ACT ONE
FADE IN
EXT. HIGHWAY - DAY
Prerush hour, early morning, the time of truckers and
travellers. This four-lane, divided highway cuts through
the open plains and deserts of north-central New Mexico,
outside of Albuquerque.
ANGLE ON RIG
A huge, frightening machine roars down the highway. On the
door is painted the sign, "Calley and Son Trucking."
INT. RIG - TRACTOR - DAY
Seated at the wheel is a big, handsome man, in his mid-
thirties, Rick Calley. A country-western tune plays on the
radio; the lights of a CB radio flash on top of the
dashboard. On the passenger's seat is a small ditty bag.
Rick takes a mug from the bag, pours himself a cup of
coffee from a dashboard thermos. He takes a sip, puts down
the mug, and picks up the CB transmitter.
RICK
Breaker, breaker. Big Brother to
Terri the Tiger. Come on back, now.
After some static, a woman's voice, young and enthusiastic,
comes back over the CB.
TERRI'S VOICE
Terri the Tiger reading you fine, Big
Brother. How's it going out there?
RICK
Almost home free, sis. Estimated
time of arrival -- one hour.
TERRI'S VOICE
That's a big 10-4. I'll have your
favorite flapjacks ready and waiting.
Rick smiles mischieviously.
RICK
Make that, estimated time of arrival
-- two days.
TERRI'S VOICE
All right, you bum -- you just wait!
He laughs, puts down the CB transmitter.
EXT. HIGHWAY - SIDE OF ROAD - DAY - ON TRACTOR
A sleek one-colored vehicle parked on a dirt access road,
not far from the semi.
ANGLE ON RIG
The rig passes the dirt access road and the tractor.
ANGLE ON TRACTOR
Its tires churn up a cloud of dirt as it rips out onto the
highway and pulls up close to the rig's tractor. We now
see that both the driver and the passenger have blakc ski
masks on. The passenger points a semi-automatic rifle up
at Rick.
ANGLE ON RICK'S TRACTOR
Rick, surprised and scared, hesitates, then pulls the
steering wheel sharply, trying to ram the outlaw tractor.
The outlaw tractor, more mobile, has no trouble avoiding
Rick's tractor. The outlaw with the rifle aims carefully
at Rick's front tires -- and shoots. The tires blow....
ANGLE IN RICK'S TRACTOR
Rick momentarily loses control of the rig, then finally
pulls it over to a stop at the side of the road. He
quickly grabs the ditty bag -- and pulls out a .357
Magnum. He shoves the gun under his belt.
ANGLE BY THE SIDE OF THE ROAD
The two outlaws come up to Rick's tractor and motion him
out. The one outlaw with a rifle keeps a bead on Rick,
while the other pulls out a pistol. They march him to the
side of the rig out of sight of the road. Rick carefully
eases the Magnum out of his belt. Then he wheels...but
he's too slow. The outlaw with the pistol shoots him in
the left arm. Rick goes down.
The outlaws, working with military precision, unhitch Rick's
trailer and connect it onto their tractor. One of the
outlaws grab the manifest and log book from inside Rick's
tractor. Then they take off, leaving Rick in agony.
EXT. CITY FREEWAY - DAY - STOCK
Out of a line of cars, comes one sleek black vehicle: the
Knight 2000.
K.I.T.T. (o.s.)
Michael, I'm afraid if you won't
take cover, you're going to be in
serious trouble.
MICHAEL (o.s.)
Help me out, Kitt.
K.I.T.T. (o.s.)
I'm sorry, Michael, not this time.
Michael lets out a shout.
INT. K.I.T.T. - DAY
as his spaceship gets wiped out on the monitor screen video
game.
K.I.T.T.
I can't help you if I'm playing
against you. That makes it thirty-
seven games to one, my favor.
MICHAEL
Home court advantage.
A beat.
K.I.T.T.
Michael, Devon is calling.
MICHAEL
Patch him through, Kitt.
INTERCUT DEVON'S OFFICE
While Bonnie helps gather papers, Devon speaks into his
monitor.
DEVON
Hello, Michael. Trust I'm not
disturbing anything.
MICHAEL
Just the age-old fight of man versus
computers.
(a beat)
I thought you'd be in Chicago by now.
DEVON
My plane leaves within the hour.
Michael, something's come up. I don't
have all the details yet, but the
president of Micro-Tech Electronics
called this morning. A shipment of
highly sensitive electronic components
have been stolen near Albuquerque,
New Mexico.
MICHAEL
Any idea who took them?
DEVON
None, I'm afraid. The odd thing is
the parts were falsely labelled to
discourage theft. The driver of the
truck was shot and wounded. I've
already contacted him -- he's
expecting you.
MICHAEL
(resistance)
Devon....
DEVON
I know you're due for some R and R,
Michael, but look at it this way:
Would you rather go to New Mexico or
Chicago?
MICHAEL
In March? I'm on my way to New
Mexico -- on one condition: Bring
me back a deep-dish pizza. Best
pizza in the world's made in Chicago.
DEVON
Your eclectic culinary tastes never
cease to amaze me, dear boy. I'll
do my best.
Michael laughs.
MICHAEL
Thanks, Devon.
OMITTED
DRIVE-BYS - STOCK
as the Knight 2000 travels the open road. The terrain
changes from cityscapes to the spacious plains of New
Mexico.
INT. K.I.T.T. - DAY
Michael is driving.
K.I.T.T.
Michael, I am picking up a
transmission in a highly stylized
dialect of the English language.
MICHAEL
(puzzled)
Let's hear it, Kitt.
A static-filled transmission comes over K.I.T.T.
VOICE (o.s.)
Blow your windows down, Good Buddy.
Come on back now, 10-4?
Michael laughs.
MICHAEL
That's CB -- Citizen's Band, Kitt --
trucker's shorthand.
K.I.T.T.
In other words, 'slang.'
MICHAEL
I still remember a lot of it from my
police days. Do you want me to
teach it to you?
A beat.
K.I.T.T.
Unless it's imperative to this case,
I'd rather you didn't.
EXT. CHIEF JOE CAFE - DAY
Michael pulls the Trans Am into the parking lot of this
trucker's restaurant. He gets out of the car and heads
towards the cafe.
INT. CHIEF JOE - DAY
A small, down-home-type place. Near the windows are booths.
Across from the booths is a counter with stools. As Michael
enters, he catches part of a heated argument. Three men,
Curt Brusker, brawny and muscular, Gene Alley, slim, in his
forties and Ozzie Layton, a man in his thirties, are seated
in a booth.
BRUSKER
I don't care if he's been Sheriff
sixty years, Winston ain't worth a
cent....
GENE
I don't know, Curt. I'm hurting as
bad as anyone, but this....
BRUSKER
I'll tell you what -- do it my way
and the only ones hurting will be
those outlaws....
They all look up at Michael, then continue their conversa-
tion in quieter tones. Michael eases over to the counter
and sits next to a man in his fifties, in Levi's, flannel
shirt and cowboy boots, clothes of the road. This is Sam
Volker. He nods at Michael.
Norma Pell, an overly made-up waitress in her midthirties,
comes over. At one time -- in high school -- Norma was a
knockout. Now, she has the tired look of a woman frustrated
by fate. She smiles at Michael as she pulls out her order
book.
NORMA
Howdy. What'll it be?
MICHAEL
Hi. Coffee, please.
NORMA
One cup of java, coming right up.
She steps to the coffee machine, and quickly pours his
cup. She sets it down in front of him and he takes a sip.
MICHAEL
I'm supposed to meet Rick Calley
here. Can you point him out?
NORMA
I haven't seen him here much since...
the accident. He's probably at his
garage, a few miles east.
She sets down a doughnut on a small plate in front of
Michael. Stuck on is a smiley, "Happy Face" button, the
kind in vogue in the mid-70's.
NORMA
On the house. Never know when you
might need an extra smile.
Michael smiles, pins the button on his jacket. He takes
the doughnut and starts to the door.
MICHAEL
Thanks. For your smile.
Norma grins broadly. Brusker takes note of Michael as he
exits.
CUT TO
EXT. CALLEY GARAGE - DAY
Out front is parked the "Calley and Son Trucking" tractor we
saw earlier. On top of the garage is a painted sign with the
same words.
ANGLE BY GARAGE ENTRANCE
Michael parks K.I.T.T. and climbs out. He walks up to the
garage entrance and meets Rick Calley, his arm in a cast.
Rick is followed by Terri Calley, in her midtwenties, a
pretty tomboy in trucker's garb.
MICHAEL
Hi, I'm Michael Knight. Devon Miles
called about me.
Rick nods.
RICK
I'm Rick Calley. This is my sister
Terri.
They shake hands.
MICHAEL
The company I represent would like
to find the missing shipment as soon
as possible.
RICK
I'd trade your problem for mine in a
minute, friend. You've lost one
shipment -- the A.I.T.'s lost six --
not to mention the sabotage.
MICHAEL
The A.I.T.?
TERRI
The Alliance of Independant Truckers.
My daddy founded it twelve years ago
to stop the men from undercutting each
other.
(a beat)
I'm glad he's not here to see what's
happening.
Rick looks at Terri, peeved.
RICK
There's nothing more he would have
done than I'm doing.
TERRI
Rick, I didn't mean....
RICK
(to Michael)
Knight, if you've got anymore questions,
Terri will help you. She knows every-
thing....
He turns and stalks back inside. When he's gone, she looks
up at Michael. Before they can say anything the loud roar
of a tractor can be heard down the road. When it comes into
view, we see it's being driven by Curt Brusker. Ozzie
Layton is in the passenger's seat.
Brusker pulls his tractor in front of K.I.T.T., blocking
K.I.T.T. in, next to another car.
ANGLE TO INCLUDE BRUSKER AND OZZIE
Brusker and Ozzie get out and walk up to Michael and
Terri. Brusker pointedly ignores Michael.
BRUSKER
Hi, babe -- let's go on by the Tick
Tock later. It's nickle beer night.
TERRI
Curt, don't you ever quit?
BRUSKER
Not when I want something bad enough.
There's a moment of tension, then Brusker laughs, nudges
Ozzie and they go toward the garage.
NEW ANGLE ON MICHAEL AND TERRI
as they move off toward K.I.T.T.
TERRI
Don't pay any attention to him.
MICHAEL
(smiles)
Hardly noticed he was there. Can
you get me a list of the A.I.T.
truckers?
TERRI
I can do better than that -- we're
having a meeting tonight. Why don't
you come by?
MICHAEL
Thanks, I will. I'd like to start
running down that stolen cargo.
What's the procedure?
TERRI
We pick up our freight at Riggin's
Distributor. Gil Riggins fought Daddy
over the A.I.T. -- you know, management
vs. union, but they were old friends.
He'll help you any way he can.
They stop by K.I.T.T.
ANGLE ON K.I.T.T.
The Trans Am is blocked in between Brusker's tractor and
the other car.
TERRI
(angry)
That dog. I'll be right back.
Terri heads for the garage. Michael climbs into K.I.T.T.
INT. K.I.T.T. - DAY
Michael gets behind the wheel.
K.I.T.T.
Michael, surely you don't expect me
to move that monster.
MICHAEL
There's no sense spinning our
wheels, Kitt. Let's spin his.
ANGLE ON TRUCK
K.I.T.T. starts to move it. The truck's tires begin to smoke
and the truck begins to emit a loud whining sound. After a
few seconds, it is pushed out of K.I.T.T.'s way.
ANGLE AT GARAGE
Terri, Brusker and Ozzie rush out to see what's happening.
As Michael and K.I.T.T. drive away, Brusker chases after
the car.
BRUSKER
Come back here! I'll pound you and
that black bucket into the ground!
But he's talking to dust.
CUT TO
EXT. "RIGGINS' DISTRIBUTORS" WAREHOUSE - DAY - LATER
A large warehouse, replete with loading docks, to establish.
K.I.T.T. is parked outside.
INT. WAREHOUSE - DAY
Michael is talking with Gil Riggins, a man in his forties.
The warehouse is bedlam: men shouting, forklifts carrying
cartons, etc.
RIGGINS
What's your role in all this?
MICHAEL
I'm a freelance investigator working
for Micro-Tech, but I'd also like to
find out who's hitting the A.I.T.
trucks.
RIGGINS
Who wouldn't.
(shrugs)
Once the cargo leaves here, it's out
of my hands. You know, it's a shame
-- those truckers are good people.
I know most of them personally.
MICHAEL
I heard it wasn't always that way.
Riggins looks at him hard, then smiles.
RIGGINS
Not always. Ted Calley and I fought
tooth and nail. But when he finally
organized the men, that was that. I
even sent them a keg of beer for
their first meeting.
A warehouse worker comes over to Riggins and hands him a
clipboard. Riggins signs it, then hands it back.
RIGGINS
(to the
worker)
Get that fruit out of the sun.
(to Michael)
Anything else?
MICHAEL
That's all for now. Thanks for your
help.
RIGGINS
Any time. I hope you find whoever's
responsible. My suppliers won't
stand for any more losses.
CUT TO
EXT. CALLEY GARAGE - NIGHT
The door is open and lights burn brightly from inside.
INT. CALLEY GARAGE - NIGHT
This room has all the accouterments of a working garage.
Standing around are Brusker, Ozzie, Gene, and the other
truckers. Michael, Terri and Rick stand by the door, by
an open cooler of beer.
Talking to them and standing in the middle of the men is
gruff and grizzly Sheriff Hank Winston. The meeting is at
a fever pitch.
WINSTON
(angry)
You listen to me -- I've got 3,750
square miles to cover, and two
reservations. I've got three patrol
cars and six men. You figure out how
to kick up the county budget, and
I'll get you your protection.
GENE
Hank, if those outlaws grab another
shipment, I'm done in. You talk
about county budgets, lemme tell you
about mine: I got a payment for
that tractor out there to the tune
of $432 a month -- and I ain't made
that payment in two months. I've
got three kids, one wife and more
debts than I can count. That's what
I have, Sheriff.
WINSTON
I hear you, Gene -- just make sure
you hear me.
He turns to walk out of the garage, then stops by Rick:
WINSTON
You'd better use your influence on
these men, Calley. I'll come down
hard on anyone who breaks the law,
hijacker or trucker.
Rick nods. Winston strides out of the room. Rick
addresses the men.
RICK
All right. You heard what the Sheriff
had to say. Before we finish up, I
got a fella with a different message
who wants to talk to you.
(calls
off)
Volker? You out there?
Into the garage steps Sam Volker, the man we saw earlier at
the cafe. Volker walks up to Rick and smiles evenly at the
men.
VOLKER
Fellas, I've got a little business
proposition. I'm just passing
through, on my way to Tuscon...heard
about the troubles you all got. I
hate to see you good people in this
position. I know what it's like --
I've been there. I'm an independent
trucker, too -- but I got lucky, saved
some money. Here's my proposition:
You sell me your trucks, I'll pay a
fair price, and each and every one of
you has a lifetime job.
There's a silence as this sinks in.
GENE
How much you offering?
Terri steps out.
TERRI
I don't believe you, Gene. I
remember the nights you came to the
house, crying to Daddy about the
squeeze Riggins used to put on you!
GENE
And I remember when you wore pigtails,
Terri. You're not so much older now
-- and you don't have all the answers!
RICK
All right, let's let the man finish.
VOLKER
That's about it. I'll be staying at
the Wagon Wheel Motel, be in town
for a day or two. I can deal with
you as a group or as individuals,
it's up to you. You know where to
find me.
He smiles at them, then steps out of the garage.
RICK
Well, you heard the man. Couple of
months ago we'd of laughed him out
of town...now, I don't hear anybody
laughing. What you do is up to you.
She stares at him, then storms out of the room. Michael
goes after her.
EXT. CALLEY GARAGE - NIGHT
Michael steps outside to see Terri, standing alone by
K.I.T.T. As he starts over, a hand grabs him from out of
the darkness. It's Sheriff Winston.
WINSTON
I want a word with you, son.
MICHAEL
I'm easy to talk to. What's on your
mind?
WINSTON
You've been asking a lot of
questions. I want you to know I'm
keeping an eye on you. The last
thing this town needs is outside
agitation.
MICHAEL
Agitation's not my line of work,
Sheriff. I'm a freelance
investigator.
WINSTON
You better be.
After a beat, Winston goes to his car, gets in and drives
away.
NEW ANGLE
Michael goes up to Terri.
MICHAEL
How you doing?
TERRI
Rotten.
MICHAEL
Want to go dancing at the Tick
Tock? I hear it's nickle beer night?
She turns to face him. When she sees him smiling, she
smiles, too.
TERRI
Did you ever see The Alamo?
MICHAEL
Couple of times. I never missed
'The Duke.'
TERRI
That's what this place is beginning
to feel like, too -- like when Sam
Houston said, 'Everyone's complainin'
and bellyachin' and what we need is
reinforcements....'
MICHAEL
(smiles)
Since I can't talk you into nickle
beer night, how about a ride home?
TERRI
Talked me into that already.
They smile, climb into K.I.T.T.
ANGLE AT GARAGE DOOR
The meeting is over and the men start to filter out of the
garage. Brusker hurries out and watches as K.I.T.T. pulls
out onto the main road. Ozzie talks to Gene at the door.
OZZIE
Come on, just tell her the meeting's
running late. Let's go get loaded.
Brusker pulls Ozzie aside.
BRUSKER
You can get drunk anytime. I got
some plans for Knight.
OZZIE
(interested)
Yeah?
BRUSKER
Yeah. Get your Friday Night Special
and meet me back here.
Ozzie darts off, excited. Hold on Brusker.
FREEZE FRAME
AND
FADE OUT
END OF ACT ONE
ACT TWO
FADE IN
EXT. HOLBROOK - HIGHWAY - NIGHT
K.I.T.T. travels down this largely deserted road.
INT. K.I.T.T. - NIGHT
Michael and Terri's faces are awash in the glow of
K.I.T.T.'s dash. Terri stares at the dash, amazed.
TERRI
This car has more gauges than my
tractor. Where's the CB?
MICHAEL
(smiles)
Gotta be in there somewhere.
TERRI
What's your handle?
MICHAEL
Handle? Ah...'Kitt.'
TERRI
Kitt? Kind of a dull name for such
a flashy car.
MICHAEL
It's the best I could do on short
notice.
She smiles.
TERRI
(a beat)
Who are you, Michael Knight?
(before he
can answer)
I know -- a freelance investigator.
But on the road you get a certain...
feel for people. I wonder who you
really are....
MICHAEL
'Smile when you say that, stranger.'
They laugh.
TERRI
The Virginian. Gary Cooper said
that to...I forget.
MICHAEL
I forget too.
(beat)
This almost feels like a Gary Cooper
western...kind of a range war.
Instead of cattle being hustled, it's
trucks being hijacked.
TERRI
It is just like the old days --
never the big companies, just the
small independents. In this case
the A.I.T.
(a beat)
Daddy used to say that truckers were
cowboys on wheels...riding the open
road...living free. He thought they
should have a code. The Alliance
became that code.
MICHAEL
And now it's in jeopardy....
She nods. A thoughtful moment passes.
TERRI
Rick thinks I'm crazy, but I'm sure
someone's out to destroy it.
She looks at Michael. It's a statement -- and a plea.
EXT. CALLEY HOUSE - NIGHT
Michael and Terri are walking up the walk to her house.
TERRI
No matter what happens, I don't want
to give up the highway. I think it's
in my blood.
MICHAEL
Once, when I was travelling in the
desert in winter, the sky was so
full of stars, the stars were so
bright, that I turned off my head-
lights. I pulled off the road...and
looked and listened. I don't know
of a better high than that.
TERRI
Isolation...freedom...
(a beat)
What's it like in the big city?
MICHAEL
A lot less stars, a lot more lights.
None as pretty as out here, though.
He inches closer to her. She's nervous...the closer they
get to a kiss, the more nervous she is...Suddenly, she
breaks away...and runs up the steps.
TERRI
See you tomorrow!
And she practically dives in the house. Michael watches
her, laughs and shakes his head. He walks back to K.I.T.T.
INT. K.I.T.T. - NIGHT
MICHAEL
Kitt, call the Foundation.
INTERCUT - FOUNDATION
Bonnie, in a robe, hurries to the monitor screen.
BONNIE
Michael, do you know what time it
is?
MICHAEL
The enchanted time of the evening
when beautiful women look their best.
He smiles. She can't help but smile.
MICHAEL
Bonnie, I need your help. The robbery
of the electronics components is only
the tip of the iceberg. Somebody's
declared war on an alliance of local
truckers. I'm going to need infor-
mation on who holds the paper on their
trucks, who carries their insurance,
information on the men themselves --
anything that indicates who stands to
profit from their loss.
BONNIE
Michael, this is going to take some
time to get together....
MICHAEL
Bonnie, we don't have time. How
about tomorrow morning?
BONNIE
Sure -- if I stay up all night.
He smiles.
MICHAEL
I wouldn't ask if it wasn't important.
BONNIE
(a smile)
I know.
CUT TO
EXT. WAGON WHEEL MOTEL PARKING LOT - NIGHT
Michael pulls K.I.T.T. into the parking lot of this motel,
the kind in vogue before the onslaught of motel 6's.
K.I.T.T.
Michael, I've been monitoring CB
channels and Terri's right. Kitt is
rather dull -- How about 'Hot Knight.'
MICHAEL
I like that, Kitt.
K.I.T.T.
Thank you.
MICHAEL
Just don't let it go to your
computer banks.
K.I.T.T.
I won't.
Michael laughs. Before he gets out of the car:
MICHAEL
Put your ears on, good buddy.
A beat.
K.I.T.T.
I beg your pardon?
MICHAEL
Go into surveillance mode.
K.I.T.T.
Oh.
And K.I.T.T. does.
CUT TO
INT. MICHAEL'S MOTEL ROOM - LATER - NIGHT
The room is dark. Michael is asleep on the bed. A radio
plays Country Western music in the b.g. As we pan the
room, we see clothes on a chair and shoes at the foot of
the bed.
EXT. WAGON WHEEL MOTEL - NIGHT
Curt Brusker's truck slowly eases into the parking lot. It
parks next to K.I.T.T. Brusker and Ozzie get out, each
with a baseball bat and tire iron in hand.
ANGLE ON K.I.T.T.'S SCANNER
as it pops to life, the scanning light crisscrosses across
the screen.
ANGLE ON BRUSKER AND OZZIE AT K.I.T.T.
They walk around the car.
BRUSKER
By the time we're finished with
this, that guy will beg for a ride
out of town.
Brusker raises the bat -- and brings it down hard on
K.I.T.T.'s windshield. The bat shatters and Brusker's
amazed. Ozzie starts to pound with his bat and Brusker
starts to hit K.I.T.T. with the tire iron.
CUT TO
INT. MOTEL ROOM - NIGHT
The comlink on Michael's wrist starts to beep. Michael
wakes up, groggy.
MICHAEL
What is it, buddy?
K.I.T.T. (o.s.)
Michael, two men are out here
causing quite a racket.
Michael can hear the pounding and muffled cursing. He
throws on some clothes.
EXT. MOTEL ROOM - NIGHT
Michael throws open the door -- and sees Brusker and Ozzie
pounding on K.I.T.T. Both bats are in pieces and the two
tire irons are bent beyond recognition. Michael smiles,
leans in the doorway.
Lights go on in the motel office. When Brusker's and
Ozzie's energy is spent, Michael calls over to them.
MICHAEL
You guys are a little early on the
wake-up call.
They look over, gulping for breaths of air.
BRUSKER
Knight, I'm warning you.
MICHAEL
Curt, I've got no quarrel with you.
Why don't you go back home. Get
some rest.
ANGLE AT DOOR ENTRANCE
Brusker comes over to Michael with a tire iron. Michael
gets into a protective stance.
BRUSKER
You stay away from Terri Calley.
MICHAEL
She's a big girl. She can decide
who she's going to spend her time
with.
BRUSKER
And I'm a big boy. She's my girl,
this is my town -- and I'll decide
who you'll spend your time with here
in Holbrook.
They stare each other down.
MICHAEL
I don't think so, pal.
A beat. Michael seethes with an undercurrent of anger.
Brusker starts to make a move to him.
ANGLE ON K.I.T.T.
as it starts after Brusker. Ozzie -- then Brusker -- look
on amazed. Brusker drops the tire iron.
ANGLE ON POLICE CAR
Lights flashing, siren off, Sheriff Winston pulls the car
into the parking lot of the motel. Winston gets out.
WINSTON
Curt, get in your truck and get out
of here.
BRUSKER
The car moved by itself, Sheriff.
Winston looks at Brusker funny.
WINSTON
Curt, I warned you before about
drinking and driving. Ozzie, you'd
better take him home.
Ozzie leads Brusker back to the truck. They start their
truck up and roar away. Winston turns back to Michael.
NEW ANGLE
as Winston comes face to face with Michael.
WINSTON
I told you -- I don't want any
trouble.
MICHAEL
And I told you: I won't cause any.
Winston stares at him, hard.
WINSTON
I've done some checking on you --
you have the cleanest record of
anyone in the Western United States
-- no traffic citations, no acci-
dents, nothing...only problem --
the record only goes back about a
year...before that -- nothing.
(a beat)
Anymore problems, and you are
gone....
Michael has plenty to say, but he lets it pass. After a
beat, Winston gets in his car and pulls away. Before
Michael goes back inside, he spots someone looking out from
another motel room -- Sam Volker. Volker nods at Michael.
Behind Volker, Norma pokes her head out.
CUT TO
EXT. RIGGINS' WAREHOUSE - ON LOADING DOCK - DAY
Warehousemen carefully load crates marked "EXPLOSIVES"
onto Terri's rig. She stands with Gil Riggins, signing
some papers.
RIGGINS
Call me the minute you get into
Santa Fe. Believe it or not, I
worry about you.
TERRI
I will, Gil. Thanks for your concern.
Riggins disappears into the warehouse.
ANGLE TO INCLUDE BRUSKER
He steps up to Terri.
BRUSKER
I'm surprised to see you without
your loverboy.
TERRI
He's not my loverboy, Curt.
BRUSKER
Where's Rick?
TERRI
He doesn't know I'm going out single
-- and don't you tell him. We need
this run. We need the money.
BRUSKER
Want me to ride along? Or are you
worried we might ignite some sparks?
TERRI
(droll)
You put your finger right on it,
Curt. Thanks, anyway.
She goes down the steps to her rig. He's not sure whether
he's been insulted or not. He decides he's not been.
CUT TO
EXT. HIGHWAY - DAY - STOCK
K.I.T.T., on the move, rendezvousing with the Foundation
semi. When the ramp lowers, K.I.T.T. enters.
INT. FOUNDATION SEMI - DAY
Devon walks up to K.I.T.T. as Michael gets out of the car.
MICHAEL
Devon, I know what you're going to
say: You're going to say finding
the electronics components should
take priority....
DEVON
Well put, Michael, but not entirely
correct. What I was going to say is
I would have brought back your
pizza, but I couldn't fit it in my
briefcase.
(a beat)
Then I was going to launch into the
rest.
MICHAEL
Go with me on this, Devon. These
A.I.T. truckers are fighting for
survival.
ANGLE TO INCLUDE BONNIE
Bonnie enters with data banks to be programmed into
K.I.T.T. Michael smiles.
MICHAEL
Beautiful as ever.
BONNIE
Sleepless as ever.
She slides into K.I.T.T., prepares to program him.
BONNIE
I got everything I could. The
background on Sam Volker may not
surprise you, but I think it'll
interest you.
MICHAEL
What is it?
DEVON
Mr. Volker is employed by Panhandle
Trucking. Apparently his job is to
buy out struggling independents.
MICHAEL
(reacts)
If the A.I.T. knew I bet they'd skin
him alive.
BONNIE
Michael, I've got a new addition for
you.
ANGLE IN K.I.T.T.
as Michael comes over.
BONNIE
I'm installing a long-range tracking
scope....
ANGLE ON MONITOR SCREENS
as a picture of a truck is met by sonar-like waves.
BACK TO SCENE
BONNIE
It will enable you to monitor the
location of any A.I.T. truck with a
CB radio.
MICHAEL
Terrific. It'll also give K.I.T.T.
a chance to brush up on trucker
shorthand.
K.I.T.T.
Trucker shorthand brutalizes my
vocabulary banks.
They laugh.
CUT TO
INT. VOLKER'S MOTEL ROOM - DAY
Norma is buttoning up the last buttons of her waitress
uniform in the mirror. Her face reflects sadness. In the
b.g. Volker is getting dressed.
NORMA
I remember back in high school...I
used to love my cheerleader uniform.
It made me feel so special to put it
on....
Volker comes over to her, stands behind her.
NORMA
I hate this one.
Volker smiles, then starts to bite her neck. The sadness
leaves her face. She lets out a tiny scream, then turns
around.
VOLKER
Nothing I like better for breakfast.
She laughs. He slips his hand into his pocket and pulls
out a package. He hands it to her. She reacts with
surprise and rips it open. It's a charm bracelet.
VOLKER
...Just a little something I picked
up on a run to L.A. The charms are
all miniatures of places in the city.
NORMA
Oh, Sam, that's so sweet. You're so
good to me.
VOLKER
(smiles)
If things go right, you may just not
have to wear that uniform much longer....
For a moment she looks like a wide-eyed school girl; it's
the closest she's come to a proposal in years.
CUT TO
EXT. HIGHWAY - DAY - ANGLE ON TERRI'S RIG
The tractor and rig barrel down the highway.
EXT. DIRT ACCESS ROAD - DAY
Behind some trees is parked a black, supercharged van.
Sitting inside are the two outlaws, their faces covered
with the black ski masks.
CUT TO
EXT. VOLKER'S MOTEL ROOM - DAY - ANGLE AT DOOR
Volker opens the door to Michael.
MICHAEL
I want to talk to you.
Volker appraises him, shrugs.
INT. VOLKER'S MOTEL ROOM - DAY
as Michael follows Volker in.
VOLKER
I buy trucks, son, not souped-up
cars.
Volker smiles. Michael doesn't.
MICHAEL
I'm not here to sell you, Volker,
I'm here to warn you. You're no
independent businessman just passing
through, you're a broker for Panhandle
Trucking, one of the biggest fleets
in the southwest.
VOLKER
(angry)
Who are you? What right do you have
checking up on me?!
MICHAEL
Put it this way. Consider yourself
lucky I'm the one who found out
first. If it was some of those
A.I.T. truckers, you'd be picking
your teeth up off the floor.
VOLKER
Don't you threaten me. Like it or
not, I make my money legally.
MICHAEL
You make your money off other
people's misery and desperation.
Volker takes a swing at Michael but Michael grabs his arm
in mid-swing, his face close to Volker's.
MICHAEL
You stick around to play out your
hand, Volker, and you might live to
regret it. And if I find out you or
your company have anything to do
with these hijackings, you will live
to regret it. That's a promise.
Michael lets Volker's arm drop, turns and walks out.
Volker stares after him.
EXT. HIGHWAY - DAY
As Terri's rig passes the dirt access road, the outlaw van
tears out after it.
ANGLE - TERRI'S REARVIEW MIRROR
The outlaw van is approaching. When Terri sees a shotgun
being pointed out of the van, she is alarmed.
WIDE ANGLE
The van pulls up close to the tractor, then the one outlaw
begins to shoot at the connecting lines holding tractor to
rig.
ANGLE IN CAB
Terri is on the CB.
TERRI
This is Sister Terri. I've got a
ten-thirty-three. Repeat, I've got
a ten-thirty-three -- over?
CUT TO
INT. K.I.T.T. - DAY
Michael climbs into K.I.T.T.
K.I.T.T.
Michael, Terri is on the CB channels
announcing a ten-thirty-three.
What's a ten-thirty-three?
MICHAEL
(alarmed)
It's a call for help, Kitt. Where
is she?
K.I.T.T.
Approximately twenty point five
miles southwest of town.
MICHAEL
Come on, buddy, let's go!
He does a ninety in the parking lot, sending cinders flying.
EXT. HIGHWAY - DAY
The outlaws fire into the connecting wires -- and the
wires split apart. The rig separates from the tractor
with a lurch and the outlaws roar away in the van.
ANGLE IN TRACTOR
Terri fights for control of the tractor. She's pulled out
of her seat -- and smashed against the window. She's
knocked out cold.
ANGLE ON SEMI
as the rig speeds down a hill and the tractor is out of
control, we:
FADE TO BLACK
AND
FREEZE FRAME
END OF ACT TWO
ACT THREE
FADE IN
EXT. HIGHWAY - DAY
The rig detaches completely from the tractor.
CUT TO
INT. K.I.T.T. - DAY
Michael is driving. Trees, road signs, calls all are a blur
as he speeds by.
ANGLE ON K.I.T.T.'S DASH
The digital speedometer reading "135 MPH" and climbing.
MICHAEL
Kitt, how much further?
K.I.T.T.
Less than five miles, Michael.
CUT TO
INT. TERRI'S TRACTOR - DAY
The tractor weaves all over the road, nearly causing a few
accidents.
ANGLE ON RIG
as it smashes through the guard rail. It tumbles down the
hill once -- then explodes.
ANGLE IN K.I.T.T.
close by now. Michael can hear the explosion. He can also
see -- up ahead -- the out-of-control tractor. Michael and
K.I.T.T. close the gap. K.I.T.T. tries to maneuver next to
the tractor. The weaving makes this impossible.
ANGLE IN K.I.T.T.
Michael puts K.I.T.T. on automatic.
MICHAEL
Pop the sunroof, Kitt.
K.I.T.T.
Michael, you're not planning to do
what I think you're going to do....
MICHAEL
Just do it, Kitt. And get ready to
eject me.
K.I.T.T.
You are going to do what I thought
you were going to do....
The sunroof opens.
ANGLE ON ROAD
K.I.T.T. tries to get up close, pulls back, comes closer.
When K.I.T.T. finally gets abreast of the tractor:
ANGLE ON MICHAEL
MICHAEL
Now, pal!
ANGLE WITH MICHAEL
as he flies up -- and grabs onto the yellow warning lights
on top of the tractor. Michael fights to stay on. Once he
secures his grip, he climbs down the side of the tractor,
holds onto the rearview mirror, then swings into the open
window on the passenger side.
ANGLE IN TRACTOR
Michael grabs the jake brake. The tractor comes to a jarring
halt by the side of the road. Terri looks up, groggy.
TERRI
Michael...how...did you...?
MICHAEL
I don't think you want to know.
CUT TO
EXT. CALLEY GARAGE - DAY
Michael gets out of K.I.T.T. as Terri gets out of her
tractor. Rick runs up to her.
RICK
Terri, are you all right?
TERRI
I'm okay....
RICK
Why didn't you tell me you were
going out?
TERRI
I didn't want you to worry.
RICK
Worry? Terri, you take out our best
tractor, you jeopardize what's left
of our business, you go out into
that no-man's land....
TERRI
All right, Rick -- I didn't tell you
-- because we needed the money. I
thought I could do it, but I failed,
okay? I'm sorry.
As she calms, Rick softens. Michael comes over.
TERRI
I guess Riggins will cancel the
contract, now.
RICK
Why worry about it? This is a
no-win situation -- we go out, we
risk getting killed. We stay, we're
out of business. What's the use?
He searches their faces, then walks away.
TERRI
He's right.
MICHAEL
Wait a minute, Terri. We're not
through yet.
TERRI
What's there to do? We've been
attacked, shot at...and no one has a
clue why -- or who...or when it will
ever end....
MICHAEL
Just hang on. I'm working on a few
things. You with me?
She looks away. He holds her by the shoulders. After a
beat, she nods.
CUT TO
EXT. WAGON WHEEL PARKING LOT - DAY
as Michael parks K.I.T.T., Norma, dressed in her waitress
uniform, slips out of Volker's room. As she approaches
Michael, she smiles, a little embarrassed.
NORMA
Mr. Knight, Sam isn't a bad man. I
want you to know that.
MICHAEL
Thanks, Norma.
He starts towards the room. She blocks his path.
NORMA
No, listen...he treats me real nice,
a lot nicer than these other crumb
bums around here. He said he might
want me to quit the Chief Joe, real
soon.
The sad expression in her eyes gives Michael pause.
NORMA
He's a good man. Even if he doesn't
like you, he's nice. Like when he
had that argument with Gil Riggins
today.
MICHAEL
Riggins?
NORMA
Yeah...Mr. Riggins wanted Sam out of
town -- like you. But Sam didn't
hold a grudge. He's real even-
tempered!
Michael's comlink beeps.
MICHAEL
I'll be right back.
INT. K.I.T.T. - DAY
Michael slips in the driver's seat.
K.I.T.T.
Michael, this is quite urgent. My
sensors detect a clock mechanism and
an explosive device located in the
room right in front of us. It is
set to explode in seven point six
seconds.
Michael looks up -- it's Volker's room. He leaps out of
the car.
PARKING LOT
Michael runs towards the room, stops by Norma.
MICHAEL
(yelling)
Volker, get out of the room! Get
out!
Norma looks at him, alarmed. Just as the doop opens....
ANGLE AT DOOR
The room explodes.
ANGLE WITH MICHAEL AND NORMA
NORMA
Sam!
She starts to run towards the room. Michael grabs her and
holds on tight. She tries to break free -- then collapses,
sobbing hysterically.
CUT TO
EXT. WAGON WHEEL MOTEL PARKING LOT - DAY - LATER
Firemen put out the dying embers of the motel blaze.
Onlookers begin to filter away. Michael stands by K.I.T.T.
Norma sits in Sheriff Winston's patrol car. The Sheriff's
coat is draped over her shoulders. Winston comes up to
Michael.
WINSTON
I'd like you to come in for
questioning.
MICHAEL
For what? The murder of a man I
wanted to talk to?
WINSTON
Ever since you've come in town,
things have gone from bad to worse.
MICHAEL
Sheriff, I'm a little tired of being
leaned on. I'm here to do a job --
and, believe it or not -- I'm on
your side.
WINSTON
Look at it from my angle, who would
you suspect?
MICHAEL
If I were a cop? If I were a cop,
I'd look for someone with a motive.
A beat.
WINSTON
All right, Mr. Knight. Stick
around. I may discover that you
have a motive yet.
Winston turns back to his car.
WINSTON
(to Norma)
Leave your car here, honey. I'll
drive you home.
Norma nods. Winston closes the door for her, then gets in
the driver's side.
CUT TO
OMITTED
INT. MICHAEL'S MOTEL ROOM - NIGHT
Michael is at the coffee table with a legal notepad and
pencil.
MICHAEL
(comlink)
Kitt, give me the figures on the
insurance rate hikes over the last
six months....
K.I.T.T. (o.s.)
Michael, Terri Calley is approaching
your door. Shall I wait?
MICHAEL
(comlink)
Thanks, pal. We'll catch it later.
Michael gets up and opens the door. Terri is just about to
knock. She's surprised.
TERRI
Good timing.
MICHAEL
It's nice to see a friendly face.
As she enters the room. She's agitated, upset.
TERRI
I heard about...what happened. I
just can't believe all this...the
hijackings, now murder....
MICHAEL
Terri, what's the matter? Something
wrong....
TERRI
(hesitates)
It's Rick. He wants to quit. Sell
the tractors, move....
MICHAEL
(beat)
What about you? How do you feel?
TERRI
I don't know. I don't know anything
any more.
She's as close to tears as she's ever going to be. She
walks to the window and looks out.
MICHAEL
Terri, it's your decision. But from
what I know about you, I'm not sure
'quit' is part of the Calley
vocabulary.
She looks back at him.
MICHAEL
Do you think your father would've?
(a beat)
Do you think Hoss would've?
She smiles, shakes her head, "no." They get closer.
TERRI
Michael...I....
She steps back, laughs nervously.
TERRI
I told you I scared all the boys
away. They called me 'Tom-boy
Terri....'
MICHAEL
That was then.
TERRI
I think...I really like you....
She starts close to him. Then she stops, uncomfortable.
MICHAEL
Maybe we could hold hands.
She laughs, embarrassed.
TERRI
I feel so....
MICHAEL
Shhh.
(beat)
Can we?
TERRI
I guess. Sure....
He slowly takes her hand in his.
MICHAEL
Not so bad, is it?
TERRI
(smiles)
No.
To his surprise, she kisses him; a shy, innocent kiss.
CUT TO
INT. K.I.T.T. - DAY - ON THE MONITOR SCREEN - TRAVELLING
Michael is driving. Devon is standing at his desk in the
Foundation.
MICHAEL
Devon, I'm starting to feel like
Sheriff Winston -- 3,750 square
miles to cover -- and no real leads.
(a beat)
When I first came here, I thought
someone was after the cargo -- now
I'm convinced it's the A.I.T. they're
really after.
DEVON
Is there anything I can do?
A beat.
MICHAEL
Now that you mention it, Chicago was
pretty cold, wasn't it?
DEVON
Cold is not the word, dear boy.
MICHAEL
How'd you like to visit sunny New
Mexico?
Devon is intrigued.
CUT TO
EXT. CALLEY GARAGE - DAY
Tractors are parked by the door.
INT. CALLEY GARAGE - DAY
A meeting of the A.I.T. is in session. While all of the
same participants are there -- Michael, Terri, Rick,
Brusker, Gene, Ozzie, Jim, Vance, and Clay -- the mood is
strikingly different. It's very somber.
RICK
By now, I'm sure you've all heard
the news. Gil Riggins had no real
choice but to cancel the Alliance
contract. His distributors just
quit on him. I tried to talk him
out of it....
GENE
Rick, we're all sure you did what
you could.
RICK
I understand a few of you will be
moving out of the area. Good luck.
Some nods, some grim smiles.
BRUSKER
Hey, do you all remember the first
meeting of the A.I.T.?
OZZIE
March 20, 1971. The day peace came
to Holbrook's independent truckers.
GENE
I'll bet everyone remembers that
first party, too. I had a headache
that lasted clear to Tuscon.
BRUSKER
Always were a lightweight.
Gene smiles.
RICK
Hell, if we keep going on like this,
we'll all be bawling like babies.
(a beat)
A couple last announcements. Gil
Riggins wanted me to tell you that
if anyone's still interested in
selling, he knows a buyer. And I've
been asked to introduce an out-of-town
businessman, Mr. Cedric Bagshaw.
ANGLE AT DOOR
as Devon and Bonnie enter. Bonnie smiles at Michael.
Devon stands by Rick.
DEVON
Hello. I'd like to introduce my
assistant, Miss Bonnie Barstow.
Bonnie smiles at the men.
DEVON
I am a businessman, gentlemen. I am
planning to open up a cargo route
from Albuquerque to Santa Fe. I
would like to center it here.
BRUSKER
How much business are you talking
about?
DEVON
This is a pilot program, a trial
run. But if it succeeds, I can
promise a great deal of business.
ANGLE AROUND THE ROOM
The men are listening intently.
RICK
Mister, do you know the chances of
your cargo making it through from
here?
DEVON
All I'm asking is that you prove to
me your roads are safe. If you can
do that the contract's yours.
No one responds, then:
TERRI
I'll do it.
RICK
Terri!
TERRI
Rick, if the A.I.T. goes down, I
want to be able to say we gave it
every show we could.
The men are all getting excited, despite themselves.
DEVON
Can you leave right away?
TERRI
Just point me to your rig, mister.
Michael steps in front of the men and addresses the meeting.
ANGLE ON MICHAEL
MICHAEL
I know I'm not exactly the most
popular guy in Holbrook, but I came
here to find some stolen electronic
parts -- and found a town full of
fight. If Terri's going to pull
this off, she's going to need all
of your help. Go over to the cafe.
Set up a CB. And listen. If we
need help, be ready to roll.
GENE
We'll do it.
DEVON
Remember...if this succeeds, the
A.I.T. will be a viable organization
for a long time to come.
CUT TO
EXT. CHIEF JOE CAFE - DAY
The men all jump out of their tractors and hurry to the
Chief Joe. By the Foundation semi stands Michael, Devon,
Bonnie and off to the side, Rick and Terri.
ANGLE ON MICHAEL, DEVON AND BONNIE
DEVON
(sotto)
Michael, please be careful. That
semi is worth a king's ransom.
MICHAEL
Or a knight's yearly salary?
DEVON
At the very least.
MICHAEL
By the way, where'd you come up with
a name like Cedric?
DEVON
It's my father's name.
MICHAEL
Great name.
Devon smiles.
BONNIE
Good luck, Michael. Kitt's ready --
and waiting.
ANGLE ON TERRI AND RICK
RICK
I'm proud of you, little sister.
This is the kind of thing Dad would
have done.
TERRI
This is the kind of thing any Calley
would do -- we're all crazy enough.
They laugh -- then hug.
ANGLE AT DOORWAY OF CHIEF JOE
Brusker and Gene pass Riggins, who is staring at the
Foundation semi.
BRUSKER
Hey Gil -- hear the news? If Terri
makes her run, the Alliance is still
alive.
Riggins is distracted.
GENE
What do you say, Gil -- same deal?
We make that run, you go to bat for
us?
After a beat, Riggins looks up at them.
RIGGINS
Sure. Okay, that's a deal.
After Brusker and Gene leave, he crosses to a phone booth
outside the cafe.
INT. PHONE BOOTH - DAY
Riggins dials a number, then talks into the phone.
RIGGINS
They're going out again. It's their
last gasp -- we stop them now, we've
stopped them forever. No, the car's
nowhere in sight. Get it done.
As he hangs up, we:
FREEZE FRAME
AND
FADE OUT
END OF ACT THREE
ACT FOUR
FADE IN
EXT. HIGHWAY - DAY - ON FOUNDATION SEMI
as it travels down a stretch of highway.
INT. FOUNDATION SEMI - DAY - TRACTOR
Terri is driving.
TERRI
I think we fooled everyone -- even
Rick. Where'd you get the idea?
MICHAEL
From an old murder mystery -- the
detective put all of the suspects in
a room then told them the victim was
still alive. It was only a matter
of time before the killer sneaked
out to try again.
TERRI
It sounds like an ambush to me.
MICHAEL
Not when you're the good guys.
He smiles. There's a pause.
TERRI
What I want to know is -- if the
pirates attack -- why are you so
sure we can stop them?
MICHAEL
Another old chess technique. Hold
back your most powerful piece --
until you need it.
She gives him a puzzled look.
CUT TO
INT. FOUNDATION SEMI - RIG - DAY - ON K.I.T.T.
Its scanner light flashing.
CUT TO
EXT. DIRT ACCESS ROAD - DAY - ON OUTLAW TRACTOR
It's parked by an outcropping of rocks, the same tractor
that we saw at the top of the show.
INT. OUTLAW TRACTOR - DAY
The two outlaws, Sax and Russell, have their masks off for
the first time. Russell, the older of the two men, is in
the driver's seat. Sax, the more nervous of the two,
checks his watch.
SAX
I thought truckers were supposed to
be punctual.
RUSSELL
She'll be here soon enough.
Sax fidgets.
SAX
Man, there must be a better way to
make a living.
RUSSELL
That's what you said when we were
working on the docks. At least
these hours are better.
SAX
That's true.
Sax reaches behind him and pulls out the recoiless rifle.
He checks the rifle, loads it.
CUT TO
INT. CHIEF JOE'S CAFE - DAY
Devon, Bonnie and Rick all enter the cafe. The truckers
are huddled around a CB in a horseshoe booth near the back
of the restaurant.
GENE
(calling)
Hey, Mr. Bagshaw, how about we treat
you to Joe's famous original 'Sloppy
Joe's'?
Devon looks faint. Bonnie grins.
DEVON
'Sloppy Joe's?'
GENE
Sure, they're great. Sliced ham,
topped with a special barbeque
sauce, chili, salsa, hot peppers --
a cure for whatever ails you.
DEVON
That sounds...delightful. However
I had quite a large breakfast.
Gene and the others make room for Devon in the booth.
Devon has no choice but to sit with them. He's squeezed
between them.
GENE
That's the great thing about these
Sloppy Joe's, Mr. Bagshaw -- your
stomach has to make room for them.
They just won't take no for an
answer.
Devon smiles weakly.
GENE
Hey, Norma -- eight Sloppy Joe's
here.
(to Devon)
Unless you want more than one....
DEVON
No, no. Don't want to overdo a good
thing.
Gene smiles, slaps Devon on his back.
INT. FOUNDATION TRACTOR - DAY
Terri drives. Michael takes a sip from a cup of coffee,
then hands her the cup. She takes a drink.
TERRI
Michael, thanks...for giving me hope.
MICHAEL
I didn't give you hope, Terri -- I
just helped you borrow it back from
yourself.
She smiles.
TERRI
See that saguaro (se-war-o) -- that
giant cactus -- over there?
She points one out.
TERRI
If you look at them closely, they
look like they're waving, or bowing
or saluting you. Or making fun of
you. Some people are mountain
people, some are ocean people. I'm
kind of a desert person. How about
you?
He thinks.
MICHAEL
I think -- I'm a road person.
She laughs.
TERRI
Me, too.
CUT TO
INT. CHIEF JOE'S DAY
Bonnie is at the counter, talking with Norma as Devon comes
up.
ANGLE ON BONNIE AND DEVON
DEVON
(sotto)
So far, no one's made a move.
BONNIE
I'll keep my eyes open.
DEVON
Mine are watering -- beware the
Sloppy Joe's.
She laughs. Devon moves back to the table.
ANGLE ON BONNIE AND NORMA
Norma looks even more sad than before. She wipes up a
spill on the counter while talking with Bonnie.
NORMA
I don't know. I guess Sam just
wasn't meant to be the end of my
rainbow.
BONNIE
There'll be other guys, Norma.
NORMA
That's the problem, sugar, there's
always other guys.
(a beat)
Do you ever think of your Mr. Right?
BONNIE
No, not really.
NORMA
Come on, tell me. You must. Every
woman does.
BONNIE
No, seriously, I don't.
NORMA
I do. He has to be tough, yet
gentle. Forceful, but he has to let
me have my own way most of the time.
And, a nice car wouldn't hurt. Now,
come on -- how about you?
Bonnie laughs.
BONNIE
All right, maybe I do have a little
bit of an idea. I'd like him to
like classical music, but he should
be open to all kinds of different
styles. He's definitely got to love
books and plays. I think he should
have a good sense of humor, witty,
you know, kind of sophisticated.
It'd be nice if he were athletic,
but I don't want him to be a jock.
I like a guy who's full of sur-
prises and....
Norma looks at her, amazed. She moves off to get a
customer a cup of coffee. Bonnie continues on.
CUT TO
OMITTED
INTERCUT - K.I.T.T.
in the rig.
K.I.T.T.
Michael, two men are approaching
from the southwest. One has a rifle.
MICHAEL
Okay, pal, this is it. Come get me.
K.I.T.T.
Right away, Michael.
Terri looks shocked.
TERRI
Who's that?
MICHAEL
Our secret weapon. I'll explain
later. Keep her steady.
Michael rolls down the window.
OMITTED
ANGLE ON MICHAEL
climbing out the window and climbing down through the
sunroof.
ANGLE ON OUTLAWS
as they pull up next to Terri. Sax points the rifle at her.
ANGLE WITH K.I.T.T.
as he maneuvers around the semi -- and comes up hot on the
heels of the outlaws. The outlaws look back -- and are
shocked to see the car. Sax leans out and fires at K.I.T.T.
The bullets bounce harmlessly off him.
As the outlaws slow down to fight K.I.T.T., Terri is able
to speed the Foundation semi up and pass them. The outlaw
tractor starts to weave from one side of the road to the
other, to stop K.I.T.T. from passing them.
INT. K.I.T.T. - DAY
Michael is doing everything he can to pass the outlaws, to
no avail.
K.I.T.T.
Michael, my scanners indicate that
the divided highway ends less than a
mile from here. And there appears
to be very heavy traffic coming in
the opposite direction.
MICHAEL
All right, Kitt. We don't have any
time to waste.
Michael pulls K.I.T.T. up close to the outlaw tractor.
INSERT - TURBO BOOST BUTTON
Michael pushes this button.
ANGLE WITH K.I.T.T.
as the car flies up and over the tractor.
INT. OUTLAW TRACTOR
The outlaws follow K.I.T.T.'s trajectory in awe and Russell
momentarily loses control of the tractor.
ANGLE WITH K.I.T.T.
Back on earth, K.I.T.T. speeds up, then when Michael throws
the car into a ninety, it blocks the highway entirely.
INT. OUTLAW TRACTOR
RUSSELL
Now we got him!
And he speeds up.
INTERCUT - K.I.T.T. AND THE TRACTOR
coming closer, closer -- and then they hit. K.I.T.T. is
undamaged, but the outlaw tractor flips over and into the
side of the road.
ANGLE ON TERRI
She sees what's happening in her rearview mirror and pulls
off the highway.
ANGLE AT THE SIDE OF THE ROAD
Russell and Sax stumble out of the wreckage of their
tractor. Sax is dazed, slumps back to the ground. Michael
grabs Russell as Terri runs up to the scene. He rips off
the face mask.
MICHAEL
All right, talk. Who are you
working for?
Russell doesn't answer. Michael pins him against the cab.
MICHAEL
Listen, pal, you'd better start
talking. You've already wrecked two
lives -- not to mention killing a
man.
(a beat)
So help me, you'd better talk, or
I'll wreck yours beyond repair. And
if I get the Foundation to prosecute,
the next time you'll see windows
without bars is going to be in a
rest home.
RUSSELL
We didn't kill no one.
MICHAEL
I have a witness who says otherwise.
RUSSELL
It wasn't us, I swear!
MICHAEL
Then who?
CUT TO
INT. RIGGINS' WAREHOUSE - DAY
Riggins is out on the loading dock. In the distance are
sirens.
ANGLE ON RIGGINS
As he hears the sirens, he becomes panicked. Then, from
the highway, he sees K.I.T.T., heading straight for him.
He jumps down and into a van and takes off.
ANGLE ON HIGHWAY
as Riggins' van speeds away.
INT. K.I.T.T.
MICHAEL
Come on, Kitt -- let's stop him dead
in his tracks.
ANGLE ON ROAD
as K.I.T.T. gets closer and closer to the van. Suddenly,
the van pulls off the main highway and onto a side road.
As it turns, it slides into a ninety.
ANGLE ON K.I.T.T.
which turbo-boosts up -- and through the back of the van,
tearing it to shreds.
ANGLE ON RIGGINS
in a state of shock. K.I.T.T. pulls up close -- just as
Sheriff Winston arrives with his policemen. As Michael
grabs Riggins and hands him to Winston, we:
FREEZE FRAME
AND
FADE OUT
END OF ACT FOUR
TAG
FADE IN
EXT. CHIEF JOE'S CAFE - DAY
Coming out of the cafe are Michael, Devon and Bonnie.
MICHAEL
That was the best Sloppy Joe I ever
had. Thanks for turning me on to
it, Devon.
DEVON
In lieu of pizza, it was the least
I could do.
Sheriff Winston enters the shot.
WINSTON
I was wrong about you, son. Thanks
for all you did for us here.
MICHAEL
You're welcome, Sheriff. Did they
find the cargo?
WINSTON
Every bit of it -- tucked away in
Riggins' warehouse. I guess Riggins
thought that if he leaned hard
enough, he could break the A.I.T.
and have a monopoly. Volker made
the mistake of trying to horn in
after Riggins laid all the groundwork.
BONNIE
What's going to happen to the
warehouses?
WINSTON
They've already been sold -- and the
new owner has renewed the A.I.T.
contract.
He stops and looks up at the door of the cafe. They all
turn to see what he's looking at: Norma, dressed up in a
frilly dress.
NORMA
Hi, Henry, I'm ready.
Winston smiles. Takes her arm when she comes down. Norma
whispers to Bonnie as she passes:
NORMA
Forceful -- and he has a nice car,
too!
They all laugh.
NEW ANGLE
as they all hear the honking of a tractor. Terri and Rick
drive up in the Calley tractor. She jumps out.
TERRI
Check out the new sign!
The sign reads, "Calley Family Trucking." Rick smiles.
She takes Michael's hand, leads him away.
TERRI
Excuse us....
ANGLE BY TRUCK
out of sight from the rest of the people. She takes some-
thing off the front seat of the tractor. It's a cowboy hat
-- a ten-gallon white hat, the kind Hoss Cartwright used to
wear.
MICHAEL
Can you direct me to the Ponderosa?
She laughs.
TERRI
Something to remember me by -- when
you're on the road. When the stars
are so bright...that you can turn
off your headlights.
He takes her in his arms. They kiss, a deep passionate
kiss.
CUT TO
EXT. TRANS AM - DAY
Michael and K.I.T.T. are leaving Holbrook.
INT. TRANS AM - DAY
BRUSKER'S VOICE
(over CB)
Breaker, breaker...Big Bro to Kitt.
I got one thing to say to you,
Knight.
MICHAEL
What's that, Curt?
BRUSKER'S VOICE
Thanks.
MICHAEL
You're welcome.
K.I.T.T.
Michael, the correct response in CB
parlance would have been, that's a
big 10-4, over and out.
MICHAEL
Not bad, Kitt....
K.I.T.T.
How does the phrase go? When in
Rome....
MICHAEL
(laughs)
All right, good buddy. 10-4. Over
and out.
As the Trans Am drives off into the distance....
FREEZE FRAME
THE END
