ACT ONE
FADE IN
EXT. CITY STREET - MODERATE-SIZED TOWN - DAY
The Trans Am is parked down the street from a hotel,
surveillance mode on. 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 at the hotel restlessly.
MICHAEL
Maybe he slipped out the back.
K.I.T.T.
I'm picking up a man who fits his
description coming out...now.
ANGLE ON HOTEL
A man comes out of the hotel carrying a briefcase. His
name is Ron Austin. He's in his early forties, dresses
expensively if not well. A shrewd, alert face. He glances
around with the covert eyes of a professional, starts toward
his car.
ANGLE ON MICHAEL
Eyes on Austin, he slips out of K.I.T.T., waits for a car
or two to pass before crossing the street.
INTERCUT - AUSTIN
uncannily, his roving gaze fastens on Michael. He reacts
instantly, sprints back to the hotel and darts inside.
ANGLE ON MICHAEL
He dodges some cars as he races across the street.
MICHAEL
(comlink)
Kitt, activate 'Stand-by.' I may
need you, pal.
ANGLE - INSIDE K.I.T.T.
One by one his various functions come to life, a rainbow of
blinking colors and sounds.
EXT. REAR OF HOTEL - DAY
The service door flies open and Austin runs into the alley,
looks both ways, runs down the alley to where it makes a
ninety-degree turn. He disappears around the corner.
Camera whips back to see Michael come through the service
doors, pauses, not seeing Austin.
MICHAEL
(comlink)
Kitt, around back! Quick!
He starts down the alley.
ANGLE ON K.I.T.T. AT CURB
He pulls away with a squeal of tires.
EXT. SECOND SECTION OF ALLEY - DAY
Shooting into the alley from the street as Austin reaches
the busy street, pauses, pops open the briefcase and scoops
out handfuls of large denomination bills. He throws them
into the air as he disappears down the commercial street.
ANGLE IN ALLEY (FIRST SECTION)
K.I.T.T. comes around the corner into the alley on two
wheels, races up to where Michael is running, just reaching
the turn. The door pops open and Michael jumps in.
MICHAEL
Let's get him.
K.I.T.T.
He is a slippery one, isn't he,
Michael?
MICHAEL
That's the word, Kitt.
Tires burn rubber.
ANGLE FROM SECOND SECTION OF ALLEY
as K.I.T.T. comes roaring around the turn, shooting up the
alley. Michael reacts, slams on the brakes.
REVERSE ANGLE
Only feet away, on the sidewalk, strollers, passersby,
mothers with children, etc. scramble after wind-blown
money. It's a mob, a mess.
Michael leans on the horn, which accomplishes nothing. He
jumps out, trying to get their attention, get through.
MICHAEL
It's counterfeit! Move! I've got
to get through....
He trails off because it's hopeless. No one even glances
at him. He sighs, slides back into K.I.T.T., angry and
frustrated.
MICHAEL
Can you believe that?!
K.I.T.T.
Yes, Michael. Why can't you?
MICHAEL
Yeah, buddy, I can. That's the
trouble. I just hope Devon can, too.
He throws K.I.T.T. into reverse.
CUT TO
EXT. SCENIC TWO-LANE HIGHWAY - DAY - STOCK
The Trans Am passes through pristine countryside.
DIFFERENT ANGLES - STOCK
as the Trans Am continues on its way to a rendezvous.
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 is agitated, trying to reach them both as
he talks.
MICHAEL
...and for the first time, I had
him cold -- he'd made his contact,
he had a briefcase full of paper....
He trails off, aware each of them have their own pre-
occupations.
DEVON
(to Bonnie)
How do I look?
BONNIE
(glances up)
Fine. Where's the matching
handkerchief?
DEVON
(remembers)
Ah.
He finds it, tucks it into his outer breast pocket over:
BONNIE
(to Michael)
Kitt's rotors are overheating. Have
you been overusing Turbo Boost?
MICHAEL
I've been chasing a major counter-
feiter across half a dozen counties
...if that's 'overuse,' I'm the
offender.
(beat)
What's going on here? I feel like
I'm interrupting something.
DEVON
(pleasantly)
You are, dear boy. Relax. We'll
find a way to catch your counter-
feiter.
MICHAEL
When?
DEVON
We'll regroup after my speech.
Bonnie, I seem to have misplaced
my note cards.
BONNIE
Your left pocket.
DEVON
(checks left
pocket)
Ah yes. Thanks.
MICHAEL
Am I missing something? What's so
important about this speech?
BONNIE
The Foundation is presenting an
award to the town of Alpine Crest
for the lowest per capita crime
rate in the state.
DEVON
Perhaps you'll find what I have to
say inspiring, Michael. At worse,
you could use an hour or two of
relaxation.
MICHAEL
(sotto voce)
Relaxation, yes. Torture, no.
Bonnie scolds him with a smile.
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. Among them are Sheriff
Moore, Miss Martha Haberstraw, 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. Michael can't resist. He
comes over to Jobina Bruce and smiles.
MICHAEL
Hi, there.
JOBINA
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'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.
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
(smiles)
Neither did I. I came here two months
ago to help my aunt...I was shocked.
It's the same as it was twelve years
ago when I spent a summer here.
MICHAEL
What kind of work do you do?
JOBINA
I help run the local newspaper. I'd
call myself a reporter, but there's
so little to report.
(looks off)
They're about to start. Can you
hold this, please?
She hands Michael her cup, gets out a pen and opens her
notebook.
JOBINA
(smiles)
Can't miss a word. This could be
the biggest story of '83.
Michael laughs, enjoying her.
OMITTED
ANOTHER ANGLE
We see a serious-faced man in the crowd looking at Michael
and Jobina through veiled eyes. His name is Peter Larkin.
ANGLE ON BANDSTAND
Sheriff Moore is about to speak. He's well-known, popular
man in town.
SHERIFF MOORE
What a turnout...This is the kind of
civic pride that makes Alpine Crest
what it is...
(pauses for
applause)
It's my pleasure to introduce a dis-
tinguished visitor who's 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, the Foundation
of which I am the director annually
presents an award to the community
with the lowest per capita crime rate.
(beat)
This year it is my honor to bestow
that award upon the fair city of
Alpine Crest.
Applause and whistles. The proud townspeople let their
feelings be known.
ANGLE TO MICHAEL AND JOBINA
She is taking notes. Michael attempts to stifle a yawn,
smiles.
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.
Suddenly Michael's 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. He pops peanuts into his mouth, not a care in the
world.
BACK TO MICHAEL
MICHAEL
(to Jobina)
Excuse me.
JOBINA
Where are you going?
Michael's gone, 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 ON DEVON
He glances 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 of trust and honesty
shining from....
When Devon hears murmuring of the crowd, he looks up. 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?
MICHAEL
Trying to catch up to an old friend.
Michael looks 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
take you in for disturbing the
peace.
MICHAEL
(nods)
Right. Thanks for the advice.
INT. SEMI - DAY
Michael, Bonnie and Devon. 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.
BONNIE
The counterfeiter?
Michael nods.
DEVON
In Alpine Crest?
Michael nods again.
BONNIE
The most crime-free community in the
state?
MICHAEL
(crosses
to K.I.T.T.)
Crime-free or not, I saw him. He's
probably on his way to Twin Falls or
one of the bigger cities, but as
long as he's here I'm going to give
it a shot.
Michael starts up the engine and backs out of the semi in
a major hurry.
BONNIE
(calls after
him)
Keep an eye on Kitt's rotors.
He's gone. Bonnie and Devon exchange a look, 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
Austin.
K.I.T.T.
Certainly, Michael. 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
hotel which we witnessed earlier. We see a closeup of
his face.
MICHAEL
Freeze. Picture perfect. Can you
give me a hard copy?
A five-by-seven photograph of Austin slips out of a slot.
K.I.T.T.
How's that for service?
MICHAEL
Almost too good to be true.
(starts out,
stops)
It's not counterfeit, is it?
K.I.T.T.
I beg your pardon.
MICHAEL
(smiles)
Just a little joke, buddy.
Michael takes the photo and heads for the police station.
OMITTED
INT. POLICE STATION - DAY
Sheriff Moore is at his desk. He hears the door open, but
keeps his attention focused on his work.
SHERIFF MOORE
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.
MICHAEL
Hello, Sheriff.
SHERIFF MOORE
Oh, it's you. Disturbing the peace.
MICHAEL
Well, yes and no...I apologize for
the commotion, Sheriff. I'm here
because I could use your help.
SHERIFF MOORE
What kind of help did you have in
mind, Mr...?
MICHAEL
Knight. Michael Knight. I'm a free-
lance skip tracer. Been chasing this
fella across the tri-state area.
Michael hands the Sheriff the picture of Austin. The
Sheriff picks it up and examines it.
SHERIFF MOORE
Never seen him before in my life.
Sorry.
MICHAEL
I saw him today, Sheriff. In the
crowd at the awards ceremony.
SHERIFF MOORE
(smiles)
I find that kind of hard to believe
...fella like that in Alpine Crest?
Why?
MICHAEL
I don't know.
SHERIFF MOORE
Neither do I. Well, I'll keep an
eye out for him, pass the word to
my deputies...but I wouldn't get
my hopes up.
Michael picks up the photo and heads for the door.
MICHAEL
Thanks.
EXT. TRANS AM - DAY
Michael is driving the Trans Am along an Alpine Crest avenue,
eyes covering the streets, the passersby.
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've been hearing that from
Devon and Bonnie and now Sheriff
Moore. Give me a break.
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 HOTEL
as the Trans Am pulls in and parks.
INT. HOTEL LOBBY - DAY
Michael is walking through the lobby of the small hotel
when he hears:
JOBINA'S VOICE
Michael?
Michael turns to see Jobina sitting in the bar, nursing a
glass of wine, her notebook open, writing.
ANGLE IN BAR
It's a small cocktail lounge. Not many lushes in Alpine
Crest. She greets him with a smile. Ad-lib hellos.
JOBINA
Can I buy you a drink?
MICHAEL
Thanks. Beer's good.
Jobina calls over to a waitress who stands at the bar.
JOBINA
Patty, can you bring us a beer,
please? Well, this is a surprise.
The way you took off all of a sudden
I never expected to see you again.
MICHAEL
Well, here I am. Big as life.
How's the biggest story of '83
coming?
The waitress brings over the beer. Michael smiles at her.
JOBINA
Slow. Writing is hell.
MICHAEL
I thought the phrase was 'War is
hell.'
JOBINA
Obviously said by someone who's never
attempted to write.
Michael smiles, sips his beer.
JOBINA
What made you decide to stay?
MICHAEL
Too late to drive anywhere else.
I'll stay over, get a good night's
sleep and leave in the morning.
What about you?
JOBINA
(smiles)
It's not that simple for me. I keep
waiting for my good-bye story.
MICHAEL
Good-bye Girl I've heard of...what's
a good-bye story?
JOBINA
A story that will launch me into the
world of big-city journalism.
(smiles)
You see, I'm impatient. I don't
want to be a junior reporter on a
big paper for ten years before I get
a chance to cover something other
than social events and the food
section.
Michael smiles, liking her. She watches him finish his
beer.
JOBINA
Listen to me rattling on. You
probably want to go up to your
room....
MICHAEL
Well, I could use a shower.
JOBINA
If you need anything, feel free to
call. I'll be at the office, slaving
away.
MICHAEL
(rises)
Good luck -- oh, and thanks for the
beer.
JOBINA
My pleasure.
Michael leaves. Jobina takes a handkerchief from her purse,
carefully places it over Michael's glass, lifts the glass
and puts it in her purse.
EXT. SHERIFF'S OFFICE - NIGHT - TO ESTABLISH
Lights burn brightly in the office.
SHERIFF MOORE'S VOICE
Knight just registered at the hotel.
INT. JAIL CELL - NIGHT
Sheriff Moore brings a tray of food to a secluded cell.
The cell has many of the accoutrements of a furnished room,
including TV and throw rug. The man inside turns, and we
see it's Ron Austin.
AUSTIN
Terrific. Now what am I supposed
to do -- spend the night here?
SHERIFF MOORE
Got a safer place in mind?
Moore puts the food down. Austin looks at it disdainfully,
picks at French fries.
AUSTIN
Of all places, the guy decides to
spend the night in the sleeping
bag of the West.
SHERIFF MOORE
He'd have been gone this afternoon,
if you hadn't decided to stroll
around the park.
AUSTIN
(examines
food)
What is this, a hamburger? I
ordered steak.
SHERIFF MOORE
Too bad.
AUSTIN
Look, I don't want to give you a hard
time, but you've got to understand
my life-style. I go first class.
I stay in the best hotels, I eat
the best food. I can't function
at my peak sleeping on a cot and
eating hamburgers. And the TV --
all I can get is that crazy lady
and her macrame class. Why don't
you people get a cable TV hook-up?
Moore is quietly angry.
SHERIFF MOORE
You listen to me, Austin. I don't
give a damn about your life-style.
You do your job and I'll do mine.
AUSTIN
Fair enough. I'd say your job
right now is to see that Knight
leaves Alpine Crest as soon as
possible.
SHERIFF MOORE
He will. Leave that to me.
(exits,
pauses)
Just see to it that you do yours
tomorrow. And fast. Every minute
you're in town disturbs my 'life-
style.'
He locks the door and leaves.
INT. HOTEL HALLWAY - NIGHT
Jobina stops at a door, knocks lightly. The door opens to
reveal Peter Larkin.
LARKIN
How'd you do?
She opens her purse and hands him the glass wrapped in the
napkin.
JOBINA
Fingerprints...as requested.
Larkin smiles. He opens the door and she enters.
FADE OUT
END OF ACT ONE
ACT TWO
FADE IN
INT. HOTEL ROOM - NIGHT
Jobina watches Larkin as he carefully holds the glass up to
the light. He seems satisfied.
LARKIN
Good work. I'll get a lift and wire
the prints to Washington. I'll know
everything there is to know about
this 'Michael Knight' within twenty-
four hours.
JOBINA
And whatever breaks, it's my
exclusive, right?
LARKIN
That's our agreement, isn't it?
She nods, pleased. She pauses.
JOBINA
When can I tell Aunt Martha?
LARKIN
After the case breaks and I have the
suspects and evidence, not before.
Loose lips sink ships.
JOBINA
I suppose.
(starts for
door; stops)
I've been meaning to ask you
something. Why did you pick me to
work with you?
LARKIN
I think I explained how highly
sensitive this case is.
JOBINA
Yes....
LARKIN
That's why I can't tell you.
JOBINA
Yes, but you never told me what the
case is....
LARKIN
It involved a terminated Federal
project...and counterfeit money.
JOBINA
(excited)
Counterfeit money? That is a
good-bye story.
LARKIN
Pardon?
JOBINA
Nothing. Can't you tell me any
more? Who are you suspicious of?
Why are you so reluctant to be seen?
LARKIN
I can't answer those questions. Not
yet.
(escorts her
to door)
This phase of your participation is
finished. Stay clear of Knight.
JOBINA
I wouldn't mind doing some extra
research.
(smiles)
For the good of my country, of
course.
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.
MICHAEL
Well, Kitt, say good-bye to Alpine
Crest.
K.I.T.T.
It's such a nice decent little town.
MICHAEL
That's what everyone says. Bet your
turbo ducts will miss the fresh air,
huh?
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
Nope. Read it in a post office
underneath the mug shots.
K.I.T.T.
I should have known.
Michael laughs, pulls K.I.T.T. away from the curb and down
the street.
EXT. SHERIFF'S OFFICE - DAY
A deputy, Cole, enters and crosses to Sheriff Moore.
COLE
He just left the hotel.
MOORE
Follow him. I want to make sure
he's gone for good this time.
Cole nods and exits.
INT. CELL - DAY
Austin stares at the TV set. Moore comes down from the
office.
AUSTIN
You're missing the climax here.
The macrame lady's slipping the
thing around the plant. Real
sensuous stuff.
MOORE
Get your gear ready.
Austin looks up.
AUSTIN
He's gone?
MOORE
He's going. When I know he's gone,
you can leave.
Austin gets up.
AUSTIN
It's about time. Not that I don't
appreciate your hospitality. Have
you talked to Barnswell?
MOORE
I don't talk to Barnswell unless I
have to. That's your department.
AUSTIN
Yeah? Well considering the fat
percentage you take down, what's
your department?
MOORE
Saving you from yourself...and
keeping Alpine Crest the kind of
town nobody looks at twice. Now get
your stuff.
EXT. TWO-LANE HIGHWAY - DAY
The Trans Am drives by.
INT. K.I.T.T. - DAY
Michael is behind the wheel, pensive. Vaguely troubled.
K.I.T.T.
What's our destination?
MICHAEL
I don't know, Kitt.
K.I.T.T.
We're not giving up on Ron Austin,
are we?
MICHAEL
We never give up, buddy. You know
that.
(beat)
I just can't figure it out...we get
a line on Austin, he's wholesaling
high-quality paper all across the
state...he's a high roller...what
did he come to Alpine Crest for?
K.I.T.T.
Certainly not to wholesale his
counterfeit money.
MICHAEL
In Alpine Crest? Bite your tongue.
K.I.T.T.
I beg your pardon, Michael. I don't
have a tongue.
MICHAEL
(smiles)
I keep forgetting.
Something catches his eye.
HIS POINT OF VIEW - SIGN AT SIDE OF ROAD
It reads: "YOU ARE LEAVING ALPINE CREST, HOME OF
HALLELUJAH PRESS."
BACK TO MICHAEL
Something is triggered.
MICHAEL
Hallelujah Press...I wonder what
that is?
Computers flash.
K.I.T.T.
The largest Bible printers in the
state.
MICHAEL
That's strange....
K.I.T.T.
What?
MICHAEL
Well, for a small town, you'd think
everybody would know it, brag about
it...after all, they brag about
their per capita crime rate.
K.I.T.T.
I don't follow your logic.
MICHAEL
I'm not sure logic enters into it...
(beat)
You don't suppose Austin came to
Alpine Crest to pick up his next
bundle of money, do you?
K.I.T.T.
Michael? I believe we're being
followed.
ANGLE INTO REARVIEW
A patrol car stays a hundred yards behind them.
BACK TO MICHAEL
MICHAEL
How long he's been back there?
K.I.T.T.
I first observed him at the
outskirts of town.
MICHAEL
Let's find out.
He accelerates.
ANGLE FROM HIGHWAY
as the Trans Am speeds up, so does the patrol car.
ANGLE ON MICHAEL
He checks the rearview, then the speedometer.
MICHAEL
We're ten miles an hour over the speed
limit, but he's not interested in
writing a ticket. He's tailing us.
(beat)
Let's make him earn his money.
Michael hits Turbo Boost.
EXT. HIGHWAY - DAY
The Trans Am accelerates, flashing by.
ANGLE IN PATROL CAR
Deputy Cole reacts, floors his car.
HIGHWAY - HIGH SHOT
The Trans Am leaves the patrol car behind like it's
standing still.
ANGLE IN PATROL CAR
Disbelieving, Deputy Cole picks up his mike.
COLE
Sheriff, this is Cole...I'm on
Highway Ten....
SHERIFF MOORE'S VOICE
Did Knight leave town?
COLE
Yes sir. He sure did.
He slows, turns a U and heads back.
EXT. ANOTHER PART OF HIGHWAY
Out of view, Michael executes a high-speed 180 and heads
back.
CUT TO
EXT. NEWSPAPER OFFICE - DAY
Michael pulls K.I.T.T. to a stop around the side of the
office.
K.I.T.T.
Are we hiding?
MICHAEL
Not hiding, Kitt...just low-
profile for a while.
INT. NEWSPAPER - OFFICE - DAY
A small front office, with a couple of desks with
typewriters. Jobina is hanging up a phone as Michael
enters. She reacts, surprised.
MICHAEL
Hi.
JOBINA
I...thought you left.
MICHAEL
Disappointed?
JOBINA
No, of course not...what brought you
back?
MICHAEL
Fresh air and clean living.
He smiles. She smiles, a little uncomfortable. He's aware.
MICHAEL
Actually I'm thinking of buying a
small business, and I heard the
Hallelujah Press might be for sale.
JOBINA
It's not, not that I know of.
Charles Barnswell bought it from my
aunt last year. I can't imagine
where you heard it was for sale.
MICHAEL
Now that you mention it, neither can
I. Who's Charles Barnswell?
JOBINA
(shrugs)
A businessman. A retired government
official....
MICHAEL
What branch of government?
JOBINA
I don't know. Why?
MICHAEL
Just curious. Ever heard of a man
named Ron Austin?
JOBINA
No. What are all these questions
for? What's going on?
MICHAEL
I wish I knew, Jobina.
(beat)
Besides the newspaper and the
Hallelujah Press, are there any
other companies in town that use
printing presses?
JOBINA
No, not that I can think of.
MICHAEL
Thanks.
He smiles, starts out.
JOBINA
Michael, I'm a reporter. I have a
constitutional right to know what's
going on!
MICHAEL
When I find out, you'll be the first
to know. Or second.
He's gone. She stares after him, perplexed.
ANOTHER ANGLE
The phone rings.
JOBINA
(phone)
Tribune, Jobina Bruce speaking...
(reacts)
What? I thought you told me to
discourage him.
OMITTED
INTERCUT - LARKIN IN HOTEL
on the phone, TV on in the b.g. He looks comfortable.
LARKIN
I just got the report from
Washington. No record of his
prints, no drivers license, no
social security number, nothing.
JOBINA
(amazed)
Then who is he?
LARKIN
Good question. Get close to him,
use your feminine wiles. Work him
over, love him up. He'll break.
They always do.
JOBINA
Mr. Larkin, there are limits to what
I consider my patriotic duty. And
another thing -- why do I have to do
all the work here?
LARKIN
Look at it this way -- Those
Watergate reporters had to spend
months in a damp garage. All things
considered, you've got it easy.
CUT TO
OMITTED
EXT. HIGHWAY - DAY - STOCK
The semi rolls down the highway.
INT. SEMI - DAY
Devon is on the phone with Michael, jotting notes.
DEVON
Charles Barnswell, retired federal
employee...let me see what I can do.
(beat)
By the way, I take it you're still
in Alpine Crest. Enjoying yourself?
INTERCUT - MICHAEL
MICHAEL
Let me put it this way, Devon. It's
a nice place if you're thinking of
retirement....
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.
MICHAEL
Thanks, Devon. Give my love to Bonnie.
OMITTED
ANGLE FROM STREET
Michael starts K.I.T.T. as Jobina appears.
JOBINA
Hi! Sorry I was a little rude in
there....
ANGLE ON AUSTIN'S CAR - MICHAEL'S POINT OF VIEW - TRAVELING
DOWN THE MAIN STREET
the radio on full blast.
JOBINA'S VOICE
I had a lot of things on my mind....
ANGLE ON MICHAEL
He slams K.I.T.T. into gear.
MICHAEL
Excuse me.
He hits the gas. Jobina stares.
OMITTED
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 HEADING OUTSIDE OF TOWN
Austin's car races around a delivery truck, nearly causing
it to tip over. A squad car peels around a corner,
pursuing.
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 a growing number of squad 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'S VOICE
I repeat...two vehicles are racing
out of control through the west side.
COLE'S VOICE
This is car number three. Both
vehicles in sight.
ANGLE ON RURAL ROAD
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 ROAD
Michael gets out of the car. Two policemen climb out of
the police car.
MICHAEL
He's getting away!
Before he can say another word, the two cops have come to
either side of him. One quickly grabs hold of his arms
while the other slaps the cuffs on him. The first cop Cole,
begins the litany.
COLE
You have the right to remain
silent. Anything you say can and
will be used against you....
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.
He starts away.
MICHAEL
Sheriff.
Moore pauses.
MICHAEL
I'd like my watch back, if you don't
mind.
SHERIFF MOORE
Sorry. Against regulations.
MICHAEL
(beat)
You've got big trouble in this town,
Sheriff. If I were you I'd be less
concerned with regulations and more
concerned with what's going on right
in front of your nose. You can't
hide behind awards for the lowest
crime rate forever.
SHERIFF MOORE
There are people in this world I'll
take advice from, Knight, but they
don't talk from behind bars. Enjoy
your meal. Cornbread's homemade.
He leaves. Hold on Michael.
CUT TO
INT. POLICE GARAGE - NIGHT
K.I.T.T. is surrounded by several deputies, one of whom is
Cole, and a Mechanic. They look perplexed.
COLE
Never seen anything like the
car before.
MECHANIC
I got an idea.
He approaches K.I.T.T., gingerly touches the fender,
strokes it.
MECHANIC
Nice boy, good boy....
COLE
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.
COLE
I've got a better idea. Do it
again.
MECHANIC
It'll just move again!
COLE
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. Cole 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. Guy's been
on my tail for two days. Every time
I think I've lost him he shows up
again. Anyway, we're okay now.
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
Hey, I give him a hard time as it
is. Don't you start on him too.
He does his job. Who'd ever think of
Alpine Crest as the counterfeit capital
of the world?
(likes the
phrase,
chuckles)
Okay, I got people to see. Where's
the money?
BARNSWELL
It's not ready yet.
AUSTIN
(sharp)
It was supposed to be ready by one
this afternoon!
BARNSWELL
(darkly)
You've got problems, I've got
problems. Big ones.
(beat)
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, paper hanger. I'm
the one who's vulnerable here. I'm
the one who headed up the pilot
program to counterfeit money, and
when the Company shuts it down I'm
the one who got the plates before
they were destroyed. I created this
operation. Imagination? You don't
know the meaning of the word.
(beat)
I'll make it real clear for you,
Ron. I spent twenty-five years with
the Company, and there's no way I'm
going to spend the next twenty-five
in prison. If Larkin stays, I go.
Either you find a way to detour him or
I'll shut down the presses and take
the plates with 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.
DEVON'S VOICE
Kitt..? Are you there?
K.I.T.T.
Yes, Devon.
INTERCUT - DEVON IN OFFICE
DEVON
Kitt, what happened? I've been trying
to reach Michael for over an hour.
K.I.T.T.
Michael is...indisposed.
DEVON
That usually means he's with a young
lady or in jail.
K.I.T.T.
No comment.
DEVON
I admire your loyalty, Kitt.
Frankly, I'd just as soon not know
-- unless he's in real trouble, of
course. When you see him, 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
No. The last project he worked on
involved a plan to destabilize the
economies of unfriendly countries.
Believe it or not, the premise was
to infiltrate counterfeit U.S.
dollars into the monetary system.
(beat)
At any rate, there you have it.
Keep an eye on Michael.
UP ANGLE ON K.I.T.T.
suspended ten feet above the floor.
K.I.T.T.
I'll do my best, Devon.
DEVON
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, regards her.
SHERIFF MOORE
I've known your Aunt Martha for four
years, Jobina. Ever since I took
over as Sheriff. I like her and
she likes me. That'll buy you some
flexibility, but it won't buy you
sensationalizing Knight's arrest in
the Tribune. Alpine Crest has a
reputation to maintain and I'm head
maintenance man. Remember that.
To her credit she doesn't back down from the look in his
eyes. He leaves. She continues to Michael's cell.
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 'good-bye 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
(disbelieving)
You don't mean Ron Austin.
MICHAEL
(reacts)
You know him?
JOBINA
The man you chased after -- yes.
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 once or twice a month.
Stops by the Hallelujah Press to pick
up a load of Bibles. For a man of his
profession he's a terrible flirt.
MICHAEL
(realizing)
Barnswell...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! My story!
MICHAEL
Jobina, I'll make you a deal. We need
each other. We team up. I get the
counterfeiters and you get your good-bye
story.
JOBINA
(cautious)
What do I have to do?
Michael smiles.
MICHAEL
Have you ever heard the phrase,
'suspension of disbelief'?
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...Please talk back. I'll
never forgive myself if you don't....
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, Kitt. 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. 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
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, runs back for a shotgun.
EXT. JAIL - NIGHT
K.I.T.T., Michael behind the wheel, comes flying out amid a
hail of bricks.
CUT TO
INT. HOTEL CORRIDOR - NIGHT
The Clerk leads Deputy Cole down the hall.
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. Cole draws his service revolver,
cautiously opens the door, peers in.
HIS POINT OF VIEW - ANGLE THROUGH 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 TO ESTABLISH EARLY MORNING ACTIVITY
Then, after a moment, Sheriff Moore crosses from the
direction of his jail toward the newspaper office. He's
been up all night.
INT. NEWSPAPER OFFICE - DAY
Jobina's hot at her typewriter, glances up as Moore enters.
She continues typing.
SHERIFF MOORE
Jobina...
(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 toward
the counter.
JOBINA
My, aren't we in a foul mood. Busy
morning?
SHERIFF MOORE
I want to see the stories on Knight's
escape and the murder before they go
to press.
JOBINA
I can't believe you just said
that....
SHERIFF MOORE
Believe it. And believe I can back
it up.
JOBINA
I don't know where you think you
are, Sheriff, but you've got your
geography confused. This is not
Russia. This is not a South
American dictatorship. We have
freedom of the press here, and some
very tough laws to guarantee it. A
lot tougher than you.
She starts back to her desk, angry, through with him.
SHERIFF MOORE
Give a girl a little college and she
thinks she knows how the world works.
She turns to give him a contemptuous look, is startled to
see him leap over the counter and challenge her face to
face.
JOBINA
Stay away from me!
SHERIFF MOORE
That's not my style. Here's my
style. I've got a witness who can
place you in the immediate vicinity
of the police garage last night just
minutes before somebody got that car
and busted Knight out of jail. If
you weren't with your Aunt Martha
playing bridge during that time I
can arrest you right now as an
accessory. Think about that before
you print your little stories.
He turns and stalks out, using the swinging half-door.
It's got a little latch lock on it; when it doens't swing
to accommodate him he knees it, knocking it off its hinges.
He slams out the door. Jobina stares after him, frightened.
CUT TO
EXT. MARTHA HABERSTRAW'S STREET - DAY
Her ancient car comes chugging along, turns into her
driveway, parks.
CLOSER - MARTHA
Aunt Martha gets out, glances around, takes a bag of
groceries and moves to the garage.
INT. 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. He's tense.
MICHAEL
(presses
buttons)
Punch me up a visual again, buddy.
K.I.T.T.
Right away, Michael.
INSERT - VIDEO MONITOR
A map of the Alpine Crest area appears, half-a-dozen red
dots moving in diverse areas.
K.I.T.T.'S VOICE
As you can see, the patrol cars are
still in the immediate area.
BACK TO MICHAEL
He nods, discouraged. Switches off the visual.
ANOTHER ANGLE
The garage door opens and Miss Martha slips in.
MISS MARTHA
Yoo-hoo....
MICHAEL
(smiles)
Hi, Miss Martha. Let me give you a
hand.
He joins her, takes the groceries.
MISS MARTHA
Just put them on the washer, I'll
take them in in a minute.
(regards him)
No luck?
MICHAEL
(shakes head)
They're all over the place. I'd
never get within a hundred yards of
the Hallelujah Press....
MISS MARTHA
Good. Then maybe you'll have time
for a country breakfast after all.
Michael laughs, charmed by her.
MISS MARTHA
It's been a long time since I cooked
breakfast for a man. Edgar loved
ham and eggs and country-fried
potatoes. Every morning of our
married life...
(trails off,
sad, then
smiles)
Well, that's another time and
another place. How do you like your
eggs, Michael Knight?
MICHAEL
I really don't think I'll have time
for breakfast, Miss Martha.
MISS MARTHA
Nonsense. Jobina said you could use
some fattening up.
MICHAEL
I don't know if I said this last
night...but I appreciate you letting
me stay here.
MISS MARTHA
Don't think twice. If you're right
about Charles Barnswell, and he's
using the Hallelujah Press as a
front for making counterfeit money
-- Goodness, hurts my teeth to even
say it -- Then I owe you a great
deal. Whole town does.
(beat;
confidentially)
To tell you the truth, I suspected
something was wrong when all those
errors started appearing. One ship-
ment of Bibles went out with the Ten
Commandments reading, 'Thou Shalt
Covet Thy Neighbors Possessions,'
'Thou Shalt Commit Adultery.' Can
you imagine the influence on young
minds?
Michael suppresses a smile, shakes his head solemnly.
MICHAEL
Sunday School just wouldn't be the
same.
K.I.T.T.
Michael....
MISS MARTHA
(reacts)
I beg your pardon?
MICHAEL
That's...my car. I thought Jobina
explained it's kind of...unusual.
Excuse me.
She stares as Michael crosses to K.I.T.T., slides in.
MICHAEL
Shoot, pal.
K.I.T.T.
I believe you'll be interested in
this. According to monitored police
calls, my schematics show a prepon-
derance of police vehicles in the
north and northwest area.
MICHAEL
English, please.
K.I.T.T.
A picture is worth a thousand words.
Michael smiles, punches up the visuals.
INSERT - K.I.T.T.'S SCREEN
the map appears again, but this time the red dots are more
concentrated in one area.
MICHAEL
He takes it in, studies it.
MICHAEL
Think we can make a run for it?
K.I.T.T.
Let's go for it.
SCENE
Michael laughs, turns to Miss Martha.
MICHAEL
I'm afraid there won't be time for
breakfast, Miss Martha. Rain-check?
MISS MARTHA
Any time, good lookin'.
He grins, closes the car door and starts the engine.
MISS MARTHA
I'll get the door for you.
MICHAEL
Don't bother. Kitt?
INSERT - SCANNER BEAM
as it activates:
THE GARAGE DOOR
as it opens in response to K.I.T.T.
INCLUDE MISS MARTHA
She's surprised and delighted.
MISS MARTHA
I'll be damned.
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.
CUT TO
EXT. HALLELUJAH PRESS - DAY
One of the H.P. vans is parked outside, near the loading
dock. Austin's car appears, turns into the parking area
and parks. Austin gets out, starts toward the side door.
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.
ANGLE IN ANOTHER ROOM
Jobina, hidden, wondering how close she can venture. She
takes several tentative steps.
EXT. SIDE OF BUILDING
Austin tries the door, finds it locked. The adjacent
window, however, isn't. He quickly opens it, reaches in
and unlocks the door.
BARNSWELL
He finishes dialing, hears the click, opens the safe door.
He begins filling an accordian-style briefcase with neat
stacks of bills.
ANGLE ON JOBINA
She continues forward, reacts to a sound, freezes to see
Austin walk past her, towards the office. She could almost
touch him.
OMITTED
EXT. QUIET STREET - DAY
Michael drives quietly past.
INT. K.I.T.T. - DAY
as they continue.
K.I.T.T.
Michael, these alleys and back
streets are beginning to depress me.
MICHAEL
Can't be too careful Kitt. It's
tough to tell the players.
(smiles)
Hang in there, pal. We're almost
there.
ANGLE IN OFFICE
Barnswell dumps the last of the money into the briefcase,
reaches into the safe for the counterfeit plates, stashes
them. He's been so intent he's not aware of Austin's
presence until he appears at the door.
BARNSWELL
(startled,
angry)
What are you doing here? I told you
I never want to see you again.
AUSTIN
It's not that easy, Charles my man.
Not really.
Barnswell isn't about to be intimidated. He stands to face
Austin.
INTERCUT - JOBINA
listening, frozen as before.
BARNSWELL'S VOICE
What you did is the act of an insane
man.
BACK TO BARNSWELL AND AUSTIN
AUSTIN
You said make sure to 'detour'
junior agent Larkin, well dig this
-- one man's detour is another man's
derailment. So I derailed the
sucker.
BARNSWELL
What are you, a child? You do not
walk around, kill a CIA field agent
and continue to walk around. Whether
you know it or not, my friend, you're
a dead man. I don't do business with
dead men.
He grabs the briefcase and starts out.
AUSTIN
One more step and you'll never do
business again, and I ain't foolin'.
Despite himself, Barnswell turns. Austin is holding a gun
on him.
AUSTIN
Now you can walk. With me. You
see, Charles, for the immediate
future...yours is mine.
(smiles)
Head 'em up, move 'em out Charles.
Barnswell walks.
OMITTED
EXT. STREET - DAY - LOW ANGLE SHOT OF K.I.T.T.
heading toward the Hallelujah Press.
OMITTED
EXT. HALLELUJAH PRESS - DAY
The door opens and Austin forces Barnswell into his car.
ANGLE AT WINDOW
Jobina watches.
ANGLE OUTSIDE
Austin's car pulls out and leaves, Barnswell driving,
Austin facing him.
ANGLE AT SIDE ENTRANCE
Jobina comes out, runs to the front, opens the van door,
searching for keys. The sound of an approaching car makes
her turn.
ANGLE ON K.I.T.T.
sliding up next to the van.
MICHAEL
I thought I told you to let me
handle this.
JOBINA
I thought I told Aunt Martha to
fatten you up.
(beat)
I know how to find them.
MICHAEL
Barnswell and Austin?
JOBINA
(nods)
They've got the money and the plates
with them.
She opens the door.
MICHAEL
Now wait a minute, Jobina ---
JOBINA
Are we going to catch them or argue?
Michael hesitates, hits the gas. K.I.T.T. roars out.
Jobina points the way.
OMITTED
EXT. OUTSKIRTS OF TOWN - DAY
Austin's Chevy drives by Barnswell at the wheel.
OMITTED
EXT. OUTSKIRTS OF TOWN - DAY
Another area as K.I.T.T. passes, surveillance mode flashing.
INT. K.I.T.T. - MICHAEL AND JOBINA
They both watch for the Chevy.
JOBINA
(worried)
They've got to be along in here
somewhere.
K.I.T.T.
Michael, I think we've been
discovered.
JOBINA
He talks in the daytime too?
MICHAEL
(flips switch)
Show me, Kitt.
INSERT - SCREEN
to reveal the moving red dots clearly changing course,
heading toward them.
K.I.T.T.'S VOICE
Michael, I'm getting a reading on the
suspect vehicle. He will enter the
monitor at south-southeast, color
yellow.
ANOTHER ANGLE
Michael watches as a yellow blinking dot enters as
described.
MICHAEL
Good work, buddy. If we play this
one right we can get a strike on one
ball. Let's do it.
He punches turbo-boost.
EXT. COUNTRY ROAD
as K.I.T.T. takes off cross-country.
OMITTED
INT. CHEVY - DAY
Barnswell glances back routinely, reacts.
BARNSWELL
You said some guy in a black Trans
Am had been chasing you...look
behind and tell me if that's him.
Austin looks behind, stares.
EXT. COUNTRYSIDE - DAY
The Chevy passes, doing eighty. Camera holds and then the
Trans Am appears, pursuing it.
OMITTED
EXT. DIFFERENT RURAL AREA - DAY
Several squad cars appear. Moore is driving one of them.
INT. SQUAD CAR - DAY
Looking ahead, Moore spots something, grabs the radio mike.
SHERIFF MOORE
(into mike)
There he is -- he's coming this
way! All units respond!
OMITTED
VARIOUS ANGLES - THE CHASE
The squad cars slow to let the Chevy pass, then logjam the
road to block the Trans Am.
ANGLE IN K.I.T.T.
Michael pushes turbo-boost.
WIDER ANGLE
The Trans Am hurtles several squad cars. The deputies hit
the floors of their cars.
DIFFERENT ANGLE
The Trans Am eats up the distance between the two cars.
Panicked, the Chevy takes a turn too fast and rolls.
Michael slams on the brakes, jumps out, Jobina not far
behind.
OMITTED
ANOTHER ANGLE
Michael sees the Chevy has rolled to stop halfway down an
embankment, Austin and Barnswell trapped inside. Jobina
runs up, breathless.
JOBINA
Are they all right?
MICHAEL
I think so. Shaken up some.
(comlink)
Kitt, if I'm not mistaken we've
crossed the county line. Patch me
through to a friendly Sheriff, will
you, pal?
K.I.T.T.'S VOICE
I'll see what I can do, Michael.
JOBINA
Is there anything that car can't do?
MICHAEL
I think a woman would be a better
judge of that.
K.I.T.T.'S VOICE
I beg your pardon.
On their laughter:
FADE OUT
END OF ACT FOUR
TAG
FADE IN
EXT. TOWN SQUARE - DAY
The Knight van is parked nearby. Devon, Bonnie, Jobina and
Miss Martha are walking across from the newspaper office.
MISS 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.
DEVON
I have a feeling your new Sheriff
will restore tranquility in short
order.
MISS MARTHA
Oh...then we can keep the award?
DEVON
Of course.
OMITTED
ANOTHER ANGLE
Michael and Jobina exchange glances.
MICHAEL
Well, looks like you got your
'good-bye story.' Where do you plan
to go -- New York? L.A.?
JOBINA
I don't know. I've been thinking
all this somehow changed Alpine
Crest. At least in my eyes. I
think I might stay.
MICHAEL
Good. Then I'll know where to find
you...just in case.
MISS 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.
MISS MARTHA
It's our most recent piece of work
-- and quite beautiful, if I do say
so myself.
DEVON
Then you're at the helm once more?
MISS 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. K.I.T.T.'s scanner lights up.
FADE OUT
THE END
