ACT ONE
FADE IN
EXT. HOTEL MAXMILLIAN - DAY
The chrome and glass cylinders of a space-age hotel rise
toward the sky and rock music thunders out.
CLOSE ON A/C FOOTING
as a climbing rope is looped around the steel support of
the air conditioning unit on the roof and ties securely.
ON THE ROOF OF THE HOTEL - DAY
as Julie Rogers, attractive, petite, blonde, tugs on the
rope testing the knots, then crosses to the parapet paying
out a coil of rope. She wears a jump suit, sports shoes
and small backpack. She tosses the rope over the side;
pauses thoughtfully for a beat, then climbs over the
parapet.
ON THE FACADE OF THE HOTEL - VARIOUS SHOTS
as Julie expertly repels her way (about six stories) down
the steel and glass facade on the rope to:
A BALCONY
as Julie comes down on the rope and lands. She immediately
slips out of the backpack, removes a pair of dressy heels
from it and sets them aside. Then, she unzips the jump
suit revealing dressy clothes beneath. As she continues to
change, we go to:
INT. "TO THE MAX" DISCO - DAY
A chic, elegant dance spot. Banner's proclaim GRAND
OPENING. Beautiful bodies in high-style clothes are
gyrating to a live band. Camera follows Samantha, twenty,
sexy, dark hair flowing as she moves through the dancers,
passing Bonnie who's dancing with handsome, well-dressed
Matt Erickson.
OMITTED
BALCONY DOORS
as Samantha arrives; casually leans her back against them
appearing to be into the music. She reaches behind her and
undoes the latch. The door pops open and Julie slips
inside joining her -- dressed for the occasion.
SAMANTHA
Good, Julie. Right on the money.
Ready?
Julie nods nervously. Samantha picks up her uncertainty.
SAMANTHA
You better be. That's him. Brooks
Brothers.
Julie follows Samantha's nod to:
BONNIE AND MATT
dancing.
BONNIE
This place is so different from
Foundation headquarters, Matt. Hard
to believe they were both designed by
the same architect.
A female hand snakes over Matt's shoulder. He turns and
sees it belongs to Samantha.
SAMANTHA
Not if you're as talented as Matt
Erickson.
MATT
(brightening)
Hey, thanks. Have we met?
SAMANTHA
(nods; sexy smile)
But we haven't danced. I'm Samantha.
As they dance off, Michael arrives and joins Bonnie.
MICHAEL
Hi there, Green Eyes ---
BONNIE
You kidding? Me? Jealous of my
friend in his hour of glory?
(beat)
She is kinda cute....
MICHAEL
Sure, but can she reprogram a range-
finder?
He winces from an elbow in the ribs.
ON THE DANCE FLOOR - MATT AND SAMANTHA
dance close, eyes locked. The song ends, she whispers
something to him; smiles, heads off past ---
JULIE
standing near the exit, fidgeting, frightened. As Samantha
passes, she slips something we don't see to Julie.
MICHAEL AND BONNIE
are rejoined by Matt, who's feeling his pockets for his
keys; reacts to Michael having arrived.
MATT
Well, the Lone Eagle of the highway
finally made it.
MICHAEL
He landed hours ago. You've just
been too busy to notice.
MATT
Hey, when you're hot, you're hot.
Samantha's freshening up. Why don't
the four of us ---
Matt pauses; is now patting all his pockets.
BONNIE
Lose something?
MATT
Yeah, my keys...
(beat;
freezes)
My wallet, too!
MICHAEL
That girl! Bonnie, check the ladies'
room. I'll cover the door.
As Michael heads for the entrance/exit to the room, he
discreetly raises his comlink.
MICHAEL
Kitt, look for a pretty lady, dark
hair, leaving in a hurry.
EXT. HOTEL PARKING LOT - DAY - K.I.T.T.
is parked in a tight space, amid other cars.
K.I.T.T.
Did the 'Lone Eagle' strike out
again.
MICHAEL
Very funny. She's a pickpocket.
Keep your scanners peeled.
K.I.T.T.'s scanner pulses faster.
BALCONY - JULIE
zips her jump suit and goes over the side on the rope.
OMITTED
EXT. HOTEL - DAY - VARIOUS SHOTS - JULIE
is ten stories in the air, rappelling down the rope, bouncing
off the chrome and glass cylinder with a practiced flair.
She hits the ground running.
ANOTHER ANGLE - INCLUDE K.I.T.T.
as Julie dashes to a red sedan parked nearby, guns it and
rockets out of the parking lot at high speed.
K.I.T.T.
Michael, someone just made a very
unconventional exit.
INTERCUT - K.I.T.T.'S DASH/MICHAEL IN DISCO
Michael tenses, responds to comlink as the others react.
MICHAEL
Which door, pal?
K.I.T.T.
None. She came out a window.
MICHAEL
We're on the twelfth floor, buddy.
K.I.T.T.
I told you it was unconventional.
MICHAEL
Track her and pick me up.
EXT. HOTEL - FRONT ENTRANCE - DAY - K.I.T.T.
screeches up as Michael emerges from the lobby.
INSIDE K.I.T.T.
as Michael dives behind the wheel and starts the engine.
K.I.T.T.
She's out of scanner range, Michael.
In a red sedan heading ---
MICHAEL
(finishing)
North on Piedmont or east on Wheeler.
K.I.T.T.
North on Piedmont. How could you
predict it so quickly?
MICHAEL
Matt lives on Wheeler. His office
is on Piedmont. Had to be one or
the other ---
K.I.T.T.
I don't understand, Michael?
MICHAEL
Safest scam in the book -- Rip 'em off
while they're out having a good time
and they won't show up and catch you
in the act.
(beat)
Let's show this gal just how wrong
she can be. Super Pursuit Mode, pal.
Michael hits some buttons on his console.
K.I.T.T.
transforms into pursuit mode; nose elongating, spoilers
deploying, etc., and speeds off into the night.
CUT TO
EXT. ARCHITECT'S OFFICE - DAY
Amid a Century Plaza-type complex. We move in to find a
sign reading "Matt Erickson A.I.A."
INT. MATT'S INNER OFFICE - DAY - JULIE
opens the door with Matt's keys, slips inside. Then
crosses to and unlocks a drawing file; rifles it until
she finds the set of plans she's seeking. She lays it
out on the desk and produces a compact 35mm camera from
her purse. She starts snapping pictures of ---
BLUEPRINTS - CAMERA MATTE
Complicated architectural drawings, which we recognize as
the distinctive Hotel Maxmillian.
CUT TO
EXT. ARCHITECT'S OFFICE - DAY
K.I.T.T. pulls into a parking space behind the red sedan.
K.I.T.T.
That's the sedan. Shall I check the
license plates?
MICHAEL
No, I know that car. It's Matt's.
Keep your scanners peeled.
Michael gets out and crosses toward the offices.
INT. OFFICE - DAY - MICHAEL
slips in through the open door.
MICHAEL
I know you're in here, lady.
INTERCUT - JULIE
concealed behind a desk. She grabs a book from a nearby
shelf and throws it. The noise makes Michael turn in that
direction.
THE SCENE
As Julie runs behind Michael, leaps a drafting table
in a perfect tuck, hits the floor in a somersault, and is
out the door running. Michael springs after her.
EXT. OFFICE AREA - DAY
Julie hurdles benches and obstacles with extraordinary
grace, yards ahead of Michael. He raises his comlink on
the run.
MICHAEL
She's headed around back, pal!
ON K.I.T.T.
auto-starting, and driving off.
ANGLE IN ALLEY
Julie dives behind some boxes. A second later, Michael
appears followed by K.I.T.T., who screeches to a stop --
the alley dead ends in a ten-foot wall.
K.I.T.T.
Behind those boxes, Michael.
MICHAEL
Pretty fast, lady. But you're
cornered, now. I won't hurt you.
JULIE
For a second, it looks as though she'll give herself up.
Then she bursts from the boxes at a full run. Michael
gapes as she takes one last bounce on the ground, and
uses a dumpster to vault with a twist up and over the wall.
She's vanished. Michael stares stunned.
MICHAEL
She just stopped being predictable.
Michael reacts; crouches to examine something.
OMITTED
INSERT - JULIE'S FOOTPRINT
a distinctive imprint in the soft earth.
MICHAEL
(continuing)
-- but she may be traceable.
He passes his comlink over the footprint.
MICHAEL
Photograph this, pal and run down the
manufacturer or distributor for me.
K.I.T.T.'s scanner pulses in response as Michael crosses.
INSIDE K.I.T.T.
as Michael settles behind the wheel.
K.I.T.T.
Michael, over 100 million sports
shoes are sold every year. It could
take days.
MICHAEL
I know it's a long shot but it's the
only one we've got. Maybe we can
get some help.
CUT TO
EXT. TWO LANE HIGHWAY - DAY
The semi's ramp drops down and K.I.T.T. slides up inside.
INT. SEMI - DAY
Michael crosses out of K.I.T.T. as Bonnie moves in. Devon
is at the computer terminal in b.g.
MICHAEL
How's it going?
BONNIE
I'm updating Kitt's data banks now.
RC3
(sotto)
I don't know why but the man's real
uptight over the scene at the hotel
last night.
DEVON
Very uptight, Reginald. And my
hearing is more acute than you think.
Michael, Bonnie and RC3 trade a look as Devon crosses.
DEVON
I want that incident vigorously
investigated, Michael.
MICHAEL
Devon, I know you personally selected
Matt to design our headquarters, but
I think even he'd be surprised by your
reaction.
DEVON
That's because like you he doesn't
know our Secretary of State is
attending a meeting at the hotel --
a top secret gathering of NATO
Defense Ministers to map out
strategy in space. The conference
starts in just over forty-eight
hours. My concern is ---
MICHAEL
(seeing it now)
Security -- if two young women can
get inside and pull off a simple
scam what could some battle-hardened
pros do to that conference?
DEVON
Precisely -- and how do we know
those women weren't professionals
testing the waters? I suggest you
start with them.
MICHAEL
We already have.
RC3
The lady left a calling card boss.
BONNIE
A footprint. Kitt's been running a
trace on it.
K.I.T.T.
Yes, and I've just identified it as
a training shoe often used by gymnasts.
MICHAEL
Keep at it pal. In the meantime,
I'm going to have a chat with Matt.
Michael moves off, a concerned expression falls across
Devon's face. He hides it when he sees Bonnie looking.
EXT. HIGHWAY - DAY - ON THE SEMI
as K.I.T.T. slides down, out, and away.
CUT TO
EXT. MATT ERICKSON A.I.A. - DAY
We recognize the site from last night. Michael slides up
in K.I.T.T., parks on the street. As Michael heads off ---
A WOMAN
an offbeat type, suddenly appears in the trendiest of
flexitards, headband, pulse watch and Walkman
headset...huffing and puffing her way past K.I.T.T.
K.I.T.T.'S SCANNER
scanning.
K.I.T.T.'S MONITOR
does a diagnostic breakdown: we see a holographic-like
diagram of her body and metabolic information below.
K.I.T.T.
Oh my, what a terrible physical
specimen.
We hear K.I.T.T.'s voice through her headsets.
K.I.T.T.
Madam, forgive me, but you really
should stop.
WOMAN
(gasping for
air)
Half-a-mile and I'm already hallucin-
ating...I'm hearing voices! It's
probably old cupcakes screaming in
my thighs....
K.I.T.T.
This is not cupcakes, this is the
voice of reason. Trust me, for
some, exercise is a spectator sport!
WOMAN
And who's out there doing all the
spectating??? Single Men!
(summoning
up all her
reserves)
This is one small sprint for a
woman; one giant leap towards a cute
lawyer!
Off she goes...not a pretty sight.
K.I.T.T.
I've never seen a happier jogger....
CUT TO
OMITTED
INT. MATT ERICKSON'S OFFICE - DAY
Matt and Michael have given the office a careful check.
MATT
I don't get it, Michael. Nothing's
missing.
MICHAEL
As far as we know ---
(off Matt's
look)
Usually they lift your keys, take
your car, get your address from the
registration and rip off your house.
What was that girl doing here?
MATT
I don't know. They couldn't have
gotten this address from my
registration ---
MICHAEL
That's my point. This is no ordinary
street con, Matt. Those girls were
after something -- something they
knew was here.
Michael glances around the office. Something on Matt's
drafting table catches his eye.
INSERT
plans for the Hotel Maxmillian as Michael examines them.
RESUME THE SCENE
MICHAEL
I thought the architect's work was
over once the building opens for
business.
MATT
Yeah, most of the time it is.
MICHAEL
But the Hotel Maxmillian was different.
MATT
No, I've been working on a new mall
project. I haven't looked at the
hotel for weeks.
MICHAEL
Somebody has.
Matt swings Michael a puzzled look and we:
CUT TO
EXT. HIGHWAY - DAY - K.I.T.T. TRAVELING
INSIDE K.I.T.T. - TRAVELING
MICHAEL
Looks like those girls were after the
plans for the hotel.
K.I.T.T.
Any idea why, Michael?
MICHAEL
Yes, I'd say Devon's concerns about
that defense conference are valid.
Any more on that sport shoe for me?
K.I.T.T.
It was made by Sportique -- their
'Fastop' model. The local distributor
is Aero-Nastics, a fitness center
downtown.
MICHAEL
Sounds like a place where the little
lady who wears 'em might hang out.
Let's jog over there.
Michael tromps on the accelerator and we:
CUT TO
INT. OFFICE - DAY - ON SAMANTHA
SAMANTHA
Don't congratulate her. She almost
blew it.
Widen out to reveal Samantha is in a small, well-kept
office. Julie sits in a chair facing Jason Nelson, thirty,
athletic, handsome, cool, and Christine Briggs, thirty-
eight, vicious, efficient, in charge. Nelson removes the
film cassette from Julie's camera.
NELSON
But she didn't blow it. Did you?
Julie, dressed in jeams and a work shirt, doesn't react.
Nelson runs a hand over her shoulder, massaging ---
NELSON
You used to complain, during workouts
remember? But one more excursion and
they'll pay off for all of us.
A glance passes between Nelson and Briggs, broken by ---
JULIE
(incensed,
betrayed)
Hold it. You said just this once!
You promised that if I ---
BRIGGS
(interrupting)
Shut up! Last night was a test and
you almost failed it. Remember what
I said would happen if you did?!
Want me to keep those promises?!
Julie shakes "no"; shrinks back frightened, cowed.
SAMANTHA
Come on, Julie. You can handle it.
It's your ticket out of here.
JULIE
I don't even belong here and you
know it.
Nelson steps between them; runs one hand over Julie's hair;
the other across Samantha's back. Unseen by Briggs, she
eyes him during ---
NELSON
Ladies, ladies, calm down, please.
This sort of thing has no place on
our team. Now relax. Easy does
it. Okay?
The girls nod and settle. Nelson moves close to Briggs;
puts a finger to her lips for ---
NELSON
See? They're no different than you
are, Christine. They like to be
handled gently, considerately.
(smiles, turns
back to Julie)
Practice at ten as usual, okay?
JULIE
Forget it. I can't do it. I can't
live through another night like that.
BRIGGS
(explodes)
You won't live through tonight if
you don't!
She locks eyes with Julie a long beat, then Julie breaks it
off. Briggs swings the look to Nelson for ---
BRIGGS
Get her out of my sight!
We follow Briggs as she angrily storms off and we:
CUT TO
CLOSE ON JULIE
as she is shoved into frame and whirls to camera. Suddenly
-- a cell door clangs; the bars right across her face. We
pull back to include two uniformed guards, Walsh and Roark,
an especially vile fellow. Julie looks around the cell,
puzzled.
JULIE
Hey? Hey, where's Alice?
ROARK
In a body bag -- started a knife fight
in the shower.
JULIE
What?! She wouldn't do that? She
was getting out next week. She ---
ROARK
Yeah, because she was meeting with
the DA this week.
(smirks
to Walsh)
Inmate violence -- never know who
they'll waste next.
They exchange grins; turn and move off. Julie's face
fills with fear and panic. We hold a beat and then we:
FREEZE FRAME
END OF ACT ONE
ACT TWO
FADE IN
EXT. SMALL SHOPPING MALL - DAY
as K.I.T.T. pulls into the parking lot. The sign above a
storefront -- AERO-NASTICS - FITNESS & GYMNASTIC CENTER.
INT. AERO-NASTICS - DAY
Chrome and mirrors, muscled guys and shapely gals giving
Nautilus machines a workout as we pan across to gymnastic
apparatus and mats where students aged six to twenty
cartwheel, tumble, etc.
ON GYMNASTICS BEAM
as a twelve-year-old girl does an amazing flip on it. Dina
Shelton, nineteen, a lithsome beauty in a leotard, evaluates
the maneuver as Michael observes from behind sunglasses.
In the b.g. is an area where leotards, wristbands, sport
shoes, etc., are displayed and sold.
DINA
Nice -- but the rotation had a big
wobble. Let's go again.
MICHAEL
Sure looked like a 'ten' to me.
DINA
(smiles)
Unfortunately, the judges don't wear
sunglasses. Can I help you?
MICHAEL
Yes, I'm interested in a pair of
Sportique 'Fastops.' Who runs the
concession?
DINA
I do, but we don't carry that brand.
MICHAEL
That'll be news to them.
DINA
(remembering)
Oh, right, we took a half dozen pairs
on trial. Didn't sell real well.
MICHAEL
Because they didn't have you endorse
'em -- I'm Michael, Michael Knight.
DINA
Dina Shelton.
MICHAEL
Dina, it'd be a help if you could
check your records and tell me who
bought those six pairs of Sportiques.
DINA
Nobody. We gave them to Jason --
Jason Nelson. He's one of our
instructors.
MICHAEL
Where can I find him?
DINA
Gainesboro prison --
(off Michael's
look)
He's their sports director. What's
this all about Michael?
MICHAEL
A routine with a high degree of
difficulty.
EXT. GAINESBORO PRISON - DAY - TO ESTABLISH
K.I.T.T. is parked inside the yard.
BRIGGS (V.O.)
Yes, of course I've heard of The
Foundation Mr. Knight.
INT. WARDEN BRIGGS' OFFICE - DAY
Michael is with Briggs.
BRIGGS
(continuing)
Jason's class'll be over in a few
minutes. Why don't you fill me in
while we wait.
MICHAEL
I have reason to believe one of your
inmates may have been involved in a
burglary last night, Warden. Nelson
might be able to help me find her.
BRIGGS
We do our best to rehabilitate our
girls but -- some do fall back into
old habits after they get out. As
for an escapee -- our security
procedures are state of the art.
She turns to a computer on her desk; encodes a few
numbers. Michael watches as the roster of the inmates
scrolls past.
BRIGGS
All present and accounted for. What
gave you the idea anyway?
MICHAEL
A footprint from a shoe I've traced
here.
BRIGGS
We issue footwear to every inmate.
Most take it with them when they
leave. I'm afraid you're looking at
thousands of suspects.
MICHAEL
I've already narrowed it to six.
BRIGGS
(stopped;
concerned)
I see. How does Jason fit in?
MICHAEL
The imprint was from a sports shoe
-- the model he donated to the
prison.
On Briggs' look, we:
CUT TO
INT. EQUIPMENT ROOM - DAY - NELSON
as we widen to include Briggs, Roark and Michael.
NELSON
I gave them to inmates in the
gymnastics program. Who else?
MICHAEL
Then one of them could very well be
the girl I'm looking for.
BRIGGS
I told you I run a tight ship,
Mr. Knight. It has to be someone on
the outside.
NELSON
Yes. Those aren't the only pairs of
Sportiques in existence. I mean --
we also bought two hundred pairs of
sweat sox. Maybe you'd like to know
who's wearing them, too?
MICHAEL
Hey, I know it's a long shot but we
could settle this in a few minutes
with a lineup.
BRIGGS
This is a State facility, Mr. Knight.
The paper work will take months not
minutes to clear. I'll cut through
as much red tape for you as I can.
(to Roark)
Make sure Mr. Knight has no trouble
finding his car.
Roark escorts Michael from the equipment room and we:
CUT TO
EXT. PRISON YARD - DAY
as Michael and Roark exit the building and cross toward
K.I.T.T. in the b.g. Michael reacts O.S. when he sees:
JULIE
as she dashes barefoot down a runway; hits a springboard
that catapults her toward a vaulting horse. She does the
same flip she did to get over the wall in the alley earlier.
RESUME MICHAEL AND ROARK
as Michael turns from him and takes a step in Julie's
direction. Roark grasps Michael's arm to stop him.
ROARK
Hold it, buddy. You heard the
Warden.
Michael nods and moves toward K.I.T.T., discreetly raising
his comlink for ---
MICHAEL
Page Roark to call the Warden's
office, pal.
K.I.T.T.'S DASH CONSOLE
as Enharmonic Synthesizer illuminates.
ROARK'S WALKIE-TALKIE
scratches to life. Widen to include he and Michael, during:
PAGE VOICE
Officer Roark? Officer Roark, call
the Warden's office immediately.
MICHAEL
Sounds like serious business.
Roark hesitates a beat before heading off to a locked
security phone on a wall in the b.g.
ANOTHER ANGLE - JULIE
has just completed another vault as Michael joins her;
gestures to her bare feet.
MICHAEL
Hi, almost didn't recognize you
without your training shoes.
Julie recognizes Michael but covers her reaction.
JULIE
I'm sorry but, I don't think we've
ever met.
MICHAEL
The other night, in the alley; that
vault over the wall -- world class.
JULIE
I'm an inmate here. I don't go
running around alleys at night.
MICHAEL
And an escaped prisoner doesn't come
back for the social life and conti-
nental cuisine: Unless of course you
have an identical twin.
JULIE
Look, whoever you are --
(thinks;
decides)
I've minded my business, done as I
was told and I'm this close to
getting out, alive.
(pleading;
desperate)
Don't screw it up -- please.
MICHAEL
I don't know what'd going on here but
I'm going to find out and you're ---
Michael is interrupted by Roark, who shouts as he and Walsh
hurry across the yard toward them.
ROARK
Knight?! Okay, Knight. I don't know
how this happened but the Warden just
come down on me real hard. First
chance I get I'm doing the same to
you.
MICHAEL
Anytime. Cutting guys like you down
to size is my specialty.
ROARK
(to Walsh
re Julie)
Put her in solitary.
As Walsh roughly escorts Julie toward the building in the
b.g., Michael turns his body away from Roark and brings his
comlink to his mouth for:
MICHAEL
Get a photo of that girl via comlink,
pal.
Michael turns his comlink in Julie's direction a beat before
Roark shoves Michael toward K.I.T.T.
K.I.T.T.'S MONITOR
to see Julie's face with SLR range-finder graphics as
K.I.T.T. snaps her picture.
CUT TO
INT. BRIGGS' OFFICE - DAY
as she whirls to Nelson angrily.
BRIGGS
I don't like this, Jason. He saw
Julie. He knows it was her last
night.
NELSON
Easy does it, Christine. There's no
way he can prove it.
BRIGGS
Yet. Knight isn't the kind that
quits. He'll keep pressing until we
stop him.
NELSON
Time will stop him. We'll be long
gone with all the money we'll ever
need before he figures it out.
(off her look;
reassuring)
We will. That's a promise.
Briggs eases; presses herself against Nelson. He wraps his
arms around her and gently kisses her.
EXT. HIGHWAY - DAY
as K.I.T.T. barrels through a turn.
K.I.T.T.
She's rather cute, isn't she, Michael?
MONITOR - INTERCUT AS NEEDED
to see the photo K.I.T.T. took of Julie.
MICHAEL
Cute and desperate, pal. Let's find
out who she is.
A high-speed data search rolls across the monitor.
K.I.T.T.
Her name is Julie Rogers, she's just
seventeen. Two years ago she was a
highly promising member of the
National Gymnastics Team that went
to the Pan Am Games.
MICHAEL
Pan Am Games -- something happened
when that team came back into the
country. Am I right?
K.I.T.T.
Yes. One of the athletes was caught
smuggling hard drugs through Customs.
Her name was ---
MICHAEL/K.I.T.T.
(together)
-- Julie Rogers.
MICHAEL
And I'll bet the Foundation her coach
was Jason Nelson.
K.I.T.T.
Shall I check that, Michael?
MICHAEL
No, look into Warden Briggs. I've
got someone to talk to about Nelson.
K.I.T.T.
Somehow I just knew you were going
to say that.
INT. AERO-NASTICS GYM - DAY - CLOSE ON DINA SHELTON
practicing her own routine on the bar; does a flip, then
balances as she responds to Michael's request for info.
DINA
Nelson? Sure, tell you whatever I
can. Give me a minute to finish
and ---
Dina does a spectacular flip off the bar and lands on her
feet face to face with Michael.
DINA
(continuing;
flirtatiously)
-- I'll be free the rest of the day.
She cartwheels across the mat away from Michael.
MICHAEL
(to himself)
Unfortunately, I'm not ---
On Michael's look we:
CUT TO
EXT. AERO-NASTICS PARKING LOT - DAY
Here comes our woman jogger. Remember Gabrielle Anderson-
Scheiss in the Olympics? This is worse. She runs an
exhausted, out-of-control serpentine path towards the gym.
K.I.T.T.
And they say there are no more
miracles left. Come on baby, you
can do it!
WOMAN
No...it's over...fat wins...pain
wins...
(sniffing)
Everything smells like fondue!
K.I.T.T. simulates the sounds of a cheering crowd and
inspirational music.
K.I.T.T.
Nonsense! You've only run 1.2
miles! What about your men?
WOMAN
I'll become a nun! Black is
slenderizing!
ANOTHER ANGLE
Just as she hobbles to the door, a young Man comes out...
and they collide. He tries to help her up.
MAN
Gee, I'm so sorry.
WOMAN
That's okay. It hurt more to run.
MAN
Hey, if you want to sue me, that's
perfectly fine...
(smiling)
I'm a lawyer....
CLOSE ON HER FACE
Bingo. She casually takes off her headsets...and drops
them into the garbage pail...as they go hand in hand into
the building.
K.I.T.T.
How deeply moving. Someday it'll be
my turn...'Kitt and the freeway of
love....'
OMITTED
RESUME MICHAEL AND DINA
They're having a drink at the gym juice bar.
DINA
Nelson's a very talented guy. AAU
champion; a Gold at the Nationals.
Coached me for a while, too. But
Julie was his shot at coaching the
Olympic team.
MICHAEL
Then Julie was arrested and that was
the end of it. Nelson must have
been devastated.
DINA
No, he blew it himself before that.
Got caught pushing performance drugs
on his athletes and was suspended.
MICHAEL
I don't get it. He was at the Pan
Am Games with Julie.
DINA
The charges were dropped and he was
reinstated. Something 'happened' to
the witness against him.
MICHAEL
Things 'happen' to witnesses who
testify against the mob not gymnastics
coaches.
DINA
Don't judge him too harshly, okay?
I mean he's been really great to
Julie. He used his connections to
get her transferred to Gainesboro.
MICHAEL
(jumps on it)
She was assigned to another prison
and Nelson arranged for her to be
moved.
DINA
Yes, so they could continue to work
together.
MICHAEL
(putting it
together)
Let me tell you, they've come up
with one heck of a routine.
On Michael's thoughtful look, we:
CUT TO
EXT. HIGHWAY - DAY
as K.I.T.T. barrels down a straightaway.
K.I.T.T.
This road leads to Gainesboro
Prison, Michael.
INSIDE K.I.T.T.
MICHAEL
They all do today, pal.
K.I.T.T.
I know what you mean. Briggs' record
reads like an inmate's. Twenty-seven
reprimands for cruel and unorthodox
disciplinary methods. She's on the
brink of being fired.
MICHAEL
Let's push her over the edge. She
made a big thing of her computerized
security system. Access it for me.
Michael punches some buttons on his console.
K.I.T.T.'S MONITOR - INTERCUT AS NEEDED
as appropriate sound and visual effects tell us K.I.T.T. is
making the necessary electronic connections.
K.I.T.T.
I'm in, Michael. But the system has
state-of-the-art safeguards. I can
read the data but I can't update it.
MICHAEL
That's okay, I just want a closer
look at last night's bed check. Key
on Julie Rogers.
Names scroll up the screen at high speed. The scroll stops.
A flashing rectangle highlights Julie's name.
K.I.T.T.
She spent last night in solitary. I'm
afraid her cell mate Alice Pierson
spent it in the prison morgue.
MICHAEL
The more we find out the less we know.
Remind me to have Bonnie check that
out, Kitt.
More names scroll up the monitor.
K.I.T.T.
An inmate named Samantha Lawton also
spent last night in solitary.
MICHAEL
Wait a minute, the pickpocket who
hit Matt was named Samantha. Where
are she and Julie now?
K.I.T.T.
Both listed in solitary again,
Michael.
MICHAEL
Just like the night of the heist --
if the pattern holds they're getting
ready to pull another tonight. Let's
keep the place under surveillance.
EXT. GAINESBORO PRISON - NIGHT - TO ESTABLISH
INT. SOLITARY CELL - NIGHT
Julie stares out through a barred window as a guard admits
Warden Briggs. A pile of dark clothes sits on the bunk.
BRIGGS
You aren't dressed?
JULIE
I told you, I'm not going.
BRIGGS
Listen, lady. You've got exactly
three minutes to get into those
street clothes.
JULIE
And if I don't?
BRIGGS
What happened to Alice could happen
to you!
Briggs smacks Julie across the face, knocking her backward
onto her bunk.
BRIGGS
Get dressed. Samantha's here.
Julie is rattled; fights for control and starts to change
her clothes. Roark brings Samantha into the cell joining
them. She wears a tight tank top and jeans, looking very
sexy. Briggs crosses to a bunk, unlocks and lifts one end
of it, revealing a dark hole in the floor. Samantha starts
down a ladder inside.
BRIGGS
Have a nice evening, ladies.
Julie swings her a frightened look, then follows Samantha.
EXT. GAINESBORO PRISON - NIGHT
as a van marked GAINESBORO PRISON comes from the far side
of the prison and heads onto the road.
INSIDE K.I.T.T.
atop a hill or other vantage point.
MICHAEL
That could be them, pal. Scan the
van.
K.I.T.T.
It contains a driver and two pas-
sengers, Michael. But it's too dark
to identify them. They could be
prisoners being transferred.
MICHAEL
Not at this time of night.
A SEDAN
pulls onto the same road and drives off in the opposite
direction to the van.
K.I.T.T.
What about that sedan, Michael?
RESUME INSIDE K.I.T.T.
MICHAEL
It's a toss up, pal. But there's
something suspicious about a prison
van running errands at night. Let's
tail it and track the sedan on your
monitor.
Michael pushes some buttons on his console.
K.I.T.T.'S MONITOR - INTERCUT AS NEEDED
to see a flashing blip moving on the grid work of streets, as
the sedan drives off.
EXT. HILLSIDE NEAR PRISON - NIGHT
K.I.T.T. pulls from concealment, and takes off down the
rural highway after the van.
EXT. CITY STREETS - NIGHT - VARIOUS SHOTS
as K.I.T.T. follows the prison van into a honky-tonk
district. A few couples laughing, having a good time.
INSIDE K.I.T.T.
K.I.T.T.
There's nothing in this part of town
anyone would want, Michael.
MICHAEL
(correcting)
Any car would want. Seriously, I
don't get it either. Briggs sure
didn't spring for a night on the
town for some inmates.
CUT TO
EXT. POWER PLANT - NIGHT
The sedan bearing Nelson and the girls pulls into cover
near a good-sized rural transformer station. Cables and
generators hum as power throbs out to the city.
INSIDE NELSON'S SEDAN
Nelson produces an explosive device and hands it to Julie,
who puts it into a small backpack.
NELSON
Give Samantha time to make her move
before you make yours.
Julie nods. The girls get out of the sedan and move off
toward the power plant.
CUT TO
EXT. HONKY-TONK STREET - NIGHT
The prison van pulls to the curb in front of a disco.
Music blares at ear-splitting volume.
INSIDE K.I.T.T.
MICHAEL
They're stopping, pal. Full alert,
all systems.
K.I.T.T.
My audio sensors are being jammed by
that racket, Michael.
MICHAEL
That's not a racket, that's reggae.
K.I.T.T.
I don't think it matters. Look ---
POINT OF VIEW THROUGH WINDSHIELD
as guards Roarke and Walsh in atrociously patterned
Hawaiian shirts exit the van and are engulfed by a number
of squealing hostesses, who usher them inside.
RESUME INSIDE K.I.T.T.
MICHAEL
We blew it. We should have followed
the sedan.
K.I.T.T.'S MONITOR
to see the pulsing blip on the grid work of streets.
K.I.T.T.
It's clear across town at a power
plant substation, Michael.
MICHAEL
Give me all the pursuit power you've
got, pal!
Michael punches some buttons.
K.I.T.T.
transforms into pursuit mode, nose elongating, spoiler
deploying, etc., does a tire-smoking 180 and peels out.
CUT TO
EXT. POWER PLANT - NIGHT
as Samantha, openly carrying a tire iron, approaches a
uniformed Guard, who is distracted by her sexy come-on.
SAMANTHA
Hi. Am I glad to see you.
GUARD
I was hoping you'd say that.
SAMANTHA
(chuckles)
My car -- got a flat just down the
road. Think maybe you could help me
out?
She holds up the tire iron. As the Guard eyes Samantha,
assessing the meaning of her request:
JULIE
slips from the shadows and dashes through the darkness
behind the Guard. She takes a running leap, vaults the
fence with ease and moves around the far side of a
transformer.
ON THE TRANSFORMER
as Julie climbs the structure to a catwalk at the top. She
removes the explosive device from her backpack and plants
it in a well-concealed spot. As she turns and starts her
descent, she bumps a metal gate in the railing that
encloses the catwalk. It clangs loudly.
RESUME SAMANTHA AND GUARD
as he reacts to the noise and turns to see Julie making her
way down the transformer to the ground.
GUARD
Hey? Hey what are you doing up ---
Before he can finish, Samantha coldcocks him O.C. with the
tire iron. He drops like a rock as Julie vaults the fence
and rejoins Samantha. Julie bends to the fallen Guard.
JULIE
This guy's not breathing, Samantha.
He needs helps.
SAMANTHA
It's your life you ought to be
worried about! Come on. Let's get
out of here. Come on!
Samantha grabs Julie and practically drags her away.
CUT TO
K.I.T.T.
rushing down the dirt road leading to the power plant,
speeding past Nelson's hiding place.
INSIDE K.I.T.T.
Michael grips the wheel with determination. Over Michael's
shoulder, we see the girls emerge from the plant.
MICHAEL
There they are, Kitt. Give me
E.B.S. and back to cruise mode.
RAPID SEQUENCE OF SHOTS - K.I.T.T.
as he deploys braking fins and then transforms from S.P.M.
to cruise mode.
EXT. PLANT - NIGHT
Samantha and Julie freeze in K.I.T.T.'s powerful headlights,
then run. Michael gets out of K.I.T.T. to go after them.
NELSON'S SEDAN
rockets out of the darkness and screeches to a fast stop in
the road. Julie and Samantha jump in. Nelson floors it,
heading right for Michael.
K.I.T.T.
Michael, look out!
Michael freezes momentarily, then dives and rolls to safety
as the sedan goes fishtailing past him. He rises to watch
as:
THE SEDAN
purposely sideswipes a power pole. The wires and pole come
crashing down atop Michael. The sedan keeps on going.
MICHAEL
is pinned beneath the pole. A broken wire is snapping and
sparking next to him, as K.I.T.T. pulls up.
K.I.T.T.
Michael, get out of there, quickly.
That high tension wire is getting
closer and closer!
MICHAEL
I can't pal. I'm pinned. I can't
move.
We hold a beat and then we:
FREEZE FRAME
FADE OUT
END OF ACT TWO
ACT THREE
FADE IN
EXT. POWER PLANT AREA - NIGHT - ON MICHAEL - CONTINUOUS
ACTION
Michael is pinned beneath the fallen power pole. The snap-
ping, sparking wire moving closer and closer. K.I.T.T.
waits nearby.
MICHAEL
Set your grappling hook, pal.
MICHAEL
ducks backward as a wire whips past his face.
K.I.T.T.
But if it hits that wire, my
circuitry will be charcoal!
MICHAEL
If it hits me I'll be charcoal.
Make it fast.
OMITTED
INSERT - K.I.T.T.'S GRILL
as the grappling hook fires.
MICHAEL
catches the hook as it passes, then drops it carefully onto
an insulated patch of the shorting wires.
MICHAEL
Now reel it in, pal. Reeeeeal slow.
INTERCUT - K.I.T.T.'S WINCH
grinding the line in slowly. Gradually it pulls the pole
aside just enough to release the pressure on Michael, and
he slips free.
K.I.T.T.
Power surge coming, Michael!
Michael dives to safety just as the wire explodes in a fire-
works display.
INSIDE K.I.T.T.
as Michael gets behind the wheel.
MICHAEL
You all right, buddy?
K.I.T.T.
Nothing Bonnie can't cure with a
little hi-tech TLC.
MICHAEL
Good. Get that sedan on the screen
for me.
Michael punches buttons, then slides K.I.T.T. in a spinning
turn onto the road away from the plant.
K.I.T.T.'S MONITOR - INTERCUT AS NEEDED
to see a map grid and pulsing blip.
K.I.T.T.
They're heading back toward the
prison at a high speed. They have a
huge lead. They --
(beat, down)
I'm afraid they're already back in
the prison, Michael.
Michael slams his palm against the steering wheel in
frustration.
CUT TO
INT. BRIGGS' OFFICE - NIGHT
Briggs is raging at Nelson, Julie and Samantha. Roark
observes in the b.g.
BRIGGS
How the hell did Knight get onto
you?!
SAMANTHA
He's probably a cop. How else?
NELSON
No way. He's a freelancer with a
hot car. He didn't stop us tonight.
Forget him.
JULIE
But that man at the plant -- what if
he's dead. What if ---
BRIGGS
(interrupting)
Shut up! That's what happens to
people who get in the way --
(a look to
Roark)
-- people like Michael Knight. They
get killed.
CUT TO
EXT. HIGHWAY - NIGHT - K.I.T.T. AND THE SEMI
The car slides up the ramp and into the trailer.
INT. SEMI - NIGHT
Devon, RC3 and Michael gathered, Bonnie in the b.g. at the
computer console.
DEVON
Michael, am I to understand that --
that these young women get out,
commit crimes and go back to prison?
MICHAEL
Exactly -- the perfect alibi. You
may have heard of one of them --
Julie Rogers?
DEVON
Yes, the gymnast -- a promising
future cut short by a drug smuggling
conviction, as I recall.
MICHAEL
Right. She swore she'd never seen
the drugs before; ended up serving
time anyway.
RC3
Sounds like the lady was set up to
take the fall.
MICHAEL
(nods
emphatically)
Nelson, the prison athletic instructor
was her coach at the time. I'm
betting he and Briggs are up to their
barbed wire in this.
DEVON
What I fail to comprehend is how they
fit into sabotaging the defense
conference.
MICHAEL
I agree. It doesn't piece together.
And there are more pieces. According
to Kitt's data search, Briggs should
be facing brutality charges. But the
witness against her was killed in a
fight with another inmate. Ditto for
the girl that could have cleared
Julie.
Bonnie tears a print-out from her computer and joins the
group.
BONNIE
I ran that check for you, Michael.
The witness against Briggs was
Alice Pierson.
MICHAEL
Julie Rogers' cellmate.
BONNIE
(nods)
Six months ago her fingerprints were
found at the site of a robbery. She
was eliminated as a suspect because ---
RC3
Don't tell me -- she was in solitary
at Gainesboro at the time.
BONNIE
Right.
MICHAEL
Now she's in the morgue.
(beat)
It looks like Briggs eliminates any-
one who can incriminate her. If
Julie's work is finished -- she's
next.
A beat as Michael's comment hits Devon, Bonnie and RC3.
DEVON
Then how do we draw these people out
and protect Julie at the same time?
MICHAEL
I've got an idea but it's risky.
(to Bonnie)
You willing to try something a
little -- unusual?
Off Bonnie's looks we:
CUT TO
INT. GAINESBORO PRISON GYM - DAY - TIGHT ON JULIE ROGERS
NELSON (V.O.)
Go!
Julie leaps from a standing start and grabs a rope dangling
from the gym ceiling. With a catlike grace she starts
climbing up it, hand over hand.
NELSON AND BRIGGS
watch her eagerly, Nelson checking a stopwatch.
NELSON
Faster, Julie. Faster.
ANGLE FROM CEILING
Julie reaches the ceiling, clambers onto a rafter and walks
it like a balance beam. She reaches the end of the rafter,
crouches and grasps another rope hanging down to the floor,
swings into midair.
NELSON
Atta-girl. Good, good.
NEW ANGLE
Julie slithers to the foot of the line and is off across
the floor in a tumbling exercise which takes her flipping
and flying over and under several small crossbars mounted
on vertical stanchions. She passes them all without
touching any, until:
THE LAST BAR
gets knocked off its stand as Julie does a flip over it.
Nelson punches the watch; catches a look of utter disgust
from Briggs.
BRIGGS
You just blew it, honey!
(to Nelson)
What do we do now?
JULIE
(overhears;
lashes back)
Find someone else!
BRIGGS
There is no one else!
(to Nelson)
You hand-picked her. Now make sure
she gets this right!
JULIE
Well, maybe I can't! Maybe I just
can't do it!
Nelson crosses to Julie; manages the muscles in her neck
and shoulders during ---
NELSON
Sure you can, Julie. I know you can.
I've seen you do it. It's your
ticket out of here.
A look between them, then Nelson raises his watch, nods.
Julie starts off. Nelson moves close to Briggs for ---
NELSON
Maybe we ought to forget it.
BRIGGS
Are you crazy?! We're this close to
ten million dollars, Jason -- Ten
million. I've been living in gray
crud for too many years to chuck it
all now.
NELSON
Our future is in the hands of a
scared teenager. That's crazy. I
don't think she can pull it off.
BRIGGS
You make sure she does. You promised
me sunshine and good times, mister,
and you're going to deliver, aren't you?
She kisses him lightly on the lips; the kiss of a cobra.
His eyes fill with contempt as she turns and leaves.
CUT TO
EXT. HILL ABOVE PRISON - DAY
K.I.T.T. glides to a stop in brush, Gainesboro visible
below.
K.I.T.T.'S MONITOR - INTERCUT AS NECESSARY
Michael punches buttons. The monitor comes alive with a
picture of the prison.
MICHAEL
(continuing)
Okay, zoom in for me, pal.
K.I.T.T.
How far? The soup stain on the
tower guard's tie?
MICHAEL
(chuckles)
No, the front gate will be fine.
The monitor responds with a zoom in to the front gate area.
MICHAEL
(continuing)
Okay, now access the computer
terminal in the guard shack.
K.I.T.T.
I can transmit data to the monitor,
Michael, but remember that system has
state-of-the-art safeguards. I can't
make additions to memory.
Michael reacts as a black and white paddy wagon pulls up
next to the shack.
MICHAEL
No problem. But you better make it
fast.
EXT. PRISON GATE - DAY
The driver of the van is signing a clipboard for the Gate
Guard. Behind them, the daily volleyball game is in progress
in the prison yard.
CLOSER ON THE VAN
The uniformed driver looks up and beneath his cap, we see
his face. It's RC3.
GATE GUARD
(puzzled)
You say you got a transfer from
upstate?
RC3
Yeah, a real wildcat. Spent the
entire ride trying to get through
the screen and rip my head off.
The Guard leans back into the shack; types on his computer
keyboard ---
GATE GUARD
Sorry, buddy, we haven't been
notified.
RC3
Listen, my man. No way I'm taking
her back. Better tap dance on those
buttons again.
The Guard encodes on the keyboard again.
INTERCUT - K.I.T.T.'S MONITOR/CONSOLE
where we see Bonnie's name on the screen.
K.I.T.T.
Ready to transmit, Michael.
Michael depress a button labled -- TRANSMIT
ON THE MONITOR IN GUARD'S SHACK
as Bonnie Barstow prints out, followed by transfer arriving
and a lengthy criminal record.
RESUME THE SCENE
as the Guard leans back out to RC3.
GATE GUARD
Just came through. Got a rap sheet
that makes Ma Barker look like a
brownie.
RC3
That's why the chick's here.
GATE GUARD
We'll take good care of her. Go on
in.
The car proceeds into the yard. The other girl inmates
stop and take notice as it stops. Devon gets out and opens
the back door.
RC3
Okay, sweetcakes. End of the line.
The prisoner gets out wearing prison denims and carrying
a duffle bag. As she turns to RC3 and winks -- we
recognize a very tough-looking Bonnie Barstow.
BONNIE
Thanks for the lift, creep.
He turns her over to a waiting guard, Roark, who grabs
Bonnie brusquely and shoves her toward the yard.
NELSON AND WARDEN BRIGGS
watching from her office window, menacing.
ON BONNIE
RC3 drives off and the gates shut behind her. Off a look
which tells us she suddenly feels very alone....
FREEZE FRAME
END OF ACT THREE
ACT FOUR
FADE IN
EXT. HILL ABOVE GAINESBORO - DAY - ON K.I.T.T. -
ESTABLISHING
parked in concealment but with a view. Michael's inside.
INTERCUT MONITOR - ANGLE IN K.I.T.T.
Michael scans an image of Bonnie on the video screen.
MICHAEL
So far, so good. Bonnie's inside.
K.I.T.T.
I don't like this plan, Michael. The
people in that place are not nice.
And I don't mean the prisoners.
MICHAEL
We'll have Julie out of there in no
time. Get as close to the west
tower as you can.
As they move toward the prison, we:
CUT TO
EXT. PRISON YARD - VOLLEYBALL GAME - DAY
Bonnie struts across the yard. She intercepts the
volleyball from the game nearby and picks it up as one of
the female player/prisoners comes to retrieve it, a tough
but pretty girl named Darlene.
DARLEEN
Right here, rookie. Hand it over.
BONNIE
You want it?
Bonnie defiantly tosses the ball back over her shoulder.
BONNIE
Go get it, creep.
DARLEEN
You get it. Before you get your face
mashed.
Bonnie shakes no and shoves past Darleen, bumping her hard
with a shoulder.
BONNIE
(taunting)
Anytime, sweetcakes. Anytime.
Darleen grabs Bonnie; whirls her around and throws a
punch. Bonnie blocks it and lunges at Darleen. In a
second they're grappling in a violent wrestling match.
Other girls gather and shout them on. Guards run toward
them as ---
EXT. NEAR PRISON WALL - DAY - K.I.T.T.
glides to a position directly beneath a guard tower.
THE GUARD ATOP THE WALL
is watching the fight; attention riveted to the fighting
women.
INSIDE K.I.T.T.
MICHAEL
She did it! Here we go, Kitt!
Michael punches "EJECT LEFT" on his console.
VARIOUS ANGLES
as the T-top pops open and Michael slips up and out of the
driver's seat, ejecting up the side of the wall.
LOOKOUT TOWER ATOP WALL - PARAPET
Michael lands. The guard turns. Michael comes up from his
landing crouch and puts away the guard with a karate
combination.
RESUME THE FIGHT IN THE YARD
Guards Roark and Walsh are separating Bonnie and Darleen.
BASE OF LOOKOUT TOWER - MICHAEL
now wearing the guard's cap and jacket, emerges from a door
moving toward the main building's entrance.
SCENE - THE YARD - NELSON AND BRIGGS
have spotted the commotion and joined the guards. Briggs
grabs Bonnie's face; squeezes it in her hand.
BRIGGS
Congratulations, Barstow. You just
set a record for getting thrown in
solitary. I'm going to enjoy
teaching you the ropes.
(to Roark)
Put her in the hole. I want to
review her records.
The guards lead Bonnie off and we:
CUT TO
INT. CELL BLOCK - DAY
Michael slips along the cell doors until he finds the one
he's looking for. He "plays" guard here.
MICHAEL
Okay Rogers. Let's go. Move it.
INT. JULIE'S CELL - DAY
She scowls at first then recognizes Michael. He softens
her reaction with a look.
JULIE
(sotto)
What are you doing here?
MICHAEL
Stopping Nelson and Briggs from
sabotaging that defense conference.
JULIE
(baffled)
Defense conference? I don't know
what you're talking about.
MICHAEL
This is no time for games Julie.
That conference could swing the
balance of world power, and ---
JULIE
(shakes her
head)
That's not the target.
(off Michael's
look)
It isn't. It's an industrial exhibit
on the top floor -- a display of
crystals.
MICHAEL
Crystals?
(deduces
a beat)
Perfect ones -- they're the only kind
worth stealing. They can increase
the output of a laser by a hundred.
In unfriendly hands ---
He lets the sentence trail off as he turns to the cell
door; passes his comlink over the lock.
MICHAEL
Okay pal, you're on.
K.I.T.T.'S MONITOR
as the diagram of the lock assembly appears on the monitor.
K.I.T.T.
It's a standard lockup tumbler,
Michael. No problem.
RESUME MICHAEL AND JULIE
The lock clicks open. Michael slides back the cell door.
As Julie and Michael move down the corridor, we:
CUT TO
INT. WARDEN BRIGGS' OFFICE - DAY - ON MONITOR
as names of the inmates scroll up the screen.
ROARK
No record for a Bonnie Barstow.
THE SCENE
as Roark at the monitor continues to encode. Nelson stands
to one side equally baffled.
BRIGGS
She's here, Roark. There has to be
something on her ---
ROARK
(shakes no)
Nothing ---
NELSON
I don't like this. Something's
wrong. I think maybe we should ---
BRIGGS
(interrupting)
Let's ask Barstow what she thinks.
Briggs marches out of the office, Nelson and Roark
following.
CUT TO
INT. BONNIE'S CELL - SOLITARY - DAY
Michael and Julie in the corridor. Bonnie still inside.
BONNIE
Come on, Kitt, come on ---
The tumbler clicks open as Michael slides the cell door
open.
BONNIE
Thanks. Five more minutes in that
hell hole and I'd be right off the
deep end.
BRIGGS (V.O.)
Think how you'll feel after five
years!
Michael, Bonnie and Julie turn to face:
NELSON, BRIGGS, ROARK AND WALSH
The two guards have riots guns fixed on them. Michael boils
over.
MICHAEL
(explosive)
What do you promise these girls?!
A chance to get out of here alive?!
Is that how it works?!
BRIGGS
Don't push your luck, Mr. Knight.
In the cell! Both of them!
Roark and Walsh move in, forcing Michael into the cell,
pushing Bonnie in with him. The door slams shut.
JULIE
is on the outside of the bars, face to face with Michael.
A poignant moment before Nelson grips her arm, pulling her
along.
NELSON
Forget them, Julie. It's time to
concentrate. Today's performance
has to be a 'ten.'
As the group moves off, Briggs leans to Roark for ---
BRIGGS
Wait 'til we're gone, then kill them.
CUT TO
EXT. HILL OUTSIDE PRISON - DAY - K.I.T.T.
K.I.T.T.
Devon? Devon, I have to talk to you
right away.
INTERCUT MONITOR - ANGLE IN K.I.T.T.
Devon's concerned face looks out from the screen.
DEVON
What's the problem, Kitt?
K.I.T.T.
Michael said if he didn't contact me
in ten minutes to have RC3 back him
up. I'll tell you where he wants
him positioned.
DEVON
Make it fast. Michael could be
trying to reach you right now.
CUT TO
INT. BONNIE'S CELL - DAY
Bonnie paces as Michael talks into his comlink.
MICHAEL
Kitt? Kitt, come in, pal.
(beeping
sound)
Still busy.
BONNIE
Busy?! I'm going to die and Kitt's
line is busy?! I don't mind telling
you, I'm scared stiff.
ROARK
You oughtta be, honey.
They whirl to see Roark, riot gun aimed at them. As Roark
unlocks the cell door, Michael raises his comlink for:
MICHAEL
I hope you're tuned in now, pal.
ROARK
What's that? Who you talking to?
MICHAEL
A friend. And if this is my lucky
day, you'll get to meet him.
SMASH CUT TO
EXT. PRISON - FRONT GATE - DAY - K.I.T.T.
smashes through the wire and metal of the front gate and
bursts onto the yard, past several amazed prisoners and
guards who are firing at K.I.T.T.; the rounds ricocheting
off.
RESUME BONNIE, MICHAEL AND ROARK
who bump-loads his riot gun; levels it at Michael just as
K.I.T.T. smashes through the wall of the cell past Bonnie
and Michael. As Roark dives out of the way, the riot gun
fires. Michael yanks it out of his hand and decks him with
a right cross.
MICHAEL
Just call me Mr. Lucky ---
Bonnie and Michael jump into K.I.T.T. and blast out in
reverse.
EXT. YARD - DAY
K.I.T.T. backs out of the cell and heads across the yard as
Briggs emerges from her office and yells to the guards.
BRIGGS
Do something! Shoot! Stop them!!
Stop them!!
The guards empty their magazines on K.I.T.T., the rounds
ricocheting off as he rockets toward the gate he blasted
through earlier. Several black and whites, sirens
screaming are on the way into the yard. Briggs sees what's
happening and runs.
INT. SOLITARY CELL - DAY - BRIGGS
runs down the corridor and enters the cell. She crosses to
the bunk and lifts it up, exposing the mouth of the tunnel,
but before she can climb out of it. RC3 pops up, a gun in
his hand trained on her.
RC3
Hi! I'm here to offer you a lifetime
subscription to the prison newsletter.
CUT TO
INSIDE K.I.T.T. - TRAVELING
K.I.T.T.
Where to, Michael?
MICHAEL
Hotel Maxmillian, pal.
Michael tromps on the accelerator; K.I.T.T. takes off and
we:
CUT TO
EXT. HOTEL MAXMILLIAN - DAY - TO ESTABLISH
as we move in to a banner that proclaims -- INDUSTRIAL
EXHIBITION ---
EXT. HOTEL - DAY
as Nelson and Julie walk quickly along a deserted section
of hotel ground. Nelson hand-carries a small backpack.
NELSON
After I blow the power, you'll have
two minutes to get the crystals
before emergency power kicks in.
JULIE
And if it takes me longer?
NELSON
The laser alarms will reactivate and
you'll have to elude them --
(off her
look)
The tumbling routine in the gym --
those bars were in the same position
as the lasers. Piece of cake.
He stops at a corner of the building then removes a nylon
climber's rope with a hook on one end from the backpack.
He spins the rope and throws it toward ---
CONCRETE SUPPORT
No more than three inches wide, topping an arched connector
between the hotel and one of two adjacent parking structures.
The rope hits and loops around it like a bolo.
SCENE
Nelson pulls it to make sure it's taut, then hands Julie
the backpack. As she slips it on ---
NELSON
In case you're thinking of running
-- remember -- Briggs'd hunt you down
like an animal. She'd have you shot
on sight.
He offers Julie the end of the nylon climbing rope.
NELSON
(continuing)
Get us those crystals and in an
hour, she'll be signing your parole.
Julie thinks, decides and takes the rope from Nelson. He
removes a remote detonator from his pocket and depresses
the button.
CUT TO
CLOSE ON THE BOMB
The high-tech device Julie planted earlier, as it blows:
EXT. SIERRA VISTA POWER PLANT - DAY
A beat before it is wracked by a massive explosion.
CUT TO
THE HOTEL - JULIE AND NELSON
suddenly, all around them, the power goes off.
NELSON
Go!
Julie takes a deep breath, starts climbing.
VARIOUS ANGLES - JULIE'S CLIMB
She shinnies her way up the nylon line, higher and higher.
CUT TO
EXT. STREETS - DAY - ANGLE ON K.I.T.T.
speeding into the outskirts of the city, racing through
traffic.
CUT TO
EXT. HOTEL - ATOP NARROW SUPPORT - DAY - JULIE
is walking across the narrow beam. She loses her balance
for a moment, then regains it and reaches the ---
HOTEL ROOF
as Julie sprints across to a skylight. She raises the
cover, then reaches into her pack and produces a second
nylon rope which she drops down inside. She disappears
through the skylight.
INT. EXHIBIT GALLERY - DAY - JULIE
slithers down her rope and hits the floor. She crosses to
a cluster of display cases and we see:
CLOSER ANGLE - THE CRYSTALS
Julie marvels at them then reaches into the cases and starts
sweeping them into her backpack.
EXT. HOTEL - DAY
As K.I.T.T. screeches up to the front entrance. Michael
jumps out and sprints inside, leaving Bonnie in K.I.T.T.
RESUME JULIE
She's sweeping the last of the crystals into her backpack
when the power comes back and lights go on in the room.
Julie looks around, finds herself surrounded by:
FULL SHOT - LASER ALARM SYSTEM
A dozen pencil thin, glowing bands of laser light suddenly
crisscross the room between the display cases at varying
heights. Julie's in the middle, frightened,
trapped.
INT. LOBBY - DAY - MICHAEL
races through the startled bystanders and approaches two
heavily armed guards on duty in front of high oak doors and
starts talking fast.
INT. EXHIBIT GALLERY - JULIE
is taking several deep breaths, gathering her courage.
Finally takes a few fast steps toward the first beam of
laser light.
CLOSE ON HELICOPTER
as Nelson pulls up in his car, gets out, climbs into the
chopper.
CLOSER - THE BEAM
as Julie's torso pinwheels over the bright red shaft of
light.
THE SCENE
as she lands in a tuck and roll allowing her momentum to
carry her beneath the next beam. She comes up and goes
right into a cartwheel that carries her over the next two
beams.
JULIE'S FEET
as they land on the floor, barely an inch from a beam that
skims just above the surface of the carpet.
THE SCENE
as Julie's momentum carries her into a tumble over the last
beam. She comes out of it in a crouch and springs for the
rope catching hold of it eight feet above the floor. She
starts climbing frantically.
ANOTHER ANGLE FROM ABOVE
as Julie makes her way up the rope to the ceiling and slips
out the skylight, a beat before ---
THE DOORS
burst open. Michael and the guards enter. Michael looks
up, sees the open skylight above.
MICHAEL
Too late -- she's gone.
INSIDE K.I.T.T.
as Bonnie reacts when she sees Michael approach and jump in
next to her. With a squeal of tires they take off, racing
around the perimeter of the hotel.
BONNIE
Did you find her?
MICHAEL
No. She went out the skylight. How
many ways off that roof, pal?
K.I.T.T.'S MONITOR - INTERCUT AS NEEDED
A graphic view of the hotel and adjacent high-rise parking
structures.
K.I.T.T.
Only one, Michael. The connector to
the parking structure. But it's
less than three inches wide. No
normal person could do it.
MICHAEL
Julie Rogers is no normal person.
He hammers a right turn into the parking structure.
VARIOUS ANGLES - K.I.T.T.
whizzes around and around up the ramps of the structure.
EXT. PARKING STRUCTURE ROOM - DAY
The Trans Am bursts into daylight atop the parking structure.
BONNIE
Look ---
ANGLE - JULIE
tightrope walking the top of a very high dividing wall
which connects the two parking structures, at least sixty
feet above the ground. She holds her hands out to her
sides for balance and steps tenuously. At the other end of
the wall is:
A CHOPPER PAD
Nelson stands next to a helicopter urging Julie forward.
NELSON
Come on, Julie. Don't stop now.
Nelson does a take; pulls a gun and fires when he sees:
BONNIE AND MICHAEL
are getting out of K.I.T.T. They take to cover behind his
doors. The bullets ricochet off.
JULIE
wobbles atop the wall, terrified.
RESUME MICHAEL, BONNIE, K.I.T.T.
K.I.T.T.
Michael! Julie's pulse rate is
skyrocketing. She's got vertigo!
She's going to fall.
MICHAEL
Calibrate wind speed, distance and
running room.
BONNIE
Michael, you're not going to....
K.I.T.T.
Oh, yes he is.
Michael and Bonnie scramble back into K.I.T.T.
FULL SHOT - JULIE AND NELSON
She approaches the opposite roof and Nelson, but the wind
from the chopper blades makes her going tougher.
NELSON
Come on, Julie. Just a few more
feet.
Julie fights the breeze and her nerves, then takes the last
step to Nelson. He pulls her to safety and tries to strip
off her backpack. She struggles in his grip.
EXT. ROOFTOP - FOLLOWING K.I.T.T.
Michael floors it in reverse, backing the Trans Am to the
farthest edge of the structures roof.
MICHAEL
Hang on!
As K.I.T.T. revs up, the car shudders, the turbines rise in
pitch.
VARIOUS INSERTS - TIRES, SCANNER, DASH
shudder and smoke, instruments red-lining.
VARIOUS ANGLES - SKI MODE
K.I.T.T. roars across the roof of the structure and
tilts up into ski mode heading for ---
THE NARROW BEAM
That connects the two buildings as K.I.T.T. ski modes on
two wheels across the beam that Julie has just traversed.
NELSON
looks up, can't believe his eyes.
K.I.T.T.
reaches Nelson's roof and comes out of ski mode settling
down. On all four wheels. Michael's out of the car in a
flash and after Nelson. Nelson goes for his gun but he's
got his hands full with Julie.
THE BACKPACK FULL OF DIAMONDS
hits the pavement, sending an icy shower onto the pad.
RESUME FIGHT
as Michael drops Nelson with a couple of quick karate
blows, then puts his arms around a trembling Julie.
MICHAEL
If they gave out medals for guts,
kid, you'd take the gold.
As they look down at Nelson.
FREEZE FRAME
END OF ACT FOUR
TAG
TO FOLLOW
