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.