ACT ONE
FADE IN
EXT. RESORT AREA STORE - DAY
Quaint and old, off a two-lane highway, signs advertising
various beers, night-crawlers and a special on salmon eggs.
A young woman exits with a sack of groceries, a Sportsac bag
over her shoulder. Her name is Nicole. It's a beautiful
day. She inhales the fresh air, starts toward a cluster
of rental cabins a hundred yards down the road.
ANGLE AT RENTAL CABINS
A white Cadillac is parked in front of one, engine running,
a large bearded man at the wheel. The cabin door is open.
From inside a man exits with a six-year-old girl, Dana.
She's protesting but he ignores her, forces her into the
car.
ANGLE ON NICOLE
Fifty yards from the cabins, she glances ahead, reacts.
HER POINT OF VIEW - THE CADILLAC
It pulls out in a spray of gravel, heading for the road.
ANGLE ON NICOLE
Color leaves her face. She drops the groceries, runs
toward the car, screaming. The Cadillac accelerates,
passes within a few yards of her.
OMITTED
HER POINT OF VIEW - THE CADILLAC
The men inside are still just two large, dark figures, but
Dana's face appears at the window, distressed, looking back
at Nicole as the car picks up speed, disappearing down the
road.
CLOSE ON NICOLE
She stumbles, stops running, tears and dust streaking her
face. She turns and runs back toward the cabins. She
suddenly stops cold.
OMITTED
HER POINT OF VIEW - HER CAR AND SURROUNDING AREA
A chopped Harley is parked a short distance away, partially
obscured. Camera pans, picks out a second Harley, then
zooms in on two dark, burly men nearby. They are staking
out her car.
ANGLE ON NICOLE
Heart pounding, fearful, she turns and starts back, away
from the cabins, toward the highway. She walks over the
scattered groceries, forgotten in the dirt.
EXT. TWO-LANE HIGHWAY - DAY
The Trans Am appears, loafing along about sixty.
INT. TRANS AM - DAY
Michael is behind the wheel, window down, enjoying the
scenery and fresh air. In the backseat is camping gear,
a fishing rod, etc.
K.I.T.T.
...I don't understand the concept of
fishing, Michael.
MICHAEL
What don't you understand?
K.I.T.T.
According to my information, the
object of fishing is to catch fish.
MICHAEL
Right.
K.I.T.T.
But we've been gone two days, and
despite all the time you spent
fishing, you didn't catch any fish.
MICHAEL
They just weren't biting. That's
how fishing is, Kitt -- sometimes
they bite, sometimes they don't.
Either way it's fishing.
K.I.T.T.
It's simply not logical, Michael.
MICHAEL
(smiles)
No one ever accused fishermen of
being logical.
Michael notices something ahead.
HIS POINT OF VIEW - HITCHHIKER
A figure stands at the side of the road, hitching.
BACK TO MICHAEL
MICHAEL
Feel like company?
K.I.T.T.
Not particularly.
Michael smiles, slows and pulls over.
EXT. HIGHWAY - DAY
The Trans Am pulls to a stop on the soft shoulder. The
hitchhiker is Nicole. She looks wary, glances in at Michael
before opening the door.
MICHAEL
Hi.
NICOLE
How far are you going?
MICHAEL
How far do you want to go?
NICOLE
L.A.
MICHAEL
I'm going through L.A.
She nods, still wary, glances up and down the highway. She
gets in. The Trans Am shoots back onto the road.
INT. TRANS AM - DAY
Nicole glances at Michael but generally avoids eye contact.
Michael can feel the tension in her.
MICHAEL
Nice day.
She glances at him, the irony of the words a flash of pain
across her face. She doesn't reply. He notices she keeps
the Sportsac gripped firmly.
MICHAEL
Car trouble?
NICOLE
You could say.
MICHAEL
(beat)
Are you all right?
NICOLE
I've...got some problems. When I've
got problems I don't make very good
company.
She glances out the window, in effect sealing the conver-
sation. Michael decides not to push it.
EXT. HIGHWAY - SUNSET - STOCK
The Trans Am is backlit by a rosy sunset. It heads into
the night.
EXT. LONG PINE MOTEL - NIGHT
The Trans Am is stopped in front of the office. The office
door opens and Michael comes out, steps to the car where
Nicole waits.
MICHAEL
Only one room left.
NICOLE
Wonderful.
MICHAEL
It's got two single beds. It's up
to you. I don't mind if you don't.
NICOLE
I've never known a man who did.
He sees, for the first time, the suggestion of a smile from
her.
INT. MOTEL ROOM - NIGHT
Dark. The door opens, light switched on, and Michael and
Nicole enter. She's got her Sportsac, he brings in his
fishing rod and an overnight bag. As promised, there are
two single beds.
MICHAEL
Take your pick.
NICOLE
Pardon? Oh. This one's fine.
Thanks.
She sits on one of the beds, opens the Sportsac. Michael
takes the other one, dumps his gear on it.
NICOLE
Going fishing?
MICHAEL
(smiles)
Not a bad idea. Couldn't do any
worse than the last couple of days.
Actually I thought I'd clean up my
gear.
(beat)
I'll flip you for who gets the first
shower.
NICOLE
You go ahead, I've got to make a
phone call.
She goes to the door, pauses.
NICOLE
Do you want anything from the office?
MICHAEL
How about a New York steak medium-
rare, baked potato and a bottle of
good wine.
NICOLE
(smiles)
I'll see what I can do.
EXT. MOTEL - NIGHT
Phone call finished, Nicole crosses from the office toward
their room. She carries her Sportsac and a paper bag. Pan
as she passes, and then hold on K.I.T.T., parked nearby.
INT. MOTEL ROOM - NIGHT - CLOSE ON A CAN OF BEER
as it's popped open. Pull back and we see Michael and
Nicole are sitting opposite each other on Michael's bed,
legs crossed, a six pack of beer between them.
NICOLE
It's the best I could do on short
notice.
MICHAEL
Short notice is good with me.
They clink cans and drink. Michael can see she's a little
more at ease, a little less ready to bolt.
NICOLE
Thank you.
MICHAEL
For what?
NICOLE
For giving me a ride, letting me
stay with you, putting up with my
attitude.
MICHAEL
What is your 'attitude'?
NICOLE
I'm afraid I'm...not much fun to be
with, that's all.
MICHAEL
You buy good beer.
She smiles, appreciating his gentleness with her.
MICHAEL
You've got a pretty smile. You
ought to smile more often.
(beat)
You said you had problems...feel
like talking?
NICOLE
No.
MICHAEL
Feel like going fishing?
She laughs.
EXT. MOTEL - NIGHT
Later, early am, all the lights out except for the motel
sign. The sound of a motorcycle pulling off the main road
and a chopped Harley appears, idles past the office, swings
past the row of guest cars. The biker is huge, Michael's
height and twice as deep. He sees the Trans Am, pulls in
and stops.
ANGLE ON BIKER
He studies the Trans Am for a moment, notes what number
parking spot it is in, looks across at the units.
HIS POINT OF VIEW - MICHAEL'S ROOM
The number on the door corresponds. The lights are out.
ANGLE ON BIKER
He kicks it into gear and pulls away.
EXT. LONG PINE MOTEL - DAY - EARLY MORNING
The sun just rising, long shadows slanting across the
motel. A rooster crows nearby. Pan the solitude toward
the road to the office as two Harleys appear. As they
approach the units they cut their engines and silently coast
in. One is the biker who was here earlier, Singleton, and
the other is James "Jungle Jim" Ferris. They glide in next
to K.I.T.T., dismount and take off their jackets, their
"colors."
Whatever it is they have in mind has been discussed;
there's no conversation, just movement. Ferris stays on
his Harley as lookout while Singleton pulls a .38 from his
boot and walks to Michael's door. He quietly tries the
door.
INT. MOTEL ROOM - DAY
It's dark, the heavy curtains drawn. Michael is asleep in
his bed, Nicole in hers. The slight sound of Singleton
trying the door a second time causes Michael to stir. He
looks over at the door.
INTERCUT - SINGLETON
convinced it's locked, he steps back and kicks the door
with the heel of his boot.
INTERCUT - MICHAEL
He bolts out of bed, pants on. Nicole screams. Michael
reaches the door just as Singleton kicks it a second time,
splintering it open. Michael sees the gun, grabs for it.
Singleton fires, missing him. They struggle for the gun,
falling over furniture, crashing over beds. The gun fires
a second time. Now there's silence. A figure rises. It's
Michael. He crosses to the light, switches it on, the .38
in his hand.
ANOTHER ANGLE
Singleton lies between the beds, motionless. Michael
crosses, checks his pulse; he's dead. It's a difficult
moment for him, painful.
INTERCUT - FERRIS
On his Harley, tense. He's heard two shots, the fight, now
silence. He doesn't know who survived.
BACK TO MICHAEL
He realizes Nicole is nowhere to be seen.
MICHAEL
Nicole?
He moves to the closed bathroom door.
MICHAEL
Nicole, it's okay....
INTERCUT - FERRIS
He hears Michael's voice, reacts.
BACK TO MICHAEL
He opens the bathroom door, peers in. It's empty. A small
window above the shower is open. The sound of Ferris'
Harley starting up outside and Michael reacts.
EXT. MOTEL - DAY
Ferris barrels out on the Harley as Michael appears at the
door, sees him leaving. He darts back in, reappears a
moment later with his jacket, no gun. He puts it on while
running to K.I.T.T., jumps in. A woman in the adjacent
cabin pokes her head out, stares.
ANGLE ON ROAD TO MOTEL UNITS
The Harley roars past the office onto the two-lane
highway. Hold, and the manager appears from the office
with a shotgun, starts running toward the units as K.I.T.T.
appears. The manager plants himself and waves his arms for
Michael to stop. Michael swerves to avoid hitting him,
races past.
EXT. NARROW TRAIL OFF HIGHWAY - DAY
Ferris appears on the highway, sees the trail and turns in.
INTERCUT - K.I.T.T.
on the highway, a good one hundred yards behind Ferris.
ANGLE FROM NARROW TRAIL
as Ferris roars by, camera angles to the Trans Am as it
turns onto the road, still a good distance away.
EXT. RAIN WATER STREAM - DAY
The Harley goes through it fast, spraying water.
ANGLE ON NARROW TRAIL
The Trans Am fights it way up on uneven ground and soggy
soil.
EXT. FALLEN TREE - DAY
The Harley slows, circles around it on a narrow lip of clear
road.
ANGLE AT STREAM
The Trans Am appears, slashes through.
EXT. OFF-ROAD TERRAIN - DAY
The Harley finds a narrow, steep trail down the side of a
mountain. Ferris uses the hog like a dirt bike, starts
winding his way down.
ANGLE AT FALLEN TREE
The Trans Am approaches the tree, can't pass. Michael hits
Turbo Boost and it flies over.
ANGLE AT OFF-ROAD TERRAIN
The Trans Am approaches, slows; nowhere to go.
INT. TRANS AM - DAY
MICHAEL
(frustrated)
Kitt, can you give me a visual on
his route?
K.I.T.T.
You won't like it.
INSERT - MONITORS
The trail is impossible for anything other than a
motorcycle.
BACK TO MICHAEL
MICHAEL
Any chance we could make it?
K.I.T.T.
Not on your life, Michael. Or mine.
MICHAEL
Thanks anyway, pal.
OMITTED
EXT. MOTEL ROAD - DAY
The Trans Am comes up the road to the cabins.
K.I.T.T.'S VOICE
Does this mean another stay in one
of those dreary police impounds?
ANGLE FROM CABIN AREA
shooting past two police cars as the Trans Am approaches.
MICHAEL'S VOICE
They can't put you in jail for self-
defense, Kitt.
As the Trans Am pulls in two officers run to either side of
the parking area, guns drawn.
OFFICER
Come out with your hands up! Do not
make any sudden moves!
Michael slowly opens the door, steps out.
MICHAEL
Look, fellas ---
OFFICER
Face the car, hands on the roof!
Michael complies, assumes the position.
MICHAEL
(comlink)
Kitt, call Devon.
EXT. LONG PINE CITY JAIL - DAY
Devon's car is parked outside. Further down, we see K.I.T.T.
INT. WAITING ROOM - DAY
Devon waits, pacing. He glances over, sees Michael being
led out.
DEVON
If this is your idea of a few days
relaxation, I think it's time for a
serious chat.
MICHAEL
Thanks for coming, Devon.
ANGLE AT WINDOW
The desk officer hands Michael a manila envelope with his
personal effects. Michael signs a receipt, puts on his belt
and watch over:
MICHAEL
They've charged me with second-degree
murder.
DEVON
I'm well aware of that, Michael.
Unfortunately, in the absence of
witnesses self-defence is rather
sticky to prove.
MICHAEL
Devon, there was a witness -- the
hitchhiker. Nicole.
DEVON
The girl who went out the bathroom
window.
MICHAEL
You make it sound like a story.
DEVON
The fact it sounds like a story has
nothing to do with me. It succeeds
on its own.
(holds
open door)
After you.
EXT. JAIL - DAY
They come out, cross toward Devon's car.
MICHAEL
Who's side are you on?
DEVON
Michael, it's quite difficult enough
providing adequate support for you
when you're on assignment. When you
succeed in being arrested on your
own, it can be virtually impossible.
MICHAEL
Devon ---
DEVON
Let me finish. Despite your
convictions otherwise, the county
prosecutor has a respectable case
in the making. The biker had a
record, but your fingerprints are on
the gun. And it's unregistered.
There's no way to prove it was his.
They reach Devon's car, pause.
DEVON
The preliminary hearing is set for
Thursday next. If you're bound
over for trial the prosecutor will
commence a full investigation into
your past. I don't have to tell you
how difficult that could be -- for
the Foundation, for the future of
our work together.
MICHAEL
(beat)
Nicole can prove it was self-defense.
DEVON
Unless you can produce a body to go
with the name, Michael, 'Nicole' is
nothing more than a desperate man's
fantasy.
OMITTED
EXT. MOTEL OFFICE - DAY
The Trans Am pulls in and stops. Michael gets out, crosses
to the office when the door opens, the manager standing in
the doorway with his shotgun.
MANAGER
I don't want any trouble.
MICHAEL
I'm not here to cause trouble. A
girl came in last night about nine
to make a call. Did you place it
for her?
MANAGER
(points)
She used the pay phone. How'd you
get out so soon?
MICHAEL
Bail.
Michael doesn't like the look in the Manager's eyes. He
crosses to the pay phone, jots the number down on a note
pad. When he turns to leave, the Manager is still watching
him.
MANAGER
It's just like they say...The criminal
justice system these days. It's a
revolving door.
Michael steps on a temptation to reply, leaves.
ANGLE FROM K.I.T.T.
Michael climbs into K.I.T.T.
MICHAEL
Kitt, patch me through to Devon.
K.I.T.T.
Right away, Michael.
The Trans Am pulls out, heads for the highway.
OMITTED
EXT. HIGHWAY - NIGHT - STOCK
The Trans Am heads across the desert toward Los Angeles.
INT. TRANS AM - NIGHT
Silence as they drive across open expanses of high desert.
Michael is preoccupied, thoughtful.
K.I.T.T.
Since you haven't asked, I'll tell
you. It was demoralizing.
Demeaning.
MICHAEL
What?
K.I.T.T.
Police impound.
MICHAEL
You had me worried for a minute.
K.I.T.T.
Michael, I don't think you have any
idea what those places are like. I
was surrounded by criminal-types
with dented fenders and bullet holes.
MICHAEL
Jail was no picnic either, pal.
K.I.T.T.
Devon's calling.
MICHAEL
(punches
buttons)
Any luck?
INTERCUT - DEVON ON MONITOR
DEVON
The number Nicole called is in Los
Angeles.
MICHAEL
Address por favor!
DEVON
4518 Sumatra Drive -- Michael, before
you rush headlong into this, there's
something you should know. The dead
man has been identified as Arlon
Singleton. He's a member of the
'Devil's Deciples' motorcycle club
-- which is currently under Federal
investigation for everything from
contract murder to extortion. If
your assumption that Singleton was
after Nicole is correct, she could
be a very dangerous young lady to be
associated with.
MICHAEL
I'll keep that in mind, Devon.
Thanks.
He hits Pursuit.
EXT. HIGHWAY - NIGHT - STOCK
The Trans Am accelerates, is soon a black speck in the
distance.
EXT. EXPENSIVE HOUSE - DAY
A world apart from backroads and small motels. A flashy
sports car pulls in and parks, a beautiful girl getting
out, crossing toward the front door. It takes a moment to
realize it is Nicole, so great is the change, the clothes
she wears, the ambiance.
INT. HOUSE - DAY
As she enters, the maid, a black woman named Thelma, appears.
Ad-lib hellos, the feeling of a long-standing affection
between them.
THELMA
Before you run off, an old friend
came by to say hello.
NICOLE
(cautious)
Who?
ANOTHER ANGLE - MICHAEL
appears. On her reaction:
FADE OUT
END OF ACT ONE
ACT TWO
FADE IN
INT. HOUSE - DAY
As before, Michael and Nicole face to face, silence all
around. Thelma knows immediately.
THELMA
(to Michael)
Did you lie to me? If you lied to
me, I'll skin you alive.
MICHAEL
I'm a friend.
(looks to
Nicole)
Wouldn't you call me a friend?
NICOLE
We'll see. It's all right, Thelma.
EXT. HOUSE POOL AREA - DAY
Michael and Nicole sit by the pool.
NICOLE
...I walked for miles, I was afraid
to even hitchhike, then I saw your
car and decided to take a chance....
MICHAEL
I don't understand. If your ex-
husband kidnapped your daughter, why
haven't you gone to the police?
NICOLE
He has temporary custody and I don't
have the money to fight him in court.
MICHAEL
(looks
around)
You don't look like a candidate for
Legal Aid.
NICOLE
This is my father's house.
MICHAEL
He won't help you?
NICOLE
We don't get along. It's very com-
plicated. I wouldn't even be here,
but he's in Palm Springs on business.
(beat)
You never told me what you want.
MICHAEL
I want you to come back to Long Pine
with me for the preliminary hearing.
NICOLE
I can't do that.
MICHAEL
Why?
NICOLE
(beat)
My ex will have me killed.
MICHAEL
Why?
NICOLE
You just don't give up, do you?
MICHAEL
I'm facing a murder charge. Why?
She thinks it over before replying.
NICOLE
I have something he wants. Something
that could hurt him.
MICHAEL
Why not just give it back?
NICOLE
It's the only weapon I have. When I
get what I want, he'll get what he
wants.
MICHAEL
And you want Natalie.
She nods. A moment between them, an impasse.
MICHAEL
I could have you subpoenaed.
NICOLE
You'd have to find me first.
MICHAEL
All right, I'll make you a deal.
I'll help you get your daughter
if you'll come back to Long Pine
with me.
INT. HOUSE - DAY
Nicole is on the phone, dialling a number. Michael sits
across from her.
NICOLE
(phone)
Harold, this is Nicole. Don't talk,
just listen to me. You can have it
one of two ways. You can give me
Natalie and get the film, or you can
refuse and I'll go to the U.S. Attor-
ney and give the film to him. It's
up to you.
ANGLE ON HAROLD T. TURNER
He is a big hard man in his early forties. A tattoo of a
snake coils up his left arm with the words "Don't Tread On
Me." Like Sonny Barger of the Hell's Angels, Harold T. is
a former president of an outlaw motorcycle club. From manu-
facturing and distributing bootleg bathtub amphetamines in
the 60s, Harold T. has come a long way, though at heart he
is still an "outlaw."
He is on the phone with Nicole. The house where he lives
and his associates will be described later.
HAROLD T.
You go to the U.S. Attorney on me
and Natalie's gonna be looking for a
new mama. What you got in mind?
(listens)
Go on.
ANGLE ON MICHAEL AND NICOLE
NICOLE
(phone)
...a friend of mine will make the
exchange. His name is Michael Knight
...Harold, this is our last chance.
If you screw this up we'll both end
up getting hurt.
(beat)
Can I talk to Natalie for a minute?
The line goes dead. Nicole slowly hangs up, looks at
Michael.
NICOLE
Eleven o'clock tomorrow morning.
Michael nods, somber.
ANGLE ON HAROLD T.
As before, having just hung up, long legs with cowboy boots
propped up on an antique rolltop desk.
WIDER ANGLE
We are in the living room of a large, expensive ranch-style
house somewhere in the hills surrounding the San Fernando
Valley. It's a masculine house, a pool table and dogs,
somebody elses' furniture and, at the moment, two biker
confederates nearby. One of them, a 260 behemoth called
Tiny, looks over. The other one we recognize as Ferris.
TINY
She comin' alone?
HAROLD T.
She ain't coming at all. She's
sending a 'friend.'
(beat)
What's the guy's name -- the guy who
wasted Arlon up in Long Pine.
FERRIS
Some joker named Knight -- why?
HAROLD T.
Michael Knight?
Ferris nods.
HAROLD T.
(to Tiny)
You ain't gonna have to hunt that
boy down after all. He'll be here
tomorrow...eleven o'clock.
On their reaction:
EXT. HOUSE - DAY
Nicole walks Michael outside. A limousine approaches,
turns into the driveway. Nicole reacts.
MICHAEL
What's the matter?
ANOTHER ANGLE
The man climbing out of the limo is angry. He is Nicole's
father, Arthur Wexley.
WEXLEY
What are you doing here?!
NICOLE
I thought you were in Palm Springs
until tomorrow and ---
WEXLEY
And what? You thought you'd bring
your latest boyfriend by for a
quickie?
Michael feels compelled to respond, but when these two meet
no one else exists.
NICOLE
You've got your women confused again
-- this is Nicole, not Darlene.
WEXLEY
I see very little difference.
NICOLE
You see very little period.
Tight-lipped, Wexley steps directly in front of her.
WEXLEY
The real victim of your unfortunate
life isn't you. It's Natalie.
She slaps him hard. Michael's a little shocked, certainly
surprised. Wexley grabs her wrist.
MICHAEL
(pries them
apart)
Now wait a minute, this is getting
out of hand ---
WEXLEY
Get your hands off me.
MICHAEL
(drops his
hands)
I can do better than that.
(to Nicole)
I'll see you tomorrow.
He turns and leaves, walking out the long driveway.
OMITTED
EXT. FOUNDATION - NIGHT - STOCK
DEVON'S VOICE
Absolutely not!
INT. DEVON'S OFFICE - NIGHT
Devon is surrounded by computer print-outs. Bonnie is
feeding him additional information as it appears. Michael
paces, frustrated.
MICHAEL
I made a deal with her!
DEVON
Then unmake it!
(turns)
Michael, what earthly purpose does
it serve to research what you're up
against if you simply choose to
ignore the results?
MICHAEL
I'm not ignoring them, Devon.
DEVON
You are.
MICHAEL
All right, so Harold T. Turner's a
hard guy. We've been up against
hard guys before.
DEVON
Turner is more than just a 'hard guy,'
Michael -- as former president of
the 'Satan's Stompers' motorcycle
club he has at his disposal over
300 'hard guys' -- not to mention
whatever other resources his various
underworld activities provide.
BONNIE
He's right, Michael.
(refering to
print-out)
According to the Federal investigation,
the 'Satan Stompers' have developed
extensive ties with major criminal
organizations. It's not like Peter
Fonda riding around on a chopped
Harley with a heart of gold underneath
a two-day growth of beard.
MICHAEL
Look, I'm not trying to talk you into
a project. I'm trying to save my own
skin. And the Foundation's. You said
it yourself, Devon -- if we don't kick
the charge loose at preliminary hearing,
and I'm bound over for trial, the pro-
secutor will go over my past with a
magnifying glass.
A quiet moment; what he says is true.
DEVON
I won't forbid it, Michael. I can't.
Not when it's your future at stake.
But I want to make absolutely certain
you know what you're getting into.
Dealing with this Harold T. Turner
on a purely professional basis would
be dangerous enough...add the fact it's
highly personalized -- a war between
husband and wife -- there's no way
to predict what will happen. As a
former police officer you know that.
What's the most lethal call an officer
can get?
MICHAEL
(beat)
Domestic dispute.
Devon nods, point made.
DEVON
I rest my case.
(beat)
All right, let's get to work. I
want Kitt to be as fully prepared
as humanly possible.
EXT. RURAL AREA - DAY - STOCK
The semi rolls along, the ramp descends and the Trans Am
rolls out, accelerates, headed for Los Angeles.
EXT. TRANS AM DRIVING SHOT - DAY - VARIOUS SHOTS - STOCK
bringing us into the city.
OMITTED
INT. TRANS AM - DAY
Michael is at the wheel. K.I.T.T.'s computers are in full
operation.
K.I.T.T.
What next, Michael?
MICHAEL
(weary)
There's more?
K.I.T.T.
Aside from an aerial view of the
house, I have a topographical map
and floor plans.
MICHAEL
(punches
buttons)
Let's try the floor plans.
INSERT - MONITOR
Floor plans appear on the monitor, various colors at
various points.
K.I.T.T.
For your convenience, all entrances
and exits are outlined in green.
BACK TO MICHAEL
MICHAEL
What are the red dots?
K.I.T.T.
Security installations.
EXT. STREET - DAY - STOCK
The Trans Am passes.
MICHAEL'S VOICE
All right, let's review 'em one by
one.
EXT. CITY MOTEL - DAY
The Trans Am pulls into the parking area. One of the motel
doors opens and Nicole comes out, cautious. She looks
around, approaches the car with her Sportsac.
ANGLE AT TRANS AM
Nicole reaches Michael, behind the wheel. Ad-lib hellos,
strained. She reaches into the Sportsac, hands him a tiny
Minox camera.
NICOLE
This is it.
MICHAEL
(takes it)
What are the pictures of?
NICOLE
The inside of his safe. He keeps
records of every transaction he makes
-- names, times, places...he'd do
twenty years behind what's in that
camera.
Michael inhales, remembering what Devon said. A pause. He
glances at his watch.
MICHAEL
Meet here afterwards?
NICOLE
I'll be waiting.
Michael nods, starts the engine.
NICOLE
I'm...sorry about yesterday. My
father and I....
MICHAEL
One thing puzzled me. You said
something about him confusing you
with Darlene. Who's Darlene?
NICOLE
My mother. She left him when I was
about Natalie's age. He never forgave
her. Or me.
(beat)
Good luck.
Michael nods. She leans in, impulsively kisses him quickly
on the mouth and leaves. The Trans Am pulls out.
EXT. HILLSIDE ROAD - DAY - STOCK
The Trans Am climbs up a narrow road, winding higher and
higher into the hills.
K.I.T.T.'S VOICE
Shall we review again, Michael?
MICHAEL'S VOICE
I think I've reviewed about as much
as I can, Kitt. From here on its
just you and me, pal.
EXT. MOUNTAINTOP HOUSE - DAY
The Trans Am turns off the narrow street onto a private
road, stops at an imposing iron gate. He presses a talk
box.
MALE VOICE
Yeah?
MICHAEL
Michael Knight. Harold T. Turner's
expecting me.
No reply, but the iron gates swing open. The Trans Am
drives through and the gates close.
EXT. MOUNTAINTOP HOUSE - DAY
A circular drive swings past an ornate fountain and pool,
continues to the main entrance and then circles back.
Several expensive late-model cars are parked near the
front, including the white Cadillac we saw take Natalie. Also
several chopped Harleys. The Trans Am circles in and
parks. Michael climbs out, pauses at K.I.T.T.'s hood.
MICHAEL
No naps.
K.I.T.T.'S VOICE
Perish the thought.
The scanner flashes, ready. Michael smiles, starts toward
the entrance. It's strangely quiet.
MOVING SHOT
Michael hears his heart pumping in his ears. The silence
is penetrating.
ANGLE AT FRONT DOOR
He reaches it, rings the bell. Footsteps, heavy. The door
opens, revealing a mountainous man in Levis and an open
snakeskin vest. It's Tiny. He stares at Michael with a
particular hatred.
TINY
I'll be damned.
MICHAEL
What.
TINY
You showed up.
Michael doesn't like it. He can almost feel the hatred
emanating from Tiny. He pats Michael down.
INT. LIVING ROOM - DAY
As Tiny enters, Michael behind him, we see the full room,
the pool table, a beautiful view with a sloping backyard
outside. Ferris is there idly shooting balls. At the
rolltop desk is Harold T. Turner. He gets up, moves to
where Michael stands.
HAROLD T.
Tiny didn't think you'd show up. He
said nobody's that stupid.
He smiles, eyes like nails.
MICHAEL
(eyes on
Harold T.)
Sorry to let you down, Tiny.
Tiny doesn't like the reply, grabs a pool cue and comes at
Michael swinging, Ferris yelling, grabbing him from behind.
Harold T. grabs him from the front and together they hold
him back. Michael stands his ground.
HAROLD T.
You gotta understand Tiny -- one of
his brothers got wasted the other
night up in Long Pine. He's been
real jumpy ever since....
Michael has a sinking feeling; they know.
ANGLE IN K.I.T.T.
All systems are on alert.
MICHAEL'S VOICE
Sorry to hear that.
ANGLE IN HOUSE
Harold T. walks with Tiny to a glass door outside. A few
MOS words between them and Tiny goes out. Harold turns to
look at him.
HAROLD T.
How long you known my wife?
MICHAEL
(beat)
I know someone named Nicole. What
she is or isn't to you is none of my
concern.
HAROLD T.
Where's the camera?
MICHAEL
Where's Natalie?
HAROLD T.
(holds out
his hand)
Outside. Tiny's watching her. He's
real good with kids....
The hand stays out. Michael decides it would be useless to
risk a confrontation now. He reaches into his jacket, hands
Harold T. the Minox. He hands it to Ferris, who promptly
disappears into another room.
HAROLD T.
He'll find out if what Nicole said
is on the film. Anybody can buy a
camera.
(beat)
Won't take long. You want a beer?
MICHAEL
No thanks.
HAROLD T.
(opens a beer)
How long you known my wife?
MICHAEL
(beat)
Not long.
EXT. BACKYARD - DAY
incongruous in this setting is a brand new swing set, super
deluxe. Natalie swings while Tiny reads her a story, slowly.
Camera pans to a nearby hill and slowly zooms in: A figure
appears in the undergrowth. It's Nicole. She carries a
pair of binoculars and a .32 in her belt. She pauses, looks
through the binoculars.
OMITTED
HER POINT OF VIEW - TINY AND NATALIE
As before, Natalie swinging and asking questions Tiny can't
answer.
ANGLE ON MICHAEL AND HAROLD T.
Michael waits. Harold T. drinks his beer, eyes never
leaving Michael.
ANGLE ON K.I.T.T.
His scanner flashes.
ANGLE IN HOUSE - MICHAEL AND HAROLD T.
They turn as Ferris comes out with a wet contact sheet. He
shows it to Harold T.
FERRIS
She did it.
HAROLD T.
She surely did.
He looks from the sheet to Michael.
HAROLD T.
One thing about Nicole, she's been
bad news for every man she's ever
known....
He takes a .357 Magnum from a drawer, points it at Michael.
HAROLD T.
What made you think you'd be
different?
FADE OUT
END OF ACT TWO
ACT THREE
FADE IN
INT. HOUSE - DAY
Harold T. has the Magnum trained on Michael.
MICHAEL
I'm unarmed. Do I get Natalie or not?
HAROLD T.
You get what you deserve. You think
Nicole deserves Natalie?
MICHAEL
You made a deal. She trusted you.
HAROLD T.
The woman is my wife, cowboy --
She's sleeping in my bed when I'm
there and when I'm not she's into
my safe with a camera!
(beat)
Don't talk to me about trust.
(to Ferris)
Go tell Tiny we'll be back directly.
(to Michael)
After you take me to Nicole, we'll all
come back here and watch you tell Tiny
how sorry you are you wasted his brother.
EXT. HOUSE - DAY
The front door opens and Michael comes out, followed by
Harold T. and Ferris.
ANGLE IN BACKYARD
Tiny and Natalie are playing ball. Natalie throws it past him.
Tiny mumbles under his breath, goes to the fence to get it,
reacts.
REVERSE ANGLE
Nicole is holding the .32 on him.
NICOLE
Don't yell. I don't want to hurt
you....
NATALIE'S VOICE
Mommy!
ANOTHER ANGLE
Natalie runs up to the fence.
NICOLE
Hi, baby. Just be quiet for a
minute, okay? Tiny, get the ladder.
TINY
I've never seen a woman get herself
into so much trouble so fast.
NICOLE
Get it.
ANGLE IN FRONT OF HOUSE
Michael and Ferris climb into K.I.T.T. Ferris reacts.
FERRIS
What the hell kind of car is this?
MICHAEL
It's full of surprises.
ANGLE IN BACKYARD
Natalie is climbing up the ladder.
NICOLE
That's it, honey...you're such a big
girl....
Natalie is at the top. One eye on Tiny, Nicole stands on a
rock and reaches up, reassuring her. When Natalie is on the
ground, Nicole faces Tiny again.
NICOLE
Throw the ladder over.
ANGLE IN FRONT
The Trans Am and the Cadillac slowly pull out, the Cadillac
in the lead. They circle past the pool.
ANGLE IN TRANS AM
Michael driving, Ferris with the .38 on him.
MICHAEL
How about some music?
FERRIS
You're a condemned man. You want
music, go ahead.
INSERT - CONTROL PANEL
Michael presses the Eject button.
ANGLE ON TRANS AM
The sunroof pops open and Ferris flies out, arms flailing.
He lands in the pool.
ANGLE ON HAROLD T.
He looks back, slams on his brakes, just where the circular
driveway returns to the main driveway out.
ANGLE ON K.I.T.T.
Michael backs up, turns, swings around the opposite way.
Harold T. jumps out of the Cadillac and fires at the
Trans Am with his Magnum. Tiny appears from the house,
also fires.
ANGLE FROM CADILLAC
as K.I.T.T. accelerates, headed directly for it. Harold T.
empties the Magnum and dives out of the way.
INSERT - TURBO BOOST
Michael presses it.
WIDER ANGLE - THE TRANS AM
flies over the Cadillac. Harold T. watches, incredulous.
OMITTED
ANGLE AT ELECTRIC GATE
The Trans Am smashes through the gate, leaving spaghetti
bars behind.
OMITTED
EXT. CITY MOTEL - DAY
The Trans Am appears in traffic, turns in fast. Michael
jumps out, hurries to Nicole's room, knocks on the door.
MANAGER'S VOICE
She's gone.
ANGLE TO INCLUDE MANAGER
approaching.
MICHAEL
(reacts)
Gone for a while?
MANAGER
Gone gone. She checked out about an
hour ago.
He's been double-crossed. Betrayed. It sinks in.
MICHAEL
Thanks.
OMITTED
EXT. WEXLEY HOUSE - DAY
The Trans Am pulls up in front. Michael gets out, crosses
to the front door. Rings the bell. Arthur Wexley opens
the door. They regard each other for a moment.
MICHAEL
Is Nicole here?
WEXLEY
What makes you think she'd be here?
MICHAEL
Mr. Wexley, I don't know what's
between you and your daughter, but
we had an agreement. I lived up to
my part, I want to make sure she lives
up to hers.
WEXLEY
(beat)
Come in.
OMITTED
INT. LIVING ROOM - DAY
as they enter.
WEXLEY
Is she in trouble again?
MICHAEL
I don't know.
(beat)
Yeah, I think so. Have you heard
from her? Do you know where she is?
Wexley pauses, faces Michael. In b.g., we can see Thelma
pass from one room to another.
WEXLEY
No.
MICHAEL
No idea where she might go? Who she
might see?
WEXLEY
(shakes
his head)
Nicole's not a girl to leave bridges
intact once she passes over them.
His face changes. He turns, crosses toward the French
doors, away from Michael's eyes.
WEXLEY
Do you understand women? I do not
understand women. I thought loving
a daughter would be easier than loving
a wife. Less apt to fail. I was
wrong. It isn't. And its failure
is no less painful.
MICHAEL
For what it's worth, I don't think
Nicole's across that bridge yet.
Not all the way.
Wexley looks at Michael.
WEXLEY
Why, did she say something? What
did she say?
MICHAEL
She said you'd never forgiven Darlene.
Or her.
WEXLEY
That's not true.
Michael shrugs, suspecting it is.
WEXLEY
In fact, if anything it's the
opposite. I gave her everything,
every opportunity. I wanted her
to know she could be the best.
(beat)
She fought me from the beginning.
From the day she entered school...
Look at her now. Who she married,
how she lives. The terrible waste
her life has become.
Michael debates whether to say anything or not.
MICHAEL
She's struggling. She's not happy.
But she's determined to be a mother
to her child. And she's strong.
(beat)
Who knows, maybe that's enough.
EXT. HOUSE - DAY
The front door opens and Michael comes out.
WEXLEY
Will you call me when you find her?
MICHAEL
I'll tell her you want me to. If
she agrees, I will.
(beat)
If I find her.
He heads for K.I.T.T. Wexley closes the door.
THELMA'S VOICE
Mr. Knight.
ANGLE TO INCLUDE THELMA
She comes over from the garage area.
THELMA
I think you're what you said, a friend.
She needs a friend.
She hands him a slip of paper.
THELMA
She called a while ago. Asked me to
mail the rest of her things there....
MICHAEL
(reading)
Why Spencer, Arizona?
THELMA
(shrugs)
I don't ask any more. All I know is
she's got Natalie with her.
On Michael's reaction:
EXT. FREEWAY - DAY - STOCK
The Trans Am heads out of Los Angeles.
EXT. HIGHWAY - DAY - STOCK
The Trans Am is on U.S. 15 headed toward Barstow, then due
east on U.S. 40 to Arizona.
INT. TRANS AM - DAY
Michael drives with the windows down.
K.I.T.T.
...from the way you describe it, I
get the distinct impression Nicole
used you as a diversion.
MICHAEL
Kind of looks that way, doesn't it.
K.I.T.T.
That's quite unscrupulous.
MICHAEL
(a smile)
Does it shock you, Kitt?
K.I.T.T.
After a year on the road with you,
Michael, nothing shocks me.
(beat)
May I make a suggestion?
MICHAEL
Suggest away.
K.I.T.T.
Since your future may rest on
Nicole's testimony, or lack of it,
may I suggest Pursuit Mode. It will
cut down our travel time considerably.
MICHAEL
Plot me a course off major highways
and we'll do it.
OMITTED
INSERT - MONITOR
An alternate course is plotted.
BACK TO MICHAEL
MICHAEL
Arizona, here we come.
He hits the Pursuit button.
OMITTED
EXT. DESERT ROAD - DAY - STOCK
The Trans Am hurtles down the road.
EXT. SPENCER, ARIZONA - NIGHT
The Trans Am idles through the town.
EXT. THE LITTLE NASHVILLE BAR - NIGHT
The Trans Am pulls in and parks. Country and Western music
inside, pickups and 4-wheel drives outside. Michael goes
in.
INT. THE LITTLE NASHVILLE BAR - NIGHT
The "in" spot in Spencer, The Little Nashville Bar is
crowded and noisy, a small dance floor, a smaller stage
where a three-piece band plays country rock.
ANGLE AT BAR
Two pitchers of beer and glasses are put on a tray. We see
the waitress who picks it up is Nicole. Camera pans her to a
table where four men sit. She puts down the beer, collects
money. She notices a new customer at an adjacent table, turns.
NICOLE
Can I help you?
ANOTHER ANGLE
The man is Michael. Nicole looks like she is seeing a
ghost, recovers, starts to leave. Michael grabs her arm.
MICHAEL
Sit down, Nicole.
NICOLE
I'm working. Let go of my arm.
MICHAEL
(eyes on her)
You owe me.
NICOLE
If you're talking about testifying in
Long Pine, I'm sorry. I also owe my
daughter.
She tries to jerk her arm free, but Michael won't release her.
The movement causes a glass to fall. Several people look.
NICOLE
(angry)
Either you let go of my arm or I
scream. You'll have twenty cowboys
on you before you reach the door.
A final look between them and Michael releases her.
NICOLE
I'm sorry.
She hurries away, back to the bar area.
MICHAEL
(comlink)
Kitt, when you see me head for the
door, be there.
INTERCUT - K.I.T.T. - STOCK
Several shots as his scanner activates, then his instrument
panels.
K.I.T.T.
Will you be alone?
MICHAEL'S VOICE
Not if I can help it.
K.I.T.T.
Michael, I hope you know what you're
doing. If I end up in police impound
again I'll be forced to lodge a formal
complaint.
BACK TO BAR
Nicole waits for an order, uncomfortable. Michael appears
behind her.
MICHAEL
Sure I can't change your mind?
NICOLE
(not turning)
Positive.
The bartender is about to put pitchers on her tray.
MICHAEL
(to bartender)
Cancel that order.
Michael grabs Nicole, throws her over his shoulder and
runs for the door. She screams and kicks.
REACTION SHOTS
People stare. Men jump to their feet, stumble over chairs
and spill beer to get at Michael.
EXT. THE LITTLE NASHVILLE BAR - NIGHT
The Trans Am roars up, both doors popping open as the front
door is kicked open and Michael runs out with Nicole. He
throws her into the passenger side and the door closes and
locks immediately. Men pour out of the bar as Michael
dives into the driver's side and hits the gas. Some run
after the Trans Am, some throw beer bottles. Others run
for their trucks.
INT. WEXLEY HOUSE - NIGHT
The doorbell rings. After a moment, Thelma appears from
another room, crosses to the door.
THELMA
Yes?
MAN'S VOICE
Is Mr. Wexley home?
THELMA
No, he's out for the evening. Can I
help you?
MAN'S VOICE
I've got a telegram for him. Can
you sign for it?
THELMA
(suspicious)
Who's it from?
MAN'S VOICE
Somebody named 'Nicole.'
Thelma debates, unlocks the deadbolt and opens the door.
Standing there is Tiny and Ferris. Thelma gasps, tries to
slam the door but Tiny pushes in and grabs her.
OMITTED
FADE OUT
END OF ACT THREE
ACT FOUR
FADE IN
EXT. ROOMING HOUSE - NIGHT
Michael and Nicole approach the Trans Am, Michael carrying
a suitcase, Nicole with Natalie in her arms. Michael puts
the suitcase in back and Nicole puts Natalie inside. They
go back inside for the rest.
ANGLE IN K.I.T.T.
Natalie looks at K.I.T.T.'s dash in wonderment. She stares
at the monitor screens.
NATALIE
You have such big eyes....
INTERCUT MONITOR SCREENS
They seem to stare back at her. K.I.T.T. decides to have a
little fun. He materializes big eyeballs, one on each
screen.
NATALIE
They are eyes!
The one on the left winks, then both fade.
NATALIE
What else can you do?
INTERCUT SCANNING LIGHT
A red line arcs across the dash. Natalie is spellbound.
K.I.T.T. decides to go all out, activates all systems.
It's a dazzling array of lights and sound.
NATALIE
Wow...my mom's car won't do any of
this stuff. What else? Can you
talk?
K.I.T.T.
Natalie, you know cars can't talk.
NATALIE
Some cars do. They say 'Please
close the door' and...you talked!
Silence from K.I.T.T.
NATALIE
Didn't you?
(decides)
You did. What's your name?
K.I.T.T.
Kitt. It's short for 'Knight Industries
Two-Thousand.'
NATALIE
Wait til I tell my mom.
(looks)
Here they come!
K.I.T.T.
Natalie, lets keep it a secret.
NATALIE
Why?
K.I.T.T.
Just for fun.
NATALIE
That's no fun.
K.I.T.T.
Try it. Just for me.
ANOTHER ANGLE
Michael and Nicole put the last of her luggage in, climb
in themselves.
NATALIE
Guess what?
NICOLE
(distracted)
What, honey?
NATALIE
I know a secret.
NICOLE
Good. Wouldn't you be more
comfortable in back?
Disappointed, she climbs in back. Michael starts the car.
Natalie looks at K.I.T.T.'s dash.
NATALIE
See -- It's no fun.
NICOLE
What?
NATALIE
I was talking to the car.
WIDE ANGLE
The Trans Am pulls away from the rooming house, heads
toward the highway.
EXT. HIGHWAY - DAY - STOCK
As the sun rises in the east, K.I.T.T. heads west.
EXT. THE LITTLE NASHVILLE BAR - DAY
A biker on a chopped Harley pulls in front of the bar,
dismounts. His name is Donny and he's a member of the
Arizona chapter of the "Satan's Stompers." He goes in.
INT. THE LITTLE NASHVILLE BAR - DAY
The Bartender is attempting to fix a broken chair from last
night, one of several. Donny comes up to him.
BARTENDER
We're not open.
DONNY
You got a girl named Nicole working
here?
BARTENDER
Did. Why?
DONNY
I'm looking for her. That's why.
Where'd she go?
BARTENDER
That's a good question. Some guy in
a Trans Am came in last night and
hauled her off. Cost me two busted
chairs, eight glasses and three pitchers
of beer.
INT. HAROLD T.'S HOUSE - DAY
The phone rings. Harold T. picks it up. Tiny and Ferris
watch.
HAROLD T.
(into phone)
Hello.
OMITTED
INTERCUT - DONNY
He's at a pay phone outside the bar.
DONNY
(into phone)
She was here last night until some guy
in a black Trans Am bagged her and
took off.
FEATURE HAROLD T.
on the phone.
HAROLD T.
(into phone)
All right, Donny...yeah...Listen,
you tell Dirty Bob I'll be down for
some dove shooting one of these days
soon....
He hangs up, looks at Tiny and Ferris.
HAROLD T.
Knight's got her. From the way he
took her, he wants her real bad.
TINY
You think he's taking her to Long
Pine for the deposition?
HAROLD T.
I think he's gonna try.
EXT. DESERT HIGHWAY - DAY - STOCK
The Trans Am passes.
INT. TRANS AM - DAY
Michael drives, Nicole looks out the side window, remote,
troubled. Natalie sleeps in back.
NICOLE
Whether you believe it or not, I
didn't double-cross you.
(looks at him)
I didn't know he'd go back on his
word. Believe it or not, Harold
takes great pride in honoring his
word.
MICHAEL
You didn't know it, but you were
around back with a .32 just in case.
NICOLE
I wanted my baby. I don't apologize
for that to you or anyone else.
A silent moment passes.
MICHAEL
Your dad and I had a talk when I
went by.
She doesn't respond.
MICHAEL
I think he's tired of the fight.
NICOLE
You don't know him like I do.
MICHAEL
Maybe that's an advantage.
She looks across at him.
NICOLE
What's that supposed to mean?
MICHAEL
Maybe I can see things in him you
can't.
NICOLE
I can't imagine what.
MICHAEL
He loves you, Nicole. He loves you
so much its eating him up.
NICOLE
If it's eating him up, how come I'm
the one who walks away feeling like
I've been run over by a lawnmower?
She looks at him with hard eyes, defiant, but her face gives
way to another feeling, softer, and her face colors.
NICOLE
I used to love him so much. I don't
ever want to love someone that much
again....
MICHAEL
I think that's how he felt when your
mother left. If you don't like what
it did to him, you'll hate what it'll
do to you.
EXT. HIGHWAY - DAY - STOCK
Several shots as the Trans Am moves from desert terrain to
the wooded mountains approaching Long Pine.
OMITTED
EXT. TWO-LANE HIGHWAY - DAY
The Trans Am appears, slows to a stop because of county
maintenance signs blocking the road. One reads "ROAD
CLOSED DUE TO SLIDE" and another "TAKE ALTERNATE ROUTE"
with an arrow pointing to a small road. The Trans Am takes
the one-lane road, a nearby sign proclaiming "AUTHENTIC
WESTERN MOVIE SET" -- CALAMITY, CALIFORNIA -- 2 MILES!"
Camera pans the Trans Am until it disappears, then pans to
the closed road, a four-wheel drive appearing. A scruffy
biker gets out, moves the signs from the main road to the
road to Calamity, in effect sealing it off.
OMITTED
EXT. NARROW ROAD - DAY
The Trans Am drives by a sign which says "AUTHENTIC WESTERN
MOVIE SET 100 YARDS AHEAD!"
EXT. CALAMITY - DAY
Pan the street of false fronts, past the one functioning
store in town, to the Trans Am as it comes down the street.
MICHAEL'S VOICE
Any requests?
NATALIE'S VOICE
Ice cream!
MICHAEL'S VOICE
One ice cream, coming up.
The Trans Am pulls to a stop in front of the store.
NATALIE'S VOICE
Two.
MICHAEL'S VOICE
Now wait a minute.
Michael and Nicole get out of the car, Nicole laughing. They
go into the store. She's beginning to move differently,
lighter.
OMITTED
INT. STORE - DAY
It's small, sparsely stocked. As they enter a bell rings
overhead.
CLERK'S VOICE
(from rear)
Be with you in a minute.
MICHAEL
What can I get you?
NICOLE
How about a New York steak medium-
rare, baked potato and a good bottle
of wine?
MICHAEL
(laughs)
I'll see what I can do.
ANGLE IN K.I.T.T.
Natalie is staring at the monitor screens. She sticks out her
tongue.
K.I.T.T.
My, what large tonsils you have.
NATALIE
I don't think you're very funny.
K.I.T.T.
Natalie, are you mad at me?
NATALIE
Yes. Can't you tell?
K.I.T.T.
I most certainly can. Will you tell
me why?
NATALIE
You wouldn't talk, and it wasn't any
fun keeping it a secret.
K.I.T.T.
I'm sorry, Natalie, I try not to talk
in front of adults. Sometimes they
don't understand.
NATALIE
I understand, don't I?
K.I.T.T.
From the moment we met.
K.I.T.T.'s scanner alarm sounds.
INSERT MONITOR
Tiny hides behind a building. Camera moves to the second
monitor, which reveals another biker in hiding. K.I.T.T.
beeps Michael.
INTERCUT - MICHAEL IN STORE
MICHAEL
(comlink)
Yeah, Kitt.
K.I.T.T.
There are men with guns hidden
outside, Michael.
Michael reacts, looks at the Clerk, who is coming in from
the back. It's James Ferris.
MICHAEL
(comlink)
Kitt, Devon's waiting in Long Pine!
Take Natalie to him!
FERRIS
Howdy, folks.
He has a pistol on them.
ANGLE ON K.I.T.T.
He self-activates, goes into reverse, tires spinning.
ANGLE IN STORE
Ferris reacts. So does Nicole.
NICOLE
Natalie!
Ferris fires at the Trans Am outside and Michael capitalizes
on the diversion, throws a stand of post cards at him and
lunges.
ANGLE IN STREET
As the Trans Am accelerates, leaving, four men appear at
various points, firing at the car as it passes.
HAROLD T.'S VOICE
Don't hit Natalie!
Bullets ricochet off the wheels and fenders. The men stare
as K.I.T.T. speeds away.
TINY
What the hell kind of car is that?
ANGLE IN STORE
Michael and Ferris struggle for the gun. Michael stuns him
with a punch and grabs the gun.
NICOLE
(distraught)
What happened to your car? Where's
Natalie?!
MICHAEL
It's okay, she's safe. I'll
explain it when I can. C'mon.
He grabs her hand and they run.
OMITTED
EXT. TWO-LANE HIGHWAY - DAY
The driverless Trans Am flashes by.
INT. K.I.T.T. - DAY
Natalie sits alone, her mouth open as scenery passes outside.
K.I.T.T.
Having fun?
NATALIE
I don't know. Where are we going?
K.I.T.T.
To meet a friend in Long Pine. It's
nothing to be concerned about. I
have just the thing to help you relax.
A Brahms symphony fills the air. Natalie sticks out her
tongue.
K.I.T.T.
Perhaps not.
EXT. MOVIE SET - MAIN STREET - DAY
deserted. Then, at the far end, we see Tiny run from one
old building to the next, a pistol in his hand.
ANGLE BEHIND LIVERY
Michael and Nicole appear. Michael is halfway to the front
door when a shot rings out. He dives back in, grabs Nicole's
hand and they run out the back way toward the next building.
ANGLE ON HAROLD T.
He is edged along an old building. He motions off with his
hand.
ANGLE - ACROSS STREET
A biker, Terrance, points down the street, indicating the
direction Michael and Nicole went.
ANOTHER ANGLE
Harold T. runs across the street to where Terrance is. He
carries a sawed-off shotgun. They split up, Harold T.
going around back, Terrance cautiously along the front of
rundown stores.
ANGLE ON MICHAEL
Peering out a dirty broken window, he raises the gun and
carefully aims. Fires.
ANGLE ON TERRANCE
He dives into the nearest window, missed by inches.
ANGLE ON MICHAEL AND NICOLE
She comes up behind him.
NICOLE
Did you hit him?
Michael shakes his head, counts the bullets.
MICHAEL
Just tried to give him a message.
(beat)
Five bullets, four of them. We've
only got one message left.
ANGLE ON TINY
He edges around a building, peers ahead, silently continues.
ANGLE ON HAROLD T.
He moves cautiously forward.
ANGLE ON TERRANCE
He appears from inside a building, starts out. Michael steps
from nowhere and crowns him with an old bandana filled with
rocks.
OMITTED
ANGLE ON HAROLD T.
He pauses to listen.
ANGLE ON TINY
He pauses to listen.
ANGLE ON TERRANCE
He falls against the building, making noise.
OMITTED
INTERCUT - HAROLD T.
He reacts to the sound.
HAROLD T.
Tiny?
INTERCUT - TINY
The next building over.
TINY
Yeah?
HAROLD T.
Get the car. I know where they are.
Harold T. looks across the street, aims.
OMITTED
ANGLE ON MICHAEL AND NICOLE
A bullet crashes through an old window, narrowly missing
Nicole. Michael grabs her and pulls her down.
MICHAEL
He's got us pinned down.
NICOLE
What's wrong?
MICHAEL
There's nowhere left to run. We're
in the last store.
They hear the sound of a car. Michael finds another
window, cautiously looks.
HIS POINT OF VIEW - UP THE STREET
at the far end of town, is the white Cadillac, Tiny at the
wheel.
HAROLD T.'S VOICE
(hollars)
They're in the last store. Drive the
car right into it!
NICOLE
Michael, what are we going to do?
The sound of the Cadillac approaching.
INTERCUT - CADILLAC
It starts down the street.
INTERCUT - HAROLD T.
He waits, poised, shotgun ready.
MICHAEL AND NICOLE
Michael takes her hand, ready to sprint and take the chance
when he hears a familiar sound: K.I.T.T.'s turbos.
ANGLE ON HAROLD T.
K.I.T.T. crashes through the building, airborne, bringing
a rain of boards and debris on Harold T. He collapses,
half-buried.
ANGLE ON STREET
K.I.T.T. lands, brakes to a stop. His turbos snarl.
REVERSE ANGLE
The white Cad faces him. Tiny guns the engine, drops it in
drive. K.I.T.T. shoots forward.
DIFFERENT ANGLES
The cars come closer, closer....
INTERCUT - MICHAEL AND NICOLE
They watch.
THE TWO CARS
At the last moment, Tiny swerves the wheel. The Cadillac
crashes to a stop, Tiny slumped behind the wheel.
ANGLE ON STORE
Michael and Nicole come running out, toward K.I.T.T.
HAROLD T.'S VOICE
Knight!
ANOTHER ANGLE
Harold T. comes out of the debris like an apparition. He
charges Michael in a fury.
SEVERAL ANGLES - THE FIGHT
They stand in the middle of the street, trading punches,
and it could be a hundred years ago. They both land hard
punches, but Michael lands a combination that staggers
Harold T. Then one good right puts him down. Michael
gasps, gets his air.
MICHAEL
(to K.I.T.T.)
How's Natalie?
K.I.T.T.
Safe and sound with Devon in Long Pine.
NICOLE
(stares)
The car...talks?
MICHAEL
The car talks. I'd explain it, but
it's kind of like your relationship
with your father. Very complicated.
NICOLE
But not impossible.
MICHAEL
(smiles)
No, not impossible. Hey, hitchhiker.
Want a lift?
She laughs. Michael holds out his hand.
LOW ANGLE
She takes his hand and they walk away from camera, toward
K.I.T.T.
K.I.T.T.
I certainly hope this means no more
police impound for a while, Michael.
FADE OUT
END OF ACT FOUR
TAG
FADE IN
EXT. WEXLEY HOUSE - DAY
K.I.T.T. is parked in front along with Devon's car. The
front door opens and Natalie leads Bonnie and Devon out.
NATALIE
...and it drives by itself and it
talks.
DEVON
A car that talks?
BONNIE
And drives by itself? That's pretty
hard to believe.
NATALIE
He doesn't like to talk in front of
adults, but maybe he will for me.
They laugh, follow her to K.I.T.T. Michael, Nicole and
Wexley come out, pause in front.
MICHAEL
If I never see Long Pine again,
it'll be too soon. Thanks for your
help.
NICOLE
I'm sorry I made you work so hard to
get it.
MICHAEL
You had other things on your mind.
They smile.
MICHAEL
The last time I saw you two together
here I felt like a referee in a
street fight.
They laugh, glance at each other.
WEXLEY
She's too tough for me. I quit.
NICOLE
Me, too.
(to Michael)
Does that mean we lose a good
referee?
Michael smiles. She puts her arms around him and hugs him
tightly.
ANGLE FROM K.I.T.T.
Natalie is with Devon and Bonnie as Michael comes over.
NATALIE
Come on, Kitt, say something.
Please?
BONNIE
Maybe he's not smart enough to talk.
DEVON
Yes, perhaps that's the problem.
Pity.
Michael climbs in, starts the engine. Devon and Bonnie
ad-lib good-bye to Natalie, start toward Devon's car.
K.I.T.T.
Good-bye, Natalie.
NATALIE
He talked!
Devon and Bonnie ad-lib exclamations. From Natalie's happy
face:
LONG SHOT
The Trans Am pulls out, heading into camera.
FADE OUT
THE END
