ACT ONE
FADE IN
EXT. CITY STREETS - DAY
The Trans Am is parked across the street from a restaurant.
As light foot traffic passes in front of the car, we tighten
on the car to reveal Michael in the driver's seat reading a
newspaper. Michael folds the newspaper and puts it on the
passenger seat. He looks across the street restlessly.
MICHAEL
He shouldn't be taking this long.
Maybe I should go in after him.
K.I.T.T.
That won't be necessary, Michael.
I'm scanning a man who fits the
description of Ron Austin even as we
speak.
MICHAEL
(looking)
Where? I don't see a thing.
K.I.T.T.
You will.
EXT. RESTAURANT
A man steps out of the door carrying a briefcase. He
furtively glances down the street, concludes that the coast
is clear, and walks rapidly toward a car. He is Ron Austin.
ON MICHAEL
as he prepares to get out of the car.
MICHAEL
Pretty tricky, Kitt.
(exiting)
Hang in there, this won't take but a
sec....
EXT. STREET - DAY
Austin is about to open his car door when Michael approaches,
striding confidently toward his prey.
MICHAEL
Not so fast, Ron.
AUSTIN
You talking to me?
MICHAEL
No, I'm talking to your sister.
(beat, hard)
Hand over the briefcase.
AUSTIN
You must have the wrong person.
MICHAEL
I don't think so.
Michael reaches for the suitcase. Austin reacts instantly,
smashing Michael with the suitcase and jumps into his car.
As Michael tumbles into the street, Austin starts up his
car and flees.
MICHAEL
(into comlink,
low-key)
Kitt. Help.
ANGLE - TRANS AM
K.I.T.T. shifts gears and pulls away from the curb. The
car loops into the street, the door pops open and Michael
gets in.
MICHAEL
He's not going to get away with that.
EXT. CITY STREETS - DAY - VARIOUS ANGLES - THE CHASE
Austin soon realizes he is being pursued by the black
Trans Am and his driving reflects the panic that is setting
in. He swerves all over the road, ducking in and out of
traffic in an attempt to elude Michael who is hot on his
tail. Austin takes a corner sharply -- going up over a
curb and knocking over a mailbox -- but as he straightens
out he sees Michael in his rearview mirror. Finally
realizing he can't lose the Trans Am, Austin gets an idea.
INT. AUSTIN'S CAR - DAY
He opens his sunroof, unlocks his briefcase and allows the
contents to go flying.
EXT. STREET - DAY - MICHAEL'S POINT OF VIEW - THOUSANDS
OF SPURIOUS GREENBACKS
begin streaming out of the briefcase, dancing like green,
overripe snowflakes in the distance between K.I.T.T. and
the getaway car.
MICHAEL (v.o.)
What's he doing?
K.I.T.T. (v.o.)
Getting away, I'm afraid.
K.I.T.T.'s right. As the bills flutter in the breeze the
people on the street go crazy. First they react with shock
and disbelief, then they start trying to snatch up the
windfall. People pour from the sidewalks and storefronts
into the middle of the street, effectively cutting off
Michael's pursuit. Austin releases the last of the bills
and takes off scot-free.
INT. TRANS AM
Michael is pissed. He glares through his windshield at the
manic mob around his car. A confused but delirious Man
looks into the window as he stuffs bills down his shirt.
MAN
I'm not gonna ask any questions. I
just want to say thank you.
The Man leaps after some more sailing notes ecstatically as
Michael grumbles the reply:
MICHAEL
What for? It's all counterfeit.
As Michael lets out a sigh of frustration....
CUT TO
EXT. SEMI - DAY - STOCK
It is wheeling down the highway. The ramp descends.
EXT. TRANS AM - DAY - STOCK
Michael drives up into the belly of the beast.
INT. SEMI - DAY
Devon is standing in front of a mirror putting the finishing
touches on a freshly knotted tie. Bonnie is examining
K.I.T.T. Michael paces nervously.
DEVON
How do I look?
MICHAEL
(terse)
What kind of question is that? You
look like you always look.
BONNIE
Michael, are you okay?
MICHAEL
Not really. In fact, to be
perfectly honest with you I'm
totally bummed out.
(beat)
The number one counterfeiter in the
Northwest just slipped through my
fingers. That doesn't exactly put a
smile on my face.
DEVON
Michael, I'm sure if we sit down and
put our heads together we can develop
a new strategy to apprehend Mr. Austin.
MICHAEL
Well, let's do it.
DEVON
I'm afraid I can't at the moment.
We'll regroup after my speech.
Bonnie, I seem to have misplaced my
note cards....
BONNIE
I think you put them in your coat
pocket.
Devon pats his breast, realizes the cards are there and
takes them out.
DEVON
Ah yes....
MICHAEL
What's so important about this
speech?
BONNIE
The Foundation is presenting an
award to the town of Alpine Crest
for posting the lowest crime in the
country.
DEVON
Perhaps you'll find what I have to
say inspiring, Michael.
MICHAEL
No, Devon, you're not going to make
me sit through another one of your
speeches.
DEVON
You could use an hour or two of
relaxation.
MICHAEL
Relaxation, yes. Torture, no.
CUT TO
EXT. ALPINE CREST TOWN SQUARE - DAY
With its green lawn and quaint gazebo, this place looks
like it just stepped out of a Norman Rockwell painting. At
one end of the square is a podium and a bandstand upon
which we see the VIPs gathering. They include Sheriff
Moore, Miss Martha, Charles Barnswell, and Devon.
ANGLE - MICHAEL
He is making his way through the cheerful, well-scrubbed
crowd. As he approaches a concession stand, he spots a
beautiful lady in her midtwenties. She is jotting down
something in her notebook as she smiles and waves at the
passing townsfolk. Michael can't resist. He comes over to
Jobina Bruce and flashes his winningest smile.
MICHAEL
Hi, there.
JOBINA
Oh, hi.
MICHAEL
Can I buy you a drink?
JOBINA
Normally I don't accept offers like
that from a stranger...But since
it's lemonade, I believe I'll make
an exception.
MICHAEL
(to vendor)
Two please.
The vendor hands Michael two cups of lemonade.
MICHAEL
I'm Michael Knight.
JOBINA
Jobina Bruce. Nice to meet you.
Instead of shaking hands, they improvise a toast, clinking
plastic cups.
MICHAEL
Nice little town you've got here.
JOBINA
Is this your first visit to Alpine
Crest?
MICHAEL
Yeah, actually, I'm just passing
through.
(beat)
I didn't think places like this
existed anymore.
JOBINA
We all work very hard to keep Alpine
Crest this way.
MICHAEL
What kind of work do you do?
JOBINA
I run the newspaper. It's not much,
but it keeps me busy.
ANGLE - BANDSTAND
Sheriff Moore steps to the podium, taps the microphone.
BACK TO MICHAEL
JOBINA
Oh, I think they're about to start
the ceremony. Can you hold this,
please?
She hands Michael her cup, gets out a pen and opens her
notebook.
JOBINA
I'm supposed to be covering the big
event.
MICHAEL
You call this a big event?
JOBINA
(smiling)
In Alpine Crest, we do.
ANOTHER ANGLE
We see a gaunt-faced man in the crowd looking at Michael
and Jobina through veiled eyes. He is Larkin.
ANGLE ON BANDSTAND
Sheriff Moore is about to speak.
SHERIFF MOORE
Citizens of Alpine Crest. It is my
pleasure to introduce a distinguished
visitor who is here to confer an honor
upon us all, Devon Miles of the
Foundation for Law and Government.
Mr. Miles.
Placque in hand, Devon rises to applause during which he
spots Michael approaching with Jobina, reacts with raised
eyebrow noting Michael has lost no time in finding a pretty
companion.
DEVON
Thank you, Sheriff...Thank you
members of the town council...
(clears his
throat as
the applause
subsides)
Ladies and gentlemen, each year in
recognition of outstanding achieve-
ment in the pursuance of law and
order, the Foundation of which I am
the director presents an award to
the community with the lowest rate
of criminal activity.
(beat)
This year it is my honor to bestow
that award upon the fair city of
Alpine Crest.
There is more wild applause. The proud townspeople let
their feelings be known.
ANGLE TO INCLUDE MICHAEL AND JOBINA
She is taking notes. Michael attempts to stifle a yawn.
Devon drones on.
DEVON
It is increasingly difficult in
today's rapidly changing world to
maintain a firm grasp on the values
and high moral standards of the past.
Yet as I look out at the citizenry
of Alpine Crest, I marvel at the way
you people have managed to do just
that.
Michael is beginning to fall asleep on his feet during the
protracted oratory when suddenly his eyes send a startling
message to his brain. He can't believe who he sees.
MICHAEL'S POINT OF VIEW - RON AUSTIN
the elusive counterfeiter, is making his way through the
crowd.
BACK TO MICHAEL
MICHAEL
(to Jobina)
Excuse me.
JOBINA
Where are you going?
MICHAEL
I think I see an old friend.
Michael starts gently but firmly pushing his way through
the crowd, intent on getting to Austin.
ANGLE TO INCLUDE AUSTIN
The counterfeiter turns to see Michael coming toward him
and reacts with appropriate alarm. He immediately starts
shoving his way toward the fringes of the crowd. Michael
picks up his own pace.
ANGLE - DEVON
He is glancing down at his note cards, continuing his speech.
DEVON
You have every reason to accept this
award proudly. It is richly
deserved. A nice, decent town like
Alpine Crest is like a beacon light
of trust and honesty shining from
atop a nearby hill....
When Devon hears murmuring of the crowd, he looks up from
his note cards. What he sees shocks him.
ANGLE - THE CROWD
Michael is chasing Austin across the town square, causing
quite a commotion, knocking food and drink from people's
hands and overturning the refreshment stand. Austin
reaches the end of the square and darts across the street.
Before Michael can get up from the mess he created and
catch up to Austin, he is abruptly stopped by a uniformed
officer, Deputy Hanks.
HANKS
Just what do you think you're doing,
friend.
MICHAEL
(red-faced)
Huh, oh I'm trying to catch up with
a buddy of mine.
Michael points in the direction Austin fled. There is no
sign of him.
HANKS
I advise you try to catch up with
him someplace else or I'll have to
run you in for disrupting a public
meeting.
Michael sees that Austin is long gone and reacts to the
frustration of losing him.
MICHAEL
Thanks for the advice.
INT. SEMI - DAY
Michael, Bonnie and Devon are there. Devon is a little
agitated with Michael's behavior.
DEVON
I'll say this for you, Michael. You
have an uncanny knack for making a
public spectacle of yourself.
MICHAEL
Devon, will you listen to me for a
second?
DEVON
If those people had known you were
an employee of the Foundation they
would have thrown me off the dais.
MICHAEL
All right. I'm sorry I spoiled your
presentation, but I had a very good
reason.
DEVON
And what might I ask is that?
MICHAEL
I saw Ron Austin.
DEVON
The counterfeiter?
Michael nods.
DEVON
In Alpine Crest?
Michael nods again.
BONNIE
The most crime-free community in the
United States?
DEVON
Michael, perhaps you've been on the
case too long. I'm afraid your mind
is playing tricks on you.
MICHAEL
It was no trick, Devon. He was
right there in the crowd.
DEVON
That's preposterous.
MICHAEL
Look, at this point, I don't care if
you believe me or not. But I'm not
leaving this town until I get some
answers.
Michael gets into K.I.T.T., starts up the engine and backs
out of the semi in a major hurry. Devon and Bonnie can
only shake their heads.
EXT. SEMI - DAY
It is parked just outside of town. The Trans Am pulls out
backwards, turns around and heads back toward Alipne Crest.
EXT. ALPINE CREST POLICE STATION - DAY
The Trans Am pulls up in front of the small law enforcement
headquarters.
INT. TRANS AM - DAY
MICHAEL
Kitt, I'm going to need a visual on
our friend Austin.
K.I.T.T.
I'll show you what I have available.
INSERT - VIDEO MONITOR
K.I.T.T. plays back the tape of Austin coming out of the
restaurant which we witnessed earlier. We see a closeup of
his face.
MICHAEL
Freeze. That's perfect. Can you
give me a hard copy?
BACK TO SCENE
K.I.T.T. makes the electronic equivalent of a gurgling sound.
INSERT - DASHBOARD
A five-by-seven photograph of Austin slips out of a slot.
K.I.T.T.
How's that for service?
BACK TO SCENE
MICHAEL
Couldn't ask for more.
Michael takes the photo and gets out of the car. He heads
for the police station.
INT. POLICE STATION - DAY
Sheriff Moore is at his desk reading a report. He hears
the door open, but keeps his attention focused on his work.
SHERIFF MOORE
Hi, there. What can I do for you?
He finally looks up and sees it is Michael. His change of
expression tells us that he recognizes Michael from the
town square.
SHERIFF MOORE
It's you.
MICHAEL
Hi, Sheriff.
SHERIFF MOORE
I thought my deputy told you to be
moving on.
MICHAEL
He did, but....
SHERIFF MOORE
Then why you still here?
MICHAEL
I apologize for that scene I caused,
Sheriff. The fact is, I could use
your help.
SHERIFF MOORE
What kind of help did you have in
mind, Mr...?
MICHAEL
Knight. Michael Knight. I'm a skip
tracer. Came here from Salt Lake City
to find this man and bring him back.
Michael hands the Sheriff the picture of Austin. The
Sheriff picks it up and examines it.
SHERIFF MOORE
What's he wanted for?
MICHAEL
Owes the company I work for a nice
piece of change. They're real
anxious for him to pay it back.
Sheriff Moore pushes the picture back toward Michael.
SHERIFF MOORE
Sorry. Never seen him before in my
life.
MICHAEL
You sure?
SHERIFF MOORE
Mr. Knight, I think you stopped in
the wrong town. People like that
don't come to Alpine Crest.
(beat)
And if they do, they don't stick
around very long...If you know what
I mean.
MICHAEL
I think I do. Thanks anyway, Sheriff.
Michael picks up the photo and heads for the door.
EXT. TRANS AM - DAY
Michael is driving the Trans Am along an Alpine Crest Avenue.
INT. TRANS AM - DAY
K.I.T.T.
Michael, I don't mean to question
your investigative intuition, but it
seems highly improbable....
MICHAEL
Kitt, I don't need to hear this from
you. Just keep those scanners
flashing.
K.I.T.T.
Yes, Michael.
EXT. TRANS AM
Michael turns down a street and drives past more small
businesses, neat frame houses with perfect lawns.
MICHAEL
I don't believe this place...it's
like it's frozen in the fifties.
I keep expecting to see Wally and
Little Beaver....
K.I.T.T.
'Wally and Little Beaver?' That
doesn't compute, Michael. Are they
part of the counterfeit operation?
MICHAEL
(smiles)
No, Kitt. Part of an old TV show.
EXT. ANOTHER STREET
The Trans Am rounds a corner, drives slowly by.
MICHAEL'S VOICE
How're your rotors doing, pal?
K.I.T.T.'S VOICE
Fine, thank you. Michael?
MICHAEL'S VOICE
Yeah?
K.I.T.T.'S VOICE
We've covered every block in Alpine
Crest two point seven times. I
think it's reasonable to assume
Mr. Austin is, as the saying goes,
long gone.
MICHAEL'S VOICE
Wish I could argue with you, Kitt
...but I think you're right.
EXT. HOTEL - DAY - TO ESTABLISH THE ALPINE CREST INN
INT. HOTEL LOBBY - DAY
Michael is walking through the lobby of the small hotel
when he hears his name called out.
JOBINA (o.s.)
Michael?
Michael turns to see Jobina sitting in the bar, nursing a
glass of wine, her notebook open. She has been writing her
story. Michael walks towards her, into:
INT. BAR
It's a small cocktail lounge. Not many lushes in Alpine
Crest. She greets him with a smile.
MICHAEL
Jobina, right?
JOBINA
Right. Not an easy name to forget.
(beat)
Can I buy you a drink?
MICHAEL
Why not. Beer's fine.
Jobina calls over to a waitress who stands at the bar.
JOBINA
Patty, can you bring us a beer,
please?
Patty nods "yes."
JOBINA
Well, this is certainly a surprise.
The way you took off all of a sudden
I never expected to see you again.
MICHAEL
Yeah. Well, here I am.
The waitress brings over the beer. Michael smiles at her.
MICHAEL
(to waitress)
Thanks.
(to Jobina)
I guess I gave you quite a story.
JOBINA
Yeah. This one's about as big as
they come in Alpine Crest.
Michael smiles and drinks most of his beer.
JOBINA
What made you decide to stay here?
MICHAEL
There's something about this town...
I don't know, it's different from
the city. I like the feeling.
JOBINA
It's comfortable. Maybe too comfortable.
MICHAEL
What do you mean?
JOBINA
Well, I've been here since I graduated
from journalism school. I keep saying
I'm going to go to the city and get a
job on a real newspaper.
MICHAEL
What's stopping you?
JOBINA
A story, I suppose. Something
important for people to notice that
a small town girl can be a big time
reporter.
Michael drains his glass.
JOBINA
I'm boring you, aren't I? You want
to go up to your room....
MICHAEL
Well, I could use a shower.
JOBINA
I understand. If you need anything,
feel free to call. I'll be at the
office, slaving away.
MICHAEL
Okay. Oh, and thanks for the beer.
JOBINA
My pleasure.
Michael leaves. When she sees him exit the bar, Jobina
takes a handkerchief from her purse, places it over
Michael's glass, lifts the glass and puts it in her purse.
FREEZE FRAME
END OF ACT ONE
ACT TWO
FADE IN
EXT. JAIL - NIGHT - TO ESTABLISH
Lights burn brightly in the office of the jail.
SHERIFF MOORE (v.o.)
Your buddy just registered in the
hotel.
INT. JAIL CELL - NIGHT
Sheriff Moore carries a tray of food into Austin's
secluded jail cell. The jail cell has many of the
accoutrements of a furnished room, including TV and throw
rug. Austin gets up from a cot, obviously in a foul mood.
AUSTIN
Great. Of all the places, this guy
decides to visit Alpine Crest, the
sleeping bag of the west.
Moore puts the food down on the couch. Austin looks at it
disdainfully, picks at something on the tray.
AUSTIN
Hey, French fries aren't supposed to
float.
SHERIFF MOORE
Crimminy -- they're not floating --
that's the meatloaf.
Austin looks disgusted, gets up and paces the floor. He
turns off the TV set.
AUSTIN
Why don't you people get cable? The
only thing I can get here is that
crazy lady and her macrame class.
Pretty exciting stuff. The first
seven hours were a laugh riot.
SHERIFF MOORE
Take it easy....
AUSTIN
And who designed these cells? I had
a hamster with a bigger cage than
this.
SHERIFF MOORE
I'm sorry the accomodations aren't
four-star. If you'd have carried a
spare, he'd be long gone....
Austin quits pacing and squares off against Moore.
AUSTIN
Next time I'll try and break down in
a town that has a tow truck.
A beat.
SHERIFF MOORE
You're worried about French fries --
I'm worried about that guy. He's no
skip tracer, that's for sure.
AUSTIN
Unless he's into cross-country bill
collecting...That car chased me all
the way from the drop site.
SHERIFF MOORE
(sarcastically)
That certainly was a novel way to
elude him.
AUSTIN
I'll take care of my business -- You
find out who he is -- And get rid of
him before the presses roll tomorrow.
Moore starts for the door.
SHERIFF MOORE
Enjoy your stay....
And he slams the cell door shut.
INT. HOTEL ROOM - NIGHT
Larkin opens the door to a knock, to reveal Jobina. They
ad-lib greetings and he ushers her in.
LARKIN
Any problems?
She opens her purse and hands him the glass wrapped in the
napkin.
JOBINA
Not a one.
LARKIN
I'll send these right to Washington
...When this story breaks, you're
going to be one famous reporter....
JOBINA
(excited)
I've been waiting for a story like
this all my life. My own by-line on
the nation wire services!..Maybe I'll
get a shot at a real newspaper!
Tell me something, Mr. Larkin -- I
thought you people like to keep your
operations secret....
Larkin looks over, raises an eyebrow.
LARKIN
PR. That's the name of the game
nowadays.
JOBINA
Why'd you guys pick me?
LARKIN
You're a good American. You're
honest. You're clean. We know all
about you.
He issues a small smile. She looks at him -- wondering if
he really knows everything. She starts to the door.
LARKIN
Even that time when you were a
journalism student at Northwestern,
and your sorority tried to toss that
frat boy into Lake Michigan.
She turns around, quickly: these guys do know everything.
Larkin smiles again and crosses to her.
LARKIN
This phase of your job is finished.
Stay clear of him.
JOBINA
I wouldn't mind doing some extra
research....
A beat.
LARKIN
In this business, there're two rules:
rule number one is: don't get
involved with a potential adversary.
JOBINA
What's rule number two?
LARKIN
Don't get involved with a potential
friend.
JOBINA
Tough rules.
LARKIN
Tough business. It's what helps
keep this country great.
She doesn't know quite how to respond to that, as she
exits, Larkin closes the door behind her.
EXT. HOTEL PARKING LOT - DAY
Michael carries his duffel bag out and loads it into K.I.T.T.
He climbs in.
INT. K.I.T.T. - DAY
Michael starts the car up.
K.I.T.T.
Does this mean we're not staying,
Michael?
MICHAEL
There's nothing left to do here,
Kitt. Why -- are you going to miss
this fresh mountain air?
K.I.T.T.
I'm specifically designed to perform
uniformly in any type of weather.
Thus, 'fresh air' is neither an
advantage nor a disadvantage.
MICHAEL
In other words, neither rain, nor
snow, nor gloom of night will stay
you from your appointed rounds....
K.I.T.T.
That was, as they say, rather
poetic. Did you make it up?
MICHAEL
Nah. I read it in a post office.
Right underneath the mug shots.
K.I.T.T.
Oh.
Michael pulls K.I.T.T. away from the curb and down the
street.
EXT. JAIL - DAY
From the front window, Moore stares out after K.I.T.T. and
watches until it turns a corner and disappears down the
street.
INT. CELL - DAY
Austin stares at the TV set. Moore opens the door.
AUSTIN
You're missing the climax, here,
Moore. That lady's slipping the
macrame thing around the plant.
SHERIFF MOORE
Good news -- you're free.
Austin looks up.
AUSTIN
He's gone?
SHERIFF MOORE
Looks that way.
Austin jumps up from the couch.
AUSTIN
Great! Just in time.
Austin starts to collect his things.
SHERIFF MOORE
It's a good thing, too. I ran a
check -- can't find a trace of him
anywhere. Never had a prison
sentence, not even a single traffic
ticket.
AUSTIN
A model citizen. Perfect for Alpine
Crest.
As he passes Moore:
AUSTIN
Unless he's the sheriff.
Austin smiles and heads out. Moore frowns.
EXT. MOUNTAIN HIGHWAY - DAY
that leads out of Alpine Crest. K.I.T.T. heads down the
mountain.
K.I.T.T. (o.s.)
Where do we go next, Michael?
INT. K.I.T.T. - DAY
Michael is driving.
MICHAEL
I don't know, Kitt. We've hit a
dead end on Austin.
(thinks)
He must have hitched a ride last
night.
(a beat)
It sure was a strange coincidence
that Austin ended up in Alpine
Crest....
MICHAEL'S POINT OF VIEW OF THE SIDE OF THE ROAD
as he and K.I.T.T. pass a hand-painted sign that reads,
"NOW LEAVING ALPINE CREST, HOME OF THE HALLELUJAH PRESS,
EST. 1932."
ANGLE ON MICHAEL
as he thinks about this.
MICHAEL
Unless...we're not seeing the forest
for the trees...Maybe it was no
coincidence...Maybe Austin went to
Alpine Crest for a reason.
K.I.T.T.
My data banks show no records of any
relatives or friends of Austin
living in Alpine Crest....
MICHAEL
Not visitation, Kitt -- Maybe as a
hide out...or to replenish his
stock....
EXT. K.I.T.T.
Michael does a 180o and heads back to town...As K.I.T.T.
passes the sign, we hold on it.
CUT TO
EXT. NEWSPAPER OFFICE - DAY
Michael pulls K.I.T.T. to the curb in front of the office.
INT. NEWSPAPER - OFFICE - DAY
A small front office, with a couple of desks with
typewriters. Jobina is hanging up a phone. Miss Martha,
dressed in a flowery, old-fashioned dress, reads the front
page of the paper.
MISS MARTHA
Explain it to me again, dear. These
horoscopes can predict my future by
the placement of the stars. Is that
right?
JOBINA
That's right, Aunt Martha. Every
major newspaper has a column like
that.
MISS MARTHA
I remember when we used to get the
same information from the Almanac.
And it always had such adorable
pictures of moons and suns and such.
(a beat)
Oh, well...tempus fugets, as they
say.
Jobina smiles. As Miss Martha goes back to the paper, the
front door opens. They both look up to see Michael.
MICHAEL
Hi! I came in to buy a copy of the
paper -- check out the want ads.
JOBINA
Our smallest section, I'm afraid.
Not much unemployment here.
She hands him a paper. He hands her a dime. He lets his
hand linger in hers. She pulls back.
JOBINA
Tired of bill collecting?
MICHAEL
Very. Job is full of unsavory
characters.
JOBINA
Yes. So I understand.
She moves away. Michael watches her, puzzled at her change
of attitude.
ANGLE TO INCLUDE MISS MARTHA
who comes up close to him.
MISS MARTHA
Are you looking to move here?
MICHAEL
Sure. This place is like...something
out of a Norman Rockwell painting...
safe...clean...I love it!
MISS MARTHA
Then you'll be more than welcome.
She looks back at Jobina, who is jotting something on a
note pad. She comes up close to Michael, conspiratorially.
MISS MARTHA
Don't mind my niece...she's a bit
standoffish at times....
Michael smiles. With a twinkle in her eyes:
MISS MARTHA
I know that look, young man....
MICHAEL
I assure you, my intentions are
strictly honorable.
MISS MARTHA
Ha! A young man told me that once
and not more than two hours later I
had to fend him off with my parasol.
(a beat)
Of course, two months later I
married him. That was my dear
husband, Malcolm. But you get the
gist of the story.
MICHAEL
Of course....
MISS MARTHA
Malcolm and I owned this paper and
the entire Hallelujah Press. When
he died four years ago that's when
we sold the press to Charles Barnswell,
the councilman. He wasn't a council-
man then. He'd just moved to Alpine
Crest.
MICHAEL
I saw him on the podium with that
fellow from the Foundation For Law
and Government.
MISS MARTHA
Oh, yes, Mr. Miles. I fell asleep
during his speech. But he was such
a dear man.
(a beat)
At any rate, the Hallelujah Press is
the largest printer of bibles in
the state. Unfortunately, the
quality has somewhat declined under
Mr. Barnswell....
She takes a book from underneath the counter.
MISS MARTHA
Here. Have a bible. A prayer a day
keeps the devil away, I always say.
Michael nods, smiles.
MICHAEL
Thank you.
(to Jobina)
See you around?
She barely acknowledges him. Michael shrugs to Miss Martha.
As he leaves:
MISS MARTHA
Never give up -- Women like a guy
who hangs in there!
Michael smiles and exits.
EXT. NEWSPAPER OFFICE - DAY
Michael climbs into K.I.T.T.
INT. K.I.T.T. - DAY
MICHAEL
Kitt, do you have any info on Charles
Barnswell?...
There's a click as K.I.T.T. digests this command.
K.I.T.T.
I'm sorry, Michael. Nothing at all.
MICHAEL
All right, let's call Devon.
CUT TO
INT. NEWSPAPER OFFICE - DAY
Jobina is on the phone. She is upset, but talks low to
avoid Miss Martha from hearing her.
JOBINA
What? I thought you told me to
ditch him.
INTERCUT - LARKIN
on the phone in his hotel room. Larkin's shirt is off and
he wears only trousers and a t-shirt. A glass and a bottle
of bourbon sit on a nightstand. He is pouring some bourbon.
LARKIN
Look, this guy's not Russian, he's
not Yugoslavian, he's not Bulgarian.
He's not even American. At least
according to the company's files.
JOBINA
All right.
(a beat)
How come I get to do all the work
here, Mr. Larkin?
LARKIN
Hey -- those Watergate reporters
spent months in a damp parking
garage. This is a piece of cake,
babe!
She sighs.
CUT TO
EXT. OFFICE - DAY - ANGLE ON K.I.T.T.
parked at the curb.
INT. K.I.T.T. - DAY
Michael is talking into K.I.T.T.'s dash....
MICHAEL
All I want to know is who Barnswell
is....
INTERCUT - IN SEMI - DEVON
DEVON
We'll run a cross check with all
pertinent security forces...
(a beat)
Are you enjoying your stay in quaint
Alpine Crest?
MICHAEL
Very much. A nice place to retire to
...In fact....
DEVON
Don't say it, dear boy. Don't even
think it....
Michael smiles.
DEVON
I'll get back to you as soon as
possible.
LOSE INTERCUT
Michael starts K.I.T.T. up, when....
ANGLE TO INCLUDE JOBINA
who runs out to K.I.T.T. She comes to the driver's side.
Michael rolls down his window.
JOBINA
Hi! Sorry I was a little rude in
there...I had...a lot of things on
my mind.
A beat.
MICHAEL
Are small town girls always this
fickle?
JOBINA
As Miss Martha would say, 'It's a
lady's perogative....'
She bats her eyes theatrically.
CUT TO
INT. AUSTIN'S CAR - DAY
traveling down main street, towards K.I.T.T. He has the
radio on, full blast, and is guzzling beer from a bottle....
ANGLE ON MICHAEL
as he spots Austin.
ANGLE ON AUSTIN
as he spots Michael. He spits out some beer, nearly
chocking on it. He makes a U-turn, knocking over some
garbage cans.
JOBINA
What the...?
MICHAEL
Step back.
She does, and he peels out.
EXT. JAIL - DAY
as Sheriff Moore runs outside to see what all the
commotion's about. When he sees what it is, he runs back
inside.
EXT. STREET - DAY
A usually quiet street of small stores. Pedestrians
scatter as K.I.T.T. races behind Austin's car...The street
is too narrow for K.I.T.T. to pass, so....
ANGLE ON K.I.T.T.
K.I.T.T. goes up on two wheels and passes Austin's car.
ANGLE ON AUSTIN
He's astonished, then slams on the brakes, turns the car
around, heads down an alley.
Police sirens can be heard.
ANGLE ON K.I.T.T.
as Michael follows Austin's car down the alley, then turns
the corner.
ANGLE IN STREET
Austin's car races around a delivery truck, nearly causing
it to tip over....
MICHAEL'S POINT OF VIEW
He can see the truck, but there's no way he can stop in
time.
INSERT - MICHAEL'S HAND
pressing the turbo-boost button.
WITH K.I.T.T.
as it goes up and over the truck.
ANGLE ON TRUCK DRIVER
amazed.
HIGH SHOT
as the two cars tear around a corner. They are being
chased by police cars.
ANGLE IN K.I.T.T.
Michael is driving the car.
MICHAEL
Kitt, patch into the police
frequency.
K.I.T.T. clicks, then:
SHERIFF MOORE (o.s.)
I repeat...two vehicles are racing
out of control through the west side.
POLICEMAN #1 (o.s.)
This is car number three. We have a
(describes Austin's car) in sight.
MICHAEL
Way to go, Sheriff Moore....
POLICEMAN #2 (o.s.)
This is car number two. We will
proceed to block off second vehicle.
MICHAEL
All right, Kitt...It looks like the
police have the situation in hand.
ANGLE ON STREET
as the police car pulls in front of K.I.T.T. -- just as it
let's Austin's car by. Michael slams on the brakes and
comes to a stop by the police car.
ANGLE ON HIGHWAY
Michael gets out of the car. Two policemen climb out of
the police car.
MICHAEL
Hey, good timing. You....
Before he can say another word, the two cops have come to
either side of him. One quickly grabs hold of his arms.
MICHAEL
Hey!
And the other slaps the cuffs on him. The first Cop begins
to read from a piece of paper.
COP #1
You have the right to remain
silent. Anything you say can and
will....
As a puzzled Michael tries to sort this out, we:
FREEZE FRAME
AND
FADE OUT
END OF ACT TWO
ACT THREE
FADE IN
EXT. JAIL - NIGHT - TO ESTABLISH
INT. JAIL CORRIDOR - NIGHT - MOVING SHOT WITH SHERIFF MOORE
as he carries a tray of food, stops at a cell door.
ANGLE IN CELL
to reveal the tenant is Michael. The cell is small and
dirty, a far cry from Austin's previous stay here. Moore
unlocks the door, slides the tray in. Michael watches him.
MICHAEL
I'm still waiting to make my phone
call.
SHERIFF MOORE
Local call?
MICHAEL
(angry)
No, it's not a local call -- what is
this? I'm entitled to a phone call!
SHERIFF MOORE
I'll see what I can do.
He locks the cell door. Michael is on his feet, grabs the
bars.
MICHAEL
Sheriff, you may not like what I
did, but I did it because I was
pursuing a suspect!
SHERIFF MOORE
I don't know who or what you are,
Knight, but you're not a cop. And
I've got news for you. In Alpine
Crest, cops pursue suspects.
(starts
away)
Enjoy your meal. Cornbread's
homemade.
MICHAEL
Sheriff.
Moore pauses.
MICHAEL
I'd like my watch back, if you don't
mind.
SHERIFF MOORE
Sorry. Against regulations.
MICHAEL
What regulations? What am I going
to do, hang myself with it? It's a
watch!
But Sheriff Moore is gone. Hold on Michael at the bars,
frustrated.
CUT TO
INT. POLICE GARAGE - NIGHT
K.I.T.T. is surrounded by several deputies and a Mechanic.
They look perplexed.
DEPUTY
Never seen anything like it before.
MECHANIC
I got an idea.
He approaches K.I.T.T., gingerly touches the fender,
strokes it.
MECHANIC
Nice boy, good boy....
DEPUTY
You've lost it, Rogers. It's a
car, Rogers, not a dog.
As the Mechanic pats K.I.T.T. with one hand he tries to
slide a hydraulic jack underneath it. K.I.T.T. backs up,
frustrating the attempt. The men stare at each other,
incredulous.
DEPUTY
I've got a better idea. Do it
again.
MECHANIC
It'll just move again!
DEPUTY
Do it.
The Mechanic shrugs, attempts to slide the jack underneath
K.I.T.T. Once again K.I.T.T. backs up. The Deputy waits,
timing his move, then suddenly hits the UP lever on the
hydraulic lift.
ANOTHER ANGLE
The lift catches K.I.T.T. unaware; his tires spin, but he's
already off the floor and going higher. The Deputy and the
Mechanic high-five one another and dance around as if
celebrating a major accomplishment.
CUT TO
EXT. HALLELUJAH PRESS - NIGHT
Austin's car pulls in and parks. The place is deserted
except for a faint glow of light from inside. Austin
enters.
INT. HALLELUJAH PRESS - NIGHT
Barnswell unlocks the door carefully and Austin slips in.
Barnswell bolts the door over:
BARNSWELL
Where've you been?!
AUSTIN
Don't ask.
BARNSWELL
What do you mean, 'don't ask'! You
were supposed to be here at one this
afternoon! I'm out here working in
a vacuum -- you don't show up, what
am I supposed to think?
Austin moves to a cabinet, opens it and takes out a bottle
of whiskey. He looks for a glass.
AUSTIN
I can't control what you think.
Where's a glass?
BARNSWELL
This may be a nice, quiet little
town, but it does exist in the real
world. It has telephones. People
call one another.
AUSTIN
Where's a glass?
BARNSWELL
I don't know, use a coffee cup.
What happened?
AUSTIN
Ran into a little trouble with some
joker in a hot Trans Am. Moore's
got him in jail.
He looks at a dirty coffee cup in distaste, decides to
drink from the bottle directly.
BARNSWELL
It's about time he did something to
justify his percentage.
AUSTIN
You worry too much. Where's the
money?
BARNSWELL
It's not ready yet.
AUSTIN
It was supposed to be ready by one
this afternoon!
BARNSWELL
(darkly)
You've got problems, I've got
problems. Big ones.
AUSTIN
In case you've forgotten, I've got a
distribution schedule to meet! I've
got people waiting for the money!
BARNSWELL
Let 'em wait.
Austin stares at him, unused to this attitude.
AUSTIN
What's wrong?
BARNSWELL
The one thing I feared would happen
has happened. There's a company man
in town.
AUSTIN
'Company?' You mean CIA?
BARNSWELL
(nods)
I saw him this afternoon when I went
out for a sandwich. His name's
Larkin. I remember him from a
couple of years ago -- he was a
junior field operative at the time.
(beat)
He's apparently been promoted.
AUSTIN
Good for him.
BARNSWELL
(explodes)
Don't you hear what I'm saying?!
You think Larkin's here for the
clean air? He knows something!
He's here on assignment!
This sinks in. Austin studies Barnswell.
AUSTIN
You're not letting your imagination
run away with you again....
BARNSWELL
You listen to me. You know your end
of the business and I know mine. If
Larkin's here he's here because of
this operation.
(beat)
Let me put it this way. I'll finish
this last shipment, but if Larkin
stays, I go.
AUSTIN
(reacts)
Go? Where're you gonna go?
BARNSWELL
Underground. Out of state. I'll
figure that out. But if it comes to
that, I'll shut down the press and
take the plates with me. You think
I'm bluffing, try me.
CUT TO
INT. POLICE GARAGE - NIGHT
The Mechanic sweeps up, through for the night. He takes a
last puzzled look at K.I.T.T., turns out the light and
locks the door.
ANGLE ON DASH
It comes alive.
K.I.T.T.
Devon, it's Kitt.
DEVON'S VOICE
Kitt, what happened? I've been
trying to reach Michael for over an
hour.
K.I.T.T.
Michael is...indisposed.
DEVON'S VOICE
That usually means he's with a young
lady or in jail.
K.I.T.T.
No comment.
DEVON'S VOICE
I admire your loyalty, Kitt. I have
the information on Charles Barnswell
he requested. Barnswell worked for
the CIA on several top-secret pilot
projects before retiring last year.
(beat)
Curious....
K.I.T.T.
Retiring?
DEVON'S VOICE
No. The last project he worked on
involved a plan to destabilize the
economies of unfriendly countries.
He spent a good deal of time in
Alpine Crest.
UP ANGLE ON K.I.T.T.
suspended ten feet above the floor.
DEVON'S VOICE
Keep an eye on Michael, Kitt.
(beat)
Kitt?
K.I.T.T.
I'll do my best, Devon.
DEVON'S VOICE
That's the spirit.
CUT TO
INT. JAIL - NIGHT - ANGLE FROM CELL AREA TO OFFICE DOOR
as it opens, Jobina and Sheriff Moore arguing as she enters.
JOBINA
...an American citizen, not to
mention a member of the press, I
insist on ---
SHERIFF MOORE
You call that little fish-wrapper
you print 'the press'?
JOBINA
(furious)
As surely as you call those six high
school dropouts in uniforms 'the
police force.'
He stops, glares at her.
SHERIFF MOORE
Five minutes.
JOBINA
I demand to see the accused in
privacy.
SHERIFF MOORE
Four and a half.
He goes back into the office area, slamming the door.
Jobina reaches Michael's cell, looks in.
ANGLE TO INCLUDE MICHAEL
Seeing her, he smiles, rises and moves to where she stands.
JOBINA
I would've baked you a cake with a
hacksaw blade inside but I flunked
Home Economics.
MICHAEL
(smiles)
That's all right, I flunked Hacksaw.
Thanks for coming.
JOBINA
It's the least I could do. Are you
all right?
MICHAEL
No.
JOBINA
(interested)
What did they do, violate your civil
rights? Beat you with a rubber hose?
MICHAEL
Jobina, forget your 'big story' for
a minute and listen to me. I need
your help. I'm not a skip-tracer,
I'm not an investor looking to buy a
small business. I work with Devon
Miles, the man your Aunt Martha
invited to speak at the ceremony the
other day.
JOBINA
If you're really with that Foundation,
why keep it a secret?
MICHAEL
Because something strange is going
on here, and it gets stranger by the
minute. I came here hot on the
trail of a counterfeit-money
broker. I thought he was just
passing through, but I've changed my
mind. I think he came here for a
reason....
JOBINA
Austin!
MICHAEL
That's him.
(beat)
How did you know his name?
JOBINA
He's a Bible salesman -- at least
that's what Mr. Barnswell said he
was.
MICHAEL
You've seen him here before?
JOBINA
(nods)
He comes through town once or twice
a month. Stops by the Hallelujah
Press to pick up a load of...Bibles?
MICHAEL
Barnswell!
JOBINA
What?
MICHAEL
It's got to be Barnswell -- he
bought the Hallelujah Press as a
front for the counterfeit money
presses.
JOBINA
My God, this is it!
MICHAEL
What?
JOBINA
My big story!
MICHAEL
You'll never get it without my help.
JOBINA
Is that a threat?
MICHAEL
An offer of partnership. We team up
-- I get the counterfeiters and you
get your good-bye story.
JOBINA
(suspicious)
What do I have to do?
MICHAEL
Have you ever heard the phrase,
'suspension of disbelief'?
JOBINA
(nods)
Why?
MICHAEL
You're about to find out....
CUT TO
INT. POLICE GARAGE - NIGHT
The door slowly opens and a dark figure appears, pauses.
The area is dark, but as the figure slowly approaches
K.I.T.T. we see it's Jobina. She looks peculiar. She
pauses.
JOBINA
I've...never talked to a car
before...
(beat)
Actually, that's not true. I used
to talk to my Volkswagen. The
difference is it never talked
back....
She steps a little closer, cautious. K.I.T.T. remains mute
and inscrutable on the hydraulic lift.
JOBINA
Michael sent me. He's in jail.
(beat)
He needs your help, K.I.T.T. He
said you'd know what to do....
Silence. Then K.I.T.T.'s flasher comes on, brilliant red
in the darkness. Jobina gasps.
JOBINA
Is...there anything I can do for you?
K.I.T.T.
Now that you mention it, yes.
She jumps back, startled.
K.I.T.T.
If you'd be so kind as to put me
down....
JOBINA
Down?
K.I.T.T.
My dear I'm a car, not a plane.
JOBINA
Oh yes -- of course.
She fumbles around, finds the lever and lowers the lift.
The remainder of K.I.T.T.'s power comes on. Jobina
watches, amazed.
JOBINA
What are you doing up there in the
first place?
K.I.T.T.
Spinning my wheels.
She stares at K.I.T.T.
K.I.T.T.
That was a joke.
JOBINA
Oh.
She smiles stiffly. K.I.T.T. reaches the ground.
K.I.T.T.
As Michael would say, 'Thanks, pal.'
JOBINA
(smiles)
You're welcome. Is there anything
else I can do for you?
K.I.T.T.
Yes. Stand back.
She does. K.I.T.T. revs his powerful engine.
EXT. POLICE GARAGE - NIGHT
Slow motion as, with a squeal of tires, K.I.T.T. smashes
through the corrugated door and flies out.
CUT TO
INT. JAIL - NIGHT
Michael is lying on his bunk, wondering how Jobina is
making out with K.I.T.T. And vice versa. Then he hears
something, a familiar sound.
EXT. CITY STREETS - NIGHT - SEVERAL SHOTS OF K.I.T.T.
as he approaches the jail. A pedestrian or two notice the
car, notice there's no driver and stare, dumbfounded.
EXT. JAIL - NIGHT
K.I.T.T. approaches, slows, revs his engine.
INTERCUT - MICHAEL
He hits the floor.
INTERCUT - MOORE
at his desk in the office. He hears the noise, grumbles.
SHERIFF MOORE
What the hell's that?
ANGLE OUTSIDE JAIL - STOCK
in slow motion the Trans Am leaps, air borne, and penetrates
the jail wall.
ANGLE IN CELL
Michael dives under the bunk as bricks fly.
ANGLE ON MOORE
Starting back toward the cells he freezes at the sound of
impact, dives under his desk.
EXT. JAIL - NIGHT
K.I.T.T., Michael behind the wheel, comes flying out amid a
hail of bricks.
INT. HOTEL CORRIDOR - NIGHT
The Clerk leads the Deputy down the hall. The Deputy has
his service revolver drawn.
CLERK
...and when he didn't answer a
second time I thought I'd better see
if he was all right...here it is.
They've stopped in front of Larkin's door.
DEPUTY
Stand back.
The Clerk obeys. The Deputy cautiously opens the door,
peers in.
HIS POINT OF VIEW - ANGLE THRU DOOR
Lying across the bed is Larkin, blood on his shirt. He is
dead.
FADE OUT
END OF ACT THREE
ACT FOUR
FADE IN
EXT. TOWN SQUARE - DAY - ESTABLISH EARLY MORNING ACTIVITY
Then, after a moment, Sheriff Moore crosses from the
direction of his jail toward the newspaper office. He's
appears distracted and agitated.
INT. NEWSPAPER OFFICE - JOBINA
She's working at her typewriter, glances up as the Sheriff
enters. She finishes what she's typing as he waits
impatiently. Finally:
SHERIFF MOORE
Jobina...
She types on.
SHERIFF MOORE
(sharper)
Jobina!
She looks up, as if seeing him for the first time, adds a
period to the line she's just typed, rises and moves to
greet him across the counter.
JOBINA
Morning, Sheriff. Something I can
do for you?
SHERIFF MOORE
That must be pretty important stuff
you're writing.
JOBINA
The biggest story ever to come out
of this town.
SHERIFF MOORE
What's it about?
JOBINA
The jail break last night. And the
murder.
SHERIFF MOORE
(mumbling)
That's what I thought.
JOBINA
(heard him)
What?
SHERIFF MOORE
(louder)
I said, that's what I thought. Just
couldn't wait to get it all into the
paper, could you?
JOBINA
It's my job.
SHERIFF MOORE
Writin' the news up, maybe. Not
making it!
JOBINA
You've lost me.
SHERIFF MOORE
Don't take me for a fool, Jobina.
You insist on seein' that fella
Knight yesterday. Next thing I
know, someone breaks him out of my
jail....
JOBINA
You're not accusing me, are you?
She's already reaching for a note pad and pencil.
SHERIFF MOORE
Now what're you doing?!
JOBINA
Just 'writing the news up.'
He takes the pad and pencil from her.
SHERIFF MOORE
All right, I'm not accusing you.
But I'm saying if you know anything,
anything at all about Knight or
where he got to, and you're not
tellin', then you're withholding
evidence, and just could be an
accessory.
JOBINA
Sheriff, if I knew anything, which I
don't, I'd have a perfect right to
protect my journalistic sources, and
you know it.
She retrieves her pad and pencil.
JOBINA
Now, do you have anything to say for
the record? I've got a story to get
out.
SHERIFF MOORE
Sure do. I don't like people
getting killed in my county, and
there's just no way whoever does the
killin' is going to go anywhere I
can't find him.
He turns and stalks out. Jobina, who started to make a
note as he spoke, tears the sheet off the pad, crumples it
and tosses it into a wastebasket, looking after Moore with
obvious distaste.
EXT. MARTHA'S STREET - DAY
as her ancient car comes chugging along, turns into her
driveway, parks.
CLOSER - MARTHA
as she gets out, glances around for a moment, slips into
the garage, carrying a bag of groceries.
INT. MARTHA'S GARAGE - DAY
K.I.T.T. is parked. An overhead light illuminates the
scene. Michael sits behind the wheel, his door open,
listening to police calls.
MARTHA
It's been a long time since I cooked
breakfast for a man, but I think I
got everything -- bacon, eggs,
juice, oatmeal with raisins...my
Malcolm loved oatmeal with raisins,
rest his soul. Every morning of our
married life....
MICHAEL
I'm really sorry to put you to all
this trouble....
MARTHA
Never you mind. If you and Jobina
are right and Charlie's been using
Hallelujah Press for a...a....
MICHAEL
A front....
MARTHA
...a front, then I owe you a great
deal. Malcolm and I took a lot of
pride in H.P. It was much more than
a business to us. It was a...a sort
of calling....
She's put down the bag of groceries on a nearby workbench
and is warming to her subject.
MARTHA
I guess I should have known some-
thing was wrong when the quality of
the work began to deteriorate. Why,
some of it was positively shoddy,
the printing, I mean. I never should
have sold out to Charlie like I did.
I never could warm up to him....
K.I.T.T.
Michael....
MARTHA
(reacts)
I beg your pardon?
K.I.T.T.
I said 'Michael'....
MARTHA
(indicating
K.I.T.T.)
Is that...it...?
MICHAEL
Him, actually. Kitt's kind of...
specially equipped.
She reacts as Michael turns his attention to K.I.T.T.
MICHAEL
Shoot, pal....
K.I.T.T.
I believe you'll be interested in
this. According to the police
calls, all the units are scouring
the other end of the county for us.
MICHAEL
Show me.
He punches a button.
INSERT - K.I.T.T.'S SCREEN
A visual appears indicating a map with several moving red
dots which seem to converge on one area.
MICHAEL
as he reacts.
MICHAEL
That's what we've been waiting for.
SCENE
as Martha continues to react curiously to K.I.T.T.
MICHAEL
I'm afraid there won't be time for
breakfast. Can I have a rain check?
MARTHA
Of course.
He smiles at her, closes the car door, starts the engine.
MARTHA
I'll get the door for you.
MICHAEL
No, that's okay. Kitt...?
K.I.T.T.
Say no more.
INSERT - SCANNER BEAM
as it activates:
THE GARAGE DOOR
as it opens in response to K.I.T.T.'s activity.
INCLUDE MARTHA
She's surprised and delighted.
MISS MARTHA
Well, I never...!
MICHAEL
Tell you what you could do....
MARTHA
Just name it, young man.
MICHAEL
You could save me some oatmeal and
raisins.
MARTHA
(a twinkle)
Say no more.
Michael waves, pulls out of the garage, past Martha's
parked car. She moves into the doorway, watches K.I.T.T.
head down the street.
EXT. HALLELUJAH PRESS - DAY
One of the H.P. vans is parked outside, near the loading
dock. Austin's car appears, moving slowly so as not to
attract attention, turns into the parking area, parks.
Austin gets out, starts toward the building.
INT. HALLELUJAH PRESS OFFICE - DAY - CLOSE ON HAND
working the combination of a safe. Pull back to reveal
Barnswell. Agitated, he blows one of the numbers, collects
himself, starts again.
EXT. HALLELUJAH PRESS
as Austin tries a door, finds it locked, reacts, moves
around the side of the building.
BARNSWELL
finishes dialing, hears the click, opens the safe door. He
begins filling an accordian-style briefcase with money,
reacts to an o.s. sound of breaking glass.
EXT. BROKEN WINDOW
as Austin reaches through, manages to unlock it from the
inside, raises it and climbs in.
NEW ANGLE TOWARD THE STREET
as Jobina appears, glances around, moves to the H.P., tries
the door, finds it locked, moves around the building, as
did Austin.
INT. OFFICE
Barnswell dumps the last of the money into the briefcase,
reaches into the safe for the counterfeit plates, stashes
them, turns as Austin comes into the room.
BARNSWELL
I was going to call you....
AUSTIN
Really? What stopped you? We had
an agreement, remember?
BARNSWELL
We didn't agree to kill him! You'll
have the whole 'company' down on us!
AUSTIN
Not me. I'll be long gone...with my
money. You do have it, don't you?
BARNSWELL
Of course.
AUSTIN
Good. I'd hate to think that you
were planning to double-cross me...
after what I did for you.
BARNSWELL
You didn't do it for me...not murder!
AUSTIN
What do you care? Michael Knight's
going to take the rap. He's an
escaped prisoner, a fugitive.
Moore's got every man out looking
for him, with orders to kill him
first and ask questions later.
He reaches for the briefcase.
EXT. STREET - K.I.T.T.
as Michael drives cautiously through an alley, pauses at
the corner.
INT. K.I.T.T. - MICHAEL
He looks up and down the street, spots a car coming, quickly
backs up. As the car passes....
K.I.T.T.
Michael, these back streets and
alleys are beginning to depress me.
After all, we have located the
deputies some distance away.
MICHAEL
Right now, it's tough to tell the
players, pal. Better to keep a low
profile.
He pulls out into the street.
LOW ANGLE SHOT - K.I.T.T.
heading toward the H.P., keeping a low profile.
INT. OFFICE - AUSTIN AND BARNSWELL
as Austin finishes going through the briefcase. He
indicates some bills.
AUSTIN
This is pretty good stuff.
BARNSWELL
It ought to be. It's real. I don't
think we should pass anymore bad
paper for a while. Too risky.
AUSTIN
You may be right. Tell you what.
We'll get out of here, set up shop
somewhere else.
BARNSWELL
What about my money?
AUSTIN
I figure it's our money. We're
partners. We need each other...
What do you figure?
Barnswell hesitates, then:
BARNSWELL
Okay. Partners.
They react to an o.s. sound, move to either side of the door.
INT. HALLWAY - DAY
as Jobina hesitates, listening. She's just bumped into
something or knocked something over. After a moment, she
hears voices resume from the office down the hall. Slowly,
she continues on.
INT. OFFICE - AUSTIN AND BARNSWELL
waiting tersely, talking aimlessly across the doorway. The
door is ajar.
AUSTIN
That last shipment of Bibles to
Saint Elmo's was late. I don't like
complaints.
BARNSWELL
It couldn't be helped. We had a
problem with the presses....
INTERCUT - JOBINA
in hallway.
AUSTIN'S VOICE
Well, don't let it happen again.
EXT. TOWN STREET - K.I.T.T.
turning a corner, then into an alley. After a moment, the
H.P. van with Austin and Barnswell goes by.
INT. K.I.T.T. - MICHAEL
driving and watchful.
EXT. HALLELUJAH PRESS - DAY
as K.I.T.T. appears, pulls into the parking area. The van
is gone, but Austin's car is still in evidence. Michael
parks, leaves K.I.T.T., checks Austin's car and starts for
the building.
EXT. WINDOW
as Michael approaches from around the corner, reacts to the
broken and open window, slips inside.
INT. HALLELUJAH PRESS
Michael comes through, reacts to an o.s. sound of scraping
and bumping, talks into his comlink.
MICHAEL
Kitt, somebody's here. Activate
your scanner.
INTERCUT - K.I.T.T.
as the scanner is activated.
K.I.T.T.
They won't get out past me,
Michael. Be careful.
Michael makes his way down the hall toward the office. The
sounds are closer now. Michael reacts to a nearby door
between him and the office, moves toward it, gingerly tries
the handle. The door is locked, and the sound is clearly
coming from inside. It's a closet door. Michael steps
aside as:
JOBINA'S VOICE
Let me out of here...! Open this
door and let me out of here!
There's a moments silence.
MICHAEL
Jobina? What are you doing in there?
JOBINA'S VOICE
(frustrated)
I'm trying to get out, that's what
I'm doing! What are you doing out
there?
MICHAEL
Looking for Austin and Barnswell.
JOBINA'S VOICE
They're gone.
Michael reacts, begins looking for something to force open
the door.
INT. OFFICE - MOMENTS LATER
as Michael and Jobina come in, react to the open and empty
safe.
JOBINA
I told you, I heard them leaving. I
hid in the closet and locked myself
in accidentally.
MICHAEL
All right, what else did you hear?
Did they say where they were going?
She hesitates.
MICHAEL
Come on, will you? What did you hear?
JOBINA
Michael, I never expected any of
this to happen. You know that. But
now that it is happening, it's my
only chance.
MICHAEL
Jobina, what are you talking about?
JOBINA
About breaking this story -- the
whole story, and then....
MICHAEL
(getting it)
The big time. No more small town,
middle-American, down-home girl.
JOBINA
Something like that. If you let me
go with you.
MICHAEL
That's blackmail!
JOBINA
I know.
MICHAEL
(hesitates,
then)
All right, let's go.
They hurry out.
EXT. HALLELUJAH PRESS PARKING AREA - DAY
as Michael and Jobina appear. K.I.T.T. moves toward them.
Jobina reacts.
MICHAEL
That's not part of your story. Get
in.
They get in. K.I.T.T. pulls away, out of the parking area
and down the street.
EXT. OUTSKIRTS OF TOWN - DAY
as the H.P. van comes through.
INT. VAN - AUSTIN
driving, Barnswell next to him.
BARNSWELL
You think Moore will let us get away
with this? I mean, what about his
commission?
AUSTIN
As soon as we're out of his county,
he's out of our hair. What can he
do, come after us and incriminate
himself? Nope. All we have to do
is keep our eyes open...
(a smile)
...and watch out for speed traps.
Barnswell is not smiling.
EXT. TOWN - ANOTHER AREA
as K.I.T.T. drives through.
INT. K.I.T.T. - MICHAEL AND JOBINA
MICHAEL
They can't have gotten far in that
van, and this is the only road to
Centerville.
K.I.T.T.
Michael, Sheriff Moore's units are
heading in our direction....
JOBINA
What was that?
MICHAEL
Just a 'look-out!...' Give me a
look-see, Kitt.
He glances at K.I.T.T.'s screen.
INSERT - SCREEN TO REVEAL THE MOVING RED DOTS
clearly changing course. Suddenly, a yellow blip appears,
heading toward them.
K.I.T.T.
Michael, I believe I've intersected
the van!
FAVOR MICHAEL
reacting.
MICHAEL
And it's leading us right toward
those deputies! Jobina, let me drop
you off.
JOBINA
No way. I'm sticking!
MICHAEL
Terrific!
EXT. COUNTRY ROAD
as K.I.T.T. takes off cross-country, to intercept the van.
EXT. VAN
tooling along at a good, legal clip.
INT. VAN - THE TWO MEN
as Barnswell glances back, spies K.I.T.T., reacts.
BARNSWELL
That's Knight's car!!
AUSTIN
There's deputies all over the
place. He'll never catch us before
they catch him!
He presses the accelerator to the floor.
EXT. VAN
It leaps forward.
INT. K.I.T.T.
as Michael reacts and pursues the van.
EXT. NEW AREA - COUNTRYSIDE
as several Sheriff's cars converge. Sheriff Moore gets
out, moves to converse with his deputies.
CLOSER - AT CAR
as Moore leans in.
SHERIFF MOORE
All right, we're gonna work our way
back toward town. I want you boys
to crisscross, so we don't miss one
square inch. He's got to be....
He breaks off as he sees K.I.T.T. pursuing the van in the
distance.
SHERIFF MOORE
There he is! Let's get him!!
He gets back into his car and, one after another, the
deputies peel out.
VARIOUS ANGLES - THE CHASE
as K.I.T.T. closes on the van, only to have to contend with
the deputies' cars, which buzz around K.I.T.T. trying to
intercept or stop him.
INTERCUT - MICHAEL AND JOBINA
as the deputies fire at them, the bullets having no effect
on K.I.T.T.
K.I.T.T.
Michael, there are too many of them,
and they are officers of the law....
MICHAEL
Let's concentrate on Austin and the
van, Kitt.
K.I.T.T.
Very well.
EXT. CHASE
as K.I.T.T. eludes the deputies, causing two cars to
collide and one to skid into a ditch, where it falls on its
side, two wheels spinning. Confusion reigns.
CLOSER - K.I.T.T. AND THE VAN
as K.I.T.T. closes the distance.
INT. VAN
Barnswell is panicky.
BARNSWELL
Let's give it up, Austin. There's
no way....
Austin backhands him, taking one hand off the wheel, and at
that moment:
K.I.T.T.
pulls alongside, forcing the van off the road, against a
hill. K.I.T.T. presses against the driver's door.
Barnswell's door is against the hill. The two men are
effectively trapped.
INT. K.I.T.T.
as Michael and Jobina react. She leans against him. He
puts an arm around her.
MICHAEL
Kitt, we've crossed the county line.
See if you can contact a friendly
law-abiding officer, will you?
K.I.T.T.
Certainly, Michael. What will you
be doing?
MICHAEL
(smiles
at Jobina)
Waiting patiently.
On their laughter:
DISSOLVE TO
EXT. TOWN SQUARE - DAY
The Knight van is parked, with K.I.T.T. nearby. Devon,
Bonnie, Jobina and Martha are walking across from the news-
paper office.
CLOSER - THE GROUP
MARTHA
I must admit, I feel a little foolish
accepting the Foundation's award and
then finding out our little community
didn't have such a low crime rate
after all. It's really quite shocking
what those men were up to. And Sheriff
Moore...Why Malcolm and I knew him when
he was a boy!
DEVON
I have a feeling your new Sheriff
will restore tranquility in short
order.
MARTHA
Then we can keep the award?
DEVON
Of course.
BONNIE
(glancing
around)
I never realized there were still
places like this. I think I'd have
liked growing up here.
JOBINA
(softly)
I know I did.
Michael reacts.
MICHAEL
But I guess you'll be glad to
finally get out of here, huh? I
mean, it's a nice place to visit,
but....
JOBINA
But who'd want to live here?
She looks around slowly, as if seeing it all for the first
time.
JOBINA
I would.
She and Michael exchange a smile.
MICHAEL
Good. Then I'll know where to find
you...Just in case.
MARTHA
In the meantime, I'd like you each
to have a copy of this Bible from
the Hallelujah Press....
She gives one each to Devon, Bonnie and Michael.
MARTHA
...It's a sample of our latest
edition, and it's quite beautiful,
if I do say so myself.
DEVON
Then you're at the helm once more?
MARTHA
That's right, Devon. So you'll know
where to find me, just in case.
Devon reacts, somewhat embarrassed, as the others share a
grin at his expense, and K.I.T.T.'s scanner lights up.
FADE OUT
END OF ACT FOUR
TAG TO FOLLOW
