For The Love Of Mike
Cut to a spindly guy with a mustache, passed out on a couch in a messy bachelor pad. He's awakened by knocking. Cut again, this time to Justin Bruening, who's in bed and wrapped around a woman. This is our hero, "Mike," and he sleepily accuses Spindly Mustache of putting hand soap in the dishwasher again, but Spindly is like, your "investors" are here, and that knocking doesn't sound like they're happy. Another woman squeezes past Spindly and crawls into bed with Mike, and Spindly asks, "What do you want to do?" Mike, slinging an arm around the second girl, throws him a "you're kidding, right?" eyebrow.
Elsewhere, Agent Carrie Rivai marches out of the Pacific, plants her surfboard in the sand, and treats us to a loooong sequence in an outdoor shower. And why do we need such a preponderance of evidence that Rivai has very long hair and looks cute in a bikini?
To give the upcoming reveal more pop, I suppose, because, inside, Rivai bustles into the bedroom to answer her cell phone, asking the caller, "How long ago?" and saying she's on her way. The bed, as it happens, contains a blonde girl, who sighs, "I wasn't expecting breakfast, but I didn't think you'd run out." Weren't expecting that, were you? Because Rivai is so pretty and feminine! So it's surprising that she's a lesbian or something! Not that her sexuality is relevant to the plot, because it isn't -- it isn't even mentioned again, so why did we need that cheesecake set-up in the first place? It's 2008. Who cares. Whatever, so: Rivai tells Blondie to hang out as long as she likes, and to lock up when she leaves. As Rivai clips a badge to her belt, Blondie asks if she's not worried about leaving someone she just met alone in her house. Rivai, chambering a round and tucking her gun into the back of her pants: "Not really." Heh. Blondie's like, "Daaaamn," and flops back on the bed.
Outside a classroom, Sarah Graiman takes a cell phone call. It's Val Kilmer, and he's wondering if she can hook him up with a new acting coach, because his current one coached him to do a note-perfect imitation of Data from Star Trek: TNG for this role, and he's kind of not feeli-- oh, sorry. It's actually KITT, who's been trying to reach her for several hours. Sarah's like, "And?" "I know your father; he has sent me to find you, as it is probable men who wish you harm are following you as we speak." Sarah doesn't buy it, saying her father would have given the caller a code word. "He did. The code word is 'knight.'" Sarah looks worried. KITT asks where she is; she's just gone into the library, so KITT tells her to keep going, and to watch for anyone trying to enter the library without proper ID. "Good idea," she says. "Yes, I know," KITT says. Oh, KITT. Moments later, Smoke passes through the library doors, and Sarah rats him out to the staff, then demands to know who KITT is and how he knows all this. KITT tells her to go to the front entrance, but the cell signal gets garbled, so Sarah hangs up.