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KNIGHT RIDER: NO BIG THING

EXEC. PRODUCERS: Glen A. Larson, R.A. Cinader
PRODUCERS: Hannah Shearer, Steven E. de Souza

Production #57313
2nd Draft - October 13, 1982 (F.R.)

Teleplay: .................... Judy Burns
Contributing Writers: ........ David Braff &
.............................. R.A. Cinader
Director: .................... Bernard L. Kowalski

                              
                                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.