ACT ONE
FADE IN
EXT. ESTATE ENTRANCE - DAY
as Devon's limousine approaches and stops. The chauffeur
hands an engraved invitation to the attendant. The
limousine moves onto the grounds.
EXT. ESTATE GROUNDS - MANSION - DAY
as Devon's limo pulls to a stop and a uniformed valet opens
the rear door. Bonnie, especially alluring, in a chic
dress glides out followed by Devon who looks dashing in a
tuxedo. We hear an upbeat piano playing as they cross to
the mansion.
DEVON
As I recall, the last party we
attended here, the guests were
still dancing on the tables at
sunrise. Took me two days to
recover.
BONNIE
You must've taken someone else,
Devon. I think, I'd remember you
dancing on a table.
Devon chuckles as they enter the mansion, and we:
INT. MANSION - DAY
A party amidst priceless antiques and works of art. Host,
Jonathan Dutton, fifty-three -- handsome, board chairman is
seated at a concert grand. His daughter Samantha,
twenty-four -- beautiful, intelligent; everyone calls her
"Sam," stands next to him. Elegantly attired guests
gathered around. Dutton spots Devon and Bonnie and seques
into an exaggerated fanfare.
ANOTHER ANGLE - FAVORING DEVON AND BONNIE
as they cross and join Dutton and Samantha.
JONATHAN
Devon, Bonnie -- good to see you!
DEVON
Jonathan. Looking proud, aren't we?
BONNIE
I hear the scent of perfume's
permeated the Board Room, Sam --
congratulations.
SAMANTHA
Thanks. Keeping it in the family,
as Daddy always says.
DEVON
Yes, no denying you've inherited
his business acumen, Sam.
JONATHAN
Promise you won't hold it against
her now?
SAMANTHA
He'd better not ---
Samantha hugs Devon; plants a big kiss on his cheek.
SAMANTHA
-- I've had a crush on this man for
as long as I can remember.
Devon reddens slightly as the others laugh, and we:
RESUME THE MANSION ENTRANCE
as a 4 x 4 pickup roars past the attendant, rockets up
the drive and screeches to a stop in front of the mansion.
Erik Whitby, twenty-two, six feet three inches, 225 pounds
of muscle, mackinaw, jeans and unbridled anger, gets out
and blows past the parking valet.
RESUME THE PARTY - FAVORING JONATHAN
as he holds a glass of champagne aloft and addresses the
guests who have gathered around him.
JONATHAN
A year ago, our Humboldt Division was
so awash in red ink, I'd decided to
shut it down. But my little girl kept
insisting she could turn it around.
So I dropped the entire mess in her
lap -- just to shut her up.
(beat; laughter)
Tonight, we celebrate our third
quarter of record sales and profits.
Thanks to the young lady who one day
will replace me as chairman and ---
Dutton is suddenly interrupted by an ear splitting racket.
CLOSE ON A CHAIN SAW
that roars to life -- pull cord snapping back; exhaust
belching; the jagged teeth traveling at blinding speed.
Widen to reveal Whitby holding the saw.
THE SCENE
As frightened, guests shrink back from Whitby who
brandishes the saw. He dashes between them to:
A LARGE SCULPTURE
A Grecian figure on a pedestal, as the chain saw bites into
the surface and cuts the torso in half.
RESUME THE SCENE
Guests react horrified as the statue tumbles. Whitby turns
and searches for his next target; Dutton dashing after him.
JONATHAN
Stop! Stop it!!! What are you
doing?!
(yells to
someone)
Call security!!
Dutton bites off the sentence as Whitby whirls; the
snarling teeth of the chain saw keeping Dutton, Devon and
others who approach at a distance.
WHITBY
Back off me!! Just back off Dutton!
You got this and more coming!
Whitby whirls from the group and attacks.
AN ANTIQUE TABLE
Sawdust fills the air as the saw slices the table in half.
It caves inward. Trays of hors d' oeurves, glasses, bottles
of champagne, tumble into the crevice.
RESUME THE SCENE - ANOTHER ANGLE
as Whitby spins from the table swinging the saw in a wide
arc.
WHITBY
How does it feel, huh?! Don't like
having things you care about
destroyed, do you?!!
He lunges at Dutton, Devon and others who approach. They
flinch as Whitby turns and buries the chain saw in:
THE PIANO
as the saw slices deep into the keyboard. A weird
cacophony of chords and the screech of metal against metal
as the saw jams amidst the popping strings and becomes
stuck.
RESUME THE SCENE
as Whitby fights to pull the saw free, Dutton, Devon and
other guests grapple with him amidst cries of -- "I've got
him! Get his other arm!" Whitby struggles; seethes as
they subdue him. Dutton holds his glare for a beat, then
swings a look to Devon who's shocked, concerned, and we:
CUT TO
EXT. HIGHWAY - DAY - K.I.T.T. - CONVERTIBLE MODE -
TRAVELING
We move in on a white Stetson that sits atop Michael's head.
K.I.T.T.
I'm glad that assignment is over,
I've had my fill of pot holes.
INSIDE K.I.T.T.
MICHAEL
Come on, New York's a fascinating
town. Where else can you ride the
subway one minute and a brahma bull
the next?
K.I.T.T.
Michael -- while you were playing
cowboy in Madison Square Garden, I
was stuck listening to that parking
attendant's life story. His accent
was so thick I had to use my voice
synthesizer to understand him.
MICHAEL
I rest my case.
K.I.T.T.
Well, speaking of oddballs -- don't
you think it's time you took off
that hat?
MICHAEL
No way, pal. I earned the right ---
Michael groans; adjusts his seating position.
MICHAEL
(continuing)
-- I've got more bruises than the
Big Apple has bagels. Why is it
bugging you?
K.I.T.T.
Well, after what you said to that
cowgirl in the hip-hugger chaps ---
MICHAEL
It was a joke. I'm not getting a
set of horns for a hood ornament.
K.I.T.T.
What about the palomino upholstery
and six shooters for door handles?
INTERCUT AS NEEDED - K.I.T.T.'S MONITOR
as it chirps and Devon appears in his Foundation office.
DEVON
A horse shoe hanging from the rear-
view mirror might be a nice touch.
MICHAEL
(laughs)
Yo, Devon. What's up?
DEVON
Something I'd like you to look into.
MICHAEL
If it isn't a hot tub, I pass.
DEVON
I'm afraid logging country is the
best I can do, Michael. Yesterday
someone named Whitby, Erik Whitby
vandalized Jonathan Dutton's home
with a chain saw. I'm baffled as to
why. Jonathan's the most decent man
I know. One of those people who
doesn't have an enemy in the world.
MICHAEL
He's also a big supporter of The
Foundation, Devon. It might have
something to do with one of our
cases.
DEVON
Good thinking. I'll have Bonnie run
a check. By the way, she's already
transmitted technical logging data
to Kitt. He'll brief you in transit.
One other thing, Michael, Whitby's
had a number of run-ins with local
authorities.
MICHAEL
Are you sure they shouldn't be
handling this.
DEVON
They have handled it, Michael.
Whitby was arrested and charged.
But you see I'm still ---
MICHAEL
I know where you're headed -- he's
out on bail and you're worried he
might go off the deep end again.
DEVON
Precisely. He was paroled this
morning in the custody of his sister.
I'd like you to keep an eye on him.
MICHAEL
While I'm at it, maybe I can find out
what lit this guy Whitby's fuse.
DEVON
From what I've observed it's a very
short one, Michael. Be careful.
CUT TO
EXT. HIGHWAY - DAY - VARIOUS SHOTS - K.I.T.T. - TRAVELING
from downtown freeway to rolling countryside and into
towering forests.
EXT. WHITBY'S COTTAGE - DAY
Erik Whitby is chopping wood in front of a modest but
comfortable cabin surrounded by stands of trees. He
pauses as K.I.T.T. pulls to a stop in the gravel drive.
Michael gets out and crosses to Whitby.
MICHAEL
Morning -- are you Erik Whitby?
WHITBY
Depends on why you want him.
MICHAEL
I've got some questions that need
answers.
WHITBY
You got a badge to back 'em?
MICHAEL
I'm not with the police. I just
want to talk.
WHITBY
Then you must be working for Dutton.
Hit the road -- or this'll do my
talking.
Whitby grabs a double-barrel shotgun that leans against the
timber. Michael stands his ground; raises his arms slightly
indicating he has no weapon.
MICHAEL
Set that aside and ---
CLOSE ON THE SHOT GUN
as one of the barrels fires.
MICHAEL
dives and rolls to cover behind a pile of logs. His Stetson
flies off and is hit by the shotgun blast.
WHITBY
First barrel's a slug! Next one's
bird shot!
ANOTHER ANGLE
as Whitby's pickup turns into the gravel drive and screeches
to a stop. Ellen Whitby, twenty-eight, a fresh-scrubbed,
earthy beauty, in jeans and tank top jumps out and hurries
to Whitby.
ELLEN
Erik! What's going on here?!
As she takes the shotgun, breaks it and removes the
remaining shell, Michael eases out from behind the pile of
logs.
WHITBY
Ask him.
ELLEN
Who are you, mister?
MICHAEL
Michael Knight. I'm with The
Foundation for Law and Government.
Your brother got creative with a
chain saw and upset a lot of people.
I'm worried about their safety.
WHITBY
I knew you were with Dutton! Well,
mister, you tell him our parents
spent their lives harvesting these
trees! Now they're resting beneath
'em.
Michael follows Whitby's look to see:
TWO SMALL HEADSTONES
side by side atop a little knoll beneath a towering pine
tree. The name Whitby on both.
WHITBY
(continuing)
They left us this land, and nothing,
nothing's going to keep us from
working it just like they did!
MICHAEL
That's still no reason to vandalize
a man's home. According to local
police, you have a habit of popping
off when you don't get your way.
Erik bristles. Ellen holds him back, a hand on his arm.
ELLEN
That was years ago, mister. He was
just a kid. He's past all that,
now. We're not bad people ---
WHITBY
(nods)
If I wanted to hurt Dutton, I would
have, believe me. I was just making
a point that's all.
MICHAEL
I'd say you made it. Now, tell me
what this is all about.
ELLEN
You really want to know?
MICHAEL
Didn't drive all the way up here
just to get shot at.
Ellen studies Michael a beat, deciding, and we:
CUT TO
INT. WHITBY'S COTTAGE - DAY - CLOSE ON COFFEE
as it's poured into cups. We widen out to include Michael,
Ellen and Whitby, settling around a table in the rustic
kitchen. Ellen gestures out the window next to her ---
ELLEN
See that timber? It should have
been sold and milled months ago.
WHITBY
(bitterly)
Of course Dutton's mill is the only
one around, but he won't buy it.
MICHAEL
Look, Dutton's an intelligent
businessman. There has to be a
good dollars and cents reason for
that.
WHITBY
There is -- he can get all the timber
he wants for half our price.
ELLEN
And the only way to do that is by
operating illegally.
MICHAEL
Wait a minute. Logging is a regulated
industry. As I understand it, each
region has an inspector to prevent
illegally cut timber from being sold
to the mill.
ELLEN
Right. He's called the scaler. He
works in the field; tickets each log
to verify it hasn't been pirated.
The mill can't accept one that
doesn't have a ticket.
WHITBY
Yeah, and Dutton's found some way to
get around him.
MICHAEL
Hold it. The only person here I know
who's committed a crime is you.
(beat)
You put your temper on hold and I'll
see if what you said is true.
Michael stands to leave; takes his shotgun-ventilated
Stetson from an adjacent chair; examines it a beat ---
MICHAEL
Either way, you owe me a hat.
EXT. WHITBY'S CABIN - DAY
as Michael exits and gets into K.I.T.T.
MICHAEL
Better button up, pal. No telling
what we might run into.
Michael hits a button on the console and ---
K.I.T.T.'S T-TOP
unfolds from the trunk and locks into place.
CUT TO
OMITTED
EXT. COUNTRY ROAD - DAY - K.I.T.T. - TRAVELING
between groves of towering pines.
K.I.T.T.
I'm a little puzzled, Michael. It
appears you've signed a truce with
the enemy.
INSIDE K.I.T.T.
MICHAEL
It's a long shot but there's a chance
the Whitby's are just a couple of
hard-working people who're getting
the short end of the stick.
Michael pushes some buttons on his console.
MICHAEL
I need some information, pal. Run-
down what saw mills are paying for
raw lumber these days. Give me the
national average.
INTERCUT AS NEEDED - K.I.T.T.'S MONITOR
as it comes to life and columns of figures assemble and a
pulsing rectangle highlights $79.90 PER 100 BOARD FEET.
K.I.T.T.
It fluctuates, Michael. But at the
moment it's seventy-nine dollars and
ninety cents per hundred board feet.
RESUME THE SCENE
as Michael glances to the screen and reacts to the data.
MICHAEL
Okay, let's see if we can do worse.
K.I.T.T.
Worse? Did I hear you correctly?
MICHAEL
Sure did. For starters, I want to
see if the mill is undercutting the
going rate like the Whitby's claim.
K.I.T.T.
All right but it's rather obvious we
aren't a lumberjack and his faithful
mud-caked pickup.
MICHAEL
Way ahead of you, pal. I've already
got an angle that'll cover it.
K.I.T.T.
You know I have to admit, I hope it
turns out Whitby is innocent. I
owe him a favor.
MICHAEL
(sensing
the setup)
Okay, pal, let me have it ---
K.I.T.T.
He forced you to take off that hat.
Michael's laugh segues to the roar of:
CUT TO
EXT. MOUNTAIN LOGGING OPERATION - DAY - MONTAGE - STOCK
A MASSIVE OFF LOADER
The engine straining as the powerful jaws close around
a giant log and loft it from a truck.
EXT. SAW MILL - DAY
A sign reads -- DUTTON INDUSTRIES HUMBOLDT MILL -- pan
across as K.I.T.T. pulls to a stop. Michael gets out and
crosses to:
A LARGE BLACKBOARD
on the wall of the mill where prices are chalked --
(approximately half the going rate determined earlier).
Michael studies the figures, then crosses to the off
loader that's unloading the truck. He shouts to the
Operator.
MICHAEL
Excuse me? Can you tell me where I
can find the scaler?
The Operator nods; gestures behind the off loader.
OPERATOR
Right back there. His name's
Gerry Nash.
CLOSE ON THE ENDS OF LOGS
a scaler's ticket stapled to each. We widen as Michael
joins Gerry Nash, thirty-four, a lumberjack-type with
a Deliverance mentality. An axe hangs next to a walkie-
talkie on his belt. The off loader almost hits Nash
as the jaws clamp onto another log.
NASH
(shouts to
operator)
Hey! Watch it!! That's five
thousand horsepower worth of trouble
you're jockeying!!
MICHAEL
Hi, name's Knight. Mike Knight --
White Wood Pulp and Paper. I under-
stand you're the scaler in this region.
NASH
Right. Nash. Gerry Nash! Real busy
right now! Gotta head out into the
field.
MICHAEL
Well, this'll only take a sec. We're
purchasing a lot of acreage in this
area. And I'm checking out how much
this mill pays for timber.
NASH
Don't look like the type who can't
read -- prices are right over there.
Nash gestures to the blackboard.
MICHAEL
I've seen 'em. If those numbers are
for real, the people who run this
place aren't buying timber they're
stealing it.
NASH
You've got a lot to say for somebody
new to this grove. Way I hear it,
these loggers are getting a fair
shake.
MICHAEL
Way I hear it, the only way to cut
timber for those prices -- is to cut
it illegally.
The off loader lifts the last log from the truck and pulls
away.
NASH
I hope that's not an accusation.
'Cause nobody's pirating any timber
in my district and I wouldn't
recommend anyone try --
(beat;
pointedly)
-- if that's where you're headed.
MICHAEL
No, sir. White Wood P&P's a stickler
for regulations -- and we stick it
to anybody who isn't. Especially if
he happens to be the guy who supposed
to be enforcing 'em.
Michael burns him with a look, crosses to K.I.T.T., gets
behind the wheel and takes off after the truck, and we:
RESUME NASH
eyeing K.I.T.T. following the truck. He pulls the walkie-
talkie from its holster; clicks it on.
NASH
Dave? Come in Dave. Come in? Do
you read? Over.
INTERCUT ON ANOTHER WALKIE-TALKIE
as Dave, twenty-eight, tall, sinewy, clicks it on and we
widen out to reveal he's standing in a grove that's been
clear cut; not a tree standing.
DAVE
Loud and clear, over.
NASH
A guy in a black T-top been asking
some hard questions. He just followed
one of your trucks outta here. He's
headed your way.
DAVE
You saying he didn't buy a round
trip ticket, Gerry?
NASH
You got the idea.
Nash clicks off and we:
CUT TO
EXT. FOREST ROAD - DAY
as the logging truck from the mill barrels through the
turns in the narrow, twisting road. We hold and pan back
to pick up K.I.T.T. coming through the same turns.
K.I.T.T.
How did you make out at the mill,
Michael?
INSIDE K.I.T.T.
MICHAEL
The Whitby's story held up, pal. I
figure Dutton's paying half what the
timber is worth.
K.I.T.T.
Where are we going now?
MICHAEL
Wherever that truck's going.
OMITTED
K.I.T.T. T-TOP MODE - FROM ABOVE
as he moves along the winding ribbon that cuts through the
forest and begins to climb a steep grade. We pull back to
include Dave observing from above the road. He waves,
signaling to:
ANOTHER LOGGING TRUCK
parked off the road at the top of the grade. Phil is
behind the wheel. He returns the high-sign, as the truck
Michael and K.I.T.T. are following passes him going in
the opposite direction. Phil starts his truck and pulls
onto the narrow road, picking up speed. The truck is going
right at K.I.T.T.
OMITTED
INSIDE K.I.T.T.
as Michael sees the truck rocket into view.
K.I.T.T.
Michael, that truck's coming at us
head on!
MICHAEL
Let's micro-lock the brakes, pal!
K.I.T.T.
He's too close! There isn't enough
time!
MICHAEL'S POINT OF VIEW THROUGH WINDSHIELD
The massive grille of the truck coming at K.I.T.T. head
on. We hold a beat and then:
FREEZE FRAME
FADE OUT
END OF ACT ONE
ACT TWO
FADE IN
EXT. FOREST ROAD - DAY - CONTINUOUS
as the truck and K.I.T.T. rocket toward a head-on collision.
INSIDE K.I.T.T.
MICHAEL
We'll have to turbo boost over him,
pal!
K.I.T.T.
He's too close for that too! There's
not enough room!
MICHAEL
Then we'll have to make the most of
what we've got!
Michael whips the wheel; tromps on the accelerator.
K.I.T.T.
makes a swerving maneuver up the sloping shoulder; the edge
of the road. And a sheer drop-off inches away from his
tires.
ANOTHER ANGLE - HEAD ON
as K.I.T.T. rockets past the onrushing truck; barely a
sliver of daylight between them. The truck keeps going.
As K.I.T.T. comes down off the shoulder and spins out
across the road ---
K.I.T.T.
That was a close one, Michael!
OMITTED
K.I.T.T.'S FRONT TIRE
hits a log at the edge of the road. It spins beneath
K.I.T.T. and smacks hard into his undercarriage.
INSIDE K.I.T.T.
MICHAEL
Sure was. Hey?! What was that?
K.I.T.T.
We hit a rock. It must have bounced
up and hit me in the ---
As they accelerate away, K.I.T.T.'s voice is interrupted by
an electronic screech that garbles a few words, then ---
K.I.T.T.
Like I was sayin', Mickey. I just
took a helluva shot right between
the eyes.
MICHAEL
(a little
take)
What's wrong with your voice pal?
The impact must have damaged your
communications module. You sound
just like a disgruntled Bronx cabbie.
K.I.T.T.
A Bronx cabbie? Come on, stop
putting me on, Mickey. I ---
The car hits a bump. The electronic screech interrupts
K.I.T.T.
K.I.T.T.
Oh, dear, my CPU automatically
stored all the words I had to
'translate' while talking with that
parking attendant in New York -- the
vocal boards in my synthesizer must
have loosened and retro-activated.
MICHAEL
Makes sense, you returned to normal
when we hit that bump. I think you
better keep your scanners peeled for
the next one -- and make sure you
don't hit it.
CUT TO
EXT. WHITBY'S COTTAGE - DAY
Erik is getting into the pickup. Ellen comes from the
cottage and calls after him.
ELLEN
Where you headed?
WHITBY
(evasively)
Nowhere special. Just feel like
getting out for a while.
ELLEN
(knowing
better)
Last time you said that you ended
up at Dutton's party.
WHITBY
(smiles; arms
splayed)
No chain saw -- I just want to see
if this guy Knight's on the level.
ELLEN
Give him some time. He seemed
sincere. Something about him -- a
good feeling. I ---
WHITBY
Sure you don't mean good-looking?
ELLEN
That was uncalled for and you know
it.
WHITBY
Okay, I'm sorry. I'm just not as
sure of him as you are. You heard
what he said, Ellen -- he's here
'cause Dutton sent him here.
(off her
look)
Look, I won't do anything stupid.
Just gonna check him out.
They hold a look for a beat and we ---
CUT TO
EXT. SAW MILL - DAY
as Michael roars up in K.I.T.T. and screeches to a stop
next to Nash, who's supervising the unloading of another
truckload of logs. As Michael gets out ---
MICHAEL
Nash?! Just the guy I want to see.
(beat)
I was a couple of miles up that road
when a truck came out of nowhere.
Almost had a head-on.
NASH
Yeah, well these logging runs aren't
the Hollywood freeway. What's it
got to do with me?
MICHAEL
Truck was headed here. Thought maybe
you saw it.
NASH
I see lots of 'em. What were you
doing up there anyway?
MICHAEL
Checking out acreage for my company.
NASH
No land for sale up there. You were
headed in the wrong direction.
MICHAEL
Funny, but the more I talk to you,
the more I know I'm right on target.
Michael burns him with a look. The tension is broken by
Samantha Dutton's Mercedes that pulls up in front of the
mill. Nash moves off as Samantha, wearing expensive
designer clothes inspired by wilderness gear gets out
carrying a bulging briefcase and crosses toward Michael.
SAMANTHA
Mr. Knight?
(off Michael's
reaction)
Three years ago? At Foundation
Headquarters. I'm Sam Dutton.
Michael glances from Sam to the briefcase and back.
MICHAEL
Hello -- I remember a shy, young
woman who'd curl up with a good book
over a balance sheet any day. And
it's Michael.
SAMANTHA
Well, Michael, Daddy's little girl
grew up and became Daddy's right
hand man. A busy one. Mind if
we talk on the way to my office?
ANOTHER ANGLE
Follow Michael and Samantha as she leads the way through
the mill yard.
SAMANTHA
I've been looking forward to meeting
you again. I didn't expect it'd be
here.
MICHAEL
Neither did I -- until Devon asked
me to look into an incident at your
father's last night.
SAMANTHA
Yes, I know. What I meant was, he
told me you'd be keeping an eye on
the Whitby's.
MICHAEL
I had a talk with them. I don't
think they're out to hurt anyone.
SAMANTHA
(cooling)
Really. Then what prompted the
remodeling job on Dad's house?
MICHAEL
Frustration. The Whitby's claim
they can't get a fair price for
their timber because somebody's
underselling them -- and they're
right.
Samantha stops walking; turns to Michael, angrily for ---
SAMANTHA
Michael, if someone wants to cut
timber and give it to us for nothing
that's their business. Not the
Whitby's. Not yours.
MICHAEL
But it's your's to make sure it's
been cut legally before you buy
it.
Samantha bristles; whirls to a stack of logs next to
her; yanks a scalers ticket from the end of a log and slaps
it in Michael's hand.
SAMANTHA
These guarantee it.
MICHAEL
Not if there's a fox guarding the
chicken coop, they don't.
SAMANTHA
Which means?
MICHAEL
If my guess is right, somebody's
pirating timber and Nash slaps these
tickets on it.
This stops her. As she reacts, we go to:
ANOTHER ANGLE
as Whitby's pickup drives past the mill and slows when
Whitby sees Samantha and Michael. He observes the
following from a distance.
RESUME THE SCENE
as Samantha shakes no in disagreement.
SAMANTHA
I'm a businesswoman, Michael. I
can't afford to guess, I have to
know. I've been dealing with Nash
for over a year and I can tell you
you're wrong.
MICHAEL
You keep this between us and I'll
prove I'm not. Deal?
Michael extends a hand. Samantha studies him a beat;
eases; reaches out and shakes it. In the b.g., Whitby
slams the truck in gear and angrily drives off, unnoticed
by Michael or Samantha.
SAMANTHA
(grudgingly)
Deal.
(beat)
Now, I've got a lot of work to do.
MICHAEL
(off scaler's
ticket)
That makes two of us.
Michael watches her go, then crosses to K.I.T.T.
OMITTED
INSIDE K.I.T.T.
as Michael gets in, places the ticket in K.I.T.T.'s analyzer
tray, slides it closed and hits some buttons.
MICHAEL
Analyze this, Kitt. I want to know
where this tree grew up.
K.I.T.T.
That's an easy one, Michael. It's a
simple binary code.
INTERCUT AS NEEDED - K.I.T.T.'S MONITOR
as the ticket's numerical data is transformed into words.
K.I.T.T.
According to the ticket, the log was
cut from the Castleberry Grove.
That's a legal cutting area according
to the data Bonnie gave me.
MICHAEL
Okay, now get a picture of the ring
pattern of the same log -- the one
without a ticket.
ON K.I.T.T'S SCANNER
as it pulses, scanning.
K.I.T.T.'S POINT OF VIEW - THE CUT END OF A LOG
The same one that Samantha removed the ticket from. As we
move in very close on the distinctive pattern of the rings:
K.I.T.T.
Got it, Michael.
RESUME INSIDE K.I.T.T.
MICHAEL
Let's get out of here.
Michael slams K.I.T.T. in gear and drives out of the mill.
As they head down a tree-lined road ---
MICHAEL
Okay, pal. I'm betting that log
wasn't cut from the Castleberry Grove.
Analyze the ring pattern. Tell me
everything you can about it. If I'm
right, it won't match the ticket.
INTERCUT AS NEEDED - K.I.T.T.'S MONITOR
A diagramatic of the logs rings highlighted by a rippling
effect from the center to the outermost rings as K.I.T.T.
analyzes.
K.I.T.T.
The specimen is a forty-seven-year-old
Pinus Ponderosa. It survived a flood
as a sapling, a harsh winter in its
fifteenth year, a forest fire in its
forty-second and ---
MICHAEL
(interrupting)
Hold it. Hold it. That forest fire
was five years ago. When was the
last fire in the Castleberry Grove?
The graphics on K.I.T.T.'s monitor changes into a high
speed data search, then suddenly:
K.I.T.T.
July, 1964, Michael.
MICHAEL
That's over twenty years ago. That
log couldn't have come from the
Castleberry Grove. That ticket was
forged.
Michael accelerates. The car hits a bump as it swings
through a turn. We hear the electronic screech before ---
K.I.T.T.
Hey, Mickey? You mind tellin' me
where we're goin'?
MICHAEL
(can't
believe it)
Oh, no...Bonnie's got to fix your
vocal boards first chance we get.
If you don't drive me crazy first,
we're going to the Whitby's to give
them the good news.
K.I.T.T.
Betcha they're gonna be happier than
a couple of cab drivers at a
demolition derby. Anything else I
could do for ya?
MICHAEL
If that tree wasn't from the
Castleberry Grove, where was it
from? See what you can come up
with. Okay?
K.I.T.T.
Mickey -- for you, da moon, you know
that.
MICHAEL
Kitt -- Get me the moon, get me the
data, get me anything you like
-- just do it without talking,
please?
CUT TO
EXT. WHITBY RANCH - DAY - CLOSE ON AN AXE
as it cuts into a log, chips flying. Widen to reveal Ellen
swinging the axe as Whitby's pickup screeches to a stop in
the drive. He jumps out, angrily slams the door.
ELLEN
What's wrong, Erik?
WHITBY
You can take all those good feelings
and forget about 'em! Knight's not
helping us. He's working with the
Dutton's.
During the following exchange, we move with Ellen and
Whitby as he crosses and grabs a chain saw that leans
against the timber and moves back to the pickup.
ELLEN
What? Erik? What are you doing?
WHITBY
Turning that mill into a pile of
kindling.
ELLEN
That's not the answer.
WHITBY
If they won't mill our timber, they
aren't milling anybody's. Hurt 'em
in the pocketbook -- they'll start
seeing this our way.
ELLEN
You're only going to hurt yourself.
(beat)
Erik, you're my brother. You're
more important to me than the
timber, the business. If you get
arrested again -- Don't do this,
please? Please!
ANOTHER ANGLE
K.I.T.T. pulls into the drive behind the pickup as Whitby
pulls away from Ellen and tosses the chain saw into the
pickup. She crosses to Michael as he gets out of K.I.T.T.
ELLEN
Michael -- he's going to try and
shut down the mill. Maybe you can
talk some sense into him.
MICHAEL
Somebody better. He has his sights
set on the wrong target.
Whitby pushes Michael aside and moves to the door of the
pickup. Michael grabs his arm, stopping him.
MICHAEL
You oughta hear me out.
Whitby whirls and throws a punch at Michael. He catches
Whitby's wrist; snaps his arm up behind his back in a
hammer lock and slams him up against the side of the
pickup.
MICHAEL
I said you oughta hear me out. And
if that doesn't stop you -- I will.
Whitby gets the message; eases; nods. Michael releases his
grip on him.
MICHAEL
I was right. Nash is a thief. He's
putting scaler's tickets on stolen
timber.
WHITBY
(challenging)
And you've got proof of that ---
MICHAEL
No -- but I know where to get it.
Whitby swings a skeptical look to Ellen, then back to
Michael, and we:
CUT TO
CLOSE ON A MAP
as Whitby unfolds it on the tailgate of the pickup. Widen
to include Whitby, Ellen and Michael. Michael studies it
for a beat before circling an area with a marker.
MICHAEL
Right there.
ELLEN
That's a national park. They're
cutting on federal land?
WHITBY
You're crazy. Makes no sense
pirating in those areas. They're
policed by rangers.
MICHAEL
Who have millions of acres to cover.
They could patrol for years and never
catch Nash in the act and you know
it. I'm getting tired of you biting
the hand that's trying to feed you.
Michael punctuates his comments with a look; holds it.
Whitby thinks; decides and nods.
WHITBY
What's your next move?
MICHAEL
(indicating
map)
Get in there and get evidence to
make those pirates walk the plank.
WHITBY
That's high ground. They'll spot
you before you get near the grove.
MICHAEL
You know this country. There must
be a back road I can take.
On Whitby's smile we ---
CUT TO
EXT. DIRT ROAD - DAY
K.I.T.T. bounces along the overgrown road that snakes
between the trees.
K.I.T.T.
Back road? This isn't even a
cowpath.
INSIDE K.I.T.T.
Michael being jostled; trying to find a comfortable
position.
MICHAEL
Tell me about it. Bull riding was
easier. I'm getting bruises on top
of my bruises.
K.I.T.T. hits a huge bump. Michael lurches in his seat.
We hear the electronic screech as K.I.T.T.'s voice
changes. Michael is at his wits end. He reaches to his
console and shuts off K.I.T.T.'s voice modulator, inter-
rupting him.
K.I.T.T.
Mickey, ya gotta ---
MICHAEL
Sorry about that, pal. You've always
been a scintillating conversation-
alist. But until Bonnie can do her
stuff, I'm forced to restrict your
scintillation to official business.
RESUME DIRT ROAD
that becomes more and more overgrown as K.I.T.T. comes
through a turn and stops in a grove of trees.
ANOTHER ANGLE
as Michael maneuvers K.I.T.T. between some of the big trees
to the crest of a ridge, stops K.I.T.T. and gets out.
MICHAEL'S POINT OF VIEW
of a large grove being clear-cut by a crew of timber
pirates.
INSIDE K.I.T.T.
MICHAEL
Kitt, you see what I see?
K.I.T.T.
I certainly do, Michael.
MICHAEL
Crank up your zoom lens and fire
away. I'm going in for a closer
look. Keep your scanners peeled ---
As Michael gets out and moves off, we hear chain saws and
heavy equipment.
K.I.T.T.'S SCANNER
pulses faster and starts scanning.
K.I.T.T.'S MONITOR - 35MM VIEWFINDER MATTE
as K.I.T.T. zooms, focuses and rapid shoots photos of:
An axe -- biting into a trunk; wood chips flying.
A chain saw -- making the final cut.
A huge tree -- as it shudders and falls.
A offloader -- loading logs onto the trucks.
Gerry Nash -- stapling scaler's tickets to the logs.
INTERCUT MICHAEL
as Michael moves between the trees, observing.
MICHAEL
Make sure you get a mug shot of Nash
stapling those tickets.
A warning light flashes on the console.
K.I.T.T.
I got it, Michael, but we better get
moving, my scanners just picked up
someone in the area.
MICHAEL
Hang in there, I'm on my way.
Michael makes his way between the trees back to K.I.T.T.,
gets in and drives off.
OMITTED
ANOTHER ANGLE
as Dave and Phil arrive on the run as K.I.T.T. pulls away.
Dave gestures to the departing T-top.
DAVE
Come on, we can cut him off!
They take off running between the trees.
OMITTED
ON WOODEN STAKES
that hold the logs in place, as the two men use the back
side of the axes to knock the stakes loose. The logs
start rolling.
THE SCENE
K.I.T.T. comes through a turn and the logs tumble down the
hillside with a deafening roar toward K.I.T.T. below.
INSIDE K.I.T.T.
as Michael reacts to the sound.
MICHAEL
I hear it, but I don't see it, Kitt.
K.I.T.T.
A logslide, Michael! Directly above
us. We'll never get out of the way
in time!
Michael whips the steering wheel to avoid the first log
that bounces down onto the road in front of K.I.T.T.
MICHAEL
Then we go around 'em!
THE SCENE - WIDE
as K.I.T.T. is clobbered by the logs that fall from
directly overhead. The dust settles revealing a mountain
of logs, that completely buries K.I.T.T. A long beat
before we hear ---
K.I.T.T.
Hey, who turned out the lights?
FREEZE FRAME
FADE OUT
END OF ACT TWO
ACT THREE
FADE IN
EXT. MOUNTAIN OF TIMBER - DAY - CONTINUOUS
As we fade in we faintly hear ---
K.I.T.T.
Michael?
INSIDE K.I.T.T.
Tiny beams of light project through spaces between the logs.
K.I.T.T.
Michael, remember that old saying
about makin' a silk purse our of a
sow's ear?
MICHAEL
Kitt -- first you talk with a New
York accent, now you're talking in
riddles. If you have something to
say, say it straight out.
K.I.T.T.
It just occurred to me, there's
enough lumber on top of us to make
10,658 hot tubs.
MICHAEL
If you mean we're in hot water up to
our eyeballs, you're right. Now
talk to me about turning it into a
pile of toothpicks.
K.I.T.T.
I'm sorry, but turbo boosting isn't
one of our options at the moment!
MICHAEL
Why not?! We have enough power.
Get your turbo up to maximum thrust
and blast us out of here.
K.I.T.T.
You're absolutely right, Michael.
But I'm afraid we're trapped. The
logs have interlocked around us
like a giant cage, which will move
along with us.
MICHAEL
Then we shake things up a little,
first.
Michael pushes some buttons.
ON K.I.T.T.'S CONSOLE
as the hydraulic lift graphic illuminates.
ON K.I.T.T.'S HYDRAULIC JACK
as it lowers to ground.
RESUME INSIDE K.I.T.T.
as Michael pushes more buttons. The car starts moving up
and down repeatedly.
THE MOUNTAIN OF TIMBER
shudders; starts vibrating; moving up and down causing logs
to loosen and tumble free.
K.I.T.T.
I think that did it, Michael.
RESUME INSIDE K.I.T.T.
Michael pushes some buttons.
MICHAEL
Okay let 'er rip ---
K.I.T.T.'S CONSOLE
as the turbo boost graphics illuminate.
MICHAEL
is snapped back into the seat.
THE MOUNTAIN OF TIMBER
suddenly erupts in an explosion of logs, splinters and wood
chips.
ANOTHER ANGLE - SLOW MOTION
as the explosion of logs continues and K.I.T.T. emerges
into view amidst the debris that fills the air.
ANOTHER ANGLE
as K.I.T.T. sails through the air, lands hard on the dirt
road and takes off at high speed.
INSIDE K.I.T.T.
MICHAEL
Way to go, pal! Now let's get out
of here. They're pirating the
timber. That's how they can sell
it for half price.
K.I.T.T.
Yeah, we've got enough evidence to
nail Nash and those palookas but
good.
MICHAEL
Not so fast. That's twice they
were waiting for us. Somebody has
to be tipping them. I'm not moving
on Nash until I find out who. Get
me Devon.
(beat)
His voice will be music to my ears.
Michael pushes some buttons on his console.
K.I.T.T.
Hey, gimme a break will ya? I don't
like this any more than you do,
Mickey, it's the pits.
K.I.T.T.'s monitor chirps.
K.I.T.T.'S MONITOR - INTERCUT AS NEEDED
to see Devon in his Foundation office.
DEVON
(distastefully;
cringing)
'Mickey? The pits?' Michael, it
sounds like you drove to logging
country via the Brooklyn Bridge.
MICHAEL
I'm ready to jump off a bridge.
He's driving me crazy.
(beat)
Two things, Devon. First anything
on that check of Whitby yet?
DEVON
Yes, I was about to report he has no
connection to Foundation cases. His
actions must be related directly to
the Duttons.
MICHAEL
They sure are. It's a business
matter. Whitby's not getting a fair
shake from their saw mill. Which
brings me to item two. I want you
to set up a meeting with Jonathan
and Sam for me to discuss it.
DEVON
I'm not sure that's a good idea,
Michael. Jonathan is quite upset
you've been getting involved in his
business instead of dealing with Whitby.
MICHAEL
You said to find out what's going on
not support an assumption. And that's
what I'm trying to do -- But somebody
on the inside's working against me.
I've got to rattle some cages and find
out who.
DEVON
Well Jonathan doesn't rattle easily.
As they say, he's the coolest
customer I know.
CUT TO
INT. MANSION - DAY - CLOSE ON JONATHAN
JONATHAN
Pirated timber?!! That's absurd!!
Pull back to reveal Devon and Michael and Samantha gathered
around Dutton in a warm-up suit working out on an
exercycle. He's infuriated by what Michael has told him.
JONATHAN
(continuing)
You don't know what you're talking
about Mr. Knight. Dutton Industries
follows every Federal regulation to
the letter.
SAMANTHA
That's right. Our records are an
open book Michael. There's a
scaler's ticket for every log we
mill. I'll be more than ---
MICHAEL
(interrupting)
Those tickets are forged. Look --
(hands out
photos)
Nash is certifying stolen timber.
That's why the Whitbys can't compete.
Dutton examines the photographs disdainfully as he pedals;
brandishes them at Devon ---
JONATHAN
Are you telling me The Foundation is
supporting Whitby?! The man who
barged in here and destroyed priceless
antiques with a chain saw?!
MICHAEL
The man was desperate. He and his
sister are decent people trying to
scratch a living out of their land.
They're the victims here.
JONATHAN
You're putting the well-being of a
couple of misfits before that of my
employees! What about them?! There
are 2,300 jobs at stake here! Devon,
I want this assignment dropped.
MICHAEL
Not a chance, Devon. This leads
right to his door. He and Sam are
going to have to deal with it.
JONATHAN
I built this business from scratch to
use your word Mr. Knight -- I'll
decide what I deal with!
Dutton gets off the exercycle; shoves the photos into
Michael's hands and heads for the doors that lead outside.
Michael is about to go after him when Devon holds him back;
settles him with ---
DEVON
Easy, Michael. Let me try ---
EXT. MANSION TERRACE - DAY - CONTINUOUS
as Dutton explodes onto the terrace, the group following
led by Devon, who catches up to Dutton for ---
DEVON
Michael's right Jonathan. It's time
to face facts -- Your mill has been
purchasing stolen timber.
JONATHAN
Just whose side are you on, Devon?!
DEVON
As always, the side of truth.
SAMANTHA
Don't get so upset, Daddy. I have
to admit, I probably should have ---
JONATHAN
(interrupting)
Don't admit anything. The media
gets hold of this, you'll be tried
and convicted before you know it.
DEVON
The innocent have nothing to fear
from Foundation activities, Jonathan.
You know that.
MICHAEL
But those who are involved do,
Mr. Dutton. That's a promise.
Michael and Dutton hold a look. A beat before Michael
turns and leaves. Devon nods to Jonathan and follows and
we go to:
ANOTHER ANGLE
as Jonathan softens; puts a consoling arm around Samantha.
We follow as they go down a staircase from the terrace to
the grounds.
JONATHAN
You okay, princess?
SAMANTHA
I guess so Daddy. I'm sorry about
this. Maybe, I didn't ask all the
questions I should have. Maybe I
was too anxious to turn it around
for you -- but I didn't break any
rules. I didn't do anything illegal.
JONATHAN
I know you didn't. If Nash has taken
advantage of us, I'll deal with him
in my own way.
SAMANTHA
Daddy, you've got enough to do. Let
me handle it, please? I'm the one
they used. I'm responsible for
this. Give me a chance to clean it
up.
JONATHAN
It's a little late for that, Sam.
Frankly, any other manager would be
on his way out the door -- but I
can't fire the future Chairman of
the board now can I?
Dutton smiles paternally. Samantha smiles, relieved. He
kisses her on the forehead, and we:
CUT TO
EXT. MANSION ENTRANCE - DAY
as Michael and Devon cross toward K.I.T.T. Devon's limo
and Samantha's Mercedes also parked in the drive.
MICHAEL
Devon, I hope you're not going to
ask me to drop this case -- because
I won't.
DEVON
You know better than that Michael.
My sole concern is a man's good name
and reputation.
MICHAEL
This won't be the first time a big
company tried to swat one of the
little guys -- and got caught.
DEVON
(nods grimly)
Just be certain -- beyond any doubt
-- before you take action that might
injure Jonathan.
MICHAEL
You have my word Devon.
The two men hold a look and we:
CUT TO
EXT. SAW MILL - DAY - ON GERRY NASH
the huge off loader moving logs in the b.g.
NASH
Easy, take it easy will you?
ANOTHER ANGLE
as Samantha whirls angrily to face Nash.
SAMANTHA
Take it easy? Michael Knight is
going to bring this whole thing down
on top of us.
NASH
Knight? We buried him under enough
timber to build a city.
SAMANTHA
That wasn't his ghost who just had a
meeting with my father. We've got
to get rid of him. He went to
Whitby's place from the estate. You
can get the three of them off our
backs if you move fast.
NASH
What about your old man. He gonna
just let it go?
SAMANTHA
I've handled him for the last year
haven't I? I've got this thing
where I want it and nothing's going
to ruin it. Not even him. You do
your job and I'll do mine.
She punctuates her reply with a cold look. Nash turns to
go.
SAMANTHA
Nash? No slip-ups this time. I
want Michael Knight out of my way
for good.
Nash nods forebodingly and we:
CUT TO
EXT. WHITBY'S RANCH - DAY
K.I.T.T. and the Whitby's pickup parked in the gravel drive.
INT. WHITBY'S HOUSE - KITCHEN - DAY
as Michael, Ellen and Whitby review the photographs
K.I.T.T. took of the pirating operation.
ELLEN
Michael, these are fantastic.
WHITBY
Yeah, we can use them to put Nash out
of business and get ours back on its
feet.
MICHAEL
(nods
emphatically)
There'll be no timber to pirate where
he's going. Now, I want you to get
these to the authorities. Nash is
mine.
ELLEN
I don't know how to thank you,
Michael. You're ---
She is interrupted by the screech of tires, and ---
K.I.T.T.
Michael! Michael, there's a pickup
circling the house.
MICHAEL
(comlink)
On my way, pal, thanks.
Whitby grabs his shotgun. Michael holds him back.
MICHAEL
I'll handle it. You stay with Ellen.
Whitby eases and nods. Michael heads for the door ---
EXT. WHITBY'S HOUSE - DAY
as Nash speeds past the house in a pickup.
OMITTED
THE FRONT DOOR OF THE HOUSE
swings open and Michael appears at the very instant.
NASH
tosses a fire bomb at the house.
NASH
You oughtta be more careful, Knight.
You just started a forest fire!
THE FRONT DOOR
A loud whoosh, as the bomb lands and explodes, in roaring
flames.
ON MICHAEL
He's driven back, slamming the door.
RESUME INSIDE THE HOUSE
as Michael rejoins Ellen and Whitby.
MICHAEL
Nash -- That's three times.
WHITBY
Yeah, every time you make a move
he's all over you.
MICHAEL
Sam Dutton --
(off reactions)
She's the only one who could be
tipping him. There another way out
of here?!
WHITBY
In there!
Whitby points to a hallway. As they cross toward it, Ellen
screams as they pass ---
AN OPEN WINDOW
As billowing smoke shoots up to and across the ceiling.
MICHAEL
grabs Ellen; pulls her aside as the smoke billows around
them. He shepherds Ellen down the hallway after Whitby to:
ANOTHER DOOR
as Whitby pulls it open and a wall of black smoke explodes
in their faces. Michael and Whitby work together to get
the door closed.
ELLEN
We're trapped!
They turn back.
THEIR POINT OF VIEW - THE ROOM
smoke seeping in every window; pouring into every opening
and billowing overhead.
MICHAEL, ELLEN AND WHITBY
engulfed in smoke and bathed in the flickering orange
glow of the flames. We hold a beat and then we:
FREEZE FRAME
FADE OUT
END OF ACT THREE
ACT FOUR
FADE IN
EXT. WHITBY'S HOUSE - FRONT DOOR - DAY
K.I.T.T. in front of the house; the area where the fire
bomb landed engulfed in flames.
INT. WHITBY'S HOUSE - DAY
Michael, Ellen and Whitby surrounded by thick smoke.
MICHAEL
(comlink)
We're trapped! We can get to the
rear porch but we need you to open
the door for us!
K.I.T.T.
I understand, Michael. On my way.
RESUME K.I.T.T.
He starts his engine; builds power for a beat and peels out
heading for the house.
OMITTED
THE REAR PORCH OF THE HOUSE
as K.I.T.T. approaches at high speed and slams into the
porch knocking it off the house. He makes a diving stop
adjacent to the door and below it.
ANOTHER ANGLE
as Michael, Ellen and Whitby appear in the escape opening
from inside the house.
ANOTHER ANGLE - K.I.T.T.'S T-TOP
as it automatically pops open.
INSIDE K.I.T.T.
smoke outside all of K.I.T.T.'s windows as the trio climbs
in through the open T-top.
WHITBY
(incredulous)
Nobody's in there.
ELLEN
Yeah, there's no driver. I don't
understand.
MICHAEL
He's here. You just can't see him.
As Michael settles behind the wheel and slams K.I.T.T. in
gear:
MICHAEL
Thanks, we were just about to become
three crispy critters.
K.I.T.T.
engulfed in smoke, peels out and rockets away from the
house.
OMITTED
ANOTHER ANGLE
Drives a distance away from the house and stops. Michael,
Whitby and Ellen get out and look back as ---
MICHAEL
Okay pal, hit the CO-2.
THEIR POINT OF VIEW - WHITBY'S HOUSE
smoke billowing as K.I.T.T. drives up to the source of the
fire. Suddenly, his fire extinguishers blast the area,
putting out the fire.
RESUME MICHAEL, WHITBY AND ELLEN
Whitby and Ellen are overcome by a sense of hopelessness.
ELLEN
(down)
They're just going to keep on coming
at us, aren't they?
WHITBY
(bitterly
angry)
Yeah, they're beating us; beating us
at every turn.
MICHAEL
You don't strike me as quitters.
It's not over if you don't want it
to be.
ELLEN
I'm not even sure what I'm fighting
for, anymore.
MICHAEL
How about your parents? You said
they left you this land.
ELLEN
(nods sadly)
They loved it. It was their whole
life.
MICHAEL
Something tells me they wanted it to
be yours too; wanted you to keep
what they'd started alive and have
an easier time of it than they did.
(beat)
Now you're going to walk away? Let
Sam Hutton and Nash take over?
Ellen and her brother exchange looks, as the impact of
Michael's words hit home.
MICHAEL
I didn't think so.
WHITBY
You know it. Nothing I'd like better
than to help put them where they
belong.
MICHAEL
I was counting on it.
The Whitbys brighten, and move into a conspiratorial huddle
with Michael, and we:
CUT TO
OMITTED
EXT. SAW MILL - DAY
Samantha is supervising as a off loader unloads logs from a
truck. Nash's pickup pulls to a stop next to her. Nash,
Phil and Dave pile out.
ANOTHER ANGLE
as they move aside with Samantha.
SAMANTHA
Is it done?
NASH
Well done. A little forest fire
just came out of nowhere and blew
right through Whitby's place.
SAMANTHA
Good. Then it's business as usual.
DAVE
Yeah, we won't have Knight gettin'
in the way anymore, either.
SAMANTHA
Then start cutting timber, we've got
a lot of orders to ---
She is interrupted by the screech of tires as:
K.I.T.T.
screams through a turn and approaches the saw mill at high
speed.
THE SCENE
as Samantha, Nash, Dave and Phil react.
SAMANTHA
I thought he was dead?
DAVE
He is dead!
NASH
He's gotta be! No way anybody got
out of that blaze alive!
They scramble as K.I.T.T. swerves off the road; comes right
at them; and nose dives to a fast stop. Michael jumps out.
SAMANTHA
Get him! Get him, don't just stand
there!!!
MICHAEL
That one's your's pal!
K.I.T.T. takes off after Phil who's running away.
ANOTHER ANGLE
Dave comes at Michael. He sidesteps, grabs Dave's arm and
uses his momentum to flip him. Dave gets to his feet. He
grabs an axe from a pile of logs and gets ready for Michael
who approaches. As they circle warily, we go to:
OMITTED
ANOTHER ANGLE
Phil is being pursued by K.I.T.T. He hears the roar of the
engine; turns; freezes as K.I.T.T. comes right at him; slams
on the brakes and pins Phil against a pile of logs. He
struggles to get free but to no avail.
RESUME MICHAEL AND DAVE
as Dave lunges at Michael and swings the axe. Michael
dives beneath the blade, knocking Dave to the ground. Dave
gets to his feet first; rears back and brings the axe down
toward:
MICHAEL
as he rolls at the last instant. The axe buries in the
ground where Michael would have been.
THE SCENE
Dave runs. Michael scrambles to his feet and goes after
him. Dave jumps into his pickup and takes off.
MICHAEL
puts on the brakes and reverses direction. As Michael
makes a beeline for K.I.T.T.:
THE HUGE LOG OFF LOADER
roars to life, Nash at the controls ---
K.I.T.T.
still has Phil pinned against the pile of logs. He's
struggling to get free as Michael arrives.
MICHAEL
Timberrrr!
Michael puts him out with a short hard right and gets:
INSIDE K.I.T.T.
as Michael jumps behind the wheel and starts the engine.
K.I.T.T.
Expertly felled, Michael.
MICHAEL
Thanks for baby-sitting him. Now
let's get that pickup.
But as Michael slams K.I.T.T. into reverse ---
THE OFF LOADER
roars in behind K.I.T.T. The jaws poised to strike.
K.I.T.T.
We have a problem, Michael!
INTERCUT NASH
in the cab of the off loader, operating the controls.
THE HUGE JAWS OF THE OFF LOADER
are about to clamp around K.I.T.T. like he was a log; just
inches from his surface.
MICHAEL
We've got to get loose, Kitt!
Michael floors the accelerator.
K.I.T.T.
explodes forward just as the steel jaws clamp shut,
narrowly missing him.
THE SCENE
K.I.T.T. swings around. The off loader lifts a massive
log; tries to drop it on K.I.T.T. It misses, but traps him
behind it. K.I.T.T. does a circling 180 to get around it.
A cat and mouse battle (to be choreographed) between
K.I.T.T. and the off loader follows.
CUT TO
A ROAD
Dave's pickup is barreling along at high speed. He comes
through a sharp curve and sees:
A ROADBLOCK
Ellen, Whitby and some other loggers man two pickup trucks
that block the road. Dave's pickup does a 180, careens out
of control and stalls at the side of the road. Whitby
jumps into his pickup and pulls in front of Dave's so he
can't escape.
DAVE
throws open the door and freezes, looking down the barrels
of Whitby's shotgun.
WHITBY
Right there. Or you go down like a
sapling.
And we:
CUT TO
RESUME SAW MILL
The battle between K.I.T.T. and the off loader continues.
K.I.T.T. is getting the upper hand, maneuvering the off
loader to the edge of a slope.
OMITTED
ANOTHER ANGLE - SAMANTHA
sees Nash and the off loader have almost had it. She
dashes to her Mercedes and takes off down the road at high
speed.
INSIDE K.I.T.T.
MICHAEL (O.S.)
(reacting)
Sam's getting away, pal! We've got
to finish this guy fast!
Michael hits buttons on his console. The eject graphics
illuminate.
K.I.T.T.'S T-TOP
as it pops open and Michael ejects from behind the wheel.
MICHAEL
sails through the air and lands on the off loader. He
puts Nash away with two fast punches that knock him out
of the off loader onto the ground. Michael shuts off the
engine, jumps down and runs to K.I.T.T.
ANOTHER ANGLE
as Michael gets into K.I.T.T. and accelerates, fishtailing
onto the road after Samantha's Mercedes that's already out
of sight.
CUT TO
EXT. ROAD - DAY
as Samantha's Mercedes comes through a turn at high speed
and approaches:
THE ROADBLOCK
as Ellen, Whitby and a group of loggers are wrapping up Dave
and his pickup. They move onto the road to stop Samantha.
The Mercedes comes right at them.
SAMANTHA
tromps on the accelerator.
THE SCENE
as the Mercedes barrels toward them.
ELLEN
She's not gonna stop!
Ellen and the loggers dive to safety as the Mercedes blasts
past on the side of the road that had been blocked by
Whitby's pickup, and keeps on going. Whitby runs into the
middle of the road and fires his shotgun at the fleeing car.
CUT TO
OMITTED
INSIDE K.I.T.T. - TRAVELING
at high speed on the same road.
K.I.T.T.
It looks like she's heading for
home, Michael.
MICHAEL
We've got some catching up to do,
pal. Give me all the pursuit power
you've got.
Michael pushes some buttons; is snapped back in his seat.
K.I.T.T. - PURSUIT MODE
as K.I.T.T. transforms -- nose elongating; rear spoilers
deploying, etc. and -- takes off at full pursuit speed.
INTERCUT - K.I.T.T.'S SPEEDOMETER
rapidly approaching and exceeding 400 mph.
OMITTED
ANOTHER ANGLE - ROAD
as K.I.T.T. explodes out of a turn and maneuvers between
the pickups after the Mercedes.
MICHAEL
Notify the police, pal. Have them
meet us at the Dutton estate.
ELLEN AND THE LOGGERS
cheer as K.I.T.T. blows past them at pursuit speed and
vanishes down the road and we:
CUT TO
EXT. JONATHAN'S ESTATE
as the Mercedes roars into the drive; screeches to a stop.
Samantha jumps out and hurries inside. We pan back to
pick up K.I.T.T., who approaches at pursuit speed.
K.I.T.T.'S BRAKING FINS
explode outward and we widen as K.I.T.T. screeches to a
stop behind the Mercedes. Michael jumps out and crosses to:
THE FRONT DOOR OF THE MANSION
as Michael arrives and shoulders the door open, almost
running over Jonathan Dutton, who responds.
JONATHAN
What do you want?
MICHAEL
Sam. Where'd she go?
Michael pushes past Dutton into the house.
INT. MANSION - DAY
as Dutton hurries after Michael, leaving the door open.
JONATHAN
Why? Why are you bothering her?
MICHAEL
She tried to kill me.
JONATHAN
Are you out of your mind? Get out
of here before I call the police!
MICHAEL
Already on their way.
(off Dutton's
reaction)
I'm sorry about this, Mr. Dutton but
Sam's behind the timber pirating.
She just had Nash torch the Whitbys'
house. The three of us barely
escaped.
Michael whirls in reaction to ---
SAMANTHA
That's true Daddy.
ANOTHER ANGLE
A siren rises O.S. as Samantha nervously enters with a gun.
SAMANTHA
Michael's right.
JONATHAN
(stunned;
incredulous)
Why? Sam, I -- I don't understand.
SAMANTHA
Because you pushed and pushed -- be
productive Sam; women are getting
power in the marketplace Sam;
there's no one to take over the
business, Sam --
(beat)
Because I knew I couldn't fail,
Daddy, that's why! Don't you ---
Sam bites off the sentence as:
THE TWO UNIFORMED POLICEMEN
come into the room behind Michael and draw their guns.
SAMANTHA
No! No, stay back.
MICHAEL
(to police)
Go easy. Let me handle this.
(turns to
Samantha)
You have to take responsibility for
what you did, Sam. You know that.
Michael takes a step forward, hand held out to Samantha.
MICHAEL
Give me the gun. Then we can ---
SAMANTHA
(interrupting)
No, no. Daddy -- Daddy, tell them
we don't want Michael here. Tell
them all to go.
JONATHAN
(shakes no)
I'm sorry, Sam. I -- I can't. It's
time we both faced our responsibili-
ties.
(to Michael)
I'll cover the Whitby's losses and
make everything right. And you'll
all -- do what you have to.
A look between Dutton and Samantha. A long beat before he
turns and leaves.
SAMANTHA
(wails)
Daddy?! Daddyyyy?
Dutton keeps going and exits. Samantha is shaking nervously;
starting to break down. Michael moves in and takes the gun
from her hand. She collapses, sobbing in his arms.
MICHAEL
Easy, Sam. Take it easy.
We hold a beat and then we:
FREEZE FRAME
END OF ACT FOUR
TAG
FADE IN
EXT. WHITBY'S PLACE - DAY
where the Whitbys have been repairing the fire damage to
their cabin. Michael, Ellen, Whitby and Devon are all
anxiously gathered around Bonnie, who is working on
K.I.T.T., replacing his voice synthesizer. As she
finishes ---
BONNIE
Well, that should put an end to
Kitt's New York accent, Michael.
But I don't see why it couldn't wait
until you got back to The Foundation.
MICHAEL
(thick N.Y.
accent)
That's 'cause youse ain't got no idea
what kinda torture I was going
through. Lemmee tell ya, he was
drivin' me up da wall.
K.I.T.T.
(perfect diction)
I wish you would stop rubbing it in,
Michael. It was your driving that
caused my English to become less
than perfect.
DEVON
Ah ha, English! So that's what you
think you're speaking. Well before
you get too disillusioned, I believe
it was Winston Churchill who said
the Americans and the English were
staunch allies separated by a common
language ---
ELLEN
Well, what we have to say is the
same in any language -- thank you.
Michael, thanks for everything.
WHITBY
Oh, before you go ---
Whitby takes a Stetson from the cab of his pickup; drops
it on Michael's head.
WHITBY
(continuing)
Couldn't let a staunch ally leave
without that.
K.I.T.T.
(groans)
Oh, no ---
MICHAEL
I heard that, pal --
(New York
accent)
-- but this is your lucky day.
'Cause, I'm gonna make youse an offer
you can't refuse.
(beat)
I won't tease you about your New
York accent -- long as you don't
tease me about my cowboy hat. A
deal?
K.I.T.T.
(beat)
Very good, Michael, I accept your
offer.
MICHAEL
Whew, for a minute there I thought
he was going to say -- Okay pardner,
now let's saddle up and make tracks.
The group laughs. We hold a beat and then we:
FADE OUT
THE END
