ACT ONE
FADE IN
EXT. LONELY UNDULATING ROAD - NIGHT
We hear nothing except night birds, and crickets...the sounds
of the country at night. Then we hear a new sound -- the
"boop boop" of a radar scanner.
Camera pans to a police cruiser hidden behind some foliage
or a billboard. Two officers are inside. Wally drinks
coffee from a thermos. Lester points a radar gun at the
road. He fiddles with some dials.
LESTER
Got something...Coming on fast...
Whoa! Eighty miles an hour!
WALLY
Damn kids think they own this road...
a fifty dollar fine'll teach 'em
different....
LESTER
Uh...wait a second.
Lester fiddles with the gun. Taps it a few times.
WALLY
You lose him?
LESTER
(slowly)
Uh...No. He just jumped to...one
hundred fifty.
WALLY
On this road? That can't be right.
Check again.
LESTER
One hundred and ninety...no, two
hundred...two twenty-five! Off the
scale!
WALLY
That's impossible...No car can ---
Suddenly both men hear a distant, eerie whine...unlike any
car on the road. They listen, look around.
THEIR POINT OF VIEW - HIGHWAY - LONG SHOT
An amber glow is rapidly approaching. Music begins...some-
thing reminiscent of Close Encounters.
BACK TO SCENE
LESTER
(nervous; he's
seen Close
Encounters)
Maybe it's not a car...maybe it's...
somethin' else?
They exchange a look, then pile out of the car. We tighten
on them as a glow of light starts to illuminate their faces.
(Again, in Close Encounters style.)
HIGHWAY - APPROACHING LIGHT
coming faster and faster, the whine growing louder.
VERY LOW ANGLE - WALLY AND LESTER
With a thud, something hits a rise on the road directly in
front of them and flies over their heads. A beat. Both men
are speechless.
WALLY
W...what was that?
LESTER
(after a moment,
amazed)
A Pontiac....
CUT TO
EXT. ROAD - NIGHT
Sparks fly up as the "Pontiac" -- actually the Knight 2000
-- skids into the side railing, bounces back onto the road.
It's swerving wildly.
INT. KNIGHT 2000 - NIGHT - CLOSE ON THE STEERING WHEEL -
TRAVELING
as it fights to control the car. The "Auto Cruise" dial is
illuminated. No one is in the front seats. Suddenly, a
man's foot kicks at the wheel, causing the car to go off the
road again.
K.I.T.T.
Michael, I can't drive on auto cruise
when you keep bumping the wheel...
Michael?
No answer...just the sound of a blow.
K.I.T.T.
Michael, what's all that noise?
INT. CAR - NEW ANGLE
revealing that Michael Knight is fighting for his life in
the backseat against a mean-looking mother named Dugan. (The
right passenger seat is inclined, giving both men some
struggling room.) Michael punches Dugan, tries to grab the
wheel. Dugan hauls him back. For those who notice such
things, the remains of ropes and bindings are on Dugan's
wrists and ankles.
EXT. ROAD - NIGHT
The car swerves again.
INT. CAR - NIGHT - TRAVELING
Michael tries to say something. It's hard, with Dugan's
elbow around his neck.
K.I.T.T.
Michael, did you say something?
You'll have to speak up.
Dugan produces a knife. Michael chops it out of his hand,
then twists around, forcing Dugan towards the front seats.
MICHAEL
Kitt! Open the sunroof!
K.I.T.T.
You don't have to shout.
The sunroof rolls back. Michael gives Dugan a terrific
wallop, dropping him into the driver's seat. Then he
reaches for ---
INSERT - "EJECT" CONTROL
Michael's hand slams down on it.
EXT. CAR - NIGHT
with a "whoosh" Dugan flies up and out of the car. We hear
him scream as he descends towards....
A LAKE - NIGHT
Dugan hits with a mighty splash, flounders in the water.
THE KNIGHT 2000
lams to a half in the b.g. Michael runs towards the camera,
reaches the edge of the water just as Dugan staggers out.
Michael cocks his arm to deliver the final blow...it isn't
necessary. Dugan collapses from exhaustion on the shore.
Michael catches his breath, starts to drag Dugan towards the
car.
CUT TO
EXT. ABANDONED CABIN - DAWN
The wind whips sand past the camera. We pan to see the
Knight 2000 drive up, park. Michael gets out, pulls Dugan
(bound and gagged, but still damp) towards the ramshackle
building.
CUT TO
INT. ABANDONED CABIN - DAY
The interior is prefab, surprisingly modern...and built like
a cage: Metal mesh over the windows, bolts on the door, etc.
There's a water bottle, freeze-dried food, a bunk...that's
it.
Michael comes in, drags Dugan to the bunk. Loosens his
bonds. Dugan stirs, groans. Michael stops at the door, key
in hand.
MICHAEL
Sorry about the accommodations, but
it's the height of the season. You
understand.
Dugan groans again.
EXT. CABIN - DAY
Michael closes and locks the door. Presto -- it's an aban-
doned cabin again. Michael turns from the door and sees ---
HIS POINT OF VIEW - A SEMI
approaching the camera. It halts with a hiss of air
brakes. In front, besides the driver (in a Knight
Industries cap) is Devon Miles. Devon leans out of the cab,
his Saville Row three-piece looking totally out of place.
DEVON
Michael, you're an hour behind
schedule. I hope you have an
explanation.
ON MICHAEL
Speechless, he wipes a fleck of blood from his chin, then he
sighs, heads for ---
REAR OF SEMI
It drops down, forming a ramp. Michael walks inside, first
turning to whistle at K.I.T.T.
MICHAEL
After you.
K.I.T.T. drives up the ramp.
K.I.T.T.
You're always so polite when the
boss is around.
They go inside. The ramp rises, closes again. The semi
moves off.
INT. SEMI - NIGHT - TRAVELING
We see that the rear of the semi has been outfitted as a
state-of-the-art electronics lab and garage. Towards the
front are some chairs and other human touches...even a
coffee maker.
Also inside is Bonnie Barstow, a young engineer who makes
her Knight Industries overalls look like a Bob Mackie
original. Bonnie looks up from a workbench as Michael
enters.
MICHAEL
Hello, Bonnie.
BONNIE
We were so worried! Are you all
right?
MICHAEL
(rubbing
his jaw)
Yeah, I'm okay, a few bruises, but ---
BONNIE
I wasn't talking to you.
Michael stops in midsentence as Bonnie walks right past him,
continues talking...to K.I.T.T.
BONNIE
How's your shocks? Are you still in
alignment?
K.I.T.T.
Everything's in proper order,
Miss Barstow....
BONNIE
Please...Bonnie.
K.I.T.T.
Bonnie. But I'm grateful for your
concern. You're an angel of mercy.
BONNIE
Oh, Kitt...that's sweet. But let me
check anyway. Your surveillance
scanners might need adjustment.
She reaches for some tools.
CLOSE ON MICHAEL
He scowls at this display, takes coffee from the machine. A
portal opens in the front of the trailer and Devon comes in
from the cab.
DEVON
When you didn't arrive at the
rendezvous point, we decided to
intercept you enroute. What
happened?
MICHAEL
Mr. Dugan got loose about an hour
after I picked him up. Jumped me
while I was driving.
Michael takes something from his pocket, hands it to Devon.
MICHAEL
Here. I found this on him.
INSERT
showing an "X'd" map and one half of a thousand dollar bill.
The words "5:00 P.M." have been scrawled beside the "X".
DEVON'S VOICE
What does it mean?
BACK TO SCENE
MICHAEL
If your Mr. Kincaid is as smart as
you say...we won't know...
(pointing
at map)
...until I get there.
DEVON
Thomas Kincaid is very smart, Michael
...which is why I disapprove of this
entire plan.
MICHAEL
It's perfectly safe. Kincaid and
Dugan have never met. As far as
he'll know, I'm the real Mr. Dugan.
DEVON
That's not the point. The finest
law enforcement agencies in the
country have been unable to prove
any allegation against Mr. Kincaid ---
MICHAEL
Then it's about time somebody put
him away. How many robberies has he
masterminded? Ten? Twenty?
Before Devon can answer, a loud honk attracts their attention.
NEW ANGLE
Bonnie looks up from under K.I.T.T.'s hood.
BONNIE
Sorry.
She turns, reaches under the hood with a tool.
BONNIE
(to K.I.T.T.)
How's that?
K.I.T.T.
A little higher...higher...no,
lower...stop! That's it.
BACK TO SCENE
Michael takes the map from Devon, zips it into his pocket.
Moves towards K.I.T.T. Devon stops him.
DEVON
Michael, I want Kincaid put away as
much as you do. The Foundation has
been compiling a strong solid case
against him ---
MICHAEL
For how long? Come on, Devon, how
long has he had you running around
in legal circles?
DEVON
It...has been some time, Michael --
but these things require ---
MICHAEL
-- endless amounts of red tape. And
meanwhile the man gets richer and
more powerful and by the time anyone
knocks on his door with a warrant,
he'll be in South America. Devon, I
wasn't patient when I was a cop.
I'm still not patient.
DEVON
Michael, there is a fine line between
'audacious' and 'foolhardy.' If you
should do anything which borders on
entrapment it could destroy our entire
legal case against Mr. Kincaid, and ---
MICHAEL
I'll watch it, Devon...and I'll still
nail Mr. Kincaid...from the inside out.
DEVON
Really, Michael, you're insufferable.
If it wasn't for the fact that Wilton
Knight had an obsession about you....
MICHAEL
-- We'd both be out of a job.
(smiling)
I'll stay in touch.
Michael turns, heads for the car.
MICHAEL
(to Bonnie)
How's Frankenstein? Ready to roll?
BONNIE
No thanks to you. Just once I'd
like to see you use a little pre-
ventive maintenance, a little spit
and polish...anything to show you
cared.
Michael grins...steps towards her. She raises a wrench.
BONNIE
About the car, Michael. The car.
Michael sighs, gets in the 2000.
MICHAEL
(sotto, under
his breath)
I wonder if there's a real woman
under those overalls...or just a
robot.
Suddenly, we hear computerized pops and beeps. Michael
looks down at ---
INSERT - MONITOR SCREEN
as K.I.T.T. flashes an animated silhouette of a well-shaped
woman. Metric body measurements appear at appropriate spots.
K.I.T.T.
You're wrong, Michael. Under the
overalls, she's 168 centimeters
tall, fifty-four kilos in weight,
other measurements, ninety-seven
centimeters, sixty-one centimeters,
ninety-one centi ---
MICHAEL
Kitt?
K.I.T.T.
Yes, Michael?
MICHAEL
Shut up.
INT. SEMI - DAY
K.I.T.T. backs down the ramp, makes a U-turn. The semi
moves off.
The Knight 2000 zooms away, becomes a dot on the horizon....
CUT TO
EXT. FOREST - DAY - TIGHT ON MICHAEL'S MAP
showing the "X" and the notation "5:00 P.M." Camera pans to
show Michael's digital watch which reads, "5:02 P.M."
Pull back to reveal Michael sitting on K.I.T.T.'s hood.
MICHAEL
They're late.
K.I.T.T.
They're right on time.
Michael turns.
K.I.T.T.
I have an object at twenty degrees
and closing. ETA this location...
one minute or less.
WIDER SHOT
Michael jumps up. We hear the sound of a motorcycle. Then
a trail bike appears at the edge of the clearing, waits
there, the engine idling. The rider wears a helmet and
metallic clothing which obscure any facial or body features.
MICHAEL
Hello.
No answer.
The rider accelerates for a moment, zooms forward...slams to
a halt close to Michael.
CLOSE ON KNIGHT 2000
Mud and leaves from the trail bike splatter on the hood and
the windshield.
BACK TO SCENE
Michael regards the rider cooly.
MICHAEL
I'm Dugan. When do I ---
K.I.T.T. suddenly puts on the windshield wipers. The
rider's helmeted head double-takes the empty car, then
Michael.
MICHAEL
Ah...there's...uh...a short in the
electrical system...Did Kincaid send
you?
The rider suddenly leans close to Michael, holds something
up for inspection. It's half of a thousand dollar bill.
Michael takes out his, holds it up.
CLOSE SHOT - BILL HALVES
They match up.
BACK TO SCENE
The bike rider points ahead. Michael is supposed to
follow. Michael gets into the car, closes the door. The
cyclist circles the car (again splashing mud on it), roars
away.
INT. KNIGHT 2000
MICHAEL
I hope this leads to some answers.
K.I.T.T. activates the windshield wipers again.
K.I.T.T.
I hope it leads to a car wash.
Michael hits the accelerator.
CUT TO
EXT. FENCED ESTATE - NIGHT - LONG SHOT
The Knight 2000 follows the trail bike down a winding road
which leads towards an imposing fenced estate. The bike
rider blinks the bike's headlights...three times. An
answering blink comes from atop the main gate. The gate
begins to open.
INT. KNIGHT 2000 - NIGHT
One of K.I.T.T.'s screens comes alive. An overhead computer
map of the estate appears with alarm-red sections blinking
ominously.
K.I.T.T.
Michael, my sensors are picking up
unusual readings...several people...
vehicles...and there are guard
towers hidden in those porticos.
MICHAEL
Getting nervous?
K.I.T.T.
'Nervous' has no meaning to me,
Michael. But discretion is advised
...I strongly suggest an immediate
U-turn.
They drive through the gate. It closes ominously behind
them.
INT. ESTATE COURTYARD - NIGHT
The trail bike circles around a massive fountain. The rider
slows, points to a parking spot. Michael parks and gets out
just as the rider suddenly accelerates, completes the circle
-- narrowly missing Michael. Michael steps forward, grabs
the rider by the arm.
MICHAEL
Hey!
Oblivious, the rider parks, starts to take off the smoke
helmet. Michael grabs the rider's elbow, angrily turns the
figure around.
MICHAEL
You know, you drive like a ---
He stops in midsentence.
NEW ANGLE
revealing that the rider is a beautiful young woman. Her
hair spills out of the helmet.
WOMAN (LINDA)
Like a what?
She unzips the padded jacket. Her figure rivals her face.
Michael recovers from his surprise, smiles.
MICHAEL
Like a woman.
She glares at him.
VOICE (KINCAID)
Mr. Dugan!
Michael turns.
VOICE (KINCAID)
We've been waiting for you,
Mr. Dugan....
REVERSE ANGLE
Several tough looking figures have stepped out of the main
house. Kincaid, large, around fifty, impeccably dressed --
commands center stage.
KINCAID
Kindly raise your hands. Please.
The roughest looking man -- Thompson -- hops down from the
landing, aims a Remington pump gun.
Michael pales...slowly raises his hands...and we:
FREEZE FRAME
FADE OUT
END OF ACT ONE
ACT TWO
FADE IN
EXT. COURTYARD - NIGHT
Michael is where we left him -- surrounded and at the wrong
end of a shotgun.
MICHAEL
Hey, what is this?
KINCAID
You're late, Mr. Dugan. And since
you're known for your promptness I
am highly suspicious.
MICHAEL
What are you talking about? I was
there at 5:00 o'clock on the dot ---
KINCAID
But one day late!
Michael swallows, tries to hide his reaction.
LINDA
It was my idea to give you a second
chance...in case you had a problem.
KINCAID
We'd like an explanation...if you
please...?
As Michael turns back from Linda, Thompson suddenly steps
closer, cocks the shotgun. Michael whirls, ducks his head
-- kicks the gun into the air. Two quick blows and Thompson
goes into the fountain.
Michael grabs Thompson's shirt front in the fountain,
readies another blow -- stops as he sees ---
MICHAEL'S POINT OF VIEW - GROUP
Other weapons have been drawn.
THE SCENE
Michael lets Thompson flounder, looks at Kincaid.
MICHAEL
I thought you wanted to hear my
story.
Kincaid nods. Waves the other weapons away. Thompson
angrily rises, dripping wet. Is about to charge.
KINCAID
(warningly)
Thompson! Stay put -- and cool off!
(to Michael)
Some of my staff are a little
impulsive.
(beat)
We're waiting.
Michael nods appreciatively. Looks around at the hard
faces. Is a little startled to see that one -- Forrest --
is lower than the others. Forrest is a midget. Meanwhile,
Michael's mind races. He forces a confident smile, begins
to speak. (As his confidence builds, he will pace and
gesture like a homespun orator.)
MICHAEL
Okay. Yours truly comes here by way
of Paris, New York, and Chicago.
But what I don't know is that the
moment I land I'm being tailed by
this guy Michael Knight....
They look blank.
MICHAEL
...who happens to work for the
Foundation for Law and Justice.
Reaction. Murmurs. Waldorf, a brute with an incongruantly
friendly face, speaks up.
WALDORF
I heard of them. They're just a
bunch of wimp lawyers.
MICHAEL
(sincere)
I couldn't agree with you more. But
even these lawyers are hip enough to
know that sometimes you gotta bust
heads. Apparently they keep this guy
Knight around just for that purpose...
Although if you asked 'em about it
point-blank, they'd probably be too
embarrassed to admit it.
Michael loosens up. On a roll now, Michael approaches
Kincaid as he speaks.
MICHAEL
Anyway -- to my embarrassment --
Knight jumps me when I'm not looking
and ties me up like yesterday's
garbage. Then he gets on the phone
to the Foundation. Talks to the
chief wimp. Tells him he's got this
brainstorm: He's going to let me
lead him to you.
Michael points to Kincaid...who's thrown.
KINCAID
Me?
Michael nods. Goes up the steps, takes a cigar from
Kincaid's pocket.
MICHAEL
Uh-huh. They're gunning for you,
Mr. Kincaid. You're the Muhammed Ali
of crime...the Rope-a-dope player
who dances away and never gets
caught but always gets rich.
Kincaid smiles. Michael kneels, bums a light from Forrest.
Steps back, smiles at his captive audience.
MICHAEL
Fortunately, this guy Knight has a
swelled head...he gets so excited
he's got the famous Mr. Dugan who
doesn't pat me down too well...and I
still got this.
Dugan's knife materializes in Michael's hand.
MICHAEL
So while he's hyping himself to his
boss, I cut loose, jump him...and
throw him out of the car at eighty
miles an hour. The rest is history.
KINCAID
Where's Knight now?
Michael grins. Only he will get this joke.
MICHAEL
Michael Knight is officially dead.
A moment.
KINCAID
(finally)
A satisfactory explanation, Mr. Dugan.
However, you have still lost an
entire day of training for our
little enterprise. Since we're all
counting on you, you appreciate our
concern.
MICHAEL
I'm a quick study.
KINCAID
I hope so. I expect the optimum
from my employees.
MICHAEL
(suddenly)
I'm nobody's employees, Mr. Kincaid.
I'm a professional...for hire. And
this little kangaroo court of yours
is going to cost you an extra ten
grand.
THOMPSON
Hey, nobody shakes down Mr. Kincaid ---
KINCAID
I can handle the gentleman, Thompson.
(to Michael)
The price is set. We have a contract.
MICHAEL
(indicating
Thompson)
And water polo wasn't part of it. I
get another ten or you get another
man.
A moment. Kincaid looks at Michael with an unreadable
expression.
KINCAID
(finally)
Very well, Mr. Dugan. Linda, show
our uh...new associate to his quar-
ters.
THOMPSON
Mr. Kincaid! Are we gonna swallow
this bunch of ---
KINCAID
(sharply)
Thompson, we're trying to get Mr. Dugan
into the team spirit. I'd advise
you to show it as well.
Thompson glares, says nothing. Linda tugs Michael's sleeve.
LINDA
(to Michael)
This way. Bring your wheels.
Michael gets into K.I.T.T., drives off slowly to match
Linda's leggy stride. The others move away as well.
KINCAID
Oh, Thompson....
Thompson stops in the doorway, expectant.
KINCAID
Go get a towel.
Everyone chuckles. Thompson glowers and we:
CUT TO
EXT. BUNGALOW - NIGHT
Michael takes out a duffel bag, locks up K.I.T.T. Linda
waits nearby.
LINDA
You should be happy.
MICHAEL
Because I'm still in one piece?
LINDA
Because Mr. Kincaid likes you.
MICHAEL
How do you know?
LINDA
He let you live...on the other hand,
Thompson hates your guts.
MICHAEL
That's a problem, huh?
LINDA
Since you'll be eating, sleeping and
breathing with him it could be.
MICHAEL
Maybe I could let him win at poker.
LINDA
No. No gambling. Also no drinking,
no drugs, no late hours. Mr. Kincaid
takes training very seriously.
Linda takes out a key, unlocks the door of the bungalow.
LINDA
This is yours.
INT. BUNGALOW - NIGHT
rustic, with anigue-y decor...like a Santa Barbara hotel.
Linda walks through the place like a bored bellhop, points
to bath, closet, bed.
LINDA
Workout clothes are in here...if
they don't fit, sing out. Wake up
is at 6:00 am. Lights out at
eight. If you're outside in
between, your room had better be on
fire. That about covers it. Any
questions?
MICHAEL
How about a personal one?
Linda laughs dryly.
LINDA
You mean, how did a nice girl like
me get in a racket like this?
MICHAEL
I would have phrased it better.
LINDA
You'd get the same answer. I'm here
because I spent too many of my
formative years with low-life and
scum.
MICHAEL
Like Kincaid?
LINDA
Like you.
She smiles sweetly, goes out. Michael absorbs that, then
raises his wristwatch to his face.
INSERT - WATCH
as he hits a button and the digital word "ENGAGE" appears on
the formerly conventional watch face.
BACK TO SCENE
MICHAEL
Kitt, I ---
Michael stops, struck by a thought. He turns off the watch,
starts to search the room.
He quickly finds hidden microphones behind a picture, under
the bed, behind a bathroom pipe.
His suspicions confirmed, he goes to the window, pries it
open and climbs out.
EXT. BUNGALOW - NIGHT
Michael slips out the window, creeps over to K.I.T.T. --
gets in.
INT. K.I.T.T.
MICHAEL
Sorry to keep you waiting. My room
was bugged.
K.I.T.T.
Tell me something I don't know.
Look....
A screen lights up showing a computer map of the estate.
Red blinking lights labeled "surveillance devices" are
everywhere.
K.I.T.T.
There's monitors all over this estate
...and every telephone line is
tapped.
MICHAEL
Then we can't contact Devon from
here....
K.I.T.T.
Not without being overheard. I
estimate one quarter mile away would
be secure. Shall we go?
MICHAEL
Not just yet. Let's wait until we
have something definite...
(thinking)
Maybe I can get something from that
girl....
K.I.T.T.
I wouldn't touch that line with a
ten-foot driveshaft.
MICHAEL
What's that supposed to mean?
K.I.T.T.
Merely that you always seem to use
our assignments as convenient spring-
boards for your social life.
MICHAEL
Don't be ridiculous.
Michael gets out, heads for his bungalow.
MICHAEL
That girl is a source of information
-- that's all.
K.I.T.T.
I've heard that one before...Can I
shut down for the night? My bat-
teries are a little low.
MICHAEL
Mine too. Good night.
K.I.T.T.
Good night.
A beat, then K.I.T.T.'s panels go dark.
CUT TO
EXT. COMPOUND - DAY
Silent as sunlight creeps across the ground. Then the
silence is broken by a loud whistle.
LINDA'S VOICE
Let's go! On the double! Training
session by the south wall in ten
minutes!
Camera adjusts to show Linda, running from bungalow to
bungalow, banging on the doors. She's wearing a workout
suit like the ones we saw the previous evening.
MICHAEL'S BUNGALOW
Linda arrives -- but a split second before she can knock,
Michael opens the door. He's already dressed in the uniform
of the day.
LINDA
You heard me, huh?
MICHAEL
They heard you in Cleveland.
She grins, runs on. Michael yawns, strides over to
K.I.T.T., gets in.
K.I.T.T.
Good morning, Michael. Are you
wearing those garments for any
particular reason?
MICHAEL
You're just jealous. Do a good job
today and I'll buy you some racing
stripes.
K.I.T.T.
Thank you, but I prefer basic black.
Michael starts the car and they peel out.
EXT. BEHIND COMPOUND - LONG LENS - CLOSE ON KINCAID
Attired in a more elegant version of the warmup suit, he
stands near a card table with a clipboard under his arm and
a stopwatch around his neck. Dust swirls in the f.g. as
several vehicles zoom by, their exact configuration unclear
due to the camera angle.
KINCAID
Quiet, please!
Instant silence as motors are cut. He rocks on his feet
like Patton.
WITH KINCAID - TRACKING
He slowly walks past his "troops," all of whom stand for
inspection beside their vehicles. (And all of whom we met
the previous night.)
First is Thompson, beside a heavily customized, mean-looking
Camero. They nod to each other.
Next is Waldorf and Heavy #1 (O'Brian) with a dune buggy.
Then Linda, on her trail bike.
Then Michael, beside K.I.T.T. Kincaid stares at him a beat
longer than the others.
Kincaid moves on...and Michael can't help but stare curiously
at his neighbor down the line, Forrest (in scaled-down workout
suit) and a matronly looking woman, Mrs. Milton. They stand
by a red pickup. A tarpaulin covers some bulky gear in the
back. Last is a van, with Heavies #3 (Baker) and #4 (Clark).
His tour completed, Kincaid returns to center stage. Michael
keeps sneaking looks at the midget until he gets caught.
FAVORING KINCAID
KINCAID
Good morning, ladies and gentlemen.
Mr. Dugan, since you're our newest
recruit, let me fill you in. We are
about to begin an enterprise which
will make you all comfortably
affluent...while I, on the other
hand, will become embarrassingly
wealthy.
Everyone laughs -- even Michael.
KINCAID
The next few days will consist of
gruelling and arduous training and
split-second drills. Some of this
will seem routine...some of it will
seem quite strange. But all of it
is necessary. Are there any
questions?
A beat. Forrest steps forward.
FORREST
Yeah. What exactly are we gonna do
when we're done training? What's
the caper?
CLOSE ON MICHAEL
very interested.
KINCAID'S VOICE
A reasonable question, Mr. Forrest.
Forgive me for not giving you an
answer.
BACK TO SCENE
Forrest steps back, looks at Michael helplessly. Michael
takes the cue.
MICHAEL
Uh, Mr. Kincaid -- ?
KINCAID
Yes, Mr. Dugan?
MICHAEL
Let me get this straight. We're
going to train here around the clock
for some kind of job...and we're not
gonna know what it is?
KINCAID
No. Not until it's necessary. But
I assure you that everything we
practice will have a practical
application.
MICHAEL
But -- what if ---
KINCAID
Mr. Dugan...
(smiling)
Trust me. All right, let's go
through the drill. Waldorf.
O'Brian.
The two men by the dune buggy stiffen, alert.
KINCAID
Your beanbags.
They go to the table. Take a half-dozen beanbags. Return
to the dune buggy. Rev up, roar away.
ON MICHAEL
watching, at first curious...then amazed.
THE SCENE
The dune buggy bounces along the ground, approaches a target
with a cutout hole in it. As Waldorf drives past the target
in successive passes, O'Brian pitches beanbags. Two go in.
The dune buggy returns to the starting point. Waldorf and
O'Brian get out, expectant.
KINCAID
Acceptable. But I want at least
three beanbags dead center by this
afternoon. Mr. Forrest, Mrs. Milton,
prepare to unload your gear.
Forrest and Milton get in the pickup (Forrest has a booster
seat behind the wheel). Kincaid takes out a stopwatch.
KINCAID
Now.
FORREST AND MRS. MILTON
They jump out of the pickup, yank away the tarpaulin.
ON MICHAEL
reacting.
BACK TO SCENE
Under the tarp is an aluminum fishing boat and a trolling
motor. They race to untie it, connect the motor, and plop
it down on the ground twenty yards from the jeep. Kincaid
stops his timer.
KINCAID
I want ten seconds off that time.
Mr. Baker. Mr. Clark.
They get into the van, wait for their cue.
KINCAID
Go!
They jump out, run to the back doors.
ANGLE ON VAN
Inside is a bank of electronic equipment and two reel-to-
reel tape recorders. They throw on headphones, turn on the
gear. Baker watches a rising and falling graph line while
Clark spins dials. A red light goes on. Clark turns,
points to Kincaid.
KINCAID
He picks up an FM mike from the table.
KINCAID
Am I on?
(clears
throat)
'It will have blood, they say; blood
will have blood: Stones have been
known to move and trees to speak.'
THE SCENE
Michael tries to hide his increasing puzzlement. Kincaid
strolls over to the van, looks at the men.
KINCAID
(a command)
'Blood.'
BAKER
(checking graph)
Uh...which blood?
KINCAID
(small smile)
First blood, of course.
Baker points to a spot on the graph as Clark watches. Clark
rewinds the tape, watching a digital counter. Stops. Hits
"Play".
TAPE VOICE
'...will have blood, they say -- '
Kincaid shakes his head. Baker and Clark's faces fall.
KINCAID
You've got to hit it on the exact
word...without fail.
He points to Baker.
KINCAID
You just worry about speech pattern
...leave the rest to Clark.
(to Clark)
And you have to trust him.
(smiling)
Trust is the name of the game.
They nod. Kincaid strides past Michael, (who puts on his
best deadpan expression) faces Linda.
KINCAID
Miss Elliot. Your turn.
He points at ---
MOCKUP OF A WALL - NEARBY - DAY
about eight feet by ten feet, and two feet off the ground.
Ladder-like extensions go up one edge, and there is a
vertical seam down the middle.
BACK TO SCENE
KINCAID
Without a warmup. Go.
Linda runs towards the wall, grabbing a small knapsack from
Kincaid's table as she goes. She throws it over her
shoulders. Michael watches, interested. Forrest and
Mrs. Milton go to the far side of the mock wall.
LINDA
She hits the springboard and leaps towards the wall --
deftly grabbing the extended handholds as she hits. Kincaid
checks his clipboard and his stopwatch.
KINCAID
The magnet.
Linda nods, takes an odd-looking box from her pocket. Puts
it on a seam in the wall. It jumps to the wall with a
distinct "click."
REVERSE ANGLE - WALL SECTION
Forrest and Linda are here. At a nod from Kincaid, they
push forward. Double doors open in the prop wall. Linda
works her way around the doors, drops down.
KINCAID
The rucksack. Remember -- dead
center.
Linda looks down at ---
HER POINT OF VIEW - THE GROUND
Red stakes indicate a rectangle on the ground. Linda goes
to the front, drops the pack from her neck.
KINCAID
The cartridge.
CLOSE ON LINDA
The rucksack is tied up tight...but a large glass vial is on
the outside. Linda squeezes it. We hear breaking glass.
KINCAID
You've got thirty seconds to live.
Move.
Linda whirls. Leaps out the door, swings on it.
MICHAEL
Despite his undercover role, pleased for her -- until ---
EXT. WALL
Linda hangs from the pivoting door -- and slips as she
reaches for a handhold. She lands hard on the ground some
six feet below.
MICHAEL
reacts, starts forward ---
KINCAID
holds up a warning hand to Michael.
KINCAID
Miss Elliot, you are now dead.
Therefore, you won't be needing any
lunch or dinner. I hope your
stomach will inspire a better per-
formance next time.
Linda glares at him...returns to the lineup. Michael leans
close to her.
MICHAEL
He acts like he owns you.
LINDA
(flatly)
He does.
Michael stares at her.
KINCAID
Mr. Dugan!
Michael looks up.
KINCAID
You will have two tasks to perform...
both of them critical. This is the
first.
He turns, points. Camera adjusts to show two wooden ramps
in the distance -- the kind used at thrill shows. They're
about seventy feet apart.
KINCAID
You and your vehicle must clear that
gap.
Michael nods, gets into K.I.T.T. Heads down towards the
takeoff ramp.
INT. K.I.T.T.
K.I.T.T.
Michael?
MICHAEL
Yes, Kitt?
K.I.T.T.
Even for me...this seems rather
strange.
MICHAEL
That's why we get the big bucks.
Ready?
K.I.T.T.
Of course. With my rocket-powered
thrusters I could do this on four
cylinders.
MICHAEL
Well, you can't use your thrusters.
We're supposed to be undercover.
K.I.T.T.
(beat)
Do you think they could lower the
ramp?
Michael hits the accelerator.
WITH K.I.T.T.
as it soars over the camera, hits the landing ramp perfectly.
INT. K.I.T.T.
MICHAEL
Piece of cake, Kitt. Piece of cake.
K.I.T.T.
Tell that to my shock absorbers.
THE SCENE
Michael drives back to the starting area.
KINCAID
Excellent, Mr. Dugan. Excellent.
But since you missed yesterday's
practices, I'd like you to do it
again.
MICHAEL
Well, I don't mind...but I can't
speak for the car.
Kincaid laughs.
KINCAID
(laughing)
Class, pay attention...you too,
Thompson! Mr. Dugan will show us
how it's done.
Thompson shoots daggers at Michael.
INT. K.I.T.T.
Michael heads for the start ramp.
K.I.T.T.
(mocking)
'I wouldn't mind, but I can't speak
for the car.' You could have said
no.
MICHAEL
Come on, Kitt. This should be easy
for the world's greatest car.
K.I.T.T.
Spare me your flattery...but I
suppose you're right. We certainly
seem to have made an impression.
MICHAEL
Of course I'm right. We're in like
Flynn.
K.I.T.T.
Yes, yes, we are, aren't we? By
next week we'll have this whole
bunch behind bars.
MICHAEL
Well...let's not get over-confident,
Kitt....
K.I.T.T.
Why not? I mean, what could possibly
go wrong?
They hit the ramp -- fly into the air and we:
CUT TO
EXT. ABANDONED CABIN - DAY
Dust swirls around it. From within, we hear a clanging and
banging.
INT. CABIN - DAY
Pull back from the metal bed as it is smashed against the
floor. We see that Dugan -- the real Dugan -- is jumping up
and down on it to separate the tubular frame from the springs.
This accomplished, he takes a section, drags it to the camp
stove. There we see that he has been at this a while: A
series of pipes, hoses and tubes cannibalized from the sparse
furnishings leads from the stove to the door.
Dugan jams this last section into the stove's burner. We
follow him back towards the door as he checks all the
joints, which are secured with torn bedding.
The end of tubing near the door leads to an empty Arrowhead
bottle from the water cooler.
Dugan wipes perspiration from his face, scratches his two-day
beard. He goes to the other end of the cabin. Lights a
hurricane table lamp. Puts it on the floor.
Turns on the stove.
Ducks behind what's left of the bed, hurricane lamp at his
side.
We hear a hissing sound. The Arrowhead bottle frosts up on
the inside.
Dugan throws the hurricane lamp at the door. Ducks.
There is a tremendous explosion.
EXT. CABIN - DOUBLE CUT
as the door blows away from the building. Dust and debris
rain down. A long moment passes.
And then Dugan appears, rising from the ruins, covered with
dirt....
He crosses across the empty sand, eyes burning with revenge.
FREEZE FRAME
FADE OUT
END OF ACT TWO
ACT THREE
FADE IN
EXT. TRAINING FIELD - DAY - LONG SHOT
The Knight 2000 is on a seeming collision course with the
red pickup.
ANGLE ON PICKUP
Thompson is driving. In back is Waldorf -- and Kincaid. An
odd metal contraption -- a triangle with a bar on the apex --
is upright in the back of the pickup.
INT. K.I.T.T.
Michael is behind the wheel. Linda is in the passenger seat.
Both have handy talkies with ear plugs. Linda pulls welder's
glasses down over her head.
LINDA
Don't look.
She lights a portable acetylene torch. Holds the glaring
tip out the open window.
THE SCENE
The pickup and the 2000 adjust their courses until they are
traveling parallel. At a signal from Kincaid, Waldorf
lowers the metal triangle at its hinge. Now it hangs over,
close to the 2000. Kincaid speaks into a handy talkie.
KINCAID
All right. I'm starting the stop-
watch. Go.
INT./EXT. BOTH VEHICLES
Linda leans out the window. Begins to use the torch on the
thick metal bar at the end of the triangle.
Michael drives carefully, watching the gap with the pickup.
He looks at Thompson, who looks back. If looks could
kill....
KINCAID
(over handy talkie)
Don't rush it, Miss Elliot...but
don't dawdle, either...Dugan, don't
get over-confident.
(beat)
When we do this for real, you'll be
driving in the dark.
CLOSE ON THE METAL BAR
It snaps in two.
KINCAID'S VOICE
Dugan! Drop back! Now!
THE SCENE
Michael brakes, falls in line behind the pickup. They
travel single file, coast inside the compound.
EXT. COMPOUND COURTYARD - DAY
As they park, we see Kincaid's other recruits busy practicing:
tape recorders, bean bags, fishing boats, etc.
LINDA
That was perfect.
(as they park)
You are a quick study.
MICHAEL
Well...you're just a good teacher...
Hey!
He says this last because Thompson has just jumped out of
the truck -- narrowly missing Michael's head with the truck
door.
THOMPSON
Gee, I'm sorry. That won't happen
again.
MICHAEL
(stepping
closer)
You bet it won't ---
Kincaid gets between them.
KINCAID
Mr. Dugan -- please. Accidents
happen.
Thompson smiles. Kincaid turns, blows on a whistle.
KINCAID
That's it for the day, people.
Dinner is waiting.
Everyone heads on the double for one of the outbuildings.
Linda's face falls. She moves off.
MICHAEL
Linda...coming?
LINDA
I'm still dead...remember?
She manages a smile, exits. Michael turns, watches.
KINCAID
He moves up to Thompson and Waldorf, speaks in a whisper.
They nod, follow him into the main house. We hold on the
scene until the three men appear in the window of an elegant
library.
MICHAEL
watching, interested.
BACK TO SCENE
Kincaid rolls a large piece of paper out on the table.
Points to it. A lively discussion ensues...and then Kincaid
realizes the window is open. He moves to it, closes the
curtains.
ON MICHAEL
He turns, hurries off.
CUT TO
INT. K.I.T.T. - NIGHT
Michael is hunched over a computer screen.
MICHAEL
Okay, you know the drill?
K.I.T.T.
I think it's quite clear...I keep
you out of trouble...as usual.
MICHAEL
Just don't start giving yourself a
tuneup or something while I'm in
there.
K.I.T.T.
All right. Let's go.
MICHAEL
Not just yet. First, I have to pull
off a daring robbery.
Michael slips out of the car.
K.I.T.T.
Michael, that does not compute
...Michael? Michael?
Michael is gone.
CUT TO
EXT. COMPOUND - NIGHT
Linda is walking towards her bungalow. Suddenly a hand
reaches out of a bush, covers her mouth. Pulls her out of
sight.
EXT. PRIVATE GARDEN - NIGHT - TIGHT ON LINDA
as she twists, shoots an elbow backwards towards her
assailant.
MICHAEL
Ow!
She turns, sees Michael trying to catch his breath.
LINDA
What do you think you're doing?
MICHAEL
(rubbing
his stomach)
Trying to hold on to my dinner
...here's yours.
He tosses her something wrapped in a napkin. She opens it,
finds a sandwich.
LINDA
Dugan...I...I don't know what to say.
MICHAEL
You could say 'thanks.'
LINDA
(taking
a bite)
Thanks, Dugan. Say, you wouldn't
happen to have ---
Michael smiles, throws her a soda can from another pocket.
LINDA
Well, for once, crime does pay.
MICHAEL
Not always?
LINDA
Not for me. I guess you wouldn't
know about that. We've all heard
about that job you pulled in Paris.
MICHAEL
Ah...right, right. Actually, I don't
like to talk about it....
LINDA
After the way you treated those nuns,
I'm not surprised.
MICHAEL
Nuns?
LINDA
(between bites)
Sure. At the orphanage.
MICHAEL
Nuns? Oh, the nuns...at the uh...
orphanage...? Well, that wasn't me
...I had some guys on back-up and
uh...well, you can't get good help
these days!
LINDA
I'd like to believe you.
MICHAEL
You can.
A beat. They look at each other.
MICHAEL
Uh...You've got some mayonnaise on
your face...no, there....
He reaches out to wipe it off with his handkerchief. A
moment as they stand close. They move closer....
And then the foliage is roughly thrown aside. They both
turn.
NEW ANGLE
Kincaid and Thompson are there.
KINCAID
What's going on in here?
MICHAEL
I don't think it's any of your
business.
Thompson steps forward, pushes Michael backwards.
THOMPSON
Everything here is Mr. Kincaid's
business.
Michael breaks out of his grasp, takes up a fighting stance.
Kincaid separates them.
KINCAID
That's right, Thompson...but right
now I want to keep everyone happy
and healthy. Linda, Mr. Dugan...
it's curfew. Move.
A beat. Linda turns regally, leaves the garden. Michael
relaxes a bit...glares at Thompson...steps out of the garden.
EXT. COMPOUND
Michael looks for Linda, who has vanished. Kincaid and
Thompson come up behind him.
KINCAID
(indicating
his watch)
Mr. Dugan...please?
Michael nods, trots along the grounds. When he's out of
their sight, he ducks behind a bush. Looks at ---
EXT. LIBRARY - MICHAEL'S POINT OF VIEW
Dark. Empty.
WITH MICHAEL
He checks in all directions, then dashes in a crouch to the
house. Near the entrance he hides in the shadows, speaks
into his wrist comlink.
MICHAEL
Kitt, go into reconnaissance mode.
It's kickoff time.
K.I.T.T.
(filtered,
over radio)
Please, spare me the adolescent
metaphors.
CUT TO
INT. K.I.T.T. - NEAR BUNGALOW - INTERCUT THROUGHOUT
The computer screen shows the main house and a blip marked
"MICHAEL KNIGHT".
K.I.T.T.
The library entrance is on your
right after you enter the foyer.
MICHAEL
On my way.
The blip begins to move.
INT. LIBRARY - NIGHT - MICHAEL
slips inside, quickly moves to the windows and closes the
slight gap in the curtains. Then he puts on a desk lamp,
reconnoiters the room.
He comes up empty in the desk drawers and finds nothing on
the bookshelves...except books. Frustrated, he turns, moves
to a panelled wall. Feels it, knocks on it. We hear a
hollow echo.
Encouraged, he searches for a hidden button. His probing
fingers hit a nearby sconce. It pivots. Michael jumps
back, startled, as a section of the wall rises like a
curtain.
ON MICHAEL
as he reacts, seeing ---
HIS POINT OF VIEW - WALL SECTION
showing a detailed four-color map of ARIZONA MAXIMUM SECURITY
FEDERAL PENITENTIARY.
THE SCENE
Michael moves closer, looks at it carefully. Arrows and
dotted lines indicate a military-type assault. Silhouettes
of several vehicles -- (and a boat on a nearby stream) are
labeled with the names of all the people we've seen training
...including the name Michael's finger lingers on..."Dugan."
Quickly, Michael grabs paper and pen, starts to make a copy
of the map. A "chirr-upp"-like beep from his wrist comlink
interrupts him.
MICHAEL
Trouble?
K.I.T.T.
That's a reasonable assumption: Two
people are heading your way. They'll
enter from the hall in 15.4 seconds.
Indeed, two moving "blips" have appeared on the video map.
MICHAEL
(alarmed,
into comlink)
Kitt, where's the back door?
K.I.T.T.
There is no back door.
Michael turns, nervous, scans the room for escape. His eyes
fall on a large covered vent over his head. Inspiration
strikes. He runs to the map, hits the button. Then, using
the library table for a launch pad, he leaps onto the wall
like Spiderman.
INT. K.I.T.T.
as the two new blips approach and reach the library door.
INT. LIBRARY
The doors open. Kincaid enters with Linda, both in heated
debate. Camera pans them into the room. Kincaid gets some
papers from his desk.
KINCAID
(as they
enter)
No, no...it isn't anything new,
Linda. It's the same discussion
we've had before, dressed up with
new adjectives and a few more tears.
LINDA
This time it's different....
KINCAID
Oh, yes. This time you've picked
the ultimate wrong moment. Twelve
hours left, and you threaten me?
Come on!
Camera tilts up to the ventilation shaft.
INT. SHAFT - CLOSE ON MICHAEL - INTERCUT THROUGHOUT
crouched in a ball, listening.
LINDA'S VOICE
Threaten you? That's a laugh. I've
been living with your threats for
two years.
KINCAID'S VOICE
Nobody talked you into it, Linda.
You came to me.
BACK TO SCENE
LINDA
I had no choice. You had the
contacts...and my father was
dying....
KINCAID
Oh, there's always an excuse. But
you committed perjury for dear old
Dad, Linda...in a federal court!
That'll get you five to ten...not to
mention conspiracy ---
LINDA
Conspiracy?
KINCAID
That's what they call what we've
been doing here all week. And I'm
sure the Feds could find a few more
charges...like maybe for what you
and Mr. Dugan did in the bushes...
that's illegal in sixteen sta ---
She slaps him...Hard. A long beat.
KINCAID
You're lucky I need you.
LINDA
Your luck ran out. I'm leaving.
She turns to go.
KINCAID
Five minutes after you're out the
door, I tip the FBI about you. If
you're going to go to jail anyway,
why not go rich? Or don't you
still need that money?
Linda stops close to the camera. Her face falls...she's
trapped. She turns slowly.
Kincaid packs up his papers, walks confidently towards her.
KINCAID
Can I walk you to your room? You
have a busy day tomorrow.
She shakes off his grasp, walks out on her own. Kincaid
chuckles, goes out himself. A beat. Michael drops to the
floor.
CUT TO
EXT. MICHAEL'S BUNGALOW - ANGLE ON K.I.T.T.
Michael runs to the car, gets in, examines his impromptu
map, excited.
MICHAEL
Kitt, I've got it! In less than
twelve hours, we're going to break
into the Arizona Federal Penitentiary.
K.I.T.T.
We're going to break into a prison?
Well, that's a new one. Why?
MICHAEL
I think it's obvious. It's a maximum
security prison. The kind of
clients they've got in there would
pay plenty for a ticket out. And
Kincaid's going to play travel agent
...except....
K.I.T.T.
Except what?
MICHAEL
Well...all this stuff, these things
we've been doing...dune buggies...
acetylene torches...I'm not sure how
they fit in. Maybe this map can....
K.I.T.T.
Let me see it.
INSERT
Michael puts the map in a Xerox-like slot labeled "Graphic
Input".
THE SCENE
We hear some whirring and beeping.
K.I.T.T.
There are several roads near the
prison...some hills...rough terrain
...and a body of water.
The map ejects with an efficient and final sound.
K.I.T.T.
It all computes, Michael.
MICHAEL
Maybe...but....
K.I.T.T.
Michael, I've analyzed it thoroughly.
Would you like to see a forty point
cross-indexed statistical readout?
MICHAEL
Not really...but Devon would. Can
you slip out of this place and
contact him?
K.I.T.T.
Certainly. All I have to do is get
out of range of the wiretaps.
MICHAEL
And get past the guards.
K.I.T.T.
Humans versus computers? No contest.
Michael gets out of the car...and sees....
HIS POINT OF VIEW - LINDA
walking disconsolantly in the moonlight.
BACK TO SCENE
K.I.T.T.
Trouble?
MICHAEL
Don't worry -- I'll distract her.
K.I.T.T.
I'll bet.
MICHAEL
You make that call.
K.I.T.T. starts up, drives off. Michael runs in the
opposite direction.
WITH MICHAEL
He comes up beside Linda, who jumps.
MICHAEL
Sorry.
LINDA
You're breaking curfew.
MICHAEL
Looks like it's contagious. My
bungalow's right here. Come on.
I'll buy you some tap water.
She hesitates, manages a smile.
LINDA
Why not?
CUT TO
EXT. COMPOUND - NIGHT - K.I.T.T.
pulls to a halt behind some trees.
K.I.T.T.'S MONITOR SCREENS
show the gate...and Waldorf on guard duty. The picture pans
to a small security booth. Zooms to a coffee maker visible
through the door.
COMPUTER SCREEN
as a computerized sketch of a coffee machine and its
circuitry appears on screen, with the words "A.C. APPLIANCE
--110 VOLTS--NOT GROUNDED." "NOT GROUNDED" blinks in red.
Then the words "BEGIN MICROWAVE TRANSMISSION" appear.
EXT. K.I.T.T.'S HOOD - NIGHT
A small dish antenna rises from an alcove, points towards
the guard booth. We hear a hum.
INTERCUT - GUARD BOOTH - COMPUTER SCREEN - ANTENNA
The hum becomes louder. On the computer screen an indicator
near the coffee machine graphic goes from "NORMAL" to
"OVERLOAD".
INT. GUARD BOOTH - COFFEE MACHINE
It suddenly sparks, smokes -- explodes. Coffee splashes
everywhere. Papers start to smoulder.
WALDORF
reacts, startled. Runs into the shed, starts to stamp out
the fire.
INT. K.I.T.T. - MONITOR SCREEN
"REMOTE CONTROL GATE--SIGNAL SCAN--RAPID". We hear
electronic sounds, and then....
CLOSE ON GATE LOCK
It "pops." The gate swings open.
THE SCENE
as K.I.T.T. drives out the gate. Waldorf is in the b.g.
cursing and struggling with the machine. By the time he
looks up, the gate is closed.
INT. MICHAEL'S BUNGALOW - NIGHT
Michael sips juice taken from his refrigerator. He watches
as Linda paces nervously.
MICHAEL
I'm glad we're having this little
talk....
No response.
MICHAEL
You're going to wear a hole in the
floor....
Silence.
MICHAEL
(pointedly;
already knows)
Is something bothering you?
She turns. Looks at him for a moment.
Suddenly she drops down on the sofa beside him. Looks at
him earnestly.
LINDA
I'm in trouble, Dugan. I need help.
MICHAEL
I'll do what I can.
LINDA
Then take me away from here...Tonight.
We tighten on Michael as he reacts, stunned.
CUT TO
INT. DEVON'S BEDROOM - NIGHT
Devon is sitting up in bed in silk pajamas. What we see of
his room reminds us of Masterpiece Theatre.
DEVON
Dune buggies? Bean bags? Midgets?
EXT. LONELY ROAD - NIGHT - ON K.I.T.T.
parked by the shoulder.
K.I.T.T.
No, midget. Singular, sir. The
plural isn't what ---
DEVON
I can speak English, Kitt!
Devon grabs paper and pen.
DEVON
And you say they're attacking a
prison...?
K.I.T.T.
Yes, sir. Arizona Maximum Security
Federal Penitentiary. In ten hours
and thirty-eight minutes....
DEVON
Incredible, just incredible...Michael
is quite certain about this?
K.I.T.T.
Actually, no, sir. But I am. Would
you like me to give you a forty
point cross-indexed statistical
readout?
DEVON
Good Lord, no, it's two am!
K.I.T.T.
Two-o-two am to be exact.
DEVON
(icily)
Thank you. All right, Kitt. I'll
inform the prison warden. Tell
Michael they'll be ready. And tell
him 'Good show.'
K.I.T.T.
Ahem.
DEVON
Ah...you too, Kitt.
K.I.T.T.
Thank you, sir. Knight Industries
2000 signing off.
DEVON
(after the
phone clicks,
sotto)
Thank God.
CUT TO
EXT. ROADBLOCK - NIGHT - TIGHT ON A BLINKING ROAD BARRIER
Camera widens to show a line of cars. Walking from driver
to driver are none other than officers Wally and Lester.
WALLY
(to first Driver
in line)
Sorry, ma'am, but there's a tractor
trailer overturned up ahead. We got
molasses and honey all over the road.
(pointing)
But if you make a U-turn, you can
take Route 13 and get back on the
next onramp.
DRIVER
Thank you, officer.
Camera pans down the line of cars as Wally moves to the next
vehicle...and we see Lester at the car behind that one.
Camera continues panning as K.I.T.T. slows to a halt at the
end of the line.
K.I.T.T.
Uh-oh.
Lester backs into the shot, talking to an o.c. driver.
LESTER
Just hang a 'U-ey' and trot down
Route 13. Sorry about the incon-
venience.
Lester jots something down on a clipboard as he sidesteps
some U-turning cars. Stands beside K.I.T.T. He raps on the
window. A beat. The window rolls down. Lester fiddles
with papers on his clipboard, speaks rotely.
LESTER
Sorry about the inconvenience, but
we got a tractor trailer spill up
ahead. You know the Route 13 cutoff?
K.I.T.T.
Yes, officer. It's three point two
miles to the southeast.
LESTER
(thrown a
bit, thinks)
Uh...right! Just take that and hit
the next onramp.
K.I.T.T.
Thank you, officer. I will.
LESTER
You drive careful now....
K.I.T.T.
I always do.
The window rolls up. K.I.T.T. makes a U-turn. Lester
finally looks up.
LESTER
Hey! Wait -- stop ---
Wally comes up, concerned.
WALLY
What's wrong?
LESTER
That car -- it's the car that ---
Unable to find the words, he gestures wildly, basically
replaying the opening scene of this show a la a fighter
pilot demonstrating maneuvers.
LESTER
-- that did the -- and then went
like -- over up high ---
WALLY
Damn! Did you get a good look at
the driver?
LESTER
Yeah! He ---
Beat. Lester freezes. Awareness slowly dawns. As his eyes
widen we:
CUT TO
INT. MICHAEL'S BUNGALOW - NIGHT
Linda is on the sofa, her eyes expectant. Michael is close
to the camera, his face filled with frustration. Michael
hesitates. He's caught in a quandry between his own
feelings and his role as Dugan.
MICHAEL
Linda...I know you won't understand
this...but it's just impossible. If
it was up to me, I would. But....
LINDA
It is up to you, Michael!
She stands, faces him.
LINDA
I've watched you...the way you move
...think. You can do anything you
want. Why can't we just get that
car of yours and ---
He takes her by the shoulder, holds her.
MICHAEL
Linda, we can't leave ---
LINDA
Why? What's stopping us?
MICHAEL
Kincaid, that's what. We have a
deal, and ---
LINDA
A deal? Michael, tonight, in the
garden, when we...I thought you
cared for me....
MICHAEL
I do -- but ---
LINDA
But what? Do you think your deal
means anything to that snake? That
your word is worth ---
She stops, eyes him critically.
LINDA
It's the money, isn't it?
MICHAEL
No!
LINDA
No? Then why don't you take me in
your arms and tell me you'll help me?
Michael stands...helpless.
MICHAEL
Maybe...after tomorrow....
He steps towards her. She pushes past him, goes to the door.
LINDA
And I thought you were different.
She goes out. He runs to follow.
MICHAEL
Linda!
EXT. BUNGALOW - NIGHT
Linda runs towards the camera ignoring Michael's calls. A
beat after she exits. K.I.T.T. skids to halt near the camera
-- just as Michael gives up his futile pursuit.
MICHAEL
Damn!
He bangs his fist on the nearest object...K.I.T.T.
K.I.T.T.
Well. The same to you.
MICHAEL
(recovering,
calmer)
Kitt! Did you reach Devon?
K.I.T.T.
I certainly did. Michael, we've got
them right where we want them.
CUT TO
INT. LIBRARY - NIGHT
Kincaid comes in...turns on all the lights. He stands by
the door for a moment. Then he slowly circles the room...
looking everywhere.
He stops. Looks at the curtains. Plays with them until
they're partially open -- as they were before Michael
touched them.
He grins. Pushes a button on his desk.
KINCAID
Thompson!
THOMPSON'S VOICE
(filtered,
over intercom)
Yeah?
KINCAID
Bring Mr. Dugan to me...immediately.
THOMPSON'S VOICE
My pleasure.
Kincaid paces, waiting. He moves to the secret wall...and
sees that the sconce is a little off center. Smiles to
himself.
At the sound of a door opening, he looks up.
REVERSE ANGLE
Thompson enters, looking pleased. He gruffly waves another
person inside. It's Dugan. The real Dugan.
DUGAN
Well?
KINCAID
He fell for it.
Dugan and Thompson grin. Kincaid pours cognac for three.
KINCAID
Cheers.
FREEZE FRAME
FADE OUT
END OF ACT THREE
ACT FOUR
FADE IN
INT. KINCAID'S MANSION - LIBRARY - DAY
Kincaid has assembled the entire team around the library
table.
KINCAID
Ladies. Gentlemen. You've all been
waiting patiently to learn about our
ultimate objective. This is that
moment.
CLOSE ON MICHAEL
doing his best to look not too smug.
BACK TO SCENE
KINCAID
I assure you, you will be pleasantly
surprised.
Kincaid goes to the wall sconce. Dramatically pivots it.
The wall starts to open.
ON MICHAEL
relaxed...leaning back while the others crane forward.
Suddenly his eyes pop out of his head.
FAVORING HIDDEN MAP
It is totally different. Gone is the prison...In its place
is some outdoor terrain.
KINCAID
This is Highway 211. It is twenty
miles from here. On that highway,
in exactly three hours, we are going
to steal twelve million dollars
worth of gold bullion.
ON MICHAEL
We tighten on him as he reacts in shock.
CUT TO
EXT. FEDERAL PRISON - DAY - STOCK
WARDEN'S VOICE
Of course it's short notice,
Mr. Miles....
EXT. PRISON YARD - DAY
Devon is with Warden Adams, a no-nonsense up from the ranks
type.
WARDEN ADAMS
...but my men are trained to go into
instant action.
A line of guards double-times into the shot in perfect
unison. They have riot shields, body armor, automatic
weapons.
WARDEN ADAMS
(shouting)
'A' team! Position to repel
assault! 'B' team! Position for
cover fire!
The guards start scaling walls, piling sandbags. We tighten
on Adams and Devon.
DEVON
Very impressive, Warden.
WARDEN ADAMS
Thank you. When those clowns come
roaring up to these walls, they're
going to get the surprise of their
lives.
Devon and Adams exchange confident smiles.
EXT. COMPOUND - FORMATION AREA - DAY
Kincaid speaks to the team, again assembled in front of the
vehicles.
KINCAID
You have your maps and your
communicators. I'll be in the lead
vehicle guiding you every step of
the way. Move out.
Camera adjusts to favor Michael, who steps into Linda's path.
MICHAEL
Linda. About last night....
LINDA
Go count your money.
She shoves past him. Everyone heads for their vehicles.
Michael literally races to K.I.T.T., hops in.
INT. K.I.T.T.
MICHAEL
Kitt, we've got to call Devon as
soon as we're secure.
K.I.T.T.
Why? What's wrong?
MICHAEL
We're not hitting that prison --
we're robbing a gold shipment!
K.I.T.T.
That...that's impossible.
MICHAEL
Oh, yeah? Last night you said it
computed!
K.I.T.T.
Don't blame me: I'm only as good as
my input!
Michael suddenly whirls, startled by a rap on the window.
NEW ANGLE
Kincaid, Thompson and Linda are there. Michael rolls down
his window.
MICHAEL
What is it?
KINCAID
Mr. Dugan...don't forget your
partner.
Trapped, Michael opens the passenger door. Linda climbs in
and Thompson tosses in their robbery gear. Linda glares at
Michael hatefully.
FORMATION AREA - CRANE SHOT
All the vehicles except the Camero fan out, make a U-turn.
The camera slowly drops down, pans, when the other vehicles
are gone, Dugan (the real Dugan) appears from hiding...and
gets into the Camero.
INT. CAMERO - TRAVELING
KINCAID
All set?
DUGAN
Yeah...but I don't know why we're
stringing Knight along. We should
take care of him right now.
THOMPSON
I'm with Dugan. Bringing him on the
caper is asking for trouble.
KINCAID
On the contrary, bringing him along
is very good insurance: If he
wanted us on a conspiracy charge he
would have called the Marines
already. No, Mr. Knight thinks he's
going to catch us red-handed...and
his over-confidence is going to be
fatal.
(a small smile)
But, until then...he's very cheap
labor.
DUGAN
Okay, I buy that. When we're done,
that phoney is all mine. I owe him.
THOMPSON
After me, Dugan. After me.
KINCAID
Boys, boys! Don't fight. When I'm
through with him you can both have
what's left.
(into
transceiver)
All right everyone. Listen closely.
At this moment, the Tri-National Bank
of North America is moving a shipment
of gold from Mexico City to Vancouver,
British Columbia. Needless to say,
it will not arrive.
INTERCUT - INT. ROBBERS' VEHICLES - VARIOUS SHOTS - TRAVELING
as they listen, interested.
CUT TO
EXT. HIGHWAY - GOLD CONVOY - DAY
A piggyback trailer zooms down the road. The English-Spanish-
French logo of the Tri-National Bank emblazoned on the side.
KINCAID'S VOICE
The shipment is heavily guarded...
both aboard the trucks....
ANGLE ON ROOF OF REAR TRUCK
Armed guards are there with a machine gun.
KINCAID'S VOICE
In front of the convoy....
ANGLE ON FRONT JEEP
bristling with guards and weapons.
KINCAID'S VOICE
And behind it.
ANGLE ON REAR GUARD JEEP
KINCAID'S VOICE
Throughout the fourteen hundred mile
journey, they are in constant commun-
ication with their airborne support.
ANGLE ON HELICOPTER IN FLIGHT
with the same logo as the trucks.
KINCAID'S VOICE
Since the convoy is on a strict
schedule, we dare not intercept or
stop it...any delay will bring
reinforcements. For this reason, we
will rob it while it is moving. To
do that, we must first eliminate the
air cover. Baker...Clark...go to
it. Forrest...Milton...get ready.
The rest of you...go to your
positions.
INT. VAN - TRAVELING
While Baker drives, Clark begins to set up the recording
equipment.
EXT. RURAL INTERSECTION - DAY
All the robbery vehicles pass by. The van and the pickup
take a side road.
INT. K.I.T.T.
Michael and Linda drive in silence.
LINDA
Funny. I thought you'd be enjoying
this part.
MICHAEL
So did I.
CUT TO
THE CONVOY ELEMENTS - VARIOUS CUTS
as the various vehicles drive on.
CUT TO
INTERCUT - THE ROBBERS
CUT TO
INTERCUT - THE CONVOY AND ROBBERS
Throughout this sequence, the convoy rolls merrily along,
and the robbers reach their positions on their maps.
We linger on the van and the pickup, which are both hidden
in foliage near a lake. Forrest and Milton set up their
boat while Baker and Clark busily monitor and record the
following convoy conversation:
TRUCK DRIVER (V.O.)
Golden Goose, this is Midas. We are
on schedule and approaching check-
point. All clear below. Over.
COPTER (V.O.)
Midas, this is Golden Goose. We
have you in sight. All clear
above. Watchdog and doors...report.
TRUCK GUARDS (V.O.)
This is Watchdog. All clear.
FRONT JEEP (V.O.)
This is Front Door. All clear.
REAR JEEP (V.O.)
This is Back Door. All clear.
COPTER (V.O.)
Convoy, this is Golden Goose. Clear
upstairs and down. Maintain
Condition Green.
ALL VOICES
Roger. Condition Green.
ON KINCAID - TRAVELING
KINCAID
Forrest, Milton. Do it now.
EXT. HIGH FROM INSIDE COPTER - DAY
Suddenly there is an explosion in the distance.
TRUCK DRIVER (V.O.)
Goose, what was that?
COPTER VOICE
We have the same question, Midas
Convoy. Go to Condition Yellow.
We'll check it out.
The copter swings towards the column of smoke.
INTERCUT - CONVOY ELEMENTS
as all the guards cock their weapons, prepare extra
magazines.
TRUCK GUARDS (V.O.)
We have a Condition Yellow.
FRONT JEEP (V.O.)
Roger, Condition Yellow.
FRONT JEEP (V.O.)
Roger, Condition Yellow.
BACK JEEP (V.O.)
Roger, Condition Yellow. Goose,
please report.
EXT. COPTER
hovering.
COPTER
Convoy, this is Golden Goose....
EXT. LAKE - HIGH ANGLE - COPTER'S POINT OF VIEW
An overturned rowboat burns, its motor spewing smoke.
Mrs. Milton and Forrest wave imploringly to the copter
overhead.
COPTER (V.O.)
It looks like a boating accident
down there.
TRUCK DRIVER (V.O.)
Should we request local assistance,
Goose?
COPTER (V.O.)
No time for that, Midas. There's a
woman and child...looks like they're
going under. We'll assist and get
right back to you. Maintain
Condition Yellow. Over.
TRUCK DRIVER (V.O.)
Roger, Goose. Condition Yellow.
The helicopter starts to descend. They drop almost to water
level. The copilot throws a line to the woman and "child."
INT. COPTER - LOW ANGLE SHOT
as Mrs. Milton and Forrest climbs aboard, dripping wet.
COPTER PILOT
Good thing we were in the area.
FORREST
(producing
a gun)
You said it, pal.
As the pilots gape, Mrs. Milton produces her own weapon,
reaches over and flips off ---
INSERT - COPTER RADIO
as it is turned off.
CUT TO
EXT. CONVOY
still barreling along.
TRUCK DRIVER (V.O.)
Golden Goose, this is Midas. Come
in Golden Goose. Golden Goose, do
you read us?
INT. K.I.T.T.
Michael and Linda are parked, listening.
INT. COPTER - DAY
Watched by Forrest and Milton, the pilots can only listen to
the imploring radio voice. They land the copter near the
jeep, just as the Camero with Kincaid, Thompson and Dugan
arrives. Mrs. Milton chews gum, offers some to the pilots.
They refuse.
Thompson, Dugan and Kincaid collect Baker, Clark, and their
tape equipment, run towards the copter.
TRUCK DRIVER (V.O.)
Golden Goose, this is Midas. Should
we go to Condition Red? Goose,
please respond. Goose, do you read
us?
Forrest and Mrs. Milton take the pilots out, start to tie
them up. Thompson takes the controls. Kincaid and Dugan
climb aboard with Baker and Clark, watches nervously as they
connect their tape gear, plug jacks into the copter.
KINCAID
Come on! Come on!
TRUCK DRIVER (V.O.)
Golden Goose, we are going to
Condition Red unless you reply.
Clark connects a jack, signals Baker. He throws a switch.
INSERT - TAPE RECORDER
as it turns.
TAPE VOICE
Midas, this is Golden Goose.
TRUCK DRIVER (V.O.)
Goose, what happened to you?
Baker and Clark play with the dials as the copter lifts off.
TAPE VOICE
We have you in sight.
TRUCK DRIVER (V.O.)
What about the accident?
TAPE VOICE
Boating accident...
(beat)
...all clear. Go to...
(beat)
Condition Green.
TRUCK DRIVER (V.O.)
Roger, Goose. Condition Green.
Kincaid grins, slaps Baker and Clark on the back. Then he
takes out his handy talkie.
KINCAID
Dugan...Miss Elliot.
INT. K.I.T.T. - DAY
MICHAEL
Here.
KINCAID'S VOICE
The road you are on is the only
access which will allow you to
intercept the convoy before it
reaches Flint Mountain...Unfortun-
ately, the road doesn't go all the
way.
Camera pulls back, rises. Michael and Linda are on the edge
of a cliff. A dirt road is below them.
In the distance we see the convoy, on a paved highway.
KINCAID'S VOICE
You're in center stage, Mr. Dugan.
Get into position.
INT. K.I.T.T.
Michael's jaw tightens. He doesn't move.
LINDA
What are you waiting for? This is
your big moment.
MICHAEL
You know, you're lucky I wouldn't
hit a woman.
LINDA
Oh? Tell that to those seven nuns
in Paris.
Michael throws the car into a 180, gets ready for the jump.
KINCAID'S VOICE
Now!
Michael hits the gas...and then, through the windshield we
see ---
THEIR POINT OF VIEW - A HAYWAGON
barreling down the dirt road -- on a course which will
intercept the Knight 2000.
INT. CAR
LINDA
We can't make it -- !
MICHAEL
Be positive!
INSERT - MICHAEL'S HAND
as it hits the control marked "TURBO BOOST."
THE JUMP
as the Knight 2000 sails through the air ---
And just grazes the top of the haywagon.
K.I.T.T.
landing with a crash.
INT. HAYWAGON
as a teenage boy and girl suddenly break their embrace under
the hay, look around, startled.
INT. K.I.T.T. - TRAVELING
LINDA
How did you do that?
MICHAEL
You want an honest answer?
LINDA
Yes.
MICHAEL
First tell me about your father.
As she reacts, we:
CUT TO
INT. COPTER - FAVORING KINCAID
He checks his watch, leans over to Baker.
KINCAID
Jam the convoy radios...now.
Baker nods.
INSERT
as Baker hits a control marked "SIGNAL JAM".
KINCAID'S VOICE
Waldorf! Go! Take out the rear
guard!
CUT TO
THE DUNE BUGGY ON A HILL
Waldorf and #1 adjust gas masks, open a box marked "NERVE
AGENT-DANGER." Take out plastic sacks much like beanbags.
They hit the gas. It roars into life. Begins to race
across the rough terrain above the road.
REAR JEEP - TRAVELING
They catch sight of the dune buggy above and beside them.
REAR JEEP
Midas! This is Back Door! We are
under attack! Midas, come in!
GOLD TRUCK - ZOOM SHOT
Camera zooms in on the Driver. He is listening to:
TAPE VOICE
Midas, this is Back Door...All
clear....
INTERCUT - COPTER - ON TAPE DECK
TAPE VOICE
...All clear...Condition Green.
TRUCK DRIVER
Roger, Back Door.
REAR JEEP (V.O.)
We're under attack, Midas! Didn't
you hear us?
TAPE VOICE
This is Goose...all clear. All
clear.
REAR JEEP
swerving all over the road, the guards firing at the dune
buggy.
REAR JEEP (V.O.)
Front door, please assist! Front
door, come in!
EXT. ROAD - ON LEAD JEEP - FROM COPTER
The shadow of the copter falls on the jeep. A gas bomb
explodes near the jeep.
FRONT JEEP (V.O.)
We're under attack too! Goose, stop
-- what's happening! Midas, come in!
EXT. TRUCK ROOF - ON GUARDS
WATCHDOG
This is Watchdog. Condition Green...
Repeat, this is Watchdog...Condition
Green.
FRONT JEEP (V.O.)
This is Front Door! Please
respond! We're under attack!
FRONT DOOR
as it takes a direct hit from a gas bomb. The guards
wobble, fade out. The jeep swerves into the bushes.
BACK DOOR
The dune buggy sails past it, scoring a direct hit. The
driver falls over the wheel. The jeep goes off the road, as
the buggy whips past.
INT. COPTER
Everyone here cheers.
KINCAID
Excellent, team, excellent! All of
you, go to the rendezvous point.
Miss Elliot...your turn.
INT. K.I.T.T.
Linda is staring at Michael in shock.
LINDA
No. You're trying to trick me.
KINCAID'S VOICE
Miss Elliot! Dugan! You're clear!
Intercept.
MICHAEL
Damn it, why can't you trust me?
Linda stares at him. Then she pulls down her welder's
glasses, lights the torch.
EXT. ROAD HIGHWAY
The gold truck enters a tunnel. The copter sails by
overhead.
KINCAID'S VOICE
Dugan? Where are you?
K.I.T.T. careens around a side road, enters the tunnel.
INT. TUNNEL
K.I.T.T. pulls alongside of the truck. Linda leans out with
the torch.
THE ROOF GUARDS
oblivious.
ON LINDA
using the torch on the coupling between the two truck
sections. It glows orange...then red.
ROOF GUARDS
One of them looks down, sees the car. Taps the other. They
swing the machine gun around.
THE TRUCK LINK
snaps in two.
EXT. K.I.T.T. - PASSENGER SIDE
The sudden release of the rear cab catapults the torch out
of Linda's hands. She cries out, grasps her wrist.
EXT. OTHER END OF TUNNEL
The tractor comes out...pulling one trailer. A beat, then
K.I.T.T. appears, tailing the trailer.
EXT. FRONT END OF TUNNEL
The rear trailer rolls out backwards.
ROOF GUARDS (V.O.)
Midas! This is Watchdog! We've
been cut loose! Midas! You're
under attack!
ANGLE ON TRACTOR
as the Driver smiles, picks up his radio mike.
MIDAS DRIVER
Convoy. This is Midas. Request
status check.
INTERCUT - THE HELPLESS ROOF GUARDS
...the unconscious and snoring jeep guards...the gagged and
bound copter pilots back at the lake.
VARIOUS VOICES FROM TAPE
This is Goose, Midas. All clear
above...This is Front Door...Condition
Green...This is Back Door...Condition
Green...This is Watchdog...etc.
The Midas Driver smiles, hangs up his mike.
INT. K.I.T.T. - TRAVELING
Linda is wincing, rubbing her wrist.
MICHAEL
Are you okay?
LINDA
You worried about me, or your
profits ---
MICHAEL
Linda...!
LINDA
I...think it's sprained....
Michael speaks into his transceiver.
MICHAEL
Kincaid, this is Dugan. We've got a
problem. Linda's hurt...she can't
make that jump.
INTERCUT - INT. COPTER
Everyone looks at each other, worried (about their profits
-- not her).
KINCAID
Can she drive, Dugan?
MICHAEL
Drive? I guess so, but ---
KINCAID
Then give her the wheel. You make
the jump.
MICHAEL
Kincaid, nobody but me drives this
car ---
KINCAID
This is no time for argument,
Dugan! If you don't jump, there's
no robbery!
A beat. Michael thinks about it. High above him, Kincaid
turns off his "transmit" button, looks at Dugan and Thompson.
THOMPSON
(worried)
What if he won't do it?
Kincaid smiles. So does Dugan, catching on.
DUGAN
(to Kincaid)
If we don't succeed he can't bust
us, right?
KINCAID
(nodding)
Not only that....
He smiles, holds up a small device -- a twin to the magnetic
box Linda trained with.
KINCAID
Now I can eliminate Mr. Knight with
the flick of a finger.
In the car, Michael has made his decision.
MICHAEL
Okay, Kincaid. We're still on.
KINCAID
Excellent!
Linda and Michael slide across the seats, changing places.
As he does this, though, Michael reaches under the dash, and
hits ---
INSERT - CONTROL PANEL
Michael changes it from "MANUAL" to "AUTO CRUISE."
BACK TO SCENE
Michael grabs the knapsack and magnetic box from the rear
seat.
KINCAID (V.O.)
Dugan! You're hitting the downhill
stretch! Go! Go!
Michael climbs out the sunroof.
EXT. TRAILER AND K.I.T.T. - TRAVELING
Michael crawls across the hood. Linda (actually, K.I.T.T.)
edges the car right up to the trailer.
INT. TRACTOR CAB
The driver glances in his rearview mirror.
HIS POINT OF VIEW - MIRROR
Empty.
MICHAEL
leaps on the trailer, grabs the handholds. He takes out the
magnetic box. Fastens it to the combination lock on the
rear door.
INSERT - MAGNETIC BOX
Lights blink on it. The door lock slowly revolves.
THE SCENE
The doors open. Michael moves inside.
INT. GOLD TRUCK - DAY
Michael drops inside. Does a "take" at the gold bars all
around him.
KINCAID (V.O.)
The rucksack, Dugan. Do it!
Michael shakes it off his shoulders. Throws it down in the
front of the cab. Breaks the glass.
INT. COPTER
Kincaid takes out the ominous-looking device he showed
earlier to Dugan and Thompson.
KINCAID
Mr. Dugan...or should I say,
Mr. Knight...?
INTERCUT - MICHAEL
stops dead, hearing that ---
KINCAID (V.O.)
You have thirty seconds to live.
Kincaid twirls a dial.
EXT. REAR OF TRAILER
The lights blink on the magnetic box. The combination lock
turns. The doors begin to close.
INT. TRAILER
Michael dashes for the doors -- too late. They slam shut.
MICHAEL
(into handy
talkie)
Kincaid! Are you crazy?
KINCAID
Good-bye, Mr. Knight. I've really
appreciated your help.
Michael throws aside the handy talkie. Runs to the knapsack.
Rips it open. Inside, in a clear sealed container, are
sticks of dynamite and a glowing fuse. He tries in vain to
open it.
EXT. ROAD - FROM COPTER
The truck and K.I.T.T. are approaching a hairpin turn.
There is an awesome drop below it.
INT. TRUCK
Michael drops the explosives, activates his comlink.
MICHAEL
(into comlink)
Linda!
INTERCUT - INT. K.I.T.T.
Linda reacts, startled, as she hears Michael not over her
handy talkie but over K.I.T.T.'s internal speakers.
MICHAEL (V.O.)
Listen to me! Kincaid's double-
crossed me and he'll probably do the
same thing to you! Help me put him
where he belongs!
LINDA
I need the money, Michael -- the people
I borrowed it from don't take no for
an answer ---
MICHAEL
Damn it, Linda, whoever they are,
whatever you've done, I can help you
-- but first tell me you're with me ---
LINDA
I -- I don't know ---
K.I.T.T. (V.O.)
Linda! Tell him already!
LINDA
What...who -- ?
MICHAEL
Linda!!
LINDA
Okay! Okay!
INT. CAB - ZOOM TO MICHAEL
MICHAEL
K.I.T.T.! Get me out of here!
K.I.T.T.
Michael! Move away from the doors.
INT. K.I.T.T.
as it suddenly rears up on the back wheels. Linda's eyes
pop out of her head.
K.I.T.T. AND TRAILER
K.I.T.T.'s invulnerable front smashes in the back of the
trailer.
INT. TRAILER
Michael dives onto K.I.T.T.'s hood.
INT. K.I.T.T.
as it drops all four wheels back on the ground.
HIGH ANGLE SHOT
as K.I.T.T. does a quick 180 with Michael on the hood. The
trailer suddenly explodes.
INT. TRACTOR
as the driver is bounced around by the explosion. He turns
-- and sees ---
THE SCENE
The blackened and smouldering trailer has been blown free.
The tractor goes around the turn...the trailer doesn't.
LOW ANGLE SHOT - CLIFF
as the empty trailer flies over the cliff, bounces downwards.
CUT TO
EXT. PRISON YARD - DAY
Dollying along the line of armed and armored guards. They
wipe sweat from their brows, adjust their stifling armor.
The dolly ends on Devon and Warden Adams. Devon looks a
little uncomfortable.
WARDEN ADAMS
(with an edge)
First thing this morning, right?
DEVON
Ah...yes. Right....
WARDEN ADAMS
Unimpeachable source, right?
DEVON
(trying to
smile)
Uh...did I say that?
A Prison Guard in normal uniform runs into the shot with a
remote telephone.
PRISON GUARD
(to Adams)
Excuse me sir. Phone call for
Mr. Miles.
Devon grabs the phone, happy for any distraction.
DEVON
Devon Miles here...
(big
reaction)
Michael?
(bigger
reaction)
What?
CUT TO
EXT. BOTTOM OF CLIFF - DAY
Hold on the smouldering, smashed trailer. Camera rises and
we see the robbers transferring the bullion to the van. As
always, Kincaid has his stopwatch.
KINCAID
Come on...move...move....
Suddenly all become aware of a sound...a growing whine.
KINCAID
That noise...what the ---
The Knight 2000 flies over the crest of a hill, slams into
the scene.
NEW ANGLE
Michael drives K.I.T.T. right into the van. It rolls over,
spilling out the gold.
THE ROBBERS
pull out handguns, open fire.
K.I.T.T.
The bullets bounce harmlessly off the car.
INT. K.I.T.T.
as Michael weaves in and out of the gang and their vehicles.
LINDA
(shouting over
the ricochets)
I didn't know the right side of the
law could be this much fun!
K.I.T.T.
You call this fun?
KINCAID
sees it is time for a retreat. He grabs a knapsack, fills
it with gold bars. Starts to climb up some rocks.
INT. K.I.T.T.
MICHAEL
Kincaid's getting away!
K.I.T.T.
I can't go up there, Michael.
Michael hits the brakes.
MICHAEL
I can. Keep the others in the area,
Kitt.
(to Linda)
Enjoy the ride.
EXT. K.I.T.T.
Michael jumps out, runs after Kincaid. K.I.T.T. turns
around, circles the remaining heavies.
ON KINCAID
scrambling up the rocks, tearing his clothes. Michael
easily catches up to him...trips him up. Kincaid drops the
gold. Michael is about to tackle him when his own ankles
are grabbed.
NEW ANGLE
Dugan has a firm grip on Michael's foot. Thompson is right
beside him.
DUGAN
I want you, Knight! I want you!
Michael shrugs, throws the sack of gold on top of both men.
They roll back down the hill. Michael turns. In two quick
leaps he is at the top of the hill. He grabs Kincaid, grins
savagely.
KINCAID
No -- don't hit me -- !
Michael cocks his fist -- then stops. Both he and Kincaid
have heard the sound of screeching tires. They turn, see ---
REVERSE ANGLE - ROAD AT TOP OF HILL
A half-dozen police cars have pulled up, their occupants
loaded for bear. Devon steps out of the lead vehicle,
adjusts his clothing.
DEVON
Well, well. Thomas Kincaid, as I
live and breathe.
(to Michael)
Michael, you seem to have saved the
Foundation a great deal of paper work.
Michael grins as Kincaid is handcuffed and we:
FREEZE FRAME
FADE OUT
END OF ACT FOUR
TAG
FADE IN
EXT. ROAD - DAY
Police officers are leading the last of Kincaid's gang away
in handcuffs. We track one officer as he approaches
Michael, Devon, and Linda. They stand close to the camera,
beside K.I.T.T.
The officer politely clears his throat, looks pointedly at
Linda.
LINDA
(to Michael,
nervous)
Michael...do I have to go?
MICHAEL
Of course not ---
DEVON
I'm afraid so.
Michael turns, signals the officer to back off for a while.
Then Michael faces Devon.
MICHAEL
Devon, there are extenuating
circumstances...She didn't want her
father to die in prison...so she
lied to the Grand Jury....
He turns, cues Linda to help plead her case.
LINDA
And then, Kincaid held it over my
head and blackmailed me....
MICHAEL
...and then she borrowed money to
pay the medical bills....
LINDA
...but it was from the wrong kind of
people....
DEVON
Miss Elliot, I sympathize with you,
really...but all this should be told
to the judge.
MICHAEL
That's why she needs a good lawyer,
Devon. You've got plenty at the
Foundation...why can't they ---
DEVON
Michael, the Foundation for Law and
Justice doesn't handle criminal
defenses! Class action yes --
Adversary suits, yes...but never ---
MICHAEL
(exasperated)
Devon, she helped me!
DEVON
My advice is to simply tell the
judge the truth.
Linda starts to speak -- Michael "shushes" her, getting a
clever idea of his own.
MICHAEL
(deadpan)
The truth?
DEVON
Always the best defense.
MICHAEL
(cueing Linda)
About Kincaid?
DEVON
Certainly.
LINDA
About the robbery?
DEVON
Absolutely.
MICHAEL
About the Knight 2000?
DEVON
(thrown)
What?
MICHAEL
The Knight 2000.
K.I.T.T.
I believe he's referring to me, sir.
DEVON
I know what he's referring to!
Devon takes Michael's arm, pulls him aside.
CLOSER - MICHAEL AND DEVON
DEVON
Michael, listen to me. Wilton
Knight never intended for the Knight
2000 to become public knowledge
until after a long test in the field.
Michael does his best to look as concerned as Devon.
MICHAEL
Then we've got a problem, Devon. I
mean, if Linda goes into court
without a good lawyer -- there's no
telling what she might say.
Michael smiles guilelessly. Devon thinks. Sighs. Returns
with Michael to Linda and K.I.T.T. Michael gives Linda a
thumbs-up high sign.
DEVON
Kitt.
K.I.T.T.
Yes, sir?
DEVON
Activate your telephone link up....
K.I.T.T.
To the Foundation?
DEVON
No...I daresay we need a specialist.
(to Linda)
Would you prefer F. Lee Bailey, or
Mervin Belli?
Linda is astonished.
MICHAEL
Devon...why not both?
As Devon reacts, we:
FREEZE FRAME
FADE OUT
THE END
