ACT ONE
FADE IN
EXT. ROAD - DAY - STOCK
A succession of quick cuts to establish K.I.T.T. as he hums
along on automatic.
INT. TRANS AM - DAY
MICHAEL
We're making really good time.
Should be at the Foundation in an
hour.
K.I.T.T.
I'm afraid there'll be a slight
delay, Michael. I'm going to have
to make a pit stop very shortly.
MICHAEL
C'mon, Kitt. Quit kidding. You're
not that human.
K.I.T.T.
I was using the term in its literal
sense, Michael. If you will glance
at my fuel gauges, you'll see that
I'm virtually operating on fumes.
INSERT - FUEL GAUGES
BACK TO SCENE
MICHAEL
Man, Bonnie really goofed up this
time.
K.I.T.T.
It wasn't Bonnie's fault. It's just
that her route plan didn't include
the two hundred mile diversion
involving you and that young lady
you met back in....
MICHAEL
Never mind. Never mind. Let's go
to manual and I'll find you some
blood, Dracula.
K.I.T.T.
A very inept analogy, if I may say
so. Blood has virtually no combus-
tible capabilities at all. In
fact....
MICHAEL
Kitt. Shut up.
EXT. ROAD - DAY
as Michael turns off main highway to side road and after a
beat, pulls to a stop in front of a ramshackle Mom and Pop-
type gas station.
INT. GAS STATION - DAY
where an evil looking Man and his frau look up as K.I.T.T.
pulls up to a pump. Their faces light up.
MAN
That's some kind of car, Mother.
Ought to be good for one new tire
and a couple of hoses at least.
Hand me the ice pick, willya?
She slips him the ice pick which he slides up his sleeve and
exits.
INT. K.I.T.T.
K.I.T.T.
Now remember, Michael. Five gallons
should do amply. No more, I don't
want to have to spend a day getting
my tanks purged. Very distasteful
procedure.
MICHAEL
Okay. Okay.
He exits.
EXT. CAR - DAY
as the Man approaches the car.
MAN
Afternoon, mister. What'll it be?
MICHAEL
Five gallons, unleaded, please.
MAN
Only five?
MICHAEL
It's okay. I'm doing a mileage test.
The Man takes the nozzle and starts looking for the filler
cap, which, naturally, he can't find.
MAN
Uh, where's your cap, buddy?
MICHAEL
It's a little complicated. Here,
let me do it.
He takes the hose and crosses behind the car.
MAN
Check under your hood?
MICHAEL
Don't bother.
MAN
No trouble.
He walks to the driver's door and tries to open it (to
release hood latch) without success after mucho struggle.
REAR OF CAR
as Michael quickly bends down and inserts hose nozzle in
exhaust pipe. In a few quick gulps, K.I.T.T. sucks up the
five gallons, as the overloaded pump clangs like a pinball
machine.
BACK TO SCENE
as the Man now decides to "check the tires."
CLOSE ON TIRE
as the Man tries to jab it with the ice pick in a succession
of ever-increasing quick jabs. The ice pick keeps bouncing
off the tire until finally it gives up and just bends in
half.
BACK TO SCENE
as the old Man throws down the ice pick and grabbing a
wrench, reaches in to screw up the shock absorbers.
Suddenly, K.I.T.T. rolls back about a foot, the old Man
leans after him and he moves back again and again until the
old Man finally falls on his face.
ANGLE ON MICHAEL
as he reaches down to help the old Man up.
MICHAEL
You okay?
MAN
(looking at
K.I.T.T.)
Yeah. Yeah.
MICHAEL
Sure thing. What do I owe you?
MAN
Uh, uh...nothing. Forget it. It's
on the house.
As he backs towards the office/store:
MICHAEL
Well, gee...thanks.
He gets into K.I.T.T. and they split.
VARYING HIGH ANGLE DRIVING SHOTS - STOCK
INT. K.I.T.T. - DAY
K.I.T.T.
Some people!
MICHAEL
I know, Kitt. Did he do any damage?
K.I.T.T.
To me? You must be jesting. Perhaps
with some plastique, a jackhammer, a
diamond-edged hacksaw, he might have
had an outside chance of throwing
out a circuit or two, but damage,
it's....
MICHAEL
Kitt, shut up. Please!
K.I.T.T.
Of course, Michael....
EXT. HIGHWAY - DAY - VARIOUS ANGLES
as K.I.T.T. drives along.
EXT. WIDE OPEN SPACES - DAY
Bach's "Tocatta and Fugue in D Minor" precede the appearance
of a brilliantly polished Mercedes which is tooling down the
highway toward a desert town.
INT. CAR - DAY
Devon is behind the wheel. Despite his normal appearance --
three-piece suit, elegant coif, manicured nails -- he is
decidedly in repose as he hums along with the music
emanating from his radio.
OMITTED
EXT. HIGHWAY - DAY - ON MERCEDES
The car roars past a sign reading: LYNDHURST FLATS -
POPULATION 4,000
CUT TO
EXT. MAIN STREET - DAY - ANGLE ON SQUAD CAR
parked in an alley, out of sight. Two local police officers
are in the front seat. Both are ex-military types with
"don't give me any lip" chiseled into the lines on their
faces. Sergeant Ted Wallace is behind the wheel reading a
magazine while his partner, Rex Saunders, chews gum and
watches traffic. Abruptly, Saunders nudges Wallace.
Wallace glances up, grins, starts the engine and pulls out
quickly.
INT. DEVON'S MERCEDES - DAY
He's driving along, looking for a gas station when he hears
the burst of a siren. He looks up, sees flashing reds in
his rearview mirror.
EXT. STREET - DAY
Devon pulls over to the curb, rolls down the window as
Wallace and Saunders get out of the squad car and approach.
Saunders walks to the rear of the Mercedes and taps his
nightstick against the tires, bumper guards, what have you.
Wallace steps up to the driver's door and peers in.
WALLACE
Your driver's license.
DEVON
What seems to be the problem,
officer?
WALLACE
I was going to ask you that. You
got a burr up your muffler?
DEVON
I beg your pardon?
WALLACE
You roared right through a posted
intersection without stopping.
He motions to:
A STOP SIGN
hidden behind a large tree at the intersection of the main
street and an alley.
RESUME SCENE
DEVON
I don't want to tell you your
business, officer....
WALLACE
Then don't.
DEVON
But that sign is not legally
posted. It's hidden.
SAUNDERS
You want me to pull him out of
there, Sarge?
WALLACE
No, just start writing up his
vehicle.
Abruptly there's the sound of shattering glass. Devon
immediately opens his door and walks to the rear of his car
where he can see Saunders twirling his nightstick innocently.
ON TAILLIGHT
as Saunders smashes it.
INSERT - TAILLIGHT
It's shattered, red glass lying all over the street.
RESUME DEVON
bristling with indignation.
DEVON
You broke that light. You're going
to pay for it.
SAUNDERS
Me? Never touched it.
WALLACE
(writing ticket)
Broken vehicle lamp, running a stop,
failing to produce license.
(smiles coldly)
You're running up quite a fine.
DEVON
Which I don't intend to pay. That
stop sign is nothing but a poorly
concealed trap.
SAUNDERS
I think he's trying to say we set
him up.
DEVON
That's a crude way of putting it,
but accurate. Now if you'll excuse
me, I'll find a lawyer to handle this
matter for me.
WALLACE
(gripping
Devon's arm)
That comes later. For now just get
in the squad car.
DEVON
You can't be serious.
In a flash, Devon is thrown up against the squad car by
Wallace. Saunders pats him down, hands Devon's wallet over
to the Captain who peruses it, pulling out Devon's license.
WALLACE
Take care of Mr. Miles' car, Rex.
SAUNDERS
You bet.
DEVON
Now see here.
WALLACE
(pushing Devon
into squad car)
Oh...and Rex, see about getting that
taillight fixed. It's the least we
can do, considering how much time
and money Mr. Miles is going to lose
while he's a guest in our jail...
waiting to see the judge.
Devon winces at the prospect of being carted off by this
pair of two-bit crackers.
INT. K.I.T.T.'S SEMI - DAY
Bonnie has just finished the work on K.I.T.T.
ANGLE - MICHAEL
as he steps through the door beaming broadly and carrying a
small, disc-shaped object which even the untrained eye could
identify as some sort of computer software.
FULL SHOT
as Michael approaches Bonnie and the Trans Am.
MICHAEL
(to Bonnie)
Hi there, beautiful.
(beat)
How's it going, Kitt?
K.I.T.T.
At the moment I'm overcome with
curiosity. Have you finished your
first self-designed program for me?
MICHAEL
You bet. It's all on this little
disc.
He holds up the disc, then turns to Bonnie.
MICHAEL
What do I do now?
BONNIE
Do I have to show you everything?
MICHAEL
(sly smile)
Only if you want to.
Bonnie sneers at the double entendre, takes the disc from
Michael's hand and walks over to a computer. Michael
follows her.
BONNIE
What did you program Kitt to do,
anyway?
MICHAEL
Can't tell you, Bon.
BONNIE
What do you mean? What's the big
secret?
MICHAEL
Sorry. All I can say is that some
things a guy's got to keep between
just him and his car.
Bonnie shakes her head wearily and inserts the disc causing
the lights of the computer to blink in such a fashion that
suggests the ingestion of information.
ANGLE - MICHAEL AND BONNIE
as they watch the computer.
BONNIE
I just love the way Kitt consumes
his information, don't you?
MICHAEL
Absolutely. There's something posi-
tively sensual about it.
BONNIE
(indignant)
Sensual! Sensual!!! What do you
mean, sensual?
MICHAEL
Nothing! Nothing. Wrong word.
Mistake. Tilt. Forget it.
He retreats in despair as she stares indignantly after him.
CLOSE SHOT - A SIGN
It spells out in ominous letters: LYNDHURST FLATS JAIL.
INT. JAIL
It's a basic rinky-dink rural slammer. One cell facing the
Captain's desk. The most striking thing about the jail is
that its only prisoner is Devon. His captor, Wallace is at
the desk reading a girlie magazine.
ANGLE - DEVON
as he plops a spoon into his bowl of gruel and grits his
teeth in disgust.
DEVON
I'll have you know this whatever you
call it is positively unpalatable.
WALLACE
Glad you like it. I'll tell the chef.
DEVON
This is an outrage. The least you
could do is provide me with some
decent bread and water.
WALLACE
And the least you could do is provide
me with some peace and quiet. Now
that's all you're gonna get so shut
up and eat.
He goes back to the girlie magazine. As Devon stares down
into his bowl with distaste, the front door opens and
Saunders enters. He belches.
SAUNDERS
Food ain't getting any better over
at the diner, Sarge.
DEVON
Really! You should try eating here
for a change.
SAUNDERS
His highness still complaining, huh?
WALLACE
Nonstop. Well, you can listen to him
for a while. I'm due over at Sinclair
Headquarters. I'm acting night watch
commander for the whole county tonight.
DEVON
What a beautiful thought. Almost makes
me glad I'm in jail for the night.
WALLACE
They never learn, do they, these smart
mouths.
(to Saunders)
Well, he's all yours, Rex. Have a
cool evening, hear.
He exits.
SAUNDERS
It's gonna be a long evening, mister.
Care to play some cards, maybe?
DEVON
No thanks. I think I'll just lie
here quietly and enjoy the ambiance.
SAUNDERS
Ambiance?
CUT TO
EXT. HIGHWAY - DAY
The Trans Am is making tracks.
INT. TRANS AM - DAY
Michael is driving and talking with K.I.T.T. We pick them
up in middiscussion.
MICHAEL
I don't know, Kitt....
K.I.T.T.
Michael, I assure you I've
considered all the pertinent
factors. My accuracy will be
flawless.
MICHAEL
Yeah, but what about the intangibles.
How can you be certain of the weather,
or the injuries, or....
K.I.T.T.
(a little
piqued)
Michael, if you didn't want my
expertise why did you program me
with all this data.
MICHAEL
Okay, okay. I'll go with Kansas City
over Denver, but I think you're dead
wrong about Dallas. They'll never
cover the point spread.
K.I.T.T. is prevented from delivering a retort when a buzz
is heard.
ANGLE - DASHBOARD
Michael flicks a switch.
MICHAEL
Hello.
Intercut with:
INT. K.I.T.T.'S SEMI - DAY
Bonnie, dressed in skirt and sweater, and ready to leave, is
on the phone. Intercut the following:
BONNIE
Hi.
MICHAEL
What's up?
BONNIE
(smiling)
Help.
MICHAEL
What's that supposed to mean?
BONNIE
It means Devon's in jail.
MICHAEL
(chuckles turn
to laughs)
Come on, Bonnie...Devon? Busted?
That's ridiculous.
BONNIE
Unfortunately, it also happens to be
true.
MICHAEL
(hysterical)
What did they get him for? Assault with
a deadly crumpet?
BONNIE
(trying to
suppress a
giggle)
Michael. He was picked up on a
traffic violation and insisted on
seeing a lawyer.
MICHAEL
(stops laughing)
This I'd love to see. Where's he
being held?
BONNIE
A little town called Lyndhurst
Flats.
K.I.T.T.
Strange. That's exactly four hundred
twelve miles straight ahead of us on
this route.
BONNIE
That's why I called.
MICHAEL
And that's where I'm going.
Bonnie hangs up the phone, a little uncertain about the
situation.
EXT. LYNDHURST FLATS JAIL - NIGHT - TO ESTABLISH
INT. JAIL
All is quiet, Devon is lying on his bunk, Saunders is reading
his girlie magazine as the door opens and Officer Charly
Smith pushes a man into the room. The man stumbles into
the middle of the room. He is in his early forties,
apparently down on his luck and a little in the bag. He is
Frank Reston who we will soon learn is a reporter in Lyndhurst
Flats, and not a very popular one with the police.
SAUNDERS
Well, well, well. Look who's here.
If it isn't our favorite member of
the press...Mr. Frank Reston in
person.
SMITH
And drunk as a skunk.
Reston is a tough hombre, sarcastic, doesn't like to be
pushed around. And he is full of contempt for the two
lawmen.
RESTON
You guys are cute, you know that.
SAUNDERS
Where'd you find him?
SMITH
Outside of Lefty's. He was talking to
a parking meter.
SAUNDERS
That one of your famous 'sources',
Reston?
Smith laughs.
RESTON
(straight-face)
You know you guys are absolutely
hilarious. Why don't we get together
for lunch sometime. I mean it.
Saunders gives him a push into the cell. Locks him in with
Devon.
SAUNDERS
Get in there.
RESTON
Wait a minute, bozo. You can't book
me without a breath test.
SAUNDERS
You're a troublemaker, Reston. I
don't need no breath test to tell me
that.
ANGLE - DEVON
He reacts to the new tenant.
DEVON
Reston. Are you Frank Reston?
RESTON
Fifth Amendment, old boy. I'll have
a Fifth Amendment. Great name for a
booze, huh?
DEVON
I'm Devon Miles.
RESTON
Okay name for a liqueur maybe. But
not for real booze.
DEVON
Devon Miles. From the Foundation,
the one you wrote the letter to.
The reason I'm in this God-forsaken
town in the first place.
RESTON
God-forsaken, huh! You sure got that
right. I could tell you things about
this county....
DEVON
But isn't that why I'm here?
RESTON
It's a free country, pal. If you're
here, it's your problem. Don't go
laying it on me now.
As Devon throws up his hands in disgust:
EXT. SINCLAIR POLICE STATION - NIGHT - TO ESTABLISH
INT. STATION - NIGHT - CLOSE ON WALLACE
sitting behind his desk as the phone rings.
WALLACE
(into phone)
Wallace here.
Intercut:
CLOSE - SAUNDERS ON PHONE
SAUNDERS
Hey, Sarge, you'll never guess who
we just picked up on a D and D rap.
WALLACE
The Mayor?
SAUNDERS
C'mon, be serious. That creep Frank
Reston. You know, that loud-mouthed
reporter that's been trying to hang
something on all of us for the last
three years.
WALLACE
Reston, huh? And all you got was a
drunk and disorderly, huh? Too bad
it wasn't something really good. Like
some kind of sex offense.
SAUNDERS
It could be arranged, Sarge.
WALLACE
(thoughtfully)
No. No. Tell you what, just bring
good ole Frank over here to me in
Sinclair. It's gonna be a slow night,
a good time for us to have a nice long
talk.
SAUNDERS
Right away, Sarge.
WALLACE
Thanks, Rex.
He hangs up and with an evil grin on his face, slowly starts
pulling on a pair of loaded black gloves.
EXT. LYNDHURST FLATS JAIL - NIGHT - TO ESTABLISH
INT. JAIL
Devon and Reston are behind bars. Smith is reading Saunders'
magazine. Reston is restless. He leans against the bars
and grumbles.
RESTON
Okay, fellas, fun time's over. How
much is it gonna cost me to get out
of here?
As Saunders enters:
SAUNDERS
Are you insinuating that we might
take a bribe?
RESTON
It was a shot in the dark. I should
have known better than to think I
could corrupt a couple of honest
officials like yourselves.
SAUNDERS
Okay, there. Just watch it.
DEVON
(sotto to
Reston)
I'm inclined to give you the same
advice. These gentlemen have a rather
unique means of interpreting the law.
RESTON
Hey, you don't have to tell me about
it, pal. I know all about these guys.
And their boss. Ain't that right,
boys?
SAUNDERS
I wouldn't know anything about that.
All I do know is that they want you
up at headquarters at Sinclair. So
let's move it.
RESTON
And suppose I don't want to go to
Sinclair just right now.
SAUNDERS
Book doesn't say anything about what
you do or don't want. They tell me
to bring you, you go. Peacefully or
bruised, your choice.
RESTON
An offer I can't resist, huh. Well,
okay then, let's go.
Saunders opens cell, cuffs Reston and they exit as Devon
stares after them thoughtfully.
OMITTED
EXT. DESERT HIGHWAY - DAY
The Trans Am is on the outskirts of Lyndhurst Flats.
INT. TRANS AM
MICHAEL
Kitt, you sure you know where this
place is?
K.I.T.T.
Of course I do. We're approaching
the city limits even as we speak.
EXT. ROAD
The Trans Am zips past the Lyndhurst Flats sign.
MICHAEL
Right you are, old buddy.
K.I.T.T.
Michael, remember we're due in
Phoenix at five today.
MICHAEL
That can wait. I wouldn't miss the
chance to bail out our illustrious
leader for all the pasta in Italy.
EXT. COURTHOUSE - DAY - TO ESTABLISH
the base of operations of Judge Roland S. Paxton.
INT. JUDGE'S OFFICE - DAY
It's the kind of office that an autocratic, hard line, and
corrupt Judge would have. Wallace and Saunders enter the
room, clearly troubled. They approach the Judge who's busy
and looks like he doesn't want to be disturbed.
WALLACE
Sorry to bother you, Judge....
JUDGE
(impatient)
What's the problem?
WALLACE
Well, it's that reporter, Reston,
we busted last night.
JUDGE
What about him?
WALLACE
Well, we were trying to talk to him,
sort of, and I think we might have
gone a little overboard.
(beat)
He's dead.
JUDGE
(stunned
and angry)
What!
SAUNDERS
We barely touched him. I don't know
what happened. He just sort of
blacked out all of a sudden.
JUDGE
You incompetent fools. Do you know
what this means? The last thing we
need is to have the county swarming
with investigators.
WALLACE
I know, Judge. But I think we can
cover it up. You know, make it look
like an accident. No one'll even
know he was arrested.
SAUNDERS
'Cept that guy in the jail.
JUDGE
What are you talking about?
WALLACE
Some British fella we picked up
in the speed trap. He's the only
witness.
JUDGE
Well, then you better figure out a
way to make sure he keeps his mouth
shut until this blows over.
Hold on the Judge's foreboding look, and:
FREEZE FRAME
FADE OUT
END OF ACT ONE
ACT TWO
FADE IN
EXT. LYNDHURST FLATS JAIL - DAY
The Trans Am pulls up in front of the jail and parks.
INT. TRANS AM
MICHAEL
This looks like the place.
A beat as he shuts off the engine and prepares to disembark.
MICHAEL
Don't go sightseeing, Kitt. I shall
return.
K.I.T.T.
Michael, what if you're required to
post a bond?
MICHAEL
Don't worry. I won't put you up as
collateral.
Michael gets out and closes the door, smiling at the
prospect of having to fetch his boss out of the hoosegow.
INT. JAIL - DAY
Wallace is at the desk, arguing with an attractive but
intractible woman in her thirties. She is Carol Reston, the
ex-wife of the reporter, and she's trying to find out where
her ex is. The cell is empty.
WALLACE
I'm sorry, Miz Reston. We have no
arrest record for a Frank Reston.
CAROL
Who said anything about arrest? All
I want to know is where is he? I
checked the paper. They don't know.
I've looked in every bar in town.
Nothing. He couldn't have just disap-
peared.
ANGLE - DOOR
Michael enters. He listens as Carol and Wallace pay him no
heed.
BACK TO SCENE
WALLACE
Look, if I was you, I'd just go home
and wait for your husband. He's
bound to show up.
CAROL
First of all he's my ex-husband.
And secondly, would you show up if
you were six months behind in
alimony payments?
WALLACE
Wish I could help, Miz Reston.
CAROL
(giving him a
skeptical look)
Yeah, I'll bet you do.
She walks away, stopping to sit down in a chair and begins a
search through her purse which will enable her to overhear
the conversation Michael will have with Wallace.
ANGLE - DESK
as Michael approaches Wallace.
MICHAEL
Hi, there.
WALLACE
What can I do for you?
MICHAEL
I'm here to pick up Devon Miles.
WALLACE
Well, as you can see we don't have
Mr. Miles with us anymore.
ANGLE - EMPTY CELL
MICHAEL (O.S.)
What'd he do? Spring himself?
BACK TO SCENE
WALLACE
(chuckles)
No. Nothing like that. We
transferred him over to Sinclair...
about twenty miles from here.
MICHAEL
Why?
WALLACE
We're not equipped for long stays
here, and your friend preferred a
cell to a fine, so we shipped him
over to where he'd be more comfort-
able in the long haul.
MICHAEL
When is his court appointment?
WALLACE
(shakes head)
You'll have to check with the county
clerk about that. Excuse me.
He exits to another room.
MICHAEL
(to Carol)
This the way things always work
around here?
CAROL
I'm afraid so.
Michael heads for the front door. He exits to:
EXT. JAIL - CONTINUOUS
As Carol comes out of the jail, Michael is waiting for her.
MICHAEL
Hey, wait a second, will you?
ANGLE - CAROL
as she turns around as Michael crosses to her.
MICHAEL
Seems like we got kinda similar
problem.
CAROL
Yeah. It looks that way.
MICHAEL
Well, since I'm a stranger here
myself, I thought you might give me
some help. How about it?
CAROL
Don't see why not? The fact that
they both disappeared at the same
time does look weird.
MICHAEL
Good. Then let's get it in gear.
He obliges by opening the door on the passenger side of the
Trans Am.
MICHAEL
Hop in.
CAROL
Thanks.
As she gets in, Michael goes over and enters through the
driver's side.
INT. TRANS AM - CONTINUOUS
Carol reacts to the unusual instrumentation on the dashboard.
CAROL
Hey, this is some car.
MICHAEL
Thanks.
CAROL
My name's Carol Reston.
MICHAEL
(extending
his hand)
Michael Knight...Hey, you know
what?
As they shake hands....
CAROL
What?
MICHAEL
My boss, Devon Miles, stopped off
here to see some guy named Reston.
The same fella?
CAROL
It's got to be.
MICHAEL
Any idea why?
CAROL
Not a clue.
MICHAEL
Well, then maybe our meeting like
this could turn out to be a lucky
break for both of us.
CAROL
Maybe you're right at that.
OMITTED
EXT. TRANS AM - DAY
It is heading down the road toward Sinclair.
INT. TRANS AM
MICHAEL
When was the last time you saw your
ex?
CAROL
It's been a week or so. He says
he's been busy with work, but that
was always his excuse when we were
married.
MICHAEL
What kind of work does he do?
CAROL
He's an investigative reporter. And
let me tell you, in this county,
that's a full time job.
OMITTED
EXT. SINCLAIR POLICE STATION - DAY
This station is larger and more elaborate than the one in
Lyndhurst Flats. The Trans Am is parked in front.
INT. POLICE STATION
Carol and Michael are leaning against the counter behind
which stands Police Chief Dave Butler.
BUTLER
(shaking
his head)
Sorry, we don't have a Frank Reston
or a Devon Miles.
MICHAEL
(annoyed)
Now wait a second. The police in
Lyndhurst Flats just told me they
sent him over here. Now you're
telling me you never had him in your
jail.
BUTLER
That's correct.
MICHAEL
Well, I'm a little confused.
BUTLER
You want me to call them?
MICHAEL
Yeah, I want you to call them. I'd
like some answers, if you don't mind.
As Butler goes for the phone, Carol grabs Michael by the arm.
CAROL
(to Butler)
That's okay. We've got to go back
there anyway. We'll straighten
things out.
Carol gives Michael a tug toward the door.
BUTLER
(puts down
the phone)
Whatever you say....
MICHAEL
Carol, hold it.
CAROL
(trying to
get him out
of there)
Michael, your boss isn't here.
Now please, let's get out of here.
She pulls him forcefully toward the door. Michael is
confused, but relents and follows her.
BUTLER
Have a nice day, folks.
Michael gives him a dirty look as Carol drags him out the
door.
EXT. SINCLAIR POLICE STATION - DAY
MICHAEL
What was that all about?
CAROL
Michael, I think there are a few
things you're not aware of.
MICHAEL
Yeah, and one of them is the where-
abouts of Devon Miles. Now if you
don't want to find Frank, that's
fine, but don't get in my way, okay.
CAROL
All right, if you want to go back on
your wild goose chase, go ahead. I
just thought you might like to know
what you're up against.
MICHAEL
What do you mean?
CAROL
You ever heard of Judge Paxton?
MICHAEL
No, who is he?
CAROL
He runs the county and from what
Frank told me, he does it with an
iron hand. If he wants someone to
disappear, nobody asks any questions.
MICHAEL
Yeah, but all Devon did was break
the speed limit.
EXT. COUNTY CORRECTIONAL FACILITY - DAY
The compound consists of a prison building and work yard
where there is some construction going on evidenced by a
long row of cement bags which two prisoners are stacking.
An electric fence surrounds the complex.
INT. FITTING ROOM - DAY
Devon, wearing nothing but a towel around his waist, is
escorted by a uniformed and armed security guard, up to a
supply window. The guard, Van Dyke, calls into the supply
room.
VAN DYKE
Hey, we need a set of tailor-mades.
A slight-of-build trustee named Pink comes up to the window,
eyes Devon with interest.
PINK
My my, what a smell. Squeaky clean
are we?
DEVON
I've had the pleasure of one of your
antiseptic showers.
PINK
The county can't stand the thought of
nasty bugs in their designer pants.
By the way, I love your accent.
VAN DYKE
Just fit him, Pink...and hold down
the socializing til later.
PINK
(suddenly
all business)
What's yer shoe size?
(so sympathetic)
Oh...I'm afraid we've had a run on
half-sizes recently. You're going
to have to wear two pairs of socks
instead.
Devon sighs, pulls his towel up around him closer as Pink
shuffles through the clothes on the shelves and pulls out
two sets of socks, pants, underclothes, shirts. He hands
them to Devon.
DEVON
Thanks.
PINK
We aim to please. You need anything
else, your highness, just ask for
Pink.
VAN DYKE
Come on, before he invites you to tea.
The guard leads Devon off to a shielded dressing area where
there are several curtailed cubicles. Devon enters one.
DEVON
I demand the right to make a phone
call.
VAN DYKE
You'll have plenty of time for phone
calls.
DEVON
This is a matter of life and death.
VAN DYKE
You should have told that to Judge
Paxton.
DEVON
How could I? I've never seen the
man. I wouldn't know him from a
hole in the wall.
VAN DYKE
Well, he knows you...or at least
doesn't like you...if you go by the
time he sentenced you to put in here.
Devon pulls the curtain aside to show him in full prison
uniform, a man trapped by circumstances as we:
CUT TO
INT. JUDGE'S OFFICE - DAY
The Judge is sitting behind his formidable desk glaring at
Wallace who stands before him sheepishly.
WALLACE
There's a guy in town asking
questions about Devon Miles.
JUDGE
(stern)
That doesn't surprise me.
(pushes a
piece of
paper toward
Wallace)
This just came in. It seems Devon
Miles is the Executive Director of
the Foundation for Law and Government.
Wallace gulps. He knows that means trouble.
JUDGE
You've gotten us into a fine fix,
Wallace.
WALLACE
I'm sorry, Judge, I....
JUDGE
Save it. We don't have time for
your apologies. Now listen to me,
and listen good. We can't take the
risk of Miles talking.
WALLACE
Judge, he can't do much talking at
the facility.
JUDGE
I don't want to take any chances.
You don't mess with the press and
this Miles is the only link that can
tie us to Reston. I want Miles out
of the way -- for good.
The phone rings and the Judge answers, then hands the phone
to Wallace.
JUDGE
For you.
Wallace takes the phone and answers.
WALLACE
(into phone)
Wallace!
INTERCUT
BUTLER
(into phone)
Wallace, Butler. Smartmouth Knight
just left here with Mrs. Reston.
They're heading back to Lyndhurst
Flats and I don't think either one
of them left here happy.
BACK TO SCENE
WALLACE
Thanks, we'll take care of it.
He hangs up.
WALLACE
C'mon, Rex, let's go.
They start exit.
JUDGE
Where are you going?
WALLACE
Just some more loose ends need
taking care of, Judge.
They exit.
EXT. ROAD - DAY
Out in the middle of nowhere, a big truck is barreling down
the road that connects Lyndhurst Flats with Sinclair.
WALLACE (O.S.)
Pauly. Come in. This is Sargeant
Wallace.
INT. RIG
The driver, a husky brute named Pauly, picks up the mike on
his radio and answers the call.
PAULY
This is Pauly. What do you need,
Sarge.
Intercut with:
INT. SQUAD CAR
WALLACE
We just got a report on a black car,
license plate Knight. Came shootin'
through town like a bat out of hell.
PAULY
Where's he heading?
WALLACE
Toward Lyndhurst Flats.
PAULY
Then I should be coming up on him
real soon.
WALLACE
That boy's gonna hurt somebody the
way he's driving. Would you mind
helping us nail him?
PAULY
Not at all, Sarge.
WALLACE
Thanks, Pauly. We'll be right there.
Wallace gives Saunders a look and they drive off.
EXT. TRANS AM - DAY
It is heading down the road toward Sinclair.
INT. TRANS AM
MICHAEL
You know the more I see of this
county's law enforcement, the more
suspicious I get.
CAROL
Yeah. And if you knew half as much
as I do, you'd be positively paranoid.
EXT. TRUCK - DAY
Pauly is coming down the road.
ANGLE - PAULY
As he sees the Trans Am come into view, a sickening grin
creases his face. He picks up his radio and speaks into it.
PAULY
I'm coming up on him, Sarge.
INT. SQUAD CAR
WALLACE
You know what to do.
EXT. TRUCK
It crosses over into the oncoming lane and begins to pass a
car.
INT. TRANS AM
Michael and Carol see the truck and begin to show concern.
MICHAEL
That truck sure picked a bad time to
pass.
ANGLE - TRUCK
It's bearing down on them.
CAROL
Michael, he's coming right at us.
MICHAEL
I can see that.
Michael checks the other lane on the two-lane highway.
HIS POINT OF VIEW - TWO CARS
are in it, he can't go over without runing into one of them.
INT. TRANS AM
CAROL
Do something.
Michael does. He stomps his foot on the brakes.
EXT. ROAD
The Trans Am stops on a dime. Michael throws it into
reverse and backs away as quickly as he can.
INT. TRUCK
Pauly can't believe what he sees.
PAULY
What the....
But he keeps trying to run Michael off the road.
EXT. TRANS AM
It is flying backwards down the road, the grill of the truck
practically in the front seat.
FREEZE FRAME
END OF ACT TWO
ACT THREE
FADE IN
ANOTHER ANGLE
The Trans Am is approaching an intersection. Just as it
gets there, Michael whips the car at a ninety-degree angle
and turns onto the crossing road.
EXT. TRUCK
It zooms right past the Trans Am.
ANGLE - TRANS AM
as it comes to a safe stop.
EXT. ROAD - ANGLE - SQUAD CAR
It is coming around a bend on the same road.
ANGLE - TRUCK
heading straight for the squad car.
INT. SQUAD CAR
SAUNDERS
Ain't that Pauly?
WALLACE
What's he trying to do?
INT. TRUCK
Pauly sees the squad car and tries to hit the brakes to
avoid a head-on.
EXT. ROAD
Pauly can't brake in time and forces the squad car off the
road and into a ditch.
INT. TRANS AM
MICHAEL
You okay?
CAROL
(gasping for
breath)
I think so.
MICHAEL
That trucker's sure got a strange
way of getting his jollies.
CAROL
That's only because you think he was
kidding.
As Michael reacts.
EXT. CAROL'S HOUSE - NIGHT - TO ESTABLISH - STOCK
Carol's humble abode.
INT. DINING ROOM - NIGHT
Michael is wolfing down the home-cooked meal as Carol sits
watching him, overwhelmed by his appetite.
CAROL
...anyway, as I was saying, the
Judge has got this county solidly in
his pocket. There isn't a buck
changes hands that he doesn't get a
piece of it some way.
MICHAEL
And that's what Frank was into?
CAROL
That's what was keeping him alive.
Look, five years ago Frank and I
were a real hot-shot team, working
on the biggest paper in Texas. Then
he started hitting the bottle heavy
and -- well, one thing led to
another and we wound up in this
Godforsaken dump. And that was
mostly the Judge's fault, too.
MICHAEL
Really? How?
CAROL
Remember when the skywalk collapsed
at the Skyrider Hotel here about
three years ago?
MICHAEL
Yeah, come to think of it, I do.
Over a hundred people were killed.
CAROL
Right. Caused one heck of a stink.
Well, the Judge's principal overt
source of income was the Paxton
Cement Company, sole owner, Judge
Paxton. You want to build in this
county, you use Paxton Cement or
else. Anyway, seems like there was
too much sand and not enough cement
in those skywalks and things got
very hot down here for a while.
MICHAEL
And so Frank thought he had a story
he could win with.
CAROL
Right. He could smell the Pulitzer
Prize and see the Washington Post or
the New York Times begging him to go
big time again. Anyway, he's been
sniffing at Paxton's heels for three
years now and getting no place fast.
Oh, the story's there, all right.
But the proof isn't.
MICHAEL
Tough. Tough for both of you. And
maybe I'm just beginning to see a
connection between Frank and Devon
and the Judge after all.
(beat)
If they're not in the jails, where
else could the Judge stash them in
this county?
CAROL
Killing them would be easiest.
MICHAEL
Hey, ease up. If the Judge has put
up with Frank all these years, he's
not about to do something that
drastic now. Especially not with
Devon Miles in the picture.
CAROL
Well, of course, there is the county
correctional facility.
MICHAEL
Can we get in there?
CAROL
(shakes her
head no)
No way. Unless we announced
ourselves, of course, and I've a
feeling we'd get the same old
runaround.
MICHAEL
Then we'll just have to come
unannounced.
As the wheels begin to turn in Michael's noggin....
CUT TO
OMITTED
EXT. COUNTY FACILITY - NIGHT - ESTABLISHING
Armed guards patrol the fence along the perimeter.
INT. PRISON CELL - NIGHT
It's a scantily decorated room with a bunk bed in the
corner. Pink lies on the lower bunk reading when a rustling
noise stirs him.
ANGLE - DOOR THROUGH THE SLOT
A Voice is heard whispering.
SHEP'S VOICE
Pink, you awake?
FULL SHOT
PINK
Shep, is that you?
SHEP
Yeah, I'm coming in.
ANGLE - DOOR KNOB
as it turns and much to Pink's amazement, Shep, a big,
mean-looking lummox, enters the cell.
FULL SHOT
Shep has a devious grin on his face as he dangles a loop of
keys with pride.
PINK
How did you get the keys?
SHEP
It wasn't easy. Look, I got it all
figured out. We're bustin' out of
here first thing tomorrow morning.
While he says this Pink puts his fingers over his lips to
indicate Shep should keep it down.
SHEP
What's the matter?
Pink points to the top bunk.
ANGLE - DEVON
as he rolls over from where he had been fast asleep. He
looks at the two conspiring cons with groggy eyes.
SHEP
Damn. Who's he?
PINK
My new cellmate. His name's Devon.
He's British or something.
SHEP
I don't care what he is. He could
foul up my plan good.
PINK
Why?
SHEP
Because three's a crowd when it comes
to escaping.
DEVON
Put your mind at ease. I have no
intention of leaving this place
without my day in court.
SHEP
That's what you think.
PINK
Why does he have to come with us?
SHEP
'Cause he knows we're going, that's
why. What's to stop him from blowing
the whistle the minute we make our
break.
DEVON
You have my word.
PINK
Yeah, Shep, we have his word.
SHEP
Shut up, Pink. I say he's coming
and that's final.
DEVON
I would assume that I have something
to say about the matter.
SHEP
Look, you either go out with us or
you stay here dead. Personally, I'd
just as soon not kill you, but it's
your choice.
DEVON
I see. Well, what's the plan?
SHEP
We go out in the truck.
DEVON
What truck?
SHEP
(holds up
a key)
The one that starts with this key.
It'll be right outside in the morning.
All we got to do is get over the
fence and we're home free.
Devon hops down from the bunk.
DEVON
Brilliant. Positively brilliant.
And just how do you propose to go
over a fifteen-foot fence in broad
daylight?
SHEP
I was working on it.
DEVON
Working on it! Getting over the
fence is the key to the whole plan.
And you were working on it?
SHEP
Well, you got a better idea?
DEVON
Not at the moment, but if pressed I
don't think it would be difficult to
come up with one.
PINK
I don't know, Devon...you don't
strike me as your typical jail-
breaker.
DEVON
(proudly)
The Gestapo felt the same way.
That's why I was able to escape from
three German prison camps during the
war.
PINK
(impressed)
Wow!
DEVON
So, if you insist I join you, at
least allow me to devise a sensible
strategy for our departure.
Put like that, Shep and Pink have no recourse but to acquiesce.
EXT. HIGHWAY - DAY
as the Trans Am drives along.
INT. TRANS AM - DAY - ON MICHAEL AND CAROL
MICHAEL
How much further is it?
CAROL
About forty minutes.
MICHAEL
Good. Well, since we'll be going
into action then, this is as good a
time as any to introduce you to Kitt.
CAROL
Kitt? Who's Kitt?
MICHAEL
Kitt, you're on.
K.I.T.T.
Very well, Michael. Allow me to
introduce myself, Carol. I am Kitt
whom you may regard as the voice of
the Knight 2000.
CAROL
What is that, a recording?
K.I.T.T.
Not exactly. In fact, not at all.
Now, if you'll allow me to continue,
I will attempt to describe most of
the qualities and capabilities of
this truly unique vehicle.
MICHAEL
Just remember, we've only got forty
minutes.
K.I.T.T.
I'll try to squeeze it all in. At
any rate, starting with the....
EXT. COUNTY FACILITY - DAY
It's the next morning.
OMITTED
INT. MESS HALL - DAY
A couple of tables are lined with an assortment of tough-
looking cons. We pan the mess hall to see a pair of guards
who tap billy clubs in their palms as they observe breakfast.
ANGLE - DEVON
seated at a table, flanked by Shep and Pink. Across from
them is a huge, terrifying man, the kind of guy you don't
mess with in the big house, or anywhere else.
ANOTHER ANGLE
Pink looks at Devon who gives a casual nod as he takes a sip
of coffee.
ANGLE - PINK
He sticks a fork into what looks like mush (and probably
is) and secures a lump on the edge of his utensil. He takes
careful aim, then lets fly with the gooey stuff. It hits a
guard, Shep fires and hits another guard, then Devon fires
and misses.
ANOTHER ANGLE
The mush lands smack dab on the face of the big Brute across
from him. The Brute reacts with disgust.
BRUTE
What the hell do you think you're
doing?
PINK
(impish)
You looked hungry.
BRUTE
Man, you're asking for it.
SHEP
(tough)
So are you, pal.
With that, Shep splashes a glass of milk into the Brute's
face. The Brute reacts predictably. He reaches for Shep's
collar in an attempt to smash his nose.
BRUTE
That does it.
Before he can land a blow, Pink pushes him away, sending the
Brute sprawling over the table. Pink smiles at the results,
amazed at his strength.
WIDE ANGLE
As the Brute crashes into the table, pandemonium ensues in
the form of a free-swinging brawl/food fight.
ANGLE - DEVON
He looks on with pleasure as the guards come over to break
up the melee. Devon motions to Pink and Shep.
DEVON
Now.
Pink and Shep follow Devon as he scurries out the door
vacated by the guards.
EXT. KITCHEN - DAY
as the three escapees exit through the rear door of the
kitchen and head for the fence.
PINK
Way to go, Devon.
DEVON
Save the plaudits. We're not out
yet.
As they race for the fence, Devon gives a last look to make
certain they're not being pursued, as we:
FREEZE FRAME
FADE OUT
END OF ACT THREE
ACT FOUR
FADE IN
EXT. FENCE - DAY
as Shep, Devon and Pink arrive, they make a human ladder,
so that the top man (Shep) barely makes it to the top.
With some effort he hauls himself up, then slipping off a
spare pair of pants, he lowers it to haul up the second man,
(Devon) who also takes off a spare pair of pants and ties
them to Shep's. Using both pairs, they manage to haul up
Pink.
INTERCUTS
Continuing fight in dining room as more and more guards
respond in an attempt to restore order.
BACK TO SCENE
as Van Dyke exits the back door and spots them on top of
the wall.
VAN DYKE
Halt! Halt! Escape in progress!
Halt!
He fires at them as they disappear down the other side.
Then turns and races into the building.
EXT. WALL - DAY
as the three escapees come down, cross to the truck, get in
and attempt to start the engine. It grins but won't fire.
As they look at each other in dismay:
EXT. PRISON COMPOUND
where all hell is breaking loose. Sirens are wailing and
guards are running in all directions.
ANGLE - GUARD STATION
Van Dyke bursts in and picks up a telephone.
CUT TO
INT. LYNDHURST FLATS JAIL - DAY
The phone rings and Wallace answers.
WALLACE
Wallace here.
Intercut with:
VAN DYKE
VAN DYKE
Get over here right away.
WALLACE
What's going on?
VAN DYKE
Three men just escaped from the work
house. And one of them was Devon
Miles.
Wallace hangs up the phone, stunned. He grabs the shotgun
and heads for the door.
WALLACE
(to Saunders)
We got an emergency!
As the two men make a hasty exit....
EXT. PRISON - DAY
as Michael and Carol drive up in K.I.T.T. and view the dis-
order as various jeeps, etc., drive out past them.
INT. K.I.T.T.
MICHAEL
Looks like an awful lot of confusion
in there.
CAROL
Yes. But is that good or bad for us?
MICHAEL
We're sure gonna find out fast.
EXT. ROAD - DAY
where Devon and the others are still desperately trying to
get the truck started. Devon, his head under the hood, is
tinkering. Finally he looks up:
DEVON
That should do it.
Shep nods and tries the starter again. It finally fires.
Devon slams the hood closed and hops in as they take off.
EXT. PRISON GATE - DAY
as Michael walks up to the gate Guard.
MICHAEL
Where's the Warden?
GUARD
Around someplace. Who are you?
MICHAEL
Just a messenger. Judge Paxton sent
me over with an urgent message for
the Warden.
GUARD
Judge Paxton, huh. Well, I guess
that's okay. You might try looking
for him in the Administration Building.
MICHAEL
Thanks. Oh, what's going on around
here?
GUARD
Real big deal. Three guys just busted
out. There'll be hell to pay over
this.
MICHAEL
Bet you're right. Well, glad it's not
my problem. See ya ---
He waves and enters the compound.
EXT. ROAD - DAY
as we see the truck traveling fast and pursued by a couple
of guard vehicles.
INT. TRUCK - DAY
Devon is driving.
SHEP
They're still gaining on us.
PINK
No way we can outrun them.
ANGLE - DEVON
He sees something and gets an idea.
HIS POINT OF VIEW - THE ROW OF STACKED CEMENT BAGS
is a perfect ramp leading to the fence.
BACK TO SCENE
DEVON
I've got an idea.
INT. PICKUP
SHEP
What are you going to do?
DEVON
(intense)
You'll see.
EXT. PICKUP
It's headed for the cement bags.
ANGLE - ON GUARDS
as they fire at the pickup, but their bullets go astray.
ANGLE - PICKUP
It hits the makeshift ramp and goes airborne.
PINK (O.S.)
(scared
witless)
Omigod....
The pickup clears the fence with inches to spare and bounces
on the other side and keeps racing toward freedom.
EXT. ADMINISTRATION BUILDING - DAY - TO ESTABLISH
OMITTED
INT. FILE ROOM - DAY
At least a half-dozen file cabinets have been checked with
no results. The open drawers being testimony to Michael's
frustration as he sifts through yet another collection of
files. Finally, he strikes it rich.
ANGLE - CABINET
Michael takes out a file marked MILES, DEVON.
INSERT - FILE
Michael opens the folder and we see Devon's mug shots.
ON MICHAEL
as he pushes the tiny button on his wristwatch and links up
with K.I.T.T.
Intercut with:
EXT. TRANS AM - DAY
It is parked near the entrance to the compound.
INT. TRANS AM
Carol is sitting nervously in the passenger seat. She sees
a series of flashing lights on the dashboard and reacts with
bewilderment.
CAROL
What's going on?
K.I.T.T.
I'm receiving a transmission from
Michael. Go ahead, Michael.
ON MICHAEL
MICHAEL
Kitt, we just hit the jackpot.
Devon's here.
WALLACE'S VOICE
Correction. Was here.
Michael's head snaps up sharply. He finds himself staring
at Wallace.
FULL SHOT
The cop has his revolver trained on Michael.
WALLACE
When I saw that flashy Pontiac
sitting out on the road, I figured
you were here.
MICHAEL
Where's Devon?
WALLACE
That's what I'm trying to find out.
He and two inmates just busted out
of here.
Michael is startled by the news.
MICHAEL
Devon Miles busting out of jail.
I don't believe it.
WALLACE
It's true all right.
MICHAEL
What was he doing here in the first
place?
WALLACE
Your friend was in the wrong place
at the wrong time. Just like you.
(motions for
Michael to move)
Let's go, hero.
As they move out, Michael whispers into his watch.
MICHAEL
Kitt, I need help. Fast.
EXT. TRANS AM - DAY - THE SCANNER
begins to pulsate and the engine self-ignites.
INT. TRANS AM
CAROL
(perplexed)
Where are we going?
K.I.T.T.
To save Michael.
The car jolts forward.
EXT. TRANS AM
It speeds toward the main entrance, disregarding the guard
at the gate, crashes through the gate and enters the com-
pound.
EXT. ADMINISTRATION BUILDING - DAY
Michael is walking ahead of Wallace who has his revolver
pointed at Michael's back. There's a buzz from Wallace's
walkie-talkie.
WALLACE
(into
walkie-talkie)
What is it?
SAUNDERS' VOICE
(through
walkie-talkie)
We caught Pink and Shep in a stolen
car.
WALLACE
What about Miles?
SAUNDERS' VOICE
We think he's hiding in the groves
down by the river.
WALLACE
Flush him out. Shoot to kill.
As Wallace sticks the walkie-talkie back on his belt...the
whine of a speeding engine is heard.
ANOTHER ANGLE
Here comes the Trans Am heading straight at them like a
bullet.
CLOSE ON WALLACE
as he gapes at the sight of the driverless car coming at him.
FULL SHOT - MICHAEL
takes full advantage of the stupified cop and knocks the gun
out of his hand. Michael retrieves the weapon as the Trans Am
arrives and comes to a sudden halt.
WALLACE
You'll never get out of here.
They'll blow this car to pieces when
you try to leave.
MICHAEL
I'd like to see them try.
Carol climbs into the backseat as Michael shoves Wallace
into the passenger bucket. He hands Carol the gun.
MICHAEL
Here. If he moves a whisker, put a
hole in him.
ANGLE - CAROL
She swallows hard but nods. Michael jumps behind the wheel,
fires up the engine and the car shoots forward.
EXT. TRANS AM
Heading straight for the gate, it crashes through (of
course) and we're off.
EXT. ROAD - DAY - THE TRANS AM
is racing away from the prison.
INT. TRANS AM
MICHAEL
Where are those groves your partner
was talking about?
Wallace remains silent until Carol pokes him with the gun.
WALLACE
(responding
to the cold
steel)
Take a right on the dirt road up
ahead.
MICHAEL
Now, pick up that walkie-talkie and
call off your boys. Tell them
you're on your way.
WALLACE
Forget it.
MICHAEL
(calm, to
Carol)
Shoot him.
Carol looks wide-eyed, but she manages to cock the gun.
Wallace takes the walkie-talkie from his belt holster.
EXT. SQUAD CAR - DAY
Saunders is speeding along a road when he hears Wallace's
voice belch out through his radio.
INT. SQUAD CAR
WALLACE'S VOICE
Saunders, listen to me.
SAUNDERS
We have him cornered, boss.
Intercut with:
INT. TRANS AM
Carol still has the gun pointed at Wallace as he speaks into
the two-way radio.
WALLACE
Keep him surrounded. Don't, I
repeat, don't kill him. Wait for me.
SAUNDERS
Whatever you say, but I oughtta tell
you that Judge Paxton put a ten-thou-
sand-dollar price tag on Miles' head.
The men want him pretty bad.
CLOSE ON MICHAEL
Grim-faced, he stomps hard on the accelerator.
ANGLE - DASHBOARD
The digital speedometer begins clicking off as the Trans Am
gains speed.
EXT. GROVES - DAY - ANGLE - DEVON
is cautiously creeping through the trees and foliage trying
to find some way out of this mess he's gotten into. Suddenly
he stops upon hearing a car approach.
ANGLE - SQUAD CAR
Saunders pulls up to the grove and spots Devon. As he gets
out of the car, another car containing Van Dyke and a guard
pulls up. They get out and join Saunders.
VAN DYKE
We got him now. Hello ten grand.
As the threesome begins pursuit....
ANGLE - DEVON
He spots the men and begins to flee.
EXT. TRANS AM
It is roaring down the dirt road.
INT. TRANS AM
MICHAEL
Kitt, have you got the scanners
going?
K.I.T.T.
Yes, I'm beginning to pick up some-
thing. Up ahead in those trees.
WALLACE
(confused)
Who said that?
MICHAEL
I'd love for you to stick around and
find out, Captain, but I'm afraid we
need the room.
ANGLE - DASHBOARD
as Michael flicks a switch.
EXT. TRANS AM
As it fords the river, the ejection seat catapults Wallace
out of the car.
ANGLE - WALLACE
as he flies through the air and splashes down in the river
(or down a ravine if we can't do it in water).
ANGLE - DEVON
He hears the drone of K.I.T.T.'s engine and runs toward the
sound. As he comes out into a clearing he sees:
THE TRANS AM
coming toward him.
INT. TRANS AM
CAROL
Is that him?
MICHAEL
It sure is.
WIDE ANGLE
as the Trans Am comes to a halt and Michael pops the door
open. Devon runs over and jumps in.
INT. TRANS AM
Michael gives him a big smile.
DEVON
(panting)
Your timing couldn't have been more
propitious.
MICHAEL
Does that mean you're glad to see me?
DEVON
(nodding;
still
breathless)
I've never been happier to see anyone
in my life.
ANGLE - TREES
Saunders, Van Dyke and the guard appear and see the Trans Am
making its getaway.
SAUNDERS
Stop 'em!
They begin firing their guns.
ANGLE - TRANS AM
The bullets ricochet off K.I.T.T.'s impenetrable exterior as
the black beauty takes off through the grove.
ANGLE - BAD GUYS
amazed at what they've just witnessed.
VAN DYKE
I hit him. I swear I hit that car.
Saunders is panicky at the prospect of losing his prey.
SAUNDERS
Come on. We can't let him get away.
They run back to the cars.
EXT. TRANS AM
It is seemingly lost in the groves.
INT. TRANS AM
MICHAEL
(impatient)
How do we get out of here?
CAROL
You better swing around and go back
the way we came in.
EXT. TRANS AM
The car does a one-eighty and shoots back from whence it
came.
WIDE ANGLE - IN THE GROVES
As the Trans Am races by, Van Dyke appears and gets on his
tail.
ANOTHER ANGLE - THE SQUAD CAR
is racing above them on a ridge.
VARIOUS ANGLES - THE CHASE
It's a three-car race and as they converge at a point,
Michael speeds up.
ANGLE - SQUAD CAR
It flies through the air and lands pancake-style on top of
Van Dyke's car knocking them both out of commission. The
Trans Am gets away.
INT. TRANS AM
Carol is looking back at the spectacular wreck.
CAROL
Now that's incredible.
DEVON
We've still got to make it to the
county line.
MICHAEL
We should have a clear shot now.
EXT. TRANS AM
It gets back onto the road and heads for the sanctuary of
the neighboring jurisdiction.
ANGLE - SQUAD CAR
squished under Van Dyke's car.
ANGLE - SAUNDERS
talking on the radio.
SAUNDERS
(emphatic)
I don't care what it takes, Pauly.
Just don't let 'em cross the county
line.
INT. PAULY'S BIG TRUCK
PAULY
(into radio)
You got it.
He puts down the radio and pushes the pedal to the metal.
ANGLE - TRANS AM
speeding along the highway.
K.I.T.T.
Michael, we're approaching the
county line.
DEVON
(relieved)
Thank God.
ANGLE - PAULY'S TRUCK
It comes off a side road onto the main highway.
INT. TRANS AM
CAROL
(pointing)
It's just over the bridge.
EXT. BRIDGE
As the Trans Am approaches, we see that a small truck is
stopped on the bridge.
ANGLE - TRUCK
The driver gets out and either checks a flat tire or lifts
a smoking hood.
ANGLE - PAULY'S TRUCK
bearing down on the Trans Am.
ANGLE - MICHAEL
realizing he's in a pickle. (The bridge is either too
narrow or there's traffic coming the other way.)
MICHAEL
Uh-oh.
EXT. BRIDGE
Michael hits the brakes and the Trans Am stops behind the
disabled truck.
ANGLE - PAULY'S TRUCK
within ramming distance of the sedentary Pontiac.
ANGLE - TRANS AM
DEVON
Michael, hadn't you better do some-
thing?
CAROL
And fast.
MICHAEL
Hold on.
ANOTHER ANGLE
Michael guns the engine and the Trans Am goes forward. The
driver ducks for cover as K.I.T.T. flies through the back of
the small truck and comes out on top of the cab. It rolls
down the front of the truck and keeps going down the road.
ANGLE - PAULY
Seeing what happened, he can't believe his eyes. Especially
since he's now on a collision course with the small truck.
WIDE ANGLE
to see Pauly's truck smash into the disabled truck.
EXT. TRANS AM
as it glides past a sign that reads COUNTY LINE.
CAROL
We're safe.
EXT. COURTHOUSE - DAY - TO ESTABLISH
INT. JUDGE PAXTON'S CHAMBERS
As the Judge enters, closing the door behind him, the swivel
chair behind his desk suddenly swivels revealing Devon seated
behind the desk.
DEVON
Ah, good afternoon, Judge. I was
afraid you might not show up.
JUDGE
Who are you? And how did you get
in here anyway?
DEVON
Details. Details. The important
thing is that I am here. And I'm
quite sure you know who I am.
JUDGE
Devon Miles ---
DEVON
Very perceptive of you.
JUDGE
But they told me you'd escaped
yesterday.
DEVON
And how right they were. But, as
you can see, I've come back.
JUDGE
What for?
DEVON
Why to collect you, of course.
He rises and crosses in front of the desk as he continues.
DEVON
Once we got away, we went straight to
the State Police, of course. They were
very interested in our assorted tales
about you and your colleagues. At any
rate, they've already rounded up
Sergeant Wallace, Officer Saunders,
and the others who, I'm sorry to say,
talked quite freely about all sorts
of things, but mostly you. In short,
Judge, you've been bagged.
JUDGE
Not on your life, Miles, I'm leaving
and you're not about to stop me.
He moves forward, producing a gun, as Devon anticipates him
and with one clean shot to the jaw, knocks him cold.
DEVON
My word, but that felt simply wonder-
ful.
And as he smiles and blows on his knuckles:
FREEZE FRAME
FADE OUT
END OF ACT FOUR
TAG
TAG TO FOLLOW ONCE SETTING HAS BEEN DECIDED, BUT WILL INVOLVE
ONLY MICHAEL, DEVON AND CAROL.
