VANESSA
Beautiful.
GIFFORD
I'll say.
VANESSA
The stone, Mac...not my legs. Move
on me now, and you just might get
vaporized.
She flips one of the buttons. Gifford jumps back. Vanessa
laughs.
VANESSA
I've waited a long time for this.
You ever heard of a thermo-light
generator?
GIFFORD
Anything like a sun lamp?
VANESSA
Only that it produces an intense heat.
And adding the black crystal to it...
brings new meaning to the word 'melt-
down.' Watch what it does to three
inches of solid steel.
Vanessa points the generator toward a sheet of heavy steel
in the garden. Gifford watches eagerly as she flips a
second switch and an intense bolt of red light focuses on
the steel.
THE STEEL
glows, smokes a little, but the light doesn't cut through
it.
BACK TO VANESSA AND GIFFORD
She glares, her eyes like switchblades. She adjusts the
device.
GIFFORD
That's going to get us into a vault
full of diamonds?!
VANESSA
Damn...something's wrong.
GIFFORD
(angry)
You telling me? I killed a man for
that?
VANESSA
Shut up! It's only working at half
strength.
(examining
crystal)
It's been cut in two! We have to
find the other half.
GIFFORD
And where do 'we' look?
VANESSA
That, lover, is your department. Just
find it.
OMITTED
EXT. TEMPLE - DAY
K.I.T.T. pulls up in front of the picturesque structure.
K.I.T.T.'S VOICE
His name is Fuji Hakito, Michael you
might find him out in the garden.
ANGLE ON K.I.T.T.
MICHAEL
Thanks, pal. Sayonara.
He climbs out, heads for the temple.
OMITTED
INT. TEMPLE
Michael enters. Hears a gonging and follows it to:
EXT. TEMPLE GARDEN - DAY
Hakito kneels before a statue. Also present is a pretty,
fragile, kimono-clad Japanese woman. She kneels before a
small gong, which she sounds periodically.
CLOSE ON HAKITO
Deep in meditation, he grunts and strains his muscles before
using his forehead to break a brick he holds before him.
Behind him, we see Michael moving toward him. Hakito tenses,
aware of the intruder's presence. As Michael approaches, he
lashes out swiftly behind him, attacking Michael. Michael
crashes through some shrubbery.
VARIOUS ANGLES - THE FIGHT
It's quick and fierce before Michael knocking him uncon-
scious.
MICHAEL
(into comlink)
Kitt, have Devon call the police to
pick up Hakito and his friend here.
K.I.T.T.'S VOICE
Right away, Michael.
As Michael looks back toward the unconscious Hakito, we:
OMITTED
FADE OUT
END OF ACT ONE
ACT TWO
FADE IN
EXT. SEMI - DAY
in motion, cruising down the highway.
MICHAEL'S VOICE
How's the interrogation coming?
INT. SEMI - COFFEE ROOM - DAY - MICHAEL WITH DEVON
as he pours tea from a cheap pot into a styrofoam cup.
Michael paces.
DEVON
According to Sergeant McMillan, it's
not. Ever hear of 'Sei-jo?'
(Note: pronounced "sey-jo.")
MICHAEL
Sounds like something from a sushi
bar.
DEVON
We should be so lucky. It's
apparently the Takishi version of
'omerta' -- the vow of silence.
Michael shakes his head, frustrated.
MICHAEL
Terrific. An ancient warrior clan
alive and well -- and living high on
the hog. I had Kitt check out
Hakito's piggy bank. He had more in
CDs than you make in a year.
DEVON
I'm not interested in changing occu-
pations, if that's what you mean.
(beat)
There's got to be more to this than
meets the eye.
MICHAEL
I agree. The question is 'what?'
They move into the main room.
ANGLE IN SEMI
As Michael and Devon enter we see Bonnie with Elliott. She
watches, fascinated, as Elliott sets up a demonstration:
behind a conventional standing candle is a highly polished
reflector; in front of the reflector is an opaque grey lens
the size of a quarter.
ELLIOTT
...by reorganizing particles of light
into their most efficient matrix.
Michael and Devon exchange a look.
MICHAEL
Couldn't have said it better myself.
DEVON
Precisely.
BONNIE
Elliott is going to demonstrate
Doctor Raymond's principal of
'split-particle radiation.'
ELLIOTT
It's not all that complicated,
really. The light we see is only
one percent the total available
spectrum.
They nod, lost.
ELLIOTT
Watch.
Elliott lights the candle, holds the grey lens in front of
the reflector.
ELLIOTT
This convex focal lens was one of
Doctor Raymond's early innovations.
They ad-lib appropriate comments, no idea what they're
witnessing. Then Devon's eyes drift to something beyond.
He goes pale.
DEVON
My Hampton Court trophy!
He lunges off.
WIDER ANGLE
They look up to see Devon grab a heretofore unnoticed
silver trophy cup from a bookshelf or resting place. It's
half melted and smoking. Devon looks aghast.
DEVON
I've had this for decades! We beat
Hedgerow in the cricket championship
that year....
He trails off, realizing it doesn't matter now. Everyone
looks embarrassed, especially Elliott.
ELLIOTT
(for lack
of anything
better)
Gee...What decade was that?
DEVON
(darkly)
Never mind.
To fill an awkward silence:
MICHAEL
Well, I really hate to leave, but
I've gotta check out a place called
Body Boutique. Hakito had a member-
ship there.
Reaching K.I.T.T., he pauses before leaving.
MICHAEL
On the way over I'll keep an eye
open for a trophy repair shop.
Devon looks at the melted trophy in his hand.
DEVON
Thanks so very much.
EXT. SEMI - DAY
K.I.T.T. drops down the ramp, spins a 180 and accelerates
off.
EXT. MAC GIFFORD'S BODY BOUTIQUE - DAY
An up-scale health club in a fashionable part of the city.
K.I.T.T. drives up and into the lot.
K.I.T.T.'S VOICE
Michael, there's one thing about
Elliott I don't understand.
ANGLE IN K.I.T.T.
Michael guides the car into a parking space, climbs out
over:
MICHAEL
What's that?
K.I.T.T.
If he doesn't like being called a
nerd, why does he act like one?
MICHAEL
I don't think he's acting, pal.
I'll be back. Meanwhile, get me
what you can on this Mac Gifford.
INT. KARATE ROOM - DAY
Gifford massages a towel-draped Vanessa on a leather
massage table.
GIFFORD
Tell me that doesn't feel good.
VANESSA
The only thing that'll make me feel
good now is finding the other half
of the black crystal.
GIFFORD
If Raymond's daughter doesn't have
it, she'll know where it is. Either
way, we'll find it. Now relax...
that's it...visualize the tension
leaving your body.
CUT TO
INT. BODY BOUTIQUE - RECEPTION AREA - DAY - JEANIE
The spunky receptionist, watches a soap opera on a small TV.
Glued to the tube, she barely turns as Michael enters. We
hear rock music from the workout rooms.
JEANIE
You here for aerobics?
MICHAEL
Only if you give private lessons.
She turns...likes what she sees.
JEANIE
Sorry to disappoint you...I'm just
the receptionist.
MICHAEL
Even better. You could tell me
about your members.
JEANIE
Sorry. Mr. Gifford's high on confi-
dentiality.
MICHAEL
Whatever gets you through the night.
Is he in there?
He indicates a door marked "Members Only."
JEANIE
Yes, but that's only for the Karate
Club. Black belts.
MICHAEL
You a member?
She shakes her head.
MICHAEL
(winks)
Good. Then you can't stop me.
A muscular hunk, Sam, enters the room behind Michael,
heading for the showers. Jeanie indicates him with a nod.
JEANIE
No, but I can yell for security.
Before she can yell, Michael quickly pulls Jeanie close,
covering her mouth with a kiss. Sam chuckles and moves off.
When they break, Jeanie looks at Michael, pleasantly
surprised.
JEANIE
...and I thought that only happened
in soap operas....
Michael smiles and heads inside.
MICHAEL
I won't be long.
INT. KARATE ROOM - DAY - VANESSA
nearly purring now, eyes closed, as Gifford continues the
massage.
GIFFORD
(softly)
I'll be right back.
He leaves. A beat as camera moves in close on Vanessa's
back.
A PAIR OF HANDS
enter shot. Start massaging again.
VANESSA
That was fast.
FULL ANGLE
to see Michael continuing the massage. Vanessa moans.
VANESSA
Ohhh...I never thought you could be
so tender.
(off Michael's
smile)
Careful...I'm beginning to visualize
more than 'tension leaving my body.'
I can't wait to return the favor.
MICHAEL
Me neither.
Vanessa, shocked, turns to cover up, seeing Michael. At
the same moment:
ANGLE TO INCLUDE GIFFORD
GIFFORD
Hey, what do you think you're doing?
His recognition of Michael is immediate.
MICHAEL
Relieving tension. My name's
Michael Knight. I'm a friend of
Fuji Hakito's.
GIFFORD
I...understand Hakito died recently.
MICHAEL
So I hear. Too bad. I lost a good
sparring partner. I was hoping to
pick up another one here.
GIFFORD
This is a private club...but out of
curiosity...what belt are you?
MICHAEL
Oh...I'm beyond colors. I've beaten
a Takishi.
As Vanessa reacts, Gifford meets his eye, without wavering.
GIFFORD
The Hammer Hawk. To my knowledge
they died out years ago. And from
what I've heard, bragging wasn't
part of the Takishi code. You had
to withstand the test of raw nerves
to even be considered.
MICHAEL
Try me.
As Gifford studies him:
SMASH CUT TO
EXTREME CLOSEUP - MICHAEL
standing against the karate room wall as a razor-sharp
diamond shaped shuriken embeds into the wall next to his
face, just above his shoulder. He doesn't even flinch.
GIFFORD'S VOICE
Very good.
Widen to include:
GIFFORD
looking on as Ito, a large, robed Oriental handles four
more shurikens.
GIFFORD
The Takishi believed the superior
warrior could look into the eyes of
death five times and never waver.
MICHAEL
Five's my lucky number.
A second is thrown, embedding perilously close to his other
shoulder.
GIFFORD
Had enough?
MICHAEL
I came to play.
Ito winds up and tosses two more with both hands. Michael
does not even blink as they land on both sides of his ears.
INCLUDE VANESSA
moving into the b.g., now dressed. Gifford acknowledges
her presence.
MICHAEL
Four down, one to go.
GIFFORD
For the last you must close your
eyes. According to the Takishi
code, it would scare off all
pretenders.
MICHAEL
For someone who just claimed the
Takishi had died out, you sure do
your best to keep the tradition
alive.
Vanessa looks over at Gifford, betraying a sense of nervous-
ness. Michael sees it. Gifford turns back to Michael.
GIFFORD
You can always quit.
Michael closes his eyes. Gifford gives Ito a hand signal.
The man grunts and flings the shuriken toward Michael. At
the last moment, Michael ducks. It embeds right where his
head was, narrowly missing him.
GIFFORD
You moved.
MICHAEL
You should have told me the Takishi
had a height requirement.
GIFFORD
Don't get the wrong idea. You
bailed out first and my man adjusted.
Michael starts off.
MICHAEL
Yeah, right. Let's do it again some
time. In my gym.
With that, he exits the room. Once he has left, Gifford
moves over to Vanessa.
GIFFORD
He could be trouble.
VANESSA
Wrong tense, Mac. He is trouble.
ANGLE IN RECEPTION AREA - MICHAEL
passes Jeanie, who smiles at him. Michael smiles back.
MICHAEL
Thanks.
(fishing)
Boy, Mac has all the luck. That
Angel Brown is one stunning woman.
JEANIE
(confused)
Angel Brown...You mean Vanessa
Sutton?
Michael taps his head.
MICHAEL
I must have been thinking of her
eyes. Catch you later, baby blues.
Jeanie laughs, as Michael exits.
EXT. BODY BOUTIQUE - DAY - MICHAEL
getting into K.I.T.T.
MICHAEL
Think we're on a roll, pal. This
place is Takishi Central and Gifford's
in it up to his shurikens.
He starts the car and pulls out.
ANGLE IN K.I.T.T.
K.I.T.T.
That's odd, Michael. He's a very
respectable man. Decorated Green
Beret, karate champion, and this
club is very successful. Why would
he risk it?
MICHAEL
I don't know, but if I'm any judge
of manhood, it has something to do
with a beautiful lady named Vanessa
Sutton. See what you've got on her.
They drive away.
EXT. STREET - DAY - K.I.T.T.
streaking through the afternoon sun.
K.I.T.T.'S VOICE
I've completed the check, Michael.
There are eleven Vanessa Suttons in
my data bank.
ANGLE IN K.I.T.T. - MICHAEL
driving.
MICHAEL
Run 'em by me, buddy.
K.I.T.T.
Vanessa Abigail Sutton....
MICHAEL
Pass.
K.I.T.T.
Really, Michael, she's a virtuoso
bassoonist.
MICHAEL
Kitt, she's ninety. Go on.
K.I.T.T.
Very well. Vanessa B. Sutton....
INTERCUT - MONITOR - A RACE HORSE
MICHAEL
Great legs, but that's a pass, too.
Next?
INTERCUT - MONITOR - THE REAL VANESSA
K.I.T.T.
Vanessa Mary Sutton.
MICHAEL
That's Miss Massage.
K.I.T.T.
Intelligent as well as beautiful,
Michael. She has a Ph D in
Geo-Physics.
MICHAEL
Just like Doctor Raymond. Let's
head over to Ali's and see if that's
the woman who visited her father.
EXT. HIGHWAY - DAY - K.I.T.T.
doing a 180, and speeding off to Ali's.
INT. ALI'S STUDIO - DAY - ALI
packs up some photographic equipment from various parts of
the room. The sound of a motorbike approaching outside is
heard. Getting closer, then stopping. Ali stops for a
beat taking it in. Footsteps are heard outside below,
moving around. She seems to hold her breath as the foot-
steps start up the wooden stairs to her studio. Slowly,
they climb, as if tiptoeing. A sense of panic crosses
Ali's face. A sixth sense tells her to grab a tripod.
She moves fearfully behind the door, holding the tripod
over her head as the door knob slowly turns. The door
opens, and Ali readies to crash the tripod down on the
intruder. Elliott steps in. Ali aborts midswing as
Elliott ducks, terrified.
ALI
Who are you?!
ELLIOTT
Me?
ALI
You!
ELLIOTT
Me. Yes. I'm Elliott Sykes...I
work with the Foundation.
ALI
(amazed)
The Foundation for Law and Government?
ELLIOTT
(proud)
Yes. Michael and I are on the case
together.
ALI
What were you doing creeping up here
like that? I almost took off your
head.
ELLIOTT
I'm sorry, I just didn't want to
disturb you in case you were
working. I was just trying to be
considerate. I guess I overdid it.
ALI
(a beat)
That's all right.
ELLIOTT
No, it's not. I'm always doing nerdy
things like that. I've really got to
stop.
ALI
Don't be so hard on yourself. How
were you to know I was going to be
so jumpy.
Elliott breaks into his charming, overbite smile.
ELLIOTT
Thanks for letting me off the hook.
ALI
I'd like to invite you in but I'm
already late for a shoot.
ELLIOTT
Oh, that's too bad. Michael and I
are hot on the case. I was hoping I
could get your father's notes...
letters...anything that might give
us a clue to what he was working on.
I thought maybe we could brainstorm.
ALI
Well, how about I let you go through
his things. By the time you finish,
I'll be back. We can brainstorm
then.
ELLIOTT
We can?
Ali smiles, moving over to a desk. Elliott is clearly
smitten. She takes out a stack of bound letters and notes,
hands them to Elliott, noticing for the first time the new
shirt Elliott wears. A shirt just like Michael's except
buttoned askew. Her hand moves around the collar, touching
it.
ALI
Nice shirt...new?
ELLIOTT
No...I wear it all the time.
Ali pulls out the price tag, still attached to the back.
She gives him a gentle smile and removes it. He breaks
into his asthmatic laugh. She laughs too, enjoying his
innocence.
ANOTHER ANGLE - THE DOOR
flies open and a hawk-masked Takishi appears. Ali screams.
So does Elliott, taking a karate stance.
ELLIOTT
Back! I'm warning you!
Hawk-mask does a lightning-fast karate combination that
sends Elliott flying back and crashing into a stereo system
of bookcase. Ali grabs a lamp to strike him but he disarms
her, throws the lamp on top of Elliott who's struggling to
his feet.
ELLIOTT
You'll never get away with this! I'm
a Foundation man. We never stop. We
never sleep. We eat guys like you
for breakfast.
Hawk-mask dumps a carton of books on Elliott, grabs Ali,
seeing the black crystal around her neck. She tries to
twist away but he clamps a hand over her mouth and darts
outside with her.
ANGLE ON ELLIOTT
Determined, he struggles once again to his feet.
ELLIOTT
Don't worry, Ali!
He charges for the door but his feet get tangled in the
stereo wire. He goes down with a crash.
OMITTED
EXT. ALI'S STUDIO - DAY
Hawk-mask (Ito) pulls Ali out to the street as the Jeep
swings up, stops. Ito pushes her in, leaps aboard as it
pulls out.
REVERSE ANGLE
K.I.T.T. turns down the street to Ali's.
ANGLE IN K.I.T.T.
Michael reacts.
MICHAEL
Kitt, is that Ali?
K.I.T.T.
Yes! And there's Elliott!
MICHAEL
Elliott?
ANGLE ON ELLIOTT
coming down Ali's stairs double time, running to rendezvous
with Michael and K.I.T.T. at the curb. To Elliott's
amazement K.I.T.T. flashes by, splashing a puddle of water
onto his new Knight Rider shirt.
ANGLE ON STREET
The Jeep roars by.
ANOTHER ANGLE
K.I.T.T. pursues, gaining.
EXT. CONSTRUCTION AREA - DAY
The Jeep darts through a gate in the fence, disappears in a
cloud of dust.
ANGLE IN K.I.T.T.
racing toward the gate when:
K.I.T.T.
Michael!
MICHAEL
Gotcha, pal.
He hits Turbo Boost.
WIDER ANGLE
A truck carrying lumber crosses in front of the gate.
VARIOUS ANGLES - THE JUMP
K.I.T.T. flies up and over the truck.
ANGLE IN JEEP
Gifford, driving, reacts to what he sees in the rearview
mirror. He grabs Ali, holding her fast with one arm.
GIFFORD
(to Ito)
Use the gun on him!
ITO
But Miss Sutton said ---
GIFFORD
Use it!
Ito seats himself behind the swivel mounted black crystal
gun.
ANGLE IN K.I.T.T.
Michael behind the wheel, seeing the Jeep trying to arc
around behind them.
MICHAEL
About-face!
He slams the wheel.
WIDER ANGLE
K.I.T.T. does a 180.
ANGLE ON ITO
He fires.
K.I.T.T.'S RIGHT FRONT TIRE
Virtually motionless for that split second in the 180, it
suddenly begins to smoke, then disintegrates into a gooey
mess in front of our eyes.
ANGLE ON MICHAEL
Accelerating, he fights the wheel.
MICHAEL
Kitt!
K.I.T.T.
I'm sorry, Michael, but they've
disabled my right front tire!
MICHAEL
Disabled?
K.I.T.T.
I've never experienced anything like
it. A more apt term would be 'melt
down.'
Angry, Michael looks ahead.
HIS POINT OF VIEW - THE JEEP
roars back out through the gate.
OMITTED
FADE OUT
END OF ACT TWO
ACT THREE
FADE IN
EXT. HIGHWAY - DAY - EARLY MORNING - ON SEMI
moving.
DEVON'S VOICE
Do you think they'll harm Ali,
Michael?
INT. SEMI - DAY
Michael paces with concerned energy, as Devon talks with
him. In the b.g. Bonnie and Elliott are repairing
K.I.T.T.'s tire.
MICHAEL
Let's just hope they consider her
insurance until they get whatever
they're after.
DEVON
Have you no hint of what that is?
MICHAEL
Just that it's worth killing for and
it's going down soon.
Elliott looks up with a groan.
ELLIOTT
It's all my fault. I could have
stopped that guy from taking Ali.
MICHAEL
You did your best. Sometimes, it
takes more than heart, Elliott. You
were a little overmatched. I wish I
had the same excuse.
BONNIE
Believe me you do, Michael. That
beam imploded poor Kitt's tire like
it was ordinary rubber.
K.I.T.T.
Yes, it was most embarrassing.
MICHAEL
We'll get them next time, buddy.
BONNIE
Don't be so sure. Now we know
Doctor Raymond developed the black
crystal, and they've got it.
DEVON
That's the frightening part. I had
a chance to glance over the diaries
that Elliott brought back. There's
no earthly material that the split
particle beam can't melt down.
MICHAEL
If you're trying to scare me off,
forget it Devon. Right now, I've
got to find Ali and I've got a good
idea where to start.
Bonnie closes K.I.T.T.'s hood.
BONNIE
He's ready, Michael.
Elliott moves to Michael, standing in his way.
ELLIOTT
I want to go with you...for Ali's
sake.
Michael looks at him a beat.
MICHAEL
You really like her, don't you.
ELLIOTT
(a little
sheepish)
Well...sure...you gotta aim high.
MICHAEL
(hands on
his shoulders)
Then for her sake stay here. Put
your head together with Bonnie's.
Figure out something that'll give
Kitt and me a fighting chance, pal.
ELLIOTT
(smiling
broadly)
Pal?
DEVON
Good luck, Michael.
Michael hops into K.I.T.T., starts up.
EXT. SEMI - DAY - K.I.T.T.
gliding down the ramp and on to the highway. A sharp 180
degree turn sends it rocketing off down the asphalt ribbon.
OMITTED
EXT. MAC GIFFORD'S BODY BOUTIQUE - DAY
K.I.T.T. pulls up silently across from the gyn. Michael
looks through the open glass front where a large sign reads
"Closed Mondays". There's no activity, but we see a large
pair of feet sticking up over the reception counter.
ANGLE IN K.I.T.T. - INTERCUT - MONITOR
Michael punches buttons.
MICHAEL
Zoom in on twinkle toes for me, will
you, Kitt?
The monitor responds with appropriate graphics, then we see
a zoom-in picture of Sam, the hulk we met at the club
earlier. Obviously there for security, he's sitting with
his feet up, watching cartoons on the TV.
K.I.T.T.
He's alone, Michael. He's eating
brown rice, fresh vegetables...and a
Ding Dong!
MICHAEL
Shame on him. See a way inside, pal?
K.I.T.T.
There's an opened skylight, Michael.
MICHAEL
Time to drop in.
They pull into an alley beside the gym.
INT. GYM - DAY - ANGLE IN WEIGHT ROOM
Michael dangles from the skylight in the ceiling, gets his
bearings, and drops to the floor noiselessly. He moves to
a door, opens it a crack and looks outside.
ANGLE IN RECEPTION AREA
Sam, the security hulk, is laughing over a cartoon. He
doesn't see Michael behind him, peering through the crack
in the door. In a moment, Michael disappears. After a
beat, we hear the sound of crashing and breaking glass and
metal coming from the weight room. Sam leaps to his feet
and runs to find out what's going on.
INT. WEIGHT ROOM - DAY
Sam runs in, looks around, and sees nothing.
MICHAEL'S VOICE
Catch!
Sam whirls.
REVERSE ANGLE - MICHAEL
pushing/tossing a heavy barbell to the unsuspecting Sam,
who's thrown backwards by its momentum as he catches it.
He stumbles over a weight bench and winds up pinned under
the barbell. Michael quickly deposits a second barbell on
top of him before he can recover.
MICHAEL
Come on...show me your bench press.
Sam tries to lift the barbells. He's starting to move them
when Michael slaps an additional weight plate onto the end
of one. Sam struggles to keep the weight off his chest.
MICHAEL
Come on...you can do it! Pump it!
Sam pumps all right, straining, bulging, but getting
nowhere. Michael adds one more plate.
MICHAEL
Okay, let's talk.
SAM
(grunting)
Get these things off me.
MICHAEL
Where'd they take Ali Raymond?
Sam doesn't answer. Michael lifts another weight-plate.
SAM
No! Come on, man, you're crushing
me.
MICHAEL
(with the
weight poised)
Read my lips. Where's Ali Raymond?
I know Gifford has her.
No answer. Michael starts to put the plate on the bar.
SAM
They're holding her in a van at Mars
Canyon. A little ways past road's
end.
Michael stops, pleased. He drops the weight, watches Sam
squirm for a minute.
MICHAEL
Oughta stay away from those Ding
Dongs.
A wink and he goes, leaving Sam under the weights.
ANGLE ON SAM
He pushes the weights off, with one quick move. Then
gets to his feet and crosses to a wall phone. He punches
in a number.
INT. VANESSA SUTTON'S HOUSE - LIVING ROOM - DAY
Gifford picks up a receiver. Vanessa works over the
Thermal Light Generator in the b.g. We also see Ito
and Ali, bound.
GIFFORD
(into phone)
Yeah?..Great.
(hangs up;
to Vanessa)
He swallowed the bait.
VANESSA
Perfect. Just in time for a dry
run. Let's go test it out.
EXT. HIGHWAY - DAY - FOUNDATION SEMI
highballing down an open highway.
INT. SEMI - DAY
We open on Elliott and Bonnie working on a glass windshield.
With care, they are covering it with patches of prismatic,
corrugated material. Widen to see Devon cross to them with
a plate of cookies.
DEVON
Cookie anyone?
Bonnie takes one, but Elliott shakes his head.
ELLIOTT
No thanks, Devon. I won't eat until
we finish this.
Devon shakes his head, smiles at his determination. To his
surprise, Elliott's hand snakes out absently, grabs a
cookie and devours it unconsciously as he works. Devon
and Bonnie share a glance. Devon paces off with a sigh of
frustration.
DEVON
It's been too long since they've
called in.
BONNIE
Relax. You know Michael. Sometimes
he gets too caught up in his work.
DEVON
(cocks his
head; re
Elliott)
Like someone else we know.
Elliott puts down his work with a big gesture, standing
with frustration.
ELLIOTT
I know what you're both thinking --
'if the nerd hadn't let them take
Ali, none of this would've happened.'
BONNIE
(protesting)
Elliott....
ELLIOTT
No...I know. You don't really think
I'm Foundation material.
DEVON
Elliott, do you know what makes
Michael such a good Foundation man?
ELLIOTT
Sure, he's brave, strong and good
looking.
DEVON
No. It's the fact he never gives
up. And neither should you.
Elliott smiles and gets right back to work. Michael's
voice is heard.
MICHAEL'S VOICE
Yo Devon.
They all turn to look as his picture appears on the
computer's monitor.
INTERCUT - MONITORS - INT. K.I.T.T. - INT. SEMI - DAY
- DEVON AND BONNIE
Michael driving.
MICHAEL
I'm in a hurry. They've got Ali in
a van down in Mars Canyon. I'm on
my way there.
DEVON
Splendid, Michael. We may have more
good news. Elliott and Bonnie are
close to completing a polarized
refracting windshield that could
give some defense against the split
particle beam.
MICHAEL
Great. Give them high fives for
me. I'm gone.
His image fades. Devon and Bonnie turn to congratulate
Elliott.
DEVON
Elliott?
But he's not there.
THEIR POINT OF VIEW - ANGLE TOWARD THE REAR OF SEMI - DAY
Elliott has fired up his white Moped and is disappearing
down the back ramp on it.
BONNIE
Elliott, what are you doing? You'll
kill yourself! Ell...iott!
EXT. HIGHWAY - DAY - THE SEMI
The ramp is down and out flies our nerd on his bike. He
bounces onto the pavement, pedalling furiously to pump up
his RPMs. By the time the lumbering truck can slow, he's
long gone.
CUT TO
EXT. MARS CANYON - DAY - K.I.T.T.
moves carefully onto a rutty dirt track into a heavy-brush
canyon.
MICHAEL'S VOICE
Silent mode, Kitt.
The car's engines goes quiet.
ANGLE IN K.I.T.T.
MICHAEL
This is where Gifford's boy said
they'd...
(beat; reacting)
Hold it. Look.
REVERSE ANGLE - MICHAEL'S POINT OF VIEW THROUGH WINDSHIELD/
INTERCUT - MONITOR
Parked in the brush is an ND van.
MICHAEL
Scan that van, Kitt.
The monitor shows disrupted static bars. No image.
MICHAEL
What's the problem?
K.I.T.T.
I can't get a picture. The van's
frame is reinforced with lead. This
may be a trap.
MICHAEL
(concerned)
I know, but there's still the chance
Ali may be there. I'm going in.
K.I.T.T.
I'm with you, Michael.
MICHAEL
Not this time.
(reaching for
buttons)
I'm gonna have to shut you down, pal.
K.I.T.T.
No, I can't allow that.
MICHAEL
And I can't allow you taking another
jolt from that beam.
K.I.T.T.
But Michael, the danger is the same
for you. I'm programmed to preserve
human life, especially yours.
MICHAEL
And that's one of the problems, buddy,
I can be replaced. You can't. Don't
worry...I'll be back.
As Michael deactivates K.I.T.T.
K.I.T.T.
...but Michael...this is nooot
acc-coor-ding tooo....
The voice, console lights and scanner fade as Michael gets
out.
EXT. CANYON - DAY - FOLLOWING MICHAEL
moving commando-style through the brush, he darts between
trees, then low to the ground through open area, as he
moves closer to the van. Camera pans away to find:
THE JEEP
hidden by deep brush. On it's rear is the Thermal Light
Generator, now mounted on a swivel like some sinister
machine gun. Manning it like a turret gunner is Vanessa.
Gifford is behind the wheel.
VANESSA
Here he comes, Mac.
She puts her eye to the weapon's sight.
INSERT - SUPERIMPOSE - MICHAEL
creeps through the brush, but we see him trained in
crosshairs of a high-tech electronic scope. At the last
moment, Michael glances into camera, reacts.
WIDE SHOT - MICHAEL AND VANESSA
as she fires the Thermal Light Generator he dives behind a
rock. The rock glows brightly, then melts like wax,
instantly, leaving Michael exposed. In a flash he's on his
feet and ducking down into a stream bed.
THE JEEP
Vanessa shouts back to Gifford.
VANESSA
Pull out, Mac. I want him.
The Jeep rumbles out of the brush across the expanse, after
Michael.
MICHAEL
dodging it, ducks behind bushes, trying to reach the van.
A high pitched whine is heard. Michael turns and sees:
ELLIOTT
on his Moped, riding in like the cavalry. Braving every-
thing, he rides right up to the van, softly.
ELLIOTT
Ali --- Ali ---
He then tries to open the door. Suddenly Ito and Sumi
reach out and pick up Elliott and Moped, in one big move,
throwing him into the van. The van takes off. (Note:
Ali is not inside).
ANGLE ON MICHAEL
reacting as he looks up from behind a bush. Exposed.
VANESSA
fires again.
ANGLE ON MICHAEL
The bush explodes in a fireball of flames. Michael's blown
back by the force of the blast.
VANESSA
looks at Mac with a satisfied smile.
VANESSA
There goes our last hurtle. Let's
get out of here.
Gifford starts the Jeep away. We hold on Michael's
motionless body.
OMITTED
FADE OUT
END OF ACT THREE
ACT FOUR
FADE IN
EXT. MARS CANYON - DAY
We pan around the area struck by Vanessa's weapon. Flames
still lick at the objects struck by its light. Amid the
desolation, camera finds:
MICHAEL
lying flat in the dirt, gasping for breath in the sooty
air. He raises his head and quickly sees he's got to move
to avoid being broiled. Struggling to his knees, he
addresses his comlink:
MICHAEL
(comlink)
Kitt...turn yourself on...I need
you, buddy.
ANGLE IN K.I.T.T.
coming to life, self-activating, lighting up and shifting
into gear. The gas pedal floors.
EXT. CANYON ROAD - FOLLOWING K.I.T.T.
as the car screeches out of hiding and bolts to the spot
where Michael has now reached his feet. He leans on the
car rather shakily, then climbs in.
K.I.T.T.
Michael, you're hurt. What happened?
MICHAEL
I almost got deep-fried by Doctor
Raymond's black crystal.
K.I.T.T.
We've got to get you to a hospital.
MICHAEL
No time, buddy. Now they've got Ali
and Elliott. Let's get to the semi.
They're already screeching away.
EXT. HIGHWAY - DAY - SEMI
on the move. K.I.T.T. slides up and in the ramp.
MICHAEL'S VOICE
Ouch!
BONNIE'S VOICE
Almost finished...there.
INT. SEMI - DAY
Bonnie finishes taping up a bandage on Michael's arm.
Devon, at the desk, reading Dr. Raymond's diaries.
MICHAEL
I think you missed your calling,
Florence.
BONNIE
Not really. I just spend more time
nursing Kitt than you. And now that
you're all wrapped up....
She crosses to the car and starts working again on
K.I.T.T.'s windshield. Devon looks up from his reading.
DEVON
Considering the power of Raymond's
crystal, you're lucky you're still
with us.
(warm beat)
We're lucky, too.
MICHAEL
Yeah, everyone's lucky but Elliott
and Ali. I feel like we're going
backwards.
He moves painfully to the desk.
MICHAEL
Find anything in Doctor Raymond's
diaries?
DEVON
Yes, you were right about her having
visited him shortly before his murder.
But one thing I bet you didn't know...
Vanessa Sutton was his assistant on
the black crystal project.
MICHAEL
That explains a lot.
Suddenly:
DEVON
Michael, look here. An address with
the initials V.M.S. alongside it.
MICHAEL
Vanessa Mary Sutton.
DEVON
Only it's dated two years ago.
MICHAEL
Devon, I'll bet she has it under a
different name, that's why we haven't
been able to locate her.
DEVON
I'm sure you're right.
MICHAEL
Bonnie, Kitt ready?
BONNIE
If I said no, would you leave him
here?
But Michael's already sliding in.
MICHAEL
Absolutely.
He's backing out.
BONNIE
Michael! Don't you want to hear how
that polarized refracting windshield
works?!
MICHAEL
I'm sure Kitt will tell me all about
it. Right, buddy?
K.I.T.T.
In detail, Michael...in detail.
EXT. HIGHWAY - DAY - ON SEMI - MOVING
K.I.T.T. backs out, spins a 180 and heads off.
EXT. VANESSA'S HOUSE - DAY - ESTABLISHING SHOT
the Jeep and Gifford's van parked in front.
INT. VANESSA'S HOUSE - LIVING ROOM - VANESSA
zipping up a pair of tight uniform overalls. Gifford is in
the room with Ito. They wear the same overalls and are
gathering equipment.
VANESSA
Ready?
GIFFORD
Just say the word.
VANESSA
Let's go over the plan one more time....
She goes to a desk, behind which we can see an intercom box.
CUT TO
INT. VANESSA'S HOUSE - MASTER BEDROOM - DAY - ELLIOTT
tied back to back with Ali on two chairs. One of the
lenses from his glass frames is missing. He holds its
jagged edge in his hand and blindly tries to cut their
ropes.
ELLIOTT
Ali, I think I'm getting somewhere.
Abruptly, change falls out of Ali's jacket pocket.
ALI
That was my pocket, Elliott.
ELLIOTT
Sorry...I just can't see.
ALI
Let me try.
They squirm together and Elliott transfers the jagged glass
lens to her hand. It's awkward, but she starts cutting.
He strokes her wrist with love.
ALI
This is hopeless.
ELLIOTT
Don't give up, Ali. At least we're
in this together.
ALI
I'm glad...really. I just wish it
was different circumstances.
ELLIOTT
You do? You mean I don't turn you
off? I know I'm not much to look
at....
ALI
Elliott, you've got a beautiful heart
and a beautiful mind. Take it from
a photographer, you can't see that
with your eye, but it always shows
up in the picture.
ELLIOTT
(touched)
Boy...If I could only find out what
they were up to, maybe...Wait a
second....
Elliott's eyes move off.
INCLUDE INTERCOM MASTER CONSOLE
on the wall, nearby. Elliott getting an idea.
ELLIOTT
Ali, bounce with me....
ALI
Bounce?!
Elliott nods and jumps up. Ali, too. The chains move
across the floor. They bounce until they reach the
console, where Elliott leans over and pushes the intercom
button with his nose. Abruptly, the voice of Vanessa is
heard over its speaker box as it activates.
VANESSA'S VOICE
According to my calibrations, it
should take exactly thirty seconds
for the black crystal to cut through
the vault door.
Ali and Elliott exchange looks. Then:
ALI
Hey, I got it!
We see their hands pop free of the ropes and they rub the
feeling back into their wrists. They give each other a
quick embrace.
INT. LIVING ROOM - DAY
as Vanessa finishes going over the plan.
VANESSA
Any questions? Okay, let's hit that
diamond exchange.
GIFFORD
I'm going to check those kids first.
VANESSA
Don't hurt them. They're our ace in
the hole.
He heads off to the bedroom.
INT. BEDROOM - DAY
Gifford opens the door and reacts as he sees the kids are
gone. As he steps into the room:
ELLIOTT
appears from behind the door and smashes a chair over
Gifford's head. He goes down, groggy but not out. Ali
leaps from the closet and grabs Elliott's hand.
ALI
Come on! Let's get out of here!
They climb out the window.
EXT. HOUSE - DAY
as Elliott leads her to his bike, leaning against the side
of the house. They get on. He starts it.
ELLIOTT
(proudly)
Computerized ignition.
ALI
Will you just go!
Elliott does.
INT. BEDROOM - DAY
Vanessa charges in as Gifford is getting to his feet, a bit
groggy.
VANESSA
What happened?
GIFFORD
They got away; I'm going after them.
VANESSA
There's no time. Another half hour
and that diamond exchange will be
swarming with people.
Gifford follows her out.
OMITTED
EXT. HIGHWAY - DAY
K.I.T.T. streaks by.
ANGLE IN K.I.T.T.
Michael steers doggedly toward Vanessa's.
MICHAEL
You're kind of quiet, buddy. What's
on your mind?
K.I.T.T.
Well, I've just been calculating our
chances against that overgrown
blowtorch.
MICHAEL
And...?
K.I.T.T.
Let me put it this way. If we go
into battle, and my calculations
indicate our demise is impending...
do I have permission to eject you to
safety?
MICHAEL
(touched)
You know your problem, Kitt, you're
too negative.
K.I.T.T.
And you're too evasive. Well?
MICHAEL
Permission denied, pal. My momma
always taught me, you dance with who
brung ya.
(beat)
What the....
He reacts to the sight of:
EXT. HIGHWAY - DAY - WIDE SHOT
K.I.T.T. is suddenly passed by Elliott and Ali, racing the
other way on Elliott's Moped. K.I.T.T. burns a 180 and
catches up to them as they stop on the roadside.
CLOSER ANGLE - MICHAEL AND THE KIDS
as Michael runs to greet them.
MICHAEL
Elliott, Ali, are you guys all right?
ALI
We are now...thanks to Elliott.
ELLIOTT
What about you? I was afraid they
had you char-broiled.
MICHAEL
Not quite. Vanessa and Gifford...
where are they?
ELLIOTT
After diamonds. Something about an
exchange....
K.I.T.T.
The diamond exchange downtown, Michael.
MICHAEL
It fits.
(starting back
to K.I.T.T.)
Elliott, you take Ali to safety.
ELLIOTT
I'm coming with you. I'm a
Foundation man, too.
MICHAEL
Then you should know a real Foundation
man would never leave a lady when there
could be danger.
ELLIOTT
(takes
this in)
You're right. Okay. But call if
you need me.
MICHAEL
You have my word on it.
Michael and the kids zoom off in opposite directions.
EXT. DOWNTOWN STREET - DAY
Vanessa's Jeep pulls into the business district, deserted
at this hour.
ANGLE ON JEEP
Ito drives. Gifford next to him, with Vanessa in back near
the gun.
VANESSA
There it is....
ANGLE TO INCLUDE DIAMOND EXCHANGE
EXT. STREETS - DAY - K.I.T.T.
at pursuit speed, racing to intervene.
EXT. DOWNTOWN STREET - DAY
The Jeep is in position. Vanessa aims the gun at the steel
door.
VANESSA
Once we cut through that steel door,
the vault is only fifty feet away.
FAVORING GIFFORD
reacting:
GIFFORD
Unfortunately, Knight's even closer!
She looks to see:
K.I.T.T.
screeching around a nearby corner and to a stop, like a
gunfighter arriving for a showdown.
BACK TO SHOT
VANESSA
This time he's going to get burned
for good.
She aims the gun toward K.I.T.T.
ANGLE IN K.I.T.T.
Michael surveys the situation.
MICHAEL
Did Devon raise the police?
K.I.T.T.
They're on their way. Maybe we
should wait for them.
MICHAEL
No way. They're strictly backup.
I don't want any police officers
getting hurt.
K.I.T.T.
Michael, she's getting ready to fire.
MICHAEL
That's what we want, Kitt.
K.I.T.T.
Wrong, Michael. What we want is for
her to hit our refracting windshield.
If she hits us anywhere else, even
with my molecular-bonded shell, we'll
both be incinerated in ten seconds.
MICHAEL
That's the chance we'll have to take.
Set your timer, buddy.
INSERT - K.I.T.T.'S DASH
We see an L.E.D. digital clock, calibrated at 100ths of
a second, click up to 5:00. Next to it, a digital ther-
mometer reads "Interior Temp.: 76o".
MICHAEL
Here goes nothing.
He accelerates forward.
FULL ANGLE - THE STREET
K.I.T.T. speeds toward the Jeep, the device's beam fires
onto K.I.T.T.'s front end and reflects up toward the
cockpit.
ANGLE IN K.I.T.T.
A rainbow of refracted light plays over Michael's face as
he instantly breaks into a sweat.
K.I.T.T.
Michael, she's hitting us! We're
burning up!
MICHAEL
We've got to give her a target she
can't miss.
K.I.T.T.
But you're driving right into her.
MICHAEL
It's the only way to make sure that
beam hits the windshield.
INSERT - K.I.T.T.'S DASH
The timer counts down past four as the thermometer passes
100o.
ANGLE ON THE JEEP - GIFFORD AND VANESSA
frowning as Michael keeps on coming. The device fires
continuously.
GIFFORD
Hey...where's your meltdown?
VANESSA
Keep your shirt on. I've got him
now.
ANGLE IN K.I.T.T.
as Michael squints and gasps for breath, the colored light
more intense.
MICHAEL
They're going for it, Kitt!
K.I.T.T.
Yes, but less than two seconds and
we incinerate.
FOLLOWING K.I.T.T.
We see the beam hit the windshield and reflect back on its
source.
ON VANESSA
firing, suddenly jarred by the reflection of the beam.
VANESSA
It's reflecting back on us! How'd
he....
But her hands jerk away from the gun as it starts to glow
red hot.
VANESSA
It's going to blow!
She and Gifford dive for cover away from the Jeep.
ANGLE IN K.I.T.T. - MICHAEL
The rainbow colors and heat more intense than ever.
K.I.T.T.
This is it, Michael. We can't take
any more!
MICHAEL
Just one second more!
VARIOUS ANGLES - DEVICE AND JEEP
exploding. The beam reflected on it becomes too much and
the device glows white hot, then explodes! Taking the Jeep
with it. Vanessa and Gifford hit the pavement nearby.
GIFFORD
shakes his head to clear the cobwebs and is off and running,
but:
K.I.T.T.
slides a 90 into his path and he crashes up against the
car's hood. Michael's out in a second and on him.
THE FIGHT
is short and sweet. Michael gets in two ace karate blows
and sends Gifford down in a heap. He then crosses and
yanks Vanessa to her feet. She struggles in his grip as a
police car arrives on the scene, siren winding down. The
officers cover Ito with drawn guns. Michael looks over his
fallen enemies.
MICHAEL
Now you two are going to feel some
real heat.
On his triumph:
OMITTED
FREEZE FRAME
FADE OUT
END OF ACT FOUR
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